list http://www.spout.com/ Recent community activity around Jaws 3 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/Jaws_3/17796/default.aspx Title: Jaws 3
Year: 1983
Director: Joe Alves
Plot: An ocean-themed Florida amusement park comes under attack from an angry Great White shark in this third installment of the horror series. The film maintains only a loose relationship to the original Steven Spielberg hit, centering on Mike (Dennis Quaid) and Sean (John Putch), the sons of police chief Martin Brody (originally played by Roy Scheider). Mike works at Sea World, where a baby Great White shark has accidentially been let into the park. Soon, the baby's vicious and extremely powerful mother comes in search of her child. The film focuses most of its attention on the series of tense shark attacks that follow, as tourists run for their lives while the park workers struggle to destroy the sharp-toothed beast. The suspense sequences were made somewhat more memorable during the film's original release with 3-D photography, an attribute lost on video, thereby removing the most distinctive element of an otherwise run-of-the-mill sequel. ~ Judd Blaise, All Movie Guide
Times Tagged: 5
Number of Lists: 9
Number of blog posts: 3
Number of discussion threads: 2
SpoutRating: 2
]]>Mon, 11 May 2009 00:42:22 GMTJaws 31983Joe AlvesAn ocean-themed Florida amusement park comes under attack from an angry Great White shark in this third installment of the horror series. The film maintains only a loose relationship to the original <a href="/players/P___112325/default.aspx" style='text-decoration:underline'>Steven Spielberg</a> hit, centering on Mike (<a href="/players/P____58161/default.aspx" style='text-decoration:underline'>Dennis Quaid</a>) and Sean (<a href="/players/P____58100/default.aspx" style='text-decoration:underline'>John Putch</a>), the sons of police chief Martin Brody (originally played by <a href="/players/P____63580/default.aspx" style='text-decoration:underline'>Roy Scheider</a>). Mike works at Sea World, where a baby Great White shark has accidentially been let into the park. Soon, the baby's vicious and extremely powerful mother comes in search of her child. The film focuses most of its attention on the series of tense shark attacks that follow, as tourists run for their lives while the park workers struggle to destroy the sharp-toothed beast. The suspense sequences were made somewhat more memorable during the film's original release with 3-D photography, an attribute lost on video, thereby removing the most distinctive element of an otherwise run-of-the-mill sequel. ~ Judd Blaise, All Movie Guide5Slightly Tagged (1-5)9322http://www.spout.com/ProductImages/t31549pgc86.jpghttp://www.spout.com/films/Jaws_3/17796/default.aspxFilm http://www.spout.com/blogs/usesoap/archive/2009/1/23/39838.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 1/23/2009 1:34:10 PM
Body: My Bloody Valentine 3-D is a film comfortable in its own skin... even if that skin is either impaled, gouged, filleted or otherwise decimated by its pickaxe-wielding killer. Count me as one of the chorus members who bemoans each and every new "re-imagining" of old horror films. I found the latest Texas Chainsaws to be dull blades at best, the new Prom Night to be just as awkward and unfulfilling as my own, and I really have no real urge to see Jason arrive on his unlucky Friday in a few weeks (but I'm sure I'll still go). But by dressing it with the novelty of 3-D, the creators of Valentine have taken a forgotten, otherwise expendable little slasher film from back in the day and gave it a William Castle-style jolt. For those unfamiliar, Castle was the legendary director who in the '50s resorted to gimmicks like buzzers in theater seats for some of his films to entice audience involvement. The use of 3-D is certainly nothing new for horror films, as everyone from Jaws to Jason has at one time promised "a new dimension in terror" or some weak derivative. But it is only recently that the medium has been perfected, ditching the old school red-and-blue tinted glasses (called anaglyph) for the much more fluid "Real 3-D" and "Dolby 3-D"," in which patrons sports gray-tinted shades that reduce the risk of headaches often incurred by the former. It is no longer seen as a hokey gimmick and is becoming more and more commonplace for animated films to be released in this format (in theaters that can project this format) simultaneously with 2-D versions. And Valentine certainly realizes that this added dimension is its biggest (perhaps only?) selling point. From the signature weapon of choice for the film's killer to various other objects (tree limbs, ham hocks, eyeballs), Valentine is not stingy with its device and hurls things at the audience at a brisk clip. It's even conveniently set in a mining shaft, whose cavernous walls allow for excellent scope. Fans of the genre will also be happy to note that it is quick to the bloodshed, punctuating the film with several inventive impaling, creative crushings and slick slaughters. But perhaps even more surprising is the film's little Scooby-Doo-style mystery that had me and my viewing mates guessing until the end. It's not perfect and does bend the rules a bit, but for those seeking more accurate crime scene analysis, there's more than likely a procedural drama on television right now for you. The original film was notable to young gore hounds such as myself in the pages