Caddyshack 2

Films are a large part of our lives here in America where we depend on them to do when we’re bored with nothing to do, or when the snow or rain is falling. We all use movies as a common way to go on dates and be with friends. However, there has become an abundance amount of movies that we can all enjoy throughout our lives. Although not all movies are interesting to all viewers depending on their personality and what they like to watch. I can say for myself that a film that I really enjoy would be “Mean Girls”. In the two thousand four film “Mean Girls” there is a sense of entertainment that helps in combining all the aspects found in a classical film. Classical films having a entertaining and dramatic plot, and a excellent cast.

The 1998 German film Run Lola Run interestingly told three separate narratives of the same story and characters. Each of the narratives began the same way, however each one saw a slight temporal or behavioral difference in the lives of Lola and Manni, which caused drastically different outcomes for each of the separate realities. The film followed Lola and Manni’s journey to acquire one-hundred thousand dollars to make up for Manni’s loss of the money to his drug dealer. The same story was told three separate times, and each story illustrated slight changes in the characters’ timelines that drastically shifted the outcome of their situations. Through the use of editing, the film was able to jump through time and space and clearly portray the transition from one run to the next. The film also had a fast rhythm that captured the frantic nature and peril of Lola and Manni’s situation, with innovative editing techniques such as showing the two shots of Manni and Lola side by side. Altogether, the transitions were effective in telling the story with a unique, and clear sequencing pattern that made sense and contributed to the thrilling atmosphere of the film.

The purpose of this essay is to analyse the original drama text with a newer film version, while comparing the

These films display ambiguous endings and leave the audience wondering as to what exactly happened, and allows them to create their own version of the ending in their own heads. This common theme displays a postmodern type of storytelling in both “The Worker Drone” and “Play”.

the end of the film fixates the audience emotions from the film’s genre are manifested within

Movie marketing is a tricky thing. A movie could be a complete disaster, but if the marketing is done right, the movie will do well. If the movie a delightful, but the marketing is done badly, the movie could bomb and cost the studio a lot of money. I’ve seen it happen a lot over the years. Remember that movie John Carter? That movie cost a LOT of money to produce. I saw the movie since I already read the books and knew from what I saw that it was going to be a fun film to watch, but from a marketing standpoint, and having been a marketing major in college, I knew the movie was going to bomb. Why? No one knew what the hell it was about or who the hell John Carter was.

The film Scott Pilgrim vs The World gives an abstract, but truthful reflection of the lives of young people in modern society. The movie displays the struggles Scott has with his relationships, his journey believing in himself and how he learns to face the repercussions of his actions. The films morals and ideals help to inform young people on going through adolescence and young adulthood by using similar social ideas to those used in today's world.

One of my first memories of seeing sexuality or violence before the age of 12 was one of the “Scary Movie’s”. I don’t remember which one it was, but I know it was one of them if not multiple. I mostly remember watching “Scary movie 2”

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.

A good movie can either be captivating or thrilling depending on the plot of the movie. Like the thrill of a rollercoaster, so is the thrill that comes from watching the King Kong movie. It is both captivating as well as intriguing in the sense that it provides rich thematic presence and sceneries. In this paper, the learner will take a look at the King Kong movie from a critical perspective to deduce whether the movie really should be living up to its fame.

Every so often a movie is released with such tense anticipation and glamorous visual art that the public is drawn to this dramatic rendition of life in the theatre. For even just two hours or so, you are put into a different lifestyle. Action, drama or comedy it may be. We are thrust into a different way of thinking. We are forced to learn the characters thoughts and feelings. The hard work and artistic skill that goes into these magnificent films is not an easy thing to mimic. Out of the thousands of movies released worldwide each year only a handful are truly worthy of the label film art. Most of the great movies are either produced by a multi million dollar

A movie’s greatness is often measured by its monetary returns. There are numerous examples of huge commercial successes that are able to draw dollars from people with each iteration of their product even when the movies themselves are less memorable. Think of Fast & Furious or Transformers, hugely popular, even producing a great movie from time to time. Less often, is a franchise that produces a string of great films. Star Wars and James Bond have consistently brought viewers to the box office over decades. Many of those movies will be watched by generation after generation. Then there is the oddity, the financial dud that gets better ratings with time. The Shawshank Redemption didn’t impress on opening weekend. It didn’t have a surge after a limited release with great reviews. It did have a compelling story and superb acting providing the viewer an emotional experience. That experience allowed The Shawshank Redemption become one of the most well-regarded movies of recent history.

According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s and the narrative representation of character interaction (Branigan), and André Bazin’s arguments that the objective reality pressed against audience interpretation.

Spike Lee stayed very close to the original script, retaining its general concept and plot twists. However, the outcome of his adaptation is somewhat anemic, with the direction looking a bit detached from the story, despite the satisfying performance of Josh Brolin. The toned down violence did not help

“MOM! It’s not fair!” My youngest child yelled again. Alex continued with his exasperated three-year-old logic, “AJ got to watch Kung Fu Panda three times, and I only got to see it twice last night!” (A. G. Neff, personal communication, October 4, 2012). The consternation arose from my insistence that a different movie should be viewed other than the same one that had been continually playing on the television set for the previous three days. My children always love repeat performances, and ever since I had pulled the DVD out of the moving boxes and told them I needed to watch it as part of my own homework, it was as if no other film would satisfy (Cobb, Stevenson & Osborne, 2008).