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Umbrella Academy’s Dance Scene Teased Season 1’s Ending

The Umbrella Academy‘s dance scene from episode 1, which was first teased in the TV show’s trailers, perfectly sums up each character’s hidden personalities while also hinting at season 1’s ending. In The Umbrella Academy episode 1, “We Only See Each Other at Weddings and Funerals”, the five remaining members of the Umbrella Academy gather for the first time in years, in their old home, after their father, Sir Reginald Hargreeves, had died – though it was later revealed there was a good reason.

Once all of the students had gathered at the Umbrella Academy – barring Number Five (who had disappeared) and Number Six (who’s dead) – they each separated into different rooms in the house. Luther had gone to his old bedroom and put on the song “I Think We’re Alone Now” by Tiffany. At first, some of the characters resisted the urge to dance, but ultimately, they all started dancing in their own ways – all of them alone in different rooms. After seeing The Umbrella Academy‘s ending, that dance scene becomes more important (and quite telling).

Related: What The Umbrella Academy Comics Reveal About Season 2

As pointed out by a Reddit user, each character’s dance reveals a part of their personality that they’ve kept secret. Luther’s dance is almost childlike, because he never had the opportunity to be a kid in his childhood since he was always leading the team as Number One. Allison dances with a feather boa and lets her inner-self shine, after having been forced to become reserved in the spotlight as a celebrity. Klaus dances with Sir Reginald’s urn, and he holds the urn close to him, because he’s always longed for a real relationship with his father.

Diego, on the other hand, strives to maintain a strict persona throughout season 1, but when the music comes on, he closes the door and starts dancing in a wildlike fashion. It’s one of the few times he can be himself. As for Vanya, she’s hesitant at first but then slowly gets into the groove. She does this, and then dances reservedly, due to being cast aside by the rest of the team throughout her life and has learned to sever herself from others – perhaps as a form of survival.

What’s interesting, all of their characters end up expressing these hidden personalities towards the end of The Umbrella Academy season 1, with Klaus, specifically, realizing (a part of) his full potential after speaking with Sir Reginald Hargreeves. Vanya also discovers her true self and unlocks the abilities that her father tried to suppress for years. Furthermore, Diego becomes part of the core of the family after setting aside his mask and allowing himself to care, outwardly, about other people. It was all there, from the very beginning. Even the song in the background highlights the Umbrella Academy students being alone.

More: What To Expect From The Umbrella Academy Season 2


2019-03-07 03:03:33

Mansoor Mithaiwala

THE UMBRELLA ACADEMY “Dance Scene” (2019) Netflix TV Series



THE UMBRELLA ACADEMY “Dance Scene” (Clip 2019) Netflix TV Series
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2019-03-05 17:57:40

Six films hit the silver screen this week



‘Suspiria’Modern “Suspiria,” which adapts the cult classic of Dario Argento, revolves around the mysterious events at a dance school as a young dancer begins her studies there.Directed by Luca Guadagnino,…Click To Continue



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20 Things Wrong With American Horror Story We All Choose To Ignore

The horror anthology hit TV show American Horror Story just might be the magnum opus of Ryan Murphy and Brad Falchuck. Scarier and more riveting than any of the duo’s other projects, the spine-tingling series features a new theme and characters every season that are all still linked to each other’s universe. From the casting announcements to the series hints, theme reveals, and each season’s unique introductory visuals, it’s riveting entertainment all around. Even so, some seasons fall further off the mark than others, with many episodes barely even registering on the “horror” radar while others left us scratching our heads wondering what the heck just happened.

The thing is, we tend to give glaring errors, plot flops, and other things wrong with the show a pass because we love it so much. From intriguing horror to irresistible characters, from unexpected plot twists to some of the best storytelling on TV, American Horror Story keeps us coming back, not because it’s flawless but because it’s still addictive despite, and sometimes because of, its many flaws.

We might love a character and conveniently forget that he or she is a monster. We’ll keep tuning in even after an entire sequence left us feeling disgusted, embarrassed for the actress who had to play out the scene, or even angry at the creators themselves. It’s just that addictive.

We love it and we’ll keep coming back for me, even with these 20 Things Wrong With American Horror Story We All Choose To Ignore.

20 Some Seasons Aren’t Scary

With a name like American Horror Story, you might expect every episode to be a scream-fest. That’s just not the case, especially in seasons four and five. While there’s no shortage of horror-inducing characters in these seasons, they didn’t really give us nightmares like previous and subsequent seasons were able to do.

Were we jaded from all the mutants, ghosts, zombies, and other creatures in previous seasons?

Both Freak Show and Hotel fell short on promises of terror, often vying for more intense drama (a calling card of Falchuck and Murphy) instead. While we still received interesting stories, Gaga’s vampire and Twisty the Clown just weren’t all that scary.

19 There’s No Reason Given For All The Hotel Vampire Kids

In season five, Hotel, Lady Gaga’s character, The Countess Elizabeth, is a little less fabulous than we expected her to be. Perhaps she couldn’t live up to the Gaga we all know and love already. One of the things that just made zero sense about the character was her propensity to collect children and turn them into little vampires. Does Elizabeth have an old woman in the shoe complex? Is she just that bored? What is the point?

Here’s the thing about kids in horror movies: they add instant scare-factor. Take a look at most scary film kids, from Village of the Damned to The Others and you’ll see the scariest moments. The fact that the vampire kid collection wasn’t even scary was a pretty big letdown.

18 Teeth Fall From The Sky For No Reason

Season six of AHS, Roanoke, was able to recover some of the lost ground from the previous two less-scary seasons but still suffered from the lack of the one and only Jessica Lang. The season saw a return to the haunted house theme, always popular in AHS history, and wove in some new elements, like the whole “based on a true story” theme.  Between Deliverance-like hillbillies and more incredible Kathy Bates, Roanake was much better-received than Hotel, but it had some weird unexplained moments, like teeth randomly falling from the sky.

Not only do the teeth inexplicably fall while Matt is at work, but they also disappear.

The reason why is never given, prompting us to chalk this one up to “random scare tactic.”

17 Queenie Tried To Hook Up With A Minotaur

While we definitely applaud Murphy and Falchuck’s use of mythology throughout American Horror Story, it often makes no sense. Gabourey Sidibe was fantastic as Queenie, the young and lonely witch who gave as well as she got, used LaLaurie as her own personal racist slave, and really deserved main credits billing. But there was that one time she tried to hook up with a grotesque Minotaur…

While the inclusion of adult content is pretty standard in AHS, getting involved with a man who has bull’s head sewed over his own is pretty far out there. It didn’t make any sense, nor did Queenie’s own survival following the incident (or anything else including the Minotaur, really), so we just move along and say that there’s nothing to see here.

16 Zoe’s Hell Is Just Life Without Kyle

Zoe Benson, portrayed by Taissa Farmiga, starts out as a compelling character in the third season of American Horror Story, Coven. She has unique powers that pay homage to classic horror and a long journey ahead.

Tossing in a love interest is a great way to derail a personal growth story.

That’s what happened to Zoe with Kyle, her resurrected boyfriend played by Evan Peters. While we’re glad that Murphy and Falchuck used Kyle to illustrate that mothers can be abusive to their sons just as much as fathers can, “life without Kyle” as Zoe’s own personal hell is really stupid and overly angst-ridden.

15 Aliens In Asylum Makes No Sense

When it comes to American Horror Story, many fans reacted to the inclusion of aliens in season two, Asylum, in the same way that fans of Indiana Jones reacted to the Kingdom of the Crystal Skull. For many horror fans, aliens don’t enter the territory without very specific rules, and you certainly don’t add aliens into an already-existing story for a scare factor.

The aliens of AHS also just weren’t scary. Sure, they made Pepper more interesting and gave convenient explanations for a few weird happenings, but at the end of the day mixing aliens in with mutants, a mean nun, demons, and war criminals just doesn’t work. It’s a hodgepodge of plot devices tossed together like a salad with too many kinds of dressing. Sometimes simpler is just better.