of Fangoria magazine (imagine Entertainment Weekly, with more dismemberings), which previewed the film's deliciously bloody deaths in full color. As with most films of the era, the result was not the sum of its body parts. But the producers of the remake have apparently recognized its strengths (the gore) and realized its flaws (everything else), and have crafted an efficient little scary, fun date movie that claims to be nothing more. The plot, if it matters, concerns an incident in a small Pennsylvania mining town in which an accident brought tragedy to the town. In it, a group of miners were trapped inside, all killed by a co-worker who was not all that into sharing the limited oxygen below. He emerges from his coma after a year and, muscle atrophy be damned, manages to massacre an entire hospital in a violent rage. A decade later, similar killings befall the same sleepy town. The only actor worth mentioning is the elder cast member who serves as a shout-out to old school horror fans. Tom Atkins, veteran of such '80s-era horror flicks as Halloween III: Season of the Witch, The Fog, Creepshow, and Night of the Creeps plays a sheriff who supposedly originally disposed of the killer years ago, only to find that he may not have sealed the deal. Director Patrick Lussier's prior credits include crappy direct-to-video fodder that would not suggest this film would have any mark of quality whatsoever. And while his skills here are not top tier, they are better than the average genre junk that pummels audiences into sensory overload. My Bloody Valentine by no means redefines the genre or reinvigorates the device of an added dimension. But where it succeeds is in embracing both, accepting them for what they are and offering viewers a wholly entertaining diversion, filled with cheap, effective thrills and senseless mayhem that are the staples of the slasher film. (Those who view the 2-D version, though: Enter at your own risk.)
]]>Fri, 23 Jan 2009 18:34:10 GMTusesoapusesoap Blog1/23/2009 1:34:10 PMMy Bloody Valentine 3-D is a film comfortable in its own skin... even if that skin is either impaled, gouged, filleted or otherwise decimated by its pickaxe-wielding killer. Count me as one of the chorus members who bemoans each and every new "re-imagining" of old horror films. I found the latest Texas Chainsaws to be dull blades at best, the new Prom Night to be just as awkward and unfulfilling as my own, and I really have no real urge to see Jason arrive on his unlucky Friday in a few weeks (but I'm sure I'll still go). But by dressing it with the novelty of 3-D, the creators of Valentine have taken a forgotten, otherwise expendable little slasher film from back in the day and gave it a William Castle-style jolt. For those unfamiliar, Castle was the legendary director who in the '50s resorted to gimmicks like buzzers in theater seats for some of his films to entice audience involvement. The use of 3-D is certainly nothing new for horror films, as everyone from Jaws to Jason has at one time promised "a new dimension in terror" or some weak derivative. But it is only recently that the medium has been perfected, ditching the old school red-and-blue tinted glasses (called anaglyph) for the much more fluid "Real 3-D" and "Dolby 3-D"," in which patrons sports gray-tinted shades that reduce the risk of headaches often incurred by the former. It is no longer seen as a hokey gimmick and is becoming more and more commonplace for animated films to be released in this format (in theaters that can project this format) simultaneously with 2-D versions. And Valentine certainly realizes that this added dimension is its biggest (perhaps only?) selling point. From the signature weapon of choice for the film's killer to various other objects (tree limbs, ham hocks, eyeballs), Valentine is not stingy with its device and hurls things at the audience at a brisk clip. It's even conveniently set in a mining shaft, whose cavernous walls allow for excellent scope. Fans of the genre will also be happy to note that it is quick to the bloodshed, punctuating the film with several inventive impaling, creative crushings and slick slaughters. But perhaps even more surprising is the film's little Scooby-Doo-style mystery that had me and my viewing mates guessing until the end. It's not perfect and does bend the rules a bit, but for those seeking more accurate crime scene analysis, there's more than likely a procedural drama on television right now for you. The original film was notable to young gore hounds such as myself in the pages of Fangoria magazine (imagine Entertainment Weekly, with more dismemberings), which previewed the film's deliciously bloody deaths in full color. As with most films of the era, the result was not the sum of its body parts. But the producers of the remake have apparently recognized its strengths (the gore) and realized its flaws (everything else), and have crafted an efficient little scary, fun date movie that claims to be nothing more. The plot, if it matters, concerns an incident in a small Pennsylvania mining town in which an accident brought tragedy to the town. In it, a group of miners were trapped inside, all killed by a co-worker who was not all that into sharing the limited oxygen below. He emerges from his coma after a year and, muscle atrophy be damned, manages to massacre an entire hospital in a violent rage. A decade later, similar killings befall the same sleepy town. The