Blade Runner is another one, the final part of the scene with Deckard and Rachael in his apartment.
Various people involved in the making of the film (including Ridley Scott) have since expressed regret at how that scene turned out. (Source: the commentaries on the Blu-ray.)
If we're talking about rapey films, then Rocky's first date with Adrian made me incredibly uncomfortable
He bothers her at her work for ages, then Paulie forces her to go out on their date, and then Rocky physically bars her from leaving his apartment
It's not Revenge of the Nerds levels of awful, but pretty fucking sketchy
Rocky was almost 45 years ago now. It's crazy how some conventions of interaction have changed in that time. I find anything before at least the 90s is often real side-eye worthy.
both Jeff Bridges and John Goodman will not be in the movie, nor will the Coen Brothers have any hand in the production
I will not abide this fucking... aggression, man!
DanHibiki on
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AstaerethIn the belly of the beastRegistered Userregular
None of those three examples are quite on the same level, I’d say
RotN presents rape by deceit as a harmless prank
In Rocky, the idea is that Talia is so shy and socially inhibited that Rocky has to be persistent, if not forceful, to get through her personal barriers, which is a problematic concept but probably not rape within the context of the story
In Blade Runner, Deckard assaults Rachael, and that’s not really what the movie thinks is happening. It thinks, I suppose, that it’s okay for him to behave in a physically intimidating way, because as an artificial being she’s never done anything like this before and so he has to lead her through it, because she’s technically only a few years old and oh god it just keeps getting worse
In conclusion, I regret writing this post about how all not-supposedly-rape scenes are unique snowflakes
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
In Blade Runner, Deckard assaults Rachael, and that’s not really what the movie thinks is happening. It thinks, I suppose, that it’s okay for him to behave in a physically intimidating way, because as an artificial being she’s never done anything like this before and so he has to lead her through it, because she’s technically only a few years old and oh god it just keeps getting worse.
The scene could almost, almost work as the bitterest kind of self-aware irony. It is a queasy, supremely uncomfortable scene, and the blatant rapeyness in combination with Vangelis' OTT romantic saxophone tune could almost be read as a comment on how such scenes have been played in the past as romantic but how they're really anything but. But sadly there is nothing in what follows that supports that reading.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
it was acceptable in the 80s
it was acceptable at the time
I lived through and still unironically love the 80s, but a lot of it was Not Good. And that's not even getting into AIDS or nuclear annihilation, the two looming background anxieties of my adolescence.
I'd like to point out that in the context of 80s comedy sex capades, Venkmen's behavior in Ghostbusters is relatively benign.
When Dana is clearly not in her right mind, and might even appear intoxicated (I don't think he knows she's possessed at the time), he makes a point of not taking advantage and just trying to get her safe in her home.
(I think I'm remembering it right, it's been a while.)
By '80s movie standards that almost qualifies him for sainthood.
I'd like to point out that in the context of 80s comedy sex capades, Venkmen's behavior in Ghostbusters is relatively benign.
When Dana is clearly not in her right mind, and might even appear intoxicated (I don't think he knows she's possessed at the time), he makes a point of not taking advantage and just trying to get her safe in her home.
(I think I'm remembering it right, it's been a while.)
By '80s movie standards that almost qualifies him for sainthood.
Though him using his University position to get with students (by lying to them) was not good.
Does Caddyshack have anything intolerable by modern standards in it? I'm drawing a blank, or rather, I'm stuck every time I recall any scene with Rodney Dangerfield and start giggling like a madman.
Does Caddyshack have anything intolerable by modern standards in it? I'm drawing a blank, or rather, I recall any scene with Rodney Dangerfield and can't stop giggling like a madman.
It features Golf prominently.
I would like some money because these are artisanal nuggets of wisdom philistine.
Does Caddyshack have anything intolerable by modern standards in it? I'm drawing a blank, or rather, I recall any scene with Rodney Dangerfield and can't stop giggling like a madman.
....I dont think so?
