Bovie Movie

Miguel Pinero became a leading figure in New York’s art scene during the 1970s as a poet, actor, and playwright whose vibrant, often pointed, work spoke directly to the lower classes and to disenfranchised minorities. As a founder of the influential Nuyorican Poets Cafe, his poetry soon became recognized as a forerunner to rap and hip-hop music. TV screenwriter turned director Leon Ichaso spins this impressionistic biographical look at this artist. Raised in an abusive family, Pinero (Benjamin Bratt) turns to streets for solace. Soon he is engaging in petty crime, drug dealing, and addiction. When he finds himself in Sing-Sing, he turns his experiences in prison into the play Short Eyes, which eventually garners him seven Tony awards in 1974. Uncomfortable with his new fame, he clings to his girlfriend, Sugar (Talisa Soto), and his childhood buddy, Miguel Algarin (Giancarlo Esposito), who is a literature professor and who co-founded the Nuyorican Cafe. Though Pinero makes cameos on such shows as Kojak, his art begins to suffer as he starts to succumb to his drug addictions. This film was screened at the 2001 Toronto Film Festival.

Ten years before Jane Austen’s novel Sense and Sensibility was transformed into a lavish theatrical feature by director Ang Lee, the property was adapted as a rather less lavish but no less entertaining British TV miniseries. Irene Richard and Tracy Childs starred as Elinor and Marianne Dashwood, two attractive sisters from a prominent British family. When the Dashwoods go broke after the death of their father, the flighty Marianne and the more reserved (and, need we add, more intelligent) Elinor go on an exhaustive search for proper, and properly wealthy, husbands. Sense and Sensibility was served up in three 60-minute portions by the BBC.

A dark, bitter commentary on modern American life cloaked in the form of a surrealist western, Jim Jarmusch’s Dead Man stars Johnny Depp as William Blake, a newly-orphaned accountant who leaves his home in Cleveland to accept a job in the frontier town of Machine. Upon his arrival, Blake is told by the factory owner Dickinson (Robert Mitchum) that the job has already been filled. Dejectedly, he enters a nearby tavern, ultimately spending the night with a former prostitute. A violent altercation with the woman’s lover (Gabriel Byrne), also Dickinson’s son, leaves Blake a murderer as well as mortally wounded, a bullet lodged dangerously close to his heart. He flees into the wilderness, where a Native American named Nobody (Gary Farmer) mistakes Blake for the English poet William Blake and determines that he will be Blake’s guide in his protracted passage into the spirit world.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

Five years after achieving commercial and critical success with his film Three Kings, director and screenwriter David O. Russell returns to the more idiosyncratic territory of his earlier work with this intelligent and offbeat comedy. Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin) are a married couple who run an existential detective agency where they sift through the lives of their clients in order to discover the source of their angst. The Jaffes’ latest client is Albert Markovski (Jason Schwartzman), an environmental activist who has a very large rock and a great deal on his mind; their study of Albert’s problems lead Bernard and Vivian to Brad Stand (Jude Law), a public relations executive with a chain of successful variety stores, Huckabees. While publicly allying himself with Albert’s environmental initiatives, behind the scenes Brad is running roughshod over responsible land management with little care for the consequences. When Brad learns he’s being watched by the Jaffes, he hopes to co-opt them by hiring them himself; however, the plan has unexpected consequences when their questioning leads Brad’s girlfriend, well-scrubbed model Dawn (Naomi Watts), into reassessing her life and relationships. Meanwhile, Albert finds himself joining forces with Tommy (Mark Wahlberg), a firefighter and fellow environmentalist who has been having second thoughts about Bernard and Vivian’s ideas and methods after a long-term investigation and has since fallen under the spell of nihilist poet and philosopher Caterine Vauban (Isabelle Huppert).

Acclaimed filmmaker Robert Altman (Short Cuts, Nashville) brings National Public Radio stalwart Garrison Keillor’s long-running radio program to vivid life on the big screen in a intricately woven backstage fable centering on the final performance of a fictionalized version of his variety show. As if the result of some strange mass-media fluke, the popular radio program A Prairie Home Companion somehow managed to survive the television age to entertain its audience every Saturday night from the stage of the historic Fitzgerald Theater in St. Paul, MN. Week after week, hangdog host Garrison Keillor serves as unflappable emcee to an amiable hodgepodge of radio-friendly acts that include the likes of popular country duo Yolanda and Rhonda Johnson (Meryl Streep and Lily Tomlin) and singing cowboys the Old Trailhands (Woody Harrelson and John C. Reilly). This is one show where the under-the-line antics are nearly as entertaining as the program itself, though, and in between the efforts of down-on-his-luck private dick and backstage doorkeeper Guy Noir (Kevin Kline) to discover the true identity of a mysterious blonde (Virginia Madsen) and aspiring teen singer Lola (Lindsay Lohan) to find her true voice before a live audience, there’s still plenty of fun and mystery to be had at the old Fitzgerald before the final curtain falls on A Prairie Home Companion.

