Grease was created for mother daughter viewing, so obviously the movie failed.

You're making a young person's argument. I'd be interested in how you will look back on this conversation in 40 years, when you've accumulated more experience, revised your opinions on several topics, and find your real-world experience beats your youthful philosophies.

What can I say but thank you. Thank you thank you thank you. Of course, I totally agree and have said the same thing many times, so you are preaching to the choir. But still, thank you.

Oh, no need to apologize. I really didn't know which person you were referring to. But I appreciate it.

I'm not saying they are doing it for clicks and attention. I'm saying it because they have a particular response to gender roles that holds such sway over their psyche, they can't properly analyze all the other elements in a given work. It's just nutty to say Grease 2 is the better movie, and then only really have as…

Who do you see expressing the contrarian wisdom in this conversation?

Nope. It's the template he's following. I might be accused of being reductive if I failed to recognize Lynch's extraordinarily personal relationship with that concept or his unique visual approach to dealing with the world he chose to explore. But, sorry, Lynch just isn't much of a thinker. He's an amazing feeler and…

It's a pretty weak argument, since the only people making an argument for its superiority have an interest not based on liking the songs, stars' chemistry or the movie's entertainment factor.

Is Grease 2 on every karaoke machine? Did their chemistry create box office gold? It's a bit more than just matters of opinion.

Tip your waiter, folks!

Maxwell Caulfield IS the Lady in the Radiator!

The trouble is, it doesn't take in little details, like zero screen chemistry between the leads, unfunny humor, vastly inferior song quality, and hopelessly bad direction. On the other hand, Travolta and Newton-John had tremendous chemistry, the jokes were funny in a hard-edged sarcastic way, the songs were good, and…

But he didn't do that. It goes back about a decade before he started making movies, and whereas Night of the Living Dead slowly built its reputation through word of mouth over time, the movies that proceeded it were huge box office hits from the start that inspired companies to keep funding other efforts.

It's an across-the-board dumb article sloppily applying gender politics scholasticism to a work of pop culture commentary and failing to grasp the pop culture being commented on or the form (sarcasm) the commentary takes.

Oh, I'll defend Porky's to the death. It's the only movie I know that catches the feel of telling a dirty joke—of things getting wilder and more out of control and more inappropriate and so more funny. There's a great book called Screeming Laughing by William Paul that does a great job analyzing what makes Porky's…

I just moved it to its own comment rather than a response. But thank you!

It's a pointless argument. Sandy changes because the whole point of that plot development is to sarcastically comment on the J.D. films of the 50's where the bad boy goes good at the end—no one watched a J.D. film to see a bad boy turn good. It has nothing to do with Sandy or Danny as three dimensional characters…

They are actually both paralyzed from the waist down. Their necks snapped when the flying car too a nose dive from the clouds.

Sure, ignore Porky's II: The Next Day. Cretan.

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