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E.T. the Extra-Terrestrial genre : Science Fiction, Adventure, Family, Fantasy
E.T. the Extra-Terrestrial crew : John Williams, Steven Spielberg, Steven Spielberg, Kathleen Kennedy, Jane Feinberg, Mike Fenton, Marci Liroff, Dennis Muren, Melissa Mathison, Allen Daviau
E.T. the Extra-Terrestrial release date : 4 July 19 2 6
E.T. the Extra-Terrestrial runtime : 115 Minutes
E.T. the Extra-Terrestrial Crew : John Williams, Steven Spielberg, Steven Spielberg, Kathleen Kennedy, Jane Feinberg, Mike Fenton, Marci Liroff, Dennis Muren, Melissa Mathison, Allen Daviau
E.T. the Extra-Terrestrial movie cast :
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After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien. E.T. the Extra-Terrestrial 1982 review : Watched with my wife, the 7th grader, and the kindergartner. I only kind of half watched... It's been a long week. I really wanted to check out my youngest's reactions.

Watching this with my 5 y.o. involved answering a lot of questions, but she LOVED it: wide eyed amazement, tears at the appropriate places, and shouts of "YEAH!!!" during the bike scenes.

Some of the animatronics are definitely dated, but it's weird seeing these older movies with kids so used to everything being CGI... Even my 7th grader said that some scenes seemed really realistic, which surprised me.
Dream work indeed.

An alien is stranded on Earth and a bunch of suburban kids attempt to help him get home.

It's amazing to think that such a simple and standard story would go on to become a global phenomenon. E.T.: The Extra-Terrestrial, directed by Steven Spielberg, blasted its way into pop culture and simultaneously became one of the most cherished films of all time. It's not hard to see why, for E.T. appeals to every member of the family, from the joyous set ups as E.T. stumbles around middle America suburbia, to the doses of magic so gleefully constructed by Spielberg's inner child. Those wishing to scratch away at the surface (and there are many who have previously) will find Spielberg affecting his picture with divorce subtexts (his parents divorce was known to upset him deeply), whilst the government "villains" show an astute aside to paranoia of the times and suspicions of political operatives.

Dee Wallace, Henry Thomas, Robert MacNaughton, Drew Barrymore and Peter Coyote star. The score, now famous and likely to bring about goose bumps with at the opening bars, is from John Williams, with cinematography coming from Allen Daviau. Shown in the main from a child's perspective, the film is still a wonder that charms and informs on repeat viewings. So much so that as it approaches its 40th birthday, its longevity and all encompassing appeal shows no sign of abating. Something that Spielberg and his crew can rightly feel very proud about. 9/10

