1/28/2018 0 Comments See Tuck Everlasting Download FullAuthor Prologue The first week of August hangs at the very top of summer, the top of the live-long year, like the highest seat of a Ferris wheel when it pauses in its turning. The weeks that come before are only a climb from balmy spring, and those that follow a drop to the chill of autumn, but the first week of August is motionless, and hot. It is curiously silent, too, with blank white dawns and glaring noons, and sunsets smeared with too much color. Often at night there is lightning, but it quivers all alone. Tuck Everlasting has 188,152 ratings and 7,460 reviews. Havenisle said: I loved the story but I hated the ending. This was the first book I was ever mad. Find and save ideas about Tuck everlasting on Pinterest.| See more ideas about Winnie foster, Tuck everlasting activities and Natalie babbitt. Lovely version of the favorite middle-school book. Read Common Sense Media's Tuck Everlasting review, age rating, and parents guide. There is no thunder, no relieving rain. These are strange and breathless days, the dog days, when people are led to do things they are sure to be sorry for after. One day at that time, not so very long ago, three things happened and at first there appeared to be no connection between them. At dawn, Mae Tuck set out on her horse for the wood at the edge of the village of Treegap. She was going there, as she did once every ten years, to meet her two sons, Miles and Jesse. At noontime, Winnie Foster, whose family owned the Treegap wood, lost her patience at last and decided to think about running away. And at sunset a stranger appeared at the Fosters’ gate. Directed by Jay Russell. With Alexis Bledel, Jonathan Jackson, Sissy Spacek, William Hurt. A young woman meets and falls in love with a young man who is part of a. He was looking for someone, but he didn’t say who. No connection, you would agree. But things can come together in strange ways. The wood was at the center, the hub of the wheel. All wheels must have a hub. A Ferris wheel has one, as the sun is the hub of the wheeling calendar. Fixed points they are, and best left undisturbed, for without them, nothing holds together. But sometimes people find this out too late. 1 The road that led to Treegap had been trod out long before by a herd of cows who were, to say the least, relaxed. It wandered along in curves and easy angles, swayed off and up in a pleasant tangent to the top of a small hill, ambled down again between fringes of bee-hung clover, and then cut sidewise across a meadow. Here its edges blurred. It widened and seemed to pause, suggesting tranquil bovine picnics: slow chewing and thoughtful contemplation of the infinite. And then it went on again and came at last to the wood. But on reaching the shadows of the first trees, it veered sharply, swung out in a wide arc as if, for the first time, it had reason to think where it was going, and passed around. On the other side of the wood, the sense of easiness dissolved. The road no longer belonged to the cows. It became, instead, and rather abruptly, the property of people. And all at once the sun was uncomfortably hot, the dust oppressive, and the meager grass along its edges somewhat ragged and forlorn. On the left stood the first house, a square and solid cottage with a touch-me-not appearance, surrounded by grass cut painfully to the quick and enclosed by a capable iron fence some four feet high which clearly said, 'Move on—we don’t want you here.' So the road went humbly by and made its way, past cottages more and more frequent but less and less forbidding, into the village. But the village doesn’t matter, except for the jailhouse and the gallows. The first house only is important; the first house, the road, and the wood. There was something strange about the wood. If the look of the first house suggested that you’d better pass it by, so did the look of the wood, but for quite a different reason. The house was so proud of itself that you wanted to make a lot of noise as you passed, and maybe even throw a rock or two. But the wood had a sleeping, otherworld appearance that made you want to speak in whispers. This, at least, is what the cows must have thought: 'Let it keep its peace; we won’t disturb it.' Whether the people felt that way about the wood or not is difficult to say. There were some, perhaps, who did. But for the most part the people followed the road around the wood because that was the way it led. There was no road through the wood. And anyway, for the people, there was another reason to leave the wood to itself: it belonged to the Fosters, the owners of the touch-me-not cottage, and was therefore private property in spite of the fact that it lay outside the fence and was perfectly accessible. The ownership of land is an odd thing when you come to think of it. How deep, after all, can it go? If a person owns a piece of land, does he own it all the way down, in ever narrowing dimensions, till it meets all other pieces at the center of the earth? Or does ownership consist only of a thin crust under which the friendly worms have never heard of trespassing? In any case, the wood, being on top—except, of course, for its roots—was owned bud and bough by the Fosters in the touch-me-not cottage, and if they never went there, if they never wandered in among the trees, well, that was their affair. Winnie, the only child of the house, never went there, though she sometimes stood inside the fence, carelessly banging a stick against the iron bars, and looked at it. But she had never been curious about it. Nothing ever seems interesting when it belongs to you—only when it doesn’t. And what is interesting, anyway, about a slim few acres of trees? There will be a dimness shot through with bars of sunlight, a great many squirrels and birds, a deep, damp mattress of leaves on the ground, and all the other things just as familiar if not so pleasant—things like spiders, thorns, and grubs. In the end, however, it was the cows who were responsible for the wood’s isolation, and the cows, through some wisdom they were not wise enough to know that they possessed, were very wise indeed. If they had made their road through the wood instead of around it, then the people would have followed the road. The people would have noticed the giant ash tree at the center of the wood, and then, in time, they’d have noticed the little spring bubbling up among its roots in spite of the pebbles piled there to conceal it. And that would have been a disaster so immense that this weary old earth, owned or not to its fiery core, would have trembled on its axis like a beetle on a pin. 2 And so, at dawn, that day in the first week of August, Mae Tuck woke up and lay for a while beaming at the cobwebs on the ceiling. At last she said aloud, The boys’ll be home tomorrow! Mae’s husband, on his back beside her, did not stir. He was still asleep, and the melancholy creases that folded his daytime face were smoothed and slack. He snored gently, and for a moment the corners of his mouth turned upward in a smile. Tuck almost never smiled except in sleep. Mae sat up in bed and looked at him tolerantly. The boys’ll be home tomorrow, she said again, a little more loudly. Tuck twitched and the smile vanished. He opened his eyes. Why’d you have to wake me up? I was having that dream again, the good one where we’re all in heaven and never heard of Treegap. Mae sat there frowning, a great potato of a woman with a round, sensible face and calm brown eyes. It’s no use having that dream, she said. Nothing’s going to change. You tell me that every day, said Tuck, turning away from her onto his side. Anyways, I can’t help what I dream. Maybe not, said Mae. But, all the same, you should’ve got used to things by now. Tuck groaned. I’m going back to sleep, he said. Not me, said Mae. 'I’m going to take the horse and go down to the wood to meet. Time drags by for Winnie Foster, an eleven-year-old girl who lives in a house bordering the woods owned by her family. Winnie spends her summer days under the watchful eye of her grandmother. Most of the time it's too hot to be out in the sun, and when Winnie does actually venture outside, she never goes beyond the fence of the yard. But one morning she sneaks away into the woods and there she sees a young man drinking from a mysterious spring of water he uncovers at the base of tree. The young man, Jesse Tuck, discovers Winnie watching him. So he kidnaps her.Actually, the entire Tuck family — Mae and Pa and Jesse's brother Miles — kidnap Winnie. They have to keep the spring that Winnie has seen a secret, because the strange water there makes anyone who drinks from it live forever. Long ago the Tucks unknowingly drank from the spring, and now the four of them are over 500 years old. They have come to learn that immortality is not a blessing but a curse. Winnie is won over by the kind family. But she's not the only one who knows their secret. A man wanting to buy the well and make it famous has been watching the Tucks all along, and the only way to stop him is to take away the life he so wants to make last forever. Soon, Winnie must help her new friends escape from the police; she must break every rule that she knows, to insure that the most important rule in life — death — is not broken by everyone else.Natalie Babbit's celebrated story is both magical in its fantasy and powerful in its themes of time and life. Her vivid writing makes the landscape of the woods and countryside as easy to imagine as the characters who inhabit it. History passes the Tuck family by; they are doomed to live forever. But though they live outside the rules of time, they never live beyond the rules of human compassion and feeling. Time drags by for Winnie Foster, an eleven-year-old girl who lives in a house bordering the woods owned by her family. Winnie spends her summer days under the watchful eye of her grandmother. Most of the time it's too hot to be out in the sun, and when Winnie does actually venture outside, she never goes beyond the fence of the yard. But one morning she sneaks away into the woods and there she sees a young man drinking from a mysterious spring of water he uncovers at the base of tree. The young man, Jesse Tuck, discovers Winnie watching him. So he kidnaps her.Actually, the entire Tuck family — Mae and Pa and Jesse's brother Miles — kidnap Winnie. They have to keep the spring that Winnie has seen a secret, because the strange water there makes anyone who drinks from it live forever. Long ago the Tucks unknowingly drank from the spring, and now the four of them are over 500 years old. They have come to learn that immortality is not a blessing but a curse. Winnie is won over by the kind family. But she's not the only one who knows their secret. A man wanting to buy the well and make it famous has been watching the Tucks all along, and the only way to stop him is to take away the life he so wants to make last forever. Soon, Winnie must help her new friends escape from the police; she must break every rule that she knows, to insure that the most important rule in life — death — is not broken by everyone else.Natalie Babbit's celebrated story is both magical in its fantasy and powerful in its themes of time and life. Her vivid writing makes the landscape of the woods and countryside as easy to imagine as the characters who inhabit it. History passes the Tuck family by; they are doomed to live forever. But though they live outside the rules of time, they never live beyond the rules of human compassion and feeling.
