Bovie Movie

In 1950, most Americans had only a passing familiarity with the game of soccer, even though it was the world’s most popular sport, and few athletes in the United States played the game with any particular degree of expertise. However, when an invitation was extended to the United States to participate in the World Cup tournament in Brazil — the international soccer championship held every four years — Bill Jeffrey was determined that America participate. In less than two weeks, Jeffrey assembled a team comprised mostly of players from St. Louis (where soccer had developed a small but loyal following) and the East Coast (where the game gained a foothold on college campuses), with immigrants from Haiti, Portugal, and Scotland filling out the ranks. Against all odds, the Americans not only made it to the World Cup games, but defeated the British team (favored by many to win the championship) in the greatest upset of the 1950 games. The Game of Their Lives is a sports drama based on the remarkable true story of the 1950 United States team, featuring John Rhys-Davies as Bill Jeffrey, Wes Bentley as team leader Walter Bahr, Gerard Butler as goalie Frank Borghi, Jimmy Jean-Louis as Joe Gaetiens, a dishwasher born in Haiti who found his way onto the team, and Patrick Stewart as a journalist covering the games. David Anspaugh, who made the acclaimed basketball drama Hoosiers, directed.

The true story of prominent mathematician John Forbes Nash Jr. is the subject of this biographical drama from director Ron Howard. Russell Crowe stars as the brilliant but arrogant and conceited professor Nash. The prof seems guaranteed a rosy future in the early ’50s after he marries beautiful student Alicia (Jennifer Connelly) and makes a remarkable advancement in the foundations of “game theory,” which carries him to the brink of international acclaim. Soon after, John is visited by Agent William Parcher (Ed Harris), from the CIA, who wants to recruit him for code-breaking activities. But evidence suggests that Nash’s perceptions of reality are cloudy at best; he is struggling to maintain his tenuous hold on sanity, and Alicia suspects a diagnosis of paranoid schizophrenia. Battling decades of illness with the loyal Alicia by his side, Nash is ultimately able to gain some control over his mental state, and eventually goes on to triumphantly win the Nobel Prize. Based loosely on the book of the same name by Sylvia Nasar, A Beautiful Mind (2001) co-stars Paul Bettany, Adam Goldberg, Anthony Rapp, Christopher Plummer, and Judd Hirsch.

Famed producer Dino De Laurentiis tries to steal the thunder from Jaws, then the top-grossing film of all-time, in this big budget remake of King Kong. (De Laurentiis related his tactics to Tom Snyder: “When Jaws dies, nobody cries. When Kong dies, they all cry.”) Updated to the 1970s, the original Robert Armstrong character is now Fred Wilson (Charles Grodin), a big-shot oil magnate from Petrox Oil, looking for new petroleum deposits on a recently discovered Pacific island. Jack Prescott (Jeff Bridges) is a counter-culture paleontologist, stowing away on Wilson’s ship, who warns that they are headed for “Skull Island,” where prehistoric monsters still live and roam free. Also along for the ride is Dwan (Jessica Lange, in her film debut), a down-on-her-luck starlet, shipwrecked in the ocean after the sinking of a yacht. She really becomes down-on-her-luck when the group lands on the island and a giant ape, Kong, takes a shine to her. Kong kidnaps her and Dwan takes umbrage when the ape tries to remove her clothes by shouting, “You male chauvinist ape!” But Prescott comes to her aid and rescues her from the gorilla’s big mits. Wilson, seeing money to be made on Kong, locks him in the cargo hold of his ship and transports him to New York City. Once there, Kong manages to escape and wreak havoc upon the beleaguered town, before being compelled to climb up the World Trade Center for sanctuary.

