David R. Ellis
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The Unbearable Weight of Massive Talent (2022)
Directed by Tom Gormican
influenced by Snakes on a Plane (2006)
In pandering “fanboy inspired movie” terms, it’s closer to “Fanboys” than “Snakes on a Plane.”
The mere thought that Cage, who revels in delivering the unexpected, would be playing a somewhat stylized version of himself for The Unbearable Weight of Massive Talent felt like the type of project only Cage could pull off, though ran the risk of being as effective as something along the lines of Snakes on a Plane , where the concept alone is more compelling to the Internet than the execution.
The film’s pre-release hype hit “Snakes on a Plane”-level heights.
The film features Jayma Mays, Adam Campbell, Kal Penn ("Harold & Kumar Go to White Castle") and Faune A. Chambers ("White Chicks") as, of all things, 20-something "orphans" who are plucked out of scenes from "The Da Vinci Code," "X-Men" and "Snakes on a Plane."
Some of the targets are not technically epics: Snakes on a Plane?
Epic Movie, the latest plunge into the bottomless sewer of spinoffs from the original Scary Movie razzfest of 2000, makes fun of Nacho Libre, Snakes on a Plane, Scarface, Click, Charlie and the Chocolate Factory and Borat, among many others.
The plot is a misshapen amalgam of films like Charlie and the Chocolate Factory , The Chronicles of Narnia and The Da Vinci Code , but whenever those zany screenwriters ( Aaron Seltzer and Jason Friedberg ) get stuck coming up with another flaccid gag, they have no problem yanking "inspiration" from Nacho Libre , Snakes on a Plane , X-Men , Mission Impossible and Click .
Having spoofed horror films and romantic comedies, Friedberg and Seltzer satirize mostly summer blockbusters - among them "The Da Vinci Code," "Nacho Libre," "Snakes on a Plane," "Pirates of the Caribbean," "Charlie and the Chocolate Factory" and the "Harry Potter" films.
Susan (Faune A. Chambers) is menaced by Snakes on a Plane.
It's half a straight airborne-disaster tale and half an airborne-disaster satire, in the manner of the 1980 comedy classic, "Airplane!"
FBI agent Samuel L. Jackson is plunked amid a slew of grinning, digitally-rendered serpents aboard a flight, gory wackiness and phallic metaphors follow; one of the slithering villains is "indigenous of the Middle East," somebody mumbles, but the model is, mercifully, less United 93 than Airplane!, with Jackson's deadpan clowning upholstered by director David R. Ellis and buttressed by expedient foolery from SNL alumni Kenan Thompson and David Koechner, everybody hip to the wonky gig.
Director David R. Ellis (Cellular, Final Destination 2) and screenwriters John Heffernan, Sebastian Gutierrez and David Dalessandro faithfully work within the standards set by the fantastic disaster movies of the '70s - films like The Towering Inferno and Airport 1975 - without resorting to outright parody, which Airplane! so ingeniously mastered.
Representing a slightly skewed take on 2004’s “Cellular” crossed with a lobotomized “ Silence of the Lambs ,” Brad Anderson ’s high-concept thriller “ The Call ” would be an unremarkable bit of women-in-peril dreck were it not for two distinguishing factors — the sexualized sadism inflicted upon the half-dressed 16-year-old Abigail Breslin, and the equally sadistic Sideshow Bob coiffure affixed to the otherwise lovely Halle Berry .
While the story is as head-shakingly ridiculous as the likes of Cellular (2004), Berry’s character’s brutal, though improbable, determination keeps the intensity high.
Like 2004’s Cellular, another enjoyable chiller built around crime and mobile technology, The Call is the rare horror film in the last decade or so to forgo metaphysics, the supernatural, and source material that was first a hit in Asia.
You’ve seen pieces of this movie in “Psycho,” “Silence of the Lambs,” and 2004’s “Cellular.”
The film combines the frightening, fast-moving monsters of 28 Days Later (as opposed to the traditionally shambling undead) with the sheer novelty value of Snakes on a Plane (zombies on a train, y’all!) and adds a dash of Snowpiercer’s class warfare (not to mention its setting) to create something unique, terrifying and fun.
In a genre of mostly forgettable flesh-eating thrillers, Yeon’s cult zombie hit stood out as one of the more entertaining, coupling local paranoia — about corrupt leaders and overzealous military, in an indirect critique of the scandalously mismanaged 2014 Sewol ferry accident — with a kooky yet effective “Snakes on a Plane”-style conceit: What if an outbreak occurred on a contained, fast-moving train?
Try 2005's " Flightplan ," 2005's " Red Eye ," or even 2006's " Snakes on a Plane ," and treat this disappointing entry as the afterthought it finally becomes.
The absurdities don't get close to those of Snakes on a Plane, however.