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TexiKenDammit!That fish really got me!Registered Userregular
Caddyshack top 10 movie nothing wrong with it. Kenny Loggins, Journey, Earth Wind and Fire and a madonna with meatballs.
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AstaerethIn the belly of the beastRegistered Userregular
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
Except the Stay Puft Man is Ray's childhood manifestation, not Venkman's. Also, Venkman did not come up with the idea to close the doors, Egon did.
it was fine. Good, even! I actively enjoyed it. There was a pervasive feeling, though, of "here's some more Toy Story" in the movie. Like it was made for that and not because there was really enough more to say that it justified itself as a story. At least given the looming shadow of the previous movie's perfect ending.
Perhaps the fact that it was still good given that obstacle is an impressive enough feat.
Also, this has probably been talked about already, but two horrifying implications:
near the beginning of the movie, when the toys are shoved in the closet, one of them has the line "it's getting warm in here" as if them all being stuffed in such an enclosed space in such proximity is making the closet warmer. Implying that the toys have some form of warm blooded metabolism.
also, the "bringing a spork to life" thing was handled fine, even though I think Toy Story getting this meta made it seem older and more tired, to me. What got to me was that Forky remembered he was trash. Meaning trash is, on some level, sentient?
Joking aside, the movie gets a solid "better than I though it'd be" out of ten.
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
Except the Stay Puft Man is Ray's childhood manifestation, not Venkman's. Also, Venkman did not come up with the idea to close the doors, Egon did.
Also Venkman goes back to his snarky self not taking anything seriously. ‘He’s a sailor, we get this guy laid we won’t have any problems’.
Somehow the only Jarmusch feature prior to The Dead Don't Die that I've never got around to. This one's vignette driven, not unlike Coffee and Cigarettes: 5 different taxis in 5 different cities (L.A., New York, Paris, Rome, Helsinki) that serve as a means for different types of people to interact with one another across classes and races and dispositions. It's really difficult to see a film as vignette driven as this and avoid comparing the sequences to one another, which always feels weirdly unfair to me. In a more standard three-act story we really don't think of it in parts as they're causally linked with a protagonist and all that. I guess I'll say that, for the disparate locations and dramatic intentions of each segment, Jarmusch does a good job staying stylistically consistent. Though each camera setup for each taxi is marginally different, there's a similar quality of light and actor-first direction; and the framing devices, from the kitsch clocks and globes to the location shots of each city before the players are introduced are effective.
But just gut-level reaction here: only two of the segments are worth seeing. Winona Ryder bungles her role as a street-smart greasemonkey type in the L.A. section, the Paris part starts interesting but becomes languid and pensive as it moves on, and then Rome is the Roberto Begnini show. I guess mileage varies on the last one but even if you love the guy, it's the least interesting driver-customer relationship of the bunch. New York and Helsinki (both the coldest locations) have more interesting dialogue, a more interesting relationship between the characters and their surroundings, and are situated at either end of comedy (NY) and drama (Helsinki) comfortably. 2/5 isn't great, so I'll just say I didn't like it overall.
I mean he punished the actual psychic to get with the not psychic lady. Peter was the real villain of ghostbusters.
This is all part of the arc, though.
Ghostbusters:
Venkman is introduced as somebody who doesn’t really believe in what he’s doing, and for that reason he uses his position as a figure of scientific authority to manipulate and pursue women and (once they found the company) to make a profit. He does this in the psychic test, he does it when he meets Dana (the phallic air tester makes the connection between science and how he uses it), he does it with the hotel.
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
Except the Stay Puft Man is Ray's childhood manifestation, not Venkman's. Also, Venkman did not come up with the idea to close the doors, Egon did.
Also Venkman goes back to his snarky self not taking anything seriously. ‘He’s a sailor, we get this guy laid we won’t have any problems’.
That's pretty obviously him putting on a brave face.
Rip Torn died. Given his propensity for getting into fights and drinking it's a miracle the stubborn old bastard got to 88, but well done anyway, Rip. More than once while watching him in Dodgeball I was unable to breathe from laughing so hard.
Necessary? Is it necessary for me to drink my own urine? No, but I do it anyway because it's sterile and I like the taste.
