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#Joshua Rudoy
theoscarsproject · 4 months
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Harry and the Hendersons (1987). The Henderson family adopt a friendly Sasquatch but have a hard time trying to keep the legend of 'Bigfoot' a secret.
The 80s really loved their family creature features, huh? This is mmm, not one of the better ones, between the underdeveloped family relationships and the too-light sitcom feel, but John Lithgow's always more fun than it feels like he has any right to be, and the Harry suit genuinely is a terrific technical feat, so an extra half star for them. 5/10.
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duranduratulsa · 3 months
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Now showing on DuranDuranTulsa's Flashback Theater 🎥... Harry And The Hendersons (1987) on classic DVD 📀! #movie #movies #comedy #bigfoot #sasquatch #HarryandtheHendersons #JohnLithgow #KevinPeterHall #MelindaDillon #donameche #lainiekazan #memmetwalsh #DebbieLeeCarrington #joshuarudoy #dvd #80s #durandurantulsa #durandurantulsasflashbacktheater
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adamwatchesmovies · 2 years
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Harry and the Hendersons (1987)
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I’ve had some bad experiences with Bigfoot movies. I remember enjoying Abominable, which is basically Rear Window with a Skunk Ape. Sasquatch, with Lance Henriksen is so bad you’re better off forgetting it. Most examples of the "genre" either fall into the offensive category. At best you'll get something so bad it's good again (I recommend Nightclaws if that’s what you’re looking for). After all these horror movies, it was a surprise to find a gentle, family friendly and charming Abominable Snowman film in the form of Harry and the Hendersons even more surprising is that it's good!
While on a family hunting/camping trip, the Hendersons – father George (John Lithgow), mother Nancy (Melinda Dillon) and their two children Sarah (Margaret Langrick) and Ernie (Joshua Rudoy) – hit a Sasquatch with their car. Unaware that it’s merely knocked out, they strap it to the roof of their vehicle and bring it home.
Created by Rick Baker, “Harry” is a marvellous special effect. You can’t tell whether it’s someone in a suit and makeup or an elaborate electronic. I’m sure it’s a mixture of both but the creature’s movements, its facial expressions, the way it’s shot make it completely convincing. If I didn’t know any better, I’d swear they actually had a Sasquatch on-screen.
This is not a frightening film at all, but if you’re looking to make one, you’ve got to see the way director William Dear handles Harry. You are slowly teased the design. As the Hendersons peer over what they think is a carcass that would send any cryptozoologist into an ocean of ectasy, you see just enough to wet your appetite. You’ll be on your tiptoes trying to peer over the edge of your TV to see Harry’s face and when they finally show the creature in its full glory, you’re blown away. The special effects give Harry a wonderfully expressive face that conveys emotions you instantly relate to. Even without any dialogue, Harry becomes an instantly lovable entity.
The film also features a surprisingly strong character arc for John Lithgow’s character, George. A run-of-the-mill picture would have an obvious change that goes something like this: at first, he doesn’t like Harry. Maybe he wants to kill, or sell the creature for money. By the end, he’d consider Harry a friend or a member of the family. In Harry and the Hendersons, the character is deeper than that. We learn about George's relationship with his father (M. Emmet Walsh), what made him the man he is today and where he’ll go in the future. John Lithgow is a great actor and it’s satisfying to see that he isn’t simply walking around in a dumb role while shenanigans happen around the house. There’s a moment where he spends time drawing a promotional poster for his father’s store and the way that plays out hit a strong cord with me.
There are plenty of laughs and warm emotions found throughout the film. Even the villains are not really that bad and the conclusion resists the obvious, lame decisions we often see in children’s films. Instead, it opts for the right choice and pursues the tone it’s had throughout all the way through.
