Cinema - Comments / Reviews by Twistin

Cinema - Comments / Reviews by Twistin

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Member	Item		Review/Comment
Twistin 18th May 2020		Cinema Mondo Daytona (1968) (1968)	Rated 6/10 A primitive relic of it's time that is not without its charms. Some quick interviews with 1968 teens on the beach intercut with musical performances: Billy Joe Royal performs "Down in the Boondocks" (a great music video-style sequence), "These Are Not My People", and "Hush" and features pre-Paul Revere & the Raiders' Freddy Weller on guitar (!) The Swinging Medallions deliver their hit "Double Shot of My Baby's Love" (an alternate version with sanitized lyrics!) and "She Drives Me Out of My Mind"...interesting band featuring two singers who cannot stay out of each other's faces. The Tams, a Southern beach music staple, render their hit "What Kind of Fool", as well as "Laugh It Off". Color commentary on the beach goings-on is voiced-over by Billy Joe Royal himself. Two years later, Florida bargain-basement director Barry Mahon dusted off the retired print and tacked on a new title & psychedelic opening credits sequence for seven minutes set to Grand Funk Railroad's "Paranoid", a lifetime supply of heavily distorted drug fuzz. Later, the band performs some more songs, dropped in clumsily in the middle of the film, setup on a stage playing to the camera, then again at the closing. It's amazing to see the difference in teen music culture over a mere two years. But the true clash is that Mahon didn't seem to understand that the older film was populated with AM pop music, which was in stark contrast to the underground FM rock in his new footage. But we know he didn't care. The idea was to make money from this new film he'd shot and he took the simplest path to making it appear to be a new feature length production. How does this Frankenstein patch-up job hold up well into the new millennium? I found it to be a likable enough bit of curio that has plenty to scoff at, but still has some merit as a time capsule. The Grand Funk footage made me laugh a lot and surprisingly, most of the 1968 music performances were pretty decent all things considered. For something so obscure and off the beaten path, the print is in pretty darn good condition. If you liked the teen culture from these two eras, I would definitely recommend seeing this, if you can find it. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 17th May 2020		Cinema Завтрак на траве (1979) (1979)	Rated 7/10 In 1979, American teens were cruisin', listening to Southern rock or disco, and in the summertime, they might volunteer and be a counselor at a summer camp. Завтрак на траве is one in a long line of Soviet television films that take place in their Pioneer camps. The genre consists of mostly wholesome stuff, and despite the limited pool of possibilities, somehow manages to captivate the viewer with its unguarded innocence and a commitment to the spirit of bonding. During this era, American teens at camp were slightly different, having replaced campfire sing-alongs with playing naughty games after the tykes are sent to bed. The bad American teens fooled around, which resulted in them being violently slashed in American summer camp cinema. This slaughter of adolescence eventually found its way into nearly all holidays populated by hormonal youth. There's none of that carnage here under the logical guidance of counselor Ivan Kovalev. Yes, there are songs. Yes, there's romancin'. And yeah, there's joy. Come on along for the ride. It works as kitsch, so rear-project this behind your acid folk band and you're good to go. And no doubt, there's probably a bunch of ex-Pioneers that will have a nostalgic blast reliving those simpler days. About a decade or so later, these values got traded in for living on the streets and huffing cleaning solutions. Have a nice day. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 16th May 2020		Cinema Tom Holland's Twisted Tales (Twisted Tales) (2014) (2014)	Rated 1/10 Unbearably contrived anthology that is so bloated with bad acting and poor writing, you'll be yelling at the screen and checking the clock throughout the film's extended duration. Director / producer / writer Tom Holland has some notable films credited to him, but this production has eliminated any respect he may have earned in the horror genre. Most films have deleted scenes, which director commentary tracks point out, are cut to advance the story. The opposite is true here, with each scene dragged on and on and on for no purpose whatsoever except to fill up screen time -- which is only one of the film's countless issues. My one-star rating is unusually generous. Waste two and a half hours of your life at your own peril. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 15th May 2020		Cinema The Apple (1980) (1980)	Rated 3/10 As you watch the opening song performed in concert, your first thought is that it's so over-the-top, no real pop fans would ever accept something so fake and convoluted. Then you remember hair metal, emo, glitter, Eurovision, death metal, the 80s, disco, crabcore! Yes, it's like totally possible. According to this futuristic fantasy, the music was supposed to be disco. Meaning, first and foremost, that the writers believed disco would survive well into the sci-fi future, albeit as "nah-stal-ja!", once mixed with the silly New York 'Fame' thing which thankfully only lasted a few weeks. That short-sighted factor should tell you plenty about what's upcoming. It seems the biggest influences here were The Rocky Horror Picture Show, Phantom of the Paradise, and Grease, if you can imagine, at least as far as musical production goes. Not that its derivative being can compete with those three films. It's bad. Colossal bad. The songs are poor, the choreography is bland, and the whole affair is unfocused. What, you think this was all tongue-in-cheek and a satire? In 1980? A spoonful of sugar... I would recommend seeing the film if only to witness the song about America (Speed?) because you really will not believe your ears, one of the worst vocal performances in history without a doubt! Of course any piece of incompetent trash is prime target for cult status by proxy. Because of that, The Apple will manage to live forever, at some point gaining actual notoriety and respect. Until that happens, the truth of the matter is that it's just a bad film, no more, no less. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 9th May 2020		Cinema I Saw The Light (2016) (2016)	Rated 4/10 Glossy art-house film that attempts to take a fresh new approach to Hank Williams' biography. Problem is, nobody has ever seemed interested in making a true, detailed biopic of Williams' life to begin with. What hurts I Saw the Light the most is that the production design, the cinematography, the mood -- they're all meticulously (and strategically) rendered as neo-noir, more conducive to a film like L.A. Confidential than any type of music bio narrative. Even an obituary would be more uptempo than Marc Abraham's gloomy vision. Mind you, it's technically bulletproof, but the dark imagery and syrupy lens work would be more at home in a solemn French drama or a slasher film. Completely absent from anything resembling joy, Hank's life is represented as a disturbed state of internal anguish, personal demons and drunken incidents. Not only is his life dragged down into this chasm, but the entire era appears cold, isolated and depressing. You never get the impression that the true story is on display, rather interpreted as tortured declination. I Saw the Light only sees the light as Hank's death, opting to exhibit a disintegrating map that leads to that epilogue. A typical bio-pic will load you up with the highlights of one's life before getting to the descent. A number of events depicted in the film completely lop-off the good parts (ie, Hanks's debut at the Grand Ole Opry, leaving out Hank's becoming the first artist to receive six encores!) Filmmakers seem to only be able to focus on one dimension of Hank Williams, and this is yet another shallow, misguided venture into a troubled, yet multi-dimensional artist. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 5th May 2020		Cinema Keep Off The Grass (1970) (1970)	[YouTube Video]
Twistin 5th May 2020		Cinema Reds (1981) (1981)	Rated 9/10 A stunning piece of cinema, excepting any liberties taken in grandstanding political ideals. The cinematography is remarkable and there's quite a number of impressive performances that make the nearly 200 minutes easier to digest. Diane Keaton has never been better (or more beautiful!) and Maureen Stapleton (Oscar winner for best supporting actress) is at the top of her game. Jack Nicholson also turns in a fine performance. Despite the rugged political subtext, the heart of Reds is indeed the love story. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 5th May 2020		Cinema The Chase (1966)	Rated 6/10 There's a lot of good images on the screen, much of it brought to life by a vivid cast, but there's just too much going on. Literary sources are tricky and you can't keep every side story. 2 hours and 15 minutes is just not enough to get the full story in. The Chase uses action sparsely and tries to cram in the expansive array of characters, the inhabitants of a small town in Texas whose paths interconnect after the prison escape of wrongly-convicted Bubber (Robert Redford). Much of the goings-on plays like a soap opera (although not melodrama), but none of the characters are allowed to sink in, and thus there's little emotional investment. So much talent in front of and behind the cameras, which appears to compete with the flow one might expect from an Arthur Penn film. Despite the internal flaws, it's fairly compelling, there's some great players on screen, and the cinematography is a treat. 5 people found this review helpful. ✔︎ Helpful Review?
