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Found 91 results

  1. Dear Princess Celestia, Carbs are the enemy. That is all. Your faithful student, Twilight Sparkle. P.S. Please send another dragon errand-boy. This one is broken. Five down, one to go...
  2. Now you may be asking yourself what The Terminator is doing as an entry in my incredibly sporadic horror movie trivia onslaught. You see, I make the argument that The Terminator is very much a slasher flick, very much like other 80s movies about a near-indestructible engine of destruction going on a rampage and racking up an impressive body count until one lone survivor, a lady, is left alone to fight it. The only difference is that instead of knifes and stabbing weapons, there are guns. Lots and lots of guns. That, and it's the movie's 30th anniversary today, and it's one of my favorite movies, and I'm in charge here, so we're doing The Terminator. If you don't like it... - The movie is based on a nightmare director James Cameron had in which a metal torso is crawling away from a fire with a fistful of kitchen knifes. He used this as the basis of a stylish slasher story, which he thought up to be in the same vein as John Carpenter's Halloween. See, I told you. Cameron's agent thought his idea for the film wasn't worth pursuing. Cameron fired his agent. - James Cameron was married to producer Gale Anne Hurd at the time. He sold her the rights to his story for $1. - The original story involved two terminators getting sent back, one a cyborg and one a liquid metal shape-shifter. James Cameron realized that special effects at the time wouldn't come close to what he envisioned for the latter, so the idea of the two terminators was held off for any potential sequel. - OJ Simpson was considered for the role of the Terminator, but James Cameron couldn't see him as a killer. Instead, he wanted actor Lance Henriksen to portray the Terminator, based on the fact that he looked normal, and the Terminator should blend in with a crowd like an infiltrator should. Arnold Schwarzenegger became involved when Orion Pictures wanted him for the role of Kyle Reese. James Cameron absolutely hated the idea, so he schemed to distance Arnold from the project by picking a fight with him during their meeting. But they got along swimmingly, and Cameron was entertained by Arnold's ideas on how the Terminator should be portrayed. After seeing what Arnold's face looked like when he stood still and emotionless, Cameron was convinced the guy would make "a hell of a terminator," regardless of the fact that Arnold is probably the last guy who could blend into a crowd. - Because of Arnold Schwarzenegger's casting, production had to wait while he shot Conan the Destroyer. In the meantime, James Cameron wrote Rambo: First Blood Part 2 and the best frigging movie ever made. - The Terminator was brought to life by the late great Stan Winston. He would go on to help design and give life to the xenomorphs in Aliens, the Predator, Edward Scissorhands's hands, all the physical effects for the T-1000, the dinosaurs in Jurassic Park, the Iron Man suits, and many more of the your favorite special effects from the past thirty years or so. - Sarah Connor is suppose to be 19 here. - The producers wanted Kyle Reese to have a robot dog, and at one point it was suggested that the Terminator drink some alcohol and act silly like E.T. - The laser sight on the Terminator's pistol required an external power source, so a battery was rigged up in Arnold Schwarzenegger's sleeve. - Linda Hamilton spent most of the production with a sprained ankle. - The movie originally ended with the tanker exploding, but James Cameron found this to not be hardcore enough. It was also written into the script that the Terminator gains a limp right before his skin gets burned off so it'd be easier to animate the endoskelton and make it look like it had the same range of motion as before it got toasted. - Arnold Schwarzenegger trained with firearms for three months before shooting began, to the point that he was almost robotic in his movements. It paid off: the use of guns in this movie earned praise for being far more realistic than other action movies at the time. - The Terminator glowing eye piece that Arnold Schwarzenegger had to wear later in the movie burned him whenever it was on. - The set was tense most of the time. Arnold Schwarzenegger was not enjoying himself, almost every action scene took place at night, leading to a very to-the-minute production, and James Cameron was easily irritated by people who came to him with ideas he didn't like. - Total body count of 28. - The car chases were filmed at normal speed and sped up in post. - Oh hai Bill Paxon. - Brad Fidel's musical score was made to sound like the heartbeat of a mechanical man. - The teaser trailer is narrated by Peter Cullen, aka Optimus Prime. - Writer Harlan Ellison swore this movie was a rip off of an Outer Limits episode he wrote and proceeded to squeze some money from Orion Pictures, while James Cameron proceeded to call him, and I quote, "a parasite who can kiss [Cameron's] ass." - If you haven't gathered by now, there is a very real chance you will be murdered by James Cameron. -There's a reason Kyle Reese starts making pipe bombs out of nowhere. A deleted scene has Sarah Connor and Reese decide to destroy Cyberdyne Systems before it can unleash Skynet on the world, another idea held off for a potential sequel. But what are the odds of that happening?! - The Terminator is the only film character to appear both the American Film Institute's Top 50 Villains list and their Top 50 Heroes list. - Arnold Schwarzenegger wanted the line changed to "I will be back" because it was easier for him to say in his accent. James Cameron refused, and, well, y'know... Happy 30th Anniversary, The Terminator.
  3. A dang fine slasher movie, this is, even if its sequels decided to become the dumb movies the original was making fun of. Beware of spoilers. - Wes Craven wasn't planing on making another violent horror film, but his fans kept asking him to do something like The Hills Have Eyes again. - The Ghostface Killer's mask is based off the Edvard Munch painting The Scream, but it wasn't designed specifically for the movie. It was actually based on a costume that had been in stores since the early 90s that the filmmakers thought looked cool. They were in the process of designing a similar but drastically altered mask before Dimension Films was able to work out a deal with the costume company and use the original design. The cloak was originally envisioned as all white as part of the ghost motif, but it was decided that black looked scarier. - Whenever the killer is on the phone, he is voiced by Roger L. Jackson, otherwise known as the voice of Mojo Jojo. Instead of the filmmakers editing in prerecorded lines, Jackson actually showed up on set and performed his part live with the other actors through a cell phone. The police showed up at one point because they thought a real serial killer was calling people, which makes me wonder why the heck the police were listening to the phone calls in the first place. - Though she was the top-billed star, it was Drew Barrymore that suggested she be cast as the character who doesn't make it past the first twenty minutes. In order to stay consistently frazzled throughout the shoot, Wes Craven told her stories of animal abuse so she'd cry. - The killer's knife is based off the Buck 120 Hunting Knife, which has been discontinued after customers complained that the blade was too big for gutting animals. - The inclusion of a cover of "Don't Fear the Reaper" is an homage to its use in Halloween when Michael Myers is following his future victims in a car. Scream's version plays when Billy sneaks in through Sydney's window to talk to her. - The Most Subtle Reference In Film History, a one act play starring Wes Craven. - Also making an appearance is Linda Blair as the reporter who harasses Sydney outside of the school. - When Billy is stabbed by the umbrella in the finale, actor Skeet Ulrich's scream of pain is real, as the umbrella accidentally hit his chest, which contained metal wiring from his open heart surgery. - The killer ritualistically cleaning his blade after each kill was thought up by stuntman Dane Farewell. - Casey saying the only good Nightmare of Elm Street was the first one was a very deliberate jab by Wes Craven. - David Arquette took on the movie because he thought Dewey was gonna be the heroic, handsome type. He was supposed to die at the end, but the positive test audience reaction to the character saved him. - Matthew Lillard, the man who was born to be Shaggy, improvised quite a bit in the movie. His reaction to the phone accidentally being dropped on him in the climax was kept in the movie due to its realism/hilarity. - The principal got axed because the movie was going too long without a death. - Actor Kevin Patrick Walls went out for the role of Billy, but he didn't get it, of course. To make up for it, he got to play Casey's unlucky boyfriend in the opening. - The high school originally picked for the film called off the shooting at the last minute when they found out Scream was a horror film, much to the annoyance of the producers. The end credits thus state "NO THANKS WHATSOEVER TO THE SANTA ROSA CITY SCHOOL DISTRICT GOVERNING BOARD." - That's Wes Craven under the mask when the killer grabs Casey through the window and receives a face-full of phone. - Jamie Kennedy has the same first name as Jamie Lee Curtis, which makes this funnier: - Despite playing the older character, David Arquette is actually younger than many of the actors playing teenagers. - If you pay attention to some background details in the final act of the movie, it's actually hinted at who the killer is before the reveal. When running from the killer throughout the house, Sydney ends up quickly running through Stu's room, which is adorned with very creepy, serial killer-friendly memorabilia. - The movie was release around Christmas time because no there film appealing to horror fans was out at the time. It opened at #4 at the box office, but word of mouth brought it up to #1 in the next few weeks. - The use of caller ID trippled after Scream came out. No, you don't. Trust me.
