Bovie Movie

Forget everything you know about Little Red Riding Hood; the classic fairy tale gets a new look and a new style in this computer-animated comedy for the whole family. Grizzly (voice of Xzibit) and Stork (voice of Anthony Anderson) are a pair of critter cops who have been called the homey bungalow of Granny (voice of Glenn Close) to investigate a disturbance of the peace. It seems there was an altercation involving Granny, her granddaughter Little Red Riding Hood (voice of Anne Hathaway), a Big Bad Wolf (voice of Patrick Warburton), and a Woodsman (voice of Jim Belushi). However, as the detectives interview the participants and get each individual’s perspective, they learn that Granny isn’t so helpless, Red may have been doing more than just visiting relatives, the Wolf isn’t the predator he’s been cracked up to be, and the Woodman doesn’t have much of an intellectual advantage over the trees he chops down. Hoodwinked also features the voice talents of Andy Dick, David Ogden Stiers, and Chazz Palminteri.

Forget terrorists or hijackers — there’s a handful of deadly assassins aboard a jet liner and they don’t even have arms or legs in this airborne thriller. Neville Flynn (Samuel L. Jackson) is an FBI agent handling what seems like a routine assignment — serving as bodyguard for Sean Jones (Nathan Phillips), a Hawaiian surfer dude who is flying to California to testify in a high-profile criminal trial after witnessing mobster Eddie Kim (Byron Lawson) murdering one of his underlings. However, Flynn’s job gets a lot more challenging when he discovers Kim’s associates don’t want Jones to talk, and have devised a unique way to ensure his silence. A cache of highly dangerous poisonous snakes has been hidden on board the jet, and is released using a timed mechanism once the flight is well underway. The snakes quickly attack several members of the flight crew and are eagerly eying the passengers when Flynn decides its time to get medieval on the reptiles. Also starring Rachel Blanchard, Benjamin McKenzie, and Mark Houghton, Snakes on a Plane was produced under the title of Pacific Air Flight 121, but in several interviews Samuel L. Jackson expressed his enthusiasm for the script’s original title, Snakes on a Plane, and the high-concept moniker quickly made the film’s title and theme a favorite with bloggers and on Internet fan sites all over the world.

The true story of the kids who created modern skateboard culture is recreated in this drama. In the early ’70s, skateboards were seen as a fad of the 1960s that had all but died out, but in a rough-and-tumble Venice, CA, community known as “Dogtown,” that was about to change. Tony Alva (Victor Rasuk), Stacy Peralta (John Robinson), and Jay Adams (Emile Hirsch) were three guys who liked to surf the rugged beaches around Venice and hung out at the Zephyr Surf Shop, a store run by Skip Engblom (Heath Ledger) that stocked gear for adventurous surfers and skateboarders. With the advent of new urethane wheels that connected with concrete in a way old metal and rubber wheels could not, Tony, Stacy, and Jay began exploring ways to translate radical surf style to skateboarding, and the guys invented a new way to state inside the smooth, round surfaces of empty pools, employing vertical moves and edge flips that added a new and dramatic spin to skating. It didn’t take long for word to spread about the wild new style of the Z-Boys, and they quickly became local celebrities, and later nationwide skating stars, though sudden fame took its toll on these young men. The true story of Lords of Dogtown was previously the basis of the acclaimed documentary Dogtown and Z-Boys, directed by former Z-Boy Stacy Peralta, who like Tony Alva served as a consultant on this project.

George Armitage directs this big-screen adaptation of Elmore Leonard’s The Big Bounce. Jack Ryan (Owen Wilson) is an occasional thief who tends to a judge (Morgan Freeman). A woman involved with Ray Ritchie (Gary Sinese), a real estate developer of questionable ethics, seduces Jack. Ritchie and the judge are old enemies, complicating Jack’s moral dilemma when the girls asks Jack to help her double-cross Ritchie. The book was adapted once before with Ryan O’Neal in the Owen Wilson role.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

A lonely little girl makes a very unusual friend — a ukulele-playing alien who likes to toss around small automobiles — in this antic animated comedy from Walt Disney Studios. Lilo (voice of Daveigh Chase) is a young Hawaiian girl being raised by her teenaged sister Nani (voice of Tia Carrere) after the unexpected death of their parents in an auto accident. While Nani tries to hold their household together, Lilo is a child with unusual interests and a distinctive sense of humor, which makes it hard for her to bond with her peers, as well as her big sister. Nani decides Lilo might be happier if she had a pet, so the sisters go to the animal shelter to adopt a dog; however, the critter which catches Lilo’s fancy is a fuzzy blue creature she names Stitch (voice of Chris Sanders). Nani isn’t so sure Stitch is really a dog, and it turns out she’s right; Stitch is actually “Genetic Experiment 626,” a mutation created by extraterrestrial mad scientist Dr. Jumba (voice of David Ogden Stiers) to be used a weapon. Stitch is an intelligent but gleefully destructive little creature with superhuman strength who has escaped to Earth and crash-landed in the Hawaiian islands, but Lilo sees him simply as a fellow misfit and attempts to teach him to behave like her favorite American icon, Elvis Presley. Meanwhile, Nani struggles to keep Lilo and Stitch on their best behavior as stern social worker Cobra Bubbles (voice of Ving Rhames) tries to determine if Nani is fit to raise a child, while Dr. Jumba and Pleakley (voice of Kevin McDonald) attempt to capture “Experiment 626″ and bring him back home. Chris Sanders, who provides the voice of Stitch, also co-wrote and co-directed the film, which features numerous Elvis Presley tunes on the soundtrack, as well as a new recording of “Burning Love” by country star Wynonna.

