What Was the Name of That Movie? Part 4. O. P. Continues from Part 3.. If you need help identifying a long forgotten movie, you've come to the right place.

We'd always recommend a bit of self- sufficient keyword search work through Google and IMDB, but if you're truly stumped the Whirlpool movie buff collective may be able to help. Consider us your Obi- Wan (you know "Help me Obi- Wan Kenobi, you're my only hope"..?? Some rules and guidelines: (new Whirlpool members, pay close attention)All the usual Whirlpool Rules must be adhered to. This includes no foul language and no depiction of sexual acts or overt violence.

A Zero Tolerance stance will be taken on posts that break these rules within this thread. We have a lot of first time posters stumble on this thread, and that's great, but please read the rules first. It won't find that film if your post gets hidden. Basically, Whirlpool is a family- friendly site so don't offend, even in the context of describing a scene from a movie: it's not on and it won't be tolerated. We can't edit your posts (we don't do that on Whirlpool), but we will hide them (they can be unhidden once the content that broke a rule is removed). Whilst some scenes which are shocking might be the easiest to remember and describe, that doesn't mean they'll be OK to describe.

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Find product information, ratings and reviews for Indoor/Outdoor Coastal Starfish Rug - Blue/Brown online on Target.com. Electromagnetic Pulse is a subject that is very mysterious to most people and quite misunderstood. Many people want to ignore the science and make it into a political. There’s nothing understated or outdated about this Maui classic, est. 1973. The setting—palm trees, tide pools, white sand beach—is beyond romantic, and the.

Now the good stuff. There are some ridiculously clever and knowledgeable folks lurking in this thread – and I mean ridiculous in the same way baby turtles are ridiculously cute. It's insane. However, to paraphrase Jerry, you have to help them help you. Try not to post a "wall of text".

Remember paragraphs and a little bit of punctuation helps the ease of reading. If you make it clear and easy to read, our members are more likely to try to help you. So provide keywords, themes, even trivial details may help. Obviously, if you can remember actors, events, genre etc include that. DON'T tell us how old you were when you saw it. DON'T tell us where you were when you saw it. DON'T tell us you were with your grandmother when you saw it.

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DON'T tell us when you think you saw it. DO tell us (roughly) what year you think the film was released. DO tell us what era you think the story was set. DO tell us where you think the story was set. The long standing contributors to this thread like a challenge (within reason) and consider your questions to be a challenge, so the more information the merrier.

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Please help,I remember this movie I watched on Sky [analogue] in the 1. Might be a TV movie. No big stars I don't think [could be wrong though]I remember a few things but not much plot, here's what I remember: The protagonist is a young girl in her late teens/early 2. I think. She's pretty bored because she lives with her mother. She hangs out by this lake. They live in this hotel with one or two staff, it's quite isolated.

It's summer, it's hot, lot's of orange and yellow I think. I think the girl was blonde, wore quite loose fitting short dresses I seem to remember. Watch House Of Good And Evil Online House Of Good And Evil Full Movie Online more. The mother arranges for some extra help so she hires this guy who is older. Things get a bit steamy between the daughter,mother and guy I think.

A few tensions arise and I think the girl is tired of living with her mother. Then I seem to remember the girl moving out and going to the city or something in this apartment block. That's where my memory of the plot fades out.

Please help, I'd like to hunt it down, but completely forgot the name of it. I'm looking for 2 movies: first– The scene I remember shows a Civil War officer, possibly in the fog, shooting or stabbing wounded soldiers after a battle, while humming, whistling, or singing – I think the song was rock of ages. Watch Catch-22 Tube Free more. It may have been an opening scene, setting background for the movie. Second – Looking for an American War movie – I saw it on TV in the early 7.

Could be black& white – we may not of had a color TV at the time. Could either be WWII with Japanese as the bad guys or Korean War. I only remember a few scenes. One – the squad was dug in on top of a hill or ridge and being overrun. They dug holes and covered them – hiding inside. Two – they were going around a hill on a road and there was a camoflaged tank that they had to take out.

Three – at the end the survivors were walking down the road towards their own lines or back to base. Re- posting.. Anyone? Hi again. There's this one movie I watched in the 8. American is in a NY taxi, and the taxi driver mentions that he's an "American," but he looks and speaks English with a strong Iranian/Pakistanian/Indian(??) accent, and obvious the driver just "became" an US citizen. I watched this movie in Japan (in English with Japanese subtitles) with a Japanese friend. I was the only one in the movie theater that laughed at this scene (I was asked later on why I laughed at that particular scene after the movie was over).

