When the 2024 Washington State Book Awards finalists were announced this week, we saw a West Seattle writer on the list: E.J. Koh. Three years ago, we told you about honors for her memoir “The Magical Language of Others,” including a Washington State Book Award. Now, Koh has published her first novel, “The Liberators,” and…
Posted in: Comics, Comics Publishers, Current News, Image, Movies, Sony | Tagged: ice cream man, W. Maxwell PrinceFilm rights to Ice Cream Man from W. Maxwell Prince, Martin Morazzo and Chris O’Halloran have been picked up by Sony.Published Sat, 07 Sep 2024 13:03:10 -0500 by Rich Johnston | Last updated Sat, 07 Sep 2024 13:04:32 -0500 | Article Summary
Sony picks up film rights for horror comic series Ice Cream Man, sparking a sales surge on eBay.
Key eBay sales include Ice Cream Man #1 Cover B by Frazer Irving, with raw copies at $85 and CGC 9.8 at $165.
Ice Cream Man #1 Cover A sees high demand, with sellers asking $1000 for a CGC 9.8 version and $450 raw.
Ice Cream Man’s mix of horror and mystery centers on a powerful ice cream man impacting unsuspecting customers.
Yesterday’s news that film rights to the horror anthology comic book Ice Cream Man from W. Maxwell Prince, Martin Morazzo and Chris O’Halloran had been picked up by Sony genre label Screen Gems. And the comic book market noticed, with eBay all of a flutter. Notably, sales from the last couple of days include;
While for the Ice Cream Man #1 Cover A edition, sellers are asking $1000 for a 9.8 CGC version, and $450 raw, $700 for the Frazer Irving CGC 9.8 version, and $300 raw, Is it worth looking in your longboxes and see if you can pull out something that might pay for your weekly supermarket shop?
The series is a semi-anthological horror comic series of loosely connected stories that all share the common link of a mysterious ice cream man named Rick, who, while a seemingly ordinary Ice Cream Man, possesses inexplicable powers which he uses upon unsuspecting people. Rick’s nemesis Caleb, a man dressed in an all-black cowboy outfit, will sporadically appear in the series, trying to thwart Rick’s plans, sometimes successfully and sometimes not. It was a breakout hit for Image Comics, managed to find a new form online during lockdown and then returned. But this is not the first time it has been brought the adaptation rights rodeo.
Previously, an adaptation of the series was in development at Universal Cable Productions in 2018. In 2020, it was announced it had been picked up by Quibi. Now Alfred Gough and Miles Millar, the creators of Wednesday and writers of Beetlejuice Beetlejuice, will produce the film through their Sony-based Millar Gough Ink, with the company’s Aaron Schmidt also producing. Is the third scoop the charm?
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This article is part of The D.C. Brief, TIME’s politics newsletter. Sign up here to get stories like this sent to your inbox.Two months before he pleaded guilty this week to nine federal tax charges, Hunter Biden was in a conference room in Los Angeles meeting a man inextricably linked to all his legal troubles. Lev Parnas, a former associate of Rudy Giuliani and his fixer in Ukraine, struggled to contain his emotions as he apologized to the First Son for his role helping then-President Donald Trump seek out evidence of political nepotism, a quest that ultimately led to Trump’s first impeachment trial, as well as a series of criminal probes into Hunter Biden over drugs, money, and a gun.“We get a second chance, both of us,” Hunter Biden told a crying Parnas. “Both of us,” Parnas replied with a fist-bump.The striking exchange comes at the tail end of a two-and-a-half-hour confessional-slash-documentary that debuted Saturday in Brooklyn. The film, From Russia With Lev, will have arthouse screenings this week and its broadcast debut on Friday on MSNBC. MSNBC anchor Rachel Maddow executive produced the project, her first documentary for the network. The Biden-Parnas meeting was not one the film’s team imagined when they began more than 30 hours of interviews with Parnas and his associates, producers say. In fact, The summit didn’t come together until July. Parnas was part of the political operation that eventually