list http://www.spout.com/ Recent community activity around Stop! or My Mom Will Shoot 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/Stop_or_My_Mom_Will_Shoot/33005/default.aspx Title: Stop! or My Mom Will Shoot
Year: 1992
Director: Roger Spottiswoode
Plot: Despite his status as a major action star, Sylvester Stallone has made a number of attempts to remodel himself as a comic actor; one of his more infamous efforts in this direction was Stop! or My Mom Will Shoot!. Police detective Joe Bromowski (Sylvester Stallone) has just broken off his relationship with his girlfriend (and fellow police officer) Gwen Harper (JoBeth Williams), so Joe's mother Tutti (Estelle Getty) decides it's time to pay him a visit. Tutti proceeds to make Joe's life miserable by nagging him about his clothes, cleaning his apartment, washing his gun, tagging along on investigations, and somehow getting involved with a gun-running organization that the police have been trying to infiltrate. After this film, Stallone would stay away from comedy until 1997, when he played a cameo in another unenthusiastically received film, An Alan Smithee Film -- Burn, Hollywood, Burn. ~ Mark Deming, All Movie Guide
Times Tagged: 7
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SpoutRating: 1
]]>Mon, 11 Aug 2008 23:29:39 GMTStop! or My Mom Will Shoot1992Roger SpottiswoodeDespite his status as a major action star, <a href="/players/P___112464/default.aspx" style='text-decoration:underline'>Sylvester Stallone</a> has made a number of attempts to remodel himself as a comic actor; one of his more infamous efforts in this direction was Stop! or My Mom Will Shoot!. Police detective Joe Bromowski (<a href="/players/P___112464/default.aspx" style='text-decoration:underline'>Sylvester Stallone</a>) has just broken off his relationship with his girlfriend (and fellow police officer) Gwen Harper (<a href="/players/P____76479/default.aspx" style='text-decoration:underline'>JoBeth Williams</a>), so Joe's mother Tutti (<a href="/players/P____26633/default.aspx" style='text-decoration:underline'>Estelle Getty</a>) decides it's time to pay him a visit. Tutti proceeds to make Joe's life miserable by nagging him about his clothes, cleaning his apartment, washing his gun, tagging along on investigations, and somehow getting involved with a gun-running organization that the police have been trying to infiltrate. After this film, Stallone would stay away from comedy until 1997, when he played a cameo in another unenthusiastically received film, An Alan Smithee Film -- Burn, Hollywood, Burn. ~ Mark Deming, All Movie Guide7Taggedy Taggged (6-10)3111http://www.spout.com/ProductImages/t39777wop8q.jpghttp://www.spout.com/films/Stop_or_My_Mom_Will_Shoot/33005/default.aspxFilm http://www.spout.com/groups/Natsukashi/Episode_IX_Tango_Cash/592/33876/1/ShowPost.aspx Post By: usesoap
Post To: Natsukashi
Post Date: 8/11/2008 7:29:39 PM
Body: Tango & Cash (1989) Rated: R Director: Andrei Konchalovsky Written by: Randy Feldman Starring : Sylvester Stallone as Ray Tango Kurt Russel as Gabe Cash Teri Hatcher as Kiki Tango Jack Palance as Yves Perret Tagline: Two of L.A.'s top rival cops are going to work together... even if it kills them. By Rob Rector Pre-screening memories: It was moments before the dawn of a new decade. The crazy 80s were coming to a close, as was the career of one of the decade's action stalwarts -- Sylvester Stallone. For many growing up in the 80s, Stallone was the embodiment of manliness (however misguided that may have been). He was never as freakishly lumpy as Schwarzenegger and seemed as though he could easily be the cool older guy in the neighborhood who would let you peek at his firearm collection, pour over his stack of "Hustlers” or perhaps let you sip a beer. Sadly, there was no such neighbor in my little slice of suburbia. The closest thing we had was a gap-toothed guy who would watch us through his perpetually drawn blinds and smile menacingly and whose front yard was a graveyard of car parts that he would mow around until they were enveloped by vegetation. Cinematically, Stallone was not one to go out with a whimper. He was going to go down swinging and show those new upstarts like Jeff Speakman and Jean Claude Van Damme, Steven Seagal and Brian Bosworth a thing or two about action. And my friends and I were eager to watch. (For it was not too long after this that he would begin his trajectory downward with films like Rocky V, Oscar, Stop, or My Mom Will Shoot!, The Specialist and to the direct-to-video dustbin with