I was so sure it was Crocodile Dundee, but watching the movie years later, that particular scene is not in it. I KNOW I didn't make it up.. Thanks. USER DL not sure it has been a long time since I have seen them but it sounds like it could have been " wishmaster"Luckily one of my movies has been found.

I hope some one can give me a clue what the name is of this movie. I've copied it from the other thread: Another movie that i've been looking voor a very long time is a fairytale which i think is from the 7.

The story is about a princess who only marries if her suitor knows the answer to her riddle. If he doesn't know he'll be turned to stone. There was a scene which they showed the previous suitors of the princess as statues in the garden. I remember vaguely that there was one suitor, (a prince maybe) who knew the answer and the face of the princess turns pale or something before returning to nomal when he indeed gives the right answer. Like a fairytale it all ends well. It might not even be an original English movie maybe dubbed even because the sound wasn't much in sync with the picture.

I've posted this on another site some time ago and someone pointed out that it has similarities with the opera Princess Turandot and/or 1. Arabian nights. Though searching on IMDB has not brought me closer to an answer. Maybe the movie is loosely based on the abovementioned sources because as i can remember it, it was not a scene for scene adaptation from the book/opera to the screen.

And i like to stress that it has no singing. So it's no musical, no opera on stage that has been filmed for TV. And as far as i'm concerned is not part of a tvseries (for example Shelly Duvall's Fairytale theatre). I hope someone can help me with this. Hi everybody, I had a look at Google and cant find the movie that I trying to remember its name.

I watch this movie when child, I am 3. I barely remenber the full history but what I can remember is a chase of 2 or 3 children (siblings? They travel arround the country and every time the murder is closed and trying to get the children. I do not remember the exact motivation of the chase but I think it is because the children have testemoned a crime. Thanks for any help.

Hi guys another one.. It is a old comedy where a strange (looking like Indian) was wrongly inveted to a posh party in a huge mansion (in USA? There, he start doing several gaffes and the last one was start the automation system of the house opening a pool and people falled into the water.

After that a big pool party take place instead the posh one. Thanks for any help. It is a old comedy where a strange (looking like Indian) was wrongly inveted to a posh party in a huge mansion (in USA?

Movie Review: “Life” Is Full of Horrors. What constitutes horror is simply a matter of directorial choice. If the director of a televised football game had cameras and mikes on the field and pushed them up close to injured athletes, an ordinary sporting event would be transformed into a horror film. Surgery is heroic, but the Surgery Channel would be, for many people, unbearable. That’s the secret of “The Knick.”) Classic movies, under the strictures of the Hays Code, avoided gore and depicted bloodless shootings in which the sound of gunshots was coupled with actors falling to the stage.

This limitation led to a focus on the moral horror of shootings and avoided the visceral revulsion of bloodshed—and, frankly, isn’t that sufficient? It was sufficient, for instance, in “Chi- Raq,” one of the many virtues of Spike Lee’s 2.

The new science- fiction film “Life,” directed by Daniel Espinosa, is also a horror film. It’s the “Snakes on a Plane” of sci- fi: a movie that hinges on a single idea—if there’s life on Mars, it may not be friendly. Indeed, it may prey upon humans in a way that changes, in a deeply rooted psychological way, our relationship to our bodies, our sense of self, our existence.

That kind of resonant insight is rooted in reality and reflected in movies: Martin Scorsese’s “Shutter Island,” for instance, conveys not the political crisis nor even the fear of death arising from the nuclear- arms race of the postwar years but the existential dread, the sense of a changed relationship to the very notion of life and death, that seeped into the mental fibre of anyone who lived through it—including Scorsese, in childhood. Espinosa’s film is best during its isolated moments of shock, when it delivers on the promise of the premise: six astronauts aboard the International Space Station have recovered a small soil sample from a damaged Mars probe. In a bio- quarantined laboratory, the chief biologist, Hugh Derry (Ariyon Bakare), examines the sample, discovers microscopic but inert bodies that resemble cells, and attempts to stimulate them.

This is some ‘Re- Animator’ shit,” another astronaut responds; jokes follow. The script was written by Rhett Reese and Paul Wernick, of “Deadpool,” and it’s got the patter to prove it.) Stimulate them he does: the cells begin to move, then they reproduce into a sort of silicone- like starfish form that moves with a petal- like grace. What’s distinctive about the cells, Hugh says, is that they’re undifferentiated—each is muscle, brain, and sensory organs all in one. When the starfish- like thing, called Calvin, grows to the size of a hand, Hugh stimulates it again, gently, this time with electricity—to which it responds by grabbing his gloved hand with its tentacles and, with industrial strength, crushing it, breaking his bones and tearing through his glove. The pilot, Rory (Ryan Reynolds), saves Hugh but gets trapped with Calvin in the isolated chamber, and it attacks him in a singularly macabre way—it slips a tentacle into his mouth, then slides itself all the way down his gullet.

