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Trollin', trollin', trollin'
Trollin', trollin', trollin'
Trollin', trollin', trollin'
Rawhide
Keep them doggies trollin', rawhide.....
Yup, I saw it several years ago. Great make-up in the devil scenes, and I still remember the demonstration of torture instruments.
I'm down on my ****ing (clucking) ass at the moment in debt and the last thing I need is peabraines like @chrisisall giving me stick
this type of bunk will not wash with the moderators @chrisisall. This is a last warning for you; from me.
I faced a dilemma last night. I had just come off my best viewing of Hitchcock's classic To Catch A Thief in years. Amazingly crisp and sharp in glorious blu ray, I fell in love with the film all over again. It has always been a top five entry of mine, but I now feel compelled to move it up a few notches on account of last night's viewing.
Anyway, I was at a loss about how to follow it up. I had originally planned to watch a Bond film (my normal plan) subsequently, but didn't quite feel in the mood for some reason after seeing Grant and Kelly. Even the prospect of my first viewing of CR in a few years wasn't enticing enough. I considered Angels and Demons, The Talented Mr. Ripley, The Winter Soldier (all favourites)....but nothing seemed worthy enough. Then it came to me. If you really must do better, there can only be one choice. My #1 film of all time, also by Hitchcock and also starring Cary Grant - the legendary North by Northwest.
This is one of the few films that I never get bored of and always enjoy more each time I watch it. The dialogue is perfection. Grant is perfection. Marie Saint is perfection, and terribly modern (and forward) for 1959. James Mason (as the 'big bad' Philip Vandamm) is perfection, and could almost be a Bond villain given how smooth and odious he is here. Martin Landau as his #2, Leonard, puts some henchmen from our favourite franchise to shame. Leo Carroll is perfection.
It's hard to believe that Grant was 55 when this film was released. He'd aged a bit since To Catch A Thief (noticeable on a back to back viewing like this) but is still as composed as ever here. Hitchcock does a fantastic job of making New York look classy & I'm reminded of this film every time I visit the United Nations General Assembly building (I even got into a debate the last time I was there with one of the tour guides who didn't know that parts of this film were shot there). If they ever take Bond back to New York, I hope they make it look as stylish as this film. Bernard Herrmann's score is classic, and inspired John Powell's work on the Bourne Identity (also about a man on the run). That's not all that this film inspired. Its influence is littered everywhere even now, including in tv shows like Mad Men or actioners like Die Hard 2 & Skyfall. It's amazing, given when it was made, that it is still so compelling as a viewing experience even today.
If you've not seen it, do so. Immediately.
Yeah, this bit right here is correct, actually.
There's worse things to be called.
Pi$$ off.
I've always taken it as using the f-word or anything as extremely vulgar as that is not allowed.
@0BradyM0Bondfanatic7, nothing wrong with a little John Creasy looking to kill some bad guys!
One of the few trilogies that doesn't end on a poor note, and my personal favorite one.
The best trilogy is still Toy Story for me.
Loved the first one when it first came out, and I loved the third one when I got a chance to see it. If I ever saw the second one as a kid, I honestly don't remember much from it.
There is a heart-crushing bit in the second film, worst than the saddest parts of Lion King, or even Bambi.
I just know they're gonna ruin it with Toy Story 4. Really wish they would just leave it be.
@Mendes4Lyfe, "When she loved me..." :((
I'm sure you're aware that there is a theory out there regarding Toy Story that hypothesizes that
No, I wasn't aware of that, actually. That makes it all sadder, somehow.
Anyway, I'm not easily emotionally manipulated, generally speaking. I sat through the entirety of UP! and just found the experience boring and dull. It was trying way too hard to pull at the heartstrings, and I saw through it from the opening scenes. Certain films just know how to getcha, ya know?
Time travel is an interesting science fiction concept and one which I always like to explore in films. And I'm not very demanding; TIMECOP is one of my favourite time travel films, and it sure as hell isn't CITIZEN KANE, but it's playful, simple and yet relying on something of a decent story. TIMELINE, by contrast, is a boring waste of time. Forget the rather interesting cast or the fact that Richard Donner directed this film or that it's based on a Michael Crichton book; none of those things can keep the film from dropping a huge turd really fast.
First of all, the script isn't even clever enough to do more with the time travel device than the mere obvious. Secondly, some of the "surprises" at the end of the film were clear as day since the start of the film. The "big, epic" sword battles during the climax were staged like a school play in junior high. Lastly, Brian Tyler's score is fairly dull yet often still far more dramatic than the film deserves. Not an ounce of tension, not a spark of creativity, not a pebble of excitement... I guess I should have known that a story about some random folks getting stuck in medieval times in between British and French armies wasn't going to be any good. Yes, one of our "heroes" will fall in love with a local girl; yes, we can alter history without consequences in our past and be celebrated for it; yes, we can use modern cleverness to fight the medieval peasants, except that we don't. Ugh! Worst time travel film the 80s could have delivered, except this one was released in 2003, which makes the pain of having to sit through this even worse. And yet I did, on principle, as I never not finish watching a film. This might have been the big exception though.
Stay away from TIMELINE, it's utter garbage.