14 The Musical Sequences

We get that Sister Jude is losing her mind in this tenth episode of season two, Asylum, but must we lose ours as well? The episode itself was gripping, but watching Jessica Lange sashay through “The Name Game” wasn’t nearly as eerie as it should have been. It played off as more of an homage to the creators’ Glee in a way that didn’t work.

While some critics enjoyed the mind-boggling number, many of us like to pretend it never happened.

It’s not the last time the showrunners implemented a bit of music and dance, either. Season four, Freak Show, featured several ditties, including a rendition of “Come As You Are” by Evan Peters, Sarah Paulson’s “Dream a Little Dream of Me”, and Lange singing David Bowie’s “Life on Mars”.

13 What Happens To Dr. Arden’s Experiments?

The mutants created in Dr. Arden’s horrific experiments are the stuff of nightmares, and they definitely present an interesting side story among the rest of the godawful happenings at Briarwood Manor in season two of American Horror Story, Asylum. Their issue, of course, is that they disappear off the radar without much of a peep.

Once turned into a mutant and taken to a hospital, Shelley, played by Chloë Sevigny as a homage to the many women unjustly committed to asylums throughout history, seems as if she may be able to lead the authorities toward Arden, but alas, Joseph Fiennes’ conflicted yet greedy Monsignor Timothy Howard takes her out instead. We don’t hear much about them afterward. What happened to the mutants?

12 The Messed-Up Historical Figures

Anne Frank was lobotomized by the evil Dr. Arden from Briarcliff Manor in season two, Asylum. Not only does this make zero sense, but it also really does a disservice to Anne Frank’s memory. There is a lot of artistic license taken with historical figures throughout American Horror Story, from Delphine Lalaurie to James March. Even characters used as backgrounds for new characters, like Nellie Bly’s inspiration for Lana Winters, often seems a bit much, especially when the representation is so loose.

The misrepresentation or grand re-representation of historical figures is nothing new.

Our own history books present complete falsehoods about everyone from Christopher Columbus to Paul Revere. Perhaps it’s just so glaring because we acknowledge that now, particularly during an age of “fake news” awareness.

11 The Opening Sequence And Spoilers Promise More Than We Get

One of the most exciting elements of a new season of American Horror Story is always the opening sequence and the slowly-revealed spoilers. Cast announcements and cool visuals trickle in until we finally get to see that first episode with its incredible casting graphics. The creepy opening sequence does much more than announce the cast: it revs us up like the announcer for a really scary joust about to take place.

The only problem is that it often goes downhill from there. While season 1 typically delivered, the casting graphics in seasons like Freak Show were actually scarier than the episodes themselves. That’s a real problem if we are supposed to be watching a horror program.

10 We Have No Idea What Happened To The Pig Boys

They were a successful execution of “the scary children” in a way that the little vampire entourage of the previous season just couldn’t seem to manage, so maybe that’s why Murphy and Falchuck decided to never let the “pig boys” of season six be seen again.

Aside from the fact that the boys could have made for some truly scary storytelling, the problem here isn’t just that they had no deeper involvement in the story than “check out these creepy kids” but that they don’t even have a resolution. Why the kids say, “Croatoan!” and why they drink pig milk remains unknown, and we may never know what happened to the charming little tykes.

9 No Consequences for the bad things the “good guys” do

As fans of American Horror Story, we sure do forgive a lot of murderers, don’t we? When someone bad finally goes good, all of their wicked deeds don’t seem to be as problematic. Even sweet Nan takes out Joan. Misty Day, otherwise a kind hippie, offs a couple of guys with alligators.

Were these warranted attacks? Maybe, but that doesn’t erase the fact that many characters end the lives of others and we pretty much turn a blind eye toward it like we wouldn’t if they occurred in real life. Of course, from people returning from the grave to mutant attacks near an asylum, there’s really not a lot in the show that applies to real life.

8 There’s Really No War Between The Coven And The Voodoo Witches

During season three, Coven, there’s a big build up about an oncoming war between the coven and the voodoo witches of the area. Both are led by powerful women, and who wasn’t excited to see Fiona, played by Jessica Lange, and Marie Laveau, played by Angela Bassett, go up against one another?

While there was plenty of tension and a zombie attack, it pretty much stopped there, especially after the witch hunters came to town.

AHS often builds up to something we’re expecting and completely abandon it for another plot instead. While we get that they want to keep us on our toes, broken promises do leave us unsatisfied and underwhelmed.

7 Zoe And Madison Gave Their Souls To Azaezel And It Never Came Up Again

When the bus full of frat boys who assaulted Madison wrecks, taking out all of the monsters on board on Madison’s whim, it’s satisfying. Even seeing Kyle taken out doesn’t bother some of us, given that we’ve already seen Evan Peters return from the grave before and wouldn’t be surprised if he returned. He may have stopped his “brothers” but he certainly tried to help them not get caught, making him complicit in the attack.

When Zoe and Madison decide to put “boy parts” together to resurrect Kyle as the perfect Frankenstein boyfriend, they sell their souls to Azaezel in order to do so, and yet it never comes up again. Given that both girls bite the dust during the show, shouldn’t that at least be an issue?

6 Roanoke’s Reality Show Inception

It was one of the most pointless plot points to ever be inserted into a season of American Horror Story. During season six, Roanoke, we’re treated to a reality show type of setting where re-enactors help us understand what happened to the Millers in “My Roanoke Nightmare”, an obvious play on so many other popular reality-based ghost hunting and experience shows. That’s an intriguing concept that works well for much of the season, but then we’re hit with reality-ception.

Getting all of the actors and people involved in actual events together for the blood moon event is one thing, but what about the disclaimer that nobody even survived the ordeal? If that’s true (which makes sense, since this is Roanoke), how did we get the footage in the first place?

5 There’s No Point To Scathach

Scathach, the mythical warrior from the Isle of Skye in Irish folklore, is an incredible character. It’s too bad we didn’t really get to know her in season six, Roanoke.

Lady Gaga’s Scathnach has a plethora of powers, is said to be the first Supreme and yet has no real point in the series.

The witch does a few nefarious things here and there, from purchasing souls to rendering people evil and insane, but in the grand scheme of things she has no real point except to serve as one of those random elements of horror woven in to just be spooky. Given the history of the traditional character, it would be amazing to see Murphy and Falchuck to use this as a tie-in for a more myth-heavy season.

4 People Are Constantly Offed Only To Be Brought Back

Character losses in the American Horror Story realm are pretty much like those in any comic book series: you don’t ever count them as permanent. Even when an entire series ends and you believe a character to be truly gone, they may return in another season! It’s definitely not a new tactic to have characters return from the grave; it’s a strategy used in everything from Dallas to Supernatural.

It makes us feel a little more jaded and a little less invested when tragedy does strike.

Oh, Fiona is sick? Oh, Ethel’s not going to make it? It’s too often meaningless. We want to feel affected, and we can’t help but worry a bit because we do love these characters, but deep down we’re always still wondering when they’ll return.

3 Twisty’s “Resolution” Is Basically A Deus Ex Machina

Season four’s big villain, Twisty the Clown, turned out to be much more Bozo than Pennywise. Sure, he was scary-looking, and he had the tragic backstory to boot, but Twisty’s crimes felt more garden variety scary movie than the monstrous panache we’d expect from AHS.

Twisty, played by John Carroll Lynch, even had a disappointing resolution as a character. Not only was he never really sorted out by a main character or a victim bent on revenge, but he was literally yanked out of the show to join Edward Mordrake’s nightmarish troupe, collecting the clown’s soul after hearing his tale of woe.

2 Misty Day Was Unjustly Lost

One of the characters fans most resonated with in season three, Coven, was Misty Day, played by the talented Lily Rabe. Misty’s character screamed Supreme, from her unique abilities to her lack of really caring about the position.

Misty was all about fairness, being kind to animals, and protecting the vulnerable, making her a fantastic character to root for.

Unfortunately she was also a red herring. Falchuck and Murphy offed her in such a terrible way in a Hell made up of her own personal vivisection nightmare, which made zero sense given her ability to bring things back to life so easily. Misty didn’t deserve her ending, but neither did Nan and many other characters.