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'Degrassi Junior High' was set in Toronto, Canada and focused on the lives of teenage students. The charcters were realisitc and delt with real life issues such as sex, drugs, dating, pregnancy, rock and roll, and much more. The actors looked like real people, not models, and they were good at acting. This added to how realistic Degrassi JH was. Degrassi Junior High ran for three seasons and after the students graduated from junior high school, the show became Degrassi High, and continued for two more seasons. The following year saw the tv movie School's Out, which focused on the student's life during the summer after high-school graduation. Episode Recap Degrassi Junior High on TV.com. Watch Degrassi Junior High episodes, get episode information, recaps and more. In 2001 Degrassi: The Next Generation started. It is much like Degrassi Jr High but with a new young cast. And old faves like Snake, Spike, Joey, & Caitlin are now parents & teachers (and couples). Theme Song Wake up in the morning, feeling shy and lonely, gee, I gotta go to this school. I don't think I can make it, don't think I can take, I wonder what I'm gonna do. But when I look around and see, that someone is smiling right at me, wait, someone talkin' to me, hey, I gotta new friend. Everybody can succeed, all you gotta do is believe, let's be honest with yourself, forget your fears and doubts, come on give us a try at Degrassi Junior High. - Words and Music by Lewis Manne and Wendy Watson Broadcast Information January 1987-March 1987 Sundays 5:00-5:30pm January 1988-March 1988 Mondays 8:30-9:00pm November 1988-March 1989 Mondays 8:30-9:30pm November 1989-Febuary 1990 Mondays 8:30-9:00pm November 1990-Febuary 1991 Mondays 8:30-9:00pm How Do I Get Degrassi Junior High? All 3 seasons of Degrassi Junior High are now available on DVD. They can be purchased at www.amazon.com. Degrassi Junior High is also still available on VHS. For VHS ordering go to more less. Lucy has a party while her parents are out-of-town, but doesn't tell Clutch since she is afraid he will bring booze and get drunk. Joey, Snake and Wheels get Clutch to buy a case of beer for them (which is how Clutch finds out about Lucy's party). They are stopped by the police when they decide to have a drink on their way to Lucy's. Shane comes out of his coma at the hospital. When Lucy's parents call from the airport because their flight is cancelled, everyone cleans up and leaves. Before her parents arrive, Clutch shows up drunk after Lucy's ex-boyfriend Paul had tried to convince him not to go. After he tries forcing her to make out with him, Lucy knees him in the groin and hurries him out before her parents show up. She breaks up with him the next Monday at school because of his drinking. Melanie finds herself broke when she celebrates getting her braces off and offers to buy her friends pizza and drinks. She's later shocked when Snake asks her to the Gourmet Scum concert and learns she has to pay $20 for her own ticket. Melanie resorts to stealing the $20 from her mom; resulting in being grounded, missing her long awaited date with Snake and left with a concert ticket. BLT bets Joey $20 he can't get a date by Friday night. When a vulnerable Caitlin apprehensively accepts Joey's offer, she's livid when she discovers their date was riding on $20 and shocked when Joey rips the money up and tells Caitlin he has feelings for her. Meanwhile, Spike is upset when Shane uses his child support money to buy a Gourmet Scum ticket for himself when she was intending to go. Luckily, Melanie has a spare ticket of her own. Kathleen develops anorexia in the midst of a constantly stressful homelife. While working on a science fair project together, Melanie reads Kathleen's diary and discovers the source of Kathleen's horrible mood swings to be the product of starvation. After passing out during the science fair, Melanie realizes she has to get Kathleen help. Heather and Erica, who are doing their science fair project on eating disorders, falsely believe Lucy is anorexic and warn Alexa about the dangers involving the crash diet she has in mind. Meanwhile, Scooter and Bartholomew think they have discovered a breakthrough involving junk food during their science fair project involving a male and female rat, only to discover the female rat is pregnant. Erica develops a crush on Clutch and asks Heather to find out his birth sign to see if they're compatible. In the process, Clutch asks Heather out to go bowling, so the twins decide to trade places so Erica can attend the date instead. While temporarily filling in for Erica during her dentist appointment, Heather is shocked to find out Clutch used their date to get closer to Lucy. Alexa and BLT's relationship begins to fall apart, making her realize she wants Simon back. Meanwhile, Wheels is finally feeling better since the death of his parents but takes out his bottled up aggressions on a bully as Borden High. Caitlin is inspired after Liz educates her about animal testing and insists an article dedicated to the issue should be included in The Digest instead of Kathleen's article about school uniforms. Kathleen later confronts Caitlin about the whole truth about animals testing and how it's not always unnecessary. Caitlin conducts her own research and discovers her epilepsy pills are tested on animals. When Joey's job at CRAZ Radio begins to suffer after he fails to do the required janitorial work, he's later inspired by Dr. Sally who tells him she likes his demo and to keep up the good work. Meanwhile, Bartholomew and Scooter learn a lesson about truth after ordering 'sea creatures' to no prevail. Having witnessed their letdown, Mrs. Avery decides to intervene. When Snake's successful older brother returns home from medical school to announce he's gay and is moving in with his boyfriend, Snake doesn't know how to deal with it. Meanwhile, Joey gets a job at CRAZ radio in an attempt to get his band discovered. Lucy takes matters into her own hands when Paul's rumor that they had sex makes her an outcast with her friends. Arthur becomes annoyed when his cousin, Dorothy, begins betting her classmates that Arthur is rich in an attempt to make some extra cash. Having developed a crush on Joey, Caitlin agrees to be partners with him in order to help him with his grade. After she mistakes his mention of the school dance as an invitation, she is mortified when she arrives and sees Joey and Liz together. While talking about wanting to break up with Simon, Alexa notices Michelle's crush on BLT and offers to help her get noticed by him. Feeling betrayed when Alexa takes BLT for herself, Michelle and Simon scheme to get her back by going to the dance together. Meanwhile, Yick and Arthur discover Dorothy has a crush of her own.on Yick! Dorothy decides to take it upon herself to mend Arthur and Yick's friendship after they get in a dispute over financial differences while exchanging gifts. After forgiving eachother once Dorothy takes them on a walk down memory lane, they realize their gifts weren't what they expected in the first place. When Emma's daycare falls through and Spike is forced to care for her at Degrassi, Shane is overjoyed when Spike finally allows him to meet and hold his daughter. Meanwhile, the school endures a heat wave brought on by a broken furnace. Lucy finds herself breaking promises and hurting her friends as her relationship with Paul becomes more serious. When she cancels a sleepover she promised for LD, Erica, and Heather in order to throw a party for Paul and his friend Clutch, her friends are livid when they learn she lied to them and didn't invite them to the party. Karma bites back when Paul starts a rumor that he and Lucy had sex at the party; branding Lucy a promiscuous reputation. Meanwhile, Wheels is hurt that Snake hasn't talked to him since his parents died, and confides in Joey who reveals that Snake doesn't know what to say to him. After losing the student council president election, Kathleen takes her anger out on Melanie who decides she's longer putting up with Kathleen's attitude and retaliates. With no one knowing what to say following the death of his parents, Wheels finds himself in a deep depression and unable to attend school or continue playing in The Zit Remedy. Yick is shocked to learn Arthur's mother won over a million dollars in the lottery over the summer and even more surprised when Arthur tells him he wants to keep it a secret. Meanwhile, Lucy's friendships are affected by her new relationship with Paul, Kathleen and Nancy continue to vie for the poisition of school president, and Spike is shocked when Shane voluntarily