only actor worth mentioning is the elder cast member who serves as a shout-out to old school horror fans. Tom Atkins, veteran of such '80s-era horror flicks as Halloween III: Season of the Witch, The Fog, Creepshow, and Night of the Creeps plays a sheriff who supposedly originally disposed of the killer years ago, only to find that he may not have sealed the deal. Director Patrick Lussier's prior credits include crappy direct-to-video fodder that would not suggest this film would have any mark of quality whatsoever. And while his skills here are not top tier, they are better than the average genre junk that pummels audiences into sensory overload. My Bloody Valentine by no means redefines the genre or reinvigorates the device of an added dimension. But where it succeeds is in embracing both, accepting them for what they are and offering viewers a wholly entertaining diversion, filled with cheap, effective thrills and senseless mayhem that are the staples of the slasher film. (Those who view the 2-D version, though: Enter at your own risk.) http://www.spout.com/groups/HORROR_MOVIES_101/Re_Ask_the_Doctor/222/28387/1/ShowPost.aspx Post By: Macabre_FilmNut
Post To: HORROR MOVIES 101
Post Date: 5/8/2008 9:13:53 PM
Body: [quote user="Dr_Gor"] OH! And I wish to apologize... my 'link a movie thingy' still isn't working... [/quote] That had to be a tripp, sitting in county jail watching 3-D! I can't imagine it. I remember I was out in Eugene Oregon and I saw House of 1000 Corpses (2002) and I was wasted, pretty much 3-D vision. I never realized how the actual visuals were or how the movie plays out until I ended up here and bought it, sat and watched it sober. It didnt make hell alot of sense, but I still enjoyed the flick. I remember Jaws 3 (1983), but I was real young! But back in those days movies stayed in the theaters alot longer! I can remember movies not even showing up in the rentals for like a year or so later. Then VCRS back in those days you had to put a 60 or 70 dollar deposit down to rent one. Also I remember Freddy's Dead: The Final Nightmare (1991) in 3-D, which I liked alot. Jumping off the subject for the moment, the French right now for horror, is where it is at. Hollywood is to busy doing remakes at this present time. European its all originality! Take a look at these titles High Tension (2003)(Haute Tension), Sheitan (2006), and one of my favorites À l'intérieur (2007)(Inside). Any clue where to find uncut and hard to find releases of movies, like mom and pop websites? The only place I know and use is http://www.diabolikdvd.com/ and http://xploitedcinema.com/catalog/index.php. I just ordered something from Cinefear video, just to check them out.
]]>Fri, 09 May 2008 01:13:53 GMTMacabre_FilmNutHORROR MOVIES 1015/8/2008 9:13:53 PM[quote user="Dr_Gor"] OH! And I wish to apologize... my 'link a movie thingy' still isn't working... [/quote] That had to be a tripp, sitting in county jail watching 3-D! I can't imagine it. I remember I was out in Eugene Oregon and I saw House of 1000 Corpses (2002) and I was wasted, pretty much 3-D vision. I never realized how the actual visuals were or how the movie plays out until I ended up here and bought it, sat and watched it sober. It didnt make hell alot of sense, but I still enjoyed the flick. I remember Jaws 3 (1983), but I was real young! But back in those days movies stayed in the theaters alot longer! I can remember movies not even showing up in the rentals for like a year or so later. Then VCRS back in those days you had to put a 60 or 70 dollar deposit down to rent one. Also I remember Freddy's Dead: The Final Nightmare (1991) in 3-D, which I liked alot. Jumping off the subject for the moment, the French right now for horror, is where it is at. Hollywood is to busy doing remakes at this present time. European its all originality! Take a look at these titles High Tension (2003)(Haute Tension), Sheitan (2006), and one of my favorites &Agrave; l'int&eacute;rieur (2007)(Inside). Any clue where to find uncut and hard to find releases of movies, like mom and pop websites? The only place I know and use is http://www.diabolikdvd.com/ and http://xploitedcinema.com/catalog/index.php. I just ordered something from Cinefear video, just to check them out. http://www.spout.com/blogs/usesoap/archive/2008/3/10/26068.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 3/10/2008 8:53:07 PM
Body: One of my first “real” concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its “Joshua Tree” tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn’t found what I was looking for.After witnessing “U23D,” now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes – from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton’s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as “The Nightmare Before Christmas” or “Beowulf,” you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little “ghosting,” a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief “comeback,” (“Jaws 3-D,” “Friday the 13th Part 3-D,” “Amityville 3-D,” “Metalstorm: The Destruction of Jared-Syd,” “Spacehunter: Adventures in the Forbidden Zone”), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie’s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (“Where the Streets Have No Name,” “One,” “Pride,” “Vertigo”), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (“Sunday, Bloody Sunday,” originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end.