1 Tate Is A School Shooter

Tate Langdon is one of the most romanticized characters in the history of AHS. The season 1 character is a doting friend, devoted boyfriend who would do anything for Violet, and speaks volumes of teen angst to many a smitten heart. It doesn’t hurt that Evan Peters, who plays Tate, is easy on the eyes as well. Is that why it’s so hard to remember that Langdon is such a deplorable character?

Tate is a school shooter. He took the lives of several classmates and should represent what we most despise and do not condone in this nation right now. He also assaulted Violet’s mother, Vivian, causing her to become pregnant with his Antichrist baby. How can anyone still crush on this guy knowing what harm he’s done?

What other problems with American Horror Story do fans overlook? Let us know in the comments!



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2018-10-10 08:10:37 – Sara Schmidt

18 Best Sequels, According To Rotten Tomatoes (And 8 Stuck With 0%)

We live in an age where sequels are all the rage. Every major studio is chasing those franchises that can keep their cash flow healthy for years to come. Sometimes, they’re exhausting. Other times, they can be our most anticipated movies. Maybe we could do without more Transformers movies, but Marvel and Mission: Impossible sequels are event movies that drive us to the theater in droves.

Sequels are tricky and unpredictable, though. On one hand, they’re often necessary for expanding stories and the good ones continue sagas we want to see progress. On the other, some are soulless cash grabs that shouldn’t exist. In the worst cases, some of them completely derail promising franchises by failing to deliver the goods. Then again, in some instances, sequels can get a series back up and running after they’ve experienced setbacks.

This list will look at those rare sequels that are considered worthy — and even superior — follow-ups. Those rare beasts that make us grateful for multiple movies in a series. Furthermore, we’ll also be discussing the most maligned sequels that brought no critical good will to their respective franchises whatsoever. It’s more fun this way. In order to fully appreciate the best of the best, we also must acknowledge the worst of the worst. Without evil, we wouldn’t be able to understand all that’s good and pure. Without terrible movies, we wouldn’t be grateful for the good ones.

With this in mind, here are 18 Best Sequels According To Rotten Tomatoes (And 8 Stuck With 0%).

26 Best: Captain America: Civil War (91%)

The decision to keep the same team of writers for all three Captain America films paid off in the end. The trilogy just went from strength to strength with each passing entry, though some would argue that The Winter Soldier is equally as good — if not better — than Civil War. Either way, they’re both prime examples of how to do sequels right.

Civil War tackles the same themes you’d expect from a movie about a do-gooder like Cap, but where the film truly soars is during its wild third act. The airport showdown is the best action showdown in the MCU, and that’s saying something.

25 Worst: The Bad News Bears Go To Japan (0%)

If you didn’t know that sequels to The Bad News Bears exist then no one would think any less of you. While the first movie is a cult classic about an underdog baseball team, the sequels have faded from the collective memory with the passing of time, lost like tears in the rain. That’s for good reason.

None of the sequels are good, but The Bad News Bears Go To Japan is especially bad.

While the idea to relocate to Japan for a big game is good on paper, the sequel is just bland, forgettable, and was made to cash in on the brand name.

24 Best: Star Wars: Episode VII – The Force Awakens (93%)

Some fans argue that The Force Awakens is essentially a retread of A New Hope in many ways. However, clearly the critics and audiences didn’t necessarily agree, given its stellar Rotten Tomatoes score and its audience score of 87%, not to mention its impressive box office haul.

As far as Star Wars movies go, it hits the spot. The new characters are great, the return of some old faces is a trip down memory lane, and the story still made significant effort to push the franchise forward. In those regards, the film definitely succeeded.

23 Best: War for the Planet of the Apes (93%)

Anyone who has a problem with classics being rebooted needs to watch the most recent Planet of the Apes trilogy.  The finale pits the apes in a brutal battle against the humans, which leads to an epic confrontation between the Caesar the Ape and humanity’s ruthless colonel (played by an utterly wicked Woody Harrelson). As far as concluding trilogies goes, War for the Planet of the Apes has everything.

By no means is this a pleasant movie, but it is rewarding. And not only does it wrap up an epic story, but the film boasts some of the great CGI wizardry out there. The action is also ridiculously impressive and compelling, which is crazy considering it’s a movie about people versus monkeys.

22 Best: Logan (93%)

James Mangold’s Logan, the gloriously violent and heartbreaking farewell to Patrick Stewart’s Professor X and Hugh Jackman’s Wolverine, is an all-timer. Taking cues from the Old Man Logan comics, the movie has just as much in common with neo-westerns as it does with superhero yarns, which makes for a gritty, character-driven elegy to characters many of us grew up with.

Logan deserves praise for going R-rated and taking some stylistic risks.

The movie is proof that audiences will still flock to see superhero movies with some edge. If you’re going to send off some icons, this is the way to do it.

21 Worst: Return to the Blue Lagoon (0%)

Considering that no one liked The Blue Lagoon (it currently holds a 9% rating on RT), why anyone would want to return to the franchise is beyond comprehension. Of course, every sequel is a perfect opportunity to right some old wrongs if handled with care. Unfortunately, this was not. The story follows two children who are marooned on a tropical island as the grow up and fall in love, etc. The characters don’t wear enough clothes either, which makes for some weird, uncomfortable viewing.

There are some unintentional laughs to be had at the poor script and performances.

Otherwise the Blue Lagoon isn’t a scenic cinematic paradise worth spending time in unless you want to punish yourself for some reason.

20 Best: The Dark Knight (94%)

Few superhero movies are ever regarded as anything more than popcorn fare. However, if there were ever a superhero movie that proved the genre could be prestige cinema, it would be The Dark Knight. Christopher Nolan’s take on Batman is an exploration of chaos and just how far people are willing to go to achieve their goal.

The Dark Knight — for better or worse when you consider how devoid of fun some DC movies have been since — also brought a gritty, realistic touch to the genre. The movie feels more like a Michael Mann crime saga than it does a story about superheroes versus their outlandishly evil counterparts.

19 Best: Finding Dory (94%)

In recent times, Pixar has been criticized for relying too heavily on sequels, but if it ain’t broke… Finding Dory was released 13 years after Finding Nemo, and it was a smash with critics and audiences alike.

Its 94% on Rotten Tomatoes is complemented by an 84% audience score.

Upon release Finding Dory was praised for being as funny and thought-provoking as the first movie, while also adding a new dimension to the story. As with any Pixar movie, Finding Dory can be appreciated by audiences of all ages. 

18 Worst: Staying Alive (0%)

No other actor on the planet has experienced a career of ups and downs like John Travolta has. When he broke out he had the world at his dancing feet. After that, his career experienced a downturn until it was resurrected briefly following Pulp Fiction until it ultimately plummeted when he started starring in movies like Battlefield Earth. Staying Alive was released in 1983 when Travolta was experiencing his first fall from grace. Following up a classic like Saturday Night Fever was never going to be easy, but it shouldn’t have been this difficult, either.

The sequel lacks the gritty realism of its predecessor, and instead tries to get by on dance sequences. What’s the point in dancing when we don’t care about who’s doing it?

17 Best: Creed (95%)

No franchise tends to remain compelling seven sequels in, but Creed is proof that the Rocky franchise is the rare exception. Granted, some Rocky movies aren’t exactly knockouts, but Creed got things back on track and showed that it’s game for a few more rounds.

By serving as both a sequel and a spin-off/soft reboot, Creed gave the franchise a breath of new life.

It passed the gloves on to Michael B. Jordan as the eponymous character.  Creed 2 is right around the corner. Let’s see if it can do what the original saga failed to do and deliver a second outing that’s as good as the inaugural entry.

16 Worst: Leprechaun 2 (0%)

The first Leprechaun movie doesn’t come close to being certified fresh rating on Rotten Tomatoes, so it should come as no surprise that the sequels didn’t receive any critical acclaim. Especially not the second movie, which no critic seemed to enjoy at all.

Here, the infamous critter resurfaces in Los Angeles to find a bride, which leads to him abducting a young woman and trying to claim her as his own. This isn’t high art by any means, nor does it try to be.