I'd like to point out that in the context of 80s comedy sex capades, Venkmen's behavior in Ghostbusters is relatively benign.
When Dana is clearly not in her right mind, and might even appear intoxicated (I don't think he knows she's possessed at the time), he makes a point of not taking advantage and just trying to get her safe in her home.
(I think I'm remembering it right, it's been a while.)
By '80s movie standards that almost qualifies him for sainthood.
It took until I was in college before I understood why Rick Moranis came out of his apartment when Peter closed the door to Dana's apartment.
Rip Torn died. Given his propensity for getting into fights and drinking it's a miracle the stubborn old bastard got to 88, but well done anyway, Rip. More than once while watching him in Dodgeball I was unable to breathe from laughing so hard.
Necessary? Is it necessary for me to drink my own urine? No, but I do it anyway because it's sterile and I like the taste.
Huh. I don't keep track of it, but I had assumed he'd already died, which was why he didn't appear in MiB3.
Freddie Jones has died as well. Thufir Hawat in David Lynch's Dune, but he was in a million movies and TV shows, and was never less than eminently entertaining.
Posts
Various people involved in the making of the film (including Ridley Scott) have since expressed regret at how that scene turned out. (Source: the commentaries on the Blu-ray.)
Steam | XBL
Rocky was almost 45 years ago now. It's crazy how some conventions of interaction have changed in that time. I find anything before at least the 90s is often real side-eye worthy.
Ah, yep, this is what I was thinking of. Thanks!
Nintendo Network ID - Brainiac_8
PSN - Brainiac_8
Steam - http://steamcommunity.com/id/BRAINIAC8/
Add me!
I will not abide this fucking... aggression, man!
RotN presents rape by deceit as a harmless prank
In Rocky, the idea is that Talia is so shy and socially inhibited that Rocky has to be persistent, if not forceful, to get through her personal barriers, which is a problematic concept but probably not rape within the context of the story
In Blade Runner, Deckard assaults Rachael, and that’s not really what the movie thinks is happening. It thinks, I suppose, that it’s okay for him to behave in a physically intimidating way, because as an artificial being she’s never done anything like this before and so he has to lead her through it, because she’s technically only a few years old and oh god it just keeps getting worse
In conclusion, I regret writing this post about how all not-supposedly-rape scenes are unique snowflakes
I deliberately try to avoid anywhere within 10 miles of the beach during spring break.
16 years.
twitch.tv/Taramoor
@TaramoorPlays
Taramoor on Youtube
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
pleasepaypreacher.net
pleasepaypreacher.net
it was acceptable at the time
I lived through and still unironically love the 80s, but a lot of it was Not Good. And that's not even getting into AIDS or nuclear annihilation, the two looming background anxieties of my adolescence.
When Dana is clearly not in her right mind, and might even appear intoxicated (I don't think he knows she's possessed at the time), he makes a point of not taking advantage and just trying to get her safe in her home.
(I think I'm remembering it right, it's been a while.)
By '80s movie standards that almost qualifies him for sainthood.
Steam | XBL
I was about to ask
maybe this is why she hates the movie
Nah she hated it before I made the obvious joke.
pleasepaypreacher.net
Though him using his University position to get with students (by lying to them) was not good.
It’s not a very important country most of the time
http://steamcommunity.com/id/mortious
pleasepaypreacher.net
It features Golf prominently.
pleasepaypreacher.net
....I dont think so?
This is all part of the arc, though.
Ghostbusters:
This whole process is connected to the (comedically sexual) idea of blockage. Over the course of the movie Venkman’s attempts to achieve sexual and financial success are continually frustrated—the university throws him out, Dana turns out to be a literal dog, and while even Egon is getting laid (not to mention the mostly-deleted sequence where Ray gets a ghost-job), Peter reluctantly ends up treating the possessed, seductive Dana with respect. Venkman’s drives are labeled as immaturity (especially by Dana, who mocks him, calling him a game show host, for example) and unprofessionalism, and this includes his decision to needlessly antagonize the EPA official when the man comes to visit. So these base desires are frustrated by Peter’s immaturity, resulting in the EPA official returning and causing an unfortunate, premature explosion of all the energy Peter and his friends have been storing up, wink wink, and now it’s all over the city wreaking havoc.