I’m not going to call the picture a classic. You can’t help but compare the film to E.T. and this just isn't on that same level. Some of the characters are dropped halfway through and not all of the jokes work… but that’s ok. It's the perfect pick for a family movie night that includes both the young and the old. (On VHS, April 24, 2018)
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brokehorrorfan · 2 years
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4K Ultra HD Review: Flatliners
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While the 2017 Flatliners reboot proved to be dead on arrival, the 1990 original still has life in it. Director Joel Schumacher (The Lost Boys, Batman Forever, Batman & Robin) brings the candy-colored visuals with which he was synonymous to a medical school’s gothic architecture. He and cinematographer Jan de Bont (Die Hard, The Hunt for Red October) use neon blue lighting as a bad omen, while warm colors are reserved for more uplifting emotions; a stark contrast to the reboot's glossy, modern science fiction aesthetic.
In the film, ambitious-to-a-fault medical student Nelson Wright (Kiefer Sutherland, The Lost Boys) convinces four of his brightest classmates - pragmatic atheist David Laccio (Kevin Bacon, Tremors), the brooding Rachel Mannus (Julia Roberts, Pretty Woman), womanizer Joe Hurley (William Baldwin, Backdraft), and the humorously bookish Randy Steckle (Oliver Platt, Lake Placid) - to assist him in a reckless experiment in the pursuit of scientific advancement and fame.
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With the aid of his friends, Nelson is clinically dead for one minute “to see if there’s anything out there beyond death” before being resuscitated. It miraculously works, leading them to attempt to outdo one another by going longer and longer before being revived. Although they return in fine physical health, they begin to suffer from nightmarish visions in which physical manifestations of those they wronged in the past come back to haunt them - literally.
Flatliners never quite achieves the full potential of its ingeniously simple premise, although it's not difficult to understand why Peter Filardi’s (The Craft) well-researched spec script caused a bidding war before selling to Columbia Pictures for $450,000. It becomes a tad redundant, but like the characters in the film, a desire to glimpse at the afterlife sustains viewers' intrigue. The compelling story is bolstered by the star-studded cast, kinetic direction, and hyper-stylized visuals.
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To make the film more dynamic, Schumacher and de Bont smartly opted to shoot it as if it was an action movie. Schumacher also moved the story from its original setting of Boston to Chicago. On-location filming lent the city's baroque architecture and gritty aesthetic, while Eugenio Zanetti (Last Action Hero, What Dreams May Come) adds salient production design.
Although more of a thriller than a horror movie, Flatliners' genre elements are strong in the visions that the characters experience once revived, occasionally bringing to mind the likes of A Nightmare on Elm Street. But at the core of the story is drama - exploring themes of karma, atonement, and redemption - with a rather life-affirming message. The emotionally resonant score, composed by James Newton Howard (The Hunger Games, The Sixth Sense), traverses between the film’s exploration of beauty and horror in the afterlife.
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With all five actors electrifying the screen in the primes of their careers, the ensemble cast feels like an extension of the brat pack. (Sutherland jokingly referred to the film as The Breakfast Club Dies and St. Elmo's Funeral.) Sutherland is as perfectly arrogant as he was in his previous Schumacher collaboration, The Lost Boys. Roberts had already filmed her breakout role in Pretty Woman but it hadn't come out yet (it would release five months prior to Flatliners). Bacon credits the film with reviving his career, as he had a string of underperformers following the success of Footloose.
The supporting players include child actor Joshua Rudoy (Harry and the Hendersons) as the boy who haunts Nelson and Hope Davis (About Schmidt) in her film debut as Joe's fiance, along with Kimberly Scott (The Abyss), Patricia Belcher (Jeepers Creepers), and Beth Grant (Donnie Darko) in small roles. Although not on camera, screen icon Michael Douglas served as a producer on the project; the first effort from his Stonebridge Entertainment.
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Flatliners has been newly resuscitated in 4K from the original negative, approved by de Bont, for Arrow Video's new 4K Ultra HD and Blu-ray editions. The 4K UHD disc features Dolby Vision and Lossless DTS-HD Master Audio 5.1 and 2.0 surround audio options. Schumacher and de Bont were already a perfect pairing, but Arrow's flawless restoration allows their bold visual palette to really shine.
