Ron Underwood
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Connections, in both directions
With impressive precision Peele remixes a broad range of influences, including the incomprehensible terror of Lovecraft, more niche genre fare like Ron Underwood’s Tremors , classic Hollywood, and even beyond, such as a direct reference to Akira , through thrilling replication of the famous bike-slide shot (perhaps his tribute to a cancelled remake he was once linked to).
Whilst Nope nods to - and borrows from - other well-known ‘alien invasion’ films ( Signs , Close Encounters of the Third Kind , and War of the Worlds ), as well as pop-culture horror ( Tremors , Poltergeist ), it also manages to be its own unique film, with genuinely impressive twists and well-timed comedy.
O.J., ever the animal trainer that his father was, realizes he must play by the animal’s rules and respect its ornate posturing—leading to a dazzling sequence in the final act that recalls the crop duster scene in North by Northwest (1959) combined with the monstrous threat at the end of Tremors (1990).
Some of the bait and switch in trying to ferret out the entity also has some of the seagoing fun of “Jaws” (1975), with players at different posts reacting to unfolding events differently, though given the dusty, spare terrain it reminds me more of the quirky 1990s cult hit “Tremors.”
Fans of Peele’s previous work would be correct to assume that a horror film is to follow, and while there are a handful of scary and intense sequences, this is much more akin to a film like Jaws or Tremors than it is Fire in the Sky .
A Black sci-fi horror Western sounds like a goulash that can’t work, but the director – channeling “Jaws,” “Close Encounters,” “Signs,” and B-flick classics like “Tremors” – knows to keep the focus on his characters and his tongue at least half in cheek.
Writer Lehane manages to create a real sense of community on Erin – something Tremors was rightly applauded for – and hits upon the entertaining notion of making the aliens, like the locals, vulnerable to the effects of alcohol.
It's in the vein of " Critters " or " Tremors ," but with a more modern spin on it like " Slither ," " Attack the Block ," or even Bong Joon-ho 's " The Host ."
The structure of the film plays out like any number of B-movies from the past: Tremors, Deep Rising even Attack the Block.
Perfect fodder for a late-night audience, UK/Irish co-production "Grabbers," directed by Jon Wright, is a fun ride, and while it doesn't reinvent the "Tremors" and "Slither" modern-b-movie wheel, it adds a few neat touches to that formula.
It isn’t as smartly plotted or funny as Tremors, nor as politically charged as The Host.
This is a lovingly crafted B-movie creature feature in the grand fun/scary tradition of Tremors.
The film is disgusting and, in its way, it's sad, too--and it's that element of the pathetic that reminded me the most of the tightrope described by Ron Underwood's cult classic Tremors.
The faint of heart should skip it, but if your guilty-pleasure tastes run to such storied horror-comedies as ''Re-Animator" and ''Tremors," here's your cup of extraterrestrial gastropod guts.
Slither calls to mind Tremors , Twin Peaks and Lake Placid as much as Night of the Living Dead .
Putting it into context, it's not as enjoyable as either Tremors (which resides on the pinnacle) or Shaun of the Dead, and is about on par with Eight Legged Freaks.
It’s at least commendable that “Irresistible” did not try to completely copy the “love/hate/we know they’re going to get together” relationship of political opposites that was on display in director Ron Underwood’s critically panned 1994 comedy flop “Speechless.”
Speechless (1994) used a similar premise as background for a sappy romance between Michael Keaton and Geena Davis.
A love-hate rivalry between Carell and Rose Byrne’s Republican opposite is only fitfully funny and tonally from a different movie (think 1994’s Speechless ), while the initial (Frank) Capra-corn/ Doc Hollywood /Ealing Comedy fish-out-of-water shitck jars, rather than charms.
It’s neither Jaws-scary nor Tremors-funny, but genre-movie fans in 1999 did have a chance to feast on the year’s talkiest, most neurotic horror movie.
Nor is it fun and campy like "Tremors," the 1990 film that featured desert burrowing creatures that kept most of its cast on top of rocks, vehicles and buildings.
But it's a dumb, forced attempt at camp horror that falls woefully far short of such films as Tremors and An American Werewolf in London.
Lake Placid doesn't have the scares of Alien, nor the high-mindedness of Jurassic Park, but it is as goofy and fun as Tremors or Anaconda.
Lake Placid is a tart comedy of human folly layered atop a nonsensical horror-thriller -- à la Tremors or Piranha.
It’s no longer just the teenagers learning life lessons anymore; now an elderly duo, sporting a “Grumpy Old Men” vibe (along with themes from “City Slickers”), takes over half of the show.
