Bovie Movie

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.

Independent filmmaker Jacob Aaron Estes makes his feature debut with the coming-of-age drama Mean Creek. Rory Culkin, Ryan Kelley, Scott Mechlowicz, Josh Peck, Trevor Morgan, and Carly Schroeder are teenagers living in small-town Oregon. Some of the boys take a boat trip for a birthday celebration. When they get an idea to play a mean trick on the town bully, it suddenly goes too far. Soon they’re forced to deal with the unexpected consequences of their actions. Mean Creek was workshopped at the Eugene O’Neill Center’s National Playwrights Conference and premiered at the Sundance Film Festival as part of the American Spectrum program.

Director Terry Gilliam adroitly applies his Monty Python sensibilities upon the “career” of famed German prevaricator Baron von Munchausen. Played herein by John Neville, the baron is seen quelling a war that he himself started, flying into the stratosphere on the back of a cannonball, ballooning to the moon, exploring the innards of a volcano, being swallowed by a whale….In short, all of Munchausen’s fabulous lies are here presented as “truth,” played out in full view of nonplussed witnesses Eric Idle, Charles McKeown, Jack Purvis, and Sarah Polley. Fringe benefits include several loving medium shots of jaybird-naked Uma Thurman as Boticelli’s Venus and an extended unbilled cameo by Robin Williams — that is, by the head of Robin Williams — as the King of the Moon. Filmed under considerable duress on a budget eventually exceeding 45 million dollars, The Adventures of Baron Munchausen never quite caught on with moviegoers, though it has enjoyed a lucrative afterlife on videocassette.

Loosely based on the 1958 comedy The Reluctant Debutante starring Sandra Dee, the family-friendly comedy What a Girl Wants features popular Nickelodeon teen star Amanda Bynes in her first feature-starring performance after her debut in Big Fat Liar. She plays teenager Daphne Reynolds, who lives in New York City with her musician mother, Libby (Kelly Preston). After she turns 17, Daphne is undecided about her future, so she takes off by herself to London in search of her father. She immediately meets cute musician Ian (Oliver James) before sneaking in to her father’s estate to surprise him. He turns out to be Lord Henry Dashwood (Colin Firth), a fabulously wealthy aristocrat who doesn’t even know that she exists. He had met her mother in Morocco and the two were married in a tribal ceremony. Upon their return to England, she left him and went back to the U.S. without ever revealing that she was pregnant. The uptight Henry is already flustered by his campaign for election, advised by doting aide Alistair Payne (Jonathan Pryce). His no-nonsense fianc?e, Glynnis (Anna Chancellor), and her bratty daughter, Clarissa (Christina Cole), are threatened by Daphne’s presence, thinking that she will hurt Henry’s political aspirations by causing a scandal. However, the family matriarch (Eileen Atkins) takes a liking to her and she soon finds herself trying to liven things up at several stuffy aristocratic parties. Meanwhile, the evil Glynnis and Clarissa conspire against her by trying to sabotage her appearance, leading up to the conclusion at Daphne’s very own coming-out party.

A young woman discovers a terrible secret while caring for an elderly man in this supernatural thriller. Caroline (Kate Hudson) is a care provider for the aged who is hired away from the hospice where she works by Violet Devereaux (Gena Rowlands). Violet needs someone to help take care of her husband, Ben (John Hurt), who is in poor health and doesn’t have long to live. Violet and Ben live in a decaying rattletrap mansion not far from New Orleans, and as she settles into her work, Caroline spends her spare time exploring the house. It isn’t long before Caroline discovers evidence that suggests Ben and Violet are members of a sinister voodoo cult, and that ghosts walk in the Devereaux mansion. The Skeleton Key also stars Peter Sarsgaard and Joy Bryant.

A W. Somerset Maugham novel was the source for the fair-to-middling Greta Garbo vehicle The Painted Veil. In a situation comparable to the plotlines of most of her silent films, Garbo is lovelessly married to Herbert Marshall, but carries a flaming torch for George Brent. (Also harking back to Garbo’s silent days is the fact that neither one of the men in her life is particularly interesting!) Marshall, a brilliant physician, is compelled to go into the interior regions of China to quell a cholera epidemic. He knows that Garbo has been having an affair with politician Brent, and chivalrously gives her the choice of remaining with Brent or accompanying him. Fearing a scandal, Brent bids farewell to Garbo. Once they’re in the midst of the epidemic, Garbo tirelessly works by her husband’s side; eventually she falls in love with him for the first time. Seriously injured in a peasant uprising, Marshall hovers near death. Brent reappears, offering to take Garbo back with him. She refuses, electing to stay with her husband no matter what the future brings. Among the supporting players in The Painted Veil are Warner Oland and Keye Luke, one year away from their memorable pairing in Fox’s Charlie Chan films.