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Pieces runtime : 85 Minutes
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Losing Ground genre : Drama, Comedy
Losing Ground crew : Kathleen Collins, Kathleen Collins, Kathleen Collins, Kathleen Collins, Ronald K. Gray, Ronald K. Gray, Ronald K. Gray, Eleanor Charles, Pepsi Bethel, Michael Minard
Losing Ground release date : 3 November 19 7 0
Losing Ground runtime : 86 Minutes
Losing Ground Crew : Kathleen Collins, Kathleen Collins, Kathleen Collins, Kathleen Collins, Ronald K. Gray, Ronald K. Gray, Ronald K. Gray, Eleanor Charles, Pepsi Bethel, Michael Minard
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Title : Poltergeist
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Poltergeist crew : Steven Spielberg, Steven Spielberg, Steven Spielberg, Kathleen Kennedy, Michael Kahn, Jane Feinberg, Mike Fenton, Marci Liroff, Frank Marshall, Richard L. Anderson
Poltergeist release date : 19 April 19 8 2
Poltergeist runtime : 114 Minutes
Poltergeist Crew : Steven Spielberg, Steven Spielberg, Steven Spielberg, Kathleen Kennedy, Michael Kahn, Jane Feinberg, Mike Fenton, Marci Liroff, Frank Marshall, Richard L. Anderson
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Steve Freeling lives with his wife, Diane, and their three children, Dana, Robbie, and Carol Anne, in Southern California where he sells houses for the company that built the neighborhood. It starts with just a few odd occurrences, such as broken dishes and furniture moving around by itself. However, when he realizes that something truly evil haunts his home, Steve calls in a team of parapsychologists led by Dr. Lesh to help before it's too late. Poltergeist 1982 review : One of the biggest moments of my childhood was seeing _Poltergeist_ for the first time at 7 years old. I saw it on a 4:3 set on a very old DVD in my parents' bedroom, after my mom had recently come home from the hospital after surgery. One night, my dad came home from the library with some DVDs, and one of them was _Poltergeist_.
I popped it into the DVD player without hesitation as I'd wanted to see it since I was 5. I knew from the moment it started, _Poltergeist_ was going to be a great movie, but little did I know it would become my favorite movie of all time, and I'd want to experience it again and again.
Craig T. Nelson and JoBeth Williams star in this classic as Steve and Diane Freeling, who live with their three children, 16-year-old Dana (Dominique Dunne), 8-year-old Robbie (Oliver Robins), and 5-year-old Carol Anne (Heather O'Rourke) in Cuesta Verde, CA, soon learn that their home is haunted, and that the spirits talk to Carol Anne through their television. Everything seem normal at first. Dana gives construction workers the finger and talks on the phone later than she's supposed to, Robbie is a huge Star Wars fan, and Carol Anne feeds her goldfish an entire tube of food. One night, a tree tries to eat Robbie, but they quickly save him. When the ghosts kidnap Carol Anne through the closet, they are forced to fight the evil spirit that holds their daughter if they ever want to see her again.
Well-acted, well-written, and well-directed, with great special effects, _Poltergeist_ is, in my opinion, the greatest ghost story of all time. Let's start with the acting. The way lines are said, the facial expressions, body language, everything about the characters feels real. Craig T. Nelson's performance as Steve is the most real dad in a movie I've ever seen. JoBeth Williams' performance as Diane is the most real mom in a movie I've ever seen. Heather O'Rourke gives the best performance by a 5-year-old I've ever seen. Zelda Rubinstein is also great. It doesn't even seem like they're acting. The performances are top-notch.
The special effects still hold up, because they still look real.
The plot is still _very_ original, because it's set in modern suburban America, and it's about a normal family that loves each other, rather than an abusive husband and father.
_Poltergeist_ is so well-written that nobody has to die, nor does it have to be gory to keep us on the edge of our seats.
Hooper and Spielberg keep it subtle by hardly showing the ghosts.
_Poltergeist_ features a great plot, great acting, great directing, and great writing. I can't recommend _Poltergeist_ enough. _Poltergeist_ **is** a kid's movie, so it's not all that scary, though there are scenes that may scare you or creep you out, but you won't be scarred for life. In the end it really is a fun thrill ride. It's a movie every kid must see by the time they're 8 years old. For some reason, I find myself trying, sometimes unsuccessfully, to hold back tears every time I see it.
_Poltergeist_ is my favorite movie of all time, it truly is a great classic, and it still holds up after over 30 years as its message is still relevant today. _Poltergeist_ tells the story of a family nothing can tear apart. It's a classic good versus evil story, a story of perseverance in spite of your worst fears coming to light, and holding it together in spite of everything seeming to fall apart. It's about never giving up hope. When I watched Craig T. Nelson, I saw my dad on that screen, and I see him on that screen even more now. When I watched JoBeth Williams, I saw my mom on that screen, and I see her on that screen even more now. Your experience might not be exactly like this, but there's no denying that this movie is awesome. I know you're probably worried because of things you've read online about it being scary, gory, or boring, but don't be. The violence is never gory. The occasional cursing never gets too bad. Despite everything that happens, there's a sense of hope that stays the entire movie. Let your kids see it. They'll thank you.
We know it as the beast.

The Freeling family are happy and functioning perfectly well until one night their youngest daughter announces that thru the TV, the supernatural are here!

Poltergeist divides the horror crowd big time, the gore fans are simply not impressed by the events in the film, while ghostly supernatural fans such as myself see it as a wasted opportunity. But strip away the flashy production and you start to see the core joke of kids infatuation with the goggle box, so yes, the film could easily be titled under the banner of being a Black Comedy. But be that as it may, and lets not be under any illusions here that, Poltergeist is not a knowing wink wink horror film of substance, the film really could have been a truly terrifying piece of work to cater for all tastes, and I firmly believe that that was the main intention of the makers from the off.

Thus lies the chief problems with Poltergeist, it tries so hard to cover all bases it gets that confused to the point it veers from tedium to shock and back again before you have time to digest, and it kills what should have been a genre masterpiece. There are moments in the film that chill the blood, the sense of creeping menace hangs heavy during a storm, a toy clown becomes evil personified just by being lit in the stormy light, and then? Well it violently switches to something involving a tree that wouldn't be fit for Creepshow 27! On the film goes, suspense with chairs and pieces of meat, and then BAM...monster time! It just doesn't work, it's a collage of genre splicing that both director Tobe Hooper & producer Steven Spielberg are firmly to be held responsible for, because it's obvious that both their signature's clash to create an uneasy bedfellow.

