#what blazing saddles was for the western

[weirdlet]

A true Boston Marriage.

[mistsofavalon13]

the parallels between how poc are treated and how animals are treated in nope (2022) was perfect. one of the first scenes in the movie is when oj is on set for a commercial, and i was immediately as uncomfortable as he was. when he introduces himself to the white actress, she looks scared of him because his name is oj. she sees a black man with that name and can’t hide her inner thoughts. then the pa guy is confused as to where the “older one” is, clearly giving the message that he doesn’t trust oj to be a competent person. the pa sees him as an untrained boy, and doesn’t listen when oj tried to tell him not to look in the horse’s eyes. then when em explains the story of the first moving picture, we see that the black jockey and the horse aren’t even on the same level. people talk about the horse, but they don’t know anything about the man riding it.

then, there’s jupe and the gordy the chimp. jupe was a child star in a western comedy, and the poster itself gave me the wrong feeling. jupe and the unnamed black child actor he starred with were so clearly being used as a spectacle. it made me think of blazing saddles, how the idea of a black sheriff is absurd and funny. however, blazing saddles uses that as commentary and as a way to send a message, while in nope, we see that jupe was the victim of a film industry that tokenized him. then, with the chimpanzee, we see that same tokenization. a sitcom of a white family that includes an asian child and a chimp. it’s clear that both are meant to be equally funny; an asian kid is just as absurd as a chimp in human clothes and a birthday hat.

then, when we see him try to use the alien to create the same spectacle he was a part of in his youth, he realizes far too late that he’s made a mistake. that you can’t rely on an animal. his wife makes a comment about how working with trained animals is unpredictable, and we see in his eyes that he knows what’s about to happen. he put his trust in the behavior of a wild animal and now he’s paying the price and feeling the same fear he felt as a child.

[johaerys-writes]

Hello! Only if you don't mind, are you up for a Snippet Sunday? Thank you so much for your Patrochilles fics, I love all of them soooo much♥

Thank you, I'm glad you enjoy my fics! I've been working on a western AU (aka patrochilles but make them cowboys) so here's a snippet from the first chapter:

The boy that’s standing at the ranch’s threshold is the last thing Achilles would have expected to see. He must be about fourteen, fifteen at most; his face is dark and sunburnt beneath the shadows of his wide-brim hat, his neck glistening with sweat in the waning light. He holds himself up tall, though it’s clear by his posture and his clothes that he’s been travelling for the better part of the day, perhaps longer.

“Are you lost?” Achilles asks him. It isn’t very often that they get visitors this time of day, or evening. 

The boy gives him a long, level look, fidgeting with the strap of the pack hanging off his shoulder, which seems to be his only possession. “This the Pelides ranch?” he asks, voice hoarse and scratchy with exhaustion. His soft drawl sounds vaguely southern, but not from a place Achilles can easily discern.

“The very same.” 

“Is the owner home? Mister Pelides?”

“Who’s asking?”

The boy tenses. “I’d rather speak to him direcly, if it's all the same to you.” 

Achilles gives him a careful look-over, his thumb tucked behind his belt. He doesn’t look like a desperado—too young, perhaps, for that, though Phthia's been seeing more and more of them— and he’s no peddler either; he's got no wares to sell that Achilles can see. His clothes would have once been of good make though they’re now worn and dusty, and the silver spurs on his boots mark him as anything but a laboring man. Whoever he is, he must have been well off… at some point.

Achilles hesitates for a moment before he gives the dogs a clipped command. They all sit on their haunches as Achilles swings the door open to let the boy in. He waits for Achilles to bar the gates again and lead him up to the house’s front porch, where Peleus and Chiron are now curiously watching. 

“What’s your name, son?” Peleus asks, a friendly yet cautious smile on his lips as they ascend the porch steps. 

“Patroclus, sir.”

“And what’s your father’s name, Patroclus?” 

Patroclus’ jaw clenches. “I ain’t got none, sir.” 

