Bovie Movie

The made-for-cable musical satire Reefer Madness is based on the award-winning play of the same name, which in turn was inspired by the notorious — and deliciously awful — 1936 anti-marijuana film originally titled Tell Your Children. A smarmy lecturer (Alan Cumming in the first of his three roles in the film) arrives in a typical small town of the late ’30s to warn the populace of the dangers of the “evil weed,” bringing along a lurid propaganda film to dramatize his message. In broad, unsubtle, and hilarious strokes, the movie-within-a-movie shows how even a squeaky-clean pair of highschoolers named Mary Lane (Kristen Bell) and Jimmy Harper (Christian Campbell) can become hopeless dope addicts by succumbing to the lure of marijuana. Reefer Madness is not only a savage skewering of the original black-and-white movie (some of the musical’s campiest lines are taken directly from the earlier script!), but also a devastating attack on what playwrights Kevin Murphy and Dan Studney consider to be the real reason that the 1936 movie was made: to frighten the public out of their wits in order to keep them under the thumb of an oppressive government. Thus, the musical manages to take a number of not-so-veiled swipes at xenophobia, racism, McCarthyism, the Bush Administration’s Homeland Security policy, and even the recent FCC clampdown on “offensive” TV fare (one of the film’s highlights is a garish nightclub number featuring Jesus Christ). The ebulliently staged songs include “The Stuff,” “Down at the Ol’ Five and Dime,” “Lonely Pew,” “Listen to Jesus Jimmy,” “Mary Jane/Mary Lane,” “The Brownie Song,” “Tell ‘Em the Truth,” and the title number. Officially titled Reefer Madness: The Movie Musical, this film first aired April 16, 2005, on the Showtime cable service.

Directed by Michael Mayer and based on The Hours author Michael Cunningham’s novel of the same name, A Home at the End of the World chronicles the 1980s reunion of childhood best friends Bobby (Colin Farrell) and Jonathan (Dallas Roberts). Where they were once best pals — and teenage lovers — in the suburbs of Cleveland, Bobby has become a charismatic but go-nowhere heterosexual slacker, and Jonathan is now living as an openly gay man in New York City, hoping to serve as father to his eccentric roommate Clare’s (Robin Wright Penn) child. When Bobby impulsively moves to the city to be closer to his former friend, their bonds are tested sooner than anyone would have thought. Bobby falls for Clare, and in doing so, effectively eliminates what would have been Jonathan’s position in the baby’s life. Jonathan temporarily takes off; when his father dies, and he attends the Arizona funeral, Bobby and Clare unexpectedly turn up with the news that she’s expecting. Despite the still-existent tensions, the trio becomes a family unit among themselves, ultimately buying a house in Woodstock, Upstate New York, where they all move together, challenging traditional notions of family, commitment, love, and devotion.

Tobe Hooper, who directed one of the truly iconic American horror films of the 1970s, The Texas Chainsaw Massacre, offers his take on another well-remembered scare-fest of the era with this remake. Steve (Brent Roam) and Nell (Angela Bettis) are a young couple living in Los Angeles who are short on money — she’s just started work as a teacher, while he’s a medical student doing his internship. They rent a flat in the Lusman Arms, a once beautiful but now decaying (and therefore affordable) apartment building managed by the sleazy Byron McLieb (Greg Travis), who tries to pass off the ramshackle accommodations as “charming” and “historic.” Watching over the Lusman Arms beside Byron is Ned (Adam Gierasch), a greasy simpleton who serves as the building’s handyman. Steve and Nell haven’t been living at the Lusman especially long when she notices that a growing number of young women living in the building have been meeting a violent death, and with some help from good-hearted part-time actor “Jazz” Rooker (Rance Howard), she begins looking into the murders and makes some disturbing discoveries about both the building management and her fellow tenants.

A mechanic in the British drug trade finds himself caught in the middle of some dangerous circumstances in this crime thriller. XXXX (Daniel Craig) is a nameless go-between in the British mob who buys drugs from underground wholesalers and them sells them to street dealers, keeping the system flowing and making a tidy profit in the process. XXXX is looking forward to getting out of the game, and has displayed both smarts and caution in how he’s handled his business, but before his overseer Jimmy Price (Kenneth Cranham) will let him go, he has a couple of favors that need to be done. First, Eddie Temple (Michael Gambon) is a mob boss whose daughter has gotten hooked on hard drugs and run away from home; Jimmy needs XXXX to find them girl and bring her to him before Eddie’s men can get hold of her. Second, Dragan (Dragan Micanovic) is a Ecstasy wholesaler who has had a large shipment stolen by Duke (Jamie Foreman); Jimmy wants XXXX to get the Ecstasy back to Dragan, but Duke isn’t eager to sell and Dragan is becoming impatient. Between these two matters, XXXX isn’t so sure he’ll get out of the business alive, especially after he finds himself falling for Duke’s nephew’s girlfriend, Tammy (Sienna Miller). Layer Cake marked the directorial debut for Matthew Vaughn, best known as a producer for Guy Ritchie’s lad-centric crime movies.

“For God’s sake, GET OUT!” was the ad campaign for the 1979 shocker The Amityville Horror. The film was based on the allegedly true story of the luckless Lutz family, who move lock, stock, and barrel into a new home, only to find that it is possessed by the demonic spirits of its previous owners. Variations of the Seven Deadly Plagues emanate from virtually every household fixture, while other forms of otherworldly mischief are suffered by the Lutz children. Enter kindly Father Delaney (Rod Steiger), who does his utmost to exorcise the house. The Amityville Horror was frequently greeted with laughs from its first-run audiences, especially after it was discovered that the “actual” events depicted in the film (based on a book by Jay Anson) were complete fabrications.

