Bovie Movie

In an adaptation of Choderlos de Laclos’ novel, Les Liaisons Dangereuses, Kathryn Merteuil (Sarah Michelle Gellar) and Sebastian Valmont (Ryan Phillippe) are step-brother and step-sister living in Manhattan. With their absent parents travelling in Europe, the wealthy pair have the family penthouse to themselves as they while away their summer break before beginning senior year at a private high school. Sebastian, bad-boy lothario, has apparently slept with all the girls in town and appears numb to it all. Kathryn, who appears to be the good girl class president, is actually far more amoral and malicious than Sebastian, but maintains appearances to the contrary. When she is dumped by her boyfriend, Court Reynolds (Charlie O’Connell), for the innocent Cecile Caldwell (Selma Blair), she schemes revenge by destroying Cecile’s reputation. She challenges Sebastian to deflower Cecile and transform her into a tramp to humiliate Court. Sebastian isn’t as interested as Cecile — she’s spent her whole life in a Catholic girl’s school and presents no challenge. The girl who has caught his attention is Annette Hargrove (Reese Witherspoon), the new headmaster’s daughter. Annette had written an article for Seventeen Magazine on her plans to stay a virgin until she finds her one true love. Kathryn makes a wager. If Sebastian fails to lure Annette into bed before the summer is over, Kathryn gets his car. If he succeeds, Sebastian gets Kathryn, whom he wants anyway. Sebastian accepts the bet, but Annette turns out to be more than either of them bargained for.

Nicolas Cage and Laura Dern play a pair of lovers on the run in David Lynch’s surrealist road movie Wild at Heart. Cage’s Sailor Ripley is a violent ex-convict with an Elvis Presley fixation who falls in love with Dern’s Lula Pace Fortune, the daughter of a rich, but mentally unstable, Southern belle named Marietta (Diane Ladd, Dern’s real-life mother). Just after Sailor is released from prison, where he was jailed for brutally killing one of Marietta’s thugs, he and Lula take off on a wild cross-country trip, pursued by his parole officer, her mother, criminals, bounty hunters, and detectives. Along the way, Sailor and Lula have a lot of sex, share their pasts, share their respective obsessions for Elvis and The Wizard of Oz, and meet a lot of bizarre characters, including a seedy ex-marine (Willem Dafoe) who persuades Sailor to participate in a bank robbery.

“I am….Drac-u-la. I bid you velcome.” Thus does Bela Lugosi declare his presence in the 1931 screen version of Bram Stoker’s Dracula. Director Tod Browning invests most of his mood and atmosphere in the first two reels, which were based on the original Stoker novel; the rest of the film is a more stagebound translation of the popular stage play by John Balderston and Hamilton Deane. Even so, the electric tension between the elegant Dracula and the vampire hunter Professor Van Helsing (Edward Van Sloan) works as well on the screen as it did on the stage. And it’s hard to forget such moments as the lustful gleam in the eyes of Mina Harker (Helen Chandler) as she succumbs to the will of Dracula, or the omnipresent insane giggle of the fly-eating Renfield (Dwight Frye). Despite the static nature of the final scenes, Dracula is a classic among horror films, with Bela Lugosi giving the performance of a lifetime as the erudite Count (both Lugosi and co-star Frye would forever after be typecast as a result of this film, which had unfortunate consequences for both men’s careers). Compare this Dracula to the simultaneously filmed Spanish-language version, which makes up for the absence of Lugosi with a stronger sense of visual dynamics in the lengthy dialogue sequences. In 1999, a special rerelease of Dracula was prepared featuring a new musical score written by Philip Glass and performed by The Kronos Quartet.

Actor/comedian Chris Rock directs and stars in this American remake of Eric Rohmer’ s classic French comedy Chloe in the Afternoon. Richard Cooper (Rock) is a high-powered investment banker with a beautiful wife and two wonderful children. Though on the surface it would appear that Richard could want nothing more out of life, his thoughts always seem to drift toward sex. Whether it’s during his daily commute into the city, his endless barrage of meetings, or even his downtime changing diapers at home, Richard’s mind is constantly preoccupied by fantasies about the women he sees on the commuter train, on the city streets, and in the boardroom. Richard’s daily life has gradually devolved into a blur of mind-numbing banality, and these days sexual fantasy has become his sole means of escaping the constant pressures of work and fatherhood. Though Richard never had any real intention of cheating on his faithful but preoccupied wife Brenda (Gina Torres), a chance run-in with his old friend Nikki (Kerry Washington) — a drop-dead gorgeous stunner who appears at his office door one day seeking career advice from the successful banker — finds his steely resolve fast turning flimsy. It’s not long before the smitten Richard and the smoldering Nikki are meeting for clandestine lunches, and temptation begins to turn Richard’s once-predictable life upside down. As his uncontrollable fantasies begin to lead him down the dangerous path of infidelity, the man who once kept his libido safely in check finds it increasingly difficult to refrain from acting on his impulses.

“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.

Diane Lane is a wayward wife and Richard Gere is her suspicious husband in Adrian Lyne’s Unfaithful. Connie (Lane) leaves her suburban home on an errand, venturing into Manhattan during a wicked windstorm. On a trash-strewn Soho street, she literally runs into Paul Martel (Olivier Martinez), a handsome young Frenchman carrying a huge stack of books. Connie has a bad scrape on her knee, and is unable to get a cab, so Paul invites her up to his apartment. Paul is quietly flirtatious as he gives Connie some ice and a bandage for her knee. Connie phones home and explains to her son, Charlie (Erik Per Sullivan), that she’s running late. Before she leaves, Paul gives her a book of Persian poetry, The Rubaiyat of Omar Khayyam. She mentions the encounter in passing to Edward (Gere), her husband, but it’s clear that she’s obsessing about Paul, and soon she’s back in the city, with a pretext for calling him up. Soon, they are lovers, and they grow bolder and bolder in their passion. Edward begins to suspect, and eventually gets a private investigator (Dominic Chianese of The Sopranos) to follow Connie. His worst fears confirmed, Edward decides to confront Paul, a decision that will come to haunt him. While the screenplay for Unfaithful is credited to Alvin Sargent (Ordinary People) and William Broyles Jr. (Cast Away), the inspiration for Lyne’s film came from Claude Chabrol’s acclaimed 1969 film La Femme Infidele.

The Witches of Eastwick, a memorable comedy with a dark edge, is based upon a novel by John Updike. On Thursday nights three female friends — Alex (Cher), Sukie (Michelle Pfeiffer), and Jane (Susan Sarandon) — meet to chug martinis, learn Chinese aphrodisiac cooking and lament the scarcity of eligible men. As they sit around, they fantasize about and describe their idea of the ideal male. Arriving in town the following day is Satan, disguised as mysterious stranger Darrell Van Horn (Jack Nicholson). One by one, Van Horne seduces each of the women. Then, strange things begin to happen. When the town matriarch Felicia (Veronica Cartwright) publicly denounces Van Horne, she sustains a nasty compound fracture. When she forces her editor husband to publish a story about Van Horne’s sexual antics, Darrell gets his revenge with revoltingly large amounts of cherries. The women now see that they may be in danger and begin to plot their escape.