Bovie Movie

Love, treachery, and broken furniture are the hallmarks of this rollicking action drama. Dalton (Patrick Swayze) has a Ph.D., but rather than make a living teaching Socrates at some university, he’s opted to become a top-drawer “cooler” — an expert barroom bouncer who can break up fights without getting himself killed in the process. Dalton is hired to keep the peace at the Double Duce, a rough-and-tumble honky tonk in Jasper, Missouri, where beer-soaked free-for-alls are a nightly event. Dalton is hurt on his first night on the job, and he is patched up by “Doc” Clay (Kelly Lynch), a beautiful woman working as the town’s physician. Dalton and Doc immediately hit it off, but Dalton learns that another man, Brad Wesley (Ben Gazzara), already has his eye on her. Wesley is a man used to getting his way; he’s an extortionist and crime boss who has nearly everyone in Jasper under his thumb, and he sets out to teach Dalton a lesson, while Dalton is determined to clean up the town like he breaks up brawls at the Double Duce. Sam Elliott plays Dalton’s mentor Wade, and Red West, a one-time member of Elvis Presley’s “Memphis Mafia,” appears as Webster; Canadian blues-rock guitarist Jeff Healey leads the Double Duce house band.

Jocelyn Moorhouse’s feature-film debut is a jet-black comedy starring Hugo Weaving as Martin, a paranoid blind man, made so because he is convinced that his mother, when he was a child, lied to him about the sights she described to him. As an adult, Martin is reclusive and ill-tempered. Perversely, Martin is also a photographer — he takes the pictures, has them developed, asks friends to describe the pictures to him, and then labels them in Braille to make sure no one is tricking him. His housekeeper, Celia (Genevieve Picot), is also a photographer. Obsessed with Martin, she papers the walls of her home with pictures of him. But this obsession doesn’t carry through to their relationship, which is a far from cordial one — Celia torments Martin and Martin humiliates her. One day at a restaurant, after a nasty confrontation with a waitress who ignores him, Martin makes friends with the dishwasher, Andy (Russell Crowe). Martin invites him home to describe his photographs to him. Back at Martin’s home, Andy meets Celia and he immediately falls in love with her. Jealous of Andy, Celia seduces him in an effort to discredit Andy with Martin and drive Martin into her arms.

Perhaps the most highly anticipated film of 2003, Kill Bill Vol. 1 marked the return of renowned filmmaker Quentin Tarantino after a six-year hiatus. Re-teaming the director with Uma Thurman for the first time since 1994’s Pulp Fiction, the film was originally the first half of what was to be a three-hour-plus movie before being split into two films. Thurman stars as The Bride, one-fifth of a team of assassins called DiVAS. When The Bride opts to leave the outfit for a life of marital bliss, it doesn’t sit well with her boss, Bill (David Carradine), so he has her former cohorts, played by Lucy Liu, Vivica A. Fox, Daryl Hannah, and Michael Madsen, show up at the nuptials, leaving behind a blood bath. Miraculously, The Bride survives a bullet to the head and, four years later, she sets out for revenge against her four assassins and their employer. The story is concluded in Kill Bill Vol. 2, released six months later.

Director George A. Romero’s epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 — ten years after the first films’ release — Dawn’s story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city — seeking warm human flesh for food — the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film’s most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station’s floor manager, Stephen’s girlfriend Frances (Gaylen Ross). Together they steal the station’s helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer’s paradise… but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero’s excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: “It’s some kind of instinct,” Stephen comments, observing the zombies’ attraction to the mall; “This was an important place in their lives.” Despite the glimmer of hope offered by the film’s closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn’s outlook for humanity: “We’re not gonna make it, are we?” Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a “Director’s Cut” with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed.

The life and sordid, untimely death of Hogan’s Heroes star Bob Crane are explored by director Paul Schrader in this biopic, which marks one of the few times the filmmaker has not scripted his own film. Auto Focus chronologically traces the meteoric rise of Crane’s show business career, beginning with his early success as a jokey deejay on Los Angeles morning radio in the early ’60s. A devout family man, Crane lives in Southern Californian comfort with his wife Anne (Rita Wilson) and their young children, relishing the modicum of celebrity his job provides him. His life begins to change, however, when his agent Lenny (Ron Leibman) proposes that he take a breakthrough role on the CBS POW-camp sitcom Hogan’s Heroes. Initially reluctant to take the job, Crane signs on with the production and, to his and everyone else’s surprise, the show becomes a smash hit. With celebrity comes a new set of friends, and Crane falls in with audio-visual guru John Carpenter (Willem Dafoe), a Sony sales rep who spends his days setting up home entertainment systems for the Hollywood elite, and his nights cruising strip clubs for anonymous sexual encounters. Already a pornography buff, Crane starts using his fame to secure him and Carpenter an endless parade of affairs, which they videotape and then obsessively review. It isn’t long before Anne demands a divorce, and Crane marries his Hogan’s co-star Patti Olsen (aka Sigrid Valdis, here played by Maria Bello), who’s more accepting of his escapades. When the sitcom is canceled, however, Crane has trouble securing acting jobs, and recedes further and further into his life of amateur porn with Carpenter. Auto Focus premiered at the Telluride and Toronto Film Festivals before its art-house run in the fall of 2002.