decides to give her child support for the baby he isn't allowed to see. The new school year begins with Wheels' parents forbidding him to hang out with Joey, as a continuing punishment for their joyride last year. As The Zit Remedy prepares to finally record a demo of 'everybody wants something,' Wheels is forced to sneak out to Joey's house to record while his parents are at the movies. When Wheels arrives home, he's shocked to learn his parents have been killed by a drunk driver. Yick becomes suspicious when Arthur shows up on the first day of school wearing an expensive leather jacket and telling tales of Stephanie being sent away to an even more expensive private school. Meanwhile, Lucy catches the eye of Paul while at Borden High, Kathleen rejects Melanie's offer to be her campaign manager for the looming election, and Spike keeps Shane away from their baby girl, Emma. More less • •. Summary: Marybeth escapes the clutches of the deformed, swamp-dwelling iconic killer Victor Crowley. After learning the truth about her family's connection to the hatchet-wielding madman, Marybeth returns to the Louisiana swamps along with an army of hunters to recover the bodies of her family and exact the bloodiest revenge against the bayou Marybeth escapes the clutches of the deformed, swamp-dwelling iconic killer Victor Crowley. After learning the truth about her family's connection to the hatchet-wielding madman, Marybeth returns to the Louisiana swamps along with an army of hunters to recover the bodies of her family and exact the bloodiest revenge against the bayou butcher. The Hatchet trilogy is about undead psychopath Victor Crowley murdering people in a. List of deaths in the Hatchet series. Hatchet II (2010) Edit. (Dark Sky Films). Let me start out by saying that if you don't like blood and guts in your horror, stay the hell away from this. This is a movie that most people will know if they'll enjoy right from the get-go. Hatchet 2 is just about the bloodiest movie I have ever seen, and I loved it. The acting isn't all Let me start out by saying that if you don't like blood and guts in your horror, stay the hell away from this. This is a movie that most people will know if they'll enjoy right from the get-go. Hatchet 2 is just about the bloodiest movie I have ever seen, and I loved it. The acting isn't all there, some of the dialogue is stiff as a plank of wood, and it's just about bursting with all your standard horror movie cliches, but it doesn't pretend to be anything other than what it is, and what it is is an old school, ultra violent slasher with a sense of humor- just like the first Hatchet. The death scenes are all inventive and highly enjoyable, amusing lines abound, and the ending will satisfy many a frustrated horror fan (you'll know what I mean when you see it.) That's all you need to know. If you haven't made your mind up by now, you need more help than I can offer. What made the first film some-what good was that the fact that it was a throwback to 80s horror, meaning over the top (painfully fake) special effects and poor acting. You can tell the cast really didn't try much because they knew what the first film really was, a sort of tribute to 80s What made the first film some-what good was that the fact that it was a throwback to 80s horror, meaning over the top (painfully fake) special effects and poor acting. You can tell the cast really didn't try much because they knew what the first film really was, a sort of tribute to 80s horror. In this film, the cast actually tries to act and it's bad, Not the worst I have seen but it's definently up there. Not to mention that the special effects were far more painfully fake (and at times very stupid) in this film then they were in the first. It was just awful. I think Hatchet 2 proved what the series really is - An overrated and pathetic horror series. The only people who will enjoy this film are people who have no true taste in horror and love over the top special effects that are so painfully fake that it's pathetic. Showdown in Little Tokyo is a 1991 American buddy cop-action film directed by Mark L. Lester and starring Dolph Lundgren and Brandon Lee. It was Brandon Lee's first American film role. The film was released in the United States on August 23, 1991. More Showdown In Little Tokyo images. Action Two cops have to work together to bring down the yakuza, while trying to protect a beautiful women. By Cosmic Van I can't believe that in late-2014 we're still seeing originally theatrical releases being released for rent/purchase in VHS-style fullscreen format, but here it is. Anyway, this is a great action-comedy, with lots of hot chicks, classic one-liners, great martial artists and fight scenes, a Yakuza boss (Kary Hiroyuki-Tagawa) that will scare the crap out of you, and interesting racial humor. Brandon Lee and Dolph Lundgren are awesome in this highly under-rated movie. Just know that this is not in widescreen, so I will wait. 1/28/2018 0 Comments See As Good As Dead ViozPest Control, Inc. Is a family owned and operated pest control company servicing the Chicagoland area since 1982. Crime Seeking revenge for the murder of their religious leader, fundamental loyalists kidnap and torture the man they believe responsible, but the ensuing clash of right vs. Left ideologies. See full summary ». More news for As Good As Dead. As Good as Dead is a 1995 television film written, produced, and directed by Larry Cohen. The psychological thriller, originally broadcast on USA Network. Of the dozens of grunge (or 'heavy alternative') bands that emerged in the wake of 's success, one of the few that managed anything close to 's emotional resonance was. Just as much of 's early material was informed by 's experiences growing up as a misfit in blue-collar Aberdeen, WA, 's spun a loose concept album out of life in Zion, IL, a dead-end town in the industrial Midwest, for the group's second disc,. Though 's artier ambitions added an oddball sonic undertow to his neo- dropped chords, ' tastes obviously run to meat-and-potatoes hard rock, with just enough of a melody line to give you something to hum while you bang your head. But while has the guitar (and bass) style of a rock dude, like, he has the soul of a punk rocker, albeit one growing up in a nowhere town who isn't sure how to get out. With 13 songs written in the voice of a guy who never got past the city limits, is a litany of bitterness over a life that's being wasted before your very eyes, from the dumb-ass machismo of 'High-Fiving MF' and the delusional nostalgia of 'Back in the Day' to the self-destructive dysfunctional relationship of 'No Problem' and the alcoholic self-loathing of 'Fritz's Corner.' Even the album's funny moments speak of disappointment and dashed hopes -- in 'Lovey Dovey,' sounds happiest when his best friend is fighting with his girlfriend, and while the line 'If I was /Would you like me any better?' Cuts several ways at once, there's something in the delivery that suggests knows the answer.and doesn't want to hear it. Musically, sounds just as brutal as its lyrics; while there's a graceful minor-key lyricism to quieter number like 'No Problem' and 'Eddie Vedder,' and drummer bash with an unsettling intensity on 'Nothing Special' and 'I Saw What You Did and I Know Who You Are.' While the two sludgy slow numbers that close the album bring to a disappointing conclusion, maybe it's appropriate -- you can't end an album about failure on a note of triumph, and anyone who grew up in a one-paper town will doubtless wince with recognition at the bitter hopelessness of. In late 1944, the Allies invaded the Japanese-held Philippines, and soon the end of the Pacific War was within reach. But for the last 150 American prisoners of war still held on the island of Palawan, there would be no salvation. After years of slave labor, starvation, disease, and torture, their worst fears were about to be realized. On December 14, with machine guns trained on them, they were herded underground into shallow air raid shelters—death pits dug with their own hands. Japanese soldiers doused the shelters with gasoline and set them on fire. Some thirty prisoners managed to bolt from the fiery carnage, running a lethal gauntlet of machine gun fire and bayonets to jump from the cliffs to the rocky Palawan coast. By the next morning, only eleven men were left alive—but their desperate journey to freedom had just begun. As Good as Dead is one of the greatest escape stories of World War II, and one that few Americans know. The eleven survivors of the Palawan Massacre—some badly wounded and burned—spent weeks evading Japanese patrols. They scrounged for food and water, swam shark-infested bays, and wandered through treacherous jungle terrain, hoping to find friendly Filipino guerrillas. Their endurance, determination, and courage in the face of death make this a gripping and inspiring saga of survival. Praise for As Good As Dead. “ As Good as Dead tells an almost unbelievable story of cruelty and despair in which ordinary men survived by defiant determination, simply refusing to submit to their apparent fate. Moore tells the story of the Palawan survivors with great skill, and his book should be required reading to gain any understanding of the often neglected war in the Pacific ” Gregory A. Freeman, author of The Forgotten 500: The Untold Story of the Men Who Risked All for the Greatest Rescue Mission of World War II. Sep 17, 2007. Audience Reviews for Zombi: La creazione, (Zombies: The Beginning). Laughably inept film directed by the infamous Mattei (hiding behind his alias Vincent Dawn). It contain a healthy amount of gore plus it blatantly and liberally steals from a Hollywood blockbuster--in this case Aliens--which makes it. Tantifilm.cloud Film in Streaming e Serie Tv in altadefinizione visibili da mobile e compatibile tablet, oltre 100 mila film e serie tv. Zombi: La creazione (2007) is an action, horror movie starring Yvette Yzon and Alvin Anson. It is directed by Bruno Mattei. Click to get latest reviews, trailer & buzz. Sharon, l'unica sopravvissuta al massacro sull'isola