]]>Tue, 11 Mar 2008 00:53:07 GMTusesoapusesoap Blog3/10/2008 8:53:07 PMOne of my first &ldquo;real&rdquo; concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its &ldquo;Joshua Tree&rdquo; tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn&rsquo;t found what I was looking for.After witnessing &ldquo;U23D,&rdquo; now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes &ndash; from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton&rsquo;s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as &ldquo;The Nightmare Before Christmas&rdquo; or &ldquo;Beowulf,&rdquo; you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little &ldquo;ghosting,&rdquo; a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief &ldquo;comeback,&rdquo; (&ldquo;Jaws 3-D,&rdquo; &ldquo;Friday the 13th Part 3-D,&rdquo; &ldquo;Amityville 3-D,&rdquo; &ldquo;Metalstorm: The Destruction of Jared-Syd,&rdquo; &ldquo;Spacehunter: Adventures in the Forbidden Zone&rdquo;), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie&rsquo;s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (&ldquo;Where the Streets Have No Name,&rdquo; &ldquo;One,&rdquo; &ldquo;Pride,&rdquo; &ldquo;Vertigo&rdquo;), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (&ldquo;Sunday, Bloody Sunday,&rdquo; originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end. http://www.spout.com/blogs/spoutblog/archive/2008/2/27/25652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2008 5:00:38 PM
Body: When I was a kid, I assumed all third installments in a horror series had to capitalize on the ability to turn the “3″ in the title into “3-D.” Now, looking back, I only really remember (and can only find proof of) Jaws 3-D, Friday the 13th 3-D and Amityville 3-D. But that isn’t stopping me from assuming Hollywood will once again abuse the gimmick. And judging by today’s news from Disney that the third installment of Step Up will be in 3D (and is tentatively titled simply, appropriately and marketably Step Up 3-D), the integrity of digital 3D — as the hope for the future of exhibition rather than as another passing fad — is on its way down. Of course, we’re in a big 3D trend right now, whether it continues as something more than that or not, and it at least makes sense for Hollywood to make decisions like this, and obviously it’s more logical as far as the title is concerned. I know that Toy Story 3 will be appropriately in 3D, too. Others will likely follow, and it’s better than the confusing mis-step that has been occurring lately with non-threequel sequels (and non-sequels). Upcoming sequels Shrek 4 and Final Destination 4 will also be released in digital 3D, but titularly that’s confusing (especially because of DreamWorks’ direct-to-video release Shrek 4-D, aka Shrek 3-D). Fortunately for the former, it currently has a less-confusing title of Shrek Goes Fourth. As for Final Destination, New Line had once intended for the third installment to be appropriately a 3D film and be titled Final Destination 3-D. So it is fair that the studio had previously had the idea. But what will it be called? (more…) Originally posted on:SpoutBlog
]]>Wed, 27 Feb 2008 22:00:38 GMTSpoutBlogSpoutBlog on spout.com2/27/2008 5:00:38 PM When I was a kid, I assumed all third installments in a horror series had to capitalize on the ability to turn the “3″ in the title into “3-D.” Now, looking back, I only really remember (and can only find proof of) Jaws 3-D, Friday the 13th 3-D and Amityville 3-D. But that isn’t stopping me from assuming Hollywood will once again abuse the gimmick. And judging by today’s news from Disney that the third installment of Step Up will be in 3D (and is tentatively titled simply, appropriately and marketably Step Up 3-D), the integrity of digital 3D — as the hope for the future of exhibition rather than as another passing fad — is on its way down. Of course, we’re in a big 3D trend right now, whether it continues as something more than that or not, and it at least makes sense for Hollywood to make decisions like this, and obviously it’s more logical as far as the title is concerned. I know that Toy Story 3 will be appropriately in 3D, too. Others will likely follow, and it’s better than the confusing mis-step that has been occurring lately with non-threequel sequels (and non-sequels). Upcoming sequels Shrek 4 and Final Destination 4 will also be released in digital 3D, but titularly that’s confusing (especially because of DreamWorks’ direct-to-video release Shrek 4-D, aka Shrek 3-D). Fortunately for the former, it currently has a less-confusing title of Shrek Goes Fourth. As for Final Destination, New Line had once intended for the third installment to be appropriately a 3D film and be titled Final Destination 3-D. So it is fair that the studio had previously had the idea. But what will it be called? (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_top_five_movies_that_scared_the_crap_out_of_yo/190/3420/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 10/24/2006 1:53:59 PM