A recently widowed eccentric with money to burn and no intentions of settling down enlists the aide of a showbiz professional to transform a run-down theater in Soho into London’s most innovative entertainment hot spot in director Stephen Frears’ cinematic account of the groundbreaking Windmill Theater. The year is 1937 and, despite having recently lost her husband, 69-year-old Laura Henderson (Judy Dench) remains as ambitious and vital as ever. Aghast at her friend Lady Conway’s (Thelma Barlow) suggestion that she take up a mundane hobby such as diamond collecting to pass the time, Mrs. Henderson instead shocks her well-to-do social circle by purchasing the ramshackle Windmill Theater in the heart of downtown Soho. Unafraid to take a risk in the venture, yet lacking the experience needed to run the theater, Mrs. Henderson brings in showbiz veteran Vivian Van Damm (Bob Hoskins) to line up an opening act that will set the stage ablaze. When the ever-curious Mrs. Henderson’s intrusive spying begins to impede on Mr. Van Damm’s creative progress, the frustrated theater manager has her banished from rehearsals. Though Van Damm’s innovative idea to stage an unending stream of entertainment dubbed “Revudeville” proves a wild and profitable success, the Windmill begins to suffer when other local theaters quickly follow suit. Now faced with the prospect of seeing her once-lucrative endeavor fall by the wayside due to the unoriginality of the copycats who surround her, Mrs. Henderson decides to show audiences something they’ve never seen before by making the Windmill the first theater to feature nude female entertainers live on-stage.

New Zealand filmmaker Peter Jackson fulfills his lifelong dream of transforming author J.R.R. Tolkien’s best-selling fantasy epic into a three-part motion picture that begins with this holiday 2001 release. Elijah Wood stars as Frodo Baggins, a Hobbit resident of the medieval “Middle-earth” who discovers that a ring bequeathed to him by beloved relative and benefactor Bilbo (Ian Holm) is in fact the “One Ring,” a device that will allow its master to manipulate dark powers and enslave the world. Frodo is charged by the wizard Gandalf (Ian McKellen) to return the ring to Mount Doom, the evil site where it was forged millennia ago and the only place where it can be destroyed. Accompanying Frodo is a fellowship of eight others: his Hobbit friends Sam (Sean Astin), Merry (Dominic Monaghan), and Pippin (Billy Boyd); plus Gandalf; the human warriors Aragorn (Viggo Mortensen) and Boromir (Sean Bean); Elf archer Legolas (Orlando Bloom); and Dwarf soldier Gimli (John Rhys-Davies). The band’s odyssey to the dreaded land of Mordor, where Mount Doom lies, takes them through the Elfish domain of Rivendell and the forest of Lothlorien, where they receive aid and comfort from the Elf princess Arwen (Liv Tyler), her father, Elrond (Hugo Weaving), and Queen Galadriel (Cate Blanchett). In pursuit of the travelers and their ring are Saruman (Christopher Lee) — a traitorous wizard and kin, of sorts, to Gandalf — and the Dark Riders, under the control of the evil, mysterious Sauron (Sala Baker). The Fellowship must also do battle with a troll, flying spies, Orcs, and other deadly obstacles both natural and otherwise as they draw closer to Mordor. The Lord of the Rings: The Fellowship of the Ring (2001) was filmed in Jackson’s native New Zealand, closely followed by its pair of sequels, The Two Towers (2002) and The Return of the King (2003).

What was once a brave frontier town has become a haven for enlightened oddballs in this unusual drama from director Michael Polish, written in collaboration with his twin brother, Mark Polish. Northfork is a small town in Montana which, in 1955, is soon to disappear in the name of progress; a massive hydroelectric dam is to be put in nearby, which will flood the entire village. A group of six men sent by the power company — led by Walter O’Brien (James Woods) and his son Willis (Mark Polish) — arrive in Northfork to evacuate the few remaining residents. If the men are successful, they’ll each be given parcels of land on the banks of the new lake which will be where Northfork once stood. Most of the townspeople have already left, but a few remain, among them Father Harlan (Nick Nolte), a man of the cloth who is caring for Irwin (Duel Farnes), a strange, scarred boy apparently on his deathbed, and a handful of enchanted eccentrics who have taken over a local bar, including Flower Hercules (Daryl Hannah), Cup of Tea (Robin Sachs), Happy (Anthony Edwards), and Cod (Ben Foster). As Walter and Willis try to persuade the stubborn stragglers to move on, Walter must search for a new final resting place for his late wife, whose coffin is the last to be relocated after Northfork’s cemetery is dug up. Northfork received its world premier at the 2003 Sundance Film Festival.

William Shakespeare (Joseph Fiennes) is on a cold streak. Not only is he writing for Philip Henslowe (Geoffrey Rush), owner of “The Rose,” a theatre whose doors are about to be closed by sadistic creditors, but he’s got a nasty case of writer’s block. Shakespeare hasn’t written a hit in years. In fact, he hasn’t written much of anything recently. Thus, the Bard finds himself in quite a bind when Henslowe, desperate to stave off another round of hot-coals-to-feet application, stakes The Rose’s solvency on Shakespeare’s new comedy, “Romeo and Ethel, the Pirate’s Daughter.” The problem is, “Romeo” is safely “locked away” in Shakespeare’s head, which is to say that not a word of it is written. Meanwhile, the lovely Lady Viola (Gwyneth Paltrow) is an ardent theatre-goer — scandalous for a woman of her breeding — who especially admires Shakespeare’s plays and, not incidentally, Bill himself. Alas, she’s about to be sold as property into a loveless marriage by her mercenary father and shipped off to a Virginia tobacco plantation. But not before dressing up as a young man and winning the part of Romeo in the embryonic play. Shakespeare soon discovers the deception and goes along with it, using the blossoming love affair to ignite his muse. As William and Viola’s romance grows in intensity and spirals towards its inevitable culmination, so, too, does the farcical comedy about Romeo and pirates transform into the timeless tragedy that is Romeo and Juliet.