Can you be sure of where you stand
And how you’ll keep your footing when
A bit of guile gets out of hand,
And lies are needed once again?
They say the truth can set you free,
But when has someone crossed the line
Of giving up on honesty
Because to err is not divine?
When baby steps grow up too fast
And liars find them ill-advised,
They see the slope that cannot last
Began when first they compromised.
________________
Rating: PG-13 (solely for language)
For a year like 1994 that had acclaimed films like Forrest Gump, The Shawshank Redemption, and Pulp Fiction, it’s not surprising that a good but lesser film would be swept under the rug, so to speak. With so many good films that year, Quiz Show remained an afterthought, both during the awards season and for my own to-watch list, even if it was directed by Robert Redford. This really is a shame because this is a potent exploration of intellectual and personal honesty and might have performed much better in a less competitive year (1996 perhaps).
Quiz Show is based on the memoir of Richard Goodwin, an investigator for the Legislative Oversight Committee of the House of Representatives back in the 1950s. Rob Morrow plays Goodwin in the film, a lawyer who notices some peculiarities on a popular quiz show called Twenty One and follows a hunch to investigate. Apparent genius and champion Herb Stempel (John Turturro) is told to take a dive by the show’s producers (David Paymer and Hank Azaria) and loses on an easy question to allow the advent of Charles Van Doren (Ralph Fiennes). As likable Van Doren’s star rises, Stempel is ignored as he alleges corruption on the supposedly upstanding quiz show. As the investigation progresses, ethics are stretched, and new information comes to light that blurs the lines of right and wrong.
Thanks to excellent casting, Turturro and Fiennes really steal the show here. The missing teeth and, shall we say, homely appearance of the former ideally casts him as the ugly step-contestant, while the verbal grace and perfect hair of the latter offer a striking contrast to his predecessor. It leaves no doubt as to the reasoning of the showrunners. To them, Stempel should be the pitiful reject who can’t cope with losing, and Van Doren should be the shining example of virtue and erudition. In the hands of a lesser filmmaker, Stempel might have become the browbeaten underdog and Van Doren the haughty record holder. Yet while these characterizations are somewhat true, there are many more nuances and complex motivations behind them.
Van Doren, in particular, is depicted as a right decent chap, one who values honesty and intelligence but edges down a slippery slope. Fame can be quite the drug. Why else do so many people do such stupid stunts and post them on the internet? Why else would a successful college professor risk his career for a game show? One might take comfort in the “no one will ever know” mentality, but Van Doren seemed from the start as someone to respond with the “I would know” answer and refuse. Yet the web is woven. He revels in his newfound popularity but buckles under the weight of his own complicity, all while remaining entirely likable, both to us and to Mr. Goodwin. Though liberties are said to have been taken with the details, the ethical conflict rings true for this true story. After all, game shows are still watched as a matter of trust that they aren’t rigged. (I remember when Ken Jennings lost shockingly to a one-night wonder on Jeopardy! several years back. He claims that he simply didn’t know the final question, but I still have my doubts, though I tend to think he might have gotten tired of it all and “taken a dive” on his own without any behind-the-scenes intervention.)
Redford paints the moral dilemmas with a steady hand and, like some statements during the Congressional hearings near the end, offers sympathy when proper and reproof when needed. Quiz Show’s strength is that it is far from black and white. Like other films such as The Prestige or Rashomon, there is no clear-cut good guy to root for, just many victims and varying levels of blame. In the end, justice may be said to be done, but not perfectly. Corporate string-pulling proves too persuasive, but Quiz Show isn’t just about an official scandal or the innate duplicity of show business. It’s about honesty, whether tested, lost, or regained.
Best line: (Herb Stempel, offering rugalach to Goodwin) “Come on, they’re a Jewish delicacy. Before Toby eats it.” (Toby Stempel, his wife) “I’m retaining water, for your information.” (Herb) “You and the Grand Coulee Dam.”
Amid Darren and Rob’s October Kingathon, the latest Opinion Battle covers everyone’s favorite Stephen King adaptations. Since I’d already picked Shawshank in the past, I went with Rob Reiner’s Misery, the only King movie to win an Oscar. Vote for your favorite too!