  4. Y'know, for a horror movie where the monster could easily be defeated if you kicked him hard enough across the room, the original Child's Play ain't half bad. Not a masterpiece by any standards, but it's good fun. Take a seat, Annabelle. - Originally named "Batteries Not Included", but changed when it was found out Steven Spielberg was producing a movie with the same name. - Child's Play was originally meant to be a satire of marketing aimed at children before it became a horror flick. In the story's original form, Chucky was named Buddy and was not possessed by a psychopath's soul, and was instead a projection of Andy's frustration and loneliness and went after Andy's "enemies," such as his teachers and babysitter. So it's like E.T., but better. - Chucky's real name, Charles Lee Ray, is a reference to serial killers Charles Manson, Lee Harvey Oswald, and James Earl Ray. - Chucky was designed by Kevin Yagher, who also designed the Crypt Keeper tweaked Freddy Kruger for Freddy's Revenge and more or less solidified the classic look of that character. - Brad Dourif, the voice of Chucky, ran around the recording studio before every take to give the performance a frantic edge. This resulted in him nearly passing on one or two occasions. - The original film caused quite a stir when it was released, with protesters at MGM Studios claiming it would incite violence in children. United Artists ended up disowning the movie when it was in talks to be bought out by a studio unwilling to make horror movies, and the sequel rights went to Universal. - A copy of Child's Play 2 sits on Jerry's shelf on Seinfeld. - Peter Jackson was asked to direct Child's Play 3. - At some point, Chucky loses his right hand in each of the first three movies. - The opening scene in Bride of Chucky features cameos from Jason Vorhees's and Michael Myers's masks, Freddy Krueger's glove, Leatherface's chainsaw, the Puppetmaster's puppets, and the crate from Creepshow. - The doll sex scene in Bride was improvised. How could you not love that movie? - Because Seed of Chucky was so outside of the type of movie Focus Features usually released, they creaked Rouge Pictures just to release this movie. The last movie they released was Movie 43. Guess that explains where they went. - Glen/Genda is voiced by Billy Boyd aka Freaking Pippin the hobbit. That's not a fun fact or anything, I just think that's really funny. - If you ever get the chance, check out the latest movie, Curse of Chucky. It's surprisingly good, best one since the first. Oh god no.
  5. This one is exceedingly overdue, but today we come to the modern masterpiece from the Mexican maestro's mind, Pan's Labyrinth. I was actually questioning whether this film could be counted as a horror film or if it was just fantasy of the darker variety. Never mind. - Guillermo del Toro keeps a large collection of notes and sketches that he uses to generate ideas and stories for his films. The notes on Pan's Labyrinth were once lost in the backseat of a British cab. Del Toro was afraid he lost them forever, but the cab driver sought him out just to return the notes. Del Toro took this as a sign that this movie had to be made; he turned down working on The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe and gave up his salary to make sure it happened. But when offered Hollywood backing, del Toro refused, not wanting his vision to be compromised. - Intended as an informal sequel to The Devil's Backbone. Originally about a pregnant woman that falls in love with a faun. - The faun in question isn't actually the Pan of Greek mythology, who is known for his sexual escapades and is wholly inappropriate to feature opposite a little girl. That's just the American title; everywhere else in the world, the film is called The Labyrinth of the Faun. - The actor under the Faun and Pale Man makeup is Doug Jones, who you may not recognize as Billy the Zombie from Hocus Pocus, Abe Sapien from the Hellboy movies, and the leader of the Gentlemen from Buffy the Vampire Slayer. A native of Indianapolis, Jones was the only person on set who did not speak Spanish and had to learn the language for the role of the Faun. He was later dubbed over, but Jone's efforts made it so the lip-synch was near perfect. - An actor was almost killed when a horse fell on top of him. - Ofelia was meant to be played by a younger actress, but Ivana Baquero impressed del Toro enough that he slightly rewrote the part to fit the casting. Del Toro sent comic books to Baquero to read so she could get in the right head space. - The Pale Man's saggy skin was inspired by del Toro's recent weight loss. - The captain's quarters were designed to look like the inside of his watch. - There was originally to be a sequence in which Ofelia tells a fairy tale involving a dragon, which of course would had been visualized, but it had to be cut due to budgetary reasons. - The English subtitles were written by del Toro himself, who was not satisfied with the translations of his previous works. - Doug Jones reportedly kept condoms full of fake blood in his mouth for the bit where the Pale Man has a snack. - The Faun's horns weighed ten pounds and were tiring to wear after awhile. - Movie theaters had to put up a warning after people kept taking their kids to see the movie about the little girl who escapes the horrors of fascism and war only to find a monster that tries to eat her alive and a pissy faun. - Stephen King attended a private screening, during which del Toro notice him squirm in his seat during the Pale Man sequence. - Received a 22 minute standing ovation at the Cannes Film Festival. - Hug? Hug.
  6. From a period when horror films were synonymous with demented madmen running around in ski-masks hacking up young virgins, it's cool to see a movie so steeped in love for the classics, when vampires slept in coffins, avoided crucifixes, and freaking murdered your butt. So hot. - The directorial debut of Tom Holland, who felt his previous script wasn't done justice and that he had to handle this one himself. - First vampire film to spend more than a million dollars on its special effects, and it shows. - Peter Vincent was, of course, named after Peter Cushing and Vincent Price, the latter of which Holland had in mind for the role. But Price's health problems and aversion to starring in more horror roles ended that train of thought, and the part eventually went to Roddy McDowall. Price would later thank Holland and McDowall for the homage. - Actor William Ragsdale was cast as Charley on Halloween Night 1984. - Actor Chris Sarandon was the one who suggested that Vampire Jerry would eat a lot of apples because he had some fruit bat in his DNA and was constantly cleansing his pallet after drinking blood. - Roddy McDowall based his performance of the Cowardly Lion. - Actor Stephen Geoffreys was a bit upset people thought he was good fit for the decidedly jackass-y Evil Ed. - The relationship between Jerry and servant Billy was intentionally made homoerotic by Tom Holland. The actors did not pick up on this until late in production. - The special effects team had just completed work on Ghostbusters when production started. One of the puppets they had built for the Ghost Librarian was deemed too scary and was used for Fright Night instead. - Chris Sarandon had experience with make-up in the theater, so he'd work on his elongated vampire fingers will the crew worked on applying make-up to his face. - They wanted Jerry to whistle "Whistle While You Work," but they couldn't get the rights from Disney. - Actress Amanda Bearse wore a breast plate to make her vampire cleavage more...vampire-y. - William Ragsdale broke his ankle during production, resulting in many scenes in the movie being filmed while his leg was still in the cast. - It took 18 hours to apply Stephen Geoffreys's wolf transformation make-up. They meant to put methyl cellulose in his mouth to create a saliva-like substance, but they accidentally used a prosthetic adhesive that was gluing his mouth shut. - Actor Jonathan Stark had to be covered in an assortment of goop for the scene where Billy melts down. He was unable to wash it off on the set, so he drove home covered in slime, at once point scaring the daylights out of a gas station attendant. - The contact lenses worn by the actors were thick, hand painted plastic that could only be worn for 20 minutes at a time due to how painful they were to wear. Stephen Geoffreys had scratches on his eyeballs for months afterwards. - William Ragsdale reaction to seeing Amy's vampire face was genuine; he had not see the make-up until they shot that scene. - Upset that they had not been invited to do the DVD commentary, the actors produced their own DIY commentary. - The remake isn't all that bad, actually, even if it is a bit pointless. Unless watching David Tennant adjust his crotch was a thing you've always wanted to see, in which case this is an important motion picture event. So, um. Yeah, Fright Night rules.
  7. It's that time of year again. The wind is beginning to chill, nature is starting it's transformation into beautiful decay, the days grow shorter, and all matters of spooks and shadows come forth to haunt the landscape once more, serving as harbingers of the most hallowed eve of the year... ...Christmas! D'awwww, look at the lil' guy! Man, this is gonna be the best Christmas ever! Or not. - In the late 70s, Steven Spielberg intended to create a follow-up to Close Encounters of the Third Kind called Night Skies. Instead of nice aliens, this would be a particularly nasty set of buggers terrorizing a family on their farm. The project fell through, but several elements from the story were used for later Spielberg productions: the family-based horror became Poltergeist, the idea of one of the aliens befriending the family's son became E.T., and the gremlin-like monsters wreaking havoc became, well, Gremlins. - Writer Chris Columbus's was inspired by the creepy noise the mice in his apartment made at night to write a script about little monsters. - Tim Burton was considered a possible director, but he had never directed a feature movie before, so the job went to Joe Dante based, who had just worked with Spielberg on the Twilight zone movie. - Both Judd Nelson and Emilio Estevez were considered for the role of Billy, while both Jon Pertwee (the Third Doctor) and Mako (Uncle Iroh) were considered for Mr. Wing. - The studio was unsure about casting Phoebe Cates, who was mostly known for racier fare like Fast Times at Ridgemont High. Because the rest of the movie is so wholesome. - The town used for Kingston Falls is actually a Universal Studios Backlot, the same used for Hill Valley in Back to the Future. - That's Chuck Jones playing Billy's drawing mentor. Director Joe Dante's is a huge fan of Jone's Loony Tunes work, which can be seen in all the crazy stuff the gremlins get up to. You can see it even more clearly in the goofier sequel. That's not the only thing you can clearly see in that movie. - Both Speilberg and Composer Jerry Goldsmith also make appearances at that wacky inventor convention. - First onscreen use of the Amblin Entertainment logo. - Everyone knows Howey Mandel did the voice for Gizmo, but just as awesome is Frank Welker, the voice of Fred Rogers, Megatron, Totoro, Doctor Claw, Jabberjaw, Nibbler, Abu the monkey, and pretty much every other animated character ever (pretty sure he's got one or two Disney princesses in there) as Stripe. It was Welker who recommended Mandel for the part. - The movie theater appears to be playing "A Boy's life" and "Watch the Skies," which were working titles for E.T. and Close Encounters, respectively. - The scene where Stripe attacks Billy with the chainsaw was thought up on set by Dante and actor Zach Galligan as a homage to The Texas Chainsaw Massacre. - Hoyt Axton improvised nearly all his lines as Billy's father. - The Santa Claus monologue wasn't popular with studio execs, but Dante refused to remove it, as it pretty much summed up the movie. Spielberg didn't like the scene either, but he allowed Dante to uphold his vision. - Stripe is the only gremlin who doesn't sing in the movie theater. Watch out, we've got ourselves a badass over here. - Columbus's original script is even darker than the finished film. Gizmo was originally gonna transform into Stripes the ringleader gremlin, leaving no nice gremlin for the audience to root for. And the gremlins were to outright kill and eat people, including the patrons at a McDonald's (leaving the burgers untouched, har har) and Billy's dog, the latter of which occurs shortly before Billy's mother's head was ripped off and thrown down the stairs to his feet. Spielberg and Dante eventually drew a line, as the movie wouldn't have found a large enough audience if they made it pitch black. - Even with those elements removed, the movie still pushed the boundaries of a PG rating, to the point that it was this movie, in conjunction with Indiana Jones and the Temple of Doom, that had Spielberg push for the existence of the PG-13 rating. - Planned as a Christmas release, but released in the summer when Warner Bros saw there was no competition. - I love the ending. It just outright tells the kids in the audience that a horrible monster hiding in your house is a very real possibility. I mean, it scarred me for life, but I still love it.