Peleus’ expression softens just a little with genuine compassion at this. His father's always had a soft spot for those without family, home or hope. "Well, I'm really sorry to hear that." He rocks a little back and forth on his rocking chair, his smoking pipe dangling from his lips. “What can I do for you, Patroclus?”

“Looking for work,” Patroclus says without preamble. “I'm strong, and I work fast. I can bale hay and buck barley and clean the cattle pens, and fix them fallen fence posts what I saw on my way in—or anything else that needs fixing.”

Peleus considers this for a long moment. “Hay season is still a ways away,” he remarks thoughtfully. “And I’ve got enough men for the fences and the barley and the cattle. Come back in a month and I’ll have work for you.”

His tone is dismissal enough. Peleus pushes himself up and turns towards the house, missing the boy’s face that instantly falls at his words. Patroclus' dark eyes go wide in alarm and his mouth works soundlessly for a moment, lips cracked by the heat and the sun. He must have been out under the blazing hot sun of the valley for days, weeks by the looks of it. His hands are soft though, delicate fingers tightening over the brim of his hat. Hands that probably haven’t known half the work they claim they have.

Achilles’ heart clenches, inexplicably, at this.

“Calving and foaling season is almost upon us,” he tells his father carelessly. He picks up the old saddle he’d set aside before the boy showed up, and starts absently working on the stitching again. “Last year we were running ourselves rugged day and night; sure would help to have another set of hands around.”

Peleus stops short. Patroclus stares at Achilles, but his surprise lasts only for a moment before he hurries to say, “I’ve worked with cattle before, and I’ve grown around horses. I can ride a horse and train a horse for carriage and for riding and muck out the stalls. I can do anything you tell me, and I won’t ask for nothing more than a hot meal and a place to sleep.”

He doesn’t say ‘please’ but Achilles can almost hear it, at the tip of his tongue. He catches himself silently begging his father to take the boy in.

Peleus stays quiet for a long minute, his face obscured by the smoke of his pipe. “Pay is ten drachmae a day, plus board and lodging. The men’s bunks are full; you’ll have to sleep in the barn for now. This alright with you?”

“Yes, sir,” Patroclus says, and the palpable relief in his voice is almost…heartbreaking. “Thank you, sir.”

[starfxkr]

i need need need ur opinion on the boys letterboxd

OKAY YES IVE THOUGHT ABOUT THIS!!!! I THOUGHT ABOUT IT ALL DAY

jj - obviously chud it's his favorite movie and he logs it once a month!! but also frankenhooker, death proof (his fav tarantino movie) and garbage pail kids. but he logs lots of random obscure horror movies I think he swaps garbage pail kids out for the toxic avenger all the time.

john b - indiana jones and the temple of doom, dirty harry, goonies, and blazing saddles. big john gives that he has old vhs tapes of various westerns and 80s movies that john b grew up watching over and over again. I just know there's hella pictures of him dressed up as a cowboy as a kid

pope - lord of the rings fellowship of the ring we know he reads tolkien so I know he loves this one!!!, la haine is his like artsy film of choice but its genuinely really good!! I know he's pretentious about it because we've seen him read kafka lol, weird science is a guilty pleasure watch that's him and jj's movie, princess mononoke is what started his attraction to mean women

rafe - rafe is not a movie watcher! he doesn't see the point! but if he had to pick it would be like..."dude" movies: fight club , scarface, american psycho, 2 fast 2 furious LOL

[lamardeuse]

What are we gonna tell our friends when they say ooh-la-la

911  |    Buck/Eddie   |    Rated PG    |    c. 8700 words

@911bingo prompt: Falling Asleep Together

The drive-in movie theater had been Buck's idea, because Christopher was getting older and Eddie had decided to let him stay up later on the weekends in the summer. When Christopher had tried to argue that for consistency’s sake he should be allowed to stay up late seven days a week, Eddie had agreed that routine was important so they should go back to the regular schedule. His son had decided that on second thought, consistency was overrated.