With Rob and myself doing the October Kingathon what better choice for the subject of this rounds Opinion Battles, we have such a range of genre to pick from even if I can have a good guess what everyone will be picking.
If you want to take part in the next round we will be picking Best Franchise with 4 or more films, email moviereviews101@yahoo.co.uk by 18th October 2015
Darren – Movie Reviews 101
Stephen King’s IT (1990)
I have chosen this one because I like the idea of a horror film, I know there are others that could easily be picking like The Shinning, Carrie and I didn’t want t go drama however brilliant Shawshank, Stand By Me and The Stand are. I have pick this one because this is the one film that created a character in Pennywise that will forever haunt…
If anyone hasn’t realized it yet, I really enjoy lists, whether I agree with them or not, and I’ve found a lot of entertaining lists from Miss Mutant of Cinema Parrot Disco. While she focuses on “mainly movies,” she also has plenty of musical posts and song lists. Well, I like music too, so why can’t I join in? Movies and poetry will still be first and foremost for me, but favorite songs may pop up now and then. I’ll still try to find some way to tie it in with movies.
For my first such list, I went with that easiest and perhaps laziest of song lyrics, the “Na na na.” If you don’t know the lyrics, it’s natural to just follow along with this syllabic stand-in, but sometimes songwriters just dispense with further choruses and let the na nas roll. Not only is this easy to remember, it often fits the tune splendidly and makes it stick in the mind…endlessly. Good luck getting these songs out of your head.
Whether the na nas be short or whether the na nas be long,
I’m singing these na nas and bringing these na nas, song by indelible song.
“What Makes You Beautiful” by One Direction
As their debut single, “What Makes You Beautiful” put One Direction on the map of pop music. It’s modern; it’s catchy; it’s got that boy-band glossiness; and as far as mainstream teen music goes, I like it more than most. The actual “na na na” portion is much too short, but it underscores the catchiness of the hook.
“F Games” from the Phineas and Ferb episode “Got Game?”, written by Dan Povenmire, Jeff “Swampy” Marsh, Martin Olson, and Michael Culross
Almost every episode of Disney Channel’s Phineas and Ferb had an original song, many of which are outstanding. This one, from the obligatory boys-vs.-girls episode, has all the intensity of a major sporting event, and I can easily picture fans epically chanting this from the stands.
“I’ll Be Your Shelter” by Diane Warren, sung by Taylor Dayne
Soulful and with some distinctively Tina Turner-ish vocals, this Taylor Dayne single creates an aura of romantic strength, and the na nas bridging each chorus only heighten its appeal. I wonder if this would sound much different if Tina Turner did a cover?
“We Are Young” by fun.
I like fun. That being said, I love “Some Nights” way more than this song, and I don’t think “We Are Young” is all that great until the na na part. Then, as with most na na lyrics, it becomes a rousing earworm worthy of a swaying singalong. I wonder how lead singer Nate Ruess will feel singing this in forty years.
“All the Small Things” by Blink-182
Surprisingly pop-ish for a punk band, “All the Small Things” is utterly catchy, and the more I hear it, the more I like it. The “na na na” portion is upbeat and repetitive enough to leave one out of breath by the end.
I knew I could make a movie connection. High School Musical 2 is easily the best of the HSM films, and this duet is just one among many great songs. This one is also unique in that it has two versions, a sincere love song between Troy and Gabriella and a forced but faster rock version between Sharpay and a hilariously intimidated Troy. I prefer the sincere first one, but my VC actually likes the second version better. Which one do you like?
“Na Na Hey Hey Kiss Him Goodbye” by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to the band “Steam”
Dripping with 1960s/70s-ness, this head-bopper was a number-one hit and is a natural favorite for “in-your-face” rivalries at sporting events. Plus (another movie mention!), it was used to tear-jerking effect in Remember the Titans.
“Lovin’, Touchin’, Squeezin’” by Journey
This song used to act as an introduction to Journey’s “City of the Angels,” but it’s still tender and romantic (if a little less rocking) by itself. During the “na na na” part, I always picture a huge stadium of fans all waving their lighters in the air.
“Hush,” written by Joe South for Billy Joe Royal, better known version by Deep Purple
There are many covers of this song, but I’m personally only familiar with Deep Purple’s version. This early hit was groovy enough for 1968, while setting the stage for heavier rock to come. The instruments go all over the place, but the na nas are there from the very beginning. Plus, it has apparently been in several movies, including Apollo 13.
