Bovie Movie

Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman’s turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he’s grown cynical and is convinced that he has no reason to go on. Lester’s relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she’s in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she’s unattractive. Her problems aren’t helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn’t the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.

Dick Harper (George Segal) and his wife Jane (Jane Fonda) have always lived way beyond their means. Just because Dick has just lost his high-paying job is no reason for Jane to stop spending like there’s no tomorrow. To make ends meet, Jane takes up a new career: armed robbery.

Donnie (Jake Gyllenhaal) is a bright and charming high-school student who also has a dark and willfully eccentric side; he does little to mask his contempt for many of his peers and enjoys challenging the authority of the adults around him. Donnie is also visited on occasion by Frank, a monstrous six-foot rabbit that only Donnie can see who often urges him to perform dangerous and destructive pranks. Late one night, Frank leads Donnie out of his home to inform him that the world will come to an end in less than a month; moments later, the engine of a jet aircraft comes crashing through the ceiling of Donnie’s room, making him think there might be something to Frank’s prophesies after all. The rest of Donnie’s world is only marginally less bizarre, as he finds himself dealing with his confused parents (Mary McDonnell and Holmes Osborne), his college-age sister (Maggie Gyllenhaal), his perplexed analyst (Katherine Ross), a rebellious English teacher (Drew Barrymore), a sleazy self-help expert (Patrick Swayze), and the new girl at school who is attracted by Donnie’s quirks (Jena Malone). Donnie Darko was the first feature film from writer and director Richard Kelly; Drew Barrymore, who plays teacher Karen Pomeroy, also lent her support to the project as executive producer. A director’s cut played in select theaters on a limited basis in the summer of 2004, featuring original music cues and trimmed scenes originally in Kelly’s first cut of the film.

Based on John Grisham’s novel Skipping Christmas, Christmas With the Kranks revolves around Nora (Jamie Lee Curtis) and Luther Krank’s (Tim Allen) decision to put their normally fanatical enthusiasm for the holidays aside for a tropical cruise. With their daughter in Peru with the Peace Corps, the Kranks believe it just isn’t worth it; thus, no presents, Christmas trees, or decorations of any kind will adorn their house to the great consternation of their neighbor Vic (Dan Aykroyd). Just as it looks like Christmas will be successfully skipped, Blair (Julie Gonzalo) throws a major kink into her plans when she suddenly has a change of heart and announces she’ll be coming home for Christmas after all. The film ran into troubles early on in production when Ben Affleck’s similar sounding bomb Surviving Christmas won the race to the theaters, forcing the filmmakers to depart from the book title in favor of the catchy Kranks one.

Oscar-nominated filmmaker Todd Field teams with novelist Tom Perrotta to adapt Perrotta’s acclaimed novel concerning the suburban malaise experienced by a handful of small-town individuals whose intersecting lives converge in a variety of surprising, and sometimes ominous, ways. Kate Winslet, Jennifer Connelly, and Patrick Wilson star in a cinematic adaptation that doesn’t aim so much to simply reproduce the book for the screen as it does to re-imagine the written word by exploring new possibilities for the characters and situations originally presented in Perrotta’s 2004 best-seller. Sarah (Winslet) is a suburban outsider who, unlike the other playground moms, isn’t afraid to approach the dreamy but long-absent father whom smitten housewives have taken to calling the “Prom King.” Long days at the local community pool with their respective children soon find Sarah becoming acquainted with local husband and father Brad (Patrick Wilson) — who seems to share in her seething discontentment with life in their quaint commuter town. An English literature major who never envisioned a fate as a soccer mom, Sarah has a growing dissatisfaction with her successful husband (Gregg Edelman) that parallels Brad’s increasing frustration with his inability to pass the bar and connect with his wife, Kathy (Jennifer Connelly), a successful documentary filmmaker. It’s not long before the dejected pair is meeting for a series of illicit afternoon trysts as their unsuspecting spouses work and their children lie quietly napping. Meanwhile, after the community is riled by the return of a convicted sex offender (Jackie Earle Haley) who leaves the concerned parents scrambling to protect their young ones, an attempt made by Sarah and Brad to legitimize their clandestine relationship by dining together with their respective spouses begins to awaken Kathy’s suspicions about the fidelity of her husband.

