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About EricJ

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  • Birthday 06/14/1964

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  1. Well, 1980 IS pretty much when the entire 70's cast left, Joe Piscopo & Eddie Murphy came in, and the show went down the toilet. I barely even acknowledged its existence until the great 1986 Silver Age of Phil Hartman, Dennis Miller, and Dana Carvey: (Fridays, though?...OGL. The convincing piece of evidence in my "NYC is funny, Los Angeles ISN'T" theory.)
  2. (While we're posting good trailers: ) By the time Perkins got to direct himself in Psycho III, his idea of "tragic Norman" had become sort of a trotted-out classic-shtick act, but going back to legitimize Norman as a sympathetic character in II, he shows why everyone praises the first movie. And I'd swear Holland & Franklin were even playing on the old theories of "Hitchcock vs. William Castle", in giving us a plot that suspiciously resembles Joan Crawford's in Castle's version of Robert Bloch's Strait-Jacket:
  3. Psycho II was one of the early scripts for Tom "No, NOT the Spiderman guy" Holland, who went on to write and/or direct Fright Night, Child's Play, Cloak & Dagger, and Thinner...The guy was every reason why big-budget 80's studio horror was cool. 😎 And directed by Richard Franklin, who had interned with Hitchcock, as seen in his own Australian thrillers like "Patrick". Krull gets decade-shamed by the New Kids, and has its storytelling shortcomings, but is one of the few Essential films that symbolize what the 80's Fantasy Summer of Love meant to a generation: Gorgeous design, great
  4. With the female director (and no ponderous Zack Snyder co-scripting as lifted up the first film's gravitas), they were trying to depict Wiig's character as both the "Nerdy scientist turned villain"--in the spirit of Jim Carrey from Batman Forever, Uma Thurman from Batman & Robin, and Jamie Foxx from The Amazing Spiderman 2--AND Diana's chik-flik "Unliberated best friend who's jealous of our heroine's active/self-confident sense of identity, and makes bad decisions trying to grab a piece of it for herself". Why they got a bad overpraised post-Tina-Fey 10's female SNL comic to play a
  5. And thanks to cultural saturation, ask a down-on-his-luck film fan if he remembers that Fred C. Dobbs pesters John Huston with "Say, buddy, will ya stake a fellow American to a meal?"
  6. I notice the conspicuous, almost criminal, absence of Psycho II, The Grey Fox, Christine, Richard Pryor Here & Now (checking in his post-rehab a year after Sunset Strip), The Man with Two Brains, Brainstorm (mostly for James Horner's score and Christopher Walken trying to play a "normal" hero), Koyaanisqatsi, Videodrome, The Keep, and Krull....KRULL, sir, have you any excuse? 😠 And Blue Thunder...WHY did I love this movie so much at the time? (Oh, right, Roy Scheider and a post-"Stripes" Warren Oates, that's why. 😁 ) It's a Paramount orphan, it's on Amazon/streaming more o
  7. 1983, btw: There were a lot of minor Fame-knockoff "Dancers on Broadway" movies in the late 70's, all hoping to beat the inevitable A Chorus Line movie to the punch, and none of them did well-- And while we know that Tony Manero settled down with the uptown dancer for a career, the supposed quote-fingers "Saturday Night Fever sequel" is so FAR removed from the gritty Brooklyn original, I'm guessing it may have started life as a generic Broadway-dancer movie that Paramount decided to spice up with a little corporate movie-franchise self-reference. Just a theory, but the evidence has to b
  8. At least you had context. I remember when PBS stations would show Richard Schickel's "The Men Who Made the Movies" in the afternoon, and seeing all the key shocks from Psycho, The Birds, the toppling merry-go-round from Strangers on a Train, AND the slow "Nothing happening here..." pull away from the door from Frenzy, completely out of context before the afternoon kids' shows came on. 😱 (On the bright side, at least I had now heard of Hitchcock in time to see Family Plot in the theaters.)
  9. Rather than validate Random-Space Boy's meta-post with the psychological attention of quoting it-- I'll just second the story of seeing The Illustrated Man (1969) with a late-night college-festival audience years ago, and "slow and squirmy" definitely describes the audience's reaction to waiting for something to happen. We could follow the plot premise of our hero "seeing" short stories in Rod Steiger's tattoos, but as the movie went on, the audience became a little more impatient and vocal. As we see a soft-focus love scene between Steiger and Claire Bloom, and the movie suddenly cuts
  10. I still crack up at the timing of Mickey Rooney & Judy Garland at a table getting their bill, Mickey sees the price, and turns to Lewis Stone at the next table: "Pop?" "Yes, Andy?" "I'd like to have a...heart-to-heart talk." ...Cut immediately to the two washing dishes, to the band's Conga time. πŸ˜„
  11. 5) The banter between Jimmy Stewart, Grace Kelly and Thelma Ritter, and the "funny" subplots of the neighbors' windows, make a newbie think it's going to be a funny light-hearted mystery spoof, in the spirit of Hitch's self-spoofing TV intros. Heheh, and THEN... 😈
  12. No, Griffith made (or was forced to) the Walter Huston talkie Abraham Lincoln (1930) as a response to his new "Klan racist" image. And the enthusiasm showed. 😐 Intolerance was more a case of Griffith being a victim of his own success, expected to deliver another "epic" after TBOAN, and turning his one simple unwed-mother melodrama into a Historical Epic by padding it with historical subplots literally just to underline plot points. (Ie., the Pharisees in Judea, just to point out the nasty hypocrisy of the disapproving charity-lady do-gooders.)
  13. It literally started with eliminating the commercials BETWEEN programs, which might give audiences a one-minute temptation to change channels. By that point, of course, they had already come for TV show end-credits, and squashed them into sidebars to create more room for network promos. Don't hear of much of her being mocked for appearance, but in her day, she was frequently kidded for going everywhere and doing everything. It wasn't until Judy Garland in Babes in Arms that I became aware that it was popular to do comic imitations of Eleanor Roosevelt in the late 30's, from h
  14. And, misunderstood creatures that they are, their natural predator instincts help protect the house from gremlins:
  15. Have to include German expressionism if you're going to study silents, and I've already mentioned the influence that had on creating MTV music videos, or on introducing special effects or new camera techniques (like slow-motion or light-and-shadow) into a US industry that was still basically shooting a static camera at vaudeville stage plays. The French also threw a few ideas into the works, with Georges Melies and Abel Gance.
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