found itself on the ground in Ukraine looking for dirt on political rivals to help Trump, who at the time was facing special counsel Robert Mueller’s probe into 2016 election interference that paved the way for the House to impeach Trump. Parnas’ effort was looking to preemptively discredit both Mueller and Joe Biden, who was again mulling a White House run. Hunter Biden, who is facing up to 17 years in prison for this week’s tax-case guilty plea and another 25 years for lying on a gun application in a June conviction, seemed sincere in his forgiveness. “It really takes a big person to not only admit that they are wrong and to do so in public and to do so on the stage you did,” Biden said.Parnas and an associate later were arrested for their alleged role in a scheme to direct foreign cash to a member of Congress in exchange for his help pushing the U.S. Ambassador to Ukraine from the posting, a case that resulted in a guilty verdict and a 20-month prison sentence.“Just so you know, I wasn’t very sympathetic,” Hunter Biden said to mutual laughter.In the years since, Parnas has become an outspoken critic of Trump, calling him “unfit for office” and an aspirational dictator. He also has repeatedly and publicly repented for getting wrapped up in the right-wing effort to pressure Ukrainian officials to launch criminal probes in the Bidens for Hunter Biden’s role on the board of a Ukrainian energy company. In conservative circles, Hunter Biden’s position with Burisma is a manifestation of what is often—and incorrectly—short-handed to The Biden Crime Family. Parnas has testified to Congress that there’s no there there.“I’m ashamed of myself. I truly believed that we were helping America. But looking back at it now, we destroyed America,” Parnas told the camera during the new film. “We have such division. People are at each other’s throats. And the sad part: that is exactly what Vladimir Putin wanted, and we gave it to him on a silver platter.”Hunter Biden similarly knows the image rehabilitation tour circuit. He too published a book accounting for his fall from grace. Whereas Parnas got swept up in conspiracy theories and political dirty tricks and disinformation, Biden wrote his memoirs about his battle with addiction, which led him to thank Parnas during their meeting for making amends as if working a 12-step program.But Biden, who has been fairly defiant about his prosecutions, also saw the chance to ask Parnas about documents that would later come to haunt him in the form of a tax case.Those bank documents helped federal prosecutors bring a criminal case in California about unpaid taxes on cash Biden used to fund drugs and hookers. Rather than put his family through another devastating trial—the gun case in Delaware was deeply embarrassing to the Bidens as family dirty laundry seemed to come up daily—Hunter Biden entered a guilty plea on Thursday. Sentencing for the tax charges is expected mid-December after a mid-November sentencing on the gun conviction.During the meeting, which took place while Hunter Biden still planned to fight the tax charges, saw his payoff for appearing on camera with his one-time nemesis.“How did they get my bank records? My bank records aren’t even on a computer,” Biden asked.Parnas responded that the documents had been secretly subpoenaed by the FBI and circulated in conservative media. Giuliani also took them himself to the Department of Justice.Biden, a graduate of Yale Law, then went further. “When did it cross over from being a hair-brained Rudy Giuliani operation in concert with Trump to the Department of Justice? When did Trump’s lackeys inside the Department of Justice begin to also conspire to take me on?”The reply: Almost immediately.Toward the end of their meeting, Biden seems to absolve Parnas. “Bottom of my heart, I promise you, you’re a hero to me,” Biden said.The scene is tough to watch but a demonstration that no grudge has to last forever. It offers a fascinating coda to a film that Maddow herself has described as a “very gonzo story.” But to be sure, the grace these two men modeled for the cameras is very much the exception to politics today.Make sense of what matters in Washington. Sign up for the D.C. Brief newsletter.