  8. Out of all the slasher movie franchises, this one is probably my favorite, for a multitude of reasons, namely because Freddy is awesome. - Director Wes Craven based the story off a variety of things that disturbed him. The central premise of the movie is based off an account he read of teenagers who were afraid to go to sleep and died of mysterious causes a few minutes after they dozed off. The image of a fedora-sporting lunatic was taken from a childhood experience in which a homeless man peered into Craven's bedroom window and seeming took amusement out of scaring him. The name "Krueger" came from a bully who terrorized him in school. - The texture of Freddy's skin was taken from a cheese pizza. The makeup team actually had a folder of burn victim photos for reference, but they didn't really like looking through it. The final makeup took 3 hours to apply. - Johnny Depp's debut role as the hilariously-doomed Glen happened by pure chance. He was simply accompanying a friend on his audition for the role, but the filmmakers decided to give him the part instead. The weird part is that the friend who didn't get the job, Jackie Earl Haley, played Freddy in the 2010 remake (aka, the only good thing in that entire turd of a movie). - Krueger's ability to change forms, and the detail that anything he changed into would share the same colors as his sweater, was lifted right from Plastic Man. In fact, the sweater was meant to be red yellow before Wes Craven read that red green are the two most contrasting colors to the human retina. - The setting is never referred to as Elm Street once in the first film. Its use in the title was simply meant to give the impression that this was all happening on a quiet, normal street. Just. Like. Yours. Of course, the sequels went crazy with Elm Street and made up all those stupid rules about how Krueger can't do anything outside of Springwood or something. - Robert Englund based Krueger's mannerisms on Klaus Kinski's performance in the 1979 remake of Nosferatu. As for the voice, I'll let him explain that: - The knifes on the glove are real. According to Englund, anybody who has ever tried it on has probably cut themselves by accident, like he did the first time he wore it. The sound they make when scrapped on the boiler room pipes were made with steak knifes on a steel chair. - The station Glen listens to right before he bites it is KRGR. - Krueger's stretchy-arms were simply puppet arms attached to strings controlled by crew members sitting over the alleyway. - The blood geyser was accomplished via a room built to revolve 360 degrees, with the torrent of blood poured through a hole on the top while the footage was shot upside down. Most of the 500 gallons of blood used in the film was used during this scene. The room was used again for Tina's death, when she is dragged up the wall and slashed up on the ceiling. The little moment where Tina reaches for Rod, who's in the foreground of the shot, was not composited (or two shots put together); actor Jsu Garcia was upside down, with his hair patted down, while the footage was shot to look right way up. - Heather Langenkamp found herself stalked by some dude in real life thanks to her role in the movie. - Apparently, this was the first movie to use a breakaway mirror. - The face in the wall effect was simply a latex stretched over a hole in the wall that a crew member stuck their face against. It looks awesome. The remake did it with CGI and it looks like cartoonish ass. - The ending was meant to be a happy triumph, with Nancy's friends revealed to still be alive, implying the whole movie was just a bad dream. Of course, the producers wanted an ending that left the door open for more sequels. - Filmed in 30 days on a budget of 1.8 million. Ultimately, it proved to be a huge success for the film's fledgling production company, New Line Cinema, that helped get it off the ground. Thus, New Line is often referred to as "the house that Freddy built". So no Freddy, no Jackson Lord of the Rings. Go figure. - Robert Englund almost didn't play Krueger in the sequels before producer Robert Shaye realized how horrible a mistake it was to hire an extra for less money in Freddy's Revenge. Englund was brought back a few weeks after that movie started production. - Robert Englund plays all the characters and disguises Kruger poses as, unless it's important it be otherwise. - Freddy's Revenge was written by the screenwriter to subtly be the gayest horror movie ever. The director was completely unaware of this. - Several characters in Dream Warriors wear Dokken shirts. Dokken wrote music for the film. - The Freddy snake was originally a pinkish hue, but green goop was added at the last minute to make it look less...phallic. Because if it's one thing the makers of these films don't want you to feel, its uncomfortable. - The Dream Master is the highest grossing movie of the franchise (not counting Freddy vs. Jason), as well as the highest grossing slasher movie of the 1980's. - Conversely, The Dream Child is the lowest grossing of the franchise. That movie had to be edited down because the original cut was thought to be too disturbing and was Rated X. - Alice is the only protagonist in the franchise to have fought Krueger twice and survive. - Peter Jackson, back when he was till making horror movies, wrote a treatment for a possible sequel in the franchise titled The Dream Lover. In sort of a meta joke at the expense of the series, the beginning of the film showed that the children and teenagers of Springwood were no longer afraid of Freddy because of how ridiculous he had become and had actually made a game out of purposely falling asleep, trolling him, and taking a piece of his sweater to prove they did it. - Wes Craven has said he cannot follow the story in the sequels at all. Neither can I, man. - This song is great. OK, time to end this nightmare. Kung fu this, bitch! Man, Freddy calls everyone a bitch way too much. Somebody needs to count how many times he says it.
  9. That's right, today I'm taking on a whole franchise. I've got nothing better do with my life, except literally anything else. - The most profitable slasher series of all time. The original alone made $40 million on its budget of $500,000. - Onscreen body count: 199. The movie with the most murders is Jason X at 23, a number that's even higher if you count the 20,000 people on board that exploding space station. - The sound isn't "chi-chi-chi cha-cha-cha". It's "ki-ki-ki ma-ma-ma", as in "Kill her, Mommy". - It's no secret most of the actors who have worked on this series don't view it in the best light. Some called their respective movies "c-list", and Betsy Palmer (Pamela Voorhees) hated the original. - Over 10 actors have played Jason over the years. Kane Hodder (who also played Lord Zedd on Power Rangers) was the stuntman who played him the most, in a total of four separate films. - Tom Savini, makeup artist on the first film, based Jason's disfigured visage on a mentally challenged man he knew from his childhood. - It was Savini who thought up the Carrie-style jump scare at the end of the movie. He would check out the last five minutes of screenings just to see people's reactions, which probably made the three months needed to reshoot and reshoot it. - The original was filmed at Camp No-Be-Bo-Sco in Blairstown, New Jersey, which still functions as a boy scout camp. - The original magazine ad for the movie was released before they had even written a script. They just wanted to see if any other movie already had that title. - The original mask was sculpted out of a Detroit Red Wings goalie mask. - Crispin Glover's awkward dancing scene in Part IV was originally set to "Back in Black", but they couldn't secure the rights. - Speaking of which, Part IV has the most nudity out of any movie in the franchise... ...or so I've been told. - Part VII was meant to crossover the series with Nightmare on Elm Street, but they couldn't get the rights to Freddy, so his role in the script was replaced with a teenage girl with psychic powers. We would have to wait to 2003 for that fight to happen. - Jason Goes to Hell features a cameo from The Evil Dead's Necrinomicon, along with the demonic dagger thing from the first two movies, implying some sort of connection with that franchise. In fact, the sequel to Freddy vs. Jason was suppose to include Ash in a three-way battle to the death, but Sam Raimi and Bruce Campbell decided not to take part when they were informed that Ash would not be allowed to definitively kill the other two. - That corporate guy who gets killed in the opening to Jason X is David Cronenberg, director of The Fly, The Brood, and Videodrome, which should probably be your indication that you shouldn't be taking anything in that movie seriously... ...if this scene or the robot nipples didn't make that clear already. - In a majority of the films, there is a storm either approaching Camp Crystal Lake or there's already one going on. The obvious idea we're suppose to be taking from this is that Jason is totally a force of God killing all those horny teenage delinquents. - The 2009 remake apparently featured too much sex for producer Michael Bay, who walked out on the premiere. - Not really trivia so much as an obvious fact, but Jason wasn't the killer in the original. It was his mum. Do your homework, kids; your life may depend on it. - Jason hates all the bands you like. What a fun, if not totally stupid franchise. Let's end this with Jason punching a dude's head off.
