Bovie Movie

One of the only survivors of a man-made plague joins forces with a team of private warriors in a bid to save what’s left of the Earth in this sequel to Resident Evil, the big-screen adaptation of the popular video game. Picking up where the first film left off, Resident Evil: Apocalypse finds Alice (Milla Jovovich) still battling the living dead who are overtaking Raccoon City, inoculated with an anti-virus by the nefarious and all-powerful Umbrella Corporation (in addition to the virus itself). Alice encounters Jill Valentine (Sienna Guillory), a former member of Umbrella’s internal defense team. Forming an alliance with mercenary-for-hire Carlos Olivera (Oded Fehr) and his cohorts, this tiny band of survivors seeks out Dr. Charles Ashford (Jared Harris), Umbrella’s top scientist and one of the only men with the know-how to find a solution to the zombie menace; however, they discover that Ashford’s cooperation comes with a price — the scientist’s daughter Angie (Sophie Vavasseur) is missing, and he’ll help Alice and her partners only if Angie is returned to him safe and sound. Resident Evil: Apocalypse was the first solo directorial credit for Alexander Witt, who previously distinguished himself as a cinematographer and second-unit director.

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.

Steven Spielberg followed Jaws (1975), his first major box-office success, with this epic science fiction adventure about a disparate group of people who attempt to contact alien intelligence. Roy Neary (Richard Dreyfuss) is an electrical lineman who, while sent out on emergency repairs, witnesses an unidentified flying object, and even has a “sunburn” from its bright lights to prove it. Neary’s wife and children are at first skeptical, then concerned, and eventually fearful, as Roy refuses to accept a “logical” explanation for what he saw and is prepared to give up his job, his home, and his family to pursue the “truth” about UFOs. Neary’s obsession eventually puts him in contact with others who’ve had close encounters with alien spacecraft, including Jillian (Melinda Dillon), a single mother whose son disappeared during her UFO experience, and Claude Lacombe (celebrated French filmmaker Fran?ois Truffaut), a French researcher who believes that we can use a musical language to communicate with alien visitors. Lacombe’s theory is put to the test when a band of government researchers and underground UFO enthusiasts (including Neary) join for an exchange with alien visitors near Devil’s Tower, Wyoming. In 1980, a “Special Edition” was released. While its primary selling point was the addition of scenes inside the alien spaceship, Spielberg claimed that he also cleaned up some choppy editing in the second act.

Both a classic movie for kids and a remarkable portrait of childhood, E.T. is a sci-fi adventure that captures that strange moment in youth when the world is a place of mysterious possibilities (some wonderful, some awful), and the universe seems somehow separate from the one inhabited by grown-ups. Henry Thomas plays Elliott, a young boy living with his single mother (Dee Wallace), his older brother Michael (Robert MacNaughton), and his younger sister Gertie (Drew Barrymore). Elliott often seems lonely and out of sorts, lost in his own world. One day, while looking for something in the back yard, he senses something mysterious in the woods watching him. And he’s right: an alien spacecraft on a scientific mission mistakenly left behind an aging botanist who isn’t sure how to get home. Eventually Elliott puts his fears aside and makes contact with the “little squashy guy,” perhaps the least threatening alien invader ever to hit a movie screen. As Elliott tries to keep the alien under wraps and help him figure out a way to get home, he discovers that the creature can communicate with him telepathically. Soon they begin to learn from each other, and Elliott becomes braver and less threatened by life. E.T. rigs up a communication device from junk he finds around the house, but no one knows if he’ll be rescued before a group of government scientists gets hold of him. In 2002, Steven Spielberg re-released E.T. The Extra-Terrestrial in a revised edition, with several deleted scenes restored and digitally refurbished special effects.