“Hey, Jude,” by the Beatles
“Hey, Jude” is one of the biggest songs ever produced by the Beatles and a special favorite of my dad’s. A more gentle form of rock, its strength still builds and lingers in the memory, thanks especially to the extended “na na” fadeout. This particular video show the universal appeal of both this song and the “na na,” both easily understood in any language.
“The Look” by Roxette
What do you do if you want to break your music out of Sweden and introduce it to the world? You write a song as awesome as “The Look.” That’s what the duo Roxette did, and the “na na na” section alone bumps it this high on the list. Not enough na nas for you? It has la las too!
“Centerfold” by The J. Geils Band
I’m the last person to be checking out centerfolds, but I looooooove this song! IMO, this is easily the catchiest song on the list and the one to which I most enjoy rocking out in the car. Na nas don’t get much better than this.
Runners-Up:
“12lb Toothbrush” – Madder Lake
“A Horse with No Name” – America
“Comeback Kid (That’s My Dog)” – Brett Dennen
“Come Back Song” – Darius Rucker
“Crash” – The Primitives
“Gettin’ Jiggy wit It” – Will Smith
“How Do You Do” – Mouth & MacNeal
“Kick in the Teeth” – Papa Roach
“Na Na Na (Na Na Na Na Na Na Na Na Na)” – My Chemical Romance
“Na Na” – Superchick
“P.Y.T. (Pretty Young Thing)” – Michael Jackso
“So What?” – Pink
“Tell the World” – Eric Hutchinson
“Tonight, Tonight” – Hot Chelle Rae
“Undo It” – Carrie Underwood
“Welcome to the Jungle” – Guns N’ Roses (I barely remember the na na part, but my VC insisted on mentioning this one.)
I’m sure there are plenty of other good na na songs out there, but these are the ones I’ve heard and liked. Feel free to recommend other potential favorites!
Check out my contribution to Miss Mutant’s iMDB Challenge at Cinema Parrot Disco: 1930’s All Quiet on the Western Front. I’m not always a fan of “old” movies, but this one’s a true classic!
Today’s IMDB Top 250 Guest Review comes from S.G. Liput of Rhyme And Reason. Thanks for the review, S.G.! 🙂 Now let’s see what he has to say about All Quiet On The Western Front, IMDB rank 231 out of 250…
There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list of remaining films HERE. See the full list & links to all the reviews that have already been done HERE. Also, if you’d like to add a link to your IMDB review(s) on your own blogs, feel free to use any of the logos I’ve used at the top of any of these guest reviews.
All Quiet on the Western Front (1930)
A simple pair of boots am I,
Inanimate no more.
I’ve watched my many owners die Engaging in this…
Who would cross a frozen river,
Doubtful of its permanence,
And brave the temperature extremes?
One lacking lawful common sense
Or thawing frozen hopes and dreams?
Who would risk the little had
To aim for better plans ahead?
Perhaps one with a choice to face,
Where desperation dims the dread
And needed greed can turn to grace.
__________________
MPAA rating: R (solely for language)
When you hear stories on the news about illegal activities like smuggling, it’s easy to imagine that the perpetrators are wicked scum-of-the-earth types. While there are undoubtedly plenty of this sort out there, sometimes it takes a movie like Frozen River to put people’s actions in context.
Melissa Leo plays Ray Eddy, a woman just trying to get by on her dollar store paycheck while raising two sons. Intent on leasing a larger mobile home, her plans are devastated by her husband after he disappears with the money to satisfy his gambling addiction. Set against the freezing temperatures of upstate New York, the situation immediately gives the viewer reason to pity Ray’s predicament. From there, her gradual introduction into one leg of a smuggling operation is entirely believable, even as the movie earns its thriller classification with the tension of her potentially being caught. Ray isn’t alone in being sympathetic. Lila Littlewolf (the late Misty Upham), the Mohawk woman who persuades her to help transport illegal immigrants across the Canadian border, has problems of her own with her health, family, and job prospects. While she knows the ins and outs of the smuggling process, she’s no hardened criminal, and the two women form a tenuous but profitable bond.
