A Vietnam veteran suffering from post traumatic stress disorder breaks out of a VA hospital and goes on a road trip with a sympathetic traveler to start a worm farm in California with his fellow veterans.
Leon planned "the great all-nighter" by picking college students to participate in an all-night long scavenger hunt. The 5 teams are given clues to solve, leading them to the next clue, ... See full summary »
A satire of American news reporting, covert agencies, and political system. The theft of two suitcase sized nuclear weapons, and their sale to a terrorist group, leads television newsman ... See full summary »
WILHELM SCREAM: When Lance is thrown on the bar during the bar brawl. See more »
When Terry and Joe are flying in the helicopter talking about their plans of starting "The Flying Pharaohs" Joe is wearing a green helmet. A few moments when he's told to open up (fire his weapon) his helmet is gold. A few moments later when he gets shot it's green again. See more »
I happen to think working as a topless dancer is creepy.
Well maybe that's your hangup, if you think the human body is creepy.
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The guitar strum, from Bob Dylan's How Does it Feel? brings forth the first few end credits of the film. See more »
Despite the fact the characters' futures were foretold at the end of the original, executive producer George Lucas went ahead with this follow-up to his directorial breakthrough, the 1973 hit "American Graffiti", with the novel idea that each person's story takes place on a different New Year's Eve--and that all the stories are intercut with each other (shuffled in order, so to speak). But with so little emphasis on the cast as a group, and with very little contemplation on the fates of the characters in the stories that precede that one we're watching, one gets a disconnected feeling that doesn't provide the nostalgia intended. Paul Le Mat is racing cars (and flirting with a pretty Swede) in the first episode; Charles Martin Smith is a soldier in Vietnam; Candy Clark has been a San Francisco hippie; and Ron Howard and Cindy Williams are battling marrieds with bratty kids (Richard Dreyfuss sat this one out, though Harrison Ford does make a sneaky cameo). Each installment has been filmed in a unique style tailored to the material, with Smith's Vietnam episode the most vividly captured (and the idea of him comically trying to blow off his own arm in order to get back home says more about the war than most anti-war movies do in two hours). Ultimately, the film's stylistic attributes are a colorful distraction. The multi-image cinematography and constant period music on the soundtrack can't deflect the fact the script is thin, while the actors (endearing at first) are encouraged to overact. Writer-director B.W.L. Norton bulldozes his way through; while the pacing seldom flags, his picture could use more of the cleverness, the humor and the sensitivity Lucas displayed in '73. There's a hint of melancholy sweetness at the end of Clark's installment, and a bit of it in Le Mat's story, but "More" turns out to be Less. **1/2 from ****
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