pullulante di zombie, ritorna a casa, ma quando cerca di raccontare la tragedia che ha vissuto, nessuno. Dobrodošli na najbogatješo stran za DVD i Divx podnapise.Tukaj boste našli vse kar potrebujete za svoje filme. Here's another Z budget zombie crapfest I've gotten added to the Flixster database (and the Zombie Movie Database as well (zmdb.com) This is Bruno Mattei's last film, and everything you'd expect from the master of low budget zombie action. The plot is absurd, though heavily recycled. The dubs are intolerable. The makeup is half-assed but somehow charming. The end veers off into some unrelated scifi territory, and offer some truly odd bits of costuming and set design. If you like Z movies, this is a good intoxicated weekend watch, but put against any other film standard, this is beyond intolerably bad. Bruno Mattei's latest and last flick brings more zombie madness to our bloodthirsty mitts. I for one am not the biggest fan of zombie flicks, but I respect a movie with loads of gore and with a high level of cheese. And yep, Zombies: The Beginning delivers just that. The story revolves around some cuteass Asian babe who plays a scientist of sorts. She's the lone survivor of a zombie rampage which left her entire crew/team dead. Events lead her back to the island where the zombies live.unlive. And as you can guess, loads of zombies and gore follow. Some weird turns in the story take place, but really, you're only really expecting the next scene of violence. Which basically, this film is fine for. Z:TB was pretty fun, but ultimately it was a tad too tedious, and just really amateurish. For example, in the first 20 minutes they show a nightmare our lead lady has been suffering from three times. No biggie if it's quick or cool, but nope. It's long and stupid.but understandable. Of course if you love cheesy, foreign zombie flicks, this shouldn't bother you in the slightest and you should feel right at home. If you're a die hard fan of Mattei or zombies, there's no reason not to check it out. It delivers the red stuff, the awful (good thing) dubbing, and a ridiculous story. Just don't expect our leading lady to shed any clothing. Even with those nice boobs.no nudity. Oh well, at least there were some zombie boobs. In the hopes of exploring American culture's increased obsession with winning, documentary filmmaker Christopher Bell examines the anabolic steroid use of his two brothers. After setting the stage with a look at the cultural backdrop of the 1980s -- in which hulky stars like Sylvester Stallone and Arnold Schwarzenegger were the ideal -- Bell illustrates how he and his brothers became involved in the bodybuilding subculture, eventually discovering the brutal truth that success in the lifestyle of pumping iron demanded the use of steroids. May 29, 2008 A good documentary will take you places you didn’t plan to go, but I didn’t really expect that from Bigger, Stronger, Faster, an incisive and. ½ I believe that Bigger, Stronger, Faster is an overrated documentary. What is it telling us that we don't know? Absolutely nothing. We know how Anabolic Steroids affect the body and we know that people who use a drug will say it has no harmful affect on them. If you take an extreme amount of any type of drug it will cause health risks and steroids are no different. No drug is completely safe and all these bodybuilders telling us it's not hurting them are full of shit. As for the documentary; it's technically well made. I was entertained by the first half, but it just kept saying the same things over and over and over. The filmmaker doesn't take a side on the issue and that's what saves this documentary for me. With that said the documentary also comes off as unfocused. At times it seems like, hey steroids aren't that bad. Then the next second, steroids are awful and can kill you. To me the brothers and the filmmaker both cop out and blame America for the use of steroids. It's competition that drives them to take steroids. Well you could have an inkling of a backbone and take a stand against it. Growing up, I had posters of Mark McGuire and Sammy Sosa. I cheered as Barry Bonds approached Hanks record. Now when I see those faces it makes me sick. Bonds says to the media, you lie too. So I guess that makes it ok that he cheated to become the best. That's how I feel this documentary comes across. It's ok that athletes are cheating to be the best because everyone lies and cheats. We live in America and this is just a side of effect of that. That's bullshit and this documentary comes off as bullshit to me. Christopher Bell, a power lifter, in the documentary he directed. Credit Magnolia Pictures Just when Christopher Bell’s documentary, seems content to be an entertaining exploration of his and his two brothers’ use of anabolic steroids, it turns a corner and plunges into deeper waters. It happens when Mr. Bell, who narrates the film in the jocular first-person style of Michael Moore or Morgan Spurlock, reflects on steroid use as a metaphor for modern American life. Are steroids un-American, as Senator Joseph R. Is heard to say? Or are they as American as apple pie? How do you reconcile the imperative drilled into children by parents, teachers and the news media that winning is everything with the increasingly quaint moral injunctions to play fair, exercise good sportsmanship and do the right thing? If your childhood idols are preening supermen like Hulk Hogan and Arnold Schwarzenegger, who preached clean living but revealed their own reliance on steroids, which path are you likely to follow? To an impressionable boy, the spectacularly muscular superhero is an irresistible role model. What shy youngster confronted with Superman doesn’t fantasize about changing into a skintight blue suit and transforming into the Man of Steel? The movie shows the evolution of the G.I. Joe action figure from a fit soldier into a mountainous, V-shaped hulk, an increasingly achievable ideal, thanks to steroids. The movie ponders the question of what constitutes cheating when you look objectively at the role of medicine in competitive sport. Is it cheating for a bicycle racer to pump more oxygen into his system by sleeping in a high-altitude chamber? Has Tiger Woods’s Lasik eye surgery given him an unfair competitive advantage? The lines between cheating and fair play, the movie suggests, are hazy to the point of being arbitrary. Pharmaceutical enhancement extends even to the sedate world of classical music, in which musicians susceptible to stage fright consume beta blockers to keep them calm. The bottom line in the debate is the sprinter Ben Johnson’s rationale for using steroids, which cost him his 1988 Olympic 100-meter title: Everybody does it. “Bigger, Stronger, Faster*” methodically examines the history of performance enhancement in sports, concentrating on the years since the mid-1950s when a physician for the United States weight lifting team observed Soviet athletes being given injections. Almost immediately the American pharmaceutical industry began work on developing an oral anabolic steroid, Dianabol, for American athletes. Now and again the movie circles back to the poignant stories of Mr. Bell and his siblings, who, growing up in Poughkeepsie, N.Y., took up weight lifting and strength training to help overcome feelings of inadequacy because of a family tendency toward obesity. Bell, a power lifter who is the smallest of the three (and has written television segments for World Wrestling Entertainment), used to take anabolic steroids but, unlike his siblings, has sworn them off. His older brother, Mike Bell, nicknamed Mad Dog, who as an overweight boy was tauntingly labeled Pugsley, took up weight lifting and became captain of the high school football team. In college, when he discovered that he was no longer his team’s biggest and strongest player, he gave up football for wrestling. Since then Mike Bell has obsessively pursued his dream of becoming a World Wrestling Entertainment star, and once became so frustrated that he attempted suicide. His declaration that he can’t bear the idea of not being a star is the film’s saddest moment. The youngest brother, Mark Bell (nicknamed Smelly), grew up with a learning disability but developed self-esteem as a power lifter. He gave up pursuing a career as a pro wrestler after marrying and becoming a father. But he continues to take steroids (to his wife’s chagrin) and enter weight lifting exhibitions. The movie questions stories about the horrors of steroid abuse. The explosive aggression known as “ ’roid rage” is largely a myth, several experts insist. A hilarious excerpt from a 1994 television movie starring Ben Affleck as a steroid-using high school football player gone berserk is compared to the marijuana scare movie The filmmaker interviews a man in Houston who blames steroids for his 17-year-old son’s suicide, and a San Francisco AIDS patient who was wasting away until he began taking steroids. The movie doubts the football star Lyle Alzado’s assertion that the brain tumor from which he died in 1992 at 43 was caused by steroids. Although the movie doesn’t defend steroid use, neither does it go on the attack. Advertisement “Bigger, Stronger, Faster*” left me convinced that the steroid scandals will abate as the drugs are reluctantly accepted as inevitable products of a continuing revolution in biotechnology. Replaceable body parts, plastic surgery, anti-depressants, and steroids are just a few of the technological advancements in a never-ending drive to make the species superhuman. BIGGER, STRONGER, FASTER* Opens on Friday in Manhattan and in Irvine, Los Angeles and Pasadena, Calif. Directed by Christopher Bell; written by Mr. Bell, Alexander Buono and Tamsin Rawady; director of photography, Mr. Buono; edited by Brian Singbiel; music by Dave Porter; produced by Mr. Rawady and Jim Czarnecki; released by Magnolia Pictures. Running time: 1 hour 33 minutes. This film is not rated. 