Bovie Movie

Self-involved corporate raider Edward Lewis (Richard Gere) has recently split up with his girlfriend. Seeking directions to the Beverly Hills Hotel, he makes the acquaintance of free-spirited hooker Vivian Ward (Julia Roberts) and decides to put her on a 3,000-dollar retainer as his “date.” He Cinderellarizes her by bankrolling a full wardrobe and cosmetic makeover. Of course, the setup will be strictly platonic. A disarming modern-day fairy tale, Pretty Woman was the picture that made Julia Roberts a superstar. As charming as she is in her “giggling” sequences, Roberts’ best scene is her triumphant return to a posh Rodeo Drive shop where she’d been previously snubbed. Keeping Pretty Woman afloat throughout is the buoyant direction of Garry Marshall and the always welcome presence of Marshall’s stock company of actors, including Hector Elizondo as a stuffy but golden-hearted concierge. Pretty Woman began its life as a much darker story of prostitutes and homicidal drug dealers, but more box-office-savvy heads ultimately prevailed.

The final work of legendary director Stanley Kubrick, who died within a week of completing the edit, stars Tom Cruise and Nicole Kidman, at the time Hollywood’s most bankable celebrity couple, and was shot on a open-ended schedule (finally totaling over 400 days), with closed sets in London standing in for New York City. Cruise and Kidman play William and Alice Harford, a physician and a gallery manager who are wealthy, successful, and travel in a sophisticated social circle; however, a certain amount of decadence crosses their paths on occasion, and a visit to a formal-dress party leads them into sexual temptation when William is drafted into helping a beautiful girl who has overdosed on drugs while Alice is charmed by a man bent on seduction. While neither William and Alice act on their adulterous impulses, once the issue has been brought into the open, it begins a dangerous season of erotic gamesmanship for the couple, with William in particular openly confronting his desire for new sexual experiences. What didn’t make the final cut of Eyes Wide Shut may have been as fascinating as what finally appeared on screen: Harvey Keitel was replaced almost immediately by Sydney Pollack, while Jennifer Jason Leigh was replaced by Marie Richardson after she had shot all her scenes and left town.

Anna Magnani stars as Mamma Roma, a rural Italian hooker trying to create a new life for herself. This proves impossible when the past keeps rearing its ugly head in the form of Mamma Rosa’s previous “johns.” She returns to her old profession, whereupon her son Ettore Garofalo becomes a thief and is killed by the police. Written and directed by Pier Paolo Pasolini (his second film), Mamma Roma is one of the least known but most approachable of the director’s efforts. As in many of his earliest movies (and the novels which preceded them), Pasolini explores the limited lives and dashed hopes of the cafoni, the Italian equivalent of America’s hillbillies.

A variation on the “buddy-cop” hybridized genre, 48 HRS. greatly bolstered the career of Nick Nolte and made comedian Eddie Murphy a bonafide box-office sensation. When a pair of reckless cop-killers break out of prison, grizzled detective Jack Cates (Nolte) is left no alternative but to spring fast-talking hustler Reggie Hammond (Murphy) from the penitentiary in order to find the criminals. The catch: the pair only have 48 hours to complete their assignment before Hammond must return to prison. Naturally, the two despise each other and even engage in fisticuffs, but eventually the danger facing them proves a strong enough common bond for them to play on the same team, and even achieve a little mutual admiration.

In this elliptical ensemble piece, which marks the directorial debut of indie bad boy Harmony Korine, the teens of tornado-scarred Xenia, OH, kill cats, tape their boobies, arm-wrestle, bathe, cross-dress, huff glue, avoid perverts, pay to have sex with retarded girls, lift makeshift dumbbells to the strains of Madonna’s “Like a Prayer,” fight, cuss, shave their eyebrows, undergo cancer treatment, euthanize senior citizens, and pee on passing cars. A hallucinatory barrage of images and scenarios with little in the way of traditional plot, Gummo has been variously described as a surrealist joke, a visual poem, and a worm’s-eye view of white-trash suffering. The main characters include Solomon (Jacob Reynolds), who sells cat carcasses to a middleman who procures them for use at a local Chinese restaurant; his mother (Linda Manz), who teaches him to tap dance while reminiscing about her dead husband; Tummler (Nick Sutton), a mullet-haired local sex symbol; a midget (Bryant L. Crenshaw); a pair of boy-crazy, bleach-blond sisters named Dot (Chloe Sevigny) and Helen (Carisa Bara); a slut with a lump in her breast (Lara Tosh); a group of drunken louts; and Bunny Boy (Jacob Sewell), who wanders the town enigmatically in a pair of long pink ears. In between scenes of these characters enacting their bizarre routines, Korine intersperses impressionistic and quasi-documentary scenes with voice-over narration that ranges from incest memoirs to arty dialogue along the lines of “He’s got what it takes to be a legend: He’s got a marvelous persona.” Shot just outside Nashville, TN, Gummo includes costume designs by Korine’s then-girlfriend, Chloe Sevigny, who also plays Dot and who previously starred in the Korine-scipted, Larry Clark-directed Kids. Jacob Reynolds would go on to appear in Getting to Know You, though few of the director’s other discoveries have appeared on film since.