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The news that two students and two teachers were killed, and nine people were wounded, in a Wednesday shooting at Apalachee High School in Winder, Georgia, should draw forth our full fury. “What should have been a joyous back-to-school season in Winder, Georgia, has now turned into another horrific reminder of how gun violence continues to tear our communities apart,” President Joe Biden said in a press release that day. “Students across the country are learning how to duck and cover instead of how to read and write. We cannot continue to accept this as normal.”There’s a logic to the priorities of banning books over controlling guns: Conservative ideology seeks to conserve the societal status quo in order to maintain society’s sexist and racist power structures. But it is normal, in America. It has been normal. And the system has been intentionally designed to keep this — the lack of gun regulation, egregiously, in the name of “freedom” — the norm. Congress has been largely unwilling and, arguably, even resistant to pass gun control legislation since the 1994 Federal Assault Weapons Ban, which President George W. Bush allowed to expire in 2004. The first major piece of gun control legislation since this ban was the 2022 Bipartisan Safer Communities Act, which implemented background checks for gun purchases under the age of 21 and outlawed the trafficking of illegal firearms. Even more egregious is the fact that books have been deemed dangerous and must be banned while guns have been protected fiercely. And therein lies the tragic reality of present-day America.Rather than ban guns as a nationwide public safety effort, this political negligence (thanks in large part to a powerful gun lobby) has forced school administrators and teachers to emend school curricula and the environment around the credible threat of gun violence, with traumatizing active shooter drills and the instillation of carceral apparati like metal detectors and fences and locked doors.Still, such limitations are not enough to create a safe educational environment or one that is conducive to learning, a vulnerable experience that requires the freedom of known security. Children like the 14-year-old Apalachee shooter can still get their hands on a gun, or five, especially when guns saturate our culture. The nonprofit The Trace estimates that there are more than 378 million guns in circulation in the United States, not accounting for 3D-printed or DIY guns. That’s more guns than people. More weapons designed to kill than people to be killed.There’s a logic to the priorities of banning books over controlling guns: Conservative ideology seeks to conserve the societal status quo in order to maintain society’s sexist and racist power structures. Education, as a key indicator of social mobility and determinant of health, thus has been a perennial battlefield in America. Ignorance is bliss, the saying goes, but it is also a necessity for conservatives who do not want traditions and traditional ways tested or overturned. Books, and all the potential they possess within their pages to stimulate curiosity and encourage deep and critical thinking, thus have been political targets for conservatives. They are vehicles of liberation, of opening the mind, of wandering into corners of thought yet unexplored. And they are being banned at a greater frequency than ever before. According to a 2024 PEN America report, 4,239 books were banned in fall 2023 semester — more than were banned during the entire previous academic year (3,362).As I wrote in my book, “Breaking Free: The Lie of Equality and the Feminist Fight for Freedom:”Guns are weapons that kill or maim. Books are published to educate and enlighten. One is a barrier between the self and the world, representing aggression, intimidation, and violence misconstrued as “protection.” The other is a conduit between the self and the world, connecting the reader to people unlike themselves and fostering critical thinking and a self-awareness born from empathic connection. Yet US legislators and a vocal minority of the public would rather a teacher be armed with a gun than teach a book that has a gay character.That guns — and not books — are cherished as an emblem of American freedom tell us everything about the meaning of freedom in this country. The predominant understanding of freedom in America—a definition that stretches back to the nation’s founding in slavery and genocide—is what both historian Tyler Stovall and writer Ta-Nehisi Coates have called “white freedom.”Entitlement without accountability, either personal or structural. As author Ta-Nehisi Coates described it in The Atlantic, white freedom is “freedom without consequence, freedom without criticism, freedom to be proud and ignorant; freedom to profit off a people in one moment and abandon them in the next; a Stand Your Ground freedom, freedom without responsibility, without hard memory; a Monticello without slavery, a Confederate freedom.” Guns kill. Books liberate. So why are books being banned, while guns are not? That guns are valued more than books in our society represents a devastating reality that the United States is hostile to our collective freedom.
Director Wes Ball’s 2024 stand-alone sequel to a rebooted trilogy of a famed simian-saturated sci-fi franchise moves to the 4K disc format in Kingdom of the Planet of the Apes (Walt Disney Studios Home Entertainment, rated PG-13, 145 minutes, 2:39:1 aspect ratio, $49.99).