It freaked Eddie out that sometimes he sounded like his mother.

Considering they were both single again after an embarrassingly short run of semi-disastrous dating, these movie nights were the most thrilling social activity Eddie was getting these days. This particular place showed a lot of older, kid-friendly movies, so Christopher – and Buck – had now been introduced to Ghostbusters and Back to the Future and the original Jumanji (but not Gremlins, because Eddie remembered that had been creepy as hell). Christopher had managed to stay awake for most of them, but E.T. was way too long for him to manage, and he was nodding off three quarters of the way through.

“We can stream it next weekend so he can see the ending,” Buck murmured, leaning toward Eddie in the truck as they watched Elliott and E.T. ride through the sky on a bicycle.

“Maybe the weekend after,” Eddie said. “I saw they're showing Blazing Saddles next Saturday. Want to go?”

“Is that a Western?” Buck wrinkled his nose. “I'm not a big fan of Westerns.”

Eddie raised his eyebrows. “You've never heard of Blazing Saddles.”

“Hey, I'm getting better,” Buck said defensively. “I'm almost caught up on the Eighties now.”

Eddie snorted. “It's from a little farther back than that. It's also a comedy, and definitely not kid friendly. Maybe we can get a babysitter, or Hen and Karen would agree to an evening with Denny?”

“You asking me on a date, Diaz?”

Buck had been saying things like that more often over the last few weeks, poking at the edges of what they were to each other. His tone was always teasing, but there was something pointed in it this time. Eddie's heart tried to hide behind his spine as he doggedly kept his eyes on the screen in front of them. “I'm trying to educate you. Your movie knowledge is appalling.”

Buck took out his phone and tapped at it for a minute. “Huh, says it's a double bill.”

“What's the other movie?”

“Young Frankenstein.”

“Which you've also never heard of.”

“Which I've also never heard of.”

“Next you're going to tell me you don't know who Marty Feldman is.”

“I don't know who Marty Feldman is.”

“Your situation is even more desperate than I thought.” Eddie sighed. “I'd love to see that too, but there's no way we won't be sound asleep by eleven after pulling a double shift the day before.”

“You're right, one movie is gonna be as much as we can handle. You think it'll be a problem if we sneak out early?”

“I doubt it.” Eddie stuck his hand in his bag of popcorn only to find a few forlorn kernels at the bottom. Glancing over, he saw that Buck still had half a bag. He wiggled his hand in Buck's direction, and Buck tilted the bag toward him obligingly.

“Okay, sounds like a plan,” Buck said. “You want to come over to my place first? I have a couple of new recipes I want to try out on my guys.”

Eddie cocked his head, ignoring the way his heart was now zooming around in his chest cavity like a kid the day after Halloween. “Sure, what is it?”

“Nuh-uh,” Buck said, shaking his head. “It's a surprise.”

“Well, that's – hm,” Eddie said.

“What 'hm'? What does that mean?”

“Nothing. Don't know why you're getting all mysterious on me, though.”

“Maybe I'm a man of mystery,” Buck drawled, raising an eyebrow.

“Like Austin Powers?” Buck looked at him blankly. “Come on! That's from the Nineties! You were born then!”

Breaking into a grin, Buck said, “Gotcha.”

Eddie rolled his eyes and called him a dick, but when he reached out Buck let him take another handful of popcorn anyway.

read the rest at the AO3

[mydaddywiki]

David Huddleston

Physique: Heavyset Height: 5'11" (1.80 m)

David William Huddleston (September 17, 1930 – August 2, 2016) was a portly, often bespectacled American actor. An Emmy Award nominee, Huddleston had a prolific television career, and appeared in many films, including Rio Lobo, Blazing Saddles, Crime Busters, Santa Claus: The Movie, and The Big Lebowski. Big-framed character actor (and sometime leading man) has worked in virtually every film and television genre there is, from Westerns to crime dramas to science fiction. He was twice married with one child.