Model-turned-actress Charlize Theron leaves her glamorous image behind for this gritty drama, in which she plays a disturbed prostitute who becomes a serial killer. Aileen Wuornos (Theron) was a woman who survived a brutal and abusive childhood in Michigan to become a thick-skinned but emotionally damaged adult. Homeless most of her life, Wuornos subsisted by working as a street prostitute; later, when she was in Florida, down to her last five dollars and pondering suicide, she stopped into a bar for a beer. There, Aileen met Selby Wall (Christina Ricci), a woman in her early twenties who had been sent to live with relatives after her Christian parents became aware of her lesbian lifestyle. Selby is immediately attracted to Aileen, and while Aileen tells Selby she’s never been in a lesbian relationship, she soon finds herself equally infatuated with her. Selby runs away from her family and moves into a cheap hotel with Aileen, who initially pays the bills by hooking. However, as their money runs low and Aileen finds herself unable to land a regular job, tensions mount between the two. One night, after a john attacks her, Aileen pulls a gun and kills the man. Although her first murder can be categorized as self-defense, Aileen’s loathing for the men who pay her for sex becomes so extreme that she begins killing her customers regardless of their behavior. Meanwhile, Selby slowly becomes aware of the full extent of her lover’s instability and the bloody consequences of her actions. Monster was inspired by the true story of Aileen Wuornos, whose life and death was chronicled in two documentaries by filmmaker Nick Broomfield, Aileen Wuornos: The Selling of a Serial Killer, and Aileen: The Life and Death of a Serial Killer.

The second of three films by co-writer/director Oliver Stone to explore the effects of the Vietnam War (Platoon and Heaven and Earth are the others), Born On The Fourth Of July tells the true story of Ron Kovic (Tom Cruise), a patriotic, All-American small town athlete who shocks his family by enlisting with the Marines to fight in the Vietnam War. Once he is overseas, however, Kovic’s gung-ho enthusiasm turns to horror and confusion when he accidentally kills one of his own men in a firefight. His downfall is furthered by a bullet wound that leaves him paralyzed from the chest down. He returns home, spends an appalling, nightmarish stint in a veterans’ hospital, and follows an increasingly disillusioned and fragmented path that ultimately leaves him drunk and dissolute in Mexico. However, Kovic somehow turns himself around and pulls his life together, becoming an outspoken anti-war activist in the process. The film is long but emotionally powerful; many consider it Stone’s best work and Cruise’s best performance. Both were nominated for Oscars, as was the film itself, but only Stone, who co-wrote the film with Kovic from the latter’s book, won for Best Director.

Although a deluxe two-disc set is available, this one-disc edition of Moulin Rouge will do for those who want just the film. This DVD boasts a widescreen anamorphic transfer that preserves the original broadcast aspect ratio of 2.35:1. English soundtracks are rendered in both Dolby Digital 5.1 and Dolby Digital Surround, and a French soundtrack has also been recorded in Dolby Digital Surround. Supplemental materials include a commentary track recorded by director Baz Luhrmann and co-screenwriter Craig Pearce, and a second commentary track recorded by Luhrmann, costume director Catherine Martin, and cinematographer Donald McAlpine. A behind-the-scenes featurette rounds out this strong release.

An American ex-con gets caught up in a Parisian bank heist that goes wrong in this ultra-violent thriller. Zed (Eric Stoltz), a safe-cracking expert fresh out of prison, travels to France to participate in a robbery planned by his friend Eric (Jean-Hughes Anglade). But first, Zed decides to indulge in some relaxation with a gorgeous, kind-hearted prostitute by the name of Zoe (Julie Delpy). This idyll, however, is interrupted by Eric, who leads Zed and the other criminals on a long night of drinking, drugging, and debauchery. The next day, the thieves find themselves hung over and exhausted, and the plan soon goes disastrously wrong, turning into a hostage situation. Even worse for Zed, he discovers that the lovely Zoe also works as a teller at the bank, forcing him into a tricky moral dilemma. Writer and director Roger Avary, best known as the co-screenwriter of Pulp Fiction, creates a similar combination of black comedy, extreme violence, and hip attitude. Critics of Quentin Tarantino’s films raised similar objections to Avary’s reliance on bloody violence and a detached sensibility, while the film’s fans acclaimed its fast-paced action.

In this musical, a youthful trombonist is thrilled when he is allowed to play with Benny Goodman’s Orchestra. Afterward he becomes insufferably egotistical and tries to start his own swing band. It’s his girl friend’s idea, and unfortunately he fails. He then returns to his old mill job. Fortunately, he is given another chance to play with Benny and the boys. Musical numbers include: “I’m Making Believe,” (Mack Gordon, James V. Monaco), as well as “Chug-Chug-Choo-Choo-Chug,” “Hey Bub, Let’s Have a Ball,” “Ten Days with a Baby” (Gordon, Monaco), “I Found a New Baby” (Jack Palmer, Spencer Williams), “Jersey Bounce” (Robert B. Wright, Bobby Plater, Tiny Bradshaw, Edward Johnson), “Let’s Dance” (Fanny Baldridge, Gregory Stone, Joseph Bonine), “The World Is Waiting for the Sunrise” (Gene Lockhart, Ernest Seitz), “Mozart’s Clarinet Quintet” (performed by Goodman and strings), “No Love, No Nothing” (Leo Robin, Harry Warren), “Rachel’s Dream” (Benny Goodman), and “I Yi Yi Yi Yi, I Like You Very Much” (Gordon, Warren)