Peter Hyams
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Connections, in both directions
Not long afterwards came Billy Crystal and Gregory Hines in “Running Scared” (1986) and an inspired pairing of Mel Gibson and Danny Glover for the first “Lethal Weapon” film (1987) that really reinforced the loose cannon-conservative lawman match-up.
Dippold was initially inspired by the buddy-cop comedy Running Scared, which includes a montage of hot babes riding on the back of Billy Crystal's and Gregory Hines' scooters.
When he was in town last month, director Paul Feig confessed that the movie’s inspiration came to Parks and Recreation writer Katie Dippold while watching the 1986 cable staple Running Scared, which starred Billy Crystal and Gregory Hines as a couple of mismatched Chicago detectives stumbling onto a totally unremarkable mystery and bantering their way through a brisk two hours.
In a director's statement, he's acknowledged his debt to such cerebral sci-fi classics as Silent Running (1971), Solaris (1972), Outland (1981), and BladeRunner (1982).
And Sam's being a lunar miner is a homage to the 1981 sci-fi film Outland , where Sean Connery blows the whistle on a corrupt mining manager on one of Jupiter's moons.
"Capricorn One" may come to mind, giving conspiracy theorists a possibility to ponder.
The sleek, science-friendly elegance of Arthur Max’s production design recalls “Silent Running” (another sci-fi parable with a botanist hero), while its running series of logistical challenges echoes Arthur C. Clarke sequel “2010.”
The lawlessness of outer space hearkens back to the Wild West — in this sense, the film brings to mind Peter Hyams’ Outland , the High Noon variation starring Sean Connery.
The Nice Guys (2016)
Directed by Shane Black
influenced by Busting (1974), Running Scared (1986)
Visuals Plot
It clearly recalls such 1970s fare as The Long Goodbye (1973)and Chinatown (1974), as well as such largely forgotten titles as Busting (1974) and 1978’s The Big Fix, which featured Richard Dreyfuss as a stoner private eye with a cast on his arm just like Gosling has here — something unlikely to be coincidental.
The original Lethal Weapon back in 1987 has been given far too much credit as the movie that largely birthed the "buddy action comedy" (48 Hrs. and Running Scared are but two which preceded it), but it was definitely the most successful in that it led to three sequels even more lucrative at the box office.
There is a cult movie, “ Capricorn One ” (1977), about not even trying to make it to the moon but faking it instead: manna from Heaven for anyone starved of conspiracy.
A stellar injustice: Hollywood has made a movie about a faked Mars landing—1977’s deliriously silly Capricorn One—but has never given the historic first moon landing its due.
The kind of risk which family-friendly film The Adam Project shares along the same lines as E.T. the Extra-Terrestrial (1982), The Last Starfighter (1984), and Flight of the Navigator (1986), pushing the bounds of the PG-13 rating in its action set pieces, character interactions, and narrative themes to feel a touch more like Timecop (1994) from time to time.
Adding in the demons does little except turn it into something akin to that Arnold Schwarzenegger stinker End of Days.
And in action terms, there isn't a moment in this hackneyed melodrama that De Bont and scriptwriter Graham Yost haven't lifted from other, more successful movies, including "In the Line of Fire," "Die Hard" (both 1 and 2), "The Fugitive" and the Gene Hackman runaway-train movie, "Narrow Margin."
(Op cit, "Narrow Margin," "Thunderball," "Patriot Games," "In the Line of Fire," to name but a few.)
A return to formulaic thrillers for Director Tony Scott, “Deja Vu” plays out like a slicker and more realistic hybrid of a Bruckheimer movie combined with 1994’s rather silly “Timecop”.
Scripted by Austin, Texas-born newcomer Beau Thorne and set in a stylized film noir New York City, the film is a mashup of “Sin City” (2005), “The Crow” (1994), “The Matrix” (1999) and “Outland” (1981), featuring canned dialogue and tough-guy posturing by its star Mark Wahlberg.
Howard, for his part, appears to have shot proceedings through a slightly yellowed 1990s filter: The tone and aesthetic here often recall that era’s odd spate of gaudily portentous, pseudo-theological thrillers in the vein of “End of Days” and “Stigmata.”
To defuse charges of racism, the movie carefully includes its share of corrupt white officers, lurking in shadows in a restaurant and casually talking about executing a criminal who hoodwinked the court system (the scene could've been lifted whole and breathing from The Star Chamber, in which a group of frustrated judges banded together for vengeance).
It should not be confused with The Relic , a fun, dumb 1997 creature feature.
El secreto de este éxito hay que buscarlo en la ausencia absoluta de cualquier ínfula de trascendencia y en su entregada apuesta por la peripecia "con monstruo", que nos remite (sin avergonzarse de ello) a gozosos terrores noventeros como Horizonte final (Paul W.S. Anderson, 1997), The Relic (Peter Hyams, 1997) o Deep Rising (Stephen Somers, 1998).
The British auteur recreates 1994's Timecop with better special effects and a vastly more convoluted plot.
What happens and why involves some low-grade special effects and a time-traveling conundrum that's been in circulation at least since Ray Bradbury's 1952 story "A Sound of Thunder," in which a man steps on a butterfly in the past and changes the future.
The Butterfly Effect owes a great debt, then, to Ray Bradbury's "A Sound of Thunder," Brian Aldiss' "Poor Little Warrior," William Goldman's Control, and Clive Barker's "The Inhuman Condition"; that it manages to honour to some degree each one of its sources (if only with the precision lavished on the telling of its dank tale) identifies the picture as a most difficult beast to embrace--and just as difficult to dislike.
…but they should really be nodding in the direction of Ray Bradbury and his short story "A Sound of Thunder."
Actually, the movie has little to do with chaos theory; a closer allusion is to the Ray Bradbury story “A Sound of Thunder.”
It's clear almost immediately that screenwriter Bruce Joel Rubin - best known for penning unapologetically sentimental flicks like 1990's Ghost and 1993's My Life - is primarily interested in exploring the more overtly maudlin elements within the source material, which ensures that the film will probably be received best by those viewers with a high tolerance for syrupy love stories (ie this is more The Notebook than Timecop).
Looper (2012)
Directed by Rian Johnson
influenced by Timecop (1994), A Sound of Thunder (2005)
Themes Plot
The best time travel stories are the ones in which the time travelers inadvertently change the future (see Ray Bradbury’s short story A Sound of Thunder) and, paradoxically, the ones in which time travelers don’t.
So I assumed “Looper” would keep piling on the paradoxes, getting more and more convoluted as the older Joe and the younger Joe crossed paths, messing up timelines and creating new ones, like Ray Bradbury’s short story “A Sound of Thunder” with bullets and blood sprays.
The sci-fi flick also stars Bruce Willis and Emily Blunt, and mashes together elements from the likable Jean-Claude Van Damme B-movie, Timecop, and the Brian DePalma telepathic horror flick The Fury.
While echoing "Network," "Capricorn One" and "1984," as well as the cult television series "The Prisoner," "The Truman Show" defines its own niche.