The Vinton, VA native might be best known for his roles in Blazing Saddles, The Big Lebowski, The Producers, and of course Santa Claus: The Movie. But it's a lesser role in the movie Zero to Sixty is where I best remember him. He wasn't naked or even shirtless, nor was it about his performance. It was his clothing, a tight ass track suit that showed every bump and curve of his body. And what a body. I just wanted to cut a hole in it and fuck him with the track suit on.

On television, Huddleston first caught my attention guest starring on the TV series Our House with my gun down guy at the time. THE daddybear himself, Wilford Brimley. He had numerous guest roles on TV dramas, but Walker, Texas Ranger was where he dropped my jaw. He had added quite a few more pounds to that frame of his that would make a chubby chaser proud. Since then I'd always akin him to Charles Durning as both were hot chubby daddies that I lust after til this day.

Although Huddleston slowed his career later in life and he has lost alot of weight. But like 99.9% of the guys I like, I'd still would've done him. Huddleston died at the age of 85 from advanced heart and kidney disease in 2016. I'd like to also remember him as the 'King of Bulge' because of his many bulge shots his movie appearances to frequent TV guest work across multiple eras. And that's a lot of wank material. R.I.P. Mr. Huddleston.

RECOMMENDATIONS: Billy Two Hats (1974) Hawaii Five-O (TV Series) - 'Love Thy Neighbor, Take His Wife' (1976) Gorp (1980) Santa Claus: The Movie (1985) The Wonder Years (TV Series 1990–1992) Postal (2007)

[incorrect-losers]

Hi these are what I think the losers favorite movies are thank you :)

Bill- Blazing Saddles (It combines his love of Westerns and his hatred of all the stupid people in Westerns)

Eddie- Every movie in the Fast and the Furious franchise (These movies are the reason no losers want to drive with him)

Mike- Matilda (He read the novel first and was so excited when he found out they were making a movie adaptation)

Ben- Enchanted (He loves a good rom com also he knows all the songs by heart)

Bev- Labyrinth (She thinks Sarah is kickass and also who doesn’t love David Bowie?)

Stan- Patch Adams (It’s not that he particularly loves the movie, but he took Patty to see it for their first date so it will always be special to him)

Richie- He tells everyone it’s Die Hard but it’s really Marley & Me (He cries everytime)

[mdhwrites]

Is The Owl House Timeless?

So this morning I made a blog about how the main thing required for something to be timeless is for it to be at least decently enough written to connect with an audience and that it had to have an emotion that the audience could connect with. A universal feeling that could cross race, gender, religion or even, yes, time. I used It’s a Wonderful Life as my example then.

I bet a lot of you who read it though were waiting for me to talk about TOH though because I know a LOT of people in the fandom at one point expected TOH to not only be timeless but a classic. The new Avatar the Last Airbender or the new Harry Potter (especially in what people wanted for its popularity with the latter). Both of those works are indeed timeless, as much as I am loath to compliment Harry Potter.

Is The Owl House? Individually, I think one could argue specific episodes and maybe the first season but the real reason I wanted to do this follow up blog is that satire and comedy almost always ages the worst. As worldviews change, what was mocked might not seem like it was in such good taste. How many 80s/90s college comedies like Animal House now feel kind of tacky when viewed from a modern lens? Or at least kind of misogynistic with their treatment of women?

I don’t think there are many element in TOH that are going to be as yikes as stuff like that someday but I think there’s already been a turn against it. It claimed to be progressive but in the end gave few real answers to that which it wanted to claim it was better than and even fell into many of the same holes as other works like it fell into. Its comedy is often stale and rooted in needing to be in its exact same mindset in order to be able to enjoy it.

Frankly, the style of satire, comedy and social commentary kind of makes me think of the spoof movie craze in the mid 2000s. You know, stuff like the constant sequels to Scary Movie, or Action Movie, etc. like that. TOH NEVER gets as bad as those, don’t get me wrong, but they’re both taking the same approach to their writing of these elements.