Body: Yeah Willy Wonka, the part where they ride that boat through the tunnel and Wilder sings that freaky song and there's all kinds of disturbings images projected up on the wall. I remember when I was a kid, Judge Doom scared the crap out of me when he turned into a cartoon as well. Now Roger Rabbit is one of my all time favorite films. Tmoney, I just read your blog on The Peanut Butter Solution. That does sounds like one of the freakiest things around. I was totally frightened of black wolves in movies. So I would always run out of the room when the wolf parts would come on in Benji the Hunted or The Neverending Story. The most chilling part of Benji was when Benji tricks the wolf into running off of that cliff to his demise. The wolf howl haunted my nightmares. I think it was Superman III. There was some part with a giant computer that would grab people and turn them into evil androids. I caught that on TV once and couldn't get the terrifying image out of my head. I think I was fairly young when I saw the Jaws movies as well. The part in Jaws 3 when all the people get sealed in that transparent underwater tube system was the most unsettling part.
]]>Tue, 24 Oct 2006 17:53:59 GMTRisseladaTop 510/24/2006 1:53:59 PMYeah Willy Wonka, the part where they ride that boat through the tunnel and Wilder sings that freaky song and there's all kinds of disturbings images projected up on the wall. I remember when I was a kid, Judge Doom scared the crap out of me when he turned into a cartoon as well. Now Roger Rabbit is one of my all time favorite films. Tmoney, I just read your blog on The Peanut Butter Solution. That does sounds like one of the freakiest things around. I was totally frightened of black wolves in movies. So I would always run out of the room when the wolf parts would come on in Benji the Hunted or The Neverending Story. The most chilling part of Benji was when Benji tricks the wolf into running off of that cliff to his demise. The wolf howl haunted my nightmares. I think it was Superman III. There was some part with a giant computer that would grab people and turn them into evil androids. I caught that on TV once and couldn't get the terrifying image out of my head. I think I was fairly young when I saw the Jaws movies as well. The part in Jaws 3 when all the people get sealed in that transparent underwater tube system was the most unsettling part. http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

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]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag http://www.spout.com/members/0/tags/Cool/MemberTagFilms.aspxCool
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]]>Tue, 07 Jul 2009 01:10:30 GMT14065162Tag http://www.spout.com/members/0/tags/killing/MemberTagFilms.aspxkilling
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]]>Mon, 16 Nov 2009 17:27:28 GMT588329124Tag http://www.spout.com/members/0/tags/shark/MemberTagFilms.aspxshark
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]]>Fri, 15 May 2009 13:02:12 GMT6781324Tag http://www.spout.com/members/0/tags/fishing/MemberTagFilms.aspxfishing
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]]>Fri, 20 Nov 2009 18:56:22 GMT6221224Tag http://www.spout.com/members/0/tags/pretty/MemberTagFilms.aspxpretty
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]]>Mon, 26 Oct 2009 16:09:48 GMT221124Tag http://www.spout.com/members/0/tags/3-D/MemberTagFilms.aspx3-D
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Number of people who tagged: 9

Number of times used: 33

]]>Sun, 20 Dec 2009 01:16:35 GMT28933Tag http://www.spout.com/members/0/tags/ecology/MemberTagFilms.aspxecology
Number of films tagged: 502

Number of people who tagged: 8

Number of times used: 11

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