With all of the debates about illegal immigration in this country, Frozen River thankfully doesn’t have an agenda. Like the Italian film Bicycle Thieves, it doesn’t try to justify the actions of its characters but rather helps us comprehend their motivations. Those scum-of-the-earth types are certainly part of the operation, but Ray and Lila are simply putting their family above the law, which is understandable if not altogether right. Moments of selfishness and concern give way to compassion and maternal solidarity, and though the ending could have benefited from an extra scene of closure, the moral climax plays out as it should. I certainly see why Leo earned a Best Actress nomination (and went on to win for The Fighter), and director Courtney Hunt also received an Oscar nod for her screenplay, which clarifies that not all who break the law have bad intentions.
Here’s my review for MovieRob’s September Genre Grandeur of films from the 1970s. This time, I picked an obscure TV comedy called Evil Roy Slade, sure to tickle your funny bone.
Next month’s Genre has been chosen by me. In honor of the month when Marty McFly came to visit us here in 2015, I have decided that we will be reviewing our favorite movies featuring time travel.
Please get me your submissions by the 25th of October by sending them to timetravel@movierob.net Try to think out of the box!
Let’s see what SG thought of this movie:
_____________________________________
Out on the prairies where buzzards fly free
Is Evil Roy Slade, who sums up villainy,
The sneakiest, cheekiest, vilest, guilest son of a mother you ever did see.
Another day, another morning, not unlike the ones before,
The sun was shining without warning of the tragedy in store.
Another day of normal business, little slated to befall,
The kind to sink into the past without a reason to recall.
Some went about their own routines and kissed their families goodbye,
No knowledge of the future scenes to note suspicion in the sky.
Some woke to smoke and disbelief at holes in buildings unforeseen,
And average folk observed in grief the horrors on their TV screen.
A few of those who woke that day believing they’d have many more,
Above the fields of Pennsylvania, heard the early sins of war.
They perished there as victims of a sudden sorrow we regret,
But challenged it as selfless heroes whom we never will forget.
________________
MPAA rating: R
After hearing so many positive reviews of United 93, I decided I ought to watch it myself, and though I had hoped to see it around the anniversary of 9/11, its power doesn’t rely on when it is seen. Many films based on history try to recreate events accurately, but even if they avoid anachronisms and errors, they rarely transcend their status as a re-creation. Even with historical films I love like Titanic and Chariots of Fire, the presence of recognizable stars, artistic license, and that Hollywood polish belie the fact that I am watching a movie. United 93 is one of the few films that suspended that understanding and temporarily convinced me that I could be watching real events.
Obviously this was the goal for director Paul Greengrass (Captain Phillips), who purposely employed hand-held cameras for their realism and chose unknown actors or, in the case of the ground crews, many of the actual flight controllers who were working on September 11, 2001. The events of 9/11 are widely known, and by focusing on one plane’s story, the film never lets us forget that the viewer is watching a tragedy in progress. Because United Airlines Flight 93 was the only plane where the passengers fought back, its story is clearly the most dramatic in nature, yet its narrative is as convincing as a documentary and never feels theatrical.
From the time of the plane’s takeoff, events play out in real time. Normal people go about their business, making phone calls, taking pills, ordering breakfast, chatting about their kids, and ignoring the four overly silent Arabs who board Flight 93 out of Newark. Because we all know what will happen, the tension builds naturally, as reports come in of American 11 and United 175, which targeted the World Trade Center before Flight 93 had even been hijacked. Realistic interchanges between the air traffic controllers in different cities and the military reflect the confusion of that day, along with all the fear and uncertainty. When the awaited hijacking actually does happen, the tension and anticipation reset as the hostages, like the terrorists before, wait for the right moment to make their move. Difficult decisions and teary phone calls and desperate prayers are made, and even though I knew the outcome, the film made me hope and believe that the passengers might be successful.
Perhaps the most affecting scene is the glimpse we get of the field near Shanksville, Pennsylvania, where the plane crashed. On one of our vacations, my mom and I visited the Flight 93 National Memorial there and walked along the wall of names and saw the boulder that marks the impact point. It was cold and nearly deserted at that time of day, but I got a sense of the importance and grief behind the memorial. Though the film doesn’t even attempt to name the passengers, I felt United 93 only deepened my admiration and sorrow for these fallen heroes who never planned to be heroes.
