David S (Passenger1986)

It's bad when a crappy sequel to a good movie occurs (looking at you, Ace Ventura: When Nature Calls). It's bad enough when a franchise begins from a great movie when it should have stayed at one movie (Bring It On, that was a shot at you). Things get worse when an average movie, with the potential to go up or down, with obvious things to improve, goes even further downhill (New Nightmare, to me, is the black sheep of the Nightmare On Elm Street franchise). And things get excruciating when terrible movies are given sequels (why, why, WHY did someone do a Hobgoblins 2?!)

But do you know what is even worse than all of the above? A movie ranking somewhere between average and bad getting a sequel... and MOST OF THE DAMN FOOTAGE IS DIRECTLY LIFTED FROM THE MOVIE BEFORE IT!
My God, that is just... that is pathetic. I've talked about lazy film making before (Manos The Hands Of Fate is a triumphant example at doing bugger all) but to actually just unashamedly use scenes from the previous installment? Yes, I understand the intent: to drive home the plot of the sequel and for the benefit of the people who haven't seen the first. Hell, The Hills Have Eyes Part 2 from the 80's used footage from the first to provide flashbacks for some of the returning characters (leading to one incredibly head-scratching moment when THE DOG remembers! That's probably one big reason why Wes Craven disowned it). But come on! How exactly can you use footage from the first movie when the characters discussing the events weren't even there? What, are you going to retcon them into being bystanders? Were they extras that gained a promotion? All of a sudden, it's "Guy Who Points" moving up to be the second male lead or something stupid.
Apparently, the idea was to re-edit the first film and pass it off as a sequel just because the filmmakers were paid an appalling amount of money. Two points I'd like to make:
1. If that happens, that is a clear sign a movie is not to be made
2. The original idea would have essentially made the movie a talking Malibu Stacy with a new hat (I think Hobgoblins 2 pretty much took on that idea)

So, is that the only thing to criticize the film for? Nope! I have one other major complaint.
The character we focus on is Ricky, the younger brother of Billy, the villain protagonist from the first film. He's in a mental hospital ('cos that's original for a horror) and talks about the events from the first film and his life up till that point.

Now, who can tell me what happens to Ricky? If you said "He gets over his traumas and lives a rather uneventful life", you're not even in the ballpark. If you said "He starts his own killing spree that closely resembles his brother's", give yourself 25 points or take whatever's in this box *puts a box up on the counter*. Proving that killin' folks is in the blood, this film just doesn't even try to do anything remotely original. Even the kills are uninspired.

Oh, slight spoiler (though not so much, just read on), this movie has one of the most overused cliches ever in not just horror/thriller films but in any medium known to humanity: the age old closing-shot-focuses-on-the-killer-looking-dead-only-for-their-eyes-to-open-just-before-the-end-credits thing. I'm sure I'm not the only one sick of seeing that. Sometimes, it works, there are exceptions to every rule but here it's just adding more fuel to an already raging fire.

At least the first one had a decent premise. Killings at Christmas due to a guy in a Santa suit killing your parents all those years ago. Sounds promising enough. Took a while for the action to start but the film's still a decent slasher.
Pull an Ace Ventura on this, watch the first and forget any notions that there is anything following on.

Ah, the 70's. A good time for Mel Brooks. Young Frankenstein would become one of his most beloved productions, Silent Movie gathered some of the most beloved actors and actresses for a homage to film styles long past and his Hitchcock parody High Anxiety impressed the director so much, he sent him a case of wine as congratulations, knowing that Brooks had a passion for wine.
And of course, perhaps his most well known film (though sometimes tied with the aforementioned Young Frankenstein and Spaceballs), which pulled off quite a few feats.

The plot? Well... a black man becomes sheriff of a town. Yep, simple as that. Well, OK, there is a little more to it but hey, it's a spoof on the western. That right there is pretty much all you need to know.
Said black man is Bart, played by Cleavon Little and, to quote the movie, is so talented. The character is clever, bold, gentlemanly to a point and noble, again, to a point. He and The Waco Kid (Gene Wilder, who shares an actor/director relationship with Mel Brooks on par with that of Depp and Burton) make a great combination, two good natured gentlemen just trying to keep the peace.