15 Harry Potter and the Deathly Hallows: Part 2 (96%)

The Harry Potter books were an emotional roller coaster that affected millions of readers worldwide. Reliving those adventures on the big screen was also a great time to be alive, and the grand finale lived up to expectations. In the final installment of the saga about the Boy Who Lived and his fight against the forces of darkness, the ultimate showdown finally happens as our hero and his pals face off against Voldemort in Hogwarts castle.

It’s a true epic in every sense of the word.

As far as wrapping up the story goes, Death Hallows: Part 2 delivered the goods and gave us cinematic closure in style.

14 Worst: Looking Who’s Talking Now (0%)

Look Who’s Talking is a perfectly serviceable comedy that should never have received any sequels. In a bid to end to the trilogy on a high following the disappointing previous sequel, Look Who’s Talking Too, someone thought it would be a good idea to introduce talking dogs to the mix for the series’ swan song. 

Needless to say, Look Who’s Talking Now wasn’t the glorious goodbye the series was looking for, but at least the film did cast some cute dogs.

13 Best: The Good, the Bad, and the Ugly (97%)

The third installment of Sergio Leone’s influential Dollars trilogy, The Good, The Bad and the Ugly is the creme de la creme of spaghetti westerns. 

The story centers around two men who form an uneasy alliance following a scam.

This leads them on a quest as it turns out there’s money buried in the desert and they want to find it. However, they have to compete against another who won’t hesitate to put a bullet in them to claim the prize. On top of being one of the most acclaimed movies out there, the film has been hailed as a major influence on directors like Quentin Tarantino.

12 Best: The Godfather: Part II (97%)

The continuation of Francis Ford Coppola’s Best Picture-winning 1972 crime saga, The Godfather: Part II chronicles Michael Corleone’s further ascendency in organized crime while simultaneously taking us back to the past to explore his dad’s humble beginnings.

Like its predecessor, the sequel also won Best Picture and is hailed by many a critic and film buff as one of the best movies ever made. Whether it’s better than the original is up for debate, but they’re like two sides of the same coin. These movies set the bar for mob pictures, and to this day, other directors are still trying to recreate the formula.

11 Mad Max: Fury Road (97%)

Director George Miller was in his seventies when he unleashed Mad Max: Fury Road, but the energy and madness imbued in every frame of this extravaganza suggest a man half his age.

Maybe we’ll never see another Mad Max movie, but the world needs a Furiosa spin-off eventually.

Fury Road is essentially one non-stop chase that barely lets up from the get-go all the way to the climactic ending. Furthermore, it’s a movie that defied expectation by taking the focus away from the titular character and making Charlize Theron’s Furiosa the real hero of the adventure. 

10 Worst: Jaws: The Revenge (0%)

Is Jaws: the Revenge a good movie? Definitely not. Is it an entertaining movie, though? Definitely yes.

How many other movies have sharks that make a conscious decision to get revenge on the humans that wronged them? Not only that, but the shark here followed its target to the Bahamas from Massachusetts. And why would someone who wants to avoid sharks go to an island surrounded by ocean? The movie is illogical, silly, nonsense, but it does offer sheer entertainment value for bad movie buffs.

9 Best: Aliens (98%)

Alien and Aliens are quite different in some regards, but they complement each other perfectly. The first is an exercise in pure suspense and terror. The sequel, on the other hand, retains the horror elements but adds a lot more action to proceedings.

Aliens shows how to make a successful sequel: acknowledge what came before but don’t be afraid to bring some fresh ideas to the table.

James Cameron was on fire in the ’80s and he wasn’t afraid to make Ridley Scott’s baby his own.

8 Best: Mad Max 2: Road Warrior (98%)

While George Miller’s inaugural Mad Max caper is a cult classic, most film buffs would agree that a couple of the sequels are slightly superior. Taking nothing away from the first movie, Road Warrior is a vast improvement when it comes to world building and sheer action spectacle. The story follows the eponymous character as he helps a group of people steal oil from a tyrannical madman and his band of goons.

As far as cinematic thrill rides go, few movies are on par with Road Warrior. Here, Miller turned up the volume significantly by making the post-apocalyptic terrains feel more dangerous and the action sequences more gung-ho and grander in scale.

7 Best: Evil Dead 2 (98%)

Sam Raimi’s first Evil Dead movie was a huge achievement for independent filmmaking when it was released back in 1981. The movie still holds up to this day with its innovative camera work, effective scares, and excellent cast as well.

The sequel is a triumph in its own right.

While the first movie contained moments of dark comedy, the sequel amps up the zaniness to become what is essentially the splatter flick equivalent of a Laurel and Hardy flick. For 90 minutes, Bruce Campbell is tormented by laughing ornaments and his own severed hand. As silly as that sounds, Evil Dead 2 still manages to pack more punch than your average MMA fighter.

6 Worst: Police Academy 4: Citizens on Patrol (0%)

In the third installment of the Police Academy franchise, the cops are understaffed and in need of some help. Naturally, the force turns to America’s civilians to help aid in their mission. Things don’t go smoothly, for the characters in the film and the movie itself.

Rotten Tomatoes describes Police Academy 4: Citizens on Patrol as “Utterly, completely, thoroughly and astonishingly unfunny” and  a movie which sent “a once-innocuous franchise plummeting to agonizing new depths.” That sounds about right.

5 Toy Story 3 (99%)

Few franchises manage to strike three home runs in a row. Even The Godfather stuttered when it came to the third outing. Toy Story, on the other hand, never ceases to replicate the magic time and time again.

This emotional installment sees Andy get ready to leave for college and neglect his old toys.

He’s all grown up and has no use for them anymore, and what ensues is what is by far the most heartfelt movie in the series.

4 Worst: Highlander II: The Quickening (0%)

As far as pure entertaining action-fantasy goes, the first Highlander movie is a fun slice of popcorn entertainment that aficionados of cult cinema lose their head over. The sequel, meanwhile, is an incomprehensible mess.

Highlander II is too overplotted to explain, but the cusp of the story revolves around the hero from the first movie taking on a corporation after being led to believe that they don’t have the world’s best interests in mind. In this one, our hero is a defender of the ozone as well. What makes Highlander II so awful is that it completely retcons everything good about the original film and the mythology it introduced.

3 Best: The Bride of Frankenstein (100%)

We all desire to be loved by someone special– even bolt-head monsters made up of the remains of other people. But to find them a mate, one must dig up some more corpses and create a suitable partner that’s similar in genetic make-up. This is also the storyline behind James Whale’s 1935 masterpiece, Bride of Frankenstein.

There are too many Frankenstein movies to keep track of at this point, but this sequel remains the pinnacle of the original series.

The movie is a masterpiece that successfully blends campy fun with Gothic beauty and genuine chills that’s stood the test of time as a result.

2 Paddington 2 (100%)

No one expected the the first Paddington to be as good as it is. That movie is a bona fide classic in the making in its own right, but the sequel is some next-next level brilliance.

Paddington 2 sees the lovable bear go to prison and, unsurprisingly, all the mean criminals fall in love with him as well. Critics, like the fictional convicts, were also full of praise for the titular bear and his second big onscreen adventure as well. At one point, Paddington 2 was even the best reviewed movie in history.

1 Best: Toy Story 2 (100%)

Following up a movie like Toy Story was never going to be easy, but that didn’t stop Pixar from trying and succeeding. In this one, we find out that Woody is a collectible when he’s discovered and stolen by a greedy museum owner. Naturally this prompts Buzz Lightyear, Mr. Potato, and the rest of the gang into action and they set out to save their friend.

General consensus on Rotten Tomatoes states that Toy Story 2 is that rare sequel that improves upon its predecessor.

The sequel raises the stakes and ups the element of adventure while retaining the humor and heart that made audiences fall in love with the franchise in the first place.

What’s your favorite sequel? Let us know in the comments!



