Bovie Movie

Much as Steven Spielberg followed 1993’s special-effects blockbuster Jurassic Park with a far more downbeat and personal project later the same year, Schindler’s List, in 2005 after tearing up the box office with War of the Worlds the director closed out the year with a powerful and thoughtful drama about the human costs of international terrorism. The 1972 Olympics in Munich, Germany, were supposed to be a peaceful gathering of outstanding athletes from around the world, but on September 5, the games took a sinister turn when eight masked Palestinian terrorists invaded the Olympic village, killing two Israeli athletes and abducting nine others. The kidnappers demanded safe passage out of Germany in addition to the release of Arab prisoners in Israeli and German prisons, but when they arrived at the Munich airport they were met by German police and military forces, and in the melee that followed, all nine hostages were killed. In the wake of the killings, the Israeli government gave Mossad, the nation’s intelligence agency, a special assignment — to track down and eliminate the Palestinians responsible for the death of the Israeli athletes. A young and idealistic Mossad agent (Eric Bana) is assigned to the four-man unit created to wipe out the Olympic terrorists, but while he believes in serving his country, as their bloody work goes on he begins to buckle under the weight of his work and wonders if he can morally justify his nation’s acts of revenge. Munich also stars Geoffrey Rush, Daniel Craig, Mathieu Kassovitz, and Ciar?n Hinds.

Defense attorney Claire Kubik (Ashley Judd) seems to have the perfect life. She has a high profile job at a big firm, a beautiful home outside San Francisco, and a husband, Tom (James Caviezel of The Thin Red Line), who loves her. Claire’s biggest problem appears to be that she wants to have a baby, and she’s having trouble getting pregnant. But when the police investigate a routine break-in at her home, they uncover the truth about her husband’s identity, and her life is thrown into turmoil. Claire finds out that her husband’s name is actually Ron Chapman, and that he’s an ex-marine accused of murdering seven innocent civilians in El Salvador during a raid in the late ’80s. He admits that he was there, and that he changed his identity to escape prosecution for the crimes, but he insists that he’s innocent, and that the massacre was committed by another soldier under the orders of a powerful general (Bruce Davison), who is using Ron as a patsy to cover it up. Claire is eventually convinced that Ron’s telling the truth. Faced with defending her husband in an unfamiliar military courtroom, Claire enlists the aid of Charles Grimes (Morgan Freeman), an ex-Army judge advocate with an axe to grind. Stonewalled by the military bureaucracy at every turn, they uncover a web of deception and disappearing witnesses, and they soon find their own lives in danger. High Crimes was adapted from Joseph Finder’s novel by the husband and wife screenwriting team of Yuri Zeltser and Cary Bickley. The film was directed by Carl Franklin (One False Move), and co-stars Amanda Peet and Adam Scott.

John Waters does a quirky spin on ’50s nostalgia in Cry-Baby, his musical homage to Rebel Without a Cause and Romeo and Juliet. Set in Baltimore in 1954 at the birth of rock & roll, the film features Johnny Depp as Wade “Cry-Baby” Walker. Depp is pure charisma as a juvenile delinquent with a permanent tear slithering down his cheek, a reminder of his state-executed parents. In the depths of his despair appears goody-goody girl Allison (Amy Locane), who has a sexual crush on Cry-Baby. But Allison’s Pat Boone-like boyfriend, Baldwin (Stephen E. Miller), the leader of the squares, is dead set against Cry-Baby and the rest of the juvenile delinquents and leads a revolt against them. In the resultant riot, the juvenile delinquents are blamed for the chaos, and Cry-Baby finds himself dispatched to reform school.