Rather than tackling it with a human emotion, something anyone can latch onto, they’re looking for buzzwords, specific gripes and incredibly specific tropes/references. Then they nail it to a board so they can hammer away until it’s damn near unrecognizable and whatever point was there is lost because they’re using a blunt object when a scalpel is required.

A LOT of people way better at this than me have talked about how a lot of things that want to be ‘satirical’ or ‘subversive’ are nowhere near as good as Mel Brooks but rather than talk about why his subversion is allowed while so many people fuck it up, I just want to talk about why they’re so often still timeless.

Blazing Saddles is the easy one. Human stupidity, greed and hate is always going to exist so rooting your comedy in both a genre and time period known for being exceptionally stupid, greedy and hateful, all while it normally tries to pretend it’s not, is just brilliant. Frankly, the main change from some Westerns to Blazing Saddles is that it’s willing to recognize bigotry and state it as bigotry, rather than try to justify it as a noble crusade or the like.

How about Space Balls though? One line tells you that they know what makes Star Wars both good and also exceptionally silly: “Evil will always win... Because good is dumb.” You want to criticize the fantasy genre as a whole? THAT is how you do it because we’ve all gotten fed up by meat headed heroes who walk into an obvious trap instead of thinking for literally five seconds but we also still like seeing those same meat heads win! It also plays into the ego in most fantasy villains as well as their hubris, as such working as just a general villain line but with the bluntness and delivery needed for it to be a joke instead.

TOH never really has this. Honestly, the best moment it comes to it is probably when the crackpot human curator seems so close to the truth before going off the deep end into conspiracy theories. I’ve literally had a friend do that to me once where I thought they were sane and rational until one night they told me, and I quote “You could have a catgirl girlfriend, it’s just that no one’s willing to admit that they’re real.” It’s a genuinely good subversion away from there being a mastermind villain and instead he’s just some loon who managed to be about 20% right in this case and that’s enough to make them dangerous. And mocking that level of insanity, of someone who has just lost themselves entirely in a rabbit hole that everyone else knows is unhealthy, is a common thread for many, especially in the modern age. It’s not like people in Ancient Greece never had to deal with some loon who thought the end of days was coming though.

Most of the time though? Most of the time it’s stuff like the Golden Snitch reference where it’s not even referencing a common trope in fantasy writing but specifically calling out a very singular thing. Where if you don’t know Harry Potter, or even worse LIKE QUIDDITCH, then you have nothing to connect to there. Maybe Luz’s outrage over losing due to a technicality but it’s not even a technicality. It’s just being outplayed and so the closest to a more universal feeling is betrayal but the joke spends so much time on rage at the literal trope, instead of even what Boscha did, that the thread at bare minimum gets lost.

And that’s much of TOH’s elements like these. They have a theoretical point to them but along the way, they lose their point or focus, or are so focused that they miss the universal element that’s right there. Take The First Day. Luz is someone who has struggled in school because of being bullied and an oddball. This was a great chance to really connect with every child who feels left behind by the school system because they won’t cater to them.

Except... It doesn’t work here. Her complaint isn’t that she can’t learn, that how things are being taught don’t work for her either because she learns differently or her brain processes things differently, etc. like that. Instead, it’s that she COULD learn whatever single subject she is stuck on but that’s not what she WANTS to learn.

Even the detention kids are the same way. Viney in S2 is established as one of the best healers in the school despite her multi-classing but it’s got nothing to do with her multi-classing. As such, strict healing magic is something she learns just fine. It’s just that she’s not being allowed to be creative with it.

And THAT is an interesting topic to discuss, schools stifling creativity or needing to give opportunities for it, but the narrative context stops that. They never say it because it would get in the way of their point but the school should say they allow single tracks because it’s literally illegal for them to do otherwise. That can allow a theme of how industry and government too often dictate the priorities of our schooling and how that’s a bad thing. That would even fit within the themes of TOH where the individual is crushed by the monopoly. By the ‘normal’.