An unhinged parody of James Bond theatrics, Johnny English finds Mr. Bean himself suiting up as the eponymous super spy for a series of wild and silly adventures. A lowly pencil pusher working for the MI7 agency, Johnny English (Rowan Atkinson) is suddenly promoted to super spy after Agent One is assassinated and every other agent is blown up at his funeral. When billionaire entrepreneur Pascal Sauvage (John Malkovich) sponsors the exhibition of the Crown Jewels and the valuable gems disappear on the opening night, and on the watch of English, the newly designated agent must jump into action to uncover the thief and procure the missing valuables. Tracking the thieves’ underground escape route with sidekick Bough (Ben Miller), English locks in on Sauvage despite repeated assurances by boss Pegasus (Tim Pigott-Smith) that the respected entrepreneur has nothing to do with the crime. Could the mysterious Lorna (Natalie Imbruglia), who has an odd habit of turning up at the wrong place at the wrong time, hold the key to helping Johnny? A massive hit overseas, Johnny English held its own at the box office in early April 2003, and was slated for wide release in the U.S. If the spoofing in Johnny English strikes especially close to home, that may be because the film was scripted by Neal Purvis and Robert Wade, who teamed to pen such Bond adventures as Die Another Day and The World is Not Enough.

Red Dragon, the Thomas Harris novel that introduced serial killer Hannibal Lecter to the world, was adapted for the screen by Michael Mann as Manhunter. Ace criminal profiler Will Graham (William Petersen) is very good at his job because he has the ability to make himself think like the killers he tracks. Will has been in retirement since catching Hannibal “the Cannibal” Lecter (Brian Cox), as being inside that particular deranged mind caused Will to have a breakdown. Will’s boss Jack Crawford (Dennis Farina visits Will at his home, showing him pictures from a murder scene and asking for his help in catching a new killer they have dubbed “the Tooth Fairy” (Tom Noonan). In order to test his mental strength, Will visits Hannibal in his prison cell. Adding to the already substantial mental stress Will experiences when he returns to the job are nosy tabloid reporter Freddy Lounds (Stephen Lang), as well as Hannibal’s attempts at seeking revenge through the Tooth Fairy. After two additional films that featured Anthony Hopkins as Hannibal Lecter (Silence of the Lambs and Hannibal) became box-office blockbusters, Manhunter was re-made as Red Dragon starring Hopkins and Edward Norton as Will Graham.

Following the phenomenal success of The Silence of the Lambs and Hannibal, Anthony Hopkins returns as brilliant madman Hannibal Lecter in this thriller based on the novel in which author Thomas Harris introduced the character. Will Graham (Edward Norton) is an FBI agent with a rare gift for tracking serial killers who brought Hannibal Lecter to justice; however, his confrontation with Lecter proved to be a bloody, near-death experience, and afterward Graham retired from the Bureau, moving to Florida to spend his time with his wife, Molly (Mary-Louise Parker), and their son. However, a particularly grisly killer is on the loose, and Jack Crawford (Harvey Keitel), Graham’s one-time mentor at the Bureau, asks him to return to duty to find him. The “Tooth Fairy” is a vicious murderer who kills entire families at once, covering the eyes of his victims with bits of a shattered mirror. Graham finds he needs help putting together the pieces of the “Tooth Fairy” case, and he calls upon Lecter looking for advice. Lecter, at once vaguely helpful and self-serving, as usual, offers scraps of information to Graham which help him zero in on the killer. But Lecter knows more than he’s telling; the “Tooth Fairy” is actually Francis Dolarhyde (Ralph Fiennes), a troubled and withdrawn man who admires Lecter’s violent panache and corresponds with him. Dolarhyde works at a film processing lab, where one of his co-workers, a blind woman named Reba McClane (Emily Watson), seems to be quite attracted to him. As Dolarhyde wrestles with both his murderous impulses and his feelings for McClane, Lecter plays Graham and Dolarhyde against one another so that, as the FBI agent comes closer to catching “the Tooth Fairy,” Dolarhyde moves in on his next victim — Graham’s family. Red Dragon marked the second time Harris’ novel of the same name had been brought to the screen; five years prior to The Silence of the Lambs, Michael Mann adapted the book for the screen as Manhunter, which starred William Petersen as Graham and Brian Cox as Lecter.

Four men come together to find out how and why the woman who raised them was killed in this hard-edged urban drama from director John Singleton. Short-tempered Bobby (Mark Wahlberg), struggling musician Jack (Garrett Hedlund), streetwise Angel (Tyrese Gibson), and hard-working Jeremiah (Andre Benjamin) are four guys who don’t appear to have much in common, in terms of either race or temperament. However, these men have one very important bond — all four were adopted and raised by the same woman (Fionnula Flanagan), and they all love her as a mother, and respect one another as brothers. When their mother is killed during a robbery at a grocery store, the four brothers come together for the funeral, but when they don’t get straight answers about what happened to her, they begin looking into the crime themselves. The deeper they dig into the case, the more the brothers begin to suspect that the shooting wasn’t an accident, and that powerful and unexpected forces were involved. Four Brothers marked one of the first starring roles for Andre Benjamin, better known as Andre 3000 of the top selling hip-hop group OutKast.

Director Kenneth Branagh’s interpretation of Mary Shelley’s classic horror novel stars Robert DeNiro as a terrifying monster created in an obsessive attempt to defeat death and stretch the limits of medicine in the early 19th century. With the use of flashback, a dying Dr. Viktor Frankenstein (Kenneth Branagh) divulges a tale of gruesome terror to a sea captain (Aidan Quinn): As a medical student, the rebellious Frankenstein elaborates on the work of a brilliant scientist (John Cleese), successfully bringing to life a “man” assembled from the body parts of corpses. Upon realizing the destructive consequences of his experiment, Dr. Frankenstein abandons the creature and attempts to return to a normal life with his medical partner, Henry (Tom Hulce), and his fiancée (and adopted sister), Elizabeth (Helena Bonham Carter). In the meantime, the nameless creature struggles with loneliness and rejection from society until he sets out to track down his creator in search of one of two things: a bride to keep him company or revenge. Mary Shelley’s Frankenstein (1994) was produced by Francis Ford Coppola, who previously directed and produced monster-drama Bram Stoker’s Dracula (1992).