A couple coming to terms with living in a new culture discover their troubles are compounded by their son in this drama from filmmaker Mira Nair. Ashoke (Irfan Khan) and Ashima (Tabu) are a young couple who are brought together in an arranged marriage and soon leave Calcutta to seek their fortune in America. As the couple becomes accustomed to one another, they learn to deal with the coolness and superficiality of life in New York, even as they revel in the opportunities the city offers them. Before long, Ashima gives birth to a baby boy, and pressed to choose a name, they dub the infant Nikhil, though he soon picks up the nickname Gogol, after Ashoke’s favorite author. By the time the child is old enough to attend school, he insists upon being called Gogol at all times, and he displays little interest in his Indian heritage. Several years on, Gogol has decided he wants to be called Nick (and is now played by Kal Penn) and has become a thoroughly Americanized teenager, openly rebelling against his parents, smoking marijuana in his room, and dating Maxine (Jacinda Barrett), a preppy blonde from a wealthy family. Ashoke and Ashima are uncertain about how to deal with their son’s attempts to cut himself off from their culture, but Nick begins expressing some uncertainty himself when he meets Moushumi (Zuleikha Robinson), a beautiful girl who also comes from a family of Indian expatriates. The Namesake was adapted from the bestselling novel by Jhumpa Lahiri.

Filmmaker Larry Clark reunites with Kids screenwriter Harmony Korine, with some additional directorial assistance from cinematographer Ed Lachman, for this look at a group of troubled teens and their guardians living in Southern California. Ken Park takes its name from the skate park where an ancillary character takes his own life in the film’s opening moments, and then proceeds to chronicle the somewhat-interrelated lives of his classmates. The audience is introduced to Tate (James Ransome), a young man living in relative misery with his board-game-playing grandparents. Also tormented by his living situation is Claude (Stephen Jasso), a quiet, shy teen constantly henpecked by his brutish father (Wade Andrew Williams). Meanwhile, the vapid Shawn (James Bullard) occasionally trades verbal spars with his mother, in between leaving the house for sex sessions with his girlfriend’s mom. Finally there is Peaches (Tiffany Limos), living alone with her devoutly religious father as she covertly experiments with her boyfriend (Mike Apaletegui). Though Ken Park played at such festivals as Toronto and Telluride in the fall of 2002, it would languish on the shelf for months and months afterward, as its explicit content made finding a U.S. distributor near-impossible.

In this entry in the long-running “Bowery Boys” series Sach sells his soul to the Devil so he can atone for spending a charity fund at the track. The bargain enables the young man to successfully predict winning horses at the track. Soon Sach finds himself pursued by greedy mobsters who want him to work with them. Sach demurs and then ends up riding a horse in the big race. Despite his efforts to force the steed to slow down and lose, it wins. Fortunately, the horse is disqualified because Sach was an illegal rider. This has the added benefit of proving the Devil wrong and nullifying their contract. To pay for his crimes, Sach must work in a diner.

Tobe Hooper’s influential cult classic continues the subgenre of horror films based on the life and “career” of Wisconsin serial killer Ed Gein, which began with Alfred Hitchcock’s own influential cult classic Psycho. When Sally Hardesty (Marilyn Burns) hears that the Texas cemetery where her grandfather is buried has been vandalized, she gathers her wheelchair-bound brother Franklin (Paul A. Partain) and several other friends together to see if grandpa’s remains are still in one piece. While in the area, Sally and her friends decide to visit grandfather’s old farmhouse. Unfortunately, a family of homicidal slaughterhouse workers who take their job home with them have taken over the house next door. Included amongst the brood is Leatherface (Gunnar Hansen), a chainsaw-wielding human horror show who wears a face mask made out of human skin. Sally’s friends are rapidly exterminated one-by-one by the next-door neighbors, leaving only Sally left to fight off Leatherface and his clan.

Cabin Fever director Eli Roth skips the humor of his freshman feature and goes straight for the jugular in this unrelenting scare-fest about a pair of libidinous American backpackers seeking cheap thrills in the European countryside. Their carefree college days close behind and the responsibility of the real world looming ever closer on the horizon, Josh (Derek Richardson) and Paxton (Jay Hernandez) strap on their backpacks and prepare for a stratospheric last hurrah of booze, babes, drugs, and debauchery halfway across the globe. It’s during a visit to Amsterdam that the pair meets up with raucous Icelandic backpacker Oli (Eythor Gudjonsson), and after the three globe-trotting thrill seekers catch wind of a Slovakian city whose male population has dwindled as a result of civil strife — leaving the ladies ready and willing to accept any male companionship that might turn up at the local hostel — the trio quickly beats a hasty retreat to the out-of-the-way oasis. Upon check-in, the trio is greeted by a bevy of beautiful locals and is quickly convinced that the hedonistic hideaway is indeed the real deal. Hazily awakening the following morning to find no trace of backpacking buddy Oli, Paxton chalks his former traveling companion’s disappearance up to capriciousness and prepares for another day of debauchery, despite Josh’s rapidly elevating sense of unease. Now trapped defenselessly in a foreign land without any means of escape and no way of anticipating the unimaginable hell that lies ahead, the pair is plunged into a torturous netherworld where the screams of the damned fill the air with dread and the warm rays of the sun are little more than a fading memory.