For me, that original “They’re in it for the money... not the science.” line was one of the most unintentionally hysterical lines in movie history.

Definitely sounds like an old paperback title one might have found in the gentlemen’s club library.

Though Stripes maintains a level of wackiness through the action that avoids really serious tonal problems, in contrast with, say, Three Men and a Baby discussed elsewhere on this forum today.

The way it sort of mocks the audience for having any emotional investment in these wacky characters is in keeping with the darker side of “British Humor”, but something like the even darker ending of Life of Brian works much better in terms of not leaving the audience... well... hanging...

I’ve criticized the “oh, the hell with it” ending of this film before (albeit not very strenuously. The whole thing’s a genuine classic), but I’ve only just now gotten the “twist” to it -- The cops had the wrong suspects! Arthur and his knights had no actual horses!

Yeah, the success of this has “date movie” written all over it.

I recall that the title “Robocop” had led my friends and I, unfamiliar with Verhoeven’s work at the time, to assume that it would be some kind of PG-13 kid-oriented film. When word got out pre-release that it was fighting an NC-17 rating, we were highly amused and curious, and of course were ultimately anything but…

This reminds me of a catering establishment/restaurant we used to have in suburban Philadelphia — their dining areas were scattered through a “Dickensian village” of faux storefronts. It went out of business probably 30 years ago, but I remember a few enjoyable reception-type dinners there in my youth.

As cheesy as a lot of the details look, there’s a lot of potential for upgrades. Definitely a home for an eccentric retiree who still runs table-top role-playing games.

But you also don’t know how much of a monster he really is, and how much of that was just made up.

Good to hear.

Apparently she does a fair amount of voice work — including a Bob’s Burgers a couple weeks ago.

Whatever else happens, I think Ms. McCafferty will be able to name her own price for squirrel puppetry gigs going forward.

Mr. Chappell warned us at the end of the last review. But no official notice, ‘cause how many page views would that have gotten?

Albeit with a five-and-a-half hour running time.

Spies Like Us (working title, apparently, The Road to Dushanbe) was made with similar intent. I was surprised to not see it on the “bombs” list, but I guess it was more of an underperformer than an outright bomb.

Speaking as a childhood superfan of Speed Racer, I generally did like the film, particularly the top-to-bottom spot-on casting, and seemingly loving detail in their portrayals (e.g., Sparky’s worthlessness in a fight, in contrast with Pops’ past as a badass wrestler). My only criticisms were of what seemed like some…

The cultural importance of religion is less obviously visible than race, and acceptance of interfaith relations has been transitioning longer. As a kid watching variety shows in the ‘60s and ‘70s, growing up in a pretty secular northeastern US household, I remember watching, and my mother in particular being a fan of,…

There was definitely that, going back to the post-WWI “red scare” as you note, but it seemed to spill over less from “riot control” into day-to-day policing before the ‘70s wave — perhaps because of greater residential integration occurring.

There’s very definitely been a “militarization” of police training — just post-9/11, but probably going back 40-50 years to the creation of SWAT units — emphasizing “maintaining control over the situation” and the safety of the cop over any parties or bystanders. I think that problem also underlies a lot of police…