Dammit, why don't kids these days appreciate what I liked when I was a kid and was so much better?
Dammit, why don't kids these days appreciate what I liked when I was a kid and was so much better?
Every time I check, HBOGO is unavailable for viewing in any reasonable way on my big screen TV. I don't want to watch anything on my laptop, much less my phone.
The dog bit wasn't suspenseful for me since I knew I was watching ABC, and they would never go there. Replace that B with an M, then I'd've been nervous.
It's a nice call-back to Exposition Maddy on Terra Nova, another sub-par, jungle-intensive show.
I've said it many times before and I'll say it again. You can't hang this much shit on an actor that age and expect him to pull it off. A tiny few will knock it out of the park, the vast majority will flounder (hell, the adult actors aren't exactly putting on a seminar here). That's why they have him wandering around…
T-Dog is the perfect character that anyone can gravitate to because he's the empty vessel that can be filled however necessary. With every other character on this show, the better I know them, the less I like them; thus, I like T-Dog best.
"…if it was some sort of dark satire about some idiots in a zombie wasteland…"
Every time I see one of those booze commercials, I think of Joe Pesci shooting him in the foot.
This is what I think of when I think of Peaches (NSFW):
The key quality of an MPDG is that she has no inner life or agency of her own and exists only to serve the male protagonist's plot (usually shake him out of his comfort zone or to make him see the error of his ways). McDowell's is a fully fleshed out character that couldn't care less about Murray for most of the…
I saw the midnight opening day showing of "Two Towers" in a theater completely packed with Tolkien-nerds. The cheer that went up when Treebeard announced, "The Ents are going to WAR!" was unlike anything I'd seen in a movie theater outside of a Rocky Horror type deal. The little sight-gag of an Ent dousing his burning…
I worked in a large video store in the early 90s and it was a fairly regular occurrence for customers to come in to return "The Lord of the Rings" videotape asking to rent the rest of it. At the time the Rankin and Bass "Return of the King" was out of print and we didn't have a copy, so even that poor substitute…
On the whole, the movie is middling. Doesn't come close to belonging on either list. The Panserbjørn fight is pretty great, lots of stuff that looks pretty but doesn't have much emotional heft. If you'd seen it to the end, though, you'd hate it even more…
The first "From Hell" nitpick I remember coming across here. C'mon, slackers, get to work!
Beat me to it by 1/2 hour. I read and loved "Still Life with Woodpecker" when I was 17, then failed to finish anything else by Robbins (three attempts, I think). Never even tried to watch "Cowgirls," despite liking Van Sant and Uma Thurman because I knew the book they were working from was utter shit, at least as far…
Most of the movie is regular, poorly done cell animation. Only parts are rotoscoped (mostly action scenes, if i recall correctly, to try and ramp things up). Just plain ugly to look at, front to back, leaving aside any of the narrative problems of condensing most of the first two books to 133 minutes.
Or drive through an industrial chain-link fence. That would seriously fuck up the front end of a vehicle like that, probably take out the radiator. Just go ahead and ignore the Crown Vic prowlers in the yard that have bumpers specifically designed for pushing through shit.
I'm curious how S,L&V plays to younger audiences, for whom videocameras have been ubiquitous most of their lives. Is it too much of its era?
Terrible bus crash kills most of the children in a small town, one survivor (Sarah Polley) is paralyzed but the bus driver has no serious injuries. Big city lawyer (Ian Holm) comes to town to try and gin up interest in a lawsuit. The lawyer has also lost a child, in a different way. Just a bit of incest. Polley sings…
Absolutely, if for no other reason it's Steven Soderbergh's first full-length film and a sensation at the time (won Cannes, was a pre-Internet meme, etc) and was Spader's breakout role.