Five years after achieving commercial and critical success with his film Three Kings, director and screenwriter David O. Russell returns to the more idiosyncratic territory of his earlier work with this intelligent and offbeat comedy. Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin) are a married couple who run an existential detective agency where they sift through the lives of their clients in order to discover the source of their angst. The Jaffes’ latest client is Albert Markovski (Jason Schwartzman), an environmental activist who has a very large rock and a great deal on his mind; their study of Albert’s problems lead Bernard and Vivian to Brad Stand (Jude Law), a public relations executive with a chain of successful variety stores, Huckabees. While publicly allying himself with Albert’s environmental initiatives, behind the scenes Brad is running roughshod over responsible land management with little care for the consequences. When Brad learns he’s being watched by the Jaffes, he hopes to co-opt them by hiring them himself; however, the plan has unexpected consequences when their questioning leads Brad’s girlfriend, well-scrubbed model Dawn (Naomi Watts), into reassessing her life and relationships. Meanwhile, Albert finds himself joining forces with Tommy (Mark Wahlberg), a firefighter and fellow environmentalist who has been having second thoughts about Bernard and Vivian’s ideas and methods after a long-term investigation and has since fallen under the spell of nihilist poet and philosopher Caterine Vauban (Isabelle Huppert).

In this sequel to the urban comedy Friday, rap music star Ice Cube returns as Craig Jones, a streetwise man from South Central Los Angeles who has a knack for getting into trouble. This time out, Craig is still trying to outsmart neighborhood bully Debo (Tommy “Tiny” Lister Jr.); after Craig gets the better of Debo in a fist fight, Debo is determined to flatten Craig in a rematch. Looking to stay out of Debo’s way, Craig decides that it would be a good time to visit his cousin (Mike Epps) and uncle (Don “DC” Curry), who have recently won the lottery and moved into a spacious new home in the suburbs. Like Friday, Next Friday was written by Ice Cube and his frequent musical collaborator DJ Pooh; music video director Steve Carr made his feature debut with this film.

Director George A. Romero’s epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 — ten years after the first films’ release — Dawn’s story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city — seeking warm human flesh for food — the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film’s most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station’s floor manager, Stephen’s girlfriend Frances (Gaylen Ross). Together they steal the station’s helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer’s paradise… but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero’s excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: “It’s some kind of instinct,” Stephen comments, observing the zombies’ attraction to the mall; “This was an important place in their lives.” Despite the glimmer of hope offered by the film’s closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn’s outlook for humanity: “We’re not gonna make it, are we?” Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a “Director’s Cut” with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed.

A group of feisty forest critters awaken following the winter freeze to discover that not only has a new neighborhood cropped up during the cold months, but living in close proximity to humans may have its benefits in this computer-animated comedy-adventure for all ages featuring the voices of Bruce Willis, Garry Shandling, Steve Carell, Wanda Sykes, Avril Lavigne, Eugene Levy, and William Shatner. Despite Verne the Turtle’s (Garry Shandling) initial hesitance to breach the formidable foliage that has appeared on his doorstep since last fall, the arrival of fearless raccoon RJ (Willis) and revelation that their new human neighbors throw out enough food in one day to feed a whole forest lead the gang to consider taking the plunge and exploring the snack-filled suburbs. As Verne and RJ learn to work together in taking on their strange new surroundings, Stella the Skunk (Sykes), Hammy the Squirrel (Carrel), Heather the Opossum (Lavigne), and Heather’s father, Ozzie (Shatner), join in on the fun by scavenging for Girl Scout cookies and attempting to scuttle past the pesky new suburbanites undetected.

In this black comedy, a criminal discovers a market for murder in the suburbs. After doing time in prison, mobster Jimmy the Tulip (Bruce Willis) moves to a suburban neighborhood. But Jimmy’s new neighbors (Rosanna Arquette and Matthew Perry) soon figure out who he is.