Critics Bryan Reesman and Max Evry contribute a new audio commentary in which they dissect Schumacher's work and examine Flatliners in the context of its contemporaries (which made me eager to double-feature it with Jacob's Ladder). Schumacher passed away in 2020 and the cast members were not available for interviews, but Arrow tracked down a variety of crew members for new, in-depth interviews, offering several rare perspectives that are likely to give viewers a new appreciation for the production.
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Filardi details the experience of selling his first movie, being on set during the production, and seeing the final product. De Bont and chief lighting technician Edward Ayer provide a fascinating breakdown of the visuals, with De Bont discussing his approach while Ayer explains how they pulled it off. Howard, orchestrator Chris Boardman, Zanetti, art director Larry Lundy, costume designer Susan Becker (True Romance, The Lost Boys), and first assistant director John Kretchmer each give their unique insight into how they added to the tapestry of the film as well.
The theatrical trailer and an image gallery are also included, alongside a 35-page booklet (exclusive to the first pressing) featuring new writing on the film by historians Amanda Reyes and Peter Tonguette. Reyes provides a historical overview of near-death experiences and how they compare to Flatliners, while Tonguette explores the film's surprising spirituality. The release carries new artwork by Gary Pullin, with the original poster on the reverse side.
Flatliners is available now on 4K UHD and Blu-ray via Arrow Video.
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toto-et-moi · 1 year
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80smovies · 2 years
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theoscarchallenge · 3 years
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Harry and the Hendersons, this is one of those films that will probably be better when you watch it as a kid. It wasn’t terrible but it didn’t really do much for me. It received the Oscar for Best Makeup for Rick Baker.
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90smovies · 6 years
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Flatliners
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milliondollarbaby87 · 6 years
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Flatliners (1990) Review
Five medical students are curious about what lies beyond the living world and decide to enter into the unknown and experiment with death. Flatlining for a few minutes to see what answers they receive, but it brings up past tragedies which influence life as they know it.
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kwebtv · 4 years
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What A Dummy  -  Syndicated  -  September 29, 1990 – May 25, 1991
Sitcom (24 episodes)
Running Time: 30 minutes
Stars:
Stephen Dorf   as Tucker Brannigan
Joshua Rudoy  as  Cory Brannigan
David Doty  as  Ed Brannigan
Annabel Armour  as  Polly Brannigan
Janna Michaels  as  Maggie Brannigan
Kaye Ballard  as  Treva Travalony
Loren Freeman  as  Buzz (voice)
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retropunch · 7 years
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Harry and the Hendersons (1987) - trailer
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andi-mack-superfan · 7 years
Conversation
Cyrus: *exists*
Me: OMG OMG HE'S SO GREAT I CONNECT WITH HIM SO MUCH!!
Cyrus: Hi!
Me: GAYOVERLOAD AHHH I'M DONE! *faints*
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korey1236 · 4 years
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Seth Green and Joshua Rudoy in Amazing Stories 1985.
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amazingstories · 6 years
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FILM REVIEW(S): FLATLINERS (and FLATLINERS)
FILM REVIEW(S): FLATLINERS (and FLATLINERS)
Figure 1 – Julia Roberts in FLATLINERS (1990) I’ve decided on a name for my rating widget (¤); I’ve decided to call it a “flibbet.” (No idea why, actually. Just came to me.) When Flatliners came out in 1990, Julia Roberts was just twenty-three years old; Kiefer Sutherland was twenty-four. Of the five main stars of this movie, all but Oliver Platt (30) and Kevin Bacon (32) were part of a “showbiz”…
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80smovies · 3 years
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comicsxaminer · 7 years
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Review of AMAZING STORIES Season 1: Episode 13 - The Sitter!
Review of AMAZING STORIES Season 1: Episode 13 – The Sitter!
By Cory Robinson
The episode starts off with single mom Barbara Paxton moving in to a low rent subdivision aptly named Sun Country which is in Arizona complete with no air conditioning, after getting over a messy divorce with her ex-husband.  To make matters worse, her two children Lance and Dennis (played by Seth Green and Joshua Rudoy respectively) take their frustration on the divorce out on…
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