Bovie Movie

Writer/director Nicole Kassell makes her feature film debut with the drama The Woodsman. Co-written by Steven Fechter, the original script won first place at the Slamdance Screenplay Competition in 2001. Kevin Bacon plays Walter, a child molester who gets out of prison after serving a 12-year sentence. He returns to his old town and tries to start over by working at a woodyard. Fortunately, his brother-in-law (Benjamin Bratt) helps him get a place to live. He even strikes up a relationship with local gal Vickie (Bacon’s real-life wife, Kyra Sedgwick). However, Walter still struggles with his past and the suspicions of co-worker Mary-Kay (Eve) and Detective Lucas (Mos Def). The Woodsman premiered at the Sundance Film Festival in 2004 as part of the dramatic competition.

Just how far would you go to have the home of your dreams all to yourself? A couple start asking themselves that very question in this dark comedy directed by Danny DeVito. Alex (Ben Stiller) and Nancy (Drew Barrymore) are a young couple who are happy and successful, but lack one thing that they truly want — the perfect home in Manhattan. Alex and Nancy think they may have found just the place they’ve been looking for when they discover the bottom half of a beautiful old duplex has opened up. While the couple are delighted with their new flat, they discover it has one major disadvantage they hadn’t counted on — their upstairs neighbor, Mrs. Connelly (Eileen Essel), an elderly woman who soon makes their lives a living hell. Persuading Mrs. Connelly to move is fruitless, since she has a long term rent-controlled lease, and as things become more and more difficult, Alex and Nancy begin to wonder if she won’t go away on her own, perhaps a more drastic (and permanent) solution may be in order. Duplex also stars Harvey Fierstein, Justin Theroux, James Remar, and Swoosie Kurtz.

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.

An amoral young man wends his way into the lives of a handful of damaged souls in this adaptation of British Beat Generation writer Alexander Trocchi’s first novel. Written for the screen and directed by David Mackenzie, Young Adam begins with the discovery of a barely dressed woman’s corpse by two barge workers, Joe (Ewan McGregor) and Leslie (Peter Mullan). A taciturn drifter, Joe hoists the body ashore with little distress, and the ensuing police investigation does little to ruffle his day-to-day existence on the barge. But his behavior becomes more and more erratic, and as he begins a torrid affair with Leslie’s downtrodden wife Ella (Tilda Swinton), flashbacks reveal a similarly cruel encounter he once had with a young woman named Cathie (Emily Mortimer). Young Adam premiered at the 2003 Cannes Film Festival before securing berths at the Toronto and New York Film Festivals later that year.

Satan’s son has arrived on Earth and He’s not about to let human parents get in the way. When his wife Katherine’s (Lee Remick) pregnancy ends in a stillbirth in a Rome hospital, U.S. diplomat Robert Thorn (Gregory Peck) substitutes another baby, whose mother died. Little Damien (Harvey Stephens) thrives, but, at his fifth birthday party, his nanny mysteriously dies; Father Brennan (Patrick G. Troughton) also expires after warning Thorn that he has adopted Lucifer’s son. While sinister new nanny Mrs. Baylock (Billie Whitelaw) assiduously protects Damien, Thorn’s fears escalate when photographer Jennings (David Warner) shows him pictures from Damien’s party with marks suggesting how the nanny and Brennan would die. Thorn seeks out Bugenhagen (Leo McKern), an exorcist who confirms Damien’s identity and tells Thorn that the only solution is to kill his adopted son. As the bodies pile up, Thorn tries to do his duty, but trust the law to get in the way of saving the world from future Armageddon.

Bobby Long (John Travolta) is a washed up former literature professor with a voracious drinking habit. He lives in a rundown house in New Orleans with Lawson Pines (Gabriel Macht of The Recruit), his former star pupil, also an alcoholic. Lawson is allegedly writing a novel about Bobby. Their depressive little corner of the world is disrupted when Lorraine, the beloved eccentric singer who owns their house, dies. Her teenage daughter, Pursy (Scarlett Johansson), who hasn’t seen her mother in years, arrives in town too late for the funeral, and crashes at the house. Afraid of being thrown out on the street, Bobby convinces Lawson to tell Pursy that the house has been left to all three of them. Pursy, having little else to do, decides to move in, and starts cleaning up the place, making it her own. Lawson is involved with Georgianna (Deborah Kara Unger), who works at the local bar, but he quickly develops a crush on the comely Pursy. The cantankerous Bobby seems determined to drive the girl away. As Pursy settles into the diverse little community, all of Lorraine’s old friends tell her how much she looks like her mother, and she begins to uncover some startling truths about her family history. A Love Song for Bobby Long is based on the novel Off Magazine Street, by Ronald Everett Capps. It was adapted for the screen and directed by Shainee Gabel, who co-directed the documentary Anthem.

James L. Brooks (Terms of Endearment, Broadcast News) directed this $50 million-plus romantic comedy, set in Manhattan. Dysfunctional, acid-tongued romance novelist Melvin Udall (Jack Nicholson), who suffers from an obsessive-compulsive disorder, takes pride in his ability to offend. At a nearby cafe, the only waitress willing to stand up to his sarcastic tirades is Carol Connelly (Helen Hunt), a single mother struggling to raise her chronically asthmatic son. In Melvin’s West Village apartment building, talented contemporary artist Simon Nye (Greg Kinnear) lives across the hall from Melvin. Simon is the current darling of the New York art world, reason enough to draw Melvin’s verbal fire, but Simon’s gay lifestyle is further grist for the novelist’s malicious mill. These three New Yorkers, none of whom appears to have a chance in hell at finding true happiness, discover their fates intertwined because of the fourth complicated character in the piece, Verdell, a tiny Brussels Griffon dog (played by newcomer Jill, after a 15-week training program). Melvin seems to have no friends or family, and he lives alone, working on his 62nd book.

