GrahamS.

I haven’t seen this film, but Zalman King’s most famous film (which he wrote) was the Mickey Rourke/ Kim Basinger-starring 9 1/2 Weeks. Just FYI.

I loved this movie in l my childhood when I saw it on TV in the 80s. i watched it last year and laughed my ass off. I’ve included a YouTube clip where Gary Busey gives Corey Haim a hopped-up wheelchair. The whole sequence is great, but if you want to shorten it, Corey takes the wheelchair/motorbike on a spin that should kill him at the two-minute mark. Clip and film are recommended!

That’s true. Pennywise is thoughtful and patient in how he spreads terror. Apologies to Pennywise for my libelous comparison.

Sorry if I’m breaking any rules by writing a post with a political reference, but could someone photoshop (or whatever the tech is) Trump’s face onto Pennywise? PLEASE?

At the very real risk of overly repeating myself, I’m providing the link to the “Nicolas Cage cut” of Deadfall. I’ve posted it elsewhere, but perhaps here it will gain new appreciation. It is 30 minutes that contain all of his performance and enough of the plot so his scenes are ... I was going to say comprehensible, but that simply is the wrong word. The rest of the film sounds like straight-up garbage. I have only watched this and it was more than enough.

If this movie cost $10 million, it must have all gone up their noses. maybe this movie was actually a money-laundering front? BTW, I will never be able to look at a fast food deep fryer in the same way again. That’s a scene I wish I could unsee. Not kidding, just wipe it from my mind.

I am glad I found the Nicolas Cage clips on YouTube, he is insanely over the top and everyone else looks like they’re asleep. Even that 1/2 hour is fairly unbearable. Kudos on making it through the whole film!

And I’d quickly like to add that WFRR would not have have worked if it hadn’t been for Bob Hoskins, who was a-fucking-mazing (in this role and many others)! RIP, Bob Hoskins.

I was about 13 when WFRR came out and that was the right age for it. I went with my younger brother and he just found the 1940s detective plot boring. I still enjoy the film today, but it relies on 1940s noir tropes and cartoon references that are over most kids heads and are difficult for kids to care about. I remember the film getting a very mixed reaction among my friends at the time. Shrek has humor for adults in it, but it’s underlying story is more universal and there aren’t any jokes where the main character is shoved down the hero’s pants and made to look like a boner. I work in the public school system and if kids were given a choice between WFRR and Shrek, it would be Shrek every time (but Toy Story is the champ). I also think WFRR was intended for kids in the 80s because we were raised on WB and Disney cartoons, but these days WB cartoons aren’t nearly as popular as they used to be. The movie has aged out. I’ve even tried to watch it with my nephew and he couldn’t get into it because he had no connection to the classic characters (and he thought the detective stuff was boring). As for myself, it will always have a nostalgic place in my heart.

Even though the Deadfall on VUDU is different, I found a 1/2 hour “Nicolas Cage” cut of the 1993 Deadfall on YouTube. I would not want to sit through this entire film, but this collection of scenes is hilarious and awful. It seems like his accent changes every thirty seconds. “Hi-fucking-yah!” Indeed. here’s the link:

