Bovie Movie

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone’s extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo’s eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson’s hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film’s extreme violence — numerous edits were required to win an R rating — became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape.

James Cox directs the sleazy Hollywood murder tale Wonderland, starring Val Kilmer as legendary porn star John Holmes. Using a non-linear plot structure, the film explores different perspectives of the quadruple homicide that occurred on July 1, 1981, in the Hollywood Hills. At the lowest point of his career and the height of his drug addiction, Holmes was implicated in the murders of the Wonderland gang: Ron Launius (Josh Lucas), Billy Deverell (Tim Blake Nelson), Barbara Richardson (Natasha Gregson Wagner), and Joy Miller (Janeane Garofalo). Launius’ wife, Susan (Christina Applegate), was the only survivor. Led by Detective Sam Nico (Ted Levine), the police investigation reveals a dark criminal underworld surrounding Holmes, his disapproving wife, Sharon (Lisa Kudrow), and his innocent teenage girlfriend, Dawn Schiller (Kate Bosworth). Eric Bogosian stars as notorious Hollywood nightclub owner Eddie Nash. Wonderland premiered at the 2003 Toronto Film Festival.

Loosely based on Jean-Pierre Melville’s French film noir Bob le Flambeur, this heist film from director Neil Jordan (Interview With the Vampire, The Crying Game) stars Nick Nolte as Bob, an aging American thief living in the French city of Nice. Addicted to both heroin and gambling, Bob is in the midst of an extended personal losing streak when he rescues a new girl in town named Anne (Nutsa Kukhianidze) from her pimp. When the opportunity to steal a fortune in rare paintings from a Monte Carlo casino comes along, Bob hopes for a score big enough to let him retire from his life of crime. His only hindrances are Anne’s man troubles and his nemesis, local police chief Roger (Tch?ky Karyo). The Good Thief also features acting performances by Emir Kusturica (director of Underground and Arizona Dream) and Ralph Fiennes.

Mark Renton (Ewan McGregor), a young man with few prospects and fewer ambitions, lives in economically depressed Edinburgh. Like most of his friends, Renton is a heroin addict who loves the drug’s blissful nothingness; financing his habit also provides excitement and challenges that his life otherwise lacks. Renton’s two best friends are also junkies: Sick Boy (Jonny Lee Miller), a snappy dresser obsessed with James Bond, and Spud (Ewan Bremner), a guileless nerd who suggests Pee Wee Herman’s debauched cousin. Renton and his pals also hang out with Begbie (Robert Carlyle), a borderline psychotic who loathes junkies even though he drinks like a fish. After one too many brushes with the law, Renton kicks heroin and moves to London, where he finds a job, a flat, and something close to peace of mind. However, Sick Boy, Begbie, and Spud all arrive at his doorstep on the trail of a big score, leading Renton back into drugs and crime.

Lust, jealousy, and revenge come cloaked in the guise of friendship in this psychological drama. Barbara Covett (Judi Dench) is a history teacher at a high school in London; while elderly Barbara is very bright, she’s also severe and domineering, with a strong personality that tends to put people off. Barbara also takes a voyeuristic delight in recording the actions of those around her in her diary in the most minute detail. When Sheba Hart (Cate Blanchett), a bright and attractive woman in her mid-thirties, is hired as the school’s new art teacher, Barbara believes she may have found someone worthy of her friendship, though she’s soon disappointed to discover that Sheba has a husband and two children, a lifestyle that she finds offensively bourgeois. However, Barbara’s obsessive interest in Sheba is rewarded when the younger teacher confesses that one of her students, Steven (Andrew Simpson), has developed an obviously sexual interest in her. However, in fact, Steven’s crush on Sheba is hardly one-sided, and in time Barbara discover that the two have been making love on a regular basis for months. When circumstances turn Barbara against Sheba, she uses what she knows about the affair to destroy the life of her “friend.” Based on the novel by Zoe Heller, Notes on a Scandal also stars Bill Nighy.