Filmmaker Roman Polanski, who as a boy growing up in Poland watched while the Nazis devastated his country during World War II, directed this downbeat drama based on the true story of a privileged musician who spent five years struggling against the Nazi occupation of Warsaw. Wladyslaw Szpilman (Adrien Brody) is a gifted classical pianist born to a wealthy Jewish family in Poland. The Szpilmans have a large and comfortable flat in Warsaw which Wladyslaw shares with his mother and father (Maureen Lipman and Frank Finlay), his sisters Halina and Regina (Jessica Kate Meyer and Julia Rayner), and his brother, Henryk (Ed Stoppard). While Wladyslaw and his family are aware of the looming presence of German forces and Hitler’s designs on Poland, they’re convinced that the Nazis are a menace which will pass, and that England and France will step forward to aid Poland in the event of a real crisis. Wladyslaw’s na?vet? is shattered when a German bomb rips through a radio studio while he performs a recital for broadcast. During the early stages of the Nazi occupation, as a respected artist, he still imagines himself above the danger, using his pull to obtain employment papers for his father and landing a supposedly safe job playing piano in a restaurant. But as the German grip tightens upon Poland, Wladyslaw and his family are selected for deportation to a Nazi concentration camp. Refusing to face a certain death, Wladyslaw goes into hiding in a comfortable apartment provided by a friend. However, when his benefactor goes missing, Wladyslaw is left to fend for himself and he spends the next several years dashing from one abandoned home to another, desperate to avoid capture by German occupation troops. The Pianist was based on the memoir of the same name by the real-life Wladyslaw Szpilman; the book was first published in 1946 as Death of a City, but was banned by Polish Communist officials and went out of print until 1998, when a new edition was issued as The Pianist.

Animal rights activists free a group of infected chimpanzees to horrifying results in this speculative sci-fi horror effort from Trainspotting director Danny Boyle. Waking from a coma in a deserted London hospital 28 days later, bicycle courier Jim (Cillian Murphy) takes to the deserted city streets in a state of mystified confusion. Joining forces with another group of survivors following a terrifying encounter in a seemingly abandoned church, Jim soon learns the truth behind the deserted streets and the menacing creatures that lurk in the shadows. It’s soon revealed that the chimpanzees had been harboring a deadly virus that sends its victims into a furious, murderous rage, and in the days following the initial exposure, the entire population was nearly wiped out due to the resulting homicidal rampage. Is there still a glimmer of hope for humanity — or has the deadly “rage” virus found its way to foreign shores and infected the entire planet?

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he’d prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, “protected” from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O’Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who’ve been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to “westernize” himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war’s end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City…as a tourist. Bernardo Bertolucci’s first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director.

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.

Further cementing 2003 as the year of Ron Shelton cop movies, the director continued his vacation from the sports genre with Hollywood Homicide, a police comedy that comes right on the heels of Shelton’s Dark Blue, a decidedly grittier cop thriller. The film stars Harrison Ford and Josh Hartnett as LAPD homicide detectives Joe Gavilan and K.C. Calden, two cops with bigger dreams. Gavilan moonlights as a real estate agent, while Calden teaches yoga and yearns for a career on the big screen. When an entire hip-hop group is murdered on-stage, Gavilan and Calden are called in to handle the case. As their investigation progresses, they begin to suspect that the rappers were offed for attempting to get out of their recording contract with label head Sartain (Isaiah Washington). Along with Bruce Greenwood and Keith David, the supporting cast boasts a plethora of real-life musicians, including Dr. Dre, Gladys Knight, Dwight Yoakam, Master P, and Ronald DeVoe of New Edition and Bell Biv DeVoe.

Dentist Sheldon Kornpett (Alan Arkin) is a respectable man. He has a daughter who is about to marry the son of a very suspicious character, Vince Ricardo (Peter Falk). They are practically relatives already, the wedding is so near. Certainly, Sheldon already despises Vince as if he were already a well-known relative. Nontheless, Vince calls on Sheldon and convinces him to go with him on a series of wild and hilarious adventures, claiming all the while that he is a CIA agent, and that what he is doing is in the national interest. Sheldon follows Vince to a South American country ruled by a very odd man, General Garcia (Richard Libertini), who talks to his hand (which talks back). It seems that the dictator is involved in a scheme to counterfeit and undermine U.S. currency.

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.