When Simon goes into the hospital after a brutal mugging, Melvin has to take care of Verdell, and the dog actually warms Melvin’s cold heart — to the degree that he sets up unsolicited medical care for Carol’s son. Eventually, Melvin is cornered into driving Simon and Carol to Baltimore, and during a hotel stopover, Melvin confesses to Carol, “You make me want to be a better man.” The trip becomes an odyssey of self-realization for all three. Locations included Brooklyn’s Prospect Park (Carol’s neighborhood) and Greenwich Village (where Melvin’s building is on 12th Street between Fifth and Sixth Avenues). Other exteriors were shot in downtown Los Angeles, where a dilapidated transient hotel at the corner of 4th Street and Main was transformed into the chic cafe where Carol works. Sets for the Simon/Melvin apartment interiors were erected on a soundstage at the Sony Pictures lot. Simon’s paintings were created for the film by New York artist Billy Sullivan, whose work is part of the modern art collection at NYC’s Metropolitian Museum of Art and the New Orleans Museum of Art.

The Killing Fields is a romanticized adaptation of an eyewitness magazine story by New York Times correspondent Sidney Schanberg. Covering the U.S. pullout from Vietnam in 1975, Schanberg (Sam Waterston) relies on his Cambodian friend and translator Dith Pran (Haing S. Ngor) for inside information. Schanberg has an opportunity to rescue Dith Pran when the U.S. army evacuates all Cambodian citizens; instead, the reporter coerces his friend to remain behind to continue sending him news flashes. Although his family is helicoptered out of Saigon (a recreation of the famous TV news clip), Dith Pran stays with Schanberg on the ground. Racked with guilt, Schanberg does his best to arrange for Dith Pran’s escape, but the Cambodian is captured by the dreaded Khmer Rouge. Accepting his Pulitzer Prize on behalf of Dith Pran, Schanberg vows to do right by his friend and extricate him from Cambodia. The rest of the film details Dith Pran’s harrowing experiences at the hands of the Khmer Rouge, and his attempt to escape on his own. The Killing Fields won Academy Awards for Hang S. Ngor (a Cambodian doctor who lived through many of the horrific events depicted herein), cinematographer Chris Menges, and editor Jim Clark; an Oscar nomination went to Roland Joffe, who made his directorial debut with this film. Spalding Gray, who played a small role in the film, later elaborated on this experiences in his one-man stage presentation Swimming to Cambodia.

This cold, stylish erotic-thriller grossed over $100 million at the box-office despite vigorous protests at its depiction of gays and women. The shocking opening sequence features a graphic sexual encounter involving a rock-star bound with a white Hermes scarf by an unidentified blond woman. Despite the fact that the scene ends with a bloody icepick murder (horrifyingly realized by makeup artist Rob Bottin), Hermes scarves quickly sold out at stores nationwide. This seeming paradox is at the heart of the film’s appeal, as it mixes perverse sexuality and erotic bloodshed in a manner common to European thrillers (director Paul Verhoeven had done it himself in 1979’s marvelous De Vierde Man) but mostly taboo in America. The plot concerns Catherine Tramell (Sharon Stone), a successful bisexual mystery writer who may also be a ruthless murderer. Everyone close to Catherine dies, and troubled policeman Nick Curran (Michael Douglas) must find out why. In the process, Nick becomes sexually involved with both Catherine and police psychiatrist Beth Gardner (Jeanne Tripplehorn), while the bodies begin piling up and Catherine turns the cat-and-mouse game around on Nick. Verhoeven and screenwriter Joe Eszterhas — who was paid $3 million for the script — keep the tension ratcheted up throughout, even during the frequent sex scenes, which carry a violent edge reminiscent of the Italian thrillers of Dario Argento. The film’s most notorious scene, a police interrogation in which Catherine makes drooling idiots out of her captors by revealing that she is not wearing underwear, became a cultural touchstone and was widely imitated and parodied. Sharon Stone, meanwhile, was embarrassed to the point that she claimed Verhoeven had aimed lights on strategic locations without her knowledge. George Dzundza and Dorothy Malone co-star.

Assigned the thankless task of teaching freshman English at a gang-infested Long Beach, CA high school, a 23-year-old teacher resorts to unconventional means of breaking through to her hardened students in director Richard LaGravenese’s adaptation of Erin Gruwell’s best-seller The Freedom Writer’s Diaries: How a Teacher and 150 Teens Used Writing to Change Themselves and the World Around Them. Her students had been written off, and her chances of succeeding scoffed at, but Erin Gruwell (Hilary Swank) wasn’t about to go down without a fight. Long Beach is a place where a new war is waged with each passing day, and when the hardened students who walk those dangerous hallways sense an outsider attempting to understand their plight, their cynical resentment threatens to keep a deadly cycle in motion. Despite the initially hostile reaction she receives in the classroom, Gruwell uses the writings of Anne Frank and Zlata’s Diary: A Child’s Life in Sarajevo to teach her students not only the basis of the English language, but compassion and tolerance as well. Later, when the time comes to tell their own tales in a project specially designed to explore the daily violence that the majority of students have grown numb to, the barriers that had once stood so strong gradually begin to crumble. When the only chance for survival is to befriend the person who was once your mortal enemy, the world is opened to a whole new realm of possibilities.