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2018-10-10 04:10:39 – Kieran Fisher

10 Best Disney Movies According to Rotten Tomatoes (And 10 With Almost 0%)

After all these years, Disney movies remain the gold standard in family entertainment. Starting from the back of a realty office in Hollywood back in 1928, Disney is now a brand worth billions of dollars. But it’s not just money—Disney’s cultural influence is worldwide and manages to stay relevant with each subsequent generation. There’s no underestimating the power of nostalgia; chances are if someone grew up liking Disney movies, they’re probably a fan for life. Walt Disney pioneered the idea of feature-length animated movies, an idea considered ridiculous at the time. They would be too expensive to make, and what self-respecting adult would pay money to see a full-length animated film? Turns out everyone wanted to, especially those with kids. At the time, there was no such thing as a full-production studio dedicated to animated films—so with the profits of Snow White and the Seven Dwarves, Walt Disney built one. From there, it was only a short period of time before Disney branched out into producing live-action films, and before anyone knew it, Disney dominated the family entertainment market.

Since then, Disney has expanded its intellectual properties to include Marvel, Star Wars, ABC, and 20th Century Fox. This makes Disney virtually unstoppable. Some meme artists have even depicted Mickey Mouse as Thanos, with its individual properties the different gems in the Infinity Gauntlet. But there were a few hiccups along the way. Disney has had tremendous success with its films, but people tend to forget that even the mighty occasionally fall. Here are the 10 best Disney movies according to the ratings on Rotten Tomatoes, along with the 10 worst.

20 Best: Pinnochio (100%)

Pinnochio was Walt Disney’s second animated feature, released shortly after the success of Snow White and the Seven Dwarves. Like its predecessor, it had gorgeous visuals with a painstaking attention to every element of the production. Unlike Snow White, it initially flopped at the box office. Luckily, Walt Disney had faith in the movie and gave it a second release to recover production costs. The plan worked, and Pinocchio eventually earned enough money to put it back into the black.

The iconic “When You Wish Upon A Star” theme from the film is still synonymous with the Disney brand.

The artists of Pinnochio helped pioneered advances in effects animation, which specialized on non-character elements that move, such as water or fire. The animated ocean effects during the Monstro sequence were the most ambitious water effects ever achieved for its time.

19 Worst: That Darn Cat (13%)

If nobody remembers this movie, it’s partially because it came in and of the theatre pretty fast. A remake of Disney’s moderately successful live-action That Darn Cat from 1965, the 1997 version was not nearly as successful. Starring Cristina Ricci as Patti, the plot features a cat that becomes “witness” to a kidnapping gone wrong. Patti eventually convinces the authorities to investigate and she becomes central in helping to solve the details of the crime and eventual rescue.

The reviews of the film were dismal. One critic described it as “…a desperate dip into utter conventionality: dull car chases, explosions, inept slapstick.” Another says it is a “…disappointing, rather warmed over Disney offering.” Despite this, Cristina Ricci was nominated for two awards for her performance in the film, a Kid’s Choice Awards, and a Young Artist’s Ward.

18 Best: Mary Poppins (100%)

The mostly live-action Mary Poppins was a smash-hit. It earned 13 Academy Award film nominations and won five, including Best Actress, Best Original Score, and Best Visual Effects. It’s easy to see why. Julie Andrews brought her amazing charisma to the performance, dazzling audiences with her ability to sing, dance, and easily handle comedy intended for children. The songs are memorable, with several such as A Spoonful of Sugar and Supercalifragilisticexpialidocious becoming part of the American culture.

Disney had experimented with combining live action with animation before, but never in such an ambitious way. For many, their favorite part of the film is where Mary Poppins, Burt the Chimney Sweep, and the Banks children jump into the chalk drawing and have a little adventure in an animated world. Disney is releasing the sequel, Mary Poppins Returns, in December of 2018.

17 Worst: My Favorite Martian (12%)

Based on the 1960’s television show of the same name, My Favorite Martian tells the story of a humanoid Martian (Christopher Lloyd) that crash lands on earth. He enlists the help of a reporter in a funk to put him up while he tries to repair his spaceship and get home.

Though reviews were generally kind to Christopher Lloyd, the movie as a whole was mostly disliked by critics.

Said one reviewer on Rotten Tomatoes, “An utterly pointless and unimaginative remake based on the classic ’60s sitcom…a meteoric misfire.” Another gets right to the point: “A terrible movie. Beware.” My Favorite Martian did earn three nominations…of The Stinkers Bad Movie Awards. It was nominated for Worst Resurrection of a TV Show, Most Botched Comic Relief and Most Painfully Unfunny Comedy.

16 Best: The Many Adventures of Winnie the Pooh (100%)

Like most Disney movies, The Many Adventures of Winnie the Pooh was adapted from existing source material. It’s based on characters from short stories from the author A. A. Milne. The film focuses on young Christopher Robin and his stuffed bear, and a menagerie of other stuffed animals come to life. The movie is a collection of animated shorts edited together into a feature-length film.

Surprisingly, the Winnie the Pooh franchise is worth much more than one might imagine. Variety estimated the sales of merchandise related to Winnie the Pooh topped over $5 billion, which among Disney properties, is second only to Mickey Mouse. Disney released a live action movie, Christopher Robin, based on an adult Christopher Robin rediscovering Winnie the Pooh and his friends in August of 2018.

15 Worst: Cinderella II: Dreams Come True (11%)

One would think that after one of the most stereotypical happy endings of all time, writers would have a hard time coming up with a good sequel for Cinderella. One would be right. Cinderella II: Dreams Come True is actually an anthology movie that ties together three Cinderella short stories into one film. The first story describes her struggle to be herself as a new princess. The second follows Jaq the mouse feeling left out. And the third shows how Cinderella tries to teach one of her step-sisters how to smile. Seriously.

This direct-to-video sequel wasn’t liked by critics. One top critic says simply, “Do not see this film.” Another, quite dramatically, announces, “A screaming black vortex of total, irredeemable awfulness.” A quick glance through other remarks reveals similarly negative responses. Nevertheless, Cinderella II: Dreams Come True still made approximately $120 million in sales.

14 Best: Toy Story (100%)

Toy Story was ambitious in scope, it being the first animated Disney feature that was fully animated with CGI. Audiences had never seen this kind of animated film before and impressed audiences made the movie a runaway hit. Though CGI animated movies have come a long way since then, Toy Story still holds up. The interplay between Woody the Cowboy (played by Tom Hanks) and Buzz Lightyear (Tim Allen) is the highlight of the film. Though they have different perceptions of reality, they learn to work together to make sure they don’t get left behind in their boy Andy’s move.

Toy Story garnered three Academy Award nominations and won a Special Achievement Academy Award for being the first feature-length computer-animated film. It has two hit sequels, with a third in production.

13 Worst: Blank Check (11%)

What if a kid found a blank check that allowed him to spend a million dollars? That’s the intriguing premise behind Blank Check, a movie that didn’t really build a successful story out of this great idea. Through an implausible series of events, young Preston Waters is given a blank check to help pay for a bicycle accident involving a car. But he’s given the wrong check, and the person who gave it to him is a criminal. Preston spends the rest of the movie spending lavishly while trying to avoid the authorities and the criminal who is hot on his tail.

One top critic explains it’s “One of those smart-aleck kid adventures that manages to be entirely obnoxious with very little effort.” A Rotten Tomatoes super reviewer hilariously opined, “If you loved Home Alone, you’ll still gonna hate Blank Check!”

12 Best: Darby O’Gill and the Little People (100%)

Though many modern audiences have never heard of Darby O’Gill and the Little People, it probably remains the most successful movie ever made about Leprechauns. In the film, the aging laborer and caretaker Darby O’Gill has spent much of his life trying to catch the Leprechauns. One day, in his old age, he is actually caught by them. He spends the rest of the film strategizing how he will spend the three wishes granted upon him by Brian, the King of the Leprechauns.

The film also features a young and dashing Sean Connery as Michael McBride, the love interest to Darby O’Gill’s daughter.

Though it won no awards, it has been critically well-received over the years and had state-of-the-art special effects for its day.

11 Worst: Mr. Magoo (7%)

The character of Mr. Magoo was a successful cartoon character from the late 40’s through the 50’s. The running gag for each story was that millionaire Mr. Magoo was practically blind, which led him into comically dangerous situations. Mr. Magoo was also amazingly lucky, which seemed to save him every time.

