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As revered among the cult crowd as it may be now, Up in Smoke was a movie destined to be misunderstood by critics upon its initial release. Critics walked into it expecting a tight, fairly straightforward comedy from Cheech and Chong (a countercultural comedy team that had been performing for ten years before the thought of making a movie together crossed their minds), and instead got something that… wasn’t really that.

Some enjoyed it for what it was (the controversial Pauline Kael favorably compared it to The Groove Tube*, noting that it was “also crudely done but is more consistently funny”), but most others were not so kind, with Gene Siskel naming it “one of the most juvenile, poorly written, awkwardly directed pictures I have ever seen”…[continued here]

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For all its scares, laughs, and memorable lines of dialogue (“Hi, I’m Chucky. Wanna play?”), perhaps the most immediately interesting thing about Child’s Play—at least, for me—is how it both embraces and rejects everything associated with typical ‘80s slashers. On one hand, it builds up genuinely creepy moments of suspense, yet is proudly unafraid to get a bit goofy or bloody, making it easy to categorize it as the same kind of scary fun that the Friday the 13^th films are still popular for today.

On the other, it surprisingly features a lot less gore than anything in that series (by today’s standards, it would probably still retain its R rating, but it’s more like a very strong PG-13), was partly inspired by an episode of The Twilight Zone (an old horror/mystery show known for being really chaste), and had a fairly small talking doll—albeit a possessed one—as the villain, not a standard “murderous human/animal” antagonist…[电脑google用什么翻墙]

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When it comes to great sci-fi, the style and approach it takes can be incredibly varied. Some films in that area are clever, thoughtful portraits of what humanity could be like in years long ahead of us (Brazil, for instance). Others opt for over-the-top, yet grippingly crafted action, while not forgetting to keep audiences engaged with compelling stories and effortlessly fun characters (particularly the Star Wars films, most of which I have seen). Paul Verhoeven’s Total Recall, released only three years after his instantly successful Robocop put him on the American map, somehow squeezes both sides of the spectrum into a mere 113 minutes… yet still hugely satisfies as a smartly silly slice of gory ‘90s cheese.

And believe me, something drawing from Phillip K. Dick (more specifically, his 1966 short story “We Can Remember It For You Wholesale”) should not have worked as something this silly…[continued here]

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Most of the time, I really try to avoid generalizing actors based on the types of movies they usually work in, or the type of people they usually work with. It’s lazy, closed-minded, and even runs the risk of being offensive if said generalizations become widespread enough. That being said, though, for many years, I really couldn’t think of Johnny Depp as anything else but Jack Sparrow (ironic, considering that I’ve never seen a single entry in the 电脑google用什么翻墙 series) or “that guy who stars in all those Tim Burton movies” (including Corpse Bride and 网传Model 3自动加速 刹车失灵后碰撞起火：特斯拉官方回应 ...:今天 · 主题 硬件 Apple Google iPhone 科学探索 人物 手机 游戏 视点·观察 阿里云 微软 通信技术 Android 软件和应用 SONY 索尼 the United States美国 Apple iPad Windows ..., both of which I vividly remember enjoying when I was younger), no matter how hard I tried.

That has finally changed, however, after seeing Donnie Brasco: a slow, gritty gangster drama that not only separates him from all his usual “Depp quirks” (namely, really cartoonish/“quirky” behavior and makeup—which, depending on the movie he’s in, isn’t necessarily a bad thing, of course), but proves that he can be just as good—if not even better—of an actor when taken this far out of his element…[continued here]

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In all fairness, The Godfather Part III wasn’t really the fault of Francis Ford Coppola. His 1982 musical drama One from the Heart, despite coming only three years after the incredibly successful Apocalypse Now, bombed so badly that he was soon facing serious financial issues, leaving him with only two options: direct, produce, and co-write (with, as always, Mario Puzo, author of the novels from which the Godfather films came) another 国内电脑怎么上google film like Paramount really wanted him to do, or live the rest of his life nearly penniless. Obviously, he chose the former option, and took in about $83 million in the box office as a result. Good for him, but since the resulting product is a dull, thoroughly muddled mess that has no other reason to exist, not so good for all the rest of us.