When it comes to emotional manipulation, I find that I can be quite sentimental and easy to break. There's something about some films or songs or books that always get me, no matter how many times I see it. I always cry at the end of Good Will Hunting or On Her Majesty's Secret Service, for instance, but I'm not sure if I cry more than is average for a movie lover. Some people don't like to share when a film grips them emotionally (especially if they're male), maybe because they don't want to appear weak or something equally as ridiculous so as to protect their masculinity. The things that get me are themes of friendship or sacrifice, which are things could apply to every genre, and maybe that's why they're so palpable to me across so many films. It also explains why I love comics and get so moved by Batman and Superman in particular, for their own sacrifices as heroes.
I'm also the most nostalgic person I know, so there's another emotional vulnerability in me. I always say that artists by their very nature are more emotionally open than others because the work we do finds inspiration in the kinds of things that make us emotionally compromised and that affects us. I think that's a big part of the reason why art, whether it's music, movies or writing, hits me in the heart, because it's second nature for me to be like that, and I need to be that open to do what I do.
I agree, @0BradyM0Bondfanatic7 there hasn't been a horror film which has scared me in years. Startled me, yes. Grossed me out, for sure. Not really a worthy substitute for actual creepiness, though, where you are haunted for weeks afterwards.
I tear up with these, just to use LOTR as an example:
I'm generally good with things that are geniunely sad, or depressing. Oddly enough, it's the stuff that's intended to be uplifting that gets me, quite often.
As a time travel movie aficionado, it is with a heavy heart that I agree: Timeline is an absolute chore to finish.
I'm glad I'm not the only one who loves Timecop though!! Have you ever seen the sequel? It's direct to DVD and it shows, but they do tackle some fun ideas!
It's worth a quick look- it stars Jason Scott Lee (who played Bruce Lee in the biopic) and the hilarious over-the-top bad guy from Karate Kid Part III
Released as a slasher film, 1983's SLEEPAWAY CAMP is nothing if not a poor knockoff of the original FRIDAY 13TH. Only two vital elements were forgotten: horror and some T&A. As far as the latter is concerned, it's not exactly helpful that most of the characters are uncomfortably underaged, meaning we're basically going to spend 80 minutes coping with terrible acting from brats who whine and yell and do little else. Obviously I don't want any gratuitous nudity from minors - I'm just questioning the choice to bring in such young characters. Since this film is obviously marketed as a juicy slasher film - which it isn't -, we should have gotten the usual tweens instead. As far as the horror is concerned, yeah, some of the death traps are pretty amusing, though THE ABOMINABLE DR. PHIBES, SAW, HALLOWEEN and FRIDAY 13TH do things so much better. The climax delivers half a minute of some freaky stuff which I guess is good enough to sit through the film once - but only once.
At least the sequel, SLEEPAWAY CAMP II: UNHAPPY CAMPERS, does something right: T&A. If you can't deliver a good story, perhaps other slasher tropes can compensate for it. So while this sequel ignores the big twist we saw at the end of the last film, it does have a relatively unknown blonde who's going to flaunt her goods about eighty times in the movie. Other than that, the killer, whose identity isn't even kept a secret for at least one entire act, has a ridiculously predictable and - worse - horribly repetitive MO. The entire film is one linear sequence of little set-ups and immediate conclusions, the deadly kind. There's barely a climax at all. Other than some T&A, no reason to watch this film, unless you're excited about poor Walter Gotell as "Uncle John".
The same goes for the third film, SLEEPAWAY CAMP III: TEENAGE WASTELAND, which trades cleverness for some topless moments and - wait for it - ... COMEDY! That's right! HA-HA-HA! I'm laughing my ass off, except that I'm really not. If the best joke you have is a killer trying out various tools for a quick kill while her prey is in the next room chatting the place up, you know something is wrong. At best, this is an afterthought to the second film.
Things got worse when the fourth film, SLEEPAWAY CAMP IV: THE SURVIVOR, was never finished and yet still released as a 70 minute feature, cut from the few scenes they had shot and a best-of from the previous three films. We're essentially looking at a sun tanning woman reminiscing some of the deaths from the first couple of films, which she couldn't possibly have witnessed. The only reason this low-quality mess should be viewed, is to get a quick summary of the first few films if you don't want to waste three times as much of your time on them. Pathetic. Even SILENT NIGHT, DEADLY NIGHT part 2 has more original footage to show than this one.
For some mysterious reason, RETURN TO SLEEPAWAY CAMP, a distant sequel no-one wanted, especially 25 years after the first film, was made. In it, we focus on a fat kid who bullies other kids and is bullied back. Then killings start to happen, and guess who the killer is. The fat kid? No, of course not. That would be obvious, right? Surely it must be that FRIGGING ELEPHANT IN THE ROOM, that strange character they introduce early on as a police officer, who does very atypical things for a police officer, like burying his face inside his uniform and hat, and behind sunglasses and a thick moustache. I mean, come on... Most clothes are kept on and most killings happen off screen, so again, why - why would I want to see this?
I took this bullet for the forum, so that I can tell you that I sat through all five Sleepaway Camp films, and I must urge you not to make the same mistake.
I did a quick search and apparently...