The second of Zucker-Abraham-Zucker’s theatrical-feature spoofs (Airplane was the first, discounting the patchwork Kentucky Fried Movie), Top Secret! lampoons practically every film genre. Specifically, however, this is a hybrid of an “Elvis” movie and a World War II “underground resistance” thriller. In his film debut, Val Kilmer plays Nick Rivers, a Presley-like American rock idol sent behind the Iron Curtain on a goodwill tour. Before long, he is involved in a complex espionage scheme thanks to beautiful Lucy Gutteridge, the daughter of a scientist (Michael Gough) held captive by the Communists. Also essential to the action is flamboyant resistance leader Christopher Villiers, who behaves like Victor Mature in Betrayed (1954) and talks like James Mason. Adhering to Z-A-Z’s cheerful disregard for people, places and events, the East Germans are depicted as Nazis, while the Underground is comprised of Frenchmen. The plot is mainly an excuse for the Z-A-Z team’s fondness for joke-a-minute lampoonery, skewering cinematic targets ranging from The Blue Lagoon (1980) to The Wizard of Oz (1939). As in Z-A-Z’s other efforts, Top Secret! scores its biggest yocks when invoking cliches that we never realized were cliches-and falls on its face whenever attempting a too-obvious gag (the biggest clinker: that pigeon statue in the park). Everyone has his or her favorite bits in this film: our faves include the resistance fighter named Deja Vu (”Haven’t we met somewhere before?”), Kilmer’s horrible nightmare while being tortured (he arrives too late to take final exams), the army-booted cow, the sensitive Pinto, and the East German National Anthem, sung to the tune of the Shorewood (Wisconsin) High School marching song. But let’s say no more: comedy of this nature is designed to be seen, not written or read about.

The three most glamorous and butt-kicking private detectives in the business are back and ready to take on bad guys in this sequel to the 2000 blockbuster screen adaptation of the once-popular television series. Dylan (Drew Barrymore), Natalie (Cameron Diaz), and Alex (Lucy Liu) are once again summoned to the office of their boss Charlie (voice of John Forsythe), where they’re introduced to his new right-hand man Jimmy Bosley (Bernie Mac) and given their latest assignment. It seems a pair of rings have gone missing and need to be recovered, but this was no ordinary jewel heist — the rings have been coded with special information that can be used to access a list of every person in the FBI’s Witness Protection Program, and when a handful of protected informants are murdered, the Angels are brought in to help crack the case. As the women search for the culprits, they encounter Madison Lee (Demi Moore), one of Charlie’s former agents who decided that the wrong side of the law pays better, and Seamus (Justin Theroux), who once dated Dylan and wants revenge for her decision to turn him over to the police. Luke Wilson and Matt LeBlanc return as (respectively) Natalie and Alex’s love interests, as does Crispin Glover as the Thin Man; John Cleese, Robert Forster, and Eric Bogosian also appear in supporting roles.

A overgrown mama’s boy who hasn’t found the courage to take flight from the nest gets a little help from the girl of his dreams in the one comedy that proves it’s never to late to strike out on your own. Tripp (Matthew McConaughey) may have hit 30, but that doesn’t mean that he’s ready to give up the many benefits of living at home with mom (Kathy Bates) and dad (Terry Bradshaw). His desperate parents have had enough, though, and after years of gentle nudging they soon realize that it’s going to take a concerted effort to get Tripp out and enjoy their twilight years in peace. Realizing that their only hope for ridding themselves of their reluctant-to-leave offspring rides on the off-chance of his meeting the ideal female companion, mom and dad enlist the help of a beautiful and talented woman (Sarah Jessica Parker) in providing the romantic incentive needed to finally get their son out of the family home.

An unexpected transformation helps a workaholic attorney learn that there’s more to life than the courtroom in this remake of the 1959 Disney canine classic of the same name. Deputy District Attorney Dave Douglas (Tim Allen) takes his job in the halls of justice very seriously — so seriously in fact that his wife and family see considerably less of their frequently-absent husband and father than they would prefer. When a case involving an animal laboratory finds the distracted dad once again taking an extended leave of absence from his frustrated family, Douglas’ luck takes a turn for the worst after he is inadvertently infected by a top-secret genetic-mutation serum that transforms the two-legged lawyer into a four-legged sheepdog. Though his current situation has its drawbacks to be sure, the fly-on-the-wall perspective afforded to Douglas in his newfound state alerts the well-intending father and husband that all is not well on the home front. Moved by the unfulfilled needs of his neglected family and determined to become a better father if he can only shed his winter coat, Douglas’ unique new vantage point could offer just the motivation needed to bring the nefarious forces behind the serum to justice and win back his wife and kids once and for all.