1/27/2018 0 Comments See Face/Off IMDB—, ' Face/Off is the second American film by Hong Kong director, starring and playing an FBI agent and terrorist, as fighting it out to see who can use. Oh, and then they switch places to save. FBI Special Agent Sean Archer (Travolta) has been pursuing his, terrorist-for-hire Castor Troy (Cage), for six years, ever since Castor sniped Archer's six year old son Michael dead during an attempt on Archer's life. After an intense gunfight, Archer captures Castor, putting him in a coma in the process. However, Archer is nonplussed to learn that before Castor's lights went out, he placed a bomb somewhere in Los Angeles. This competition/elimination series explores the world of special effects make-up artists and the unlimited imagination which allows them to create amazing works of. Default Description. In this competition/elimination series, special effects make-up artists participate in elaborate challenges for a grand prize and the honor of being Hollywood's next great effects artist. Theoretically, this would be the point where the movie completely jumps the rails — but that would be assuming. In order to find where Castor has planted the bomb, Archer is forced to have Castor's face surgically transplanted onto him so he can get close to Castor's nerdy brother Pollux. Except, while Archer (now played by Nicolas Cage) is away, Castor wakes up from his coma and forces the doctors who performed the surgery to do the same to him, and then murders them and everybody else who knew about the operation (including Sean's best friend and partner Tito). With his new face, Castor (now played by John Travolta) begins inserting himself into Archer's life, including wife Dr. Eve Archer (Joan Allen) and daughter Jamie Archer (). Buy Face/Off: Read 714 Movies & TV Reviews - Amazon.com. Find information about the Face Off OG cannabis strain including reviews from other users, its most common effects, where to find it, and more. Although the film is a straight-up action flick with all the requisite high-speed chases, hidden bombs and hostage situations, it's also very much tongue-in-cheek. Not to be confused with the series, a makeup-F/X reality competition on the SyFy Channel. Sasha Hassler: And I'm bored. Put the fucking gun down. •: Pollux Troy •: One prison guard is shot in the foot from below by Archer during the prison break. •: Erehwon Prison (i.e, 'Nowhere' spelled backwards), where the prisoners are forced to wear magnetic boots to get locked into place. The prison and its name play into the film's only major: as Sean Archer (played by Cage) is escaping the prison, he opens a door to walk outside to what he believes is a roof, only to find that it's a helicopter platform, and what lies down is not land, as Archer hopes, but sea. The prison really is 'nowhere,' it's on what used to be an oil rig. •: The script reveals a number of interesting facts about the main characters that were never mentioned in the film: • Castor Troy received a tattoo of the Sphinx on his tenth birthday. It also turns out that that was the day his mother died by overdosing. Though Castor had attempted mouth-to-mouth resuscitation, he failed. Afterwards, he made a promise to protect Pollux. Hence the reason why Castor seems overly protective of Pollux. • Archer comes close to giving himself away by scratching his wedding band. Pollux is also clearly uneasy after telling Archer the location of the bomb because Archer smiles like himself, not like Castor. • Sasha Hassler is 35 years old, and met Castor Troy at a Pearl Jam reunion. • Castor Troy, as shown in the script's version of the scene where he beats up Jamie's boyfriend. The script also suggests that he doesn't seem really fond of the boyfriend simply because Castor thinks he's a bit old for her, even though the real Archer is a few years older than Eve. • The script suggests Archer feels like he killed Tito and Lazarro, indirectly (albeit it was Castor Troy using his face). • Director Lazarro turns out to have formerly served in the Navy as an admiral. •: Castor Troy to Sean Archer. •: Castor Troy's gift box of contraband on the tarmac: two gold plated Springfield pistols, a bag of blue pills, sunglasses, 3 rolled cigarettes (or joints), 4 pieces of Bazooka Joe bubble gum, a switchblade, what appears to be a blue glass vial, and.a pack of Chiclets. •: By way of the facelift, Castor Troy intends to ruin Archer's life. Even though his personality doesn't change and he's still a psychotic killer,. In the midst of a heated phone call to Pollux, Castor sees Jamie's boyfriend attempting to rape her after parking his car in front of his house. He tells Pollux to call back, then rushes out, bashes the window, pulls Karl out of the car, throws him around, then forces him to apologize. (Then again, see below.) •: Castor Troy. Pollux is definitely insane as well, but much cooler and calmer. •: Pollux Troy. He overpoweres an FBI agent armed with a gun, when all he has is a briefcase, and when the cops corner them goes gun blazing at them. •: In Castor Troy's introductory scene, he plants a bomb in the Convention Center while disguised as a priest. Then he dances away and headbangs to a choir singing 'Hallelujah', before stopping to grope a blonde choir girl. (In a deleted scene, he also kills a janitor who catches him in the act and makes it look like an accident). Castor Troy: You know I never even enjoy the Messiah. In fact I think it's fucking boring. But your voice makes even hack like Handel seem like a genius. [proceeds to grope the choir girl and sing along with the chorus for a few lines. He then basically orgasms] •: Despite the premise, more or less averted save for one scene. When Archer starts fighting another prison to prove to Pollux that he is Caster, he comes dangeriously close to actually killing the man by bashing his face in with a serving tray. He snaps out of his state just become he does though, and is clearly horrified by what he was about to do. •: Castor Troy with Eve Archer. •: The priest near the climax prays not just in English but also in Latin (with a little Greek) in the funeral. They are the Sign of the Cross, with some other Latin Prayers during a Latin Mass and the Kyrie eleison (Lord have mercy). •: Tito to Archer. •: You just knew that Woo would fit a church shootout into this movie somewhere. •: Happens to both Archer and Castor. For instance, Castor always refers to Archer's daughter Jamie as 'Janie,' to the point that when he walks in on her in her bedroom and addresses her as 'Janie,' he is forced to look at a pillow to realize his mistake. Likewise, when Archer sees Castor's son Adam and embraces him, he mistakenly calls him 'Michael' because Adam reminds him too well of his own deceased son. •: The first encounter with Castor Troy in the movie has him sing, 'Ready for the big ride, baby!' Before he attempts to stab Archer and gets kicked into the jet. When he's dying on the pier after getting speared, he repeats this song. Castor and Archer are seen frequently reloading during shootouts and in the hangar standoff Castor toyingly tells Archer, 'Well, you better hit me, Sean, 'cause you've only got one bullet left!' •: Archer refuses to give in to Agent Miller and Dr. Walsh's proposal for him to take Castor Troy's face to get information on the bomb from Castor, saying 'I'll get his gang to talk! That's what I do!' To Archer roughly throwing two of Castor's men out of the observation room and Tito quipping 'Damn! What is that smell?' As Archer grilled one of them so intensely that he shit his pants. •: That seemed like a very un-sisterly kiss Dietrich and Sasha gave each other before he died. •: When Archer is wearing Castor Troy's face, he ends up forcing himself to take alcohol and drugs with Castor's friends to maintain his disguise; upon doing so, he claims that he knows so much about Archer because he's sleeping with Archer's wife, and that he plans on taking Archer's and wearing it. Due to the bizarre nature of the claim, Dietrich decides it's actually inebriated gibberish. •: Eve hits Castor with a chair when the Mexican standoff is broken to disarm him and keep him from shooting Archer. •: • Prior to the surgery, Dr. Walsh tells Archer that his and Castor's blood types are different, as Archer has O+ blood and Castor has AB- blood. Eventually, after all the efforts Archer has tried to make to warn Eve that Castor is impersonating him fail, he remembers that their blood types don't match and manages to convince her to take a sample of her 'husband's blood, knowing that when she runs it through a hemoglobin test, she will find the blood type to be AB. Once the blood test confirms to Eve that Castor is impersonating Archer, Archer-as-Castor uses the story of their first date to fully convince her. • Also, the voice chips that give Archer a Nicolas Cage voice and Castor a John Travolta voice when they acquire those respective faces end up proving a problem for Archer when he realizes he doesn't sound like himself. • After the attempted rape scene, Castor gives Jamie a and shows her how to stab someone in the leg with it. Should have been careful with that, because when he uses her as a human shield against Archer in the church standoff and prepares to execute her, •: • When Castor strides into the prison visitor's room wearing Archer's face, he gives one of these to demonstrate how delighted he is that Archer is locked up in prison while he is a free man. • This is also an alternate name for a (also called a Chelsea Grin or a Glasgow Smile) - facial scars (caused by knife wounds) that look like a smile. Actor, who plays one of Castor's, Leo (when Castor is impersonating Archer), has a Glasgow Smile in real life. •: Though this usually happens before a fight, Castor removes his jacket and rolls up his sleeves, singing 'hallelujah' to himself while preparing to disarm 'Sinclaire'. •: The opening flashback shows Castor Troy setting up a sniper rifle on a hill overlooking a carousel that Archer is taking his son Michael on. He takes aim, and when he gets a clean aim, he fires. The bullet ends up going through Archer non-lethally and kills Michael. •: Castor Troy looks like he's having an orgasm whenever he's doing evil things. For example, in the first chase and