Twistin 5th May 2020		Cinema Keep Off The Grass (1970) (1970)	Rated 10/10 So many great lines in this late-model Sid Davis propaganda piece about evil marijuana. Oh, but this isn't the usual Sid Davis fare, as it was shot in 1969 in the miracle of color, as well as getting hip to much groovier slang than past SD hits. As the father-son lecture unfolds with dad preparing to detail the scourge of pot, he first pours himself a stiff one, then ignites a cigarette. "It's easy for you to stand there with a cigarette in one hand and a drink in another and tell us not to blow pot." So father grabs an encyclopedia from the shelf and rationally explains some of the dangers, like "the marijuana user generally experiences an uncontrollable feeling of hilarity, quite without reason". That's a great argument. It must be true; in that Reefer Madness film, the piano player bursts into sporadic fits of laughter only seconds after having a puff without even inhaling. And anyway, pleasure and feelings of happiness are, for the most part, overrated, so why encourage such emotions? The laundry list of potential dangers, of course, also exists for alcohol, so the main charge is that smoking grass will get you high. Which is the reason -- the only reason -- anyone smokes the stuff. The fact that prolonged use may make you lose your ambition could also be said of relationships. "Every time you blow a marijuana cigarette," Tom's father adds, "you take a chance on blowing your future." We also attend a garden pot party by the pool with a bunch of glaze-eyed teens that look like extras from the set of Billy Jack. Some reckless driving while under the influence takes us to an outasite head shop, then to an artist's pad who is toking weed until his brother-in-law gets busted after buying some grass. Tom is, incidentally, impressed with how the law officers never lose their cool and are always helpful. Later, while waiting at the police station, a friendly policeman notices Tom's interest in a display about the dangers of marijuana. NARRATOR: (Tom) is out after information..."What are the facts?" he asks. Easily, with friendly informality, the officer speaks to Tom. No lecturing, no sermonizing..." And on and on and on he goes. But before you nod off, you hear him address the parallel with alcohol: NARRATOR: Maybe there is a similarity between the social drinker and the pot smoker -- yet it's not quite the same! The daily drink may not be the best thing in the world, but a man who takes a drink after his day is done has worked. He has achieved. He has coped. And he wants to relax. Not so, the teenage user. He deliberately seeks to tune-out, cop-out. He uses his grass as a mental crutch because he fears to stand on his own. He may never learn to cope with the inevitable, everyday problems of living. He may well become one of the 'left-behind generation'...And legalizing the use of marijuana is NOT the answer! We're also told of an unnamed nation that legalized marijuana, only to reverse the decision a few years later and impose the death penalty for mere possession. What?!? Interestingly, Tom leaves with a friend and they go to a far-out pot party even more explicit than what you may have seen on Dragnet. After seeing this fascinating docu-thriller, it struck me how really with-it the establishment were...especially parents and officers of the law. The potheads seemed like a real drag. Until the facts are all in, I'm personally going to Keep Off the Grass. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 5th May 2020		Cinema JFK (1991) (1991)	Rated 8/10 Dizzying array of images, incomprehensible speeches and bombastic acting (and let's be honest, filmmaking) that tries unsuccessfully to spin history by twisting the truth and often, outright fabrication. Despite the comic book screenplay, it's still a fantastic rollercoaster ride...just make sure you know that rides are all about illusion and fun, not reality. The best part of the whole film is sitting through Donald Sutherland's explanation to Kevin Costner of what the whole conspiracy entails. Good grief, he deserved an Oscar for memorizing (and smirking through!) all that text. 5 people found this review helpful. ✔︎ Helpful Review?
Twistin 3rd May 2020		Cinema Wicked, Wicked (1973) (1973)	Rated 7/10 Richard L. Bare got his start in the early 40's directing a whole bunch of those "So You..." short subjects for Warner before settling into a long career in television, most famously for the seven episodes of "The Twilight Zone" he helmed, as well as most of the run of the wacky rural sitcom, "Green Acres". In an unusual turn, one of his last pieces of work was this R-rated theatrical thriller that introduced a new visual gimmick, Duo-Vision. It's the only instance I'm aware of that an entire film was based around the split screen dual action trick, although it was used in small doses in many major films. Even the stereo soundtrack -- one of the first films in that format -- plays into the effect. Early on, I noticed similarities to Phantom of the Paradise, which was released a year & a half later. There's the split screen, the way this film's phantom hangs onto the spotlight while beaming it at the girl singer he has a crush on, the fact that the organ score for "Phantom of the Opera" is played throughout the film...and several more indications that Brian De Palma was radically inspired by Wicked, Wicked. Speaking of music, Tiffany Bolling actually sings two songs in the film. It's mostly played for high camp, which Bare openly admitted, so it's more for fun than chills, despite the lurid horror tone of the poster. Not really a great film, but at the same time, it's not too shabby and worth seeing. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 3rd May 2020		Cinema Waterloo Bridge (1940)	Rated 8/10 The second of three filmed versions of Robert Sherwood's play. Due to the Production Code, Myra's troubled situation is somewhat cryptic without reading between the lines, but even that aspect of the film is handled cleverly and without distraction -- even enhancing the flow of the story. You'll be hard-pressed to find a better shot and lit film from this era, but the shining beacon is Vivien Leigh, who was never more beautiful. Leigh considered this to be her favorite of all her performances and it's easy to see why. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 3rd May 2020		Cinema The Incredible Melting Man (1977) (1977)	Rated 3/10 A few scenes are so bad, they manage to entertain simply for the sheer incompetence of it all. But many, many more are so bad that they are annoying. Of course the acting is poor, the screenplay amateurish, the camera work, and frankly, even the storyboarding (assuming it was even boarded) are simply the work of first-time rookie wannabes. So if this was made by friends with a 16mm camera, you could forgive and mildly snicker at the shortcomings. But this was a wide theatrical release accompanied by a massive advertising budget...and it's just a really goofy experience to sit through. 6 people found this review helpful. ✔︎ Helpful Review?
Twistin 2nd May 2020		Cinema Cannon For Cordoba (1970) (1970)	Rated 8/10 Bit of a rip-off of the 'Magnificent Seven' series, but very enjoyable anyway. Peppard is a natural at this kinda thing and the pacing ensures that there's never a dull moment. 3 people found this review helpful. ✔︎ Helpful Review?
Twistin 2nd May 2020		Cinema Men Of Boys Town (1941) (1941)	Rated 5/10 Spencer Tracy can always be relied upon to deliver the goods, and I can appreciate the reason the film was made, to raise awareness and money for the real Boys Town, which was in financial need at the time, but that doesn't change the fact that this is just unbearably corny. A chunk of screen time is spent just trying to get one boy to smile. Having to sit through Bobs Watson's performance is painful, never mind Mickey Rooney's boisterous schtick. Darryl Hickman, on the other hand, steals the show with the kind of spirited performance that kept him working for many years. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 2nd May 2020		Cinema The Last Seduction (1994) (1994)	Rated 8/10 Brilliant caper from one of the silver screen's all-time great bitches. Linda Fiorentino is sensational as the woman scorned having the last laugh. A clever thriller with twists and turns, but also a very funny movie (the comedy genre is never attached to this film, but should be!) Joseph Vitarelli's music score perfectly paces the film. Discover this sleeper. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 2nd May 2020		Cinema Rambling Rose (1991) (1991)	Rated 5/10 The performances are solid, but the sermonizing is quite a bit heavy-handed and ruins what could have been a great film. Most of the depression-era story follows the exploits of a nymphomaniac housemaid, then makes an abrupt turn into a women's rights speech in the final reel. All of the attention went to the performances of Laura Dern and Diane Ladd, but it's still Robert Duvall's show. Lukas Haas is also convincing. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 3rd Apr 2020		Cinema Werewolves On Wheels (1971) (1971)	Rated 1/10 Spoiler alert: No werewolf appearance until the final seven minutes -- and no werewolf (yes, singular....as in Werewolf on Wheels) is on wheels until the final four minutes. I heard that kids on YouTube are playing the "Werewolves on Wheels Stay Awake Challenge". Now that really IS a challenge! 3 people found this review helpful. ✔︎ Helpful Review?
Twistin 2nd Apr 2020		Cinema 2001 Maniacs (2005) (2005)	Rated 3/10 Abysmal remake which manages to effortlessly lose all of the edge from the original classic. Jersey-born director Tim Sullivan's disdain for the South is crystal clear, and he makes sure to overload this tepid quickie with broad Southern accents acquired by studying Cajun-chef cooking shows. We're also graced with tasteless bits such as a dim-witted young man with his pants down chasing a pig...seriously? As horrific as the Pleasant Valley ghosts are supposed to be, I found the "victims" even less pleasant, like all modern slasher film teens, one-dimensional hedonists bleeding rudeness and arrogance in every scene which they appear. The film's only satisfying element was Robert Englund's performance. And the ending. I suppose it could have been worse; Rob Zombie could have directed it. 7 people found this review helpful. ✔︎ Helpful Review?