Yet as uneven as it is, and as blatantly plagiarised as it is of Twilight Zone episode Little Girl Lost, I still find myself enjoying watching Poltergeist, with its slick production and some memorable moments; the clown, poor darling Heather O'Rourke saying "they're here", the first chair sequence, and the always creepy Mrs. Tuthill, all things that help to make it a frustratingly enjoyable nights viewing. 6/10

Just don't go into the light afterwards I guess...
Like most of my contemporaries, I remember as a kid staying up late at night during the AMC Halloween horror movie marathon week (or was it a complete 31 days?) and watching the Freeling family get spooked by some O. G. paranormal activity; watching their house turn into a portal for spirits, some of which abducting their youngest daughter.

Unlike some of my contemporaries, I'm very split on this film. As a fan of the genre, horror always intrigues me, even when it's done poorly/reuses the tired tropes. When rewatching _Poltergeist_ for what seems to be the twentieth time - now in my early twenties - the movie seems dated, to the point where what made it bone-chilling in the first place, seems calm and a little ridiculous. Perhaps I'm desensitized to this type of movie. Perhaps I'll appreciate it more when I do have a family, when I _am_ Craig T. Nelson. But currently, the film struggles against its pacing, unconvincing effects (see scene in the children's room where the closet tries to vacuum them up, and the "face" scene - you'll know), and the nature of it attempting to be both family friendly and a horror movie. Sustained over the years since its release, however, are the performances by the cast, specifically the parents.

Overall, it's still a fun film; but because of some considerable flaws, it hasn't aged too well. Recommended for kids? - Hell yes. How else are they going to attain the fear of clowns?
This movie holds a special place in my heart. Yes, by the standards of 2020 the special effects could be better. But we've seen the remake so we know new does not always mean improved.

This is what I like in a horror movie. Suitable for older kids as well. As much as I appreciate R rated horror, I like PG-13 better. Because, like this movie, PG-13 focuses much more on story and characters. The fear of the family and all the emotions in this movie feel genuine to me. Even watching it today, I don't find the acting to be over the top. Much of what people see in this movie has become a trope, but for many of my generation, you saw it here first.

The score of the movie and the famous line of "They're Here" will always be an important part of our pop culture as much as the shower scene in "Psycho"

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Blade Runner genre : Science Fiction, Drama, Thriller
Blade Runner crew : Brian Tufano, Ridley Scott, Michael Deeley, Philip K. Dick, Philip K. Dick, Hampton Fancher, Jordan Cronenweth, Vangelis, Lawrence G. Paull, Jane Feinberg
Blade Runner release date : 6 September 19 3 0
Blade Runner runtime : 118 Minutes
Blade Runner Crew : Brian Tufano, Ridley Scott, Michael Deeley, Philip K. Dick, Philip K. Dick, Hampton Fancher, Jordan Cronenweth, Vangelis, Lawrence G. Paull, Jane Feinberg
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In the smog-choked dystopian Los Angeles of 2019, blade runner Rick Deckard is called out of retirement to terminate a quartet of replicants who have escaped to Earth seeking their creator for a way to extend their short life spans. Blade Runner 1982 review : **Planet Noir**

I declare _Blade Runner_ the best sci-fi movie of all time. Arguments? No? Okay. So long. Please upvote the guest book on your way out.

WAIT! There's more. At the risk of whistling conspiracies and setting off inappropriate vibrations in your slacks, you see, this Ridley K. Dick concoction is going on right now. While we're all transfixed by the endlessly goofy droppings from the web, forever staring down and swiping things on our smarty-pants phones, retweeting selfies of infinitely mirrored selfies; proliferating at light speed, every aspect of humanity is being replicated, perfected, mechanized, optimized, upgraded, fortified, robofied, Googlized, quantumized, DNA'd and NSA'd and will soon converge to fall upon and supplant us, and Harrison Ford, despite looking trim for his years, will be too old to stop it! And the irony to end all ironies is that we, as the irresponsibly arrogant, over-infested and narcissistic caretakers and consumers, and the colossal defecators of this broken-down, flea-bag of a planet, are entirely fundamentally responsible. No, the irony of all ironies is that a world exclusively dominated by self-correcting technocratic cyborgs with zettabytes of artificial intelligence will be a vast improvement. The androids are saving the planet! AHHH, run for your life! Blade Runner is both an expired cautionary tale and emerging utopian fantasy.

Oh, you knew this already? Very well. Carry on. Enjoy your self-driving cars and virtual nature tours.
Retirement - Replicants - Resplendent.

