Bovie Movie

Love, treachery, and broken furniture are the hallmarks of this rollicking action drama. Dalton (Patrick Swayze) has a Ph.D., but rather than make a living teaching Socrates at some university, he’s opted to become a top-drawer “cooler” — an expert barroom bouncer who can break up fights without getting himself killed in the process. Dalton is hired to keep the peace at the Double Duce, a rough-and-tumble honky tonk in Jasper, Missouri, where beer-soaked free-for-alls are a nightly event. Dalton is hurt on his first night on the job, and he is patched up by “Doc” Clay (Kelly Lynch), a beautiful woman working as the town’s physician. Dalton and Doc immediately hit it off, but Dalton learns that another man, Brad Wesley (Ben Gazzara), already has his eye on her. Wesley is a man used to getting his way; he’s an extortionist and crime boss who has nearly everyone in Jasper under his thumb, and he sets out to teach Dalton a lesson, while Dalton is determined to clean up the town like he breaks up brawls at the Double Duce. Sam Elliott plays Dalton’s mentor Wade, and Red West, a one-time member of Elvis Presley’s “Memphis Mafia,” appears as Webster; Canadian blues-rock guitarist Jeff Healey leads the Double Duce house band.

The made-for-cable musical satire Reefer Madness is based on the award-winning play of the same name, which in turn was inspired by the notorious — and deliciously awful — 1936 anti-marijuana film originally titled Tell Your Children. A smarmy lecturer (Alan Cumming in the first of his three roles in the film) arrives in a typical small town of the late ’30s to warn the populace of the dangers of the “evil weed,” bringing along a lurid propaganda film to dramatize his message. In broad, unsubtle, and hilarious strokes, the movie-within-a-movie shows how even a squeaky-clean pair of highschoolers named Mary Lane (Kristen Bell) and Jimmy Harper (Christian Campbell) can become hopeless dope addicts by succumbing to the lure of marijuana. Reefer Madness is not only a savage skewering of the original black-and-white movie (some of the musical’s campiest lines are taken directly from the earlier script!), but also a devastating attack on what playwrights Kevin Murphy and Dan Studney consider to be the real reason that the 1936 movie was made: to frighten the public out of their wits in order to keep them under the thumb of an oppressive government. Thus, the musical manages to take a number of not-so-veiled swipes at xenophobia, racism, McCarthyism, the Bush Administration’s Homeland Security policy, and even the recent FCC clampdown on “offensive” TV fare (one of the film’s highlights is a garish nightclub number featuring Jesus Christ). The ebulliently staged songs include “The Stuff,” “Down at the Ol’ Five and Dime,” “Lonely Pew,” “Listen to Jesus Jimmy,” “Mary Jane/Mary Lane,” “The Brownie Song,” “Tell ‘Em the Truth,” and the title number. Officially titled Reefer Madness: The Movie Musical, this film first aired April 16, 2005, on the Showtime cable service.

A good Samaritan becomes the victim of voodoo spells in this horror story produced by Scream screenwriter Kevin Williamson. When an aged Creole woman is caught in a car wreck in a remote section of Louisiana, Ray (Rick Cramer), the owner of a nearby filling station, speeds to the scene of the accident to help. However, Ray doesn’t know that the woman is a voodoo practitioner whose vehicle holds a case full of magic talismans. The magical spirits lead Ray to an unexpected death, and then they take over his body, turning him into a bloodthirsty monster. As the reanimated Ray makes his way into town, a group of teenagers including Eden (Agnes Bruckner) and Tammy (Bijou Phillips) find themselves running for their lives from the supernatural creature, while Deputy Turner (Method Man) looks for a way to keep the strange menace under control. Venom went into release in the fall of 2005 — only a few weeks after Hurricane Katrina devastated much of the state of Louisiana, making the film seem unfortunately topical.

Director David Fincher followed the success of his dark and atmospheric crime thriller Seven (1995) with another exercise in stylish film noir, this time lifting the pallid atmosphere a notch to indulge in a fast-paced trip through the cinematic funhouse. Michael Douglas plays Nicholas Van Orton, a Scrooge-like San Francisco investment banker following in his father’s Scrooge-like footsteps. On Nicholas’s 48th birthday (the age at which his father committed suicide), his younger, free-spirited brother Conrad (Sean Penn) blows into town and gives Nicholas a special gift for “the man who has everything” — a ticket to CRS (Consumer Recreation Services), a company that constructs games custom-fit for each participant to provide, as CRS salesman Jim Feingold (James Rebhorn) cryptically puts it, “whatever is lacking.” Nicholas’s secure life begins a downhill slide as CRS masterminds a series of elaborate pranks, harmless at first, that quickly become malicious and life-threatening. Stripped of financial resources and convinced that he can trust no one, Nicholas begins to wonder if CRS is a front for a more covert operation, and if the game is in fact an attempt to steal his fortune and leave him for dead. Determined to fight back alone, Nicholas infiltrates CRS in order to “pull back the curtain and meet the wizard.