Twistin 31st Mar 2020		Cinema The Texas Chainsaw Massacre 2 (1986) (1986)	Rated 1/10 One of the worst movies I've ever sat through. Saw it in its original release and hated it then, but over the years, many of my film buddies have insisted that I missed the train, that it was a satire rather than horror film, insisting that I re-evaluate and give it the cult movie cred it deserves. Tobe Hopper himself defended the film (and its comedic tone), stating that the original had black comedy which the audience was too shocked to acknowledge. I have always been aware of the sick humor from the characters in the first film, which indeed kept the viewers stunned. But this sequel, arriving way past its sell date, isn't marinated with black comedy, it's smothered in cartoon-ish, un-funny nonsense from start to finish. Bill Moseley's character, Chop-Top, is so over-played and annoying that any sense of menace is mangled away. And yet even that low-brow performance is eclipsed by one of the worst pieces of acting imaginable: Caroline Williams, whose agonizing screaming and hackneyed delivery is as unbearable as the goofy screenplay. Even the music soundtrack comprised of all artists from IRS Records feels contrived, filling the soundscape with artists / songs simply to promote that label's roster. So anyway, I decided to put my opinion of the film on hold until I gave it another spin; perhaps I did misjudge it and after all these years, I can make a better assessment through the prism of 30+ more years of film-going under my belt. And my opinion HAS changed...I hate it even more than I did in 1986. At the end of the long, miserable day, no part of this film works, it's just blobs of spoiled meat smelling up the place. 8 people found this review helpful. ✔︎ Helpful Review?
Twistin 22nd Mar 2020		Cinema Client 9: The Rise And Fall Of Eliot Spitzer (2010) (2010)	Rated 1/10 A polished, stylized hit piece in reverse. "Client-9" is a documentary weighed down by its flattering, apologetic gloss that spends the majority of its screen time doting over its idol. The focus rests on explaining to us why specific crimes are so bad. Of course, these were the crimes that Eliot Spitzer made a name for himself taking down...since we probably can't deduce on our own that Wall Street sharks manipulating mutual funds is evil. No hard questions, no opposing perspectives...I don't even recall any heroes aside from Spitzer. I have little doubt that the financial cannibals depicted are the evildoers they appear to be, but how can I trust a presentation which resembles those extended campaign ads shown at political conventions before the star candidate makes a grand entrance? Campaign ads for Spitzer are indeed interjected with continued bias and lack of objectivity. Nary a slick production affectation is spared. Woke hip-hop music is strategically placed, in addition to emotional piano cues during confessional spiels. An onslaught of over-saturated primary colors, strategic ersatz cinéma vérité elements, merged with still images unfolding via slow pedestal / truck pans and rack focus montages. A virtual overdose of approval propaganda porn. The final reels ask why Spitzer was targeted for his sex crimes -- in this case, violation of the Mann Act (interstate transport for prostitution). Comparisons are routinely made to his opposing party's faults which help reveal the core of the film's problem, and that is painting all of his detractors as the cause of his downfall. "It's just sex..." one interviewee states. In actuality, the financial transactions paid for the pricey trysts were going to a pair of offshore shell companies, a front for the Emperors Club (details ignored by the film.) When the club owners were raided, feds found a safe housing a million dollars in cash! For an escort service? Some sex acts have legal complications and consequences. If you enter politics and play cowboy, it's probably a good idea to veer away from committing federal crimes in your spare time; it's not "just sex". Addressing the March 2008 US Federal Court affidavit, narrator (and director) Alex Gibney: "The list of charges against the Emperors Club, the affidavit, was surprisingly detailed; as a piece of writing it was crafted like a mystery story -- full of clues -- it teased the reader with a few sentences each with Clients 1 to 8, and then five riveting pages on Client number 9....The affidavit was full of steamy sexual banter...was the writing meant to convict the accused or embarrass the client?". The emphases in that quote cluster are not mine and are spoken with a mix of disdain and taunt. During those descriptions, words / phrases from the affidavit are highlighted like "pay for wire transfer", "collect the fee", and "private location". Subjects describe intruding questions from the FBI, as if their doing so was unusual and proof that the target