Bovie Movie

The child who could start fires with her mind is all grown up and still trying to find out the truth about what happened to her in this made-for-TV sequel to the sci-fi fantasy Firestarter. Nearly 20 years ago, Charlene “Charlie” McGee (Marguerite Moreau) was trained by a mysterious government organization who wanted to exploit her special and very dangerous gift, though Charlie learned the government operatives were not to be trusted when they murdered her parents. Charlie ran away from them as a child, but now in her mid-twenties, she’s decided she wants to know more about the people who shaped her strange destiny — just as Rainbird (Malcolm McDowell), the man who shaped Charlie’s pyrotechnic gift years before, finally finds her after years of search. To Charlie’s horror, she discovers a number of other children with bizarre talents. Charlie is soon on the run from Rainbird again, and her only allies in flight are a former associate of Rainbird turned enemy of the state (Danny Nucci) and fellow test subject (Dennis Hopper). Firestarter: Rekindled originally aired as a two-part miniseries on the Sci-Fi network on March 10 and 11, 2002.

Top-notch action sequences and exciting stunt work highlight this fast-moving thriller. John Kruger (Arnold Schwarzenegger) is a top agent in the U.S. Marshalls’ Witness Protection Program; it’s his job to “erase” the pasts of Federal witnesses under his watch and deal with anyone who tries to hurt them. Kruger’s latest assignment is to protect Lee Cullen (Vanessa Williams), who while working for a major weapons manufacturing firm discovered evidence that the company was selling new, high-tech weapons to intentional terrorists groups with the cooperation of a faction of enemy agents within the United States government. However, when Kruger discovers that the Witness Protection Program has a rat in the house — and that rat is his boss, U.S. Marshall Robert Deguerin (James Caan) — Kruger has to guard his own life while trying to protect Lee’s. The supporting cast is highlighted by James Coburn, Robert Pastorelli, and James Cromwell.

Wait Until Dark is an innovative, highly entertaining and suspenseful thriller about a blind housewife, Susy Hendrix (Audrey Hepburn). Independent and resourceful, Susy is learning to cope with her blindness, which resulted from a recent accident. She is aided by her difficult, slightly unreliable young neighbor Gloria (Julie Herrod) with whom she has an exasperated but lovingly maternal relationship. Susy’s life is changed as she is terrorized by a group of criminals who believe she has hidden a baby doll used by them to smuggle heroin into the country. Unknown to Susy, her photographer husband Sam (Efrem Zimbalist Jr.) took the doll as a favor for a woman he met on an international plane flight and unwittingly brought the doll to the couple’s New York apartment when the woman became afraid of the customs officials. Alone in her apartment and cut-off from the outside world, Susy must fight for her life against a gang of ruthless criminals, led by the violent, psychotic Roat (Alan Arkin). The tension builds as Roat, aided by his gang, impersonates police officers and friends of her husband in order to win Susy’s confidence, gaining access to her apartment to look for the doll. The climax of the film, a violent physical confrontation between Susie and Roat in her dark kitchen, is one of the most memorable and frightening scenes in screen history. All performances are outstanding, particularly those of Audrey Hepburn who plays a vulnerable, but self-reliant woman, and Alan Arkin, in perhaps his best role, as the ruthless, manipulative Roat.

David Lynch wrote and directed this look at two women who find themselves walking a fine line between truth and deception in the beautiful but dangerous netherworld of Hollywood. A beautiful woman (Laura Elena Harring) riding in a limousine along Los Angeles’ Mulholland Drive is targeted by a would-be shooter, but before he can pull the trigger, she is injured when her limo is hit by another car. The woman stumbles from the wreck with a head wound, and in time makes her way into an apartment with no idea of where or who she is. As it turns out, the apartment is home to an elderly woman who is out of town, and is allowing her niece Betty (Naomi Watts) to stay there; Betty is a small-town girl from Canada who wants to be an actress, and her aunt was able to arrange an audition with a film director for her. Betty befriends the injured woman, who begins calling herself “Rita” after seeing a poster of Rita Hayworth. While Betty’s audition impresses a casting agent, and she catches the eye of hotshot director Adam Kesher (Justin Theroux), Kesher’s producers and moneymen insist with no small vehemence that he instead cast a woman named Camilla Rhodes. As Rita attempts to put the pieces of her life back together, she pulls the name Diane Selwyn from her memory; Rita thinks it could be her real name, but when she and Betty find a listing for Diane Selwyn and visit her apartment, they discover the latest victim of a mysterious killer who is eluding police detective Harry McKnight (Robert Forster). Rita’s emotional identity soon takes a left turn, and it turns out that neither woman is quite who she once appeared to be. David Lynch originally conceived Mulholland Drive as the pilot film for a television series; after the ABC television network rejected the pilot and declined to air it, the French production film StudioCanal took over the project, and Lynch reshot and re-edited the material into a theatrical feature. The resulting version of Mulholland Drive premiered at the 2001 Cannes Film Festival, where David Lynch shared Best Director honors with Joel Coen.