It’s as if Calvin represented the revenge of the “Oldboy” octopus, the nightmare form of the “Arrival” squid.) Not only does Espinosa make Rory’s convulsive death repulsively terrifying, he uses the weightless environment to show the blood and gore floating around his corpse. As for Calvin, it emerges from Rory newly sustained, and the five remaining astronauts realize what’s happening: Calvin simply needs to eat, and they’re the only organic matter around. Calvin makes no noise; its “body” is a translucent, iridescent white, containing a hint of red filaments. It moves as fast as a bat, leaping strongly, as if flying, and flopping firmly from surface to surface.

Nearly formless, it can slip like a mouse through a tiny crack. Calvin escapes the bio- quarantine and, in effect, takes over the spacecraft.

As it grows in size, it becomes increasingly voracious, and the plot morphs into a science- fiction version of “And Then There Were None.”One of the mysteries of Calvin is that it is an entirely unknown quantity—it isn’t clear what Calvin craves (are there foods other than humans that it would prefer?) or what can kill Calvin (if it’s shredded or sliced up, will the pieces survive on their own?). Can it endure extreme heat or extreme cold? Can it drown? (A science- fiction movie is like a board game that discloses its rules in the playing.) And, as the surviving astronauts recognize that Calvin isn’t easily disposed of, they also realize that their principal mission has changed—it’s no longer a matter of their own survival or that of the International Space Station. Rather, they must make sure that Calvin never reaches Earth, and so they must insure that the station, and they themselves, never return to Earth. In effect, they have to sacrifice themselves in order to save humankind. Unfortunately, Calvin’s monstrosity is revealed early enough in the action that it becomes a tough act to top, and Espinosa shrinks from the unmitigated bodily horror that, say, David Cronenberg might have brought to the project (along with a rating that should come with its own beta- blockers).

The movie reduces its fear factor to simple suspense that’s not insignificant but is pretty insubstantial. Life” is a nineteen- fifties low- budget sci- fi quickie that has its budget ramped up by the presence of a few stars—Reynolds, Rebecca Ferguson, and Jake Gyllenhaal—alongside the less familiar but amply skilled trio of Bakare, Olga Dihovichnaya, and Hiroyuki Sanada. Bakare’s performance had an admirably radiant ease; it should propel him into some choice leading roles.) Its budget is also, and perhaps especially, boosted by one variety of effect that is the movie’s most sustained pleasure—motion through a weightless environment.

Espinosa’s sense of drama is efficient, familiar, and narrow; if there’s a moral sentiment to his direction, it’s precisely in the limits that he imposes on the movie’s dose of pain and gore. Cronenberg’s power as a director is his quasi- confessional delight in the depiction of quease- making horrors.) What Espinosa conspicuously enjoys is the sheer kinetic realm.

His realization of astronauts floating through the spacecraft, gliding through their artificial atmosphere as if swimming in air, has a simple and giddy delight, which he reinforces with a few long camera moves that sail through the craft along with the astronauts. He also lends the notion a particular poignancy—Hugh is paraplegic, who moves in the weightless environment with an ease denied him on Earth.)The movie’s subject, of course, is the potential for menace in nature, the threats potentially unleashed by constructive scientific research. The astronauts and the spectators on Earth, who are glued to their screens watching the apparently successful retrieval mission, celebrate the discovery of the first sign of life in outer space.

The response of people back home to the ensuing catastrophe on the space station is never shown, however. The response of scientists on Earth to the discovery of the cell- like particles discovered in the Mars dust is never heard, either. The blandly but frantically cautionary tale about the dangers of the quest for knowledge depends mainly on a suppression of context—on a lack of discourse, a script that builds its terror not on that quest for knowledge but on the artificial sealing off of the notion that anything is known at all. Instead of talking with scientists on Earth about what’s to be done with the samples, the movie sticks to a story that involves astronauts following “protocols.” In effect, “Life” envisions a space mission to be like a generic movie itself, one that results from a methodical and rigorous conformity to the script.

The aesthetic of “Life” is one with its simplistic message; as ever, cinematic form is inseparable from a movie’s substance.