sillstaw

Also, this happens near the end of the movie: https://www.youtube.com/watch?v=jZyhfkpsGGI

Though it sounds like both were pretty terrible, so they've got that in common.

I only saw it once a while back, but I'm pretty sure there isn't.

Kevin Sorbo appears to have gone fully into right-wing territory. I don't know about the other two, though I suspect it's a mix of the two.

No wonder, seeing as "Jurassic Park" was released a year later.

It may be a little too obscure-ish and low-budget, but quite simply, it is the greatest futuristic disco-themed biblical allegory you will ever see. And it's on NetFlix streaming! How can you resist?

They have a "TCM Underground" block where they show grindhouse-y movies. That's why.

Kotaku put it best about Thompson in this paragraph: Also, Bill Paxton barely resembles Thompson. Somewhere else, somebody pointed out that John Slattery resembles him more.

One of my favorite lines from a Leonard Maltin capsule review was the one he used to end the entry on this movie: "Film is so titled to avoid confusion with HOT DOG... THE OPERA." (Similarly good was his entire BOMB review of the similarly titled "Hamburger... the Motion Picture": "Anyone who watches a movie with this title deserves whatever he gets.")

I just want to know if there's a scene where the dog asks Hitler if he wants some lemonade.

I know four-packs often feel like a way to clear out old DVD inventory, but seriously, "The Limey" doesn't seem like it belongs in the same universe as those other movies.

I heard a rumor that Sharon Stone was so difficult in the making of this film that people on the crew secretly pissed in that water as revenge.

Who knew making a movie based on an 80s cartoon that most kids haven't heard of and then ignoring everything the original fans liked about it would result in such a disaster? It's funny, because in the reports about the movie being withdrawn, people mention how Universal had some of the biggest hits of the summer and year. Which makes you wonder how exactly losing money on a $5 million project affects anything. I don't think it even brings down their average gross that much, considering they have like five movies that brought in hundreds of millions. It's not quite what you're describing, but the last time we got a two-hour cartoon-style movie where the creators were clearly familiar with the original, it was "Speed Racer" and it flopped.

It helps that "Eastbound and Down" not only has jokes and humor, but it also doesn't go anywhere near as dark as "O&R."

Astonishingly, this might be relevant again soon, since reportedly Syfy is considering a female-led version of "Van Helsing" as a series. And because this franchise is made up of nothing but bad ideas, the showrunner is slated to be Neil "Wicker Man remake" LaBute.

I think they did with the character models, but they were stuck with the backgrounds due to their being pre-rendered.

I recall hearing when the first trailer came out how people thought it was ripping off the "Josie and the Pussycats" movie. Which is inaccurate, I think, since it basically looks like a distaff version of Justin Bieber's rise to fame with maybe some "do you have to choose friends or fame and fortune" message thrown in, and lacks any of the self-awareness that "Josie" had. (And thank heavens. Can you imagine a generation of kids thinking "Jem and the Holograms" was an underrated satire?) Also, I love how the commercials try to entice people by saying, "From the studio that brought you 'Pitch Perfect!'" Like, that's somehow less trustworthy than "from a producer of [hit movie]!"

According to the IMDb, it was shot on 35mm film, though it claims the "master format" was a 4k digital master. There's a sentence I never thought I'd be typing on the Earwolf forums.

I've seen the original, and found it chilling, albeit perhaps overlong. I've refused to see the remake, mainly because Roger Ebert and various other critics pointed out how the ending is ruined. (Raising the question, "why remake something and then completely ruin the one thing that made it so effective?") I especially find it galling that the ending has the two survivors selling their story to a publishing company; can you imagine surviving that kind of ordeal and then demanding to be paid to tell about it? Also, it seems like they got the casting of the male and female roles all backwards. I'm sure Jeff Bridges is an effective villain (up until they kill him), but wouldn't Kiefer Sutherland be better at playing an evil character? And the girlfriend who disappears is played by Sandra Bullock, while the new girlfriend is played by Nancy Travis, who seems like a lesser choice.

This came from that period of time when Hollywood looked at the success of "Twilight" and decided that what YA audiences clearly liked was supernatural romance, and made a bunch of ripoffs from other book franchises, none of which took off. Then they sort of caught on that it helps to choose books that are actually popular and well-known, thus launching "The Hunger Games" franchise... thus leading to Hollywood deciding YA audiences wanted dystopian stories, and doing much the same thing. You've got to love Hollywood's stubborn refusal to learn from its mistakes; at the very least, it'll keep us rolling in "HDTGM" candidates forever.

Tarsem [singh] is yet another director in the vein of Lee Tamahori, who started with maybe two good movies ("The Cell" and "The Fall"), and has been making hack-y crap ever since. I mean, "Self/Less?" And his next project is directing all ten episodes of NBC's "Emerald City," a dark-and-edgy version of "The Wizard of Oz."

You could at least specify whether you mean the 60s version or the 90s remake.

You also have to give credit to whoever came up with the most generic possible title for this movie. "Hollywood Homicide" could describe at least half the LA-set cop movies over the years.

And additionally, it's based on a true story, in the sense that there was a football/soccer game played between Nazis and prisoners during WWII. Little details like the happy ending, of course, didn't actually happen.

As usual with a crappy movie like this, the critical reviews provide some real gems of wisecracks. From Roger Ebert's review: And, from Leonard Maltin's BOMB capsule review: