list http://www.spout.com/ Recent community activity around Ferris Bueller's Day Off on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Ferris_Bueller_s_Day_Off/11408/default.aspx Title: Ferris Bueller's Day Off
Year: 1986
Director: John Hughes
Plot: Teenaged Ferris Bueller (Matthew Broderick) is a legend in his own time thanks to his uncanny skill at cutting classes and getting away with it. Intending to make one last grand duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day bacchanal through the streets of Chicago. Dogging Ferris' trail at every turn is high-school principal Rooney (Jeffrey Jones), determined to catch Bueller in the act of class-cutting. Writer/director John Hughes once again tries to wed satire, slapstick, and social commentary, as Ferris Bueller's Day Off starts like a house afire and goes on to make "serious" points about status-seeking and casual parental cruelties. It brightens up considerably in the last few moments, when Ferris' tattletale sister (Jennifer Grey) decides to align herself with her merry prankster sibling. A huge moneymaker, Ferris Bueller's Day Off eventually spawned a TV sitcom. ~ Hal Erickson, All Movie Guide
Times Tagged: 176
Number of Lists: 149
Number of blog posts: 12
Number of discussion threads: 9
SpoutRating: 4
]]>Sat, 15 Aug 2009 20:07:17 GMTFerris Bueller's Day Off1986John HughesTeenaged Ferris Bueller (<a href="/players/P_____8627/default.aspx" style='text-decoration:underline'>Matthew Broderick</a>) is a legend in his own time thanks to his uncanny skill at cutting classes and getting away with it. Intending to make one last grand duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day bacchanal through the streets of Chicago. Dogging Ferris' trail at every turn is high-school principal Rooney (<a href="/players/P____36137/default.aspx" style='text-decoration:underline'>Jeffrey Jones</a>), determined to catch Bueller in the act of class-cutting. Writer/director <a href="/players/P____95115/default.aspx" style='text-decoration:underline'>John Hughes</a> once again tries to wed satire, slapstick, and social commentary, as Ferris Bueller's Day Off starts like a house afire and goes on to make "serious" points about status-seeking and casual parental cruelties. It brightens up considerably in the last few moments, when Ferris' tattletale sister (<a href="/players/P____28727/default.aspx" style='text-decoration:underline'>Jennifer Grey</a>) decides to align herself with her merry prankster sibling. A huge moneymaker, Ferris Bueller's Day Off eventually spawned a TV sitcom. ~ Hal Erickson, All Movie Guide176Tag Target (>10)1491294http://www.spout.com/ProductImages/t87688ja0h4.jpghttp://www.spout.com/films/Ferris_Bueller_s_Day_Off/11408/default.aspxFilm http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_movie_directed_by_John_Hughe/657/43461/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 8/10/2009 2:06:20 PM
Body: Please reference this thread for the rules of this group. This poll has been posted by the request of laurabot who requeted a John Hughes poll. Maybe next week I'll post a poll about the movies he has written but not directed since there are a good slew of those as well. Please vote only once in each poll. Movies referenced in this poll:The Breakfast ClubCurly SueFerris Bueller's Day OffPlanes, Trains & AutomobilesShe's Having a BabySixteen CandlesUncle BuckWeird Science
]]>Mon, 10 Aug 2009 18:06:20 GMTRisseladaMovie Polls8/10/2009 2:06:20 PMPlease reference this thread for the rules of this group. This poll has been posted by the request of laurabot who requeted a John Hughes poll. Maybe next week I'll post a poll about the movies he has written but not directed since there are a good slew of those as well. Please vote only once in each poll. Movies referenced in this poll:The Breakfast ClubCurly SueFerris Bueller's Day OffPlanes, Trains &amp; AutomobilesShe's Having a BabySixteen CandlesUncle BuckWeird Science http://www.spout.com/blogs/spoutblog/archive/2009/3/10/40945.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/10/2009 6:01:08 PM
Body: If you buy the kids only one new video release this week, make it Pinocchio. Obviously. But if you have enough spending money to buy two, pick up Howard the Duck as well. Finally on DVD in America (with a Special Edition no less), the infamous flop is anything but a great film. Yet it is hardly one of the worst films of the 1980s, despite its reputation. For the past 23 years, I’ve stood by my childhood love for Howard the Duck, constantly acknowledging that I even owned Ellis Weiner’s novelization of the film. Technically, the best reason to defend the movie’s existence is that it directly led to the creation of Pixar. But this reason doesn’t influence anyone to watch the thing. So, in order to defend the movie’s onscreen worth, I’ve come up with ten points for why you should pick up the new Howard the Duck disc and not feel at all guilty about doing so. 1. It’s No Longer the Worst Lucasfilm Production Take your pick — there’s The Phantom Menace or there’s Indiana Jones and the Kingdom of the Crystal Skull, either of which could certainly take the prize for being the worst movie to come from George Lucas in his 40 years producing films. Well, maybe not worse than More American Graffiti. But both films were far bigger creative and franchise disappointments than Howard the Duck (financial success is another story, of course), and so they have a relative sort of wretchedness that places them in the bottom of Lucas’ Sarlacc pit of a career. Even if you’re one of those defend-to-the-end Star Wars fanboys who will argue the pros of Menace, at least then consider Willow to be worse than Howard the Duck. The blatant Lord of the Rings rip-off has its historical relevance, but looking back on it now, it’s even more dated than Howard. And regardless of how groundbreaking it was, Willow’s visual effects don’t hold up quite as well as Howard’s old-fashioned, and oft-celebrated craftsmanship. But that’s another point… 2.  The Special Effects Are Technically Brilliant Those of us who prefer go-motion and other non-CGI effects work will always pay respect to ILM’s achievements on Howard the Duck, particularly their efforts with the Dark Overlord creature in the movie’s final act. People unfortunately tend to focus on the $2 million duck suit (see point #3), but even then Howard didn’t deserve its Razzie for Worst Visual Effects. To compare it to digital creatures, the monster would fit in just fine in either of the Men in Black movies. And for its own time, it was a magnificent creation. So it existed alongside a silly costumed creature in an overpriced B-movie, it still deserved an Oscar nomination for F/X in 1987, a year the Academy recognized Little Shop of Horrors and Poltergeist II: The Other Side (and incomparable winner Aliens). 3. The Duck Suit is Still Better Than Most CGI Those of us who grew up with Muppets, Chewbacca and other non-computer-generated fantasy creatures had no problem with Howard the Duck’s titular fowl being represented as a dwarf in a duck suit. The issue with the effect, though, is that allegedly Lucas had wanted Howard to be a CG creation, but the technology just wasn’t there yet. So, costumes and robotics, all of which reportedly cost $2 million, were viewed as a relative disappointment. But think of how few great CG characters there have been in the past 20 years, and then seriously attempt to argue that Howard would have been any better if made in the years of CGI supremacy. Now, also remember that 1986 was a year that gave us fine puppetry, costumed dwarfs and robotics like that found in Labyrinth (also a Lucasfilm production), Little Shop of Horrors, Legend, Short Circuit, Flight of the Navigator, Troll (sure, why not?) and, yes, Howard the Duck. So really, the only thing disappointing about the duck suit is that it doesn’t really look like the comic book character upon which it’s based. Of course, it’s not likely that a CG version of Howard would have been any more faithful. 4. Parallels, Puns and Playful Philosophy Some fans of the original Howard the Duck comics could argue that the duck suit is hardly the worst offense of unfaithfulness. Other complaints might be the alteration of Beverly’s career or the occasional sacrifice of the comic’s tone in order to pander to younger audiences. But real sticklers may take issue with Howard’s origin, the inclusion of Duckworld (which did come from the comics but wasn’t Howard creator Steve Gerber’s idea of what the character’s home world was like) and the punny parallels that came with it. Yet for those of us who love corny jokes and puns, the idea of an alternate world where everything’s the same, just with descendants of ducks rather than apes, is a lot of fun. It’s the same appreciation that allowed me to enjoy the ska scene and the similarly parallel worlds of The Flintstones and Dinosaurs and the parodies in MAD Magazine. In the first few minutes, we get treated to the following cheesy but delicious sight and audio gags: a Rolling Egg magazine, a Playduck magazine, movie posters for “Splahsdance,” “Breeders of the Lost Stork” and My Little Chickadee (starring W.C. Fowls and Mae Nest), and commercials for feather fungus treatment and the Crazy Eddie spoof “Crazy Webby.” This, plus the opening credit narration and theory of Duckworld evolution were enjoyable to a kid in the midst of learning about Darwin and pondering the existence of alternate worlds. 5. Jeffrey Jones as Dr. Jenning/Dark Overlord Between Howard the Duck and Ferris Bueller’s Day Off, Jeffrey Jones was one of the biggest and best villains of the summer of ‘86. For kids, anyway. But even adults recognized the quality of Jones’ performance in Howard, as Dr. Jenning, the scientist who becomes possessed by the Dark Overlord. To cult audiences, he may have seemed like just another Dr. Lizardo/Lord Worfin (of The Adventures of Buckaroo Banzai Across the 8th Dimension), but while John Lithgow was fine and nutty, Jones is much creepier and much, much more evil, even when he finds time to be deadpan hilarious during the greatest scene in the film, in the “cajun sushi” diner. 6. The Diner Scene Although it’s mostly thanks to Jones that this scene is so memorable, it’s not just his performance alone that makes it so terrific. Every time I watch the movie, I look forward to the entire episode, from Jones/Jenning/Dark Overlord’s exposition to the waitress’ interactions with the “family” to Howard’s pie and quack-fu fight with a bunch of rednecks. And I will always recommend the movie for this scene alone. It includes a lot of disturbing elements, such as Beverly’s claim that she’s Howard’s girlfriend and the angry mob’s desire to kill and cook a talking duck man, that might have worked better had Howard been represented as an animated character rather than a guy in a suit (bestiality and homicide is just fine in Who Framed Roger Rabbit? and Looney Tunes cartoons), but it’s also one of the weirdest and funniest scenes from any comic book adaptation ever. 7. Lea Thompson as Beverly Switzler I would go so far as to argue that Lea Thompson’s crimped-haired Beverly is the hottest female comic book character come to (cinematic) life, but that is certainly subjective. Plenty of people probably prefer Kirsten Dunst, Halle Berry, Jennifer Garner, Michelle Pfeiffer, Pamela Anderson or even Margot Kidder. But Thompson is definitely in there as one of the greatest physical incarnations of a comic book femme d’ fantasy, and the scene where she goes to bed with Howard wearing barely a bit of lingerie (as creepy as the scene is infamous for being) is up there with Dunst’s wet tshirt/upside-down kiss in Spider-Man and any of Pfeiffer’s bondage-bound Catwoman scenes in Batman Returns as one of the hottest moments from any comic book adaptation ever. 8. Cherry Bomb and the Howard the Duck soundtrack Beverly may not have been a rocker in the comics, but this was the 1980s, and you had to have a great synthpop soundtrack, so the character was given a change in career as the leader of a Runaways-inspired band called Cherry Bomb. And for having beaten out more musical contenders for the role, including The Go-Go’s Belinda Carlisle and Tori Amos (then of Y Can’t Tori Read), Lea Thompson does quite well singing such catchy tunes as “Howard the Duck” and “Hunger City.” Cherry Bomb’s music also had some help from Thomas Dolby, George Clinton, Joe Walsh and Stevie Wonder. As for the rest of the soundtrack, Oscar-winning composer John Barry (Out of Africa; the James Bond films) contributes a very fine score. 9. It’s For Kids Because everyone always defends the Star Wars prequels as being for kids, as if that’s really an excuse for faulty filmmaking, I’m going to do the same here. But to do that, I guess I have to also defend the idea that it is indeed a movie for kids. Watching the thing, it’s hard to tell, because there is a lot of content and humor that only adults can or should appreciate, and certainly one of the biggest criticisms with the movie is it’s fluctuations between wanting to be a biting, sarcastic comic book adaptation for older audiences and fans of the source and needing to be a silly movie for kids. But for all the duck nudity, sexuality and other material better suited to mature audiences, there’s not really anything harmful to a kid, and there’s millions of us ‘80s children who grew up okay to prove it. So, while you adults may not be able to enjoy Howard the Duck anymore, even as a nostalgic artifact, your kids will probably like it as much as you used to. 10. It’s Not Redundant Unlike some comic book adaptations, Howard the Duck isn’t a straight lift from the pages of the source material, and it’s better off for it. Some fans of the comic may be annoyed with Howard’s appearance or Beverly’s occupation or the absence of any of Howard’s usual foes, but those of us who saw the movie first can appreciate the differences, because these allow for a better introduction to and curiosity about the comic. In a way, it’s to the original Marvel series as The Incredibles is to the graphic novel of Watchmen (though it’s certainly not anywhere near as smart nor well-crafted as The Incredibles). Now, if you still aren’t sure whether or not you should get the DVD, watch some (or all) of the movie on Hulu: Originally posted on:SpoutBlog
]]>Tue, 10 Mar 2009 22:01:08 GMTSpoutBlogSpoutBlog on spout.com3/10/2009 6:01:08 PMIf you buy the kids only one new video release this week, make it Pinocchio. Obviously. But if you have enough spending money to buy two, pick up Howard the Duck as well. Finally on DVD in America (with a Special Edition no less), the infamous flop is anything but a great film. Yet it is hardly one of the worst films of the 1980s, despite its reputation. For the past 23 years, I’ve stood by my childhood love for Howard the Duck, constantly acknowledging that I even owned Ellis Weiner’s novelization of the film. Technically, the best reason to defend the movie’s existence is that it directly led to the creation of Pixar. But this reason doesn’t influence anyone to watch the thing. So, in order to defend the movie’s onscreen worth, I’ve come up with ten points for why you should pick up the new Howard the Duck disc and not feel at all guilty about doing so. 1. It’s No Longer the Worst Lucasfilm Production Take your pick — there’s The Phantom Menace or there’s Indiana Jones and the Kingdom of the Crystal Skull, either of which could certainly take the prize for being the worst movie to come from George Lucas in his 40 years producing films. Well, maybe not worse than More American Graffiti. But both films were far bigger creative and franchise disappointments than Howard the Duck (financial success is another story, of course), and so they have a relative sort of wretchedness that places them in the bottom of Lucas’ Sarlacc pit of a career. Even if you’re one of those defend-to-the-end Star Wars fanboys who will argue the pros of Menace, at least then consider Willow to be worse than Howard the Duck. The blatant Lord of the Rings rip-off has its historical relevance, but looking back on it now, it’s even more dated than Howard. And regardless of how groundbreaking it was, Willow’s visual effects don’t hold up quite as well as Howard’s old-fashioned, and oft-celebrated craftsmanship. But that’s another point… 2.  The Special Effects Are Technically Brilliant Those of us who prefer go-motion and other non-CGI effects work will always pay respect to ILM’s achievements on Howard the Duck, particularly their efforts with the Dark Overlord creature in the movie’s final act. People unfortunately tend to focus on the $2 million duck suit (see point #3), but even then Howard didn’t deserve its Razzie for Worst Visual Effects. To compare it to digital creatures, the monster would fit in just fine in either of the Men in Black movies. And for its own time, it was a magnificent creation. So it existed alongside a silly costumed creature in an overpriced B-movie, it still deserved an Oscar nomination for F/X in 1987, a year the Academy recognized Little Shop of Horrors and Poltergeist II: The Other Side (and incomparable winner Aliens). 3. The Duck Suit is Still Better Than Most CGI Those of us who grew up with Muppets, Chewbacca and other non-computer-generated fantasy creatures had no problem with Howard the Duck’s titular fowl being represented as a dwarf in a duck suit. The issue with the effect, though, is that allegedly Lucas had wanted Howard to be a CG creation, but the technology just wasn’t there yet. So, costumes and robotics, all of which reportedly cost $2 million, were viewed as a relative disappointment. But think of how few great CG characters there have been in the past 20 years, and then seriously attempt to argue that Howard would have been any better if made in the years of CGI supremacy. Now, also remember that 1986 was a year that gave us fine puppetry, costumed dwarfs and robotics like that found in Labyrinth (also a Lucasfilm production), Little Shop of Horrors, Legend, Short Circuit, Flight of the Navigator, Troll (sure, why not?) and, yes, Howard the Duck. So really, the only thing disappointing about the duck suit is that it doesn’t really look like the comic book character upon which it’s based. Of course, it’s not likely that a CG version of Howard would have been any more faithful. 4. Parallels, Puns and Playful Philosophy Some fans of the original Howard the Duck comics could argue that the duck suit is hardly the worst offense of unfaithfulness. Other complaints might be the alteration of Beverly’s career or the occasional sacrifice of the comic’s tone in order to pander to younger audiences. But real sticklers may take issue with Howard’s origin, the inclusion of Duckworld (which did come from the comics but wasn’t Howard creator Steve Gerber’s idea of what the character’s home world was like) and the punny parallels that came with it. Yet for those of us who love corny jokes and puns, the idea of an alternate world where everything’s the same, just with descendants of ducks rather than apes, is a lot of fun. It’s the same appreciation that allowed me to enjoy the ska scene and the similarly parallel worlds of The Flintstones and Dinosaurs and the parodies in MAD Magazine. In the first few minutes, we get treated to the following cheesy but delicious sight and audio gags: a Rolling Egg magazine, a Playduck magazine, movie posters for “Splahsdance,” “Breeders of the Lost Stork” and My Little Chickadee (starring W.C. Fowls and Mae Nest), and commercials for feather fungus treatment and the Crazy Eddie spoof “Crazy Webby.” This, plus the opening credit narration and theory of Duckworld evolution were enjoyable to a kid in the midst of learning about Darwin and pondering the existence of alternate worlds. 5. Jeffrey Jones as Dr. Jenning/Dark Overlord Between Howard the Duck and Ferris Bueller’s Day Off, Jeffrey Jones was one of the biggest and best villains of the summer of ‘86. For kids, anyway. But even adults recognized the quality of Jones’ performance in Howard, as Dr. Jenning, the scientist who becomes possessed by the Dark Overlord. To cult audiences, he may have seemed like just another Dr. Lizardo/Lord Worfin (of The Adventures of Buckaroo Banzai Across the 8th Dimension), but while John Lithgow was fine and nutty, Jones is much creepier and much, much more evil, even when he finds time to be deadpan hilarious during the greatest scene in the film, in the “cajun sushi” diner. 6. The Diner Scene Although it’s mostly thanks to Jones that this scene is so memorable, it’s not just his performance alone that makes it so terrific. Every time I watch the movie, I look forward to the entire episode, from Jones/Jenning/Dark Overlord’s exposition to the waitress’ interactions with the “family” to Howard’s pie and quack-fu fight with a bunch of rednecks. And I will always recommend the movie for this scene alone. It includes a lot of disturbing elements, such as Beverly’s claim that she’s Howard’s girlfriend and the angry mob’s desire to kill and cook a talking duck man, that might have worked better had Howard been represented as an animated character rather than a guy in a suit (bestiality and homicide is just fine in Who Framed Roger Rabbit? and Looney Tunes cartoons), but it’s also one of the weirdest and funniest scenes from any comic book adaptation ever. 7. Lea Thompson as Beverly Switzler I would go so far as to argue that Lea Thompson’s crimped-haired Beverly is the hottest female comic book character come to (cinematic) life, but that is certainly subjective. Plenty of people probably prefer Kirsten Dunst, Halle Berry, Jennifer Garner, Michelle Pfeiffer, Pamela Anderson or even Margot Kidder. But Thompson is definitely in there as one of the greatest physical incarnations of a comic book femme d’ fantasy, and the scene where she goes to bed with Howard wearing barely a bit of lingerie (as creepy as the scene is infamous for being) is up there with Dunst’s wet tshirt/upside-down kiss in Spider-Man and any of Pfeiffer’s bondage-bound Catwoman scenes in Batman Returns as one of the hottest moments from any comic book adaptation ever. 8. Cherry Bomb and the Howard the Duck soundtrack Beverly may not have been a rocker in the comics, but this was the 1980s, and you had to have a great synthpop soundtrack, so the character was given a change in career as the leader of a Runaways-inspired band called Cherry Bomb. And for having beaten out more musical contenders for the role, including The Go-Go’s Belinda Carlisle and Tori Amos (then of Y Can’t Tori Read), Lea Thompson does quite well singing such catchy tunes as “Howard the Duck” and “Hunger City.” Cherry Bomb’s music also had some help from Thomas Dolby, George Clinton, Joe Walsh and Stevie Wonder. As for the rest of the soundtrack, Oscar-winning composer John Barry (Out of Africa; the James Bond films) contributes a very fine score. 9. It’s For Kids Because everyone always defends the Star Wars prequels as being for kids, as if that’s really an excuse for faulty filmmaking, I’m going to do the same here. But to do that, I guess I have to also defend the idea that it is indeed a movie for kids. Watching the thing, it’s hard to tell, because there is a lot of content and humor that only adults can or should appreciate, and certainly one of the biggest criticisms with the movie is it’s fluctuations between wanting to be a biting, sarcastic comic book adaptation for older audiences and fans of the source and needing to be a silly movie for kids. But for all the duck nudity, sexuality and other material better suited to mature audiences, there’s not really anything harmful to a kid, and there’s millions of us ‘80s children who grew up okay to prove it. So, while you adults may not be able to enjoy Howard the Duck anymore, even as a nostalgic artifact, your kids will probably like it as much as you used to. 10. It’s Not Redundant Unlike some comic book adaptations, Howard the Duck isn’t a straight lift from the pages of the source material, and it’s better off for it. Some fans of the comic may be annoyed with Howard’s appearance or Beverly’s occupation or the absence of any of Howard’s usual foes, but those of us who saw the movie first can appreciate the differences, because these allow for a better introduction to and curiosity about the comic. In a way, it’s to the original Marvel series as The Incredibles is to the graphic novel of Watchmen (though it’s certainly not anywhere near as smart nor well-crafted as The Incredibles). Now, if you still aren’t sure whether or not you should get the DVD, watch some (or all) of the movie on Hulu: Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_October_20_The_Montage/625/36655/1/ShowPost.aspx Post By: Smooth_J
Post To: Weekly Theme
Post Date: 10/24/2008 4:23:40 PM
Body: I may be alone on this, but I think Team America had a pretty all-encompassing montage...the song is hysterical too. I think it was originally from a South Park episode (Asspen?). On the subject of Snatch's "quick and rhythmic" cuts, I'm having trouble remembering if Lock, Stock, and Two Smoking Barrels had the same type of sequences. And if you include Requiem in there, then Pi should be mentioned as well, since Aronofsky uses essentially the same exact methods as he does in Requiem. Sorry for piggy-backing with these ones, I seem to be drawing a blank... I think Ferris Bueller has a montage, in the art museum, and it's ridiculously cheesy...it's an 80s teen movie, so I guess that's a given. I still find it hard to be skeptical about that movie. (......Always fade out in a montage, if you fade out it seems like more time has passed in a montage...Montage......)
]]>Fri, 24 Oct 2008 20:23:40 GMTSmooth_JWeekly Theme10/24/2008 4:23:40 PMI may be alone on this, but I think Team America had a pretty all-encompassing montage...the song is hysterical too. I think it was originally from a South Park episode (Asspen?). On the subject of Snatch's "quick and rhythmic" cuts, I'm having trouble remembering if Lock, Stock, and Two Smoking Barrels had the same type of sequences. And if you include Requiem in there, then Pi should be mentioned as well, since Aronofsky uses essentially the same exact methods as he does in Requiem. Sorry for piggy-backing with these ones, I seem to be drawing a blank... I think Ferris Bueller has a montage, in the art museum, and it's ridiculously cheesy...it's an 80s teen movie, so I guess that's a given. I still find it hard to be skeptical about that movie. (......Always fade out in a montage, if you fade out it seems like more time has passed in a montage...Montage......) http://www.spout.com/groups/Grew_up_in_the_80_s/Re_80s_films_that_described_adulthood_to_you/38/36542/1/ShowPost.aspx Post By: seely
Post To: Grew up in the 80's
Post Date: 10/21/2008 10:02:23 AM
Body: Ah yes, it represented most of my highschool/college career as well. Minus the sweet 'bow-chicka-chicka-bow-bow' soundtrack to emphasise the hilarity of my exploits and shenanigans. I never quite got away with it like he did though. [quote user="SkyPilot"] I hoped high school would be like Ferris Bueller's Day Off. I modeled some of my slacking on Ferris's exploits, but I don't think I had as much fun as he did. [/quote]
]]>Tue, 21 Oct 2008 14:02:23 GMTseelyGrew up in the 80's10/21/2008 10:02:23 AMAh yes, it represented most of my highschool/college career as well. Minus the sweet 'bow-chicka-chicka-bow-bow' soundtrack to emphasise the hilarity of my exploits and shenanigans. I never quite got away with it like he did though. [quote user="SkyPilot"] I hoped high school would be like Ferris Bueller's Day Off. I modeled some of my slacking on Ferris's exploits, but I don't think I had as much fun as he did. [/quote] http://www.spout.com/groups/Grew_up_in_the_80_s/Re_80s_films_that_described_adulthood_to_you/38/36464/1/ShowPost.aspx Post By: SkyPilot
Post To: Grew up in the 80's
Post Date: 10/17/2008 4:13:43 PM
Body: I hoped high school would be like Ferris Bueller's Day Off. I modeled some of my slacking on Ferris's exploits, but I don't think I had as much fun as he did.
]]>Fri, 17 Oct 2008 20:13:43 GMTSkyPilotGrew up in the 80's10/17/2008 4:13:43 PMI hoped high school would be like Ferris Bueller's Day Off. I modeled some of my slacking on Ferris's exploits, but I don't think I had as much fun as he did. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_22_Breaking_the_Fou/625/35605/1/ShowPost.aspx Post By: SkyPilot
Post To: Weekly Theme
Post Date: 9/26/2008 2:21:20 PM
Body: [quote user="indieabby88"] You can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. [/quote] I'm blanking, indieabby. What's one of your favorite examples?
]]>Fri, 26 Sep 2008 18:21:20 GMTSkyPilotWeekly Theme9/26/2008 2:21:20 PM[quote user="indieabby88"] You can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. [/quote] I'm blanking, indieabby. What's one of your favorite examples? http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_22_Breaking_the_Fou/625/35371/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 9/22/2008 10:32:34 AM
Body: [quote user="indieabby88"] You can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. Plus it's just awesome. [/quote] He he good stuff.
]]>Mon, 22 Sep 2008 14:32:34 GMTleeroy711Weekly Theme9/22/2008 10:32:34 AM[quote user="indieabby88"] You can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. Plus it's just awesome. [/quote] He he good stuff. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_22_Breaking_the_Fou/625/35367/1/ShowPost.aspx Post By: indieabby88
Post To: Weekly Theme
Post Date: 9/22/2008 9:45:35 AM
Body: You can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. Plus it's just awesome.
]]>Mon, 22 Sep 2008 13:45:35 GMTindieabby88Weekly Theme9/22/2008 9:45:35 AMYou can't do this list without mentioning "Ferris Bueller's Day Off." That movie is almost halfway composed of fourth-wall shattering moments. Plus it's just awesome. http://www.spout.com/blogs/spoutblog/archive/2008/9/2/34660.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/2/2008 4:00:52 PM
Body: Turns out, Ferris wasn’t lying. And not only was he actually too sick to go to school, he was terminally ill with only days left to his life. So, he went out with his best friend and his girlfriend and had as much fun as he could before he died. Meanwhile, his whole community attempted to cure him with the Save Ferris collection campaign. Does the film have a tearjerker of an ending with Ferris in his last moments? Probably not, because Ferris Bueller’s Day Off is not another depressing movie about dying; it’s a positive movie about living life to the fullest. Man, how shitty would Rooney be feeling now if it turned out Ferris was indeed really, really sick? After watching this recut trailer, I’m wondering if you can actually watch the whole movie as is with the idea that Ferris is secretly terminal. Though it was once my favorite movie, I haven’t seen Ferris in its entirety in a long time, so I can’t be sure. Ignoring certain bits of dialogue about Ferris going off to college and any other hints that he’ll be continuing with his life may be dismissed as either denial or a case of other characters not knowing — a la My Life Without Me. And maybe that post-credits epilogue in which Ferris tells everyone to go home is really the guy trying to get rid of us so we don’t see his demise. Originally posted on:SpoutBlog
]]>Tue, 02 Sep 2008 20:00:52 GMTSpoutBlogSpoutBlog on spout.com9/2/2008 4:00:52 PMTurns out, Ferris wasn’t lying. And not only was he actually too sick to go to school, he was terminally ill with only days left to his life. So, he went out with his best friend and his girlfriend and had as much fun as he could before he died. Meanwhile, his whole community attempted to cure him with the Save Ferris collection campaign. Does the film have a tearjerker of an ending with Ferris in his last moments? Probably not, because Ferris Bueller’s Day Off is not another depressing movie about dying; it’s a positive movie about living life to the fullest. Man, how shitty would Rooney be feeling now if it turned out Ferris was indeed really, really sick? After watching this recut trailer, I’m wondering if you can actually watch the whole movie as is with the idea that Ferris is secretly terminal. Though it was once my favorite movie, I haven’t seen Ferris in its entirety in a long time, so I can’t be sure. Ignoring certain bits of dialogue about Ferris going off to college and any other hints that he’ll be continuing with his life may be dismissed as either denial or a case of other characters not knowing — a la My Life Without Me. And maybe that post-credits epilogue in which Ferris tells everyone to go home is really the guy trying to get rid of us so we don’t see his demise. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/7/28/33192.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/28/2008 6:00:54 PM
Body: The third part in Universal’s rebooted Mummy franchise takes the series in a new direction. Rather than set in Egypt and dealing again with the same old villain, Imhotep, The Mummy: Tomb of the Dragon Emperor brings us to China and gives us a different sort of preserved corpse baddie. And it looks like the change could actually add some freshness to the franchise. Of course, history would hint that such a move for the Mummy movies is a bad idea. While it seems beneficial in theory to redirect the focus of a series with the third installment, especially if the first sequel was too much a repetition of the original (a la The Mummy Returns), in practice many threequels mistakenly alter things for the worse. These aren’t necessarily the worst threequels ever made (*cough* X-Men: The Last Stand); they’re just some movies that took their series in a completely wrong turn. Halloween III: Season of the Witch - Now viewed as an unfortunate detour in a long series involving the slasher Michael Myers, this misstep can apparently be blamed on John Carpenter and co-writer/producer Debra Hill, who agreed to a second sequel to Halloween only if it didn’t involve Myers. But what was the point? Sure, a franchise can work with unrelated sequels, but after two movies dealing with the same villain, it seems odd to switch it up so late in the game. Still, if this wasn’t such a terrible movie in general, it’s possible Halloween III could have worked as an intended beginning to an anthology franchise. Batman Forever - I typically like to consider Joel Schumacher’s Batman movies a separate series from Tim Burton’s, but the few returning cast members (Michael Gough, Pat Hingle) are evidence that this is indeed a threequel to the 1989 Batman. Not that you’d otherwise know it from the complete change in tone from dark to candy colored (never mind the recast Batman/Bruce Wayne). Hopefully Christopher Nolan will continue with the latest run so someone like Shawn Levy doesn’t take over and make the caped crusader silly again. Another Thin Man - Honestly, I could watch all of the Thin Man movies over and over until I die (Nora Charles is the most perfect woman ever written into creation), but this third installment of the alcohol-happy detective series commits one of the cardinal sins of sequels: it introduces a child. What fun is a couple of bickering, drunken lovers who also solve murders with a baby along for the ride? Even if the kid does end up being played by a very young Dean Stockwell by the fifth installment. The Mummy movies committed the same annoyance/error with the second movie (for Tomb of the Dragon Emperor the son is now thankfully an adult). Look Who’s Talking Now - While the Thin Man movies were good enough with a cute dog and didn’t need to add in a cute kid, the Look Who’s Talking movies were inversely just fine with cute, talking babies and didn’t need to add in talking animals. Crocodile Dundee in Los Angeles - Yet another threequel guilty of having a kid add-on. But it also commits the other annoying sin of relocating the franchise to a new setting. The rural meets urban fish out of water stuff doesn’t work nearly as much in L.A. as it does in NYC. Smokey and the Bandit Part 3 - No threequel is going to be good if the main star drops out of the series and the sidekick attempts to take the place of the leading man. Well, maybe it would be okay if Iron Man 3 starred Terrence Howard only as War Machine, and maybe this movie would have actually worked if Jerry Reed stayed in the big rig and it was titled Smokey and the Trucker. But as it went down, the substitution just made us miss Burt Reynolds more. Home Alone 3 - As far as replacements go, I don’t know what is worse, changing up the whole character and family, as was done with Home Alone 3, which basically just repeated the storyline of the original movie, or the made-for-TV Home Alone 4, which recast characters from the first two movies. Either way, Fox should have just continued the series with Macauley Culkin, despite the fact that he was growing way out of his cute years by the end of the second movie. Home Alone 3 should have brought John Hughes back to focusing on high school kids and made it like a mix of Home Alone and Ferris Bueller’s Day Off, in which a teenage Kevin throws a wild house party when accidentally left home alone. Again. Ghostbusters: The Video Game - I know that video games are surpassing the movies in terms of favored entertainment, but I’m pretty bummed that the third Ghostbusters movie has become a video game rather than an actual threequel. Superman III - Some of us may have a soft spot for both Richard Pryor’s appearance and the selfish Superman, but otherwise this threequel suffers dearly from having such lame villains. Especially after the awesomeness of General Zod and friends in part II. The wrong turn, though, is not just lame villains but the complete lack of Lex Luthor, a necessity for Superman movies for those of us who never read the comics and can’t get behind a pseudo Luthor like Robert Vaughn’s “Ross Webster”. Actually, I guess it’s not so much the lack of Luthor as it is the blatant substitution for him, as well as for the diminished use of Lois Lane. The franchise didn’t exactly get back on course by bringing Gene Hackman’s Luthor in Superman IV: The Quest for Peace. Friday the 13th Part 3 - It’s perfectly debatable whether or not this slasher series took a misstep when it gave Jason a hockey mask and made him an icon. Like a number of other horror franchises, this one became less scary and more amusing beginning with the third installment. Entertaining, sure, but a wrong turn for some horror franchises. It certainly didn’t help matters having that laugh track: Originally posted on:SpoutBlog
]]>Mon, 28 Jul 2008 22:00:54 GMTSpoutBlogSpoutBlog on spout.com7/28/2008 6:00:54 PM The third part in Universal’s rebooted Mummy franchise takes the series in a new direction. Rather than set in Egypt and dealing again with the same old villain, Imhotep, The Mummy: Tomb of the Dragon Emperor brings us to China and gives us a different sort of preserved corpse baddie. And it looks like the change could actually add some freshness to the franchise. Of course, history would hint that such a move for the Mummy movies is a bad idea. While it seems beneficial in theory to redirect the focus of a series with the third installment, especially if the first sequel was too much a repetition of the original (a la The Mummy Returns), in practice many threequels mistakenly alter things for the worse. These aren’t necessarily the worst threequels ever made (*cough* X-Men: The Last Stand); they’re just some movies that took their series in a completely wrong turn. Halloween III: Season of the Witch - Now viewed as an unfortunate detour in a long series involving the slasher Michael Myers, this misstep can apparently be blamed on John Carpenter and co-writer/producer Debra Hill, who agreed to a second sequel to Halloween only if it didn’t involve Myers. But what was the point? Sure, a franchise can work with unrelated sequels, but after two movies dealing with the same villain, it seems odd to switch it up so late in the game. Still, if this wasn’t such a terrible movie in general, it’s possible Halloween III could have worked as an intended beginning to an anthology franchise. Batman Forever - I typically like to consider Joel Schumacher’s Batman movies a separate series from Tim Burton’s, but the few returning cast members (Michael Gough, Pat Hingle) are evidence that this is indeed a threequel to the 1989 Batman. Not that you’d otherwise know it from the complete change in tone from dark to candy colored (never mind the recast Batman/Bruce Wayne). Hopefully Christopher Nolan will continue with the latest run so someone like Shawn Levy doesn’t take over and make the caped crusader silly again. Another Thin Man - Honestly, I could watch all of the Thin Man movies over and over until I die (Nora Charles is the most perfect woman ever written into creation), but this third installment of the alcohol-happy detective series commits one of the cardinal sins of sequels: it introduces a child. What fun is a couple of bickering, drunken lovers who also solve murders with a baby along for the ride? Even if the kid does end up being played by a very young Dean Stockwell by the fifth installment. The Mummy movies committed the same annoyance/error with the second movie (for Tomb of the Dragon Emperor the son is now thankfully an adult). Look Who’s Talking Now - While the Thin Man movies were good enough with a cute dog and didn’t need to add in a cute kid, the Look Who’s Talking movies were inversely just fine with cute, talking babies and didn’t need to add in talking animals. Crocodile Dundee in Los Angeles - Yet another threequel guilty of having a kid add-on. But it also commits the other annoying sin of relocating the franchise to a new setting. The rural meets urban fish out of water stuff doesn’t work nearly as much in L.A. as it does in NYC. Smokey and the Bandit Part 3 - No threequel is going to be good if the main star drops out of the series and the sidekick attempts to take the place of the leading man. Well, maybe it would be okay if Iron Man 3 starred Terrence Howard only as War Machine, and maybe this movie would have actually worked if Jerry Reed stayed in the big rig and it was titled Smokey and the Trucker. But as it went down, the substitution just made us miss Burt Reynolds more. Home Alone 3 - As far as replacements go, I don’t know what is worse, changing up the whole character and family, as was done with Home Alone 3, which basically just repeated the storyline of the original movie, or the made-for-TV Home Alone 4, which recast characters from the first two movies. Either way, Fox should have just continued the series with Macauley Culkin, despite the fact that he was growing way out of his cute years by the end of the second movie. Home Alone 3 should have brought John Hughes back to focusing on high school kids and made it like a mix of Home Alone and Ferris Bueller’s Day Off, in which a teenage Kevin throws a wild house party when accidentally left home alone. Again. Ghostbusters: The Video Game - I know that video games are surpassing the movies in terms of favored entertainment, but I’m pretty bummed that the third Ghostbusters movie has become a video game rather than an actual threequel. Superman III - Some of us may have a soft spot for both Richard Pryor’s appearance and the selfish Superman, but otherwise this threequel suffers dearly from having such lame villains. Especially after the awesomeness of General Zod and friends in part II. The wrong turn, though, is not just lame villains but the complete lack of Lex Luthor, a necessity for Superman movies for those of us who never read the comics and can’t get behind a pseudo Luthor like Robert Vaughn’s “Ross Webster”. Actually, I guess it’s not so much the lack of Luthor as it is the blatant substitution for him, as well as for the diminished use of Lois Lane. The franchise didn’t exactly get back on course by bringing Gene Hackman’s Luthor in Superman IV: The Quest for Peace. Friday the 13th Part 3 - It’s perfectly debatable whether or not this slasher series took a misstep when it gave Jason a hockey mask and made him an icon. Like a number of other horror franchises, this one became less scary and more amusing beginning with the third installment. Entertaining, sure, but a wrong turn for some horror franchises. It certainly didn’t help matters having that laugh track: Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
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