 But they don’t do that because they have a different goal in mind. And this is why being well written is part of my criteria for being timeless. Again, not perfect, but an invested audience in TOH should also have that nagging question of why the coven system isn’t getting brought up in this episode. The EC is brought up as the basilisk disguises themselves as an inspector, but never that the Emperor would potentially close the school entirely if they were to allow mixed classes because that goes against both the coven system and the Titan.

It instead just never comes up so while it has a theoretical point it’s trying to make, the resonance is lost as a reasonable question, a genuine plot hole, grows wider and wider with every passing minute until the moment an audience should cheer for creativity winning out, for the need for flexible thinkers to be shown, is still met with some amount of confusion as people wonder why the show still hasn’t said ANYTHING about the coven system properly in this entire episode, even as now Hexide does frankly the biggest act of rebellion in perhaps the entire show.

And that is when TOH is GOOD. The later TOH goes on, the more and more a disconnect can be felt between the theme or resonance the writers are going for and what they’ve actually setup until S3 is pulling things out of its ass left and right because it can’t even do an identity arc with a clone, a sci fi staple to put it mildly, right because it literally can’t focus on anything long enough to make it function. Or its actions are too contradictory to keep you invested, like in Reaching Out where Luz is willing to at least tell 75% of her problem to Eda and King but then acts like she literally cannot, lest she die instantly on the spot, tell Amity or even think about it for all of five seconds.

As I concluded my last blog: Resonance should be something that all writers as a base element of writing should strive for. Bare minimum, it should resonate with the writer and that will help it resonate with others. How well you can make your writing be able to resonate beyond yourself though is the real test for a good story and a good writer.

And while obviously the fandom for TOH proves it resonated with many, myself even at one point, I wonder how many it still resonates with today? And especially as time wears on and tests the claim of it truly being transcendent of the moment it was created, or if it will just look like a relic to be left behind.

[dweemeister]

The complete list of films featured on this blog’s 2024 “31 Days of Oscar” marathon

Hello everyone,

Thank you once more for allowing me to present this annual marathon of Oscar-nominated films to your dashboards. This year, the films were grouped by category (for the most part, one day featured only films nominated in a particular category). This is the most exclusive period on this blog, as the selection of films that I can post and queue about is at its most limited. But at the same time, the blog is at its most accessible as this yearly marathon’s selection skews to more popular fare than what I usually queue. I hope you enjoyed this year’s presentation of 31 Days of Oscar once more!

What follows is the exhaustive list of all 381 short- and feature-length films featured on this blog over the last thirty-one days for the 31 Days of Oscar marathon. This is down from 2022’s record of 420. But that count remains only a fraction of the 5,145 films that have been nominated for Academy Awards since 1927 (excluding Honorary Oscar winners that weren't nominated in a competitive category).

Of those 382, 28 were short films (53 short films is the record, which was set in 2022). 354 were feature films.

BREAKDOWN BY DECADE 1927-1929: 10 1930s: 51 1940s: 54 1950s: 44 1960s: 42 1970s: 26 1980s: 26 1990s: 23 2000s: 26 2010s: 26 2020s: 54

TOTAL: 382 (380 last year)

Year with most representation (2023 excluded): 1938 and 1942 (9 films each) Median year: 1966

Time for the list. 59 Best Picture winners and the one (and only) winner for Unique and Artistic Production that I featured this year are in bold. Asterisked (*) films are films I haven’t seen in their entirety as of the publishing of this post. Films primarily not in the English language are accompanied with their nation(s) of origin.