The Disney adaptation starred Leslie Nielsen, an actor beloved for being able to handle silly comedy with a straight face. But it just wasn’t enough to save the film, which seemed to suffer from the repetitive and unfunny gags. Critics were beyond cruel to the film. One announced, “The movie is an insult to the intelligence of the entire human race.” Another agrees, “Mr. Magoo is transcendently bad. It soars above ordinary badness as the eagle outreaches the fly. There is not a laugh in it. Not one.”

10 Best: Toy Story 2 (100%)

After the runaway success of the first Toy Story, a sequel seemed inevitable. Somehow avoiding the curse of most sequels being inferior to the original, Toy Story 2 managed to be a moving story which many think is even better than the first. It also introduced a brand new character to the saga, Jesse the Cowgirl.

Toy Story 2 has one of the most heartbreaking songs in Disney’s collection, When She Loved Me, performed by Sarah McLachlan. The song describes being abandoned by the child she loved, a sequence that left hardly a dry eye in the house. It went on to become a smash hit, just like the first one. Though it won no academy awards, it won many independent awards and some argue it is the best Toy Story movie of the entire franchise.

9 Worst: A Kid in King Arthur’s Court (5%)

A Kid in King Arthur’s Court is very loosely based on Mark Twain’s A Connecticut Yankee in King Arthur’s Court, a story that has been adapted into several other films. Modern ’90s kid Calvin Fuller is playing baseball for his team when an earthquake hits. A chasm opens up on the field and he falls in. Calvin is inexplicably transported to England in the age of King Arthur, where he quickly wows the locals with his modern knowledge. While there, he also falls in love with the local princess.

Critics seemed to be surprised this was a Disney film. One critic laments, “Rarely do the well-financed wizards at Walt Disney Pictures cook up a movie this badly written, acted, and directed.” Another says, “Sitting through it, I found myself shuddering at what Disney may have in store for next summer.”

8 Best: Old Yeller (100%)

Old Yeller was famous for ruining many a childhood with a depressing plot twist, the on-screen demise of its titular dog. After saving his family multiple times over the years from bears, wild hogs, and wolves, Old Yeller finally seals his fate when he fought off a rabid wolf to protect his people. Not only did the the dog pass away, but its owner and best friend Travis had to put him down himself because he had been infected with rabies. This scene has become one of the most famous tear-jerking live-action scenes in all of Disney’s films.

Despite the bummer plot development, the film was still a critical and commercial hit. And it still managed to leave on a high note—by the end, Travis adopts Old Yeller’s puppy and names him Young Yeller.

7 West: Meet the Deedles (4%)

As handsome as Paul Walker was, even he couldn’t have saved Meet the Deedles. The story describes the hapless Phil and Stew Deedle, brothers who are in high school and avid surfers. Their father becomes disgusted with their lazy behavior and sends them off to a boot camp where they can learn some discipline.

In an extremely unlikely series of events, the Deedle brothers assume false identities as park rangers and…hilarity is supposed to ensue.

As with most movies received this badly, the Rotten Tomatoes reviews are hilarious to read. One critic announces dryly, “If all of this sounds ridiculous, it is.” Another is much more cruel, saying, “Dumb is one thing, but this sorry attempt at action-comedy from stuntman turned director Steve Boyum is in an intelligence-deprived class all its own.”

6 Best: Snow White and the Seven Dwarves (98%)

Snow White and the Seven Dwarves was Disney’s first animated film feature and the first animated film to gain massive success. It was actually the profits from Snow White and the Seven Dwarves that allowed Disney to build its first full-fledged production studio in Burbank, California. From there, Disney was unleashed to produce dozens of huge hits.

Early forecasters predicted Snow White would be a huge flop, but Disney had the last laugh when the film was finally released. Critics, even the ones predicting its failure, absolutely loved it. Audiences flocked to it and children adored it. Walt Disney received a special Academy Honorary Award for making a “significant screen innovation.” The Honorary Oscar came with seven little miniature Oscars. As with Beauty and the Beast and Cinderella, Disney is producing a live-action adaptation of the film.

5 Worst: Mulan 2 (0%)

Did we ever even need a Mulan 2? According to critics, the answer is a resounding “no.” The original Mulan was a hit in 1998, following the adventures of the Chinese legend of Hua Mulan, a woman who became a fearsome warrior against all odds. Mulan 2 features a convoluted plot wherein Mulan prepares to get married and go on an important mission at the same time, trying to prevent several kingdoms from collapsing against the Mongolian hordes.

The plot doesn’t sound terrible, but it didn’t deliver. Critics seemed to dislike it mainly for being bland. One explained, “If it were any more trivial, it’d be invisible. Mulan II is, rather, more conceptually offensive.” Another spoke bluntly, “It’s harmless, sure, but it’s also charmless.” Another sequel was planned but eventually shelved.

4 Best: 101 Dalmatians (98%)

With 101 Dalmatians, Disney opted to develop a somewhat obscure children’s story.  This was a bit different from the popular fairy-tale adaptations that Disney had been known for. After a bachelor and his new blushing bride get married, their respective male and female adult Dalmatians breed a large litter of puppies. An over the top villain, Cruella de Vil, steals them along with other Dalmatian puppies with plans to eventually turn them all into a fur coat. The adult Dalmatians and other animals lead efforts to rescue ALL the puppies and bring them back to safety.

101 Dalmatians cut costs by adopting a more minimal animation style but still was a critical and financial success.

The movie was adapted into two live-action movies in the ’90s and also had an animated sequel in 2003.

3 Worst: The Big Green (0%)

Not many Disney fans know this film even exists. The Big Green was released in 1995 and tells the story of a scrappy British teacher who introduces kids with low self-esteem in a small Texas town the game of soccer. Sort of a Bad News Bears for the soccer crowd, the movie follows these underdog kids as they go from losers to heroes.

However, according to critics, it’s derivative and not as good as either of those films. Perhaps the poster, which features a young kid getting hit in the groin by a soccer ball, is the first sign the “comedy” wasn’t up to par. One critic writes, “The Big Green is at its worst and most desperate when resorting to ridiculous hallucinations and silly sped-up photography to get laughs, and it’s at its best when… well, it’s over.” Yikes.

2 Best: Cinderella (97%)

It’s hard to believe, but Disney suffered a bit of a downturn during WWII and by the late 40s was financially doing poorly. Disney turned back to its classic roots and decided to produce Cinderella, an old story based on folklore and also told in a classic Grimm’s fairy tale. The movie not only brought Disney out of debt, but gave the studio enough capital to create its own film distribution company, begin production on other films, and start building Disneyland and Disney World.

The movie received critical praise not seen since Snow White and the Seven Dwarves and Pinnochio. Many noted its rich colors and backgrounds, realistic human animation, and memorable music. It was later nominated for three Academy Awards, including Best Original Song for Bippity Boppity Boo.

1 Worst: Kronk’s New Groove (0%)

The Emperor’s New Groove was a unique and charming Disney film that has become somewhat of a cult classic over the years, featuring the voices of the hilarious David Spade and Patrick Warburton. Its sequel, Kronk’s New Groove was not received nearly as well. Part of the problem may be the thin plot, which has something to do with Kronk running a restaurant, falling in love with a camp counselor, and trying to impress his father. Yzma returns as a villain but doesn’t really have much to do.

Voice talents notwithstanding, the resulting film was a dud with critics.

Pointed out one, “Great voice talents, but weak storyline and frankly not much groove.” Another astutely observed, “It’s just too generic, and generic is not what we want from a sequel to a film that managed to escape the Disney mold.”

Which of these films did you love most? Let us know in the comments!



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2018-10-07 06:10:17 – Gary Gunter

A Star Is Born’s Ending Is Bad (And Always Has Been)

WARNING: Major spoilers for A Star Is Born

A Star Is Born‘s ending undoes what could have been a Hollywood classic – but that’s not exactly Bradley Cooper’s fault. From its first version in 1937, A Star Is Born has always had a problematic resolution to its story, one that’s only got worse over the past century, and this latest version is no different.

