No.359744
>The family of widow Ellen Brody (Lorraine Gary) has long been plagued by shark attacks, and this unfortunate association continues when her son is the victim of a massive great white. In mourning, Ellen goes to visit her other son, Michael (Lance Guest), in the Bahamas, where she meets the charming Hoagie Newcombe (Michael Caine). As Ellen and Hoagie begin a relationship, a huge shark appears off the coast of the island, and Ellen's trouble with the great whites begins again.
>This animated movie, featuring the popular children's characters, begins with orphanage manager Mr. Cherrywood (Mickey Rooney) telling a story about the Care Bears. In it, a young magician's assistant falls prey to an evil spirit (Jackie Burroughs) intent on destroying all happiness in the world. It is then up to a group of Care Bears, including Friend Bear and Love-a-Lot Bear, with help from a couple of orphans, to stop the spirit using their caring powers.
NEXT WEEKS THEMES:third world movie that is a remake of a movie from a different third world country & movie that assumes the earth is flat or some other thing that is generally known today to be false
No.359750
>>359744Didn't we already do Care Bears some months back?
No.359782
>>359750>>359769Let's watch the sequel then.
No.359834
The Revenge is so terrible in so many ways, I remember renting both 3D and this.
While 3D isn't a great movie it completely rapes The Revenge.
Complete disaster in it's production while 3 while hectic at least had some passion and fun ideas behind it.
No.359840
>>359834I remember 3 being the best one.
No.359916
>>359834Is Revenge the one where the shark from the first movie stalks the family and follows them to their new home on an island or something?
No.360035
>>359744Is the Care Bears movie kino? Has anyone actually watched it?
No.360037
>>360035Douge's review made me watch it, its so bad its actually pretty entertaining.
No.360091
>>360037You people are the worst when it comes to making a list of movies.
No.360125
Is modern America considered to be 3rd world
No.360465
Does Jaws Still Matter?
A fresh look at the blockbuster's semicentennial
by Armond White
Commemorating the 50th anniversary of Jaws, several reviewers revealed their indifference to art. (They ignore Robert Altman's profound American cavalcade Nashville, which was released concurrently.) Jaws deserves recognition - "It will entertain forever," I wrote in Make Spielberg Great Again. But there's a problem when journalists dutifully promote Hollywood marketing and merely praise Jaws for its impact on summer-movie habits.
In 1975, Jaws altered exhibition and distribution patterns, creating a blockbuster mentality that, with the release of Star Wars in 1977, is blamed for the infantilization of American film culture. Jaws isn't infantile; it's scary and intense according to exploitation movie formula, but Steven Spielberg elevated it from pulp in impressive ways - except for how it has been poorly imitated by industry schlock meisters. Those are the terms of National Geographic's new TV documentary Jaws @ 50: The Definitive Inside Story, featuring interviews with the likes of Emily Blunt, Guillermo del Toro, J. J. Abrams, James Cameron, Cameron Crowe, and Jordan Peele, who all represent the nadir of the pop-culture movie experience.
Universal Studios produced Jaws following the book-to-film strategy that Paramount had successfully manipulated with the Love Story and The Godfather blockbusters. Spielberg, at age 26, transformed Peter Benchley's bestselling novel through his ingenious kinetic and vernacular skills - visual wit that made American humor and primal fears hit home. (At the time, skeptics like myself missed that Spielberg transformed the action genre as Coppola had transformed the gangster saga.)
A souvenir of summer culture, Jaws endures as more than a film about a town and its citizens who are terrorized by a great white shark. Spielberg ignited pop-culture reflexes and touched on themes of family, fatherhood, childhood, and social consciousness.
Consider the startling, storyboarded angles of the July 4 sequence. After setting up the narrative of deadly shark attacks, Spielberg goes Eisensteinian, manipulating large, widescreen compositions and well-edited shots that would otherwise have been generic. According to legend, Jaws provoked Alfred Hitchcock to respond, "He doesn't think in terms of the proscenium."
And the immediacy that results - the horizon-line compositions with panicky beachgoers in the foreground - produced a visceral critique of leisure time of America's gathered crowds and chaos. The July 4 sequence is so striking, it demands a fresh interpretation: a comment on American bureaucracy. Chief Brody (Roy Scheider), a former NYC cop who hates the water, has escaped to a resort island and is responsible for keeping citizens safe. But Brody's fears of the dangerous city resurface through this new shark challenge.
Fifty years later, the great-white-shark dilemma parallels Melville's Moby-Dick as a pop phantom of the West's self-destruction. Brody's apprehension before July 4 presages what recent experience has shown us to be municipal corruption - the failed sanctuary-city policies that now endanger cops while Richard Dreyfuss's Matt Hooper, an oceanographer and marine biologist who helps Brody search for the menacing great white shark, represents the old Kennedy-liberal ideal: a wealthy, Ivy League humanist who cares for the safety of the masses, the prototype now ruined by Obama's disdain and the biased, oligarchic academies.
One New York tabloid described Jaws as being about "an irrational fear of sharks," a mistake misreading our actual, prevailing irrational fear - Trump Derangement Syndrome - that has ravaged our culture for the past decade. And the derangement of movie culture is consistent with that, as in the real-life horror of what recently wins endorsement - not just dreadful movies such as Sinners, Anora, The Brutalist, Emilia Pérez, Barbie, and Oppenheimer but the worst politicians, too.
A year after Jaws was released, a magazine essay cited it as an example of evolving movies and morals. It was uncannily prescient: "We're in a period when we know that most wrongdoing - the worst wrongdoing especially - isn't socially punished. And it's terribly apparent that the wrongdoers face no moral consequences." (The moral consequence that distinguishes the scene in which a grieving mother slaps Brody is unimaginable in a Millennial film.)
Those words signal our need to see Jaws in a new way that understands Spielberg's 1970s vision of "democracy" in sync with Altman's grand panoply in Nashville. In Jaws, Spielberg mixed his vision with corporate imperative. The personal, the professional, and the political combined in ways that the post-Jaws, comic-book-based CGI blockbusters that deny wildlife and the social instinct - the essence of cinema - still cannot match.