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CollectionsIt's by no means, a great film. It is however, a chesstaculary fun over the top movie.
Probably the best part of the film, is William Fichtner as "The Accontant", that and Nicholas Cage's hair.
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What you should know about me:I own a pet cat, love cheesy action and horror movies, occasionally watch hockey, love listening to pretty any kind of music, hard rock, classic rock and pop, old school rap, 80's and 90's music, heavy metal, you name it, and I am also from Canada.
Also known as Jamie M.
About voting:
I'll try to get to voting as many lists, as humanly possible, in my spare time.
Since there's alot of awesome lists and pictures, out there I'll try to vote as many times as I can.
About lists that are in work: It will be huge undertaking, so some will take longer than others to finish off.
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Recent reviews
Drive Angry review
Posted : 11 years, 5 months ago on 3 April 2015 03:13
(A review of Drive Angry)
1 comments, Reply to this entry
The Interview review
Posted : 11 years, 8 months ago on 25 December 2014 07:05
(A review of The Interview)Having just seen The Interview, I would have to say it was pretty great film. Granted, some of the jokes where hit and miss, but it was still not that bad of a movie.
0 comments, Reply to this entry
Jack and Jill review
Posted : 14 years, 2 months ago on 24 June 2012 03:55
(A review of Jack and Jill)I would say that this is a bottom of the barrel comedy, but I would be insulting both barrels and the bottom of barrels.
2 comments, Reply to this entry
Whitney review
Posted : 14 years, 10 months ago on 15 November 2011 05:23
(A review of Whitney)Tried watching this show a couple of times, but gave up on it after a few episodes. The fact that Whitney, is still on the air and that Community could be placed on an indefinite hiatus, and possibly cancelled by the "evil peacock network", says a lot about the "evil peacock network"'s priorities.
0 comments, Reply to this entry
Season of the Witch review
Posted : 14 years, 10 months ago on 29 October 2011 02:04
(A review of Season of the Witch)If your ever wondered, what The Name of The Rose, Monty Python and The Holy Grail, and The Devils, would be like featuring stilled dialogue, cheesy CGI, a predictable plot you can see coming from a mile away, and Nicholas Cage, then this film is for you!
Cage, plays a knight quested to deliver a young women, believed to be the cause of the Bubonic Plague, and of being a witch.
Also, the wolves in the film are of the CGI variety, but the unintentional laughs are very, very real.
Lovers of bad cinema, this is film is just for you!
Cage, plays a knight quested to deliver a young women, believed to be the cause of the Bubonic Plague, and of being a witch.
Also, the wolves in the film are of the CGI variety, but the unintentional laughs are very, very real.
Lovers of bad cinema, this is film is just for you!
0 comments, Reply to this entry
Vanishing On 7th Street review
Posted : 14 years, 11 months ago on 24 September 2011 05:08
(A review of Vanishing On 7th Street)It was an okay film, with an okay premise, but it fell apart at the very, very end.
1 comments, Reply to this entry
Dragonball Evolution review
Posted : 14 years, 11 months ago on 18 September 2011 10:31
(A review of Dragonball Evolution)Best comedy, ever!
I know it isn't but from the very beginning, I found the film very much unintentionally hilarious.
Yes, I know that the TV series, had their moments of humor, but the live action takes it to the next level.
A direct comparison, would be Super Mario Bros and Double Dragon, both awesomely bad, and both worth checking out if you like really horribly awful, but yet entertainingly horribly bad movies films, this film definitely belongs way up there with them.
I know it isn't but from the very beginning, I found the film very much unintentionally hilarious.
Yes, I know that the TV series, had their moments of humor, but the live action takes it to the next level.
A direct comparison, would be Super Mario Bros and Double Dragon, both awesomely bad, and both worth checking out if you like really horribly awful, but yet entertainingly horribly bad movies films, this film definitely belongs way up there with them.
0 comments, Reply to this entry
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(34 items)Movie list by Agent Kermit D. Fonz Published 2 hours, 47 minutes ago
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Why The Box Office?: Films of 1980s: 1982
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Why the Box Office Bomb?: Films of 1980s: 1982
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Why the Box Office?: Films of 1980s: 1981
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Box Office Crunching: 1980’s
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Production Budget: $900,000 – $1,000,000
A modest sum for the time, allowing the film to be shot in just three weeks at Santa Barbara Mission High School.Los Angeles
Box Office Gross: $411,292
Generally in just its first week and a half following its January 15, 1982 release in L.A. alone.
