Bovie Movie

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.

Big-budget special effects, swiftly paced action, and a distinct feminist subtext from writer/director James Cameron turned what should have been a by-the-numbers sci-fi sequel into both a blockbuster and a seven-time Oscar nominee. Sigourney Weaver returns as Ellen Ripley, the last surviving crew member of a corporate spaceship destroyed after an attack by a vicious, virtually unbeatable alien life form. Adrift in space for half a century, Ripley grapples with depression until she’s informed by her company’s representative, Carter Burke (Paul Reiser) that the planet where her crew discovered the alien has since been settled by colonists. Contact with the colony has suddenly been lost, and a detachment of colonial marines is being sent to investigate. Invited along as an advisor, Ripley predicts disaster, and sure enough, the aliens have infested the colony, leaving a sole survivor, the young girl Newt (Carrie Henn). With the soldiers picked off one by one, a final all-female showdown brews between the alien queen and Ripley, who’s become a surrogate mother to Newt. Several future stars made early career appearances in Aliens (1986), including Lance Henriksen, Bill Paxton, and Reiser.

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.

The mystery of one man’s guilt or innocence literally becomes a matter of life and death in this drama. David Gale (Kevin Spacey) was the head of the philosophy department at Austin University and the author of several well-regarded books; he was also an active and visible member of Deathwatch, an anti-capital punishment activist group. One of Gale’s best friends was Constance Harraway (Laura Linney), a fellow Deathwatch activist with whom he became especially close, particularly since Gale’s wife, Sharon (Elizabeth Gast), who had taken a lover in Spain, was usually absent. One night, Gale was seduced by an attractive student from his class, Berlin (Rhona Mitra), who had too much to drink; later, the remorseful student accused Gale of rape. While Gale was eventually cleared of the charges, the negative publicity cost him his career as an educator, and with no job and no wife, Gale turned to drink. When Harraway was found raped and murdered a few years later, Gale was charged with the crime, and convicted despite the best efforts of his well-meaning but ineffectual lawyer Braxton Belyeu (Leon Rippy). Now Gale awaits execution, and less than a week before his date with the fatal injection, Gale agrees to tell his story to Bitsey Bloom (Kate Winslet), a nervy journalist from a major newsmagazine, who arrives with her assistant, Zack Stemmons (Gabriel Mann). As Bloom discusses the facts of the Harraway murder with Gale, it occurs to her that the details simply don’t add up, and soon a mysterious stranger slips evidence to her that suggests Gale has been framed — leaving Bloom and Stemmons only a few days to solve the mystery and save Gale from the executioner. The Life of David Gale was co-produced by actor Nicolas Cage, who originally commissioned the script and intended to star in the film before prior commitments led him to hand the project over to director Alan Parker.

Adapted from the popular Sega arcade video game of the same name, director Uwe Boll’s action horror effort finds a group of partying teens stranded on an island and doing battle with a new breed of unusually mobile zombies. Looking for a place to party away spring break, college students Cynthia (Sonya Salomaa), Greg (Will Sanderson), and Karma (Enuka Okuma) hear rumors of a rave on a remote island in the Seattle area. Rushing to catch the party boat, the teens pick up friends Simon (Tyron Leitso) and Alicia (Ona Grauer), but discover upon arrival at the dock that the boat has set sail without them. Offering a few dollars to a local captain to hitch a ride to the island, the teens reach their destination only to find it eerily silent with no party in sight. Things go from bad to worse when the group is attacked by a mysterious creature, and they are forced to seek refuge in an old dark house on the island shore. Subsequently running into a few familiar faces and learning to their horror that the rave had been overrun by a horde of terrifying zombies, the group must now make one final bid for survival over the course of a long, blood-soaked night.

The life and sordid, untimely death of Hogan’s Heroes star Bob Crane are explored by director Paul Schrader in this biopic, which marks one of the few times the filmmaker has not scripted his own film. Auto Focus chronologically traces the meteoric rise of Crane’s show business career, beginning with his early success as a jokey deejay on Los Angeles morning radio in the early ’60s. A devout family man, Crane lives in Southern Californian comfort with his wife Anne (Rita Wilson) and their young children, relishing the modicum of celebrity his job provides him. His life begins to change, however, when his agent Lenny (Ron Leibman) proposes that he take a breakthrough role on the CBS POW-camp sitcom Hogan’s Heroes. Initially reluctant to take the job, Crane signs on with the production and, to his and everyone else’s surprise, the show becomes a smash hit. With celebrity comes a new set of friends, and Crane falls in with audio-visual guru John Carpenter (Willem Dafoe), a Sony sales rep who spends his days setting up home entertainment systems for the Hollywood elite, and his nights cruising strip clubs for anonymous sexual encounters. Already a pornography buff, Crane starts using his fame to secure him and Carpenter an endless parade of affairs, which they videotape and then obsessively review. It isn’t long before Anne demands a divorce, and Crane marries his Hogan’s co-star Patti Olsen (aka Sigrid Valdis, here played by Maria Bello), who’s more accepting of his escapades. When the sitcom is canceled, however, Crane has trouble securing acting jobs, and recedes further and further into his life of amateur porn with Carpenter. Auto Focus premiered at the Telluride and Toronto Film Festivals before its art-house run in the fall of 2002.

