Popcorn chests
Popcorn chests it looks back to the largest movie in America that has occurred every year since 1960. If we download the emergence of blockbuster cinema, perhaps we can answer the question Hollywood has been asking itself for over a century: What do people want to see?
"Sir, should we win this?" That's John Rambo, talking to his former adviser Colonel Trautman, at first Rambo: First Blood: Part II, 2 film. at the 1985 box office. The answer, we'll find out soon, is yes. John Rambo, a Vietnam veteran who is distraught because of his crackdown on a small American city, is yet to return to Vietnam. There, he will break the forgotten American POWs and effectively end the USA scandal of the world's largest stage. John Rambo is about to rewrite history.
The second and third highest grossing 1985 films are both silly-up absurd Sylvester Stallone action sequences. Both Rambo and Rocky IV it is about restoring American vitality to a threatening and unpredictable world. In Rambo, Stallone goes to Vietnam with some old rights. After six months, Rocky IV, Stallone goes to Russia, takes a bloody cane, and convinces the Soviet mob to relish the American fighting spirit. Watching these two beautiful, funny films is like injecting yourself with a cocaine cocktail and anabolic steroid. Both are great ideas, dumb, loud, amazing. But they were as big as they both were, and they both lost a year into a sharp, small, similar movie Rambo, it was about writing history and correcting mistakes of the past.
Back to Tomorrow it probably wasn't done because it wasn't enough. Most of the major Hollywood film studios have rejected the movie. Due to the existing 1981 discount Porky & # 39; s, studio executives believe that people will go and see pictures about teenagers in the '50s if those movies are sexually explicit. Back to Tomorrow it was nothing less than a sexual fantasy, and director-writer Robert Zemeckis and his colleague, Bob Gale, had no good records. Steven Spielberg was the executive producer of their first two films, in 1978 I hold Your Hand and 1980s Used cars. They both lost money. Zemeckis and Gale had also written 1941, Spielberg's first failure. Years, then Back to Tomorrow The script did not save anywhere.
All that time at Spielberg it finally paid off, though. Zemeckis finally arrived in 1984 & # 39; s Dating with the Stone, he thought again Passengers of a Lost Ship like quip-happy love jokes. Hollywood people did not have high hopes Dating with the Stone, with Zemeckis actually fired as director of Cocoon when studio heads saw the original screening of Stone. However Stone became one of the biggest hits of the year, and gave Zemeckis latitude to perform Back to Tomorrow, with Spoelberg on board as executive producer. (Ron Howard finally scored Cocoon work. That movie was Spielberg's biggest bite, and it turned out to be a big deal.)
Spinelberg's fingerprints were above all the major 1985 movies, or at least those that didn't include the oil-filled Sylvester Stallone. Spielberg himself has taken on the dubious task of adapting Alice Walker's novel Purple Color. His film was clear, and never successful, despite 11 words. However Purple Color still one of the highest earners of the year, albeit a terrible clock. Spielberg was a major producer of The Goonies, and should, at least, be an excuse for Robert Redford wearing an Indiana Jones hat in the winning and classic contest for Best Photo Out Africa. However Back to Tomorrow, Zemeckis was actually doing Spielberg — the urban ignorance, the crosswalks, the eye-popping scenes of special effects, the soaring effects – better than Sielberg himself could have done then.
It was not an easy process. Zemeckis, for example, had to break up with a studio manager who was determined to change the film's title Space Men To Pluto. At first, Zemeckis couldn't hold the star he wanted; producers of the hit sitcom Family Responsibilities I won't give young Michael J. Fox enough time to make a movie. Instead, Zemeckis has moved on with Eric Stoltz, a young actor who impressed on Peter Bogdanovich & # 39; s Mask. But after being burned for weeks of production and millions of dollars in budget, Zemeckis looked at his picture and realized that Stoltz wasn't funny enough to manage the movie. So he went back to Family Responsibilities producers, and worked for an agreement where Fox could film a TV program during the day and film Back to Tomorrow nights and weekends. By the end of the production, Pox was soaked with water that he couldn't remember much of what he had shot.
It's hard to imagine who would be more perfect for the role of Marty McFly than Michael J. Fox. In Back to Tomorrow, Fox is young and squinty and has a breeze. Fox was 24 when he shot the film, but he was in such a state of disbelief that he passes easily as a senior. In addition, Fox was already famous for playing Alex P. Keaton, a sort of Reagan youth avatar. Medium shadow Family Responsibilities it was that aging parents do not understand how their son becomes square and is the beginning of a young Republican. For the & # 39; 80s, a large portion of the Republican sales corridor returned to the 50s price. Marty McFly and Alex P. Keaton are two very different characters, but there is still something satisfying to do at first to see this kid return to the 50s and learn that the 50s values are not what he thought.