First Week: L.A. Peak Overall : $500,000. Over half its budget in localized momentum during early screenings.
Opening Weekend Over: $400,000. a surprise “hit" status within its limited regional rollout.
Financial Success Structure
Low Risk, High Return: For independent films during the 1980s horror boom, a small $1 million budget meant the movie did not need mainstream block-busting numbers to succeed.
By pulling in nearly half its production costs from just a single major city market early on, it quickly crossed into profitability.
The B-Movie Safety Net: Independent subdistributors used Evilspeak to "fill gaps".
If a major studio film failed or left an empty theater slot, theater managers would quickly lease Evilspeak to pull in late-night horror crowds, securing steady cash flows over a staggered, multi-month release schedule.
The Ultimate VHS Lifeline:
While its theater box office was deemed a localized win, the movie made back its budget multiple times over via international home video sales, boosted massively by its controversial "video nasty" ban in the UK.
Audiences flocked to see Evilspeak (1981) in theaters and later rented it on VHS for a few specific reasons, ranging from its unique marketing hook to its intense, headline-grabbing gore.
The "Satanic Computer" Hook
In 1981, home computers were a mysterious, rapidly emerging technology. Evilspeak capitalized on this novelty by combining ancient black magic with modern technology.
The film's highly effective marketing tagline, "EVILSPEAK...A Computer Programmed For Unspeakable Terror," deeply intrigued audiences.
The premise of an Apple II computer generating a digital Black Mass and printing out warnings like "Data incomplete... Human blood required" was a concept moviegoers hadn't seen before.
A Massive, Extreme Gore Climax
During the 1980s horror boom, fans actively sought out movies that pushed boundaries.
While the first hour of Evilspeak plays out like a slow-burn drama, word-of-mouth spread about its unbelievably chaotic, ultra-violent final 15 minutes.
The climax featured:
A levitating Clint Howard wielding a medieval sword.
Exploding heads and a character's heart being physically ripped out.
An apocalyptic pack of demonic, flesh-eating hogs tearing through a church.
The Ultimate "Underdog Revenge" Narrative
The film structure heavily manipulated viewers into wanting to see the villains get destroyed.
Clint Howard played Stanley Coopersmith, a friendless, orphaned military cadet who is relentlessly tormented by sadistic classmates, cruel teachers, and a mean coach.
Horror fans flocked to it as a "gender-flipped Carrie set at a military academy," especially after the bullies cross the line by killing Stanley's beloved puppy, ensuring the audience was actively rooting for his satanic revenge.
The Allure of Being "Banned"
While it was a modest success in theaters, its primary viewership boom happened on home video because it was legally banned.
When the United Kingdom branded it an official "video nasty" under the 1984 Video Recordings Act, it created a massive "Streisand Effect."
Horror fans globally sought out bootleg VHS tapes simply to see what the government didn't want them to watch. 1 day ago
Agent Kermit D. Fonz added 1 item to Why The Box Office?: Films of 1980s: 1982 list
The 1982 action thriller Firefox (1982) had a production budget of $21 million and a total box office gross of $46.7 million.
Production budget: $21M budget
Opening weekend: $8,152,948
Total box office gross: $46,708,276
The 1982 techno-thriller film Firefox, directed by and starring Clint Eastwood, is widely discussed regarding its box office performance because it was a modest financial success but a franchise failure.
While it grossed $46.7 million domestically against a $21 million budget, it did not perform well enough to justify sequels, making it Eastwood’s only attempt at launching a high-tech, special effects-driven blockbuster franchise.
The Bottom Line on Its Box Office & Reception
High Production Costs: At $21 million, it was the costliest and largest production ever attempted at the time by Eastwood’s production company, Malpaso.
Over $20 million of the resources were poured entirely into pioneering special effects, specifically hiring Star Wars effects expert John Dykstra to create the intense aerial sequences.
Pacing Complaints: Critics praised the film for its “special effects, flying scenes, and thriller aspects, although critics took issue with the film's pacing, running time, and character development.”
Word of mouth spread that the movie was "boring" during its first two-thirds, which was heavily focused on slow-moving Cold War espionage rather than the promised high-flying dogfights.
The "Firefox Down" Sequel Cancellation: The movie was based on a Craig Thomas novel.
