Mick Jackson
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Threads…
Cold war–era filmmakers asked what happens when the bomb drops, from bureaucratic panic in Fail Safe (1964) to full-on collapse in Threads (1984).
…the made-for-television movies The Day After, The War Game, Threads, and Testament are uniformly excellent…
A House of Dynamite would cower in fear at the imagery of Threads.
It wasn’t even the hellish aftermath the survivors would face, as depicted in the BBC drama Threads (1984).
Mick Jackson’s Threads traumatising anyone who saw it on its first broadcast in 1984…
I liked the reference in the movie to Kurosawa's samurai saga, "Yojimbo," a film about a warrior who hires himself out (as Costner's character does) and whose English title was literally "The Bodyguard."
Kevin Costner and Whitney Houston have a conversation about Akira Kurosawa's Yojimbo (whose title means "The Bodyguard") in the middle of Mick Jackson's hilarious camp artifact The Bodyguard, the one where Costner plays a barely-vocal lunk and Houston plays a singer-turned-actress with severe personality flaws.
But “San Andreas” is never scary, not in its torrents of lowest-bidder computer-generated imagery, not amidst story elements that evoke the ill-fated 1997 Tommy Lee Jones vehicle “Volcano,” and especially not when Caltech seismologist Lawrence Hayes (Paul Giamatti) tells us how scary they are, mostly with junk science and an early, unearned emotional catharsis.
Earthquakes haven't been exploited at the movies as much as one would think (most prominently in 1974's Earthquake, which brought us the Sensurround gimmick), but those with long-memories can cross-reference 1997's Dante's Peak and Volcano, which are more or less the same movie as (each other and) San Andreas, except with geysers of lava.
Every generation gets its disaster epic where parts of California rumble under shifting tectonic plates and the Hollywood sign reads " O LYW OD," whether it's "Earthquake" (1974) or "Volcano" (1997) or the new entry, "San Andreas."
Not since, good Lord, maybe Volcano back in 1997 have I seen a disaster movie so painstakingly eager to be the most prototypical disaster movie it could possibly be.
Where City of Angels tried to overlay Los Angeles with an ethereal, spiritual quality that that city simply doesn't have (the only movie I've ever seen that came close to bestowing a soul upon L.A. is Steve Martin's wonderful L.A. Story), Mail offers us a fantasy version of New York, the one we'd all like to live in, that only serves to enhance the film's genuine New York magic.
Brown naively thinks he’s about to get his own contract, but, instead, Davis wants him to use his influence to get Houston on the road to promote the soundtrack to her first film role, “The Bodyguard,” with its hit cover of Dolly Parton ’s “I Will Always Love You.”
That's not just because the film's amnesia conceit has been used before in such varied pictures as "Memento," "Clean Slate," "50 First Dates" and "The Bourne Identity."
There’s also a little of the Dana Carvey movie “Clean Slate” and the serious, superlative “Memento” here.
Being a disaster movie, The Core is more notable for how many things it borrows than how many things it invents: in this case, the general shape of the first act from 1997's Volcano (man, Volcano, there's a movie I haven't thought about in a fucking lifetime) - or the exact, specific first act from 2009's 2012 , if only it had existed at the time - is welded onto the second and third acts of 1998's Armageddon .
Is it just me or whenever there is a post-apocalypse story especially a YA adaption almost all the good guys look not only perfect but seem to have a glow about them, so this cast is full of great looking people, dressing snappy and they all seem like they stepped out of a hair salon, maybe some of the writers and directors should watch a real post-apocalyptic movie like “Threads” (1984) to see how the world might really look.
In an echo of the spring of 1997, when "Dante's Peak" and "Volcano" promised moviegoers death by lava, and the summer of 1998, when "Deep Impact" and "Armageddon" threatened audiences with extinction via asteroid, "White House Down" arrives three months and a week after "Olympus Has Fallen," a very similar story about a tough agent turned rescuer/avenger after circumstances trap him inside the White House during an armed assault that -- worst case scenario -- could escalate into nuclear war.
Not every 15 minutes like Guy Pearce did, but at the start of every morning like Dana Carvey suffered in Clean Slate some 8 years ago.
(It's a cut above Clean Slate.) Henry Roth (Sandler) is a Hawaiian veterinarian who spends much of his free time seducing female tourists.
The poster for “The Hitman’s Bodyguard” parodies the Whitney Houston/Kevin Costner “The Bodyguard,” with Ryan Reynolds lovingly carrying Samuel L. Jackson to safety.
The Day After Tomorrow (2004)
Directed by Roland Emmerich
influenced by L.A. Story (1991), Volcano (1997)
Well, as Steve Martin informed us in L.A. Story, Los Angeles meteorologists have nothing to do because it never rains.
None of the actors are important, and they go through their paces about as memorably as Tommy Lee Jones did in “Volcano” (this sort of picture is hardly a vehicle for thespian depth).
None of this should be very surprising, of course, Screenwriter John Gatins' previous works read like a top ten list of movies for people who loved Tuesdays with Morrie: Coach Carter, Dreamer: Inspired by a True Story (that's the actual title), Real Steel.
In 1992's The Bodyguard, Whitney Houston is an actress/singer who lives in a bubble of wealth and can't grasp that her life is in danger.
Another movie that comes to mind when discussing Memento is the Dana Carvey comedy Clean Slate.
The amnesia is an interesting touch, but even that isn't anything new (remember the Dana Carvey comedy "Clean Slate"?).
Because there remains a paucity of interracial relationships in American film, much less those which reverse the economic caste issue, it's fair--and sad--to say that The Bodyguard is an important film--praise that is tempered, though, by the fact that under the same criteria, Whoopi Goldberg's Fatal Beauty is an important film, too.
Lawrence Kasdan, the filmmaker whose credits include the superb efforts The Big Chill and The Accidental Tourist, wrote the script for The Bodyguard back in 1975, during his off-hours from his job as an advertising copywriter.
Costner, who was probably more alive as the corpse in "The Big Chill" than he is here, learned about the script when he and Kasdan were making "Silverado," and for whatever reason decided not just to produce it with Kasdan and Jim Wilson, but to play a role that was originally intended for Steve McQueen.
Lawrence Kasdan wrote the movie in the early Seventies as a first-ever script that took a while to find a home; meanwhile, he went on to write a few other things you might know, like "The Empire Strikes Back," "Return of the Jedi," "Raiders of the Lost Ark," "Body Heat," "The Big Chill," "Silverado," "The Accidental Tourist," "Grand Canyon," and a couple of yawners, "Wyatt Earp" and "Dreamcatcher."
(I can’t think of a single other movie that has found such wonder in Los Angeles except L.A. Story.
Lawrence Kasdan, the filmmaker whose credits include the superb efforts The Big Chill and The Accidental Tourist, wrote the script for The Bodyguard back in 1975, during his off-hours from his job as an advertising copywriter.
Lawrence Kasdan wrote the movie in the early Seventies as a first-ever script that took a while to find a home; meanwhile, he went on to write a few other things you might know, like "The Empire Strikes Back," "Return of the Jedi," "Raiders of the Lost Ark," "Body Heat," "The Big Chill," "Silverado," "The Accidental Tourist," "Grand Canyon," and a couple of yawners, "Wyatt Earp" and "Dreamcatcher."
I liked the house the filmmakers used for Rachel's place, too, Beverly House in Beverly Hills, California, the location for dozens of other movies (including the famous horse's head mansion in "The Godfather").