Vic Sage

Name ONE quote from Nightmare. ONE. I dare ya. i don't know why that's a defining criteria, but ok, here's 2: - Freddie: "I'm your boyfriend now, Nancy!" - "One, two, Freddy's coming for you. / Three, four, better lock your door. / Five, six, grab your crucifix. / Seven, eight, better stay awake. / Nine, ten, never sleep again..."

totally. it's a series of set-pieces, so you can pick it up at any point and get some entertainment. Aretha, Ray Charles, Cab Calloway, and the BBs themselves all give highly entertaining performances; and car crashes this excessive are always fun.

AIRPLANE!, despite its towering place in our collective unconscious, started a terrible sub-genre and wasn't particularly good even in its day. Now, it is almost unwatchable. MIDNIGHT RUN is a good, above-average action comedy. I don't think its anything that special, but it's certainly a better movie than AIRPLANE.

Heathers is a fascinating, darkly funny little movie that is to "teen HS coming-of-age comedies" as LORD OF THE FLIES is to THE HARDY BOYS. But DIE HARD is a huge, iconic movie that created a sub-genre. And it holds up pretty well today, even after repeated viewings.

ELM ST is a clever little horror film, with a lot more on its mind than it would otherwise appear. and BB is little more than a string of musical numbers and car crashes. But you know what? Jake and Elwood are just too cool to vote against. Ya see, they're on a mission from god.

cartoonish, hyperkinetic and convoluted oedipal sf/comedy vs mediocre romance novel comedy yuck on both their houses.

she shoulda been naked...

for more discussion of LOGAN'S RUN, SATURN 3 and other films, see... http://cranepoolforum.net/phpbb2/viewtopic.php?t=8860

to the extent it evokes Sayles and Springsteen, i see that as good things. Blades was terrific. Mostly, though, i love the magical realism, which is rarely done this well.

Robocop was well-crafted and original in vision and style. The Untouchables was well-crafted and not. I think that's a little unfair. They're both derivative, just from different sources. DePalma is a film school geek whose films, like the Coen Bros, are always about other films (mostly hitchcock, but not exclusively). UNTOUCHABLES is self-consciously about Hollywood filmmaking, and its cliamx is a homage to the "odessa steps" sequence from Eisenstein's POTEMKIN. Paul Verhoven's ROBOCOP, however, is derived from other media, from cyberpunk fiction to anime like "8th Man" (which was the basis for the movie's story) and the Japanese superhero series "Uch� keiji Gyaban" (the first of Toei's "Metal Hero" series) was the basis for RoboCop's design. Comic books like IRON MAN were influential as well, as well as recent SF of that period, like BLADERUNNER (which was the film that inspired the screenwriter originally) and TERMINATOR. Other derivations: Robocop's musical theme is the same five-note motif used in the score of Bride of Frankenstein; the repeated line 'I'd buy that for a dollar!' comes from Cyril Kornbluth's short story 'The Marching Morons', which is a similar satire of commercial culture. I will agree that ROBOCOP is original in blending many non-Hollywood influences into its overall vision. It feels strikingly modern compared to the old-fashioned qualities of UNTOUCHABLES. But i think one can overstate its "originality' by ignoring its pop culture influences.

Jenny Agutter was way hot. Did you ever see WALKABOUT?

UNTOUCHABLES is classic Hollywood craftsmanship; ROBOCOP is an over-the-top comicbook movie. A close call. But... GO, ROBO, GO!!

Close call. I went with "Buehler, Buehler" because i can always watch it. Despite the artistry of ROGER RABBIT, i find it increasingly tedious with repeated viewings.

2 good pics, but i went with RISKY BUSINESS. The great Tangerine Dream score, and its the GRADUATE of its generation. Established Cruise as a star. It's smarter than it pretends to be, which is consistent with its general theme of cynicism. WEREWOLF is a solid blend of horror and comedy, which is hard to pull off. But it's failure is inherent in the werwolf genre... the hero is doomed. So you've got to make his ultimate demise meaningful, in some way, in order to justify the tragedy. But it wasn't. He just gets shot after going on a rampage. Also, the failure to include the Zevon song is fatal.

TESB v WS... you're kidding, right?

saw it with the missus. review to follow. for Woody filmography, see MATCHPOINT thread: http://cranepoolforum.qwknetllc.com/phpbb2/viewtopic.php?t=2131

I knew it was going to be a bad year when i couldn't draft my fantasy team. But to have the Mets ACTUALLY suck while my fantasy team virtually sucked was suckitude of too high an order to tolerate. congrats to Smeggy.

a few thoughts: - the BHC movies were total hackwork to begin with, so Brattner is a perfect choice; - Brattner has some balls to criticize Mann, who is a talented visionary filmmaker (see the MANN filmography discussed at http://cranepoolforum.qwknetllc.com/phpbb2/viewtopic.php?t=4148) who was doing an adaptation of HIS OWN TV SERIES and so had the prerogative of doing it any way he wanted... unlike Brattner, who is just a hired gun riding the coattails of a previously successful movie franchise. - Of COURSE Brattner needs to use the song... he lacks the original vision to create anything new.