While Thomas published a direct sequel book called Firefox Down in 1983, Warner Bros. and Eastwood chose not to adapt it into a second film due to the original’s lukewarm critical reception and sluggish theatrical momentum.
Because of this, Firefox remains a unique, expensive anomaly in Clint Eastwood's filmography, a rare moment where the box-office superstar swapped grounded human dramas for Star Wars-style cinematic technology. 1 day, 1 hour ago
Agent Kermit D. Fonz added 1 item to Why the Box Office Bomb?: Films of 1980s: 1982 list
Francis Ford Coppola’s 1982 romantic musical One from the Heart failed because its production costs ballooned to $26 million while earning a meager $637,355 at the U.S. box office.
Financial and Production Overruns
Coppola wanted creative freedom after directing Apocalypse Now. He purchased an old Hollywood studio for his company, Zoetrope Studios, to build an alternative to the major studio system.
Budget Explosion: The film started as a modest $15 million project. It grew to $26 million because Coppola built massive, elaborate physical sets and miniatures of Las Vegas inside his soundstages.
Self Financing Risk: Coppola funded the film himself. When the movie bombed, it bankrupted his studio and saddled him with massive debts that took a decade to pay off.
As noted by The Quietus, “Coppola had intended to keep costs low by shooting on soundstages; instead, they ballooned from around $12 million to $26 million.”
Narrative and Audience Disconnect
Audiences and critics in 1982 rejected the movie's style and story.
Unconvincing Romance: Many viewers felt the main couple, Hank and Frannie, lacked chemistry and emotional warmth.
Stylistic Overload: The focus shifted heavily toward technical spectacle, neon colors, and music by Tom Waits rather than grounded human drama.
Cultural Timing: The film arrived just as Hollywood shifted toward high-concept blockbusters, making a stylized, artificial stage musical feel out of touch.
According to The Spool, the film was “a gargantuan gamble by an unstoppable auteur, one which tests the limits of studio largesse and the patience of audiences who aren't on the artist's incredibly specific wavelength.”
The 41-Theater Ghost Town
The box office environment was made even bleaker by the film’s distribution strategy.
After disastrous test screenings, Paramount Pictures backed out of distributing the movie.
When Columbia Pictures stepped in, they completely abandoned plans for a massive national launch.
Instead, they dumped the film into just 41 theaters across the United States. Because it wasn't playing in standard neighborhood multiplexes, most of the country literally could not buy a ticket even if they wanted to..
As Joe Valdez notes for Video Days, “The movie is too unusual to open in 714 theaters on the same day... One From the Heart opened February 12, 1982 in 41 theaters in the U.S.”
With zero momentum and confusing word-of-mouth, the film plummeted to 18th place on the box office charts by its second weekend, earning a dismal $180,717. Seeing the writing on the wall, Coppola famously pulled the movie from theaters entirely to prevent further financial bleeding.
The bleak response to One from the Heart extended beyond the empty box office—contemporary film critics fiercely attacked the movie for prioritizing advanced technology and flashing lights over human connection.
The critical consensus at the time agreed that Francis Ford Coppola had completely lost touch with emotional storytelling
For regular 1982 audiences, One from the Heart felt incredibly alienating because it was a radical, experimental art film disguised as a traditional romantic musical. Moviegoers expecting a grounded love story or a fun, upbeat musical were instead met with a highly stylized, melancholic dream world.
Audiences at the time rejected the movie for three major reasons:
Unlikable, Low-Energy Characters
Traditional musicals usually feature sweeping, charismatic romances.
In contrast, One from the Heart focused on Hank and Frannie—a deeply unhappy, working-class couple who spent the movie fighting, drifting apart, and having unglamorous arguments.
Audiences found it difficult to root for them, making the overall experience feel emotionally draining and "bleak."
A Disconnection from the Cast
Because Coppola was obsessed with his massive neon sets, he frequently used wide shots to show off the scenery rather than close-ups of the actors' faces.
Audiences felt physically and emotionally distanced from the performers, feeling more like they were watching a distant theatre stage production rather than an intimate movie.
The Sudden Shift in Movie Culture
By 1982, audience tastes were rapidly shifting toward fast-paced, high-concept entertainment.
One from the Heart was slow, poetic, and entirely driven by Tom Waits' gritty jazz soundtrack. It was a massive tonal mismatch for what 1980s pop culture wanted at that exact moment.
How Audiences Feel About It Now
Modern viewers see the film through a completely different lens. Free from the 1982 media storm about its budget, today's audiences can appreciate its stunning visual artistry.