Blade Runner is one of those glorious films that has gained in popularity the older it has gotten. Ridley Scott's follow up to the critical and commercial darling that was Alien, was by and large considered a flop and damned for not being a science fiction action blockbuster. There was of course some fans who recognised its many many strengths during the initial weeks of its 1982 release, but many who now claim to have loved it back then are surely looking sheepishly in the mirror these days, for the hard-core minority of 82 fans remember it very differently.

Remember the spider that lived outside your window? Orange body, green legs. Watched her build a web all summer, then one day there's a big egg in it. The egg hatched...

Anyway, that's by the by, the point being that a film can sometimes be ahead of its time, misunderstood or miss-marketed, Scott's masterpiece is one such case. Story, adapted in fashion from Philip K. Dick's story, Do Androids Dream of Electric Sheep? Is pretty simple. It's a dystopian Los Angeles, 2019, and there are four genetically engineered Replicants - human in appearance - in the city, which is illegal. They were designed to work on off-world colonies, any Replicant who defies the rules will be retired by special police assassins known as Blade Runners, and Blade Runner Rick Deckard (Harrison Ford) is on this case. A case that will prove to have many layers...

A new life awaits you in the Off-world colonies! A chance to begin again in a golden land of opportunity and adventure!

Ridley Scott gets to have all his cakes to eat here, managing to blend intriguing science fiction with film noir. That the visuals are outstanding is a given, even the film's most hardest critics grudgingly acknowledge this to be an eye popping piece of visual class - the mention of eyes is on purpose since it's forms a key narrative thread. That it is awash with eye orgasms has led to critics calling a charge of beauty over substance, but the deep themes at work here tickle the brain and gnaw away at the senses.

Quite an experience to live in fear, isn't it? That's what it is to be a slave.

Mood is set at perpetually bleak, a classic film noir trait, and paced accordingly. Scott isn't here to perk anyone up, he's here to ask questions whilst filtering his main characters through a prism of techno decay, of humanity questioned to the max, for a film so stunning in visuals, it's surprisingly nightmarish at its core. The emotional spine is ever present, troubled when violence shows its hand, but it's there posing an intriguing question as the Replicants kill because they want to live. And this as our antagonist, Deckard (Ford a brilliantly miserable Marlowe clone), starts to fall for Rachael (a sensually effective femme fatale portrayal), one of his retirement targets.

Tears in the Rain.

As Rutger Hauer (never better) saunters more prominently into the story as head Replicant Roy Batty, the pic evolves still more. Haunting lyricism starts pulsing away in conjunction with Vangelis' rib shaking techno score, while Jordan Cronenweth's cinematography brings Scott's masterful visions to life, key characters one and all. Visuals, aural splendour and dark thematics - so just what does it mean to be human? - Indeed, curl as one in a magnificent cinematic achievement. A number of cuts of the film are out there, and all of them have fans, but Scott's Final Cut is the one where he had total artistic control, and the scrub up job across the board is quite literally breath taking. 10/10
The movie's story didn't do much for me, however I did find parts of it confusing. After watching it I found out that I watched the "Final Cut" which has a completely different ending and different implications from the theatrical release. I didn't understand those implications...I needed to look up the ending online. Whether that's because the movie is confusing or I'm dumb, I can't say. But my friend I watched it with didn't understand it either.

After looking up the end's meaning, I did find it a bit more satisfying. But the main reason this movie is worth watching is the visuals. Not sure I'd watch it again any time soon though.
Some people will say this classic sci-fi "has nothing to offer other than overrated cult-status". To that, I would respond, "it has Rutger Hauer on a rooftop, and that's enough for me".

_Final rating:★★★★ - Very strong appeal. A personal favourite._

(3.5 for the Theatrical Cut, 4.0 for the Final Cut)
I have only viewed the Final Cut, and judging by reviews elsewhere this is possibly the most complete and satisfying version of them all.

I cannot truthfully say I am in awe with this film as I found it quite plodding at times. But having said that the visionary aspects, the bleak surrounds, and the air of hopelessness that permeates throughout most of the film is exceptionally well done.

I would hazard a guess it wasn't a big success at the box office back in 82/83 chiefly because of the likes of ET, and Raiders of the Lost Ark, Return of the Jedi and quite a few other adventure/SF films of the time pushing this film into a dark corner. Another reason could be because it was too slow for those brought up on Star Wars; or just too unengaging for those looking at it from a murder-mystery perspective (I recall reading that the original version had Ford do a Marlowesque voice over).

An impressive film for all that, with some delightful special effects, and a decent performance from Ford. But of course for me the true delight was Roy's "Time to Die" speech at the end. If there was an Oscar for best speech in a film, he would have won it with ease!

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