A Star Is Born is a classic story that Hollywood loves so much it’s told it four times (with a suspiciously-similar earlier version, several failed attempts and many, many imitators). A top-of-his-game star (in 2018, Bradley Cooper’s rock star Jackson Maine) is suffering from alcoholism and in a stupor discovers a struggling artist (Lady Gaga as Ally, a waitress moonlighting in a drag bar), falling in love with both her and her talent. He provides her with a big break, sending her fame into the stratosphere just as his addictions begin to derail his career. The pair marry, but despite their love things begin to fray.

Related: Read Our A Star Is Born Review

It’s a tale of rags to riches, of falls from grace, of the power of love, and personal identity within all of that. And, for much of the runtime, A Star Is Born 2018 is genuinely a great version of all those stories. Gaga’s first major concert leaves you floating, Cooper shows mental affliction with grace, both perform their songs incredibly (to actual live crowds, no less), and are utterly believable as troubled lovers. It is, for much of its runtime, a very good film worthy of that deafening hype.

However, everything implodes into a black hole of pretentiousness as what could have been a great film its own right has to follow through on being called A Star Is Born

  • This Page: The Problem With A Star Is Born’s Ending
  • Page 2: A Star Is Born’s Ending Has Always Been Bad
  • Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

What Happens In A Star Is Born’s Ending

We’ll stick with Cooper’s take for now before going deeper into the past. A Star Is Born‘s third act is kicked off by Ally winning the Grammy for Best New Artist – a major step for her career, undercut entirely by Jack drunkenly taking to the stage with her and relieving himself on live TV. He goes into rehab and she wrestles with where her focus should lie, eventually deciding to try and protect her recovering husband. She cancels her European tour when her agent, Rez, blocks the duo playing together.

As a result, Jack kills himself. He’s confronted by a seething Rez who has no sympathies or expectations of sobriety and states outright Jack’s ruining his wife’s career. When she matter-of-fact states the tour cancellation, he sees the impact of his actions and, while she plays a concert, he hangs himself in their garage.

Related: Every Song On A Star Is Born’s Soundtrack

This breaks Ally at first, leaving her emotionally distraught, before her understanding the meaning of Jack’s sacrifice – to enable her to truly become the star he always saw – helps her pull through. The film ends at a tribute concert in Jack’s memory. “My name is Ally Maine.” she declares before singing “I’ll Never Love Again”, a song based on their relationship they wrote together while he was recovering. A flashback shows the pair singing, she looks through the camera at the audience, the end.

Why A Star Is Born’s Ending Is Bad

Removing the ending of all presentation and self-imposed importance (a character looking into the camera at the end is an overused trope that Cooper simply doesn’t earn), in just writing down the events of A Star Is Born its problems should be obvious.

Jack decides to kill himself to save his wife, committing suicide because it’s the only way to set her free. This comes about two hours into a film which has slowly built up its numerous interpersonal relationships, and so comes as a drastic and rather unearned turn. Now, there is an argument to be made about accuracy to the unpredictability of mental illness, but given the intimacy audiences had with both Jack and Ally up until this moment, that doesn’t fit with the rest of the film. A Star Is Born, plainly, presents suicide as the only way out. It’s meant to come across as a selfless act but still values success as a true route to happiness, meaning anything emotional about the “gesture” is laced with hypocrisy.

But it’s what comes after and Ally’s coming to terms with her loss that’s so disquieting. For all her innate talent being the drive of the story and her freely made decision to step back what motivated Jack to kill himself, the final scene makes everything about Jack; the mononymous singer for the first time takes on her husband’s surname at his concert, where she performs a song that he helped her write in her original singer style. The suggestion is meant to be that Jack was holding her back, but in the shadow of the previous two hours the strange implication is that the act of a true star being born came from the adversity of Jack’s sacrifice. Making Ally’s success symbiotic to her dead husband is already heavily in the text of the film, but the final scene makes her final ascension even more indebted to his drastic act.

It’s hard to not read A Star Is Born‘s ending as trivializing suicide down to a plot point to give the fundamentally broken male lead the defining role in its female protagonist’s arc. It’s a weird move to make in 2018, although don’t believe this is just the product of an 80-year-old movie being remade. There’s something flawed at the heart of A Star Is Born.

Page 2: A Star Is Born’s Ending Has Always Been Bad

The True Story Behind A Star Is Born’s Ending Explains The Problem

There have been four versions of A Star Is Born: the 1937 Hollywood-skewering original starring Janet Gaynor and Frederick March, the 1954 musical starring Judy Garland and James Mason, the 1976 shift to the music industry with Barbra Streisand and Kris Kristofferson, and the latest Cooper/Gaga release. Each one has its own quirks, but all endeavor to tell the same story of love and fame intertwined, and all have the same basic ending. But the 1937 version isn’t the start. While A Star Is Born‘s narrative is a fiction, it’s very much based on truth; each movie is rooted heavily in the entertainment industry of the time – Hollywood for the 1937 and 1954 versions, music for 1976 and 2018 – and aims to tell an encapsulating story. There are some real-life events that inspired it.

The established star falling for an unknown as she climbs to the top was seen in actors Barbara Stanwyck and Frank Fay’s relationship, with the pair marrying in 1928 when the former was an unknown after starring in a Broadway show together. Their marriage fell apart after she rose above him and he fell into alcoholism. They separated in 1935 after seven years of marriage, two years before A Star Is Born was released. This appears to have been composited with the death of silent film actor John Bowers, who died at sea in 1936 after failing to win a part (whether it was a suicide or not is unclear). There are others (as we’ll see) but these are regarded as the ones who powered the 1937 version.

Related: Lady Gaga Fans Are Trolling Venom With Fake Bad Reviews

Of course, there’s one key distinction between inspiration and movie: in real life, it was two unrelated stories. There are the famous lovers who piggyback success and the past-it star who takes his own life, but in all cases these two aspects are entirely independent; the woman goes on to greater success by cutting the man out, while elsewhere another man falls from grace. Both stories epitomize Hollywood together, and taken alongside each other rather than melded have an ingrained believability. A Star Is Born trades that for something more streamlined in having the suicide be the culmination of the romance, but it’s also idealistic and wistful, losing the real moral of either.

This is reflected in what is regarded as a proto-Star Is Born, the 1932 film What Price Hollywood? Released five years before the 1937 version and produced also by David O. Selznick (and directed by George Cukor, who was approached for the first A Star Is Born and directed the first remake), this is regarded as something of a dry run at the story. Obviously from the release year it can’t share the same real-life inspirations (although, because this is the Golden Age of Hollywood, there are others pointed to), but the core concept and even smaller story beats are there, albeit with one massive difference: the leads are not romantically involved. Lowell Sherman’s Max drunkenly finds Constance Bennett’s Mary and helps make her a star, eventually killing himself after he sees realizes how far he’s fallen and is hurting his friend, while Mary’s suffers an ill-fated marriage that breaks down due to her absences filming and is reconciled at the end.

Watched today, What Price Hollywood? has a cynicism about the film industry ahead of its time despite ultimately being a movie romanticizing Hollywood – and at the core of this is the tragic story of Max and its impact on Mary’s life. The title question is apt.

How The Remakes Have Tried To “Fix” The Ending

In contrast to What Price Hollywood?, A Star Is Born 1937 carries a self-awareness and charm, but in bridging the romantic and the career side of protagonist Esther creates the problematic suicide reading. It’s not helped by dated elements, including the defining part of Esther’s ascension being the actress known as Vicki Lester taking on her husband’s name with a declaration “This is Mrs. Norman Maine“. It works given the time period, but even 16 years later needed an update.

Related: Watch the Trailer For A Star Is Born

The 1954 version is, for the most part, a beat-for-beat remake, just with dance number expansion to make it a musical, but it does make some strides to justifying the ending. The toll that caring for a drunk has on Judy Garland’s Vicki Lester is shown gradually, most upsettingly in an off-stage breakdown she immediately returns to filming from: an unavoidable presentation of the line between art and performer. But, ultimately, it ends in the same way: Norman Maine overhears Vicki’s plans to quit acting to care for her husband, so he feigns going for a swim and drowns himself; after a traumatic period and being unmasked at her funeral (the invasion of the press), Vicki returns to the public eye where she declares herself “Mrs. Norman Maine“. Every issue discussed is here.