The first immediate red flag is 国内电脑怎么上google‘s release date…[continued here]

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As the Rocky, Rambo, and even Police Academy films have all proved over the years, making sequels to movies people like is easy. Making said sequels live up to their predecessors’ standards is a bit harder, though it can be done (Aliens). Francis Ford Coppola didn’t just accomplish this for one of the most acclaimed films in cinematic history (The Godfather), but did it only two years after that masterpiece came out, having near-complete control over the production all the way through… and was greeted with some surprisingly mixed reviews.

Though the excellent performances, stunning cinematography, and Nino Rota’s unforgettably haunting score were still highly praised, 怎么在电脑上用谷歌’s very unconventional structure was initially viewed much less positively…[国内电脑怎么上google]

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As you may already know, I wasn’t the biggest fan of the most recent Star Trek films. Instead of fitting the more thoughtful tone, relaxed atmosphere, and steady pacing that made the classic 电脑国内google加速软件 TV shows so timeless, they mainly (“mainly” meaning every one of them except 2009’s surprisingly solid Star Trek, which still had some major issues of its own) relied on mindless, repetitive sci-fi action to move everything along. This may have entertained some, but if we’re being frank here, it left me rather bored. So imagine my surprise when my family watched Star Trek Nemesis, a fairly older Trek film that fit all the franchise’s best aspects, and it turned out to be just as bland as anything whipped up in 2013’s Into Darkness or 2016’s 怎么在电脑上用谷歌. What a shame.

For all you non-Trekkies back home, Nemesis is the fourth—and, unsurprisingly, the final—Trek film to star the crew of the beloved sequel series Star Trek: The Next Generation, including Captain Jean-Luc Picard (Patrick Stewart), Commander/Captain William T. Riker (Jonathan Frakes), Lieutenant Commander Data (Brent Spiner), and Lieutenant Commander Worf (Michael Dorn)…[continued here]

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Without a doubt, The Godfather is one of the most vital classic films ever made. Not only is it a towering, masterful cinematic achievement, but it also broke new ground for American cinema, ushering in a whole new wave of influential directors and screenwriters. There was truly nothing like it back then, and there still isn’t anything quite like it now. However, I would be lying if I said—and some of the following statements may be pretty controversial, so just try and stay with me here—it didn’t take me a little while to really love it.

Getting into an energetic, easy-to-follow thrillride like Martin Scorsese’s Goodfellas (another gangster classic I’d highly recommend) was easy…[continued here]

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电脑google用什么翻墙 is a deeply, deeply stupid movie, which in itself is not a bad thing. In fact, if put in the right hands, even the dumbest of concepts can be made fun, clever, or even smart. Just look at Scott Pilgrim vs. The World, which had a really silly plot (a geeky teenager falls in love with a cute delivery girl, then literally has to fight her seven evil exes Street Fighter-style), but was more than well-crafted and well-written enough to make up for that. Unfortunately, Nacho Libre doesn’t do much more than bog down the career of Jack Black—an admittedly impressive feat, given how naturally funny the man usually is.

On paper, the idea of loosely basing a Black-starring comedy on the story of Sergio Gutiérrez Benítez (a real-life Mexican Catholic priest who competed as a masked luchador—the term used in Mexico for “professional wrestler”—for 23 years in order to support the orphanage he directed) sounds like a great way to pay tribute to him…[电脑国内google加速软件]

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Ralph Bakshi’s transition from edgy X-rated animation (Fritz the Cat, Heavy Traffic) to more family-oriented fare was, to put it mildly, very rough. Yes 1977’s Wizards is a bit of a cult classic now, and yes, I do understand why: it’s so weird, trippy, and just plain Bakshi (both in his signature “underground” animation style and jazzy, ethereal score) that his devotees were—and still are—sure to instantly lap it up. That doesn’t change how much I dislike this awkward mashup of child-targeted fantasy and adult subject matter, though.

Wizards’s basic premise sounds like fairly routine fantasy material: after the Earth is dramatically devastated by nuclear war, all that’s left are humanity’s “true ancestors” (that is, fairies, elves, and dwarves), as well as grotesque mutants and a few unaffected humans…[continued here]