The story takes place 300 years after the intelligent talking chimpanzee Caesar passed away after successfully starting a revolution with his fellow apes against the humans and taking control of the world.
This monkey evolution was due to a man-made virus that had the reverse effect on humans by draining their intellect and taking away their ability to speak.
Viewers now learn of a young chimp named Noa (Owen Teague), from the eagle clan, who goes on a journey of discovery after the death of his father at the hands of ape raiders.
He eventually must rescue his mother and enslaved clan from the egomaniacal Proximus Caesar (Kevin Durand), an ape looking to harness man’s technology and control his species.
Noa may succeed with help from a talking female human named Mae, nicknamed Nova (Freya Allan), who has an agenda for helping her species, but it may already be too late for a corrupted ape kind.
The compassionate chimp now exists in a world where apes will now mistreat, harm and even kill others of their kind, becoming what Caesar most feared, following the evil ways of humans.
The film takes its glorious time unveiling a fairly standard plotline and villain, but it comes to life by a most impressive visual presentation.
“Kingdom of the Planet of the Apes” is ultimately beautiful to behold but a bloated bridge movie that beckons viewers to stick with the franchise.
Considering its familiar place in the “Planet of the Ape” universes, I wouldn’t be surprised if the monkeys and humans go to war again or some time-traveling human astronauts make an appearance in future sequels.
4K in action: Weta FX’s computer-generated, motion-captured visual effects allow for the absolutely lifelike immersion into a primal world filled with talking apes and fully embrace the 4K format to deliver some eye-popping clarity while exposing the furry mammals.
The facial reactions, hair textures and eye movements are natural and seamless, enhanced by blemishes, age spots, hair movement, blinking, soaking-wet fur, hair singed by fire, pursing of lips, variations of teeth color and a full complement of emotions.
The apes are so realistic that they often make the human actors look amateurish in their performance. A moment with Noa’s father holding a falcon makes viewers forget that they are seeing a computer-generated illusion.
Moments taken for granted also include an ape riding a horse with birds flying over him and even the minutiae of spittle expelled from an angry gorilla general’s mouth in mid-combat.
The environments, night or day, equally complement the apes’ actions with lush forests, a burning village, a beachhead with a pond, a rock formation illuminated by the moonlight and a torch-lit massive metal vault.
To put it in perspective, I grew up adoring the original “Planet of the Apes” films and its 1960s state-of-the-art makeup effects, but what exists now is a head-shaking celebration of the visual effects artisans incomparable to older cinematic efforts.
Best extras: The included Blu-ray disc offers a nostalgic piece of very informative bonus content that used to be much more prevalent in the days when high definition discs were first available.
Titled “Inside The Lens: The Raw Cut,” viewers get to watch the entire film again, side by side horizontally, with the bottom screen focused on the creation of the movie magic seen via unfinished effects shots, storyboards, concept art, blue-screen sets and, most entertaining, the actors performing in motion-capture outfits.
This split-screen format with occasional pop-up boxes also gets supplemented with an optional commentary track by Mr. Ball, editor Dan Zimmerman and visual effects supervisor Erik Winquist.
They are often mired in the tech speak and are universally exhilarated at Weta’s mind-boggling artistry as they explain the building of scenes and performances.
This is by far one of the best extras to ever grace a home entertainment release in recent years, and I can think of no better way of diving deep into a complex production than using a comparative and detailed deconstruction sure to captivate fans and cinephiles.
Also included on the Blu-ray disc is a 23-minute overview of the production touching on the motion-capture process; hair and makeup designs; the story; building the apes eagle nest village; executing the bridge river scene; shooting on locations (and not in front of blue screens); and having actors learn to physically become apes via an “ape school.”