Hence, it's more Murder on the Orient Express and less Snakes on a Plane.
Pride and Prejudice and Zombies (2016)
Directed by Burr Steers
influenced by Snakes on a Plane (2006)
Themes
In the vein of movies like Snakes on a Plane and Bad Santa, Burr Steers' Pride and Prejudice and Zombies is a film that very much tells you what it’s all about with its title: it’s Jane Austen’s classic romantic tale retold with a bit of Walking Dead action.
Pride and Prejudice and Zombies is: (a) the greatest movie title since Snakes on a Plane and (b) the worst movie with a great title since Snakes on a Plane.
When the movie-title hall of fame is built, surely "Hot Tub Time Machine" will be honored in the same wing as "Snakes on a Plane."
The most spoiler-titled film since “Snakes on a Plane” opens by introducing its four primary characters: Adam (John Cusack), Nick (Craig Robinson), Lou (Rob Corddry), and Jacob (Clark Duke).
With the most explanatory title since "Snakes on a Plane," we know where this is going, literally.
He’s no David R. Ellis, late purveyor of superior B-movie trashiness like Cellular .
Even when genre films are self-aware, they’re often made or conceived in half-measures -- witness the dreary “Snakes on a Plane.”
Since premièring out of competition at Cannes 2010, Quentin Dupieux’s Rubber has been referred to more generally as “the killer-tire movie,” one of those concepts, like Snakes On A Plane or The Human Centipede, that inevitably takes on more life as a meme than as a work of art.
The Hitman's Bodyguard (2017)
Directed by Patrick Hughes
influenced by Snakes on a Plane (2006)
Themes
Sadly, we’re a long ways away from the inspired snottiness of Deadpool or even the lovably trashy Snakes on a Plane.
“This guy just single-handedly ruined the word motherf----r,” Michael complains, after Darius’s particularly spectacular “Snakes on a Plane”-esque outburst.
FAST FACT: Samuel L. Jackson signed on for the 2006 thriller “Snakes on a Plane” based on … the title .
Jackson’s role is especially egregious, his dialogue seemingly written by someone who wrote it for the Oscar nominee, but hasn’t seen any of his performances beyond Snakes on a Plane.
Decades later and The Meg is more Snakes On A Plane than Jurassic Park, though that’s not to the movie’s detriment.
The Meg is not even Snakes on a Plane, although the chief quality it shares with that stinker is being almost entirely forgettable.
Hell, this isn’t even on the same level as Snakes on a Plane.
It’s why Sharknado and Snakes on a Plane are violently unpleasant but They Live is gospel.
Muy lejos de los mejores exponentes del formato en cuestión, espectro que abarca desde lo estadounidense hiper demagógico aunque disfrutable de Enlace Mortal ( Phone Booth , 2002), de Joel Schumacher, y Celular ( Cellular , 2004), de David R. Ellis, ambas escritas por el querido Larry Cohen, hasta la pata europea más verosímil de El Desconocido (2015), del español Dani de la Torre, y La Culpa ( Den Skyldige , 2018), del sueco Gustav Möller, la primera sostenida en una gran actuación de Luis Tosar y la segunda en una equivalente de Jakob Cedergren, Desesperada cuenta con un metraje de apenas 84 minutos pero aun así aburre con su colección de conversaciones previsibles, flashbacks melosos/ lacrimógenos, situaciones repetidas y un background de cartón pintado para cada uno de los personajes, combo que no consigue corregir una Watts también productora que literalmente es lo único bueno de la película del australiano Noyce, quien empezó a dirigir en la frontera espiritual entre el ozploitation y la…
Avatar: The Way of Water (2022)
Directed by James Cameron
influenced by The Final Destination (2009)
But the overall 3D cinema was more of a fad, thanks to a slew of inferior 3D movies ranging from The Final Destination (2009) to Clash of the Titans (2010) and the god-awful Transformers: The Last Knight (2017).
The End of Oak Street (2026)
Directed by David Robert Mitchell
influenced by Snakes on a Plane (2006)
Plot
I went in expecting Signs and walked out realizing I watched Snakes On A Plane, but way better.
The movie also is similar to and lesser than the lunacy in Adrian Lyne’s shocker “Jacob’s Ladder’’ or the overcooked nonsense of the 2004 B-movie “Cellular,’’ in which Chris Evans tries to save Kim Basinger’s life through a mobile phone connection.
In 2004, it was “Cellular.”
This idea worked well for films like Jaws or Final Destination 2, taking beaches and the highway and giving us something to fear.
First off, Final Destination 2 pretty effectively took the piss out of this kind of horror movie scene more than fifteen years ago.
Jackson is clearly self parodying himself a la Snakes on a Plane but he’s funny as hell.