Best line: (flight attendant Sandra Bradshaw, making a heartbreaking phone call) “But, baby, I promise you, if I get out of this, I’m quitting tomorrow. I’ll quit tomorrow. I promise, I’ll quit tomorrow.”
In centuries past, people memorized poetry, but sadly that practice has fallen by the wayside. So how do we nowadays express our knowledge of entertainment and culture? Movie quotes, that’s how. Everyone has a favorite, and there is no shortage of lists and rankings for the great ones. For people like me who enjoy film quotes enough to read this post, there are many that have wormed their way into our everyday dialogue. I can’t remember how many times I’ve heard or said things like “Game over, man. Game over!” or “What we have here is failure to communicate” or “I’ll be back” or “As you wish” or “I love the smell of bacon in the morning.” Yeah.
Yet there are just as many great quotes that don’t get as much recognition. They often come from specific personal favorites or might just be underrated gems hidden among a film’s more famous lines. Either way, these are quotes that usually serve as inside jokes among the few who know them. Typically, when I employ them outside the family circle, people have no idea what I’m quoting, and I think it’s about time these lines get the attention they deserve. Many of these I remembered offhand, but others only came to mind after several days of waiting for someone to spit them out subconsciously.
To test just how unknown these lines are, I’ve set this list up as somewhat of a game. You can scroll down to read each quote and try to identify its source before going down a little further for the answer.
Something tells me these aren’t all obscure, but I never see them on other lists and I do get a kick out of using them. What are your favorites?
“And we’re walking, and we’re walking…”
Dave – I’ve always enjoyed this political romantic comedy, in which Kevin Kline must take the place of his doppelganger President and falls in love with the First Lady (Sigourney Weaver). For some reason, though, the scene that always sticks in my mind is Bonnie Hunt’s cameo, in which she leads a tourist group through the White House. The perfect line for leading someone or just, you know, walking.
“It is time. Oooooh!”
Heart and Souls– A childhood favorite of mine, Heart and Souls followed four dead souls completing their unfinished business through their human friend/vessel (Robert Downey, Jr.). What else would you expect a ghostly bus driver (David Paymer) to say when he drives through a wall to reclaim the wayward souls? His own personal sound effect adds to this line’s appeal. Perfect for announcing the time.
“You swear?”
“Every damn day.”
The Mummy– I love Brendan Fraser’s heroic Rick O’Connell in this action horror remake. This particular line is so quick that most viewers probably didn’t even notice it, but when Evie (Rachel Weisz) demands reassurance with the question above, he delivers the perfect answer. I’m not a fan of swearing, but I always laugh at that line. Perfect for whenever someone asks you to swear.
“This is a very interesting situation!”
It’s a Wonderful Life– Properly said in your best Jimmy Stewart impression, this quote is ideal for when your sweetheart is naked in a bush and you’re holding the only robe in sight. The look on his face is priceless too. Perfect for just about any remotely interesting situation.
“I like that boulder. That’s a nice boulder.”
Shrek – When Donkey has to come up with something nice to say about Shrek’s swamp, a boulder is the best thing he can praise. This line may be referencing something else, but I have no idea what it is. Just replace the word “boulder,” and this line is perfect for complimenting anything.
“It was real, and it was great, and it was really great.”
Elizabethtown – When Drew (Orlando Bloom) tries to reconnect with sort-of girlfriend Ellen (Jessica Biel), she lets him down easy with this should-be classic line. Other memorable quotes from this Cameron Crowe favorite of mine include “You failed, you failed, you failed” and “I’m going to miss your lips and everything attached to them.” This #7 pick, though, is perfect for breaking up or generally taking your leave of someone.
“You’re right. You’re right. I know you’re right.”
When Harry Met Sally…– This classic rom com has a preponderance of quotable material, from “I’ll have what she’s having” to Billy Crystal’s “pepper in my paprikash” spiel. Honestly, this one flew under my radar for a long time until my VC pointed it out and employed it regularly, just like Carrie Fisher every time Meg Ryan points out that her lover will never leave his wife. Perfect for admitting you’re wrong with no intention of changing.
