Bovie Movie

Dentist Sheldon Kornpett (Alan Arkin) is a respectable man. He has a daughter who is about to marry the son of a very suspicious character, Vince Ricardo (Peter Falk). They are practically relatives already, the wedding is so near. Certainly, Sheldon already despises Vince as if he were already a well-known relative. Nontheless, Vince calls on Sheldon and convinces him to go with him on a series of wild and hilarious adventures, claiming all the while that he is a CIA agent, and that what he is doing is in the national interest. Sheldon follows Vince to a South American country ruled by a very odd man, General Garcia (Richard Libertini), who talks to his hand (which talks back). It seems that the dictator is involved in a scheme to counterfeit and undermine U.S. currency.

Following the death of her drug-addicted mother, a whimsical young girl follows her chemically dependent father to a remote prairie house to discover a wondrous world of magical fireflies and nocturnal bog men in this hallucinatory childhood fantasy from visionary filmmaker Terry Gilliam. Noah (Jeff Bridges) is a burnt-out rock star whose post-superstar voyage to obscurity is hastened by a serious drug addiction that is also shared with his wild-eyed wife (Jennifer Tilly). When the Noah’s increasingly erratic wife suffers a fatal overdose, the faded rock star opts to escape the painful reality by retreating to a ramshackle remote home with his young daughter, Jeliza-Rose (Jodelle Ferland). Left to her own devices as her father stumbles about the grasslands in a drug-induced haze, Jeliza-Rose soon ventures into her own fantasy land before making the acquaintance of mentally challenged youth Dickens (Brendan Fletcher). As the two become fast friends and Jeliza-Rose joins the swimsuit-clad Dickens in defeating the menacing shark that traverses the nearby railways, the pair are watched over by Dickens’ black-clad sister, Dell (Janet McTeer), who acts as Dickens’ guardian and whose overly enthusiastic interest in the art of taxidermy borders on obsessive.

Taking home a paycheck that nearly rivals the budget of the first film, Reese Witherspoon reprises the role of Elle Woods in this sequel to 2001’s surprise blockbuster Legally Blonde. When she’s fired from her job at an upscale law firm for voicing her stance against the testing of cosmetics on animals, Elle heads to Capitol Hill to fight for her cause before Congress, leaving her boyfriend, Emmett (Luke Wilson, reprising his role from the film’s predecessor), behind. Once there, she runs into plenty of adversity and red-tape and can’t seem to find anyone who will listen to her proposals. While staying at the Watergate hotel though, she meets and befriends an elderly bellman (Bob Newhart in his first theatrical role since 1997’s In & Out) who’s been around politicians long enough to know the ins and outs of the political machine. With his help, Elle attempts to convince disillusioned U.S. Representative Rudd (Sally Field) to help her get her voice heard in front of the stodgy old coots of the legislative branch. Directed by Charles Herman-Wurmfeld hot off the success of his critically acclaimed indie comedy Kissing Jessica Stein, Legally Blonde 2: Red, White and Blonde boasts a supporting cast led by Jennifer Coolidge (Best in Show, American Pie) and Regina King (Jerry Maguire, Daddy Day Care).

Filmmaker Larry Clark reunites with Kids screenwriter Harmony Korine, with some additional directorial assistance from cinematographer Ed Lachman, for this look at a group of troubled teens and their guardians living in Southern California. Ken Park takes its name from the skate park where an ancillary character takes his own life in the film’s opening moments, and then proceeds to chronicle the somewhat-interrelated lives of his classmates. The audience is introduced to Tate (James Ransome), a young man living in relative misery with his board-game-playing grandparents. Also tormented by his living situation is Claude (Stephen Jasso), a quiet, shy teen constantly henpecked by his brutish father (Wade Andrew Williams). Meanwhile, the vapid Shawn (James Bullard) occasionally trades verbal spars with his mother, in between leaving the house for sex sessions with his girlfriend’s mom. Finally there is Peaches (Tiffany Limos), living alone with her devoutly religious father as she covertly experiments with her boyfriend (Mike Apaletegui). Though Ken Park played at such festivals as Toronto and Telluride in the fall of 2002, it would languish on the shelf for months and months afterward, as its explicit content made finding a U.S. distributor near-impossible.

Latina heartthrobs Salma Hayek and Penélope Cruz co-headline the rousing indie Western Bandidas. The brainchild of producer/screenwriter Luc Besson (La Femme Nikita, The Big Blue), Bandidas marks one of only a handful of films in its genre (along with Bad Girls, Cattle Annie and Little Britches, and Johnny Guitar) to use women as its principals, and distinguishes itself further by adding hefty doses of comic relief to the Western formula. Hayek and Cruz play Sara and Maria, respectively — two women whose father is wiped out by a nasty, vile, gun-wielding swindler named Tyler Jackson (Sling Blade co-star and country music singer Dwight Yoakam). Jackson cuts a bloody swath across the Southwest as he reduces one bank after another to an impoverished trash heap. In revenge, these women (who sit at opposite ends of the personality spectrum) vow to beat Tyler at his own game by hitting and robbing each of the banks before their father’s killer can reach them. Steve Zahn co-stars as the “criminal science” officer who aids the girls in their mission; Espen Sandberg and Joachim Roenning co-direct.

After establishing herself as a bankable star with the fish out of water comedy Legally Blonde, Reese Witherspoon returns in what could be described as a “fish back in water” comedy. Melanie Carmichael (Witherspoon) is a successful New York fashion designer who is dating Andrew Hennings (Patrick Dempsey), a wealthy socialite whose mother, Katherine Hennings (Candice Bergen), is the Big Apple’s mayor. One day, Andrew pops the big question and asks Melanie to marry him; Melanie is overjoyed, but unknown to Andrew, Melanie has some unfinished business to take care of first. Despite her polished uptown image, Melanie grew up poor in the deep South, and as a teenager she married her high school sweetheart Jake Perry (Josh Lucas). Things went sour and Melanie moved East, reinventing herself along the way, but Jake never bothered to legally end their marriage. Now Melanie has to return to her hometown of Pigeon Creek, AL, to tell her parents (Fred Ward and Mary Kay Place) the news and convince Jake to grant her a divorce; however, the more time she spends with her old flame, the more she feels sparks flying between them again, while she also learns her Eastern affectations don’t fly with everyone back home.

In Bernardo Bertolucci’s art-house classic, Marlon Brando delivers one of his characteristically idiosyncratic performances as Paul, a middle-aged American in “emotional exile” who comes to Paris when his estranged wife commits suicide. Chancing to meet young Frenchwoman Jeanne (Maria Schneider), Paul enters into a sadomasochistic, carnal relationship with her, indirectly attacking the hypocrisy all around him through his raw, outrageous sexual behavior. Paul also hopes to purge himself of his own feelings of guilt, brilliantly (and profanely) articulated in a largely ad-libbed monologue at his wife’s coffin. If the sexual content in Last Tango is uncomfortably explicit (once seen, the infamous “butter scene” is never forgotten), the combination of Brando’s acting, Bertolucci’s direction, Vittorio Storaro’s cinematography, and Gato Barbieri’s music is unbeatable, creating one of the classic European art movies of the 1970s, albeit one that is not for all viewers.