The ten Best Picture nominees for the 96th Academy Awards, including the winner, Oppenheimer (2023)

The fifteen nominees in the short film categories for the 96th Academy Awards

À nous la liberté (1931, France)

The Adventures of Don Juan (1938)*

The Adventures of Robin Hood (1938)

Albert Schweitzer (1957)*

Alexander’s Ragtime Band (1938)

Alice Adams (1935)*

Alice Doesn't Live Here Anymore (1974)*

Aliens (1986)

All About Eve (1950)

All Quiet on the Western Front (1930)

All That Jazz (1979)*

Amadeus (1984)

Amarcord (1973, Italy)

An American in Paris (1951)

An American Werewolf in London (1981)*

Anatomy of a Murder (1959)

Anne of the Thousand Days (1969)*

The Apartment (1960)

Aquamania (1961 short)

Autumn Sonata (1978, Sweden)

Avatar (2009)

Avatar: The Way of Water (2022)

The Awful Truth (1937)

The Bad and the Beautiful (1952)

Bad Day at Black Rock (1955)

The Band Wagon (1953)

The Barefoot Contessa (1954)

Batman (1989)

Beauty and the Beast (1991)

Becket (1964)*

Before the Rain (1993, Macedonia)*

Ben-Hur (1959)

The Best Years of Our Lives (1946)

Bicycle Thieves (1948, Italy)

The Big Country (1958)

The Big House (1930)

Black Narcissus (1947)

The Black Swan (1942)

BlacKkKlansman (2018)

Blazing Saddles (1974)

Blue Valentine (2010)*

Bonnie and Clyde (1967)

Born Yesterday (1950)*

The Boy and the Heron (2023, Japan)

Bram Stoker's Dracula (1992)*

Braveheart (1995)

Brief Encounter (1945)

Brigadoon (1954)

Bullitt (1968)

Butterflies Are Free (1972)*

Cabaret (1972)

Caged (1950)

The Caine Mutiny (1954)

Can You Ever Forgive Me? (2018)

Captain Blood (1935)

Casablanca (1942)

Cavalcade (1933)

Chico and Rita (2010, Spain)

Children of a Lesser God (1986)

The Children of Theatre Street (1977)*

Cimarron (1931)

The Circus (1928)

Citizen Kane (1941)

Cleopatra (1963)

A Clockwork Orange (1971)

CODA (2021)

The Color Purple (1985)

Come and Get It (1936)*

Common Threads: Stories from the Quilt (1989)*

El Conde (2023, Chile)*

Cool Hand Luke (1967)

The Country Girl (1954)*

Cries and Whispers (1972, Sweden)*

Crossfire (1947)

Crouching Tiger, Hidden Dragon (2000, Taiwan)

The Crowd (1928)

Dances with Wolves (1990)

Dangerous (1935)*

Days of Waiting (1991 short)*

The Deer Hunter (1978)

The Departed (2006)

Desert Victory (1942)*

Disraeli (1929)*

The Divine Lady (1929)*

Doctor Zhivago (1965)

Dodsworth (1936)

Double Indemnity (1944)

Dr. Jekyll and Mr. Hyde (1932)

Dr. Jekyll and Mr. Hyde (1941)

Dr. Jekyll and Mr. Mouse (1947 short)

Drive My Car (2021, Japan)

Driving Miss Daisy (1989)

Dune (2021)

8½ (1963, Italy)

Elemental (2023)

The Elephant Whisperers (2022 short, India)

Elmer Gantry (1960)

Emma (1932)*

The Empire Strikes Back (1980)

Encanto (2021)

The English Patient (1996)

Ernest & Celestine (2012, Belgium/France/Luxembourg)

The Eternal Memory (2023, Chile)

Eternal Sunshine of the Spotless Mind (2004)*

Everything Everywhere All At Once (2022)

Fantastic Voyage (1966)

Far From Heaven (2002)*

A Farewell to Arms (1932)

Fiddler on the Roof (1971)

The Firemen’s Ball (1967, Czechoslovakia)*

Five Star Final (1931)*

Flee (2021, Denmark)

Flower Drum Song (1961)

For All Mankind (1989)

Forbidden Planet (1956)

Foreign Correspondent (1940)

Forrest Gump (1994)

42nd Street (1933)

Four Daughters (1938)*

Four Daughters (2023, France/Germany/Tunisia/Saudi