Acclaimed director David Fincher’s promising career was lucky to survive this astonishingly wrong-headed, almost universally despised second sequel to Alien (1979). The film careens into oblivion virtually from the beginning, as Lt. Ellen Ripley (Sigourney Weaver) is the only survivor of a crash-landing on a hellish, God-forsaken prison planet. Not only does the crash kill little Newt, completely obviating the entire point of the superior Aliens (1986), but Fincher then compounds his betrayal of that film’s fans by having Ripley attend the girl’s gruesome autopsy and barely bat an eye as the child’s chest is bloodily ripped open with a steel bonesaw. Things just go downhill from there, as the rather unthreatening rapists and murderers harass Ripley and curse a great deal before being torn apart by large fans, having their heads crushed by the unconvincing CGI alien, and finally volunteering to be murdered by the beast rather than letting the evil Company get hold of it. Fincher does the best he can with a terrible script, and there are some nice supporting turns by Charles S. Dutton, Charles Dance, and Brian Glover, but nothing could redeem the film’s first 15 minutes. By the time Ripley takes a suicidal swan-dive into a vat of molten lead, cradling a baby alien as it explodes from her chest, many viewers will not know whether to reach for the remote control or a warm bath and a razorblade. A loathsome experience by any standard, Alien 3 still made enough money for Weaver to return as a Ripley clone in Alien Resurrection (1997).

In this sequel to the urban comedy Friday, rap music star Ice Cube returns as Craig Jones, a streetwise man from South Central Los Angeles who has a knack for getting into trouble. This time out, Craig is still trying to outsmart neighborhood bully Debo (Tommy “Tiny” Lister Jr.); after Craig gets the better of Debo in a fist fight, Debo is determined to flatten Craig in a rematch. Looking to stay out of Debo’s way, Craig decides that it would be a good time to visit his cousin (Mike Epps) and uncle (Don “DC” Curry), who have recently won the lottery and moved into a spacious new home in the suburbs. Like Friday, Next Friday was written by Ice Cube and his frequent musical collaborator DJ Pooh; music video director Steve Carr made his feature debut with this film.

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.

Directed by Spike Lee, She Hate Me follows John Henry “Jack” Armstrong (Anthony Mackie), who is fired from a posh job in biotechnology after informing the proper authorities of some sketchy business dealings from within the company. Unemployed and desperate for some quick cash, Jack accepts a strange offer — his ex-girlfriend Fatima (Kerry Washington) says she will pay him generously if he successfully impregnates her. Once word gets out among the lesbian community, Jack is inundated with requests, and is initially quite happy with his new direction in life. However, things — as they are wont to do — get complicated. There’s his former employer, who is actively trying to pin the blame for their wrongdoings on his shoulders, for one thing, and it isn’t long before the moral implications of his life as a sperm donor come to the forefront. The film co-stars John Turturro, Ellen Barkin, Woody Harrelson, Monica Bellucci, and Q-Tip.

Y Tu Mam? Tambi?n and Harry Potter and the Prisoner of Azkaban director Alfonso Cuar?n returns to the helm to tell this futuristic tale in which society is without hope since humankind lost its ability to procreate. The year is 2027, and women can no longer give birth. The youngest inhabitant of the planet has just died at the age of 18, and all hope for humanity has been lost. As civilization descends into chaos, a dying world finds one last chance for survival in the form of a woman who has become inexplicably pregnant. Now, as warring nationalistic sects clash and British leaders try to maintain their totalitarian stronghold on the country, a disillusioned bureaucrat (Clive Owen) is brought back into the fold of activism by his guerrilla ex-wife (Julianne Moore). Reluctantly, he takes on the daunting task of escorting Kee (Claire-Hope Ashitey), the refugee who represents humankind’s last hope for survival, out of harm’s way and into the care of a mysterious organization known as The Human Project. Chiwetel Ejiofor, Charlie Hunnam, and Michael Caine co-star in this adaptation of author P.D. James’s gripping 1992 novel.

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.

After a rather decided departure with his 1999 homage to Gilbert and Sullivan, Topsy-Turvy, Mike Leigh returns to his usual form for All or Nothing, a melancholy look at the day-to-day lives of a dysfunctional lower-middle class British family called the Bassetts. Timothy Spall and Lesley Manville (familiar to fans of Leigh’s previous films) star as Phil and Penny, a common-law husband and wife who toil their gloomy days away as a cab-driver and grocery-store cashier, respectively. When the couple come to realize the growing emptiness in their relationship, an unexpected emergency within their family brings them closer together and offers the possibility of reigniting the long-extinguished spark in their marriage. Hoping to repeat the Palm D’or win of Leigh’s 1996 film Secrets and Lies, All or Nothing was screened in competition at the 2002 Cannes Film Festival.