Rotten Tomatoes Audience Score: The movie holds a 61% Audience Score, showing that modern viewers find it far more watchable and visually dazzling than the original crowd did.
Cult Following: Film fans now celebrate it as a beautiful, neon-soaked valentine to old Hollywood romance, rather than a depressing story about a broken relationship.
Granted, it was released in 1981. But didn’t get a wider (If you wish to call it that.) release.
Regardless, a year by any other year, the result was still the same. A heart breaking failure in theatres.1 day, 4 hours ago
Agent Kermit D. Fonz added 2 items to Why The Box Office?: Films of 1980s: 1982 list
1 day, 4 hours ago
Agent Kermit D. Fonz added 2 items to Why The Box Office?: Films of 1980s: 1982 list
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Agent Kermit D. Fonz added 1 item to Why The Box Office?: Films of 1980s: 1982 list
Budget: $5 million
Box Office Earnings: Approximately $14.1 million
Why it Performed the Way it Did
Initial Studio Backlash: MGM originally virtually buried the film upon its initial release.
Studio executives were disappointed because they expected an outrageous, raunchy comedy like Porky's or Animal House.
Instead, Levinson delivered a slower, character-driven story about friends talking about "nothing" at a diner.
The Critical Rescue: The movie was saved after a private screening attended by legendary film critic Pauline Kael. Her subsequent rave review helped “secure it an audience.” -- [Moving the River].
Slow, Word-of-Mouth Rollout:
Because of the strong critical reception and an Academy Award nomination for Best Original Screenplay, MGM transitioned the movie into a slow, platformed release across major cities throughout the spring and summer of 1982, allowing wordof mouth to build its profitability.
While it didn't compete with 1982's massive hits like E.T. or Rocky III, it made nearly triple its budget, launched the careers of stars like Kevin Bacon, Mickey Rourke, and Steve Guttenberg, and profoundly influenced future pop culture like Seinfeld. 1 day, 8 hours ago
Agent Kermit D. Fonz added 1 item to Why the Box Office Bomb?: Films of 1980s: 1982 list
Dead Men Don't Wear Plaid” grossed $18.2 million at the box office against an estimated production budget of $9 million.
Box Office Breakdown
Domestic Gross (US & Canada): $18,196,170
Opening Weekend: $4,289,601 (released May 21, 1982 across 882 theaters)
Worldwide Gross: $18,196,170
Dead Men Don't Wear Plaid (1982) grossed around $18.2 million at the box office against a $9 million budget, which meant it roughly broke even but was considered a commercial disappointment.
Why It Underperformed at the Box Office
Shift from Mainstream Expectations: Audiences expected a madcap comedy like Steve Martin's breakout hit The Jerk (1979), but instead got an ambitious, straight-faced noir homage and clever parlor game.
Niche Appeal: The film relied heavily on recognizing clips and classic 1940s and 1950s film noir tropes, limiting its mainstream commercial reach.
Controversial Gimmick: Intercutting classic Hollywood actors into new footage faced mixed reactions and debate at the time regarding its novelty versus distracting gimmickry.
Previous Box Office Softness: It followed Martin and director Carl Reiner's musical-drama Pennies from Heaven (1981), which also failed to ignite the box office, temporarily stalling Martin's meteoric film momentum. 1 day, 17 hours ago
Agent Kermit D. Fonz added 2 items to Why The Box Office?: Films of 1980s: 1982 list
1 day, 17 hours ago
Agent Kermit D. Fonz added 1 item to Why The Box Office?: Films of 1980s: 1982 list
The 1982 fantasy film The Dark Crystal grossed approximately $41.4 million to $44.6 million worldwideagainst an estimated production budget of $15 million to $25 million.
Box Office Gross
Domestic (US & Canada): Around $40.6 million to $41.6 million, bolstered by subsequent re-releases.
Worldwide Total: Reached roughly $44.6 million globally across its original theatrical run and later re-releases.
Opening Weekend: Debuted domestically with $4.65 million across 858 theaters in December 1982.
Budget and Profitability
Production Budget: Estimated between $15 million and $25 million, a substantial investment for a pioneering all puppet feature film at the time.
Financial Outcome: While initial box office returns were considered soft or a disappointment given high expectations and dark test screenings, the domestic earnings ultimately allowed Jim Henson to turn a profit and recoup his investment.
