FrancisRizzo3

Did old camera have lens caps? I can't remember seeing any.

Interesting night club that allows a child like Magick in. Though Chilly D has no discernible talent, he does have a super power: his incredible confidence despite it being completely undeserved. Can you imagine dropping your friends like a hot rock, not talking to them for a good while, then commandeering a stage and calling those same friends up to perform with you, without any pre-planning? If only the film ended with Chilly D calling out into the dark for his friends and being left along on the stage in a single, solitary spotlight, popping his collar one last time before a cut to black. And what's up with Darlene just going back to Chilly D at the show, despite flipping on him at the hospital? What exactly changed in the meanwhile?

About 77 minutes in (a point it took a few tries to reach), are we supposed to accept that one of the dancer's phased through the grill of the boom box? The film hasn't attempted any artsy transitions to this point, but we see a dancer behind the boombox fade through to the front. Terrance has some serious FX budget.

Continuing on the Grease theme, when Chilly D visits Darlene at work, she's wearing a letterman sweater, with a big D on it. I won't claim encyclopedic knowledge of '80s fashion, but I don't remember these being a thing.

Adding my significant support to this film. From the writer of Jaws and The Jerk, and the director of TMNT 2: The Secret of the Ooze: a college professor pretends to be a pimp, and is helped by prostitutes in an attempt to save his bankrupt college. Brilliant.

I will quote from my own review of the Blu-ray Criterion release of the film, as I argue for inclusion in The Canon. "It's a scrappy little oft-misunderstood collection of visuals, sounds and emotion that coalesces into something touching and oddly romantic--somewhat of a companion piece to Fight Club in exploring what it is to feel without having the necessary coping mechanisms to deal with the effects." This certainly is a male-centric perspective, but Sandler's characters (at least until he aged out of this phase of his career) were always about the contained and then released rage. But for this film, that aspect actually had meaning, as Barry is someone who found a way to focus emotion he doesn't understand or know how to deal with into something potentially positive, summed up neatly when he says "I have a love in my life that makes me stronger than anything you can imagine." If any film should represent one of the biggest modern film stars like Sandler in The Canon, it should be Punch-Drunk Love. "Though there's a story and dialogue that's effective and engaging, Punch-Drunk Love is as much about its feel as it is any other element, if not more so, with scenes that linger without plot progression, allowing the viewer to soak in Barry's isolation." I think this is where PDL really earns its spot in The Canon, as the highly-rare major studio film that is something like the cinematic equivalent of a tone poem. You can just sit back and enjoy the aesthetics of PTA's work, getting the full feel of Barry and Lena's world from confusing and startling start to satisfying end, but it also tells you a story, one that is well worth hearing. There deserves to be films in The Canon that embrace style in a way that is informed by story, rises above it and yet doesn't neglect it.

A female private eye story starring Kathleen Turner. Features non-stop sexism, a foul=mouthed 13-year-old and a shirtless baddie in overalls. Plus an evil Wayne Knight and a boat chase around Chicago. It's got it all! https://www.youtube.com/watch?v=yBf7X7lcMjk

Get those nailbreakers.

I keep laughing about how there are more people in the marching band on the field at the championships than there are people in the stands. Also, the scene between Penny and Chester is just so gross. When he says she wouldn't date him and she says she would. NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NONO NO NO NO NO NONO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NONO NO NO NO NO NO NO NO NO NO NO NO

Watching this now, and it is well worth considering just for three words alone: Sidney. J. Furie. HDTGM Hall of Famer Furie is the writer and director here in a movie that defies logic.

This episode would be the greatest HDTGM ever. It's got to be the most insane studio movie ever. And Jason would lose his mind.

Very likely, at least subconsciously. Back to School is one of my favorite films of all time.

And, not coincidentally, director Geoff Murphy was also behind the camera for Young Guns II. It's surprising he didn't make Freejack 2, since he was the guy who made sequels to Young Guns, Under Siege and Fortress.

Yeah, but she's from Jersey. She has family in Philly.

The 40% of the film that was re-shot was heavily focused on Sheila, the former high-society debutante who, due to the lack of an available freejack, was transferred into an armored personnel vehicle. Her story was too action-packed though.

When Jagger asks Alex for the ID number, my smart-alec mind immediately went "4". When he said 6, I almost passed out laughing. When the crew talked about it on the show, good thing I was at a red light.

I try not to judge physics (as I lack the educational background to properly do so) but when Alex is about to crash the truck on the bridge, and he jumps out the window, there's no way he wouldn't have been spit in half by the beam on the passenger's side of truck, as the momentum from the speed he's traveling at would have carried him forward, rathe than allow him to jump out perpendicularly from the bridge. I think I would have let it slide, but the FX on the jump were so bad it annoyed me.

I don't know if there's anything outside of casual racism and sexism that has aged worse in films than early '90s computer graphics (not CGI, but computer imaging.) They always look like the most laughable, amateurish garbage. When that car is spinning around, I just shook my head.

So I'm watching this super futuristic movie, with brain switching and laser guns and fancy cars and such, and I see that they are using wooden barricades for security. I'm thinking, "Well that's stupid and anachronistic." Then, Rene Russo uses her voice to do things around her apartment, and I look over at my Echo, and then the world around me and think, "Oh. Maybe not."

For those who missed it. https://youtu.be/SIZzE8pDXRs

So, what was cut when JSC said you better not cut that out. Because there's a pretty obvious cut there.

So this is weird. Why did Phil Fondacaro get his own standalone credit before the rest of the cast? I thought maybe he died during production, but nope. http://imgur.com/AZjhrjS

About 56 minutes in, when Dodger is getting in the car with Tangerine the second time, there are three people passing a basketball around in the street, no hoop to be found, no shooting. Not unlike...

The Cap'n cannot be of this planet. His lines make no sense. "You smell like a fire hydrant." That's not something people say. And later, he says "You hold down the fort...whatever that means." He is absolutely an interplanetary bounty hunter, responsible for capturing creatures like the GPKs. Anyone want to hazard a guess as to who the eyes behind the painting belong to? It's not the Cap'n, as he doesn't know they are out of the pail. Maybe it's one of the missing friends? When the pail gets knocked over at the beginning, it's high on a shelf. Why would it be up there? Up until this point, it's been on the floor, and the Cap'n just put a helmet on it, so he seemed satisfied with that solution. At one point, the GPKs refer to regular people as "normies". This is what the neo-nazis call non-neo-nazis now online. Obviously, the neo-nazis are big fans of this movie, and must be stopped for that simple fact.

Another bump for this beauty of a bad movie. Let's cross this bridge, folks!