shootout, he has what looks like an o-face or a as he pushes the beaten Agent Winters out the plane door in front of Archer, pistol to the back of her head, shouts 'One of yours, Sean?!' And then proceeds to execute her to taunt Archer. •: It seems that large numbers of FBI agents, cops, security staff, and special agents are incapable of facing off against Castor Troy in a shootout. In the hangar gunfight, Castor offs the FBI agents like they were candy with just his twin gold-plated pistols (and at one point a SWAT officer's shotgun) until Sean Archer is taking him on one-handedly (for some reason the dozens of other agents stay out of the action once Archer and Castor have pistols trained on each other - but then again, Archer has a more personal vendetta against Castor than they do). Said agents should be much better trained to have the upper hand in a gunfight. • Not even the SWAT teams are immune given the number of agents at Dietrich's apartment who are shot while wearing paramilitary gear and submachine guns. The Los Angeles FBI field office has to be suffering a severe shortage of men to adequately staff it by the end of the movie. •: • Castor's gold-rimmed sunglasses that he wears at the airport prior to getting on the plane. • Each character when being portrayed by Travolta wears aviator sunglasses. •: Castor Troy's weapon of choice during the opening chase and shootout are a pair of custom gold titanium nitride plated Springfield Armory M1911-A1 pistols. Later, Archer-as-Castor ends up using them in the shootout at Dietrich's apartment while Castor-as-Archer must settle for Archer's old duty pistol. The pair that Dietrich gives Archer prior to that shootout is definitely a different pair, though, given that the pair Castor used at the hangar shootout were likely seized by the police and booked into evidence. •: The hangar standoff has this. Sean Archer: So do you! •: One sees that Sean Archer fell into this after his son's death, which has led to his obsessiveness and ruthlessness dealing with criminals, especially. He gets better with time. •: Castor beats up an abusive boyfriend who attempts to rape Jamie. •: 'And stay away from downtown on the 18th. It's gonna be a little, uh, [grins] smoggy.' •: Invoked by Castor by admitting to Archer's boss Victor Lazarro about his true identity before triggering his heart attack. • Completely averted for Sasha as she dies without realizing that it's Archer she's saying her last words to, not Castor. •: It appears that Archer was probably a pretty nice guy to work with originally based on his behavior in the opening flashback. Six years later, the death of his son has Archer acting like a jerk towards his fellow agents, and somewhat estranged from his own wife and daughter due to his personal obsession over stopping Castor Troy. Then he finds himself wearing Castor's face, and Castor ends up with Archer's face. Wearing Castor's face allows Archer to begin to realize just how severely his obsession with hunting Castor affects those around him, especially when one of the consequences is Castor receiving Archer's face. •: • Archer's son dies on the carousel when Castor's bullet passes through Archer's body and hits him in the head. Archer subsequently cradles his dead body. • Dietrich is shot in the neck by Castor while taking a bullet intended for Sasha, and Archer grabs him as he collapses. • When the Mexican standoff in the church is broken, both of Castor's enforcers are dead, and Sasha is lying mortally wounded on top of Archer. She manages to tell Archer to raise Adam for her before she takes her last breath. • As scripted, Pollux's death was originally this, as the script has Castor grab him, apparently trying to invoke this trope. • The computer file on Archer's son even references the trope. Carousel Sniper Victim Murdered 9 September 1991 Damage Report: The boy died in the arms of his father, FBI Agent Sean Archer, on the carousel in Griffith Park. Castor Troy had intended to kill Sean Archer but the bullet traveled through him and struck Michael in the chest. •: Upon taking over Archer's FBI post, Castor Troy abuses his new job with impunity, getting Pollux released from prison by having him 'confess' the location of their big bomb so that Castor can 'locate' it and play hero, while using Archer's men as assassins to get rid of his associates, and stealthily take Archer's place in his family. •: The 'who's gonna fly the plane?' Thingy is subverted by Castor Troy. When Archer shoots two of the plane's engines, they short out and set off the engine fire alarm. Castor promptly executes the pilot with a bullet.but it turns out he can't get the plane up in the air either as Archer had previously damaged the wingflaps with the skids on the police helicopter, so Castor instead frantically diverts the plane off the runway.and into a hangar. •: 'It's like looking in a mirror, only not.' •: There's a faceoff in the sense of a showdown, and the surgery that takes each character's face. •: Castor attempts this after Archer kills Pollux, but Loomis walks in on him as he's about to shoot himself. Seeing 'Archer' upset, he asks Castor what he's doing. Castor instead snaps and promptly shoots him in the face. •: It wouldn't be a film otherwise. •: Castor Troy has a strong fetish for peaches, both around his girlfriends before he gets Archer's face, and around Eve and Jamie afterwards. He could even eat a peach for hours. It's enough of a fetish that the test line of dialogue utilized by Dr. Walsh to coach Archer into mimicking Castor's voice is a clip from an audiotape of Castor talking about his fetish. •: The sequence prior to the airplane action sequence establishes who exactly our two leads are: Sean Archer is shown venting his frustrations on his subordinates at the FBI field office. Meanwhile, Castor Troy sets the timer for a massive bomb he calls ' (she will you AWAY!), then, and even gropes a blonde choir girl, practically looking like he's orgasming at that point. If you didn't get how much of a Castor was from those few minutes, you must have been sleeping through it. •: Castor Troy genuinely loves his eccentric idiot-savant brother Pollux. He refuses to kill him even after Pollux accidentally betrays their location to Archer by personally paying for the private jet (instead of letting one of their cronies do it) as most terrorists would have, sheds tears when Pollux dies and even ties his shoelaces for one last time before leaving. •: with Castor Troy, an indiscriminately murderous scumbag. He beats up Jamie's boyfriend's for trying to rape her and gives her a knife for self defense. However, earlier in the film he also threatened to rape Jamie. He shows that he's serious when, during the standoff in the climax,. In the opening Troy also shows shock when he accidentally shoots Archer's son, but when he visits the boy's grave with Archer's weeping wife he looks more bored than remorseful, and every scene with Troy's girlfriend indicates that he couldn't give a bent penny about actually raising his own kid. The only definite redeeming trait he ends up with is. •: It's a film, what do you expect? If a boat crashed and DIDN'T turn into a ball of flames you'd be asking for your money back. •: Character wise, Castor Troy is the hammy one. Archer only hams it up when he's pretending to be Troy. •: At the end of the final battle, Castor-as-Archer realizes he's screwed, since Archer-as-Castor has him pinned to a wall with a speargun aimed at his bolt. He musters just enough strength to grab the bolt and tries to mutilate Archer's stolen face with a piece of shrapnel in one last act of hateful petty spite. •: Sasha's dying words. •: Several times with Castor - multiple times during the hangar shootout when he's reloading. Another one is an extreme close-up so that you can see a hint of anger building up in him when Lazarro confronts him after Pollux's death. •: Archer's reaction upon discovering that the Walsh Institute is keeping Castor alive and on life support. •: When Castor decides to have Pollux 'confess' the location of their bomb so that he can 'locate' and disarm it to 'thwart' his own plan to get $10 million in exchange for being praised. •: Castor Troy is very affectionate towards younger brother Pollux, and even has a much friendlier attitude and offbeat sense of humor when communicating with his fellow FBI agents than Archer ever has. That being said, Castor is also a career criminal who has done such things like amputate a victim's limbs before shooting said man in the face with his own gun and tossing his remains out of an airplane, and Castor is a thousand times more dangerous once he takes Archer's face and begins posing as him. •: When Castor visits Archer in Erehwon Prison to taunt him. He flashes a newspaper article in Archer's face headlined 'Deadly Inferno at Walsh Institute'. Cue flashbacks of Dr. Walsh, and Tito tied up, bound and gagged as Leo and Lars douse them in gasoline. Then a hand flicks a cigarette lighter and drops it in the puddle, causing a fire that destroys the lab. Castor Troy: I torched all the evidence that proves you're you, okay? Looks like you're gonna be in here for THE NEXT HUNDRED YEARS!! Now, I have got to go. I've got a government job to abuse and [whispers into Archer's ear] a lonely wife to fuck. Oh, I'm sorry.make love to! God, I miss that face! •: •: Castor Troy •: Lars and Leo •: Pollux Troy •: Dietrich Hassler •: Sasha Hassler •: There are four characters (Castor Troy, his brother Pollux, and henchmen Leo and Lars) that are always playing an antagonistic role throughout the film. Also, Pollux, Lars, and Leo are the only other people that know Troy has Archer's face after Lars and Leo burn the Walsh Institute and the Special Ops team in charge of the operation. •: The main setup for the plot, except Archer and Castor's faces and voices are swapped, not the minds, but the effect is the same. •: Castor Troy loves pulling his shades off in dramatic ways, especially when he's posing as Archer. •: 'Ahhh, yes. The eternal battle between good and evil, saint and sinners. But you're still