Two generations of radical bikers face off in this rubber-burning action drama. Manuel “Smoke” Galloway (Laurence Fishburne) is the leader of the Black Knights, an underground motorcycle club. Smoke, like most of his fellow Knights, is a successful white collar worker who can afford fancy leathers and top quality bikes, and Smoke has earned a reputation as the “King of Cali,” willing take on anyone in a drag race, legal or no. Kid (Derek Luke) is a gifted young rider whose father was once Smoke’s mechanic; when Kid’s dad died after an accident, Kid set out to become the best biker he could be to carry on his father’s name and reputation. Smoke, however, has no room in the Black Knights for Kid, and so he and several fellow outcast riders start their own club, the Biker Boyz, and challenge Smoke to prove once and for all who is the fastest rider on the scene. Biker Boyz also features appearances from Orlando Jones, Lisa Bonet, Djimon Hounsou, Larenz Tate, and Kid Rock.

Shattered Glass director Billy Ray directs Chris Cooper and Ryan Philippe in this fact-based drama concerning the FBI traitor who carried out what many historians refer to as the most notable national security breach in U.S. history. A key member of the FBI’s elite Soviet Analytical Unit, Robert Hanssen (Chris Cooper) would, for 15 years beginning in 1985, sell thousands of pages of classified documents to the Soviets. After making roughly 600,000 dollars on his clandestine endeavor and compromising everything from the identities of KGB spies working for the American government to nuclear war contingency plans, Hanssen was eventually transferred to a newly created position at the FBI’s Washington headquarters and assigned the task of guarding his country’s most sensitive secrets. It was while working in this capacity that a young agent named Eric O’Neill (Phillipe) was assigned the task of keeping tabs on Hanssen by suspicious higher-ups. Later, after being arrested while delivering a cache of secret documents to a “dead drop” spot in a Virginia park, the notorious traitor was arrested and sentenced to life in prison with no chance for parole.

Why rent a dirty movie when you can make your own? That’s the can-do philosophy embraced by a handful of girl-crazy teens in this comedy. Fred (Tony Denman), Deacon (Erik von Detten), and Matt (Daniel Farber) are three high school kids who, like most teenaged boys, are obsessed with sex. Deacon has a part time job at a video rental shop with a large selection of adult films, and he’s been able to sneak porn titles out of the store on a regular basis, to the great enthusiasm of Matt and Fred, who not only enjoy the videos themselves but dub bootleg copies they sell to their classmates to make pocket money. However, when Deacon loses his job, the guys are left high and dry, until one of them gets an idea — they’ve seen enough porn movies to know what the average viewer expects from one, so why don’t they make one themselves? However, recruiting the performers necessary for such a project turns out to be harder than they expected, with exotic dancer Ashley (Sarah Jane Potts) and neighborhood bully Jake (Riley Smith) rising to the top of a very shallow talent pool. The first production from the guys is an unexpected success, but they soon discover that not everyone is happy with their good fortune, especially sleazy porn kingpin Vic Ramalot (Horatio Sanz), who isn’t interested in having more competition. Filmed under the title After School Special, Barely Legal also stars Tom Arnold, Amy Smart, and Dey Young.

This film was one of the more mainstream offerings in the array of films that emphasized the overly hyped “Generation X” phenomenon, a list that ranges from Slacker to Singles and includes a host of other films. Winona Ryder stars as Lelaina, a recent college graduate. Out on her own and independent from her supportive, but out-of-touch parents, Lelaina faces the realities of careers and relationships. She can’t stand her internship under a local television personality (John Mahoney), and she’s forced to choose between Michael (Ben Stiller), a well-intentioned music-video network executive, and Troy (Ethan Hawke), a brooding, sensitive slacker. Meanwhile, she must also protect the artistic integrity of “Reality Bites,” a video documentary that depicts the everyday lives of her friends (Hawke, Janeane Garofalo, and Steve Zahn). This 1994 release also marks the feature directorial debut of Ben Stiller.