Three teenagers two-timed by a local lothario decide to turn the tables on him in this romantic comedy. John Tucker (Jesse Metcalfe) is the big man on campus at his high school — he’s the captain and star player of the basketball team, he’s got money, he’s good-looking and charming, and he can have any girl he wants. However, the latter attribute is about to get him in serious trouble when three different girls at his school — Heather (Ashanti), Beth (Sophia Bush) and Carrie (Arielle Kebbel) — discover they’ve all been dating John at the same time. Determined to bring down the campus ladykiller, the girls devise a plan — they pick a cute but socially clumsy girl who is new at school, Kate (Brittany Snow), and give her a crash course in stealing John’s heart. Once Kate has John wrapped around her little finger, she’s supposed to drop him like a bad habit and give him a taste of what heartbreak is really like. However, it seems that the early stages of the plan work a little too well, and John and Kate end up falling for each other for real. John Tucker Must Die also stars Jenny McCarthy, Penn Badgley, and Dan Payne.

In this action thriller, a master car thief has his skills pushed to the limit. Randall “Memphis” Raines (Nicolas Cage) can steal practically any car that crosses his path. While he has done well in his life of crime, he knows that there’s a short future in theft, and he wants to get out of the business. But his retirement plans are interrupted when his younger brother Kip (Giovanni Ribisi) gets in trouble with a dangerous crime boss. To get his brother out of harm’s way, Randall agrees to a profitable but risky scheme to steal 50 luxury cars in one night, with the help of several other car thieves, including Sara “Sway” Wayland (Angelina Jolie). A rival group of thieves is trying to pull the same stunt at the same time, and detectives Castlebeck (Delroy Lindo) and Drycoff (Timothy Olyphant) are trying to shut down both operations. Also starring Robert Duvall as Otto Halliwell, and Scott Caan as Tumbler, Gone in Sixty Seconds is a remake of the 1974 low-budget action hit of the same name, best remembered for a 40-minute chase scene in which 90 cars were destroyed.

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.

Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jet?e. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic.

Three brothers who would argue that crime does pay have a hard time getting their fair share of the proceeds in this witty action thriller from Australia. Dale Twentyman (Guy Pearce) and his brothers, Mal (Damien Richardson) and Shane (Joel Edgerton), are serving time together in prison for robbery. Dale is the brains and the cool head of the group, Mal is the eager-to-please nice guy, and Shane is something of a loose cannon. Dale and his siblings are eager to get out of jail, and their lawyer, Frank Malone (Robert Taylor), has pulled a deal that could pare some time off their sentences, though the arrangement is strictly off the books. Mick Kelly (Vince Colosimo) and Jack O’Riordan (Paul Sonkkila) are a pair of crooked police detectives who have arranged with Malone to give the Twentyman brothers day passes from jail in order to pull bank robberies, with the siblings’ share held in escrow until they’re released. Dale thinks something a bit off in this operation, and his suspicions are confirmed when Malone tells the brothers after they’re granted their early release that they won’t get their money until they pull one last job — an ambitious robbery at a Melbourne race track on the day of the nation’s biggest horse race. Dale is convinced he smells a rat — especially since he has good reason to suspect that Malone is having an affair with his wife, Carol (Rachel Griffiths). The Hard Word marked the directorial debut for writer/director Scott Roberts.

Douglas McGrath’s Infamous represents the second major biopic about the avant-garde belletrist Truman Capote to be released within a year. It thus tells roughly the same story as Bennett Miller’s earlier Capote, recounting the events that belied the writer’s six-year authorship of the seminal “nonfiction novel” In Cold Blood. The story opens with Capote (Toby Jones) visiting the site of the 1959 Clutter family homicide, on a Kansas research trip, accompanied by his close friend and colleague, author Harper Lee (Sandra Bullock). As Capote settles into the community, McGrath uses the preponderance of screen time to explore the emotional tapestry of Capote’s increasingly risky emotional attachment to one of the two murderers, Perry Edward Smith (Daniel Craig), with whom he senses more than a few common bonds. McGrath weaves a decidedly bittersweet tale, contrasting the optimism and devil-may-care, “conquer all” attitude of Capote in his early years with a seemingly endless string of poor choices in the writer’s later years, from addictions to drink and pills, to a failure to maintain healthy output as a writer, to poorly chosen romantic and sexual entanglements. Most significantly, however, McGrath reveals how the relationship with Smith virtually destroyed Capote as an artist and a human being, by inducing him to sell out on all levels to satisfy his lust for accomplishment and notoriety.