of this inquiry was wronged by investigators probing for details. Gibney is upset at descriptions and details in an affidavit because it makes the subject of an investigation look bad?!? My beef with Spitzer is not partisan, nor based on his sex scandal. In July 2005, during his tenure as attorney general, I followed a case which appealed to my interest in the music industry - a shakedown on payola operations from major labels. I read multiple articles on the topic with vested interest. Sony was the target corporation in the investigation and "takedown" and found guilty of a catalog of state and federal crimes, resulting in praise from folks like Don Henley. Our AG is the hero, right? Wrong. As punishment, an Assurance of Discontinuance was issued in which Sony-BMG agreed to donate $10 million to a New York-based philanthropy group that funds music appreciation programs for N.Y. Further, a statement was released by Sony admitting they did wrong, accompanied by a "pledge" to do better in the future. Oh, and they agreed to stop the payoffs-for-airplay, reforms when problems are identified, and my favorite: hiring a compliance officer responsible for monitoring promotion practices, and to develop an internal accounting system to detect future abuses. Internal! In other words, monitor yourself. Where was this mentioned in our love letter to Spitzer? This film is pitched as a tale of "betrayal", but who betrayed him? Eliot Spitzer was a charismatic, talented politician and you really want to rally around him and to his defense; it's easy to be seduced by his combination of communication skills, assured dynamism, presence. and the sense that we all want a superhero to come along and put away bad guys. None of those skills excuses his crimes, hubris, or other issues the way his career is whitewashed in this celluloid slop. The producers appear to be bought off by their own idealism. 5 people found this review helpful. ✔︎ Helpful Review?
Twistin 1st Mar 2020		Cinema A Beautiful Day In The Neighborhood (2019) (2019)	I realize that, I was simply correcting your mention of the TV show name... Quote: True story of the journalist who interviewed Mister Rogers about his "Beautiful Neighborhood" TV Serie It's all good. :-)
Twistin 24th Feb 2020		Cinema A Beautiful Day In The Neighborhood (2019) (2019)	The show was actually called, Mister Rogers' Neighborhood.
Twistin 13th Feb 2020		Cinema The Medical Aspects Of Nuclear Radiation (1950) (1950)	Rated 5/10 Phew! Good to know, as this film points out, that all the talk about the ill effects incurred from exposure to nuclear radiation is just a lot of hyperbole. And most of the bad things you experience will typically go away not long after said experience. It appears that all one has to fear is fear itself. What a relief! 2 people found this review helpful. ✔︎ Helpful Review?
Twistin 13th Sep 2019		Cinema Mommie Dearest (1981) (1981)	This is so pedantic I can hardly believe such a debate is even in play. I do wish a mod or admin would just step in and say yay or nay to calling any film with children or families as a "theme" a part of this genre. It will be a first as far as I am aware, but if "Mommie Dearest" can exist under this definition, what crazy stretch will be next... Quote: ...so the 'Family' genre would only be used when significant (in the opinion of the data creator). I doubt seriously the "data creator"'s opinion is the final word. You're really splitting a lot of hairs; the purpose of a genre is to give the user an idea of the type of film it is, not the content, which is why there is no dog or cat genres.
Twistin 12th Sep 2019		Cinema Mommie Dearest (1981) (1981)	Quote: 'Mommie Dearest' is one of the those films really focusing on children and family relationships. As a genre heading, 'Children & Family' is appropriate here. Also, it's a sly reminder of the film's content. By that rationale, The Omen and The Exorcist would also qualify for the genre, Children & Family, right? Probably irrelevant, since I'm guessing no one else cares...
Twistin 8th Sep 2019		Cinema Mommie Dearest (1981) (1981)	Regardless of the nature of the words used for this genre heading and their explicit definition(s), calling a film such as this Children & Family suggests the content is for Children & Family, which is the generally accepted definition (ie, in video store sections). By the same measure, a "road movie" does mean any movie that takes place on or focuses on a road. There are broader implications than strict definitions of words used.
Twistin 3rd Sep 2019		Cinema Mommie Dearest (1981) (1981)	Genre: Children & Family? Seriously?
Twistin 11th Jun 2019		Cinema That Darn Cat! (1965) (1965)	Um, this film is a thriller?!? Really?
Twistin 11th Jun 2019		Cinema Inherit The Wind (1960) (1960)	It's also historically inaccurate.

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