Joel and Ethan Coen take on the classic battle-of-the-sexes screwball comedy with Intolerable Cruelty. George Clooney plays Miles Massey, a high-powered Los Angeles divorce lawyer nearing a midlife crisis . While representing wealthy client Rex Rexroth (Edward Herrmann), Miles meets his match in Rex’s gold-digging wife, Marilyn Rexroth (Catherine Zeta-Jones). He’s impressed by her similarly heartless ways of using marriage to fuel an expensive lifestyle, but he still defeats her in court. With Marilyn looking to get her revenge and Miles finding himself attracted to her, the two engage in a ruthless romantic pursuit to out-swindle each other. Billy Bob Thornton shows up in a small role as Texas oil tycoon Howard Doyle.

Self-made wealthy guy Rodney Dangerfield decides he needs a better education–and also to spend some time away from his cheating new wife. Dangerfield joins his son Keith Gordon at college. Dad hopes to gain his son’s respect (isn’t that always Dangerfield’s motivation?), while son tries to fit in with his snobbish and brutish fellow students. English professor Sally Kellerman forms a strong bond with Dangerfield, encouraging both father and son to stick out their first year despite all odds. The finale involves some slapstick at the swimming pool diving board, and the obligatory commencement address delivered by Dangerfield, who proves that he can crack jokes without tugging at his tie.

Douglas Adams’ oft-adapted tale of an normal guy making his way through the universe (it’s already been presented as a novel, a radio serial, a television series, and a comic book) finally makes its way to the big screen in this endearingly goofy sci-fi comedy. Arthur Dent (Martin Freeman) is a very ordinary man who is having a truly unusual day — after discovering that one of his best friends, Ford Prefect (Mos Def), is actually an alien, Ford tells him that the planet Earth is going to be destroyed so that otherworldly forces can make room for construction of a hyperspace bypass. Since Arthur accidentally saved Ford’s life years ago, Ford does him a favor — he first gets him a ride on a spaceship passing by, and then presents him with a guidebook that will tell a beginner everything he needs to know as he hitchhikes through outer space. Along the way, Arthur encounters such interstellar notables as sleazy Galaxy president Zaphod Beebelbrox (Sam Rockwell), the girl of his dreams Tricia McMillan (Zooey Deschanel), perpetually glum robot Marvin (voice of Alan Rickman), interplanetary construction magnate Slartibartfast (Bill Nighy), and cult leader Humma Kavula (John Malkovich). The Hitchhiker’s Guide to the Galaxy was the first feature film for Garth Jennings, previously best known for his work in television commercials and music videos; he was recommended to the producers by director Spike Jonze after Jonze had to turn down an offer to head up the project.

The true story of one woman’s effort to keep her family afloat under difficult circumstances comes to the screen in this bittersweet comedy drama. Evelyn Ryan (Julianne Moore) was a woman of intelligence, talent, and pluck living in the small town of Defiance, OH, in the 1950s. Evelyn was married to Kelly Ryan (Woody Harrelson), a man who gave her ten children but not much else; Kelly had a severe drinking problem, struggled to hold on to a job, and tended to spend his money as soon as he earned it. It was seemingly up to Evelyn to support the family, but with ten kids to look after, taking a job outside the home hardly seemed practical. But the resourceful Evelyn discovered a way to bring some extra money into the household — at a time when a number of companies held contests to find new advertising jingles for their products, Evelyn had a genius for coming up with slogans and winning contests, and for the better part of a decade Evelyn kept food on the table and a roof over her head by dreaming up jingles, tag lines, and ad headlines and winning contests with her handiwork, often selling the merchandise she won to pay the bills. The Prize Winner of Defiance, Ohio was based on the best-selling memoir by Terry Ryan, who was the sixth of Evelyn Ryan’s ten kids.