Article contentCinefest is adding three films to its festival, which takes place from Sept. 14-22 at SilverCity Cinemas.Article contentThe documentary Black Box Diaries screens Sept. 16 at 6 p.m. When Shiori Ito, a young woman and aspiring journalist, accepted an invitation for a drink with famed reporter Noriyuki Yamaguchi, she was unknowingly lured into a trap and taken advantage of in his hotel room.Ito’s allegations of ensuing sexual assault get dismissed by Japan’s justice system because of archaic laws but Ito doesn’t back down and courageously goes public with her allegations.A court case in a demand for justice sets up a riveting emotional rollercoaster of events as she takes her fight to the heart of the patriarchy.Black Box Diaries sees Ito pushing herself to the extreme, tackling public criticism and threats, exposing the country’s outdated judicial system, and navigating deep cultural prejudice against women. If she wins, it will be worth it all.Article contentThe Apprentice screens Sept. 16 at 8 p.m. Set in New York City, the film charts the relationship between a young Donald Trump and Roy Cohn, the influential right-wing lawyer and political fixer. This biographical historical drama premiered at the 2024 Cannes Film Festival and was in competition for the Palme d’Or.Victoria Must Go screens Sept. 18 at 2:30 p.m. Inspired by a comic book, two young and wealthy siblings, Hedvig and Henrik, decide to hire a hitman to get rid of their new and annoying stepmother, Victoria.To solve their problem, the children approach Carl, an immigrant from Bosnia. At first, he refuses to help them because he is a law-abiding citizen. That is, until he finds himself and his family in a difficult financial situation.This film is scheduled to replace Lucky Star, which has been cancelled from this year’s schedule.For the full schedule, trailers, film synopses and ticket information, go to [email protected]: @SudburyStarShare this article in your social network
Breadcrumb Trail LinksMoviesAuthor of the article:Associated PressJake CoylePublished Sep 07, 2024 • 3 minute readAndrew Garfield attends the world premiere of “We Live in Time” during the Toronto International Film Festival at the Princess of Wales Theatre in Toronto on September 6, 2024. Photo by VALERIE MACON /AFP via Getty ImagesReviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page.Article contentThe Toronto International Film Festival is the clean-up hitter of the fall festival circuit.Advertisement 2Story continues belowThis advertisement has not loaded yet, but your article continues below.THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLYSubscribe now to read the latest news in your city and across Canada.Unlimited online access to articles from across Canada with one account.Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on.Enjoy insights and behind-the-scenes analysis from our award-winning journalists.Support local journalists and the next generation of journalists.Daily puzzles including the New York Times Crossword.SUBSCRIBE TO UNLOCK MORE ARTICLESSubscribe now to read the latest news in your city and across Canada.Unlimited online access to articles from across Canada with one account.Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on.Enjoy insights and behind-the-scenes analysis from our award-winning journalists.Support local journalists and the next generation of journalists.Daily puzzles including the New York Times Crossword.REGISTER / SIGN IN TO UNLOCK MORE ARTICLESCreate an account or sign in to continue with your reading experience.Access articles from across Canada with one account.Share your thoughts and join the conversation in the comments.Enjoy additional articles per month.Get email updates from your favourite authors.Don’t have an account? Create AccountorSign in without password New , a new way to loginArticle contentComing on the heels of Venice and Telluride, Toronto tends to pull together many of the top films from those festivals, as well as a whole bunch more.But it’s been a few years since TIFF was quite itself. The pandemic stretched across several editions and, last year, the actors strike left Toronto’s red carpets unusually bare.This year’s festival, running through Sept. 15, is opening Thursday with the premiere of David Gordon Green’s “Nutcrackers,” starring Ben Stiller as a workaholic forced to care for his rural Ohio nephews.More than most years, it’s hard to say what’s likely to stand out the most at this year’s TIFF. But with more than 200 feature films set to unspool, the festival is sure to offer up many of the fall’s top films. Here are five questions heading into North America’s largest film event.Your Midday SunYour noon-hour look at what’s happening in Toronto and beyond.By signing up