Saddled with such constraints, the likes of Peter Falk ("Made," "The Princess Bride"), Fred Ward ("Summer Catch," "Tremors"), Peter Berg ("A Midnight Clear," "Fire in the Sky") and Chris Penn ("Rush Hour," "The Funeral") can't do much with their mob figures, while Vinessa Shaw ("Coyote Summer," "Eyes Wide Shut"), Matthew Glave ("Rock Star," "The Wedding Singer") and Richard Roundtree ("Seven," "Shaft") pretty much end up in the same boat, but on the other side playing the good guys.
A throwback to the goofy horror comedies of the 1980s and 1990s—movies like “Tremors” and “Arachnophobia”—but with the added nastiness today’s audiences expect, “Cocaine Bear” has already achieved popular notoriety on the basis of internet chatter.
The tone of this film certainly wants to help itself fit alongside films such as Tremors , Piranha, and Arachnophobia.
Cocaine Bear makes Sharknado look like Tremors , and it makes Snakes on a Plane look like Citizen Kane .
Instead, the film seems to have been inspired by such screwball pen pals as Tracy and Hepburn in “Woman of the Year.”
The alien, which is something of a cross between a velociraptor and the set-of-fangs within set-of-fangs perfect organism from “Alien,” can’t see; that puts it somewhere between “Tremors” and “Pitch Black.”
That might sound quite a bit like the 1990 film "Tremors" where subterranean "worms" likewise hunted by sound and related vibrations.
Across town, Dwayne (Danny McBride, "Your Highness") is tired of of not being fed from a silver spoon by his dad, a Marine Corps Major (Fred Ward, "The Right Stuff," "Tremors") who retired on a $10 million lottery win.
So, the two devise a half-baked scheme to kill Dwayne’s military father, The Major (Fred Ward of “Tremors”), who recently won the lottery but is burning through his cash like an NBA lottery draft pick.
For about 75 minutes, "Legion" is a solid, pulpy B-movie along the lines of 1986's "Maximum Overdrive" and 1990's "Tremors," a horror actioner wherein a group of disparate people are forced to hole up in a desolate setting and protect themselves from an outside threat closing in.
In 1994, both Michael Keaton (Batman) and Christopher Reeve (Superman) appeared in the film "Speechless."
Unlike say, Dave, which wove a well-chosen cast into a nicely topical scenario to produce a Capra-esque comedy of populist ideology, this relegates the fertile ground of American politics to mere backdrop for a misconceived Adam's Rib-style screwball romance.
There's also passionate debate, wicked wit, desperate improvisation, caffeine-fueled energy, demented commitment to the cause, and unrelieved lack of sleep all the colorfully unglamorous elements of campaign life that make the setting such a natural for the kind of grown-up, sexy, sparring he-and-she-both-have-brains movies that Hollywood has claimed to want to re-create ever since Hepburn and Tracy snapped at each other as husband-and-wife opposing counsel in Adam's Rib.
Borrowing a page from Steven Spielberg's Jaws , Tremors limits how much we see of the beasties, at least while they're alive.
Understand that it is difficult to commend Tremors after mentioning Jaws — the standard classic for the genre.
I mean, here we have a sequel to a mediocre Eddie Murphy comedy that didn’t even measure up to the standards of the star of The Adventures of Pluto Nash (2002) and Norbit (2007).
…a subgenre that's a product of colliding sensibilities generating Tremors felt far afield…
The bird is such a delightful screen presence that “The Shallows” could do for seagulls what “City Slickers” did for calves; at the very least, you’ll be a little more forgiving the next time one of those flying squawk monsters shits on you at the beach.
We're talking "La Dolce Vita"-style splashing in the hotel fountain.
Lowell Ganz and Babaloo Mandel, the unstoppable comedy-writing duo (18 movies, including “Splash” and “City Slickers”), were lured away from live action to write the script with playwright David Lindsay-Abaire.
Written by the veteran comedy writing team of Lowell Ganz and Babaloo Mandel ('70s sitcoms Laverne & Shirley and Happy Days and the movies City Slickers and Parenthood), the movie's one-liners are sometimes funny, other times flat.
"Ice Age" director Chris Wedge and co-director Carlos Saldanha work from a polished script by the acclaimed screenwriting duo of Lowell Ganz & Babaloo Mandel ("City Slickers") to create a slapstick brand of humor with retro styled robots attempting to save their species from being outmoded by slash and burn capitalism.
This team, responsible for such comedy classics as "Splash," "A League of their Own," and "City Slickers," know the proper balance between comedy and action, drama and sentiment.
At least those bits are fun to watch, whereas the comedy, taken in part from the pens of the reliably disappointing team of Lowell Ganz and Babaloo Mandel (City Slickers, Fathers' Day), just kind of drifts by unnoticed.