not having any FUN!' •: Archer-as-Castor finds himself in this situation during the apartment shootout as in addition to dealing with his own pursuit of Castor Troy, he has to deal with being shot at by the very FBI agents he is supposed to be working with. •: Castor curses like a sailor but oddly doesn't like when other people curse at him. •: • Archer-as-Castor gives a couple in the prison breakout. • At the end, Archer has Castor pinned against a wall, and tries to fire a speargun into his gut. Castor catches the bolt and starts taunting Archer, who just snaps and cuts him off with a knee to the balls, causing Castor to lose his grip on the bolt and get impaled. • Which combines with a glorious when, after Archer knees Castor, he screams 'DIIIIIIIIIIIIIIIIIIIIIIIE!!!!' As the harpoon runs him through. • Jamie's boyfriend gets the receiving end of this when Castor beats him up. •: This is a film, after all. •: Archer and Castor on multiple occasions •: For most of the film, Castor Troy is John Travolta pretending to be Nicolas Cage pretending to be Travolta, while Sean Archer is Nicolas Cage pretending to be John Travolta pretending to be Cage. •: What is used to defeat Castor Troy for good. •: Zig Zagged with Sasha, who helps Archer and even saves both his life and his wife's life; but thinks she's helping Troy and fighting against Archer. Essentially, she never really switched sides, she just didn't understand who was who. •: The best-known and most-quoted example of this trope in western cinema. •: Archer combines this with a monumental at the prison when he is told he has a visitor. He goes to the visitor's room. The door opens, and in walks Castor Troy wearing Archer's old face, casually revealing that he's killed the surgeon who did the surgeries and then. •: Sean Archer, top agent in the FBI Los Angeles field office, played by John Travolta, plays off against Castor Troy, most wanted terrorist in the United States, played by Nicolas Cage, and they have to impersonate each other while desperately racing to try and cause/prevent acts of terrorism, each being hounded within an inch of their lives by their own allies along the way. •: A twist variant: upon taking Archer's face, Castor is hunting 'himself' (actually Archer). •: Castor's butterfly knife technique is used against him by Archer's daughter. •: Ivan Dubov. •: 'You watch your fuckin' mouth!' Is one of Castor's most common catchphrases. •: Castor has a big bomb. Her name is 'Sinclaire,' and she is going to you AWAY!! •: Castor Troy pretends to surrender to Archer in the hangar standoff when it turns out Archer was bluffing him about his pistol having one bullet left. As he's breaking down, with Archer's pistol pressed to his forehead, he suddenly grins and replies 'Well, I think you'd better pull the trigger, 'cause I don't give a fuck! [sings] I'm ready, ready for the big ride, baby!' And it turns out the whole time that he's been secretly drawing a knife from his back pocket. The trick fails to work on Archer, who catches it just in time. •: This is how Castor Troy dies at the end of the movie, courtesy of a spear gun. •: Plastic surgery allows Castor to spend much of his time impersonating Archer. •: Archer staging a jailbreak •: Upon learning of Castor and Pollux chartering a plane, Archer has an undercover female agent, Winters, put on the plane posing as a flight attendant.. •: • While Archer is a little overboard criticizing the people for celebrating his original defeat of Castor Troy, he is right to point out the names of the people that were killed in the shootout are more deserving of the toast than him. • Likewise, one sees that Archer clearly has some points about being reluctant to undergo a surgery giving him Castor's face. His point being that there are a number of ways in which such an undercover operation could be bungled, like Castor coming out of his coma. •: If you freeze-frame when Archer logs onto his computer, you'll see that the first thing that comes up is a summary report on one of Castor Troy's earlier crimes. The details as gleaned from the file note that Castor hijacked a wealthy Swiss banker's private jet for $5 million in funds, tortured said banker by amputating both of his arms, before shooting him in the face with his own gun and tossing his remains out of the plane, where the body was found by a jogger in a local park. •: The posters/covers juxtapose three quarters of both Nicolas Cage's and John Travolta's faces using shadows to split them down the middle, highlighting that both actors play Sean Archer and both play Castor Troy, also averts Misplaced-Names Poster. •: Nicolas Cage and John Travolta spend the movie trying to as both Castor and Archer. Both succeed. •: Archer's whole family has one. •: When the plane starts careening towards the hangar, Castor shuts down the throttles and the music slows down until the aircraft crashes through the windows. •: You can tell that Archer's obviously not used to the drugs he has to take to maintain his impersonation of Castor. Dietrich: [copying the gesture] The face.off. [Archer collapses on a bed] No more drugs for that man. •: One of the crowning examples. •: Archer •: Pollux and Castor Troy are named for the Gemini twins in, the brothers of Helen of Troy. Castor also shares his name with a type of legume people often mistake for being some form of bean. Just by donning Archer's face, Castor is able to fool everyone into thinking he's the good guy. •: A very masterful one of these goes down in the church near the end of the movie. It ends in a. Castor even lampshades the number of participants, laughing, 'WHEE! What a predicament!' •: Immediately upon entry into Erewhon Prison, Archer gets beaten up the Russian inmate Ivan Dubov, who has sought revenge against Castor ever since Castor had three-way sex with Dubov's wife and sister. Later inverted, when Archer recruits Dubov to help him escape by telling him he didn't actually do it. •: Castor Troy is told that Archer has escaped from prison and is presumed deceased. Castor Troy: You-you must trust me. He's already here. •: Averted with face replacements. Even though the doctor who originally performed the procedure is dead, the FBI has some of their best doctors flown in to reverse it on Archer. •: When Castor arrives at the airport to meet Pollux at the beginning of the film, the 3/4 length suit coat he wears is close to, but not quite, a. Instead of being an important part of his wardrobe, it's briefly worn once, then immediately replaced with a standard suit coat. Although the coat is used for during its brief time on screen, it is not used with regard to the equally important element of. •: John Woo's love of slow-motion makes these instances very apparent, as what would usually be a quick shot with a lot of movement to hide the fact that it's not the lead actors now becomes a very clear shot of the double. Most apparent one happens as Archer and Troy fall off the boat in the climax. •: Much of Castor Troy's dialogue, especially at the hangar standoff, suggests despite everything he puts Archer through, he sees him in his own sick and twisted way as a friend. The way he suggests Archer be a terrorist for hire is like the equivalent to a teenager suggesting to his reluctant buddy that they blow up mailboxes for fun. •: • Archer, wearing Castor's face, is told he has a visitor at the prison. He is in the visitor's room, the door opens, and he comes with.Castor Troy, wearing Archer's old face. To drive the point home, we have Archer just staring straight on for about 30 seconds, thinking ' as Castor smirks, then cockily strides towards Archer, and breaks into a grin. Castor Troy: I torched all the evidence that proves you're you, okay? [looks at his watch] Looks like you're going to be in here for [in na-na voice] THE NEXT HUNDRED YEARS! [quietly] Now, I have got to go. I've got a government job to abuse and [whispers into Archer's ear] a lonely wife to fuck. Oh, I'm sorry.make love to! God, I miss that face! • The look on Castor and Archer's faces when they simultaneously realize the boat they are fighting on is about to violently crash. • In the plane chase, Archer sees Castor march his undercover agent into the cabin and cock the pistol he has trained to the back of her head, leading to a genuine moment of shock as he yells, 'He's got Winters, goddamnit!' Then Archer swings around the plane and begins to pull up alongside the wing, when the cabin door opens and Castor pushes Winters out in front of him. Sean Archer: Shit! •: There are a couple of occasions where Archer or Castor, impersonating the other, comes very close to slipping their identity away. • Castor comes dangerously close to giving himself away as an imposter on at least three occasions: • When he meets Jamie for the first time, he mistakenly calls her 'Janie' (and one will notice that he refers to her by that name in the hangar standoff). She is understandably not pleased to find that Castor has 'forgotten' her name, and Castor hastily looks at a bed pillow with Jamie's name on it before replying, 'I don't think you heard me, Jamie. You got something that I crave.' Castor also smokes, while Archer doesn't. Face Off is a competition/elimination series exploring the world of special-effects make-up artists and the unlimited imagination which allows them to create amazing works of living art. Not only will the show incorporate effects make-up, it will include a wide range of skill sets including prosthetics, 3-D design, animatronics, sculpting, eye enhancers, puppeteering, casting and molding. Each episode involves reveals of the competitors' finished work, and it all culminates in one winner and one grand prize that will launch a career. It's been said that, given a set of paints and a brush and a million years, a chimp could paint the Mona Lisa. Given a makeup kit and a million years, I seriously doubt I could do a decent zombie makeup. I've tried; it's just not something I'll ever be good. The makeups the contestants on this show crank out, with the clock ticking and under microscopic scrutiny, is mind-boggling. I