you consent to receive the above newsletter from Postmedia Network Inc.Thanks for signing up!A welcome email is on its way. If you don’t see it, please check your junk folder.The next issue of Your Midday Sun will soon be in your inbox.We encountered an issue signing you up. Please try againArticle contentAdvertisement 3Story continues belowThis advertisement has not loaded yet, but your article continues below.Article contentWhat will pop?Last year’s TIFF was a diminished one but it still launched a bona fide hit and eventual Oscar-winner in Cord Jefferson’s “American Fiction.” Not many were buzzing about that film before it debuted in Toronto — a reminder that TIFF can surprise.This year, some of the top movies debuting in Toronto include Marielle Heller’s “Nightbitch,” starring Amy Adams; “Hard Truths” by the British master Mike Leigh; John Crowley’s years-spanning melodrama “We Live Inside,” starring Florence Pugh and Andrew Garfield; the Scott Beck and Bryan Woods thriller “The Heretic,” with a diabolical Hugh Grant; cinematographer Rachel Morrison’s directorial debut “The Fire Inside”; the DreamWorks animation “The Wild Robot”; and the Anthony Robles true-life tale “Unstoppable,” with Jharrel Jerome and Jennifer Lopez.Advertisement 4Story continues belowThis advertisement has not loaded yet, but your article continues below.Article contentRECOMMENDED VIDEOWe apologize, but this video has failed to load.Play VideoWhat will maintain the buzz?Aside from the movies making a first impression in Toronto, many films will be trying to build off of their receptions in Venice, Telluride or Cannes. At this early point, the Oscar race feels wide open — particularly compared to last year, when “Oppenheimer” and “Barbie” were, by September, already frontrunners. Nothing has yet ascended to favorite status, though some movies — like Sean Baker’s Palme d’Or-winning “Anora,” Jacques Audiard’s trans drug lord musical “Emilia Perez” and the Vatican drama “Conclave” — come in with a lot of momentum.What will sell?Many of Toronto’s premieres are more focused on buyers than the awards race. That’s partly by design. In two years, TIFF will officially launch a sales movie market, similar to the one operated during the Cannes Film Festival. This year, the many movies on offer include Ron Howard’s “Eden,” starring Jude Law, Vanessa Kirby and Sydney Sweeney; the Stephen King adaptation “The Life of Chuck,” with Tom Hiddleston; Rebel Wilson’s directorial debut “The Deb”; “The Last Showgirl,” starring Pamela Anderson; David Mackenzie’s “Relay,” starring Riz Ahmed; and “On Swift Horses,” with Jacob Elordi and Daisy Edgar-Jones. Studios and streamers will kick the tires on those, and many more.Advertisement 5Story continues belowThis advertisement has not loaded yet, but your article continues below.Article contentWhat will win the People’s Choice award?You can count on little in life as much as the predictive powers of TIFF’s People’s Choice award. While countless Oscar stats get trotted out annually, this one is virtually always true: The winner of Toronto’s top prize will be nominated for best picture at the Academy Awards. That’s been the case every year since 2012. It was true when “Green Book” emerged a surprise hit in Toronto, and it was true last year when “American Fiction” won. Because TIFF gathers together so many of the fall’s movies, and because it boasts big audiences made up not just of industry professionals but regular moviegoers, what goes over gangbusters in Toronto usually does with the academy, too.What will show up a year later?While the majority of Toronto’s selections will be heading to theaters or streaming services sometime in the next few months, some movies — including some very good movies — may not show up for a year or more. Azazel Jacobs’s “His Three Daughters,” a standout at last year’s festival, just arrived in theaters. Anna Kendrick’s directorial debut, “Woman of the Hour,” will land on Netflix next month, more than a year after bowing at Toronto. For some of Toronto’s top titles, patience may be required.Article contentShare this article in your social networkComments Join the Conversation Featured Local Savings
“When Thor and his pals battle Hela’s army to ‘The Immigrant Song’ by Led Zeppelin. My dad, a serious Zeppelin fan, absolutely loved this scene and would call me and my siblings and just play ‘The Immigrant Song’ and then hang up. Now that my dad has passed away, this scene brings back many happy memories for me.”—amandaz408403187
Fans Share Scenes They Love From Movies They Dislike
Recently, I asked the BuzzFeed Community to share a scene they love from a movie they don’t like. The results convinced me that any movie can deliver at least ONE good scene, regardless of people’s tastes:
1.