“Aye, I could do that.” (with Scottish accent)
The Lord of the Rings: The Return of the King– As my favorite movie (series?) ever, Peter Jackson’s Lord of the Rings has had a subconscious effect on my speech patterns. Instead of “Not today,” I say “Not this day!” Instead of “cook potatoes,” I say “Boil ‘em, mash ‘em, stick ‘em in a stew.” Not to mention, “What say you” and “You will suffer me!” Yet I’ve noticed this final film quote from Gimli (John Rhys-Davies) creeping into my conversations a lot lately. Perfect for agreeing to die with a friend or agreeing to anything really.
“Three hours later…” (with fake French accent)
SpongeBob SquarePants – Okay, so this is from a TV show, but I never said this list was just movies. Used as a running gag on Nickelodeon’s overly long-running kids show (which stretched back to my childhood), this line is utilized by the French narrator whenever a period of time passes. It might be “Three hours later” or “One eternity later” or “So much later that the old narrator got tired of waiting and they had to hire a new one.” Perfect for waiting or practicing fake French accents.
“Helloooooo!” (as high and drunk-sounding as possible)
Miracle on 34th Street– My mom and I especially love this scene of the original Christmas classic, in which Mr. Shellhammer (Philip Tonge) gets his wife drunk enough to let Santa Claus move in with them. She’s so snockered that she can’t hold the phone right and answers it hilariously. My mom also likes to use her follow-up line “I think that would be simply charming!” This is one inside joke that insiders will love swapping, but everyone else will think you’re nuts. Perfect for answering the phone and maybe scaring off telemarketers.
“How dare he!” (with fake Scottish accent)
Indiana Jones and the Last Crusade– This is one I use a lot, and not even those who know about it recognize it every time. Surely, you remember the scene where Jones enters the Nazis’ castle in disguise, only for the butler to insist, “If you are a Scottish lord, then I am Mickey Mouse!” Indy’s next line doesn’t get enough credit, though, as he utters “How dare he!” before punching the guy out. It’s a great scene and a perfect line for even the slightest offense.
TIE
“There are many moods of Ben.” and
“He has an empty space.” and
“Look, it’s mouse on a stick. I love mouse on a stick!”
Stuart Little– I haven’t seen this kids’ film in a while, but it’s easy to forget how quotable it is. The “many moods of Ben” gets the most use at my house, where it can apply to anyone who has varied tastes or is just moody. “There are many moods of Joe or Sarah or me, etc.” The second is great for overly emotional acknowledgements that something is wrong, and the third just makes me laugh every time. That “mouse on a stick” line is uttered by a random hungry cat when Stuart is hanging from a tree branch and is perfect whenever I see or eat anything on a stick (which isn’t as often as I would like).
Below are a bunch of other film quotes that my family uses or that we just enjoy more than most:
“Keep your pantyhose on!” – The Abyss(My mom uses this line a lot more than I do.)
“Lord, I’d just like to thank You for that waitress in South Bend. You know who she is – she kept calling Your name.” – A League of Their Own(Yeah, no comment.)
“We’re talking…big.” – Baby Boom(Best used with an accompanying expanding hand gesture and perfect for any big event.)
“Last night, Darth Vader came down from Planet Vulcan and told me that if I didn’t take Lorraine out, that he’d melt my brain.” – Back to the Future(I love it.)
“Never trust a man who puts his hands in your mouth.” – Doc Hollywood(I haven’t yet found the right situation to use this line effectively.)
“You want it. You got it. Toyota.” – Forget Paris(Perfect for saying over and over to annoy someone.)
“You’ve attacked an innocent dwarf.” – Foul Play(Perfect for…I have no idea, but it’s funny.)
“Sometimes there just aren’t enough rocks.” – Forrest Gump(Just one bit of wisdom among many more famous ones, and very true.)
“Everything else was lost in the explosion.” – Funny Farm(Perfect for scaring people into thinking there was an explosion.)
“Is it safe?” – Good Eats/Marathon Man (I know this is a famous line from Marathon Man, but I heard it first on Good Eats, a funny cooking show with lots of movie references.)
“Hold onto your butts.” – Jurassic Park(Perfect for preparing yourself for the worst.)
“Shall we?” – Monsters, Inc. (Sure, this line was in Sleepless in Seattletoo, but I always say it like Mike does after they catch Waternoose in the act.)
