Bovie Movie

The Eisner Award-winning comic series Sin City comes to life in this live-action feature adaptation from director Robert Rodriguez and creator Frank Miller. Interweaving multiple storylines from the series’ history, this violent crime noir paints the picture of the ultimate town without pity through the eyes of its roughest characters. There’s the street thug Marv (Mickey Rourke), whose desperate quest to find the killer of a prostitute named Goldie (Jaime King) will lead him to the foulest edges of town. Inhabiting many of those areas is Dwight (Clive Owen), a photographer in league with the sordid ladies of Sin City, headed by Gail (Rosario Dawson), who opens up a mess of trouble after tangling with a corrupt cop by the name of Jackie Boy (Benicio Del Toro). Finally, there’s Hartigan (Bruce Willis), an ex-cop with a heart problem who’s hell-bent on protecting a stripper named Nancy (Jessica Alba). Featuring a who’s who supporting cast that includes Elijah Wood, Brittany Murphy, Devon Aoki, and Nick Stahl, Sin City promises to be one of the most direct translations from page to screen of a comic series, with shots and dialogue adapted straight from the original comic’s panels. Rodriguez quit the Director’s Guild when they refused to let Frank Miller co-direct the film, a deal hashed out after the two collaborators developed and shot the opening scene utilizing a green-screen process to harness the stark, black-and-white look of the books as a litmus test for the rest of the production. Quentin Tarantino was brought in and reportedly paid one dollar to direct an extended scene between Del Toro and Owen that amounts to one issue of The Big Fat Kill miniseries.

Viewers familiar with the 1996 Mel Gibson blockbuster Ransom may be disappointed that there are no smirking villains, car chases, or bloody fistfights in the original 1956 version of the same story. Even so, the earlier Ransom! has much to offer on a purely dramatic level. Based on the Richard Maibaum-Cyril Hume TV play Fearful Decision, the film stars Glenn Ford as self-made industrialist David Stannard. When his son is kidnapped and held for 500,000 dollars ransom, Stannard at first sets about to cooperate with the abductors and to raise the necessary funds. Somewhere along the line, however, Stannard’s outrage erupts and boils over. Buying air time on a local TV station, he pulls out the half-million dollars, then informs the kidnappers that they’ll never get their hands on a single penny. He further threatens to use the money as a reward for the kidnappers’ capture, dead or alive, should any harm befall his son. Despite the protests of his wife, Edith (Donna Reed), and the admonishments of his friends, family, business associates and even the police, Stannard sticks fast to his decision…but will he live to regret it? The boy’s abductors are never seen in Ransom!; instead, the film concentrates on the multitude of ramifications (including a few political ones) stemming from David Stannard’s bold stance. As such, the 1956 Ransom! is in its own way as tense and exciting as the more elaborate 1996 remake.

After squaring off in 1995 with competing movie biographies of frontier lawman Wyatt Earp, actors Kurt Russell and Kevin Costner co-star in this action crime caper as former cronies engaged in a series of double-crosses over some stolen loot. Michael Zane (Russell) and Thomas Murphy (Costner) are the leaders of a gang of ex-convict thieves using an Elvis Presley impersonator convention to pull off a daring heist in a Las Vegas casino. The gang also includes Gus (David Arquette), Hanson (Bokeem Woodbine), and Franklin (Christian Slater). Although they manage to retrieve the money, the crooks turn on each other in bloody fashion and Murphy (who believes he’s actually the illegitimate son of Elvis) makes off with the illegal funds. In hot pursuit are the police and Michael, who’s encumbered by his girlfriend Cybil (Courtney Cox-Arquette) and her young son Jesse James. Written and directed by music video creator Demian Lichtenstein, 3000 Miles to Graceland also stars Kevin Pollak, Ice-T, and Howie Long.

A vacationing couple makes a terrifying discovery about the motel room they have just checked into in this thriller scripted by Mark L. Smith and directed by Nimr?d Antal (Kontroll). Their car broken down and their prospects for finding a tow-truck driver at such a late hour slim to none, David (Luke Wilson) and Amy Fox (Kate Beckinsale) decide to make the best of their situation by resting out the night at a nearby motel. Left with few choices of entertainment for the evening, the pair soon settles down to enjoy one of the low-budget slasher films sitting atop their motel room VCR. Upon realizing that all of the films seem to have been shot in the very same room they currently occupy, David and Amy suddenly become the stars of a particularly sadistic fright flick. As hidden cameras track their every move, the hapless couple attempt to turn the tables on their would-be killer before they meet the same grim fate as the poor souls being butchered on television. Frank Whaley and Ethan Embry co-star in a thriller that’s sure to keep leery travelers sticking to the main highway.

The second sequel to the 1984 sci-fi action classic, Terminator 3: Rise of the Machines is the first film without the involvement of director James Cameron. Instead, Jonathan Mostow, the man behind Breakdown and U-571, has stepped in to fill the shoes left vacant by Cameron. In addition, the role of John Connor from the second film has been recast, with In the Bedroom’s Nick Stahl taking over for Edward Furlong. Set ten years after the events of 1991’s Terminator 2: Judgement Day, the film finds Connor living on the streets as a common laborer. Sarah Connor, his mother, has since died, and their efforts in the second film have not stopped the creation of SkyNet artificial intelligence network. As he will still become the leader of the human resistance, Connor is once again targeted by a Terminator sent from the future by SkyNet. This new Terminator, T-X (Kristanna Loken), is a female and is more powerful than any of her predecessors. To protect Connor, the human resistance sends a new T-101 (Arnold Schwarzenegger) back from the future. Also starring Claire Danes, Terminator 3: Rise of the Machines had its world premiere when it showed out of competition at the 2003 Cannes Film Festival.