“Star Wars: Episode I: The Phantom Menace is a very average film, but the podracing scenes are amazing. It stands out so much from the rest of the film.”
3.
“I didn’t dislike Barbie, but I didn’t think it was nearly as feminist as everyone made it out to be. The depictions of patriarchy seemed superficial and didn’t properly illustrate its most vile and harmful manifestations. That said, America Ferrara’s speech about being a woman today is spot on. It’s as if she articulated what we’ve all thought for so long.”
7.
“I don’t HATE the movie, but Thor: The Dark World was one of the more mediocre Marvel movies. The scene where Loki and Thor discuss their mother’s death while Loki is in a cell is one of my favorite scenes in the franchise. Loki has an illusion at first, but when he drops it, he shows that the loss of his mother destroys him. It’s a really strong performance by Tom Hiddleston, who is buried in a forgettable movie.”
8.
“The new West Side Story is too sad for my taste and was a lot for me to follow. The ignorance and spite that got like five people killed in one night was not fun to watch. Still, I loved the opening and school dance scenes because of the dancing. That might be some of the best dancing I’ve seen in any movie.”
9.
“The Hunger Games: Mockingjay — Part 1 was okay. I feel like that series suffered from the law of diminishing returns. But the scene after Katniss sings ‘Hanging Tree’ with that group’s suicide mission to blow up the hydroelectric dam was really powerful.”
10.
“The scene in Nope when Daniel Kaluuya starts to get out of his truck, looks up, and goes, ‘Nope!’ Hilarious! Made the whole movie.”
12.
“Deep Blue Sea is a ‘so bad it’s good’ film with a ridiculous premise, shaky effects, and some suspect acting, but it has two great scenes. The first is the shark approaching the window with the poor guy on the stretcher as it starts breaking the glass. ‘Will somebody please tell me what that is…’ It’s exactly what we all think. Then the second is the completely unexpected death of Samuel L Jackson’s character. The effects are awful, but absolutely no one sees it coming as you assume his character will make it through to the end because of his name.”
13.
“I wasn’t a fan of Rambo: First Blood, but his monologue at the end of the movie where he’s talking about the war and all of the effects had me crying.”
14.
“I love the Harley Quinn rampage in The Suicide Squad (2021), but the movie is awful. That scene was at least fun and artistic.”
16.
“I hate Coyote Ugly because I can’t stand the bar owner and the mess Violet gets into because of her. But I LOVE the scene where Violet performs ‘Can’t Fight the Moonlight’ near the end because I love to sing along to that song.”
17.
“The ending of Grave Encounters. As a lover of found footage, nearly everyone I talked to about movies and every article I read highly recommended this movie and having seen it, I don’t begin to understand the hype. The writing is bad on several levels. The ‘found footage’ angle is inconsistent, the special effects are cheap, and the characters are grating, obnoxious caricatures. But the scene toward the end where Lance kills and eats a rat has always stuck with me. It’s shot interestingly. Thankfully, it has no godawful dialogue to ruin the tension, and it does a really good job showing the kind of manic desperation he’d be experiencing at that point.”
18.
“The movie Under Paris was terrible for about the first three quarters of the film. Bad acting, mediocre CGI, cliché or ridiculous plot, etc. Then comes the final scene in the movie’s last 25-30 minutes, which is absolutely bonkers in the best way possible. If you can get through the mediocre mess that is most of the film, the final scene makes up for it and more.”
19.
“I really, really disliked The Hateful Eight. The pacing was weird. It was a little long, and the violence was not my thing. That being said, I enjoyed the flashback scene where Daisy Domergue’s group comes to Millie’s place. The acting was fun, and the introduction was interesting. The guitar scene is a close second. The rest of the movie…not worth it.”
I was shocked people didn’t like some of these movies, but it’s all good. I’m sure there’s a movie you don’t like but can admit has a great scene. Tell me in the comments below!
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