Based on the controversial sequel novel of the same name, Hannibal is the much-anticipated follow-up to the Oscar-winning The Silence of the Lambs (1991). Anthony Hopkins returns as Dr. Hannibal Lecter, one of the world’s most cunning and feared serial killers, who resurfaces after a decade in hiding to toy with FBI agent Clarice Starling (Julianne Moore). As Starling’s career flounders thanks to a drug bust gone wrong, Lecter attempts to elude a greedy Italian police detective (Giancarlo Giannini) who’s willing to alert the authorities to his presence in Florence for a price. In the meantime, a maimed but wealthy former victim of Lecter’s named Mason Verger (Gary Oldman) plots to get his revenge on the doctor in a most unusual and grisly fashion. The novel by Thomas Harris was adapted for director Ridley Scott by David Mamet and Steven Zaillian.

Set in a small fictional town in the U.S. during the 1930s, Lars von Trier’s Dogville was filmed in a studio with a minimal set and features narration by John Hurt. On the run from a group of gangsters, Grace (Nicole Kidman) arrives in the small mining town of Dogville. Town philosopher Tom Edison (Paul Bettany) takes her in and strikes a deal with her: She’ll work for the townsfolk in exchange for a safe place to hide; after two weeks the people will vote for her to either stay or go. Grace agrees to the terms and ends up meeting the locals, including the town doctor (Philip Baker Hall), shopkeeper (Lauren Bacall), and apple farmer (Stellan Skarsg?rd). Eventually, Grace’s standing in the town takes a downward shift as the search for her intensifies.

Lethal Weapon director Richard Donner helms this action-adventure yarn in which Robert Rath (Sylvester Stallone), a veteran, burned-out hit man for hire who’s looking to leave his profession, meets a younger, crazier, more ambitious competitor, Miguel Bain (Antonio Banderas), who is out to best Rath and make him a target in the process. Rath signs on for one last hit, but complications ensue when he falls in love with the mark, a beautiful, mysterious woman named Electra (Julianne Moore). Bain sets out to murder Electra as well, and the chase leads the two assassins into a deadly game of wits that takes them from Seattle to Puerto Rico. Critics and audiences both turned away from this thriller, which was co-scripted by Bound writer/directors Larry and Andy Wachowski and L.A. Confidential screenwriter Brian Helgeland.

Lawrence Kasdan originally wrote his script for The Bodyguard in the late 1960s as a vehicle for Steve McQueen; by the time it reached the screen, Kasdan’s star was another movie hearthrob, Kevin Costner. When imperious musical superstar Whitney Houston begins receiving death threats, she is compelled to hire a bodyguard. Enter Costner, who immediately incurs the wrath of Houston and her entourage by imposing prison-like security measures. An ex-Secret Service agent, Costner still hasn’t purged himself of his guilt feelings over his inability to protect President Reagan from would-be assassin John Hinckley (in the original concept, the agent had been guarding JFK in Dallas, but Costner was too young to make this credible; besides, he and Oliver Stone had been there before). Gradually, and inevitably, Costner and Houston fall in love. Ralph Waite is cast as Costner’s father, while Robert Wuhl and Debbie Reynolds please the crowd in their cameo roles. The Bodyguard was a huge box-office success, helped along in no small part by Whitney Houston’s bestselling rendition of the old Dolly Parton hit “I Will Always Love You.”