films like D-Tox, Avenging Angelo and Shade.) His latest was a pairing of him and Snake Plissken himself, Kurt Russel. They starred as two improbably named LAPD cops who "just can't play by the rules." Exactly the kind of cops we like on screen -- just not in real life, as they usually end up on the wrong side of a video camera, bludgeoning away rights to random motorists. While the plot itself left no actual bootprint on my brain, the script did drop some new vocabulary into our high school lexicon. Being the typical testosterone-saturated actioner, the expressions were both lewd and profane, but they were nonetheless influential. Being a male teen any new and creative euphemism or idiom or for intercourse was met with guffaws, a round of high-fives and a temporary admiration of one's peers. (Of course, really any combination of a verb and noun could be inserted, Mad-Libs-style into the sentence "I'd like to ___________ her ___________" and, with the right emphasis on "her," you've got yourself a new filth-filled expression.) Forget the fact that none of us had really ever even performed said act. So, when Sly refers to it as "bump uglies," we knew we had a keeper. The second expression we adopted was FUBAR. While new to us, it was actually one that originated during World War II as an acronym for F**ked Up Beyond All Recognition. Other than that, I remember the two leads being oh-so-witty, able to launch a quip or a retort under the most extreme circumstances. And while the general plot escaped me (something with them being framed by someone and avenging something else). That, and the promise of manly men doing manly things with other manly, manly men in a mannish manner. I was sure that revisiting the film would at least entertain on that level alone, right? The answer is right here: [audio http://www.archive.org/download/NatsukashiEpisodeIxtangocash/tangoandcashfinal.mp3]
]]>Mon, 11 Aug 2008 23:29:39 GMTusesoapNatsukashi8/11/2008 7:29:39 PM Tango &amp; Cash (1989) Rated: R Director: Andrei Konchalovsky Written by: Randy Feldman Starring : Sylvester Stallone as Ray Tango Kurt Russel as Gabe Cash Teri Hatcher as Kiki Tango Jack Palance as Yves Perret Tagline: Two of L.A.'s top rival cops are going to work together... even if it kills them. By Rob Rector Pre-screening memories: It was moments before the dawn of a new decade. The crazy 80s were coming to a close, as was the career of one of the decade's action stalwarts -- Sylvester Stallone. For many growing up in the 80s, Stallone was the embodiment of manliness (however misguided that may have been). He was never as freakishly lumpy as Schwarzenegger and seemed as though he could easily be the cool older guy in the neighborhood who would let you peek at his firearm collection, pour over his stack of "Hustlers&rdquo; or perhaps let you sip a beer. Sadly, there was no such neighbor in my little slice of suburbia. The closest thing we had was a gap-toothed guy who would watch us through his perpetually drawn blinds and smile menacingly and whose front yard was a graveyard of car parts that he would mow around until they were enveloped by vegetation. Cinematically, Stallone was not one to go out with a whimper. He was going to go down swinging and show those new upstarts like Jeff Speakman and Jean Claude Van Damme, Steven Seagal and Brian Bosworth a thing or two about action. And my friends and I were eager to watch. (For it was not too long after this that he would begin his trajectory downward with films like Rocky V, Oscar, Stop, or My Mom Will Shoot!, The Specialist and to the direct-to-video dustbin with films like D-Tox, Avenging Angelo and Shade.) His latest was a pairing of him and Snake Plissken himself, Kurt Russel. They starred as two improbably named LAPD cops who "just can't play by the rules." Exactly the kind of cops we like on screen -- just not in real life, as they usually end up on the wrong side of a video camera, bludgeoning away rights to random motorists. While the plot itself left no actual bootprint on my brain, the script did drop some new vocabulary into our high school lexicon. Being the typical testosterone-saturated actioner, the expressions were both lewd and profane, but they were nonetheless influential. Being a male teen any new and creative euphemism or idiom or for intercourse was met with guffaws, a round of high-fives and a temporary admiration of one's peers. (Of course, really any combination of a verb and noun could be inserted, Mad-Libs-style into the sentence "I'd like to ___________ her ___________" and, with the right emphasis on "her," you've got yourself a new filth-filled expression.) Forget the fact that none of us had really ever even performed said act. So, when Sly refers to it as "bump uglies," we knew we had a keeper. The second expression we adopted was FUBAR. While new to us, it was actually one that originated during World War II as an acronym for F**ked Up Beyond All Recognition. Other than that, I remember the two leads being oh-so-witty, able to launch a quip or a retort under the most extreme circumstances. And while the general plot escaped me (something with them being framed by someone and avenging something else). That, and the promise of manly men doing manly things with other manly, manly men in a mannish manner. I was sure that revisiting the film would at least entertain on that level alone, right? The answer is right here: [audio http://www.archive.org/download/NatsukashiEpisodeIxtangocash/tangoandcashfinal.mp3] http://www.spout.com/blogs/spoutblog/archive/2008/3/19/26397.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/19/2008 2:00:37 PM
Body: Don’t be fooled, now. This film may look like a beautiful, epic piece of cinema, but that’s likely only because it was shot by Xiaoding Zhao, whose relatively short cinematography resume includes Zhang Yimou’s House of Flying Daggers (for which Xiaoding received an Oscar nomination), Riding Alone for Thousands of Miles and Curse of the Golden Flower (he was also a cameraman for Yimou’s Hero). So yeah, The Children of Huang Shi will certainly be a good looking film, but notice who the director is. That’s right, Roger Spottiswoode, a guy whose worst film is difficult to decide upon. I’d say it’s a toss up between The 6th Day and Stop! Or My Mom Will Shoot. I’ve never seen Terror Train, though. That one sounds like a contender. Another thing this film does have going for it is the Oscar-winning producing skills of now-81-year-old Arthur Cohn. He’s had a pretty great career, having partnered with De Sica on his later films, including the The Garden of the Finzi-Continis, and having had the honor of seeing that film and Jean-Jacques Annaud’s Black and White in Color and Richard Dembo’s Dangerous Moves all win the Academy Award for best foreign-language film (other of his productions that were nominated in the category include Walter Salles’ Central Station and Christophe Barratier’s The Chorus). As for his own, recognized and credited Oscar glory, he’s won three out of his four nominations in the documentary category (for Pierre-Dominique Gaisseau’s Le Ciel et la Boue, Barbara Kopple’s American Dream and Kevin McDonald’s One Day in September; he lost with Dieter Hildebrandt’s The Yellow Star). (more…) Originally posted on:SpoutBlog
]]>Wed, 19 Mar 2008 18:00:37 GMTSpoutBlogSpoutBlog on spout.com3/19/2008 2:00:37 PM Don’t be fooled, now. This film may look like a beautiful, epic piece of cinema, but that’s likely only because it was shot by Xiaoding Zhao, whose relatively short cinematography resume includes Zhang Yimou’s House of Flying Daggers (for which Xiaoding received an Oscar nomination), Riding Alone for Thousands of Miles and Curse of the Golden Flower (he was also a cameraman for Yimou’s Hero). So yeah, The Children of Huang Shi will certainly be a good looking film, but notice who the director is. That’s right, Roger Spottiswoode, a guy whose worst film is difficult to decide upon. I’d say it’s a toss up between The 6th Day and Stop! Or My Mom Will Shoot. I’ve never seen Terror Train, though. That one sounds like a contender. Another thing this film does have going for it is the Oscar-winning producing skills of now-81-year-old Arthur Cohn. He’s had a pretty great career, having partnered with De Sica on his later films, including the The Garden of the Finzi-Continis, and having had the honor of seeing that film and Jean-Jacques Annaud’s Black and White in Color and Richard Dembo’s Dangerous Moves all win the Academy Award for best foreign-language film (other of his productions that were nominated in the category include Walter Salles’ Central Station and Christophe Barratier’s The Chorus). As for his own, recognized and credited Oscar glory, he’s won three out of his four nominations in the documentary category (for Pierre-Dominique Gaisseau’s Le Ciel et la Boue, Barbara Kopple’s American Dream and Kevin McDonald’s One Day in September; he lost with Dieter Hildebrandt’s The Yellow Star). (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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