Jim Henson's The Dark Crystal grossed around $40 million to $41.6 million globally against its production budget, making a modest profit despite mixed initial reactions.
Box Office Performance
The Numbers: Released on December 17, 1982, the film earned roughly $40–$41 million domestically during its initial run and finished with over $44 million worldwide.
Profitability: Because budgets varied from an initial $15 million estimate up to a final cost around $25 million, the film managed to cover its costs, though it was not an runaway blockbuster. [
Puppet Success: It stands as one of the highest-grossing all-puppet feature films ever made, second behind The Muppet Movie.
Factors Affecting Its Theatrical Run
Tone and Scares: Audiences expected a lighthearted family adventure from the creator of The Muppet Show, but instead found a brooding, dark, and genuinely terrifying fantasy.
“Many parents felt the movie was too scary for their children.” -- [IMDb].
Tough Competition: The film entered theaters just months after E.T. the Extra-Terrestrial, which dominated the box office and overshadowed other fantasy and sci-fi releases that year.
Cult Status Later: While box office returns were only modest, the movie built its true legacy and immense profitability later through VHS rental
At the time of its release in December 1982, the word of mouth for The Dark Crystal was highly polarized and full of surprise, completely altering how the film was perceived in real time.
The word of mouth shaped its box office run in three distinct ways:
The "Muppet Shock" Factor
The biggest driver of word of mouth was intense surprise regarding the movie's tone.
Because Jim Henson's name was heavily attached to the project, thousands of parents took very young children to the theater expecting the lighthearted, colorful comedy of The Muppet Show.
Instead, they were met with a brooding, dark world featuring terrifying vulture-like creatures (the Skeksis) that drained the life essence out of other creatures.
Word quickly spread among parents that the movie was too scary for young children, which suppressed what could have been an even larger family turnout.
“You have to see it to believe it" Visual Buzz
While the plot was criticized by some adults as being a bit simple or slow, the word of mouth surrounding the visual effects and animatronics was ecstatic.
People had never seen a mainstream, big-budget live-action movie with absolutely zero humans on screen. Moviegoers told their friends about the sheer scale of the puppetry, the detail of the world of Thra, and how technically groundbreaking it was.
This "visual spectacle" buzz is what kept theater seats filled and pushed it into the top 20 films of the year.
Early Test Screenings Fixed a Disaster
The word of mouth almost ruined the movie before it even officially opened. In early March 1982 test previews, the Skeksis spoke entirely in an invented, fictional language with no subtitles.
The test audience's word of mouth was pure confusion and dislike.
Henson took that feedback seriously, delayed the release, and spent months completely rewriting and dubbing the movie into English.
This saved the official theatrical release from a narrative disaster.
Ultimately, the word of mouth at the time can be summarized as: "It's a jaw-dropping visual masterpiece, but don't bring the toddlers."1 day, 22 hours ago
Agent Kermit D. Fonz added 3 items to Why The Box Office?: Films of 1980s: 1982 list
2 days, 1 hour ago
Agent Kermit D. Fonz added 1 item to Why the Box Office Bomb?: Films of 1980s: 1982 list
The 1982 original horror film The Beast Within was a financial disappointment during its theatrical run, failing to make a true profit after distribution and marketing expenses.
The official financial numbers for the 1982 release are:
Production Budget: $5 million
Opening Weekend: $1,250,000 (across roughly 550 screens)
Total Box Office Revenue: $7,742,572
Why it Underperformed
Severe Critical Backlash: Mainstream movie critics were notoriously hostile toward horror films in the early 1980s.
The movie was heavily criticized for its extreme graphic violence—particularly its famous, lengthy human-to-cicada creature transformation sequence, leaving it with a dismal 17% score on Rotten Tomatoes.
[The Breakeven Rule: Because theater chains take roughly half of all ticket sales, a film generally needs to pull in at least double its production budget just to cover basic costs.
Earning only $7.7 million on a $5 million budget meant MGM/United Artists lost money on its initial release.
Like many 1982 horror movies, it eventually recouped its losses and achieved cult classic status through late-night television broadcasts and home video rentals.
Devastating Word of Mouth: The film opened with a decent $1.25 million weekend, but as soon as initial audiences saw the graphic human-to-cicada transformation, complete with pulsating air bladders, tearing flesh, and slime—word spread quickly.
Regular moviegoers stayed away, causing ticket sales to plunge drastically by its second week.2 days, 2 hours ago
Why The Bomb?: 1980sPictures
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