“How did they make a movie out of Lolita?” teased the print ads of this Stanley Kubrick production. The answer: by adding three years to the title character’s age. The original Vladimir Nabokov novel caused no end of scandal by detailing the romance between a middle-aged intellectual and a 12-year-old nymphet. The affair is “cleansed” ever so slightly in the film by making Lolita a 15-year-old (portrayed by 16-year-old Sue Lyon). In adapting his novel to film, Nabokov downplayed the wicked satire and sensuality of the material, concentrating instead on the story’s farcical aspects. James Mason plays professor Humbert Humbert, who while waiting to begin a teaching post in the United States rents a room from blowzy Shelley Winters. Winters immediately falls for the worldly Humbert, but he only has eyes for his landlady’s nubile daughter Lolita. The professor goes so far as to marry Winters so that he can remain near to the object of his ardor. Turning up like a bad penny at every opportunity is smarmy TV writer Quilty (Peter Sellers), who seems inordinately interested in Humbert’s behavior. When Winters happens to read Humbert’s diary, she is so revolted by his lustful thoughts that she runs blindly into the street, where she is struck and killed by a car. Without telling Lolita that her mother is dead, Humbert packs her into the car and goes on a cross-country trip, dogged every inch of the way by a mysterious pursuer. Once she gets over the shock of her mother’s death, Lolita is agreeable to inaugurating an affair with her stepfather (this is handled very, very discreetly, despite the slavering critical assessments of 1962). But when the girl begins discovering boys her own age, she drifts away from Humbert. One day, she leaves without warning. This is humiliation enough for Humbert; but when he discovers who her secret lover really is, the results are fatal. We are prepared for the ending because the film has been framed as a flashback; what we are not prepared for is Stanley Kubrick’s adroit manipulation of our sympathies and expectations. An incredibly long film considering its subject matter, Lolita is never dull, nor does it ever stoop to the sensationalism prevalent in the film’s ad campaign.

The Pulitzer Prize-winning novel by E. Annie Proulx becomes this drama from director Lasse Hallstr?m. Kevin Spacey stars as Quoyle, a struggling, emotionally drained newspaper reporter suffering through a wretched marriage with the abusive Petal (Cate Blanchett), a promiscuous wild woman who tries to sell their daughter, Bunny, into adoption before she’s killed in a car wreck. Retrieving his daughter, Quoyle sets out for Newfoundland, his ancestral home, with his long-lost Aunt Agnis (Judi Dench). Although he initially finds life on the island to be as forbidding and severe as Agnis herself, Quoyle gets work as a shipping columnist for the local newspaper “The Gammy Bird,” owned by eccentric fisherman Jack Buggit (Scott Glenn). Quoyle’s work soon finds an appreciative audience and he begins to rebuild his life, dating local single mother Wavey (Julianne Moore), learning some sea craft, discovering his family’s dark history, and finally earning some self-respect. Agnis, in the meantime, starts her own successful business and faces a traumatic incident from her childhood involving Quoyle’s late father. The Shipping News (2001) co-stars Rhys Ifans and Pete Postlethwaite.

Though some viewers might be put off by its length, graphic violence, and absence of likable characters, Sergio Leone’s final film is also a cinematic masterpiece. Spanning four decades, the film tells the story of David “Noodles” Aaronson (Robert De Niro) and his Jewish pals, chronicling their childhoods on New York’s Lower East Side in the 1920s, through their gangster careers in the 1930s, and culminating in Noodles’ 1968 return to New York from self-imposed exile, at which time he learns the truth about the fate of his friends and again confronts the nightmare of his past. The acting, the re-creation of the time period, the cinematography, and the music are all superb. However, even more important is Leone’s ability to make the film work on so many different levels: it’s both a criticism of gangster-film mythology and a continuation of the director’s exploration of the issues of time and history. Strange as it may seem, the violence and gore in the first half of the film turn into a sad elegy about wasted lives and lost love. The film’s strengths emerge only in its full 229-minute version — the 139-minute and other edited versions don’t make nearly the same impact.