None of the characters in the middle Back to Tomorrow they were movie stars at the time. Fox and Christopher Lloyd were both familiar with sitcoms. (Lloyd had been part of the ensemble on The taxi, which had completed its run a few years ago.) Lea Thompson had made several films by then; got this part because he played the equalizer with Eric Stoltz in the middle Wildlife a year earlier. Crispin Glover, who played Marty's father George McFly, was actually three years younger than Fox, and he did less work in pairs Family Responsibilities episodes. One of the great things about Back to Tomorrow that it gives Glover the opportunity to be strangely, impartially, loudly, to synchronize songs of awkwardness by walking into a restaurant or dancing recklessly. A year later, Glover was to play a psychopath who smashed internally The Cave of the River
If Back to Tomorrow it has a clear star, however, it is a text. Zemeckis and Gale's screen is amazing for narrative tactics and giddy intensity. (The first sequence, a major hit in 1989, is even more glorious in that figure.) The plot is by no means a guaranteed home run: A young man in his 80s accidentally returns in time and threatens his existence because his mother takes love interest in him. But Zemeckis and Gale take that idea and create a happy and moving victim. Clocks are the first things that appear on the screen Back to Tomorrow, and we see them again and again throughout the film; Christopher Lloyd, as the legendary co-star, Harold Lloyd before him, even ties into one at maturity. (Harold and Christopher are not related, but they should be part of the same genealogy.) Marty McFly should keep moving in the middle; his existence depends on it.
Back to Tomorrow fullness is a clever touch. Zemeckis makes Hill Valley feel like a real place, albeit only in a Hollywood backlot, and sells the difference between a local version of the '80s and one & # 39; 50s. Ronald Reagan's jokes are a hanging fruit, but they work well. The film stays in the & # 39; 50s nostalgia similar to movies like Apply, but it also embodies the idea that this is not a good time for everyone – for example, the diner, very happy with the idea of a black mayor at dump. And there is a touch of symbolism all. VCRs and cable TV were both in their infancy in 1985; I often ask if Zemeckis had any idea how many returnees would look at that Back to Tomorrow you will find. This image gets its cliffhanger fading; it makes you want to see what will happen to these people over time.
For & # 39; 80s, Back to Tomorrow he has grown very well. One of the team's biggest moments focuses on trying to rape, but Biff Tannen is the story's queen; he should be an unassuming bag. The idea for Marty McFly to establish a rock & # 39; n & # 39; and that Chuck Berry teased him is the kind of thing that sends musicians like me to rage "well, actually", but as the jokes go, it's pretty cool. (That joke comes out in a really fun musical sequence, even though Fox's lip sync bothers me more than any other time-related travel-related ritual.) The only part of the movie that seems to pop up today might be the Libyan-looking terrorists. or that gives us an honest-good-humorous picture of the jihadist forces of VW's past with a shed.
However Back to Tomorrow is a movie about two special moments of history, caught on. When I guide my children Back to Tomorrow, I'm a little worried that they won't find anything in it. To, 1985 was far longer than 1955 for me as a kid, so I thought no jokes came out of the water when it was going to go down. And they didn't, not really. But the cartoon characters, the scenarios gained, and the intensity of the storyline sucked nonetheless.
Or fast and complicated, Back to Tomorrow it actually comes across as a personal story that contains. Marty McFly learns that his father was the most compassionate and sensitive man of his age, but also sees his father's worst traits. She is forced to deal with her mother's perception of herself as a bad person. (The chemistry between Fox and Lea Thompson is still surprisingly strong, and may have helped pull off at least one internet-porn subgenre.) In the end, the movie turns out to be a metaphor for the importance of certainty. When George McFly hits Biff, he is like a sidekick 2001: Space Odyssey who first discovered how to use the bone as a weapon. When Marty returned to 1985 changed, the world he saw was shaped by a father who, though sad, and willing to take chances.
Thirty-five years later, Back to Tomorrow recycling is more satisfying, since it becomes its own kind of computer time. There is a glimpse of Billy Zane, for example, as the least memorable of Biff & # 39; s goons. (Zane didn't even get 3D glasses. He only got a nail.) There's Huey Lewis, who is famous for her quick wit, complaining that its kind of Marty McFly song is "just too big." There are some great scenes of Michael J. Fox and his skuntboarding, which has helped spread skate culture across America at a crucial time.
Also, there is Biff Tannen, a man who kills a jaw-dropping glass that would be the most treacherous character in film today. Biff looks, talks and acts like Donald Trump, president of the horrible culture and culture of our corrupt age. Bob Gale said Biff was at least partly cast in Trump's favor – something that becomes even clearer in the sequence, when the wealthy Tannen runs a casino garnished with his foolish name and image.
However Back to Tomorrow I do not need those strange new rebellious things, just as they need all the ridiculous humor that is so symbolic to everyone under 70 today. Like a few other great movies of its day, Back to Tomorrow it's about rewriting history. But unlike the others, it is far better than that history.
Opponent: Peter Weir Witness, 9 movie. at the 1985 box office, it expresses its idea of an unintentional escape: A Philadelphia detective finds purpose and community while hiding among the Peninsula Amish. It's a great white crime scene that surprises a few scenes of classic action. But it also gets to experience some of the funniest moments – places where you can feel Harrison Ford's character losing himself, and where you can start to lose yourself.
In the future: With Top Gun, Tony Scott uses an MTV-style model and Bocaheimer / Simpson plans to do something like an offshore recruitment film. But it offers a humorous picture of the weakness of the male bond, and turns young star Tom Cruise into a global icon.