  10. You know what the problem with Superman is? It's not that he's OP, or a boy scout, or that he isn't as nuanced and "deep" as other superheroes are. That's actually why I love him. In an irony that has become much more obvious as time goes on, the character who is seen as the poster-boy for generic, bland superheroes that popular culture has been trying to get away from is now refreshing in comparison to everyone else. In a world where every superhero has to be complex or "edgy" or whatever the kids are saying nowadays, the idea of a nice guy using what he has to help people is, and has always been, appealing. Not to say that Clark Kent is easy to write or to "get" as a character. Far from it. But I think people misunderstand why that is. Most would say it's because he's too powerful to be relatable, and that we have to restrict him or add more to make him more relatable. Superman's problem is that we keep coming at him with this mindset, and that's a terrible mindset to have when writing Superman. Instead, the perfect example of this type of character done right is Captain America: The First Avenger. What makes Steve Rogers such a great hero, much like Clark Kent, is that he's relateable because he's likeable. They're the kind of people we want to be like, and we care about them not because we can see them happening in our world (realism is not an indicator of relatability), but simply because we want them to succeed. Superman was never about a hero trying to achieve his full potential; it was about a guy who already did and serves as a role model to mankind, both as a hero and as a good person. While I get the argument that Superman being as powerful as he is may get boring, keep in mind that it isn't as big a problem as many think it is. People only think that because of the movies, where there's just Lex Luthor and he's just catching some boats or something; there's always worthy challengers in his stories. Plus, watching a guy that powerful do his thing is always really fun to watch. I bring all this up because while I think director Zack Snyder get's that, particularly the whole "this guy can do anything, so let's make this bigger than any other superhero movie can manage" thing, I don't think Christopher Nolan or writer David S. Goyer got it. At all. They briefly touch on the whole "beacon for humanity" thing, and it's kind of interesting seeing how a 21st century Earth would respond to a Kryptonian, but the whole thing is just bogged down with questions about Superman's role as a protector and explanations of the story's mechanisms. Maybe I've been spoiled by The Avengers and Iron Man 3, and odds are most normal people are gonna dig what is the most badass Superman movie yet, but if any character was an excuse to just cut loose and make an awesome, fun superhero movie, it would be Superman. By no means do I mean it should be cheerful 100% of the way through (his origin story involves the death of nearly his entire race), but after forty minutes of a muted, desaturated world where Clark Kent (Henry Cavill) is wondering whether he should actually use his powers to help people at the risk of incurring the fear and mistrust of a species not ready for it, you wish they'd just get on with it and have fun. But the most "totally-not-getting-it" feature of the movie is that it's constantly reminding us that Clark is an alien outsider. The youngest we see the character is when he's struggling with the fact that he can see through people's skin while his classmates comment on how weird and insular he is, and pretty much every Clark scene after that is him struggling not to contain his alien-ness. Fact is that he's Clark Kent and a human first, a Kryptonian second. Instead, we get a movie that probably uses the name "Kal-El" more than "Clark". On a related note, they only say "Superman" two or three times in this two and a half hour movie. You know, because Gawd forbid a superhero movie not be ashamed of the sillier or cornier elements that made it a superhero tale in the first place. Again, probably spoiled by Marvel's Cinematic Universe. Clark Kent's origin story hasn't really been changed all that much, except for some added details to set up the plot for the movie. Krypton still blows up, but it now happens due in part to a complete draining of its resources by its inhabitants and a short but violent civil war instigated by the Kryptonian military class, led by the ruthless General Zod (Michael Shannon). His intention is to save Krypton through the genetic cleansing of his people, essentially leaving only the bloodlines he deems worthy of survival. Zod's former colleague, Jor-El (Russel Crowe), instead wants the opposite: an abandonment of the laws that selectively breeds Kyrptonians and places them into per-selected roles, instead promoting free will and chance. As such, Jor-El's son, Kal-El, is the first natural Kryptonian birth in centuries. Zod won't have any of that shit, but he's unable to stop Jor-El from launching his son (who holds the key to Krypton's future due to somewhat vague and complicated reasons) into space, while Zod and his gang of ruffians are imprisoned in the Phantom Zone hours before Krypton is destroyed. So Kal-El lands in rural Kansas, is discovered and raised by Jonathan and Martha Kent (Kevin Costner and Diane Lane), named Clark, all that good stuff. Eventually Clark decides he needs to travel the world to figure out who he is and how to interact with humanity. Eventually he discovers his Kryptonian origins via an alien craft buried in the Arctic, along with the iconic suit and a new sense of purpose. Wait, no, he's still trying to determine how he should interact with humanity. The timing of his discovery comes only a few days before General Zod and his crew, having escaped the Phantom Zone, show up on Earth to capture Kal-El and use the planet as a stepping stone for rebuilding the Kryptonian Empire in their image. Superman won't have any of that shit, and the rest of the movie becomes a battle to save the Earth, with the help of reporter Lois Lane (Amy Adams) and the occasional words of wisdom from his Ghost Dad. The cast is putting forth a lot of effort, even if the characters they play never give them a chance to really stretch their legs (with one notable exception). Cavill seems to have a handle on Superman, but he only ever gets to play either confused Kal-El struggling to find a purpose or Superman being pissed off. We only get a taste of the classic Superman we all know and (hopefully) love, and we never get to see him just be Clark Kent. Adams is trying her darnest as Lois Lane, but the writers never give her anything to do except snoop around a bit in the second act. But worst off all, she doesn't seem to have any chemistry with Cavill, and seeing as how important that relationship is to the character (and popular culture as a whole), that's tragic. Crowe is pretty solid as Jor-El. Maybe a bit too similar to Marlon Brando's version of the character, but he has a presence and the right combination of emotion and Spock-esque coolness. Costner and Lane are great as the Kents, bringing a lot of warmth to a movie that really needs it, though I wish Jon Kent would dial back the "you're gonna change the world, son" speeches. Then there's Perry White (Laurence Fishburne) and the rest of the staff of the Daily Planet, where Lois--actually they don't really factor into this at all. In fact it feels they were here just because it's a Superman movie. Moving on. Surprisingly, some of the best moments in the movie come from Colonel Nathan Hardy (Christopher Meloni), the military man who interacts with Superman the most. His character, again, doesn't have too much to do, but when Meloni needs to deliver an important line, he gawddamn delivers an important line. But by far the best performance and character is Shannon as Zod. Shannon is one the best character actors out there ( ), particularly excelling villain roles. Zod is no different, with Shannon effortlessly balancing intensity and a commanding presence with pure rage. It certainly helps that the writing really picks up with Zod; he's cruel and vengeful, but believes with every fiber of his being that what he's doing is the right thing. There's this fantastic scene near the end where Zod is pushed past his breaking point and goes into full on evil mode, delivering a speech that comic book awesomeness is made off. It's cheesy (one line in particular is corny as all hell), but it's sort of poetic and the kind of over the top superhero dialogue I've been wanting this whole movie, so whatever. In the end he's the only character who really ends up being compelling by himself, unfortunately. For me, at least. So at this point it probably feels like I found the movie disappointing and mediocre. Yes, it was disappointing in many respects, but despite all the things I felt they did wrong, I highly recommend it, even going as far to say that if you plan on watching it, see it in theaters, because the battle sequences are awe-inspiring. It's the best descriptor I could think of. It's kind of like how people say that you should see Transformers just for the action, but unlike in those movies, these action scenes aren't shitty. Far from it. Not only are they just around well directed and put together, but they're on a scale and visual level that's second to none. Punches and kicks land with enough force to level a city block. The battles are fought at supersonic speeds, but last several minutes instead of ending quickly, creating a constant assault on your senses. A lot of thought was obviously put into visualizing what characters of such immense powers trying to beat each to death would look like, and it's probably as close as we're going to get for a while. You can see where all the budget went in this movie, and it's here that you see Snyder really excel at his talent as a director. If I was more invested in what was going on, I'd name the fight scenes (the climatic one in particular) the best superhero action scenes ever (The Avengers and Spider-Man 2's brawls still take the cake). If I have one gripe with the content of the action scenes is that I wish there was more scenes of Superman doing his thing: breaking off from a fight to save people caught in the crossfire, or redirecting the battle away from the population. That's the kind of stuff I love about the character. Instead, he doesn't really seem to notice the citizens who are stuck in the middle of it all, and aside from one or two moments, he doesn't really make an effort to actively help people or contain the violence. In fact, the reason one of the fistfights breaks out in Smallville is because Superman actually seem to draw them there, and by "drew them there", I mean he flat out threw Zod through a gas station full of people. But that's a nitpick (I think), and in the end, it's satisfying to finally get a Superman movie with such a display of raw power, and it ain't just restricted to the fight scenes, or even scenes with Kyrptonians. Whether it be something as simple as a school bus falling off a bridge or a (rather random) tornado flipping cars and debris all over the place. When the movie isn't contemplating humanity or something, it's as big as a movie can get. Also, it looks cool. Snyder is one of the best visual directors out there, and Man of Steel is no different. The muted tones (which actually work well here), the depiction of Superman moving at Mach 11 speeds, the H.R. Giger-esque design of Krypton, it all just looks great. I absolutely love the music too. It's not John Williams, but it works as a new theme for a new generation. It's big and triumphant, and it fits the character well. It may not really grasp why Superman is so great, but Man of Steel is worth it just for the visuals and the spectacle. And while I am always against a movie trying to get away with skimping on a satisfying experience with a promise that everything will be better/be explained/the promises made for this movie will be kept next time, there's enough enjoyment here that I can overlook that the movie implies the Superman movie I wished this was will happen next time. Do I think it works as a movie that best represents 75 years of stories and why the character has endured as long as he has? No. But I had a good time once the bing-bangy scenes started dropping, and if this movie succeeds and inspires Warner Bros. to get off their collective asses so they can do the DC Universe (at least the parts that are not Batman) cinematic justice, than I can dig it. 7/10 P.S. I like Christopher Nolan and love his first two Batman movies, just to be clear. I just don't think his approach the Dark Knight Trilogy took was appropriate for Superman at all. The only reason he's attached to the project at all is because Warner Bros. wants him to be the godfather of the DC Cinematic Universe, when he'd rather not. P.P.S. The costume looks alright overall. I rather the colors were a bit more vibrant and the texture is distracting, but the CGI cape looks good and I love the emblem. P.P.P.S. Why is Jimmy Olsen a lady now? I don't mind, but I also don't really see the point. Ah well. P.P.P.P.S. The little fist fight between Jor-El and Zod was pretty cool. I wish Snyder had directed the Bane fights in Dark Knight Rises. P.P.P.P.P.S. At least this Superman movie can safetly claim it has more implied dead fetuses than any other movie in the franchise.
  11. Please ignore the Dreamworks Face. GO. NOW. GET IN YOUR AUTOMOBILE, GO TO THE MULTIPLEX, ACQUIRE AN ENTRY VOUCHER, SIT YOUR BUTT DOWN, AND ENJOY THE BEST DAMN MOVIE DISNEY HAS MADE IN LIKE FOREVER. Bolt was pretty decent, Princess and the Frog was flawed but also pretty good, Tangled was really good, Wreck-it-Ralph was great, and this... It's... It's... Yes. Magic. For anybody who's been hoping that Disney would truly go back to the glory days of the Renaissance, this is the closest its come in over a decade. Maybe I'm over-blowing how great it is, but if anything, that's an indication of how excited this movie made me, and it's only getting better the more I think about it. I know, I know, absolutely nothing in the commercials or trailers has indicated anything really great. "What," you snarl, "that stupid-looking movie with the obnoxious snowman guy? Why would I want to watch that, Citrus? You have failed me yet again!" But I assure you, your majesty, it really is much more than some pandering kiddie-flick. It's actually quite smart. Like, genius. Subversive, even. Like, it's gonna hit you like a hurricane five different ways past Sunday. Whatever that means. If it sounds like I'm being ambiguous, it's because I totally am and you have fallen right into my trap. I really don't want to give away everything that makes this movie genius, so both because it's best you go in blind and because I am lazy, imma just gush for a minute or two. 7 FREAKING REASONS FROZEN IS FREAKING GREAT. 1. The voice cast is marvelous and lively, especially Kristen Bell and Idina Menzel as the lead sisters. Menzel's experience as the misunderstood Elphaba in Wicked comes in handy as lonely-princess-with-supernatural-powers-turned-badass-snow-queen Elsa. 2. Like I said, subversive as hell. The "love at first sight" and subsequent one-day courtship that usually appears in Disney movies is condemned and mocked by several characters (and it's actually what sets off the main conflict in the movie), the main relationship is between siblings and not a couple, the Disney trope that deems all queens be evil is played with, the absence of the parents that we always see in these films actually takes a toll the main characters, and the comic relief character is almost a tragic figure. 3. That said, it still balances that line between taking a critical eye to the tropes of the past and still displaying a genuine love for the Disney canon and all the fluff that comes with it, something most recent fairy tale (if you can call them that) movies have a hard time doing for some reason. 4. It's expertly scripted and paced, juggling several themes, introducing characters and ideas, and moving the plot along all at once, and it doesn't even break a sweat. Me thinks some of Pixar's sorcery has rubbed off on Disney. 5. The musical numbers are absolutely phenomenal. The central ballad, "Let it Go", can stand toe-to-toe with anything from the Renaissance. I'm listening to it right now. 6. It's the type of visual treat that only Disney could create. They get a lot of millage out of the ice powers and all the fantastic imagery they result in. 7. Even Olaf the Snowman, the obvious comic relief everyone thought was gonna be the worst thing ever, is kind of great. The movie knows when it's appropriate to whip him out for a healthy laugh and when to restrain him and let the drama happen. He's genuinely likeable (thanks in no small part to Book of Mormon's Josh Gad's performance), and his lack of understanding of what freeing the land from winter and bringing back Summer will mean for him adds an unusual layer of sadness to his character. The movie mostly plays it for laughs, but it's there, and it becomes quite poignant in the third act. Just to be clear, it's not entirely perfect. Maybe the songs could have been paced a bit better (like most Disney movies, the first half is flooded with music while they become more scarce in the second half), and I think the climatic scene could have used just a wee bit more umph (though it should be noted that there is still a considerable amount of umph). While the movie does a great job of reinventing the Disney Princess movie, if you have a genuine problem with Disney fluffiness and magic in general, than you might not be all too into this. Then again, I'm posting this on MLP Forums, and I'm guessing most of you probably don't have a problem with that. So yeah, Frozen is great. Really, truly, beautifully great. Really hope this is an indication that Disney is entering a new golden age. Everyone go see it. NOW. It gets a 9/10.
  12. May not exactly be horror, but this is easily one of the most important movies EVER. At the very least, no King Kong means no Jackson Lord of the Rings or Angry Video Game Nerd, so I think the Eighth Wonder of the World deserves a post. Awesome. - Partially inspired by the true story of a Komodo dragon stolen from its native environment and brought to New York, where it died shortly afterwards. - Special effects god Willis O'Brien was hired to work on this film after his dream project, Creation, fell through. Many of the dinosaur puppets built for that movie were used here. - Fray Way took on the part of Ann Darrow partly because she saw something in M.C. Cooper's enthusiasm, and partly because she was promised a role opposite the tallest, darkest leading man in Hollywood. - Kong's roar is a lion roar and tiger roar stuck together and played backwards. - It is said that Carl Denhem is basically a fictionalised version of M.C. Cooper (right down to both of them willing to stand in the path of charging animals to get a good shot), while the more stern and serious Jack Driscoll was co-director Ernest B. Schoedsack. - Two separate Kong's were used in the movie. One of them still survives and currently takes shelter in Bob Burn's basement. - Because film composting (putting several layers of footage together, kind of like green screen) did not exist in 1933, the special effects team had to get creative whenever there were several different elements in a shot outside of the stop motion. Of course, you had the use of actors acting against a rear projection of the monsters and miniatures, but shots where the special effects themselves were the focus required something more clever than that. The most insane solution used was to take frames of the live action elements, like the cast, place them within the miniature set, and animate it along with the stop motion. In scenes where you had a bunch of different elements, like Kong's lair, which had smoke, water, two human actors, and Kong and a giant snake... ...things got crazy. - Willis O' Brien leaked false information on how the special effects were achieved so as to maintain the illusion. As such, while we know the basic techniques used on the film, we will never know the specifics of what Brien did. Just as he intended. - Many critics praised how realistic Kong's fur was and how it seemed to move with his breathing or stand up on edge when he was shocked. This was, of course, the hands of the animators leaving impressions on the rabbit fur used on the puppets. - The scene where Kong attacks the elevated train was added in late in production to beef up his rampage in New York. - Cooper and Schoedsack's love of wrestling came in handy when it came time to choreograph the fight with the T-Rex. They acted out the whole scene for the animators. In the 2005 remake, the last third of the T-Rex fight is an exact recreation of this original fight. - The film's first rerelease saw several scenes deemed too risque or violent for the masses were removed, such as the scene where Kong takes off Ann's clothes and sniffs them, or when he drops people to their doom or stomps on them. - The planes in the climax of the movie are a callback to Cooper and Schoedsack's days as fighter pilots. - The most famous deleted scene of all time has to be the "lost spider pit" sequence, in which the crew members who fell off the log into the chasm survived, only to be eaten alive by giant spiders and a variety of other nasty things. The scene, by all accounts, was apparently so creepy and disturbing to contemporary audiences that, according to M.C. Cooper, it broke the movie; several people left in the middle of the scene and the people who stayed wouldn't stop talking about it through the rest of the movie. Cooper took it upon himself to cut the scene out. It was promptly lost and became the holy grail of early sound cinema, with only a few images and puppets surviving. Peter Jackson took it upon himself to not only essential remake the scene in his 2005 version, but, in an attempt to understand Willis O'Brien's work, led the creation of an authentic recreation of the scene, along with another deleted scene featuring a triceratops, stop motion and all. We may never know how accurate it is, but it's pretty damn cool. - Ernest B. Schoedsack tried to get Willis O'Brien and his team nominated for an Oscar, but to no avail. - Once they get off the freaking boat, the 2005 movie is actually pretty sweet. Can't say the same for the shoddy 1976 film, Lebowski Origins: The Dude, though it does contain one of my favorite bits of movie trivia ever. This movie was a attempt on producer Dino De Laurentiis's part to make a movie that would outdo Jaws as the biggest movie ever, a goal he pursued with a pathological edge. Hoping to sit butts down in the theater, De Laurentiis came up with, like, the best idea ever: while the original had to rely on obvious stop motion, they were gonna build a giant ape robot. And the insane part is that nobody told him this was a logistically retarded idea. They actually built a giant ape robot with the intention of using it throughout the move. Can't say I wouldn't go see a movie that was advertised with the use of a giant ape robot. Shockingly, the thing looked like utter crap. That piece of junk could only be used for the scene where Kong breaks out of the cage, and even then for only a brief few seconds. Not sure if I understand the artistic decision to make Kong look like he's having a stroke. This totally-worth-it enterprise crippled the effects for the rest of the movie; Kong ended up just being makeup artist Rick Backer (the guy behind the werewolf stuff in An American Werewolf in London and Michael Jackson's Thriller) in a meh-looking ape suit, and most of the dinosaurs and monsters were scrapped, leaving a single snake to fight Kong. So yeah, boo to that movie, oodles of love to the original. Thank you for proving to the world what film-making could do back when every movie was essentially a play. Kudos to Kong.
  13. So...yeah, go see the movie. I wish I could say more, but I don't want to spoil anything outside of the fact that it's really freaking great. It has this fantastic dreamlike quality that gets refreshingly trippy and existential, love the sense of scale present in several of the scenes, every second was so jam-packed to the brim with jokes, sight gags, and legitimately awesome action bits that I'll probably enjoy it the second, third, etc. number of times I watch it (probably more because there won't be terrible audience members), love the moral (the only movie in recent memory to actually go full-on with the whole "anyone can be the chosen one" theme), it looked amazing, it's incredible how engaged you are despite the fact that literally every scene features some sort of self-mocking gag, and it goes without saying, but Unikitty and Benny the 1980's Spaceman were the absolute best. Did not know Charlie Day was in this. It was a better action movies than most action movies nowadays. It was a better Batman movie than The Dark Knight Rises. It was a better MLP movie than EQG. It's like someone took the opening of Toy Story 3, expanded it to an entire movie, combined that with Who Framed Roger Rabbit and 2001: A Space Odyssey, and set out to make an awesome parody of The Matrix that might totally be better than The Matrix. And then Batman's grunge song about his dead parents and how awesome the color black is plays over the credits. Go see The Lego Movie. Your move, Boxtrolls.
  14. That's a really freaking smooth gif. This is a good one, guys. I'm a bit lazy, so don't expect anything too well written/proofread here, but yeah, Winter Solider is the nearly perfect version of what it wants to be, and that is the most adult movie Marvel Studios has attempted thus far. Not to say it isn't fun (because it's really, really fun and kids will enjoy it to bits), or that it dips its toes into Man of Steel's 9/11-imagery-happy madness (I said it was adult, not mind-numbingly manic-depressive). It just takes chances that I couldn't see the other Marvel movies. Gone is the pulpy adventure tone from The First Avenger, replaced with a spy thriller where no one can be trusted, morals are questioned, and the usual robot-blasting and monster-punching replaced with straight up guns, knifes, and hand-to-hand combat, with some shield-tossing and the occasional exploding helicarrier thrown in. If the first one was Raiders of the Lost Ark, this one is Skyfall. And it appears that the overriding theme of Phase 2 of the Marvel Cinematic Universe is subversion, because Winter Solider drops the whole enchilada and rewrites one of the core aspects of this canon. It can be a bit heavy sometimes, what with its central character questioning how he can be the living embodiment of his country when he doesn't know what his country stands for anymore and whatnot, but thankfully these people know what they're doing, unlike some other filmmakers. It's certainly gritty, but it's the classy kind of gritty. Overall, it's a good time. It's well-paced, the cast is great (I hope to see Anthony Mackie's Falcon around for a long time), it's engaging from beginning to end, it's probably the best action movie out of all the non-Avengers movies, and while it's a bit disappointing that he isn't in the movie more than he is, the Winter Solider is an absolute highlight. It's a smart movie, one that expects that it's audience is able to keep up with it and think about what it's selling, and I can't think of too many summer movies that do that. This alone would get the movie my recommendation. If I had any problems at all, it's that I find Cap's key to be really weird. I mean, Tony Stark's Dora watch makes sense, and so does Dr. Selvig's discarded underwear in Thor: The Dark World, but why would a piece of gum be Steve Roger's wait wrong franchise. Sooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo stop reading this and see it. Please. And stick around for both the mid and after credits scenes. The first one introduces a key element for Avengers:Age of Ultron, and the second...well, I ain't giving that away.
  15. I do not particularly enjoy how this came out, but it's definitley better what I was doing a few weeks ago, so have it anyway. May vector, depending on how I feel tonight. Either way, Happy Hearts and Hooves day, everyone. UPDATE: NOW WITH VECTOR!!!!! Deviant Art link, peoples!
  16. It nearly slipped my memory, but a quick double-check on my profile confirms that today is the anniversary of me joining the forums. Wow. I first found the site in the wake of "The Crystal Empire". I was so excited by that awesome episode and all the rumblings it caused in the mythology of the show that I had to listen to and read every theory that came out of the woodwork, so I searched for a pony-specific forum and came across this one. I then spent the next three months or so lurking about, absorbing all your knowledge and crackpot delusions (which were very well written nonetheless), and when Twicorn became a thing that was totally gonna happen, I decided to make the leap and became a member of this forum. And the whole thing just sort of snowballed from there. My commenting on the last few episodes of the season gave way to my reviewing of the whole of S3, which then gave way to anticipation of S4 (coupled with that whole EQG ordeal) which then gave way to an endless, pointless, but totally worth it wasting of time with you knuckleheads. I made friends here, of course. @Sir.Flutter Hooves was always there to be overly friendly to everyone, would be ready to spew off some random and nonsensical but ultimately enlightening fanon with me (we have to do that again sometime), and @Edgeworth1001, who joined shortly after me, was always a pleasure to associate with. @Batbrony's love of Derpy has always been an inspiration to power a nation. @Fhaolan was is an exceptionally cool dude, and incredibly tolerant of my constant ramblings of the Whovian variety. By the way, I'm reading his story "Terror of Tartarus", and it's aces. You should all read it, too. @Accellerant is always there to cheer me up and encourage me when I am at my lowest points, @~StatesTheOblivious~ and I forged a bond in the heat of our battles to defend Sparity to the last, is just a great dude to mess around with, is able to withstand my sarcasm and dorkery like no one else here, it's always a joy to talk about the quality of new episodes with , and , or Godot, or whatever, is one of the coolest guys here, period. And likes Brazil, so that automatically makes him my friend. I could name drop some more people here, but just assume everyone here is a fantastic human being (at least I hope most of you are human beings), and that I'm better for knowing each and everyone of you Being on these forums have given me something to do for the past year of my life. It's through here that I regained my interest in drawing and associating with other people outside of whatever social circle I'm in. As of now, this is the closest thing I have to an active social media source, and it's always been encouraging that I have a group of people I can talk to at the end of the day. I'm not always the best person to associate with, and I'm sorry for that. I'm a bit spiky, I tend to take my emotions out on others frequently, I'm a wee bit too facetious or confrontational at times, I curse way too bucking much, and when I dislike something, I dislike it hard. But I truly appreciate the friendship I have with this community, and it's through you guys that I experience this wonderful, silly, impossible show that we've all taken a liking to. And so, after all is said and done, after all the badly photographed sketches which then became weirdly vectored art, all the the theories regarding why Fluttershy keeps all her friends' dresses in her cottage, the arguments in defense of Rarity, the surprisingly controversial banners, the illegal breaking of people's status updates, the infrequent reviews, the promised Weeping Angels which I am so still totally doing, the art blocks, the words of kindness, the ballooned ponies of the new and improved variety, the weird requests for art, the obsessive amount of focus on The Day of the Doctor, the diabeetus, the horror movie trivia, allusions to stuff no one really cares about, the enormous amounts of typos,, and my ultimate quest to defeat the system and my eventual triumph in the form of a feature on EQD, I just want to say, from the bottom of my heart, thank you. Thank you all.
  17. Had fun doing the last one, so I made a less disturbing sequel. Spike: "Feeling better?" Rarity: "Whatever do you mean, dear?" Spike: "Yesterday you seemed pretty--" Rarity: "Oh, that? That was nothing, just a little releasing of steam. It certainly wasn't anything to be taken seriously as an affront to your character." Spike: "Is that all it was?" Rarity: "Why would you think otherwise?" Spike: "You threatened to do some very uncouth things with the blunt end of your sewing machine if I didn't make you more cookies." Rarity: "Details, darling, details." Here's the Deviant Art link if you are so inclined.
  18. ...THIS is the greatest animated villain song of all time. God, was that special stupid.
  19. Hey, it's the end of the year, and everybody else is doing a Top 10 list, so why the heck not. This isn't going to be the prestigious list, and there are several "must-see" movies I never got around to watching before the end of the year (sorry, 12 Years a Slave and Wolf Children), but these are the movies that impressed, entertained, and stuck with me the most, and even if I change the order later, they still stand as the best examples of what I liked at the movies this year. So let's get this ball rolling! 10. Blackfish An ferocious expose of the circumstances surrounding the deaths of several SeaWorld trainers in "accidents" involving performing orcas. Unflinching, eye-opening, and heartbreaking (a scene involving a calf being taken from its mother is particularly hard to watch) to the last, this well-made piece of nonfiction may very well change how you look at performing killer whales and dolphins, but how animals think and feel altogether. Somewhere down the road this may end up being the movie that brings about change for the better, and it's worth checking out (it's on Netflix Instant as of right now), if only because it's really good. 9. Rush The power of this movie is that you'll end up being involved in the central conflict between two equally ambitious and intriguing men (both performed brilliantly by their respective actors) whether you care about Formula-1 or not. It's technically impressive, emotionally intense, incredibly lean, and exciting and engaging all the the way through. The best sports movie since Warriors, and another sign that we need to afford director Ron Howard more respect. 8. The Hobbit: The Desolation of Smaug Maybe it's over-bloated and uneven in terms of pacing and tone, but gosh darn it, I'm having a lot of fun with this trilogy. The cast is as enjoyable as ever, the world feels alive and tangible, the action scenes and special effects are top-notch, the emotional core of the story hits harder than in the first one, and it touches upon an aspect of the One Ring that the original trilogy never really explored well: the fact that it empowers its bearer as much as it is twisting him (Martian Freeman's acting when Bilbo realizes he isn't killing in self-defense anymore is fantastic). And then there's Smaug, and he's just about the coolest thing ever. Seriously, see this on the big screen just to witness his awesomeness as effectively as possible. And the barrels. 7. Iron Man 3 This ended up getting a lot more decisive than I anticipated, which is odd, because this is easily the best of the series. Whereas the first two felt like they were made up as they went along, this one is guided by director Shane Black's vision of a character who feels like he has genuinely been changed and shaken by the stuff he's been through. It's fun as hell, the action sequences are varied and memorable (they actually figured out how to use the Iron Man suit without relying on it as the crux of the story), I really dug the twist in the final act, and the Iron Legion battle is the greatest toy-commercial-in-a-movie ever. It manages to subvert most of everything that makes superhero threequels fails and gives us a satisfying conclusion that could serve as the perfect capper to Tony Stark's cinematic adventures if they chose to do so. 6. This is the End Sort of shocked by how much I liked it when it came out and how much I still like it. The finest raunchy comedy of the year, do in no small part to the actually epic apocalypse stuff and the obvious fun all the actors are having playing skewed and often insane versions of themselves. It's just a big, dumb ode to friendship that made me lawl more than any other movie I saw this year. You better be fine with demon penises, though. 5. Gravity Some of the stuff in the third act is a bit wonky, but the special effects and sound design are so mind-blowing, the directing so masterful, and the central performance so compelling that you can't help but not be engaged. Unless your looking for technical details to complain about, then apparently your in good luck. Only time will tell if the movie still works as well on the small screen, but at least it'll still be a well-executed roller coaster ride that proves that roller coaster movies don't have to suck. Also, best musical score of the year, bro. 4. The World's End The things that made Shaun of the Dead and Hott Fuzz great are in effect here: great characters brought to life by talented actors (Simon Pegg turns in his best performance yet), a great mixture of broad humor and moments of it that reward the thinking man, an insane level of foreshadowing, genre elements that are taken almost completely seriously, homages and shout-outs that will please the geekiest without confusing the unknowing, and an exploration of maturity and responsibility that feels thought-out and fully realized. But this time there's also robots full of blue stuff having martial arts fights with a surprisingly capable Nick Frost, so yeah, this is mandatory. 3. Mud I didn't expect to like this one as much as I did. I think what really caught me off-guard is just how plain watchable it was: the characters feel real and are interesting to watch, the southern setting is shown-off in all its beauty and detail, the cinematography is fantastic, and it's a very involving story from beginning to end. Matthew McConaughey turns in a great performance as the titular Mud, but it's the young Tye Sheridan that really carries the weight of the movie on his shoulders. I dunno, when you get right down to it, it's just a feel good southern drama. But it's a really good feel good southern drama. 2. Frozen I liked this one enough to write up a blog post just tell people that it's one they have to see, and I still feel that way. It combines Pixar's expert storytelling and attention to emotional nuance with all the nostalgic trappings of the Disney Princess genre while still taking it new, often subversive directions. The voice cast is great, the songs are phenomenal, the animation is expressive, the imagery is imaginative, and they somehow made that Jar-Jar Binks snowman that everyone knew they were gonna hate and turned him into something hilarious and lovable. It's easily the best Disney movie in awhile and can very easily hold it's own with the Renaissance movies themselves. 1. The Wolf of Wall Street It's Goodfellas if everyone was a raging douchebag stock broker, complete with clever narration by the main character, a progressively degenerate biography filled with drug abuse, and an ironic glamorization of a lifestyle earned by being a bit meaner than the next guy. This is officially Leonardo Di Caprio's best performance, which is bolstered by a supproting cast that is obviously having a great time playing such horrible people. But even when it's so steeped in criticizing the world of stocks and the people who exploit that system, the movie still manages to display the humanity of the debauchery's ringleader; like Martian Scorsese's best work, it's all about showing that buried within that corrupt broker or gangster or unhinged vigilante is a fallible human being. It may be three hours long, but it's so fun, fascinating and unrelenting that you never notice. This one definitely has the potential to become the next Fight Club (though I guess we should be prepared for an entire fandom that misses the point of their favorite movie). And that's pretty much it. Happy New Year's, everybody!
  20. I've had this in my head for a few days now. I think I'm spent on this subject matter for awhile.
  21. - I did another Sparity art-thing. - I got watched on DeviantArt by Calpain. - I rewatched the complete Game Grumps: Sonic 06 saga. - I ate a lot of pizza. - I posed as a woman and married Doctor XFizzle. - I did not start that Weeping Angels art.
  22. "Some of what I will tell you relates to events in the future. Not only on this planet but also on others whose existence you don't even know of. But my knowledge is scientific fact. Now, Davros has created a machine creature, a monster which will terrorise and destroy millions and millions of lives and lands throughout all eternity. He has given this machine a name, a Dalek. It is a word new to you, but for a thousand generations it is a name that will bring fear and terror." - The Fourth Doctor Interesting little tidbit: Doctor Who was originally meant to be an educational show of sorts, with each serial presenting a new period of history for the characters to explore. The Doctor himself wasn't even created to be the main character, just the means as to how the real protagonists traveled through time. Thus, the original producers were trying to steer clear of the normal tomfoolery you'd see in sci-fi shows in the 50's and 60's. This was to be a classy affair, you see, and the number one rule was that there were to be no robots or bug-eyed monsters. An admirable effort, to be sure, but to be frank, it was one that would have severely limited the lifespan of the show. There's only so many times you can do "people get captured by ancient civilization" before the show gets stale, and while the initial, totally bizarre concept of a police box actually being a gigantic time machine on the inside was enough to peek people's interest, most people back then probably wouldn't hold interest in the show long after that. Yes, as utterly unique a concept it is, the adventures of the Doctor and his companions would have faded into oblivion after a couple of seasons if this original plan had gone unchanged. Fate decided otherwise. The production of the first serial, involving the Doctor's introduction and a couple of angry cavemen, was drawing to a close and the producers were stuck without a story to move ahead with into the next story. Looking for anything to produce, the crew were stuck with a script written by then 33 year old Terry Nation. Unlike the type of stories that the producers intended for the show, this one was most definitely a sci-fi tale, and one that even had antagonists that was both robots and a bug-eyed monsters. But these beings weren't just guys in suits. Nation had something else in mind. Having grown up in WWII, he wrote these new foes to be allegories for the Nazis; faceless, oppressive, and ruthless conquerors who sought total domination of the universe through the destruction of anything that did not meet their ideals. As designed by Raymond Cusick, they were made to look more like tanks than living things, hinting at the lack of humanity that now defined the creatures forced to lived inside these exoskeletons after years of their hate-fueled war on others left them mutated beyond recognition. They never spoke but instead shouted, always angry and always ready not just to kill, but to exterminate, as if everything else was merely vermin that needed to be wiped out. It didn't fit the original idea behind the show at all, but hey, when you have lemons, produce them because no other scripts are available. And thus, the serial was made, and on December 21st, 1963, the world caught their first glimpse of Terry Nation and Raymond Cusick's weird, scary, and all-around fantastic aliens, the Daleks... ...and the rest is history. It's a known fact that if it wasn't for the Daleks, Doctor Who wouldn't be around today. The overnight popularity of the creatures secured the show firmly in the public's eyes and kept it from fading away. The design of the Daleks, intentionally or not, were ready made for mass marketing, and the BBC took full advantage of that. "Dalek-Mania" became a thing, and any new episode featuring them became the thing everyone had to watch that week. Entire generations in the U.K. shared the experience of "hiding behind the sofa" in fear of the Daleks, who became as iconic as the Doctor himself, if not more sure. The show was able to ride that success to the point that when they more or less went on hiatus during all of the Second Doctor's run and half of the Third Doctor's, Doctor Who was able to survive. It kicked the door wide open for the creative process behind the show too. The reason this show has been able to stick around for fifty years is that its able to constantly reinvent itself do pretty much whatever it wanted to. Having the characters escape a prehistoric fight for survival and then have them encountering alien warriors on a post-apocalyptic planet in the next story demonstrated the limitless possibilities. The Dalek's inception is almost as important as the idea that the protagonist would constantly regenerate into a completely new character in defining this show as one that would never easily be defined. It seems the Daleks growing stronger in opposition to the Oncoming Storm is a two-way street. So yeah, I know we already celebrated the Doctor's 50th anniversary, but certainly some of the greatest villains of all of science fiction and fantasy deserve some love, too. So here's to 50 years to the Daleks, the reasons we still care about the Doctor after all this time. For although the Daleks will create havoc and destruction for millions of years, I know also that out of their evil must come something good. Plus explosions. This pleases me. Have some awesome bad guy music. What's your favorite Dalek story/moment? Sound off in the comments OR YOU WILL BE EXTERMINATED. EXTERMINATE! EXTERMINATE! EXTERMINATE! EXTERMINATE! EXTERMINAAAAAAAAAA--
  23. I plan on doing a top 11 list for the best stories later, but we might as well get the bad ones out of the way first. Save the great stuff for last, as it were. No point sugarcoating this intro: these episodes are pretty freaking bad/not good, and demonstrate the worst that Matt Smith's era had to offer. Probably not definitive, though some of these picks are pretty hard to argue with. So, let's get this over with. 5. The Doctor, the Widow, and the Wardrobe Any scene where the Doctor is trying to impress the children is hilarious and the final scene where he returns to the Ponds after two years is sweet, but everything else is a bit of a slog. It's immensely cheesy, even for a Doctor Who Christmas special, not enough happens to warrant a 60 minute runtime, and I feel sorry for any little boy who had to sit through that "anyone who is not female is automatically weaker" section with their sisters. Unlike the much better special from the previous year, this one doesn't do anything interesting with the work it's paying homage to. 4. The Angels Take Manhattan Sure, the Ponds' departure is heartfelt and allows Smith another chance to showoff how good an actor he really is. Unfortunately, it doesn't make up for how much of a mess the rest of the episode is. The arbitrary rules involving time travel are flimsy at best and frustratingly arbitrary at worst, it's overblown like the worst of Russell T. Davies's run, and the Angels are no longer effective, with the major visual gag behind the episode only serving to make everything more illogical and questionable. 3. The Impossible Astronaut/Day of the Moon Sorry, but this episode really, really rubs me the wrong way. It starts off intriguingly enough and it sets up themes that would be handled by better episodes later, but it's disappointment from there. It's a very unsatisfying and confusing tale that can't stand on its own and features a large amount of style and made-to-be-iconic images over being able to understand what the hell is going on. The Silence are cool and everything, but the way they are dealt with is a little too bloodthirsty for the Doctor. Why use cunning, wit, and diplomacy to defeat an enemy when you can just order their execution and shoot your way out of their base? Truly the work of a writer known for the cleverness of his scripts. 2. Journey to the Center of the TARDIS Should have been a fun, in depth tour that would please longtime viewers, but instead became a boring and surprisingly grim tale that only showed-off the TARDIS's hallways. The Doctor acts like a total asshole for no reason, the development of his and Clara's relationship and understanding of each other is erased for no reason (which begs the question as to why it was brought up at all), and it ends with possibly the most egregious example of "time reset button" we've seen in Moffat's run. For no reason. Poo to this one, folks. 1. Victory of the Daleks One of the all time worst Daleks stories ever (and that's saying a lot) and one that fails to live up to the awesomeness of its title and concept. Winston Churchill is cool and everything, but he isn't saving this one. It's silly in the worst possible way, it's tedious, it asks you to suspend your disbelief way too many times, the characterization of the Daleks is off, it's themes are empty and serve only as window-dressing, and it all builds up to an embarrassingly-awful Dalek redesign that nobody liked. Except for the people selling the new action figures, that is. "YOU WILL COH-LLECT US ALL OR YOU WILL BE THE OUT-CAST ON THE PLAYGROUND!!!" Never before or since has an episode of the show been so blatant in its intention of selling merchandise, and three years later it's still a low point for Moffat's run. Glad that's done. On to the good stuff later. Sound off in the comments if you agree/disagree, have another episode you think is worst.
  24. DHX must have gotten Champion RD92's dream journal mixed in with the script pile again. This is happening too often...OR MAYBE NOT ENOUGH. "Daring Don't" By Dave Polsky Oh man, I'm really late on this one. The next episode comes on in a few hours as of this writing. I really should have been done this write-up by now. Some would even argue that my opinion may have been "tainted" by the flood of wildly differing assessments that have cropped up since. Thankfully, I never look at any opinion that is not my own ever, because screw perspective. Joke's on you, I fell asleep during the last 20 minutes of Ratatouille! I'm guessing there really isn't anything I could add to the conversation that hasn't already been said, though. Overall, it's...okay. It's flawed. Very flawed. Time has decided to be unkind and is slowly revealing more flaws with each ounce of hindsight. Is it as bad as I've heard some people say? Definitely not; I can think of several episodes that are much worse and actively betrayed the show's overall quality. It doesn't even make me angry like "Just for Sidekicks" or that stupid cider ordeal did. There's just really isn't anything to write home about besides its entertainment and production values, but that's true of most of the episodes as this point. This is a little disappointing, seeing as how it comes from one of my favorite writers on the series. It may not be the more thematically-charged, sort-of-subversive story he's known for, but Dave Polsky can churn out a decent adventure yarn too. But whereas his other episodes of this nature are a pretty decent exercise in plot progression and weaving ideas and morals throughout all the scenes of monster attacks and epic pie wars, "Daring Don't" is really clumsy. Surprisingly clumsy, actually, given the writer. The initial charcater conflict that sets off this story is sort of lost in the ensuing chaos, the fact that the Daring Do mythology is real and totally happening without anyone knowing is weird and isn't dwelt upon nearly as much as it should be, half the Mane Six don't really affect the plot at all and could have easily been written out, and there's a lot of moments that feel odd. And they're not even nit-picky moments, you're actually thinking of this stuff as it happens. Like, the Mane Six don't even attempt to stop the burglars as they walk right past them on two separate occasions, and there's the question as to why Daring even kept the ring around in the first place if she was gonna destroy it anyway. The oddest moment of all is the tiresome third act sequence when Dash is sitting around feeling sorry for herself, because apparently the one thing everyone took from Toy Story is that we need a mopey scene where the main characters contemplate their regretful actions. I'm looking at you, Mulan. Yeah, I get it, Dash feels bad about Daring getting captured and stuff, and it ties into the who lesson about... ...actually, yeah, that's another problem: the moral is way too generic and murky all at once. Say what you will about Polsky's handling of morals in his pair of S1 episodes, but at least you could tell what he was going for, and they were both mature subjects to talk about, at least within the context of that fluffier first season. Dash's character arc isn't exactly clear here and the final codas here are daft as heck. Something about trust and believing in your own awesomeness or whatever. I think something was said about not putting your heroes on pedestals. Hey, that last one is sort of interesting. Yeah, I can see Polsky doing this thing where a Mane Six-er meets their idol, but they're jerks or something. It's be like that episode of Hey Arnold where Eugene goes all dark because his favorite action star is an asshat, so he puts on a leather jacket and everything. I miss my childhood. At least now I can check Hey Arnold and Vampire Diaries off my list of references to make. But I digress. Overall, the episode's plotting is what brings it down, what with its leaps in logic and suspension of disbelief and the whole "we really wanted to do these specific scenes but didn't know how to elegantly transition to them" vibe sort of hanging throughout the proceedings. Like I said, though, it isn't horrible. It's okay. The script, as clumsy as it is, does get a few nice moments from some of the characters, the fangirling is cute, it moves at a nice pace, the jungle setting and climatic Temple of Doom look pretty (S4 is really pushing environments that create dynamic lighting), many of the Indiana Jones references put a smile on my face, and Polsky's episodes always come handy with a cool action sequence or two, and coming from someone who actively dislikes Twicane and memes of the sort... ...this face is love. This face is life. So yeah, I don't have an exact opinion on this either way, though I'm leaning towards saying this episode wasn't a bust. If you already don't like Rainbow Dash, this episode isn't gonna work for you at all, and further pondering on this will probably not do the episode any favors, but I enjoyed myself while watching it. Not that great, but not too bad either. 6/10, maybe 5/10 if it doesn't hold up on future viewings Random Thoughts - Favorite part was the pony version of Belloq, french accent and all. Was anyone else hoping one of the henchmen would reach into the fire to get the artifact and burn their hand? "OW!!! This is the worst thing that could possibly happen to me on this mission!" - To be fair to Toy Story, the mopey scene in Sid's room totally works and actually means something. - Actually, y'know what, Ahuizotl was awesome. That part where he just charges out of the woods and he's all pissed off was pretty sweet. - You'd think Celestia would be on top of anything that villain could use to control the sun, or that Daring would know enough to know that having the Elements of Harmony on your side is an obvious advantage over an army of kittens.
  25. Started off as a silly little Rarity drawing for practice, needed something for Rarity to be angry at. This is the only time I will ever draw this goddamn thing. May vector later. Sorry about how dirty this looks. All the erasers around here are horrible.