And who is disrupting that peace? Glad you asked! And if you didn't ask well... I'm still telling you. That would be our lead villain, Hedy Lamarr (that's HEDLEY!) played by Harvey Korman.
At this point, I would like to express that Hedy (HEDLEY!) is one of my absolute favourite screen villains of all time. Utterly charismatic, highly intelligent, complex and, just like the thespian portraying him, a great actor, able to convince most people of just about anything. Though I wonder if that's all him or just in part due to Korman's incredible talent and wonderful voice.
One of the more unusual moments involves what is often known as a "pet the dog" moment (though doesn't quite qualify since that's usually reserved for anti-heroes or gruff protagonists. Gran Torino's lead is a better example) which involves Hedy (HEDLEY, damnit!) in the bath. After divulging yet another evil scheme, he suddenly looks concerned. Why? He's wondering where his "fwoggy" is. After shouting at his hapless evil minion to find it, he's happy again and even says "Daddy loves Fwoggy. Does Fwoggy love Daddy?" to which he squeaks the frog and then looks content. Bizarre? Yes. Out of place? Not so much in a spoof but still odd. Kind of sweet? You bet.
One other aspect that makes him a villain to watch intently is that he has hints of being genre savvy and he breaks the fourth wall quite a bit (like when he's pondering about how he's going to find a new sheriff for Rock Ridge and then wonders why he's asking us, the audience) and this makes for some outrageous laughs towards the end (more on that later), especially with his line to the gang of villains he enlists in one last attempt to claim Rock Ridge as his own about how while they're risking his lives, he's risking an almost certain Academy Award nomination for Best Supporting Actor. Now, if he had won that, not only would that have been well deserved but immensely funny too.

When it comes to a spoof/parody, the most important thing a person needs to know is if it's funny or not. To me, this is how a spoof should conduct itself (or failing that, they should follow almost anything involving the Zuckers, Leslie Neilson or some of Brooks' other work). Besides breaking the fourth wall and spouting anachronisms, mostly dealing with pop culture and technology, there are clever ideas, lampshade hanging on cliches (Hedy, *hears from offscreen again "That's HEDLEY!"* has disdain for "cutting off at the pass") and yes, even a farting scene. I must point out, that's the weak spot of the film for me. OK, beans cause gas. We get it, please move on. Supposedly, it's the first major film to include flatulence.
Scenes I do enjoy include Bart's way of handing Mongo (Alex Karras) Looney Tunes style (complete with music from said franchise); the aforementioned Mongo punching out a horse; the townspeople discovering the new sheriff is black; and one of the greatest things ever, Bart getting away from that hostile crowd by holding HIMSELF hostage!
Here's an excerpt from when he's pretending to be the hostage: "Oh, Lawdy-Lawd, he's desp'at! Do what he say, do what he saaaayyyy... do what he saaaayyyy..." putting on a gruffer voice when he's the madman taking himself hostage.

Without giving too many specifics of the ending, it's just mad! The characters from the movie break out onto another set, start a fight there and continue their brawling all around the movie lot and then Hedy (HEDLEY! *Cocks gun*)... whoa, take it easy! Anyway, Hedley (happy now? Put the gun down!) actually walks into a movie theatre and sits down to watch this film! Anyone thinking that's familiar will probably know that from a later Mel Brooks work, Spaceballs.

Also, I want to mention that the theme song is just wonderful. And the story behind it is quite amusing, too. Mel once put out an ad saying he wanted a Frankie Lane-type singer to do the song for the film. Frankie himself showed up and just wowed Mel over. Mel didn't have the heart to tell him it was a parody and kept the song anyway. Good thing, too. I do wonder if Frankie ever found out...

Throw in all that AND Madeline Kahn and you have yet another golden effort from Brooks. Now if you'll excuse me, there's a tollbooth that's mysteriously appeared here in this open land and I gotta get me a shitload of dimes.

I first saw this film years ago and up until that point, I had never seen a film where the protagonist could also be considered an antagonist. It was this and other factors that kept me watching and once I had finished viewing, I declared it to be my favorite film. From the acting by Malcolm McDowell to the karma-like plot turns, there really isn't a wrong foot set here. The film brings up an excellent point in the treatment of those who do wrong in society: are we right to force law-breakers and violent criminals to conditions similar to Alex or is that overstepping our bounds as human beings? This film changed my life from beginning to very fitting end. It was my favorite film many years ago and it still is today. Simply brilliant.

Forever imitated, never bested, Silence Of The Lambs is truly deserving of the title "classic". Despite the fact that Anthony Hopkins is only on screen for about 16 minutes in total throughout the entire movie, his performance is burned into your brain. You know he's as evil as they come yet you become intrigued by his words and mannerisms. Despite the fact that he is not the central villain of the piece, he is the most memorable character. But let's not give him all the praise, as Jodie Foster gives it her all when tangling with both the sinister doctor and Jamie Gumb. If you haven't read the book, it's an excellent read as is the book before it, Red Dragon. If you have experienced neither book or film, you're missing out on a truly amazing story.