I know I just posted about this movie, but I hadn’t watched it in 25 years, until I watched it last night on HBO. HOT DAMN is it a piece of trash! It was not good in 1994 (with a 58% critical approval rating on RT and an audience approval score of 42%) and it has not aged well in the #metoo era at all. But after a slow start, it is hilarious. Let me break it down. It has: Michael Douglas as the victimized white man while still playing his typical sexist role. LOTS of comments along the lines of “Women. Whaddya gonna do?” Spoken by most of the male characters at some point. The most unerotic attempt at erotic sexual harassment in cinematic history (the film wants you to know that sexual harassment is wrong, but also wants it to be, y’know, HOT. I mean, you can’t pass up the opportunity to have Demi Moore in a Wonderbra). A post-traumatic homoerotic nightmare where Donald Sutherland sexually harasses Michael Douglas! A mediation scene where lawyers discuss conversations about boners. A virtual reality sim where you get to explore file drawers! The First time in cinema history I’ve seen the wake of a ferry scored with victorious music. Go, ferry, go! Lines of dialogue that made me LOL because I’ve never heard humans speak this way: “You gonna be ok? You want a Prozac?” “That’s a hello you give to a rash.” WHAT? “You’ve seen more ass than a rental car, my friend.” “she looks like she always has food in the refrigerator.” “you take those two champagne bottles in your refrigerator and you go fuck them!” “Sexual harassment is about power. When did I have the power?” “Why don’t I be that evil white male you’re all complaining about? Then I can fuck everybody!” “It’s like the Amazons: they keep a few of us around for sperm and kill off the rest.” “This merger is the most interesting merger I’ve had since my second marriage!” To sum it up, here is Roger Ebert’s bullseye review of this movie from the Chicago Sun-Times. DISCLOSURE ** | Roger Ebert December 9, 1994 | 7 Print Page "Disclosure" contains an inspiring terrific shot of Demi Moore's cleavage in a Wonderbra, surrounded by 125 minutes of pure goofiness leading up to, and resulting from, this moment. Advertised as the first movie about the sexual harassment of men by women in the workplace, it is an exercise in pure cynicism, with little respect for its subject - or for its thriller plot, which I defy anyone to explain. The "theme" is basically a launch pad for sex scenes. And yet the movie is so sleek, so glossy, so filled with Possessoporn (toys so expensive they're erotic), that you can enjoy it like a Sharper Image catalog that walks and talks. ADVERTISEMENT The film takes place inside the Seattle research and development headquarters of a vast high-tech corporation. The male employees have not had their consciousness raised. ("I definitely have lift-off," one says, after Demi Moore walks by). Michael Douglas plays Tom Sanders, an executive involved in the manufacture of "Corridor," a virtual reality database. There are problems on the assembly line that may jeopardize a merger. Corridor is some software program, all right. Users stand in the center of a network of light beams that track their movements. They wear a headset that creates the illusion that they are wandering the corridors of a Greco-Roman temple lined with filing systems. They reach out a hand, and files come into view, which can be searched and accessed. In other words, for hundreds of thousands of dollars, busy executives can do the work of file clerks. The company is about to be acquired by a larger firm, and the boss (Donald Sutherland) stands to make $100 million. So he doesn't want to hear any bad news about Corridor. Meanwhile, Douglas expects a promotion - and is shocked to learn it will go instead to a former lover named Meredith Johnson (Demi Moore). The day she gets the job, she calls him to her office for a 7 p.m. conference, pours his favorite wine, and segues directly into an attempted rape. He fights her off (although not without being tempted long enough, of course, to let the confrontation develop into a satisfactory movie sex scene). The next day, she accuses him of sexual harassment, and his life and career seem about to be destroyed. OK. That part you already know, from the publicity surrounding the Michael Crichton best-seller that inspired the movie. And of course there are office hearings and confrontations as the company tries to get to the bottom of the charges without allowing a public scandal. Douglas is defended by a bright, high-powered attorney named Catherine Alvarez (Roma Maffia), who is the subject of one of the movie's cleverest lines: "She'd change her name to 'TV Listings' to get it in the paper." But things look bad for him until he starts getting anonymous tips via e-mail, and another level of conspiracy is revealed. ADVERTISEMENT A lot of that is obligatory material in thrillers about sex and conspiracy in the corridors of power. What's unusual this time is the Nancy Drew stuff: Evidence obtained by means so lame and unlikely, we laugh even while it's happening. What are the odds, for example, that Michael Douglas could overhear Demi Moore's evil schemes by eavesdropping outside an exercise room, where Moore climbs a Stairmaster while helpfully, and loudly, divulging her secrets to a henchman? And what about the plot's answering machine gimmick - a textbook deus ex machina? Without these contrivances, there would be no way for Douglas to defend himself, or for the plot to advance. The anonymous e-mail messages from "A Friend" are not very helpful, and (as it turns out) could easily be tracked. Late in the film, some sort of labyrinthine scheme involving the Sutherland character is hinted at, without ever becoming clear; it's a distraction, because there are references to things that are not explained. "Disclosure" loves its high-tech look. The corporation occupies offices where every wall is made of glass, and lives are lived in public. There's a lot of computer stuff in the movie, which makes us feel clever, unless we know anything about computers, in which case, it makes the movie feel dumb. (How likely is it, database fans, that a corporation would trust all of its records to a prototype of new software?) There's a neat scene where Douglas dons the virtual reality headpiece and goes hunting through the files, while his enemies materialize in the cyberspace behind him. Looks great. But techheads will be rolling in the aisles. As the movie started, I expected a sexy docudrama about sexual harassment. What I got was more of a thriller and whodunit, in which the harassment theme gets misplaced. Too bad, since the best scenes involve the attorneys for Moore and Douglas, and especially the scenes where Douglas' attorney sets out in chilling detail what a lawsuit is likely to do to his life. There's also an intriguing subplot involving Douglas' relationship with his wife (Caroline Goodall). Much could have been made of this material. Much has been made of it. But not the same much.

The third terrible, trashy film filmed in Seattle in the mid90s (released in between The Hand That Rocks The Cradle and the amazingly wacky Unforgettable)! Michael Douglas, Demi Moore, Donald Sutherland and Dennis Miller all came to my hometown to film this piece of shit! Both this film and The Hand That Rocks The Cradle shot scenes in Volunteer Park on Capitol Hill, mere blocks from my childhood home (both films use the park’s greenhouse—it’s where Julianne Moore is brutally murdered in Hand and it’s the site of a big soirée in Disclosure). I honestly don’t know whether to feel blessed or depressed that my hometown is immortalized (or at least depicted) in these films. Other, better films have been set in Seattle—like 50/50, amongst others—but they’ve mostly been shot in Vancouver, BC. One day, it would be nice to have a quality big budget film shot here. In the meantime, here’s a trailer for this turd.

I posted about this movie on Twitter but I’ll do it again here. This movie was shot in Seattle and is total trashy fun. It would be a good fit for HDTGM’s Seattle stop on their tour! The previous posts do a good job of describing it, so I’ll just provide a link to the trailer, which unfortunately does not show how trashy it truly is.

I freely admit that I ate an edible before I watched this movie. Was it just a pot-induced hallucination, or did dolphins save Dennis Quaid and his girlfriend at one point? Loved all the digressions in this episode, by the way.