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone’s extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo’s eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson’s hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film’s extreme violence — numerous edits were required to win an R rating — became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape.

Based on the comic book miniseries by Alan Moore, The League of Extraordinary Gentlemen takes place in an alternate universe where the characters of several literary classics exist in reality. As if that weren’t enough, they’ve been assembled together in 1900 by Queen Victoria as a team of evil-fighting heroes. Among them are Allan Quatermain (Sean Connery) from H. Rider Haggard’s King Solomon’s Mines; Mina Harker (Peta Wilson) from Bram Stoker’s Dracula; Tom Sawyer (Shane West) from several works by Mark Twain; Dorian Gray (Stuart Townsend) from Oscar Wilde’s The Picture of Dorian Gray; Captain Nemo (Naseeruddin Shah) from Jules Verne’s 20,000 Leagues Under the Sea; The Invisible Man (Tony Curran) from H.G. Wells book of the same name; and several others. Working together, the odd assortment of characters must combine their powers to defeat a mysterious villain and save the world from certain destruction. Directed by Stephen Norrington (Blade), The League of Extraordinary Gentlemen also stars Jason Flemyng, Tom Goodman-Hill, and David Hemmings.

Point of Origin, produced by HBO, marks the feature directorial debut of accomplished cinematographer Newton Thomas Sigel (Three Kings, X-Men). The film is based on an actual serial arson investigation that took place in Glendale, CA, in the late ’80s and early ’90s. Ray Liotta stars in the film as John Orr, a skilled arson investigator with a sixth sense for finding the “point of origin,” the place where a fire was started. Orr also has a knack for locating the devices used to start the fires. Keith Lang (John Leguizamo), his ambitious young prot?g?, calls Orr “Professor.” Orr is stumped by a series of big fires, some fatal, which seem to have been set by the same arsonist. A commission is appointed to investigate the case, headed up by ATF agent Mike Matasso (Colm Feore) and fireman Mike Camello (Cliff Curtis). Orr uses his influence to get Lang appointed to the panel. But Matasso and Orr are immediately at odds with each other, as the ATF man seems to resent Orr’s efforts to maintain control of the investigation. Orr is also dealing with his troubled marriage to Wanda (Bai Ling) and is having an affair with the volatile Kate (Illeana Douglas). As he gets deeper into the case, trying to get inside the head of the criminal, Orr begins to worry that the arsonist has some kind of personal involvement with him. Then the commission uncovers a link to an earlier string of fires, and uncovers evidence that the arsonist may actually be a fireman. The actual investigators, Matasso and Camello, have cameos in the film, and Camello also served as one of the film’s technical advisors. These events were also the basis for Joseph Wambaugh’s book Fire Lover: A True Story.

As visually stylish as it is graphically violent, this thriller directed by Luc Besson concerns Mathilda (Natalie Portman), a 12-year-old girl living in New York City who has been exposed to the sordid side of life from an early age: her family lives in a slum and her abusive father works for drug dealers, cutting and storing dope. Mathilda doesn’t much care for her parents, but she has a close bond with her four-year-old brother. One day, she returns from running an errand to discover that most of her family, including her brother, have been killed in a raid by corrupt DEA agents, led by the psychotic Stansfield (Gary Oldman). Mathilda takes refuge in the apartment of her secretive neighbor, Leon (Jean Reno), who takes her in with a certain reluctance. She discovers that Leon is a professional assassin, working for Tony (Danny Aiello), a mob kingpin based in Little Italy. Wanting to avenge the death of her brother, Mathilda makes a deal with Leon to become his protégée in exchange for work as a domestic servant, hoping to learn the hitman’s trade and take out the men who took her brother’s life. However, an affection develops between Leon and Mathilda that changes his outlook on his life and career. Besson’s first American film boasted a strong performance from Jean Reno, a striking debut by Natalie Portman, and a love-it-or-hate-it, over-the-top turn by Gary Oldman. Léon was originally released in the U.S. in 1994 as The Professional, with 26 minutes cut in response to audience preview tests. Those 26 minutes were restored in the director’s preferred cut, released in 1996 in France as Léon: Version Intégrale and in the U.S. on DVD as Léon: The Professional in 2000.

Four men are changed forever by an act of mercy — changes which have a profound impact many years later — in this blend of horror and science fiction based on a novel by Stephen King. Jonesy (Damian Lewis), Henry (Thomas Jane), Pete (Timothy Olyphant), and Beaver (Jason Lee) were four friends who, as schoolboys, rescued a boy with Down’s Syndrome, Duddits (Donnie Wahlberg), from a savage beating at the hands of bullies. Their experience with Duddits left the boys profoundly changed, as they discovered they had developed psychic powers which allowed them to wordlessly communicate with one another, read the minds of others, and see events in the future. The four remained close friends into adulthood, and meet every year for a weekend get-together at a remote hunting lodge. However, one year Jonsey is approached by the spirit of Duddits, which leads him into a severe auto accident, though his wounds heal with mysterious speed and are gone by the time he and the guys get together a few months later. As the guys drink and swap stories, a desperately ill hunter makes his way into the cabin, whose body has become the host for a horrible wormlike creature, which breaks free and soon goes on a killing spree, leaving only Henry alive. In the wake of this attack comes a massive snowstorm, and Henry learns that these events are the first signs of a major attack by a powerful alien force which can assume any form it wishes. As duplicitous military leader Col. Abraham Curtis (Morgan Freeman) comes in to quell the menace, Henry finds himself in communication with the late Jonsey, whose previous near-death experience gives him an unexpected advantage in stemming the alien tide.