“Well, that didn’t work.” – Phineas and Ferb, the pilot episode (Another TV cartoon, but I use this line more often than I care to admit. Perfect “oops” line instead of cussing and screaming when you mess up, or maybe just to sound calm after the screaming.)
Miguel: “Well, don’t blame me.” Tulio: “I BLAME you!” – The Road to El Dorado(A great exchange between Kenneth Branagh and Kevin Kline.)
“Have you tried staples?” – Scrooged (Perfect for attaching antlers to a mouse.)
“Arizona, maybe” and “Little bit jumpy” and “Terrific!” with an OK gesture – Starman (My favorite John Carpenter movie has lots of great quotes.)
“Red light stop, green light go, yellow light go very fast.” – Starman again (Told you; perfect for explaining why you run through yellow lights.)
“Wesa going home!” – Star Wars Episode I: The Phantom Menace(Say what you will about Jar Jar Binks, but he did give me this line, perfect for whenever you’re headed home.)
“I am a lone reed.” – You’ve Got Mail(A great confidence builder from a perfect rom com.)
Here’s Round 11 of Opinion Battles at Movie Reviews 101, where everyone picked the worst sequels imaginable. Superman IV is the worst in my book, but pick which one you think reigns as the biggest stinker.
We have always looked at the best, but now lets look at one subject people always talk about quality of sequels and just how bad some really are. I have picked this subject and I expect to see many different interpenetration of what makes a sequel bad.
Rob and myself are running a Stephen King blogathon through October so I think it would only b right for us to have our own Opinion Battle on Stephen King works, if you want to join in email moviereviews101@yahoo.co.uk by 4th October 2015 with your picks.
Darren – Movie Reviews 101
Saw 6
I personally am picking a film that shattered what was created by the previous film, I am not saying this is the worst film ever I just feel this film doesn’t do the previous instalments the credit they deserve. I am a fan of the idea behind…
Time moves forward, onward toward
A future none can change or guess,
A train that all must get aboard
And some debark with suddenness.
But what if one could board again
To pick up pieces not yet broke,
To change the now before it’s then,
To douse the fire before the smoke?
____________
Rating: PG-13
Have you ever noticed a movie that you immediately wanted to see because you could tell solely from the trailer or the premise that you would like it but for some reason or other you just never got around to seeing it even years after it came out? That never happens, right? Well, that’s what happened with me and Source Code, but finally I saw it and found it to be exactly the kind of film I was hoping for and expecting: fast-paced, compelling, and mind-challenging.
When Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of random commuter Sean Fentress on his way to Chicago, he is shocked at having no memory of how he got there and even more shocked when the train explodes and kills him. Next, he wakes up somewhere else and is told he is part of a secret government experiment for “time reassignment,” which can repeatedly give him the last eight minutes of Fentress’ life in order to figure out the identity of the bomber. Instructed by a sympathetic adviser (Vera Farmiga) and the demanding creator of this Source Code technology (Jeffrey Wright), Stevens returns to the train, where every passenger is a suspect and every repeat reveals something new.
If it seems like a mix of Quantum Leap and Groundhog Day, well, it is, and there’s not a thing wrong with that. I love the concepts of both, and fusing the two was what initially attracted me. Yet as easy as it might be to write the film off as unoriginal, Source Code takes some unexpected turns that not only question the morality of Stevens’s situation but bend its sci-fi idea to turn a no-win scenario into an oddly satisfying ending. (My VC was of a different mind and felt the ending was too unbelievable to be fulfilling.)
Throughout it all, Gyllenhaal provides a surprisingly emotional performance through his eight-minute missions, and the mystery was both enjoyable and urgent. (It was cool how the filmmakers incorporated Quantum Leap’s Scott Bakula for a brief but significant unseen role.) There are certainly unanswered questions, such as the overcomplicated details of how the Source Code actually works and what happens to the real Sean Fentress every time Stevens jumps into him. Nevertheless, like Groundhog Day, Source Code overcomes all its repetition and deserves multiple viewings; just remember, “everything is going to be okay.” Here’s a funny parody from MAD that made me want to see it even more:
Best line: (Stevens) “Christina, what would you do if you knew you had less than one minute to live?” (Christina, a fellow passenger) “I’d make those seconds count.”
Rhyme and Reason 