The 1976’s A Star Is Born is overall incredibly melodramatic, nowhere less than its handling of the ending. What it should be praised for is its attempts at giving the female lead a greater sense of autonomy: throughout Streisand’s Esther makes decisions that power the narrative, not just being led along by Kristoffersen as those who came before her, but that’s lost thuddingly in the finale. After his meltdown, John Howard has imposed isolation – not rehab – and when returning home immediately sleeps with a reporter wanting an interview for Esther. The couple tries to power past this, but John figures he’s still broken and crashes his car at high speeds. Again, Esther is sad before taking his name (and singing at a tribute event).

Like we’ve already explored with A Star Is Born 2018, all versions have tried to provide their own contemporary spin on the tale to iron out its kinks, yet all wind up having to repeat the same suicide-anger-name triple-tap that doesn’t belong. A degree can be accounted to the changing times, but that ignores that the original trio of movies released over nearly 40 years, and that Cooper wasn’t able to address it either.

Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

Why Bradley Cooper Can’t Fix A Star Is Born

Bradley Cooper certainly tries to bring a modern slant to the worn tale of A Star Is Born. He invests heavily in making Jack and Ally’s opposite trajectories operate independently – Jack is suffering from tinnitus before he’s heard a note of “La Vie En Rose”, while Ally’s SNL appearance is deemed to contradict his advice – while making the love story more immediate. It’s a bigger story, more personal and considerably more consummately paced.

But, like all the others, the ending hits a snag. And some of his decisions make it worse. The method of final descent is different, with the awards show upset and rehab undone not by Maine going off the rails again as in every other take, but rather by Ally’s agent calling his supposed bluff. It’s implied from the British Rez knowing when exactly Jackson first toured across the pond that he was once a fan, now disillusioned with his hero, making him a millennial scapegoat to any affronting reading.

Related: 2018 Fall Movie Preview: The 30 Films to See

This generational push and pull could have been what sent A Star Is Born to greatness. Sam Elliott’s speech about there only being twelve notes played over and over, with the majesty coming from how the artist uses them is a beautiful sentiment that sees Cooper self-justifying another remake and appears like a zen view on the entertainment business that birthed it. Except it isn’t, because this idea is also trying to explain the ending, claiming that the music industry is cyclical and that stars are born and then new stars are born later; Jack’s death is enabling that. What the film seems to miss is that for one state to ever enter another, a star must always die. Ally will fall too. The raw textual argument is that the failures are as eternal as the successes, raising the question of worth, yet the film provides no further exploration and presents it as somehow immediately uplifting.

And that’s the hump that A Star Is Born 2018, like its predecessors, can’t get over. The story thinks it’s a biting, self-aware take on itself, but it’s too close to the subject to see that it’s really just propagating a harsh cycle. This isn’t helped by the film being weighted by so much – the casting of Lady Gaga, his writer-director-producer-actor whammy, even Sam Elliott as the Sam Elliott-type – although those concerns are also the key explanation for what’s really going on.

A Star Is Born Only Exists Because Of Ego

Throughout this article, there’s been one question dangling unspoken. Why are there four versions of A Star Is Born anyway? It’s a story that is flawed and dated, on a topic which has been tackled in more films than any other. Yes, each movie got serious Oscar nominations and wins, but that alone isn’t enough to justify going back. The true answer is enlightening.

1954’s A Star Is Born was conceived as a bid to restart Judy Garland’s career after it stalled over the 1940s. 1976’s A Star Is Born was Barbra Streisand’s attempt (along with then-husband Jon Peters) to boost her standing in Hollywood. And 2018’s A Star Is Born is Bradley Cooper’s grand attempt to win the Oscar that he believes he deserves (his entire post-Hangover career is a carefully played game of chess with a Golden Baldie the King). There are studio concerns too (before Cooper, Warner Bros had been attempting to get a remake off the ground since the early 2010s, although as a Beyonce vehicle has the same career expansion goals), but those are the primary purposes of each version. A Star Is Born is a vanity project on repeat.

Related: A Star Is Born Is An Oscar Favorite – But Could An Infamous Producer Hurt Its Chances?

Now, vanity projects needn’t be bad, and indeed a lot of good comes from each of these attempts. Indeed, each was ultimately successful in both their primary and commercial goals: Garland’s career was rejuvenated; Streisand won her second Oscar; and Cooper’s currently the front-runner in multiple categories for next year’s Academy Awards.

But this aspect appears to be why each version of A Star Is Born struggles to understand the real meaning of its ending. Each powering force believes this movie will be what takes them being a Norman/Jack Maine to a new Esther/Ally while missing that it’s built into the story to be impossible. They believe so much in the two contradictory Hollywood legends wholesale, so don’t see that the story is almost warning against such a thing.

A Star Is Born Is No Longer Needed

In recent years, we’ve seen Hollywood’s reliable rotation of movies about itself take a genuinely incisive slant. 2015’s Best Picture Winner Birdman was an ostentatious exploration of ego that too ended with the protagonist committing suicide, but there it was with the wry critique that fame and adoration are fleeting and that such a bold act was the only way for the self-involved hero to reach the heights he dreamed of. Then there’s 2017’s almost-Best Picture Winner La La Land, which was a celebration of Hollywood-gone-by looking at love in a city of stars, eventually concluding that success required the sacrifice of the central relationship.

Together, these take on all the ideas that A Star Is Born is playing with and apply them in a more thoughtful way. The messages are more widely applicable and their endnotes have considerably less of the hypocrisy. Birdman and La La Land may find joy in the arts, but they also uncover the trials of creativity and fame, keeping the brutal truths in earshot while presenting from a position of success.

A Star Is Born 2018 is a good movie, an undeniable achievement for both Bradley Cooper and Lady Gaga. But there is a flaw at the heart of the tale that just doesn’t ring true. Unless it’s made with a completely revisionist, ego-less eye, in twenty years we do not need another one.

More: Every Version Of A Star Is Born Ranked, From Garland To Gaga



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2018-10-06 01:10:52 – Alex Leadbeater

Dance Dance Revolution Video Game Movie Is In Development

A film adaptation of the popular video game Dance Dance Revolution is currently in development. The video game uses a platform with colored arrows that players must step on in accordance to what pops up on their television. The video game can be compared to Guitar Hero, only players mainly use their feet rather than their hands to simulate dancing.

The first Dance Dance Revolution game was released in Japan in 1998 before coming to North America in 1999. The game’s developer, Konami Holdings Corporation, has released several different games in the series on consoles as well as arcade versions. Most versions of Dance Dance Revolution have a combination of original songs by Konami as well as popular songs that are well known in pop culture. The newest game in the series was released in 2016 and titled Dance Dance Revolution A, but it appears that the video game is making the jump to the big screen.

Related: Jordan Vogt-Roberts Explains How There Actually Are Great Video Game Movies

As reported by VarietyDance Dance Revolution is getting a film adaptation thanks to the film company Stampede Ventures. It is also said that the movie will “explore a world on the brink of destruction where the only hope is to unite through the universal language of dance.” J. Todd Harris and Marc Marcum from Brand Entertainment will act as the film’s producers, with Stampede working closely with Konami to create the movie.

It’s no secret that video game movies have had a rough history at the box office. Novels, comic books, and even board games have been successfully developed into incredible films, yet developers of video game movies often struggle when it comes to turning a profit and pleasing fans. Video game movies can sometimes do one or the other, but it’s not very often that a film studio can make a video game movie that is both critically praised and earns a ton of money. That being said, there are some decent video game movies out there and even more game adaptions on the way.

Dance Dance Revolution is known for its originality and has become incredibly popular even after 20 years. After all, it’s pretty uncommon to walk into a big arcade and not find at least one Dance Dance Revolution machine. Even though the games have become a global sensation, that doesn’t mean that a movie will. While the idea of a Dance Dance Revolution movie seems questionable, there really isn’t enough information to judge how the movie will perform just yet. Only time will tell if Dance Dance Revolution falls victim to the video game movie curse or if it will come out on top.

More: Spider-Man is PlayStation’s Fastest-Selling Game Ever

Source: Variety



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2018-10-02 04:10:48 – Christopher Fiduccia