By the end of the film, seeing how dire the situation is, Venkman has risen to the occasion, and starts acting like a real hero. First by convincing the mayor to let them act selflessly (“If I’m wrong, we’ll go to prison, quietly, we’ll enjoy it”). (Given the film’s capitalistic underpinnings, it wouldn’t have been out of place for the Ghostbusters to negotiate a big fee for trying to save the city—except that it wouldn’t make sense for Peter’s arc at this point.) Then by leading the team against Zuul (“Let’s show this prehistoric bitch how we do things downtown”).
The gang shoot their guns off at this very feminine demon, but again, no result—still blocked. Gozer is summoned, but summoned as a fearsome icon of childhood gratification—a symbolic representation of Venkman’s childish drives, now made manifest and huge and disastrous for everyone around him, the way his internal drives have been operating. Venkman solves this problem with science and heroism (“Cross the streams...”), risking his life and in the process, finally proving himself as a scientist. The childhood icon is annihilated, the blockage releases, and everyone ends up covered in goopy white... um, marshmallow. Cue Ray Parker, Jr.
Man, what?
God I love your film analysis.
Except the Stay Puft Man is Ray's childhood manifestation, not Venkman's. Also, Venkman did not come up with the idea to close the doors, Egon did.
it was fine. Good, even! I actively enjoyed it. There was a pervasive feeling, though, of "here's some more Toy Story" in the movie. Like it was made for that and not because there was really enough more to say that it justified itself as a story. At least given the looming shadow of the previous movie's perfect ending.
Perhaps the fact that it was still good given that obstacle is an impressive enough feat.
Also, this has probably been talked about already, but two horrifying implications:
also, the "bringing a spork to life" thing was handled fine, even though I think Toy Story getting this meta made it seem older and more tired, to me. What got to me was that Forky remembered he was trash. Meaning trash is, on some level, sentient?
Joking aside, the movie gets a solid "better than I though it'd be" out of ten.
Also Venkman goes back to his snarky self not taking anything seriously. ‘He’s a sailor, we get this guy laid we won’t have any problems’.
Somehow the only Jarmusch feature prior to The Dead Don't Die that I've never got around to. This one's vignette driven, not unlike Coffee and Cigarettes: 5 different taxis in 5 different cities (L.A., New York, Paris, Rome, Helsinki) that serve as a means for different types of people to interact with one another across classes and races and dispositions. It's really difficult to see a film as vignette driven as this and avoid comparing the sequences to one another, which always feels weirdly unfair to me. In a more standard three-act story we really don't think of it in parts as they're causally linked with a protagonist and all that. I guess I'll say that, for the disparate locations and dramatic intentions of each segment, Jarmusch does a good job staying stylistically consistent. Though each camera setup for each taxi is marginally different, there's a similar quality of light and actor-first direction; and the framing devices, from the kitsch clocks and globes to the location shots of each city before the players are introduced are effective.
But just gut-level reaction here: only two of the segments are worth seeing. Winona Ryder bungles her role as a street-smart greasemonkey type in the L.A. section, the Paris part starts interesting but becomes languid and pensive as it moves on, and then Rome is the Roberto Begnini show. I guess mileage varies on the last one but even if you love the guy, it's the least interesting driver-customer relationship of the bunch. New York and Helsinki (both the coldest locations) have more interesting dialogue, a more interesting relationship between the characters and their surroundings, and are situated at either end of comedy (NY) and drama (Helsinki) comfortably. 2/5 isn't great, so I'll just say I didn't like it overall.
That's pretty obviously him putting on a brave face.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
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It took until I was in college before I understood why Rick Moranis came out of his apartment when Peter closed the door to Dana's apartment.
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Huh. I don't keep track of it, but I had assumed he'd already died, which was why he didn't appear in MiB3.
Very NSFW language.
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