don't think I've seen a single creation by any one of them that I would hesitate to put front and center. Regardless of whether or not they 'make it' on this show, they've all got more artistic ability in their pinkie toes than I do in my entire bulk. As far as I'm concerned, there ARE no losers on this show. Sincerely, Dazzled. After squandering the fresh air in the distant planet Spaceball, the good-for-nothing President Skroob orders the arch-villain henchman, Dark Helmet, to abduct the adjacent planet Druidia's Princess Vespa to strong-arm her father, King Roland, to provide them with the code to the planet's atmosphere. Under those circumstances, the seasoned mercenary, Lone Starr, and his trusty half-human, half canine sidekick, Barf, will attempt to save the princess in distress, while at the same time, the ruthless loan shark, Pizza the Hut is after them. The evil leaders of Planet Spaceball, having foolishly squandered their precious atmosphere, devise a secret plan to take every breath of air away from their peace. STANDARD PACKAGING. Standard packaging consists of 5000 balls per bag. 1,000-4,000 consist of 1000 balls per bag. THIS SIMPLE ACCEPTED EXPANSION JOIN. Is inexpensive solution to your age-old problem. Spaceballs: The Animated Series is currently unavailable to stream on-demand, but may be available on Hulu with Live TV depending on regional availability. Watch Spaceballs instantly on VUDU. John Candy, Rick Moranis, Bill Pullman and Dom DeLuise rocket into orbit in this side-splitting Mel Brooks excursion where good. But in the end, only he who can harness the mystical and mighty force known only as 'The Schwartz', will be able to save the day. Brisk parody of 'Star Wars' and other great science fiction films pits Bill Pullman and his man-dog/dog-man partner John Candy against Rick Moranis and Mel Brooks as they try to rescue Princess Daphne Zuniga from the clutches of the evil Space-Balls. The cast are clearly enjoying themselves and there's a gag almost every minute, mostly notably the Star Wars gags. Some of the best are - 1) Pizza the Hutt 2) The 'Alien' Diner scene with John Hurt ('Oh no. ) 3) Yogurt the Yoda clone (also Mel Brooks; 'Please, I'm just plain Yogurt.' ) 4) Dot's 'Virgin Alarm' ('Designed to go off before you do.' ) 5) A pot shot at 'Lawrence of Arabia' 6) The 'combing the desert' sequence 7) Rick Moranis 'playing with his toys' 8) The Statue of Liberty Transformer 9) The Planet of the Apes sequence 10) The light saber schwartz duel 11) The guard instructing Bill Pullman on how to properly do the Vulcan nerve pinch. 12) Accidentally capturing the stunt doubles. 13) The quote unquote 'sexual tension' between Bill and Daphne. And many more. Keep an eye out for this one. 'Where're you from?' - Daphne Zuniga 'I don't know. Somewhere in the Ford Galaxy.' - Bill Pullman. 1/27/2018 0 Comments Free Streaming Online Video with English subtitles ready for download Confessions Of A Dangerous Mind'Gong Show' host Chuck Barris would kill for a little respect - and says he has. The new film 'Confessions of a Dangerous Mind,' based on his 1982 autobiography, depicts his alleged work as a CIA hitman while he was creating such shows as 'The Dating Game' and 'The Newlywed Game.' Is he imagining things, telling an outrageous truth. Or just toying with the public that once mocked him? 'I'll never say for sure whether it is true or isn't true. I'm taking that to my grave,' the 73-year-old Barris says with a laugh. Available in: DVD. Chuck Barris is best known to most Americans as the guy who used to host The Gong Show. He was also the creator and producer of. Speaking by phone from his home in New York, Barris says he enjoys the speculation about whether he truly was assassinating enemies of the United States at the same time he was creating a public stir in the '60s and '70s with his lowbrow game shows, forerunners to today's 'reality TV.' The movie is the directorial debut of George Clooney, who also co-stars as Barris' CIA recruiter. Actor Sam Rockwell stars as Barris, and Julia Roberts is a seductive secret contact. Apart from the gonzo murder claims, 'Confessions' also focuses on a fictionalized relationship with a character named Penny Pacino, played by Drew Barrymore, and ignores Barris' real-life marriages. Clooney has said he doesn't know which elements of the story are true, but was fascinated that someone of Barris' 'wealth and fame' would want to say such things about himself. Born in Philadelphia, Barris was a management trainee at NBC before working at ABC as a network spy monitoring Dick Clark's 'American Bandstand.' Barris also wrote the hit song 'Palisades Park,' recorded by Freddy 'Boom Boom' Cannon. 'We've been friends for 40-some odd years and I've seen him through moments of great joy and exhilaration and happiness to plumbing the depths,' Clark says. 'He's basically a very bright, well-read guy who was very good at turning out shows for the masses that were sometimes not of the highest intellectual status. I presume he would have rather created masterpieces.' During the 1960s, Barris began selling ideas to the networks, and quickly became reviled as the 'King of Schlock Television' because his programs featured regular people gambling against humiliation for household appliances, cash or a night on the town. 'I knew I was not creating the greatest works of art,' Barris says. 'Still, I thought, 'I'm just trying to entertain you.' ' On 'The Dating Game,' singles would flirt with unseen suitors through suggestive question-and-answer sessions. 'The Newlywed Game' tested a couple's knowledge of each other with intimate queries - usually about 'making whoopee.' 'The Gong Show,' which took Barris from behind-the-scenes producer to on-stage host, featured a parade of wannabe singers, comics and dancers whose meager talents could be halted by a panel of celebrity judges when the performance became insufferable. 'The criticism actually ruined me. The headlines said, 'TV hits an all-time low,' Barris says. 'I remember once I was waiting at a light and a car pulled up next to me and the passenger winds down her window, so I wound down my window, and she said: 'You're the dumbest thing that ever walked. Your show stinks.' That kind of thing would lay me out for days.' By 1980, he was burned out. 'The Gong Show' was canceled along with his short-lived '$1.98 Beauty Show,' in which pageant contestants would do stunts for a prize valued at less than $2. He poured his despair and self-loathing into writing. 'I was bummed out about everything and everybody,' he says. 'I thought, for a month, I'll go and write all this stuff down. I stayed for two years.' When he finished, he had 'Confessions of a Dangerous Mind: An Unauthorized Autobiography,' a story that he says is at least part satire: A person could do far crueler things than create a bad TV show. Adding to his personal woes have been two divorces, the last in 1999, while he was combatting lung cancer, and the death of his daughter, Della, who used to appear on 'The Gong Show' as a child. Now married a third time, Barris says he's the happiest he's ever been. People generally remember his shows with nostalgia instead of disgust, and he's writing a sequel to 'Confessions' titled 'Bad Grass Never Dies.' He remains his own harshest critic, often lamenting his TV legacy. The goofy appearances on 'The Gong Show' led to the bug-munching of 'Fear Factor' and the shallow pop celebrity of 'American Idol.' The hot-tubbing waifs and studs of 'The Bachelor' recall 'The Dating Game.' And before couples appeared on 'Dr. Phil' or succumbed to the brawling depravity of 'The Jerry Springer Show,' they swatted each other playfully on 'The Newlywed Game.' 'What we see now is so awful that people look back at me with sweet reverence,' Barris says. 'Now I'm not such a nut and crazy maniac. But I'm the pioneer of reality shows, for good or bad.' 'Fear Factor,' the Springers of the world with the screaming and yelling and slapping. If that's what I pioneered, geez, I'm not sure that's the best thing in the world.' While shooting his directorial debut, Orson Welles said it was like playing with the world's biggest train set. Confessions Of A Dangerous Mind may not be in the Citizen Kane class, but George Clooney's first foray behind the camera does boast similarly bravura technique and an infectious sense of joy in the filmmaking process. Like his regular collaborators, Soderbergh and the Coens, Clooney gleefully draws upon every cinematic trick in the book to make every frame count. This wizardry isn't a case of auteur-poseur, however. The film's eclectic style is ideally suited to its schizophrenic content, as hero Chuck Barris reflects on his dual life as game show czar and CIA assassin. It's the kind of bizarre tale you'd expect from Charlie Kaufman, but this isn't an Adaptation-style adaptation: the screenplay is actually pretty faithful to the autobiography in which Barris first made his outlandish claims. The movie triumphs by giving equal dramatic weight to the ratings war and the Cold War – the network and the wet work. Sam Rockwell is compelling as Barris ('A nice guy, even though he's a prick'), but sometimes seems dazzled by the sheer star wattage assembled around him. As the CIA handler, Clooney plays it as straight as is possible when sporting a quiff and beautifully groomed moustache, while Barrymore is hugely endearing as the sexually adventurous, emotionally vulnerable woman who shares Chuck's life but not his secrets. Even Rutger Hauer shines, escaping straight-to-video hell to remind the world just how good he was in Blade Runner. Best of all, however, is Julia Roberts, a revelation as cynical, glamorous, decadent femme fatale Patricia – her idea of flirting is to inform Barris, 'You're not like the other murderers.' Under normal circumstances, you might say she steals the movie, but there's no doubt that the plaudits here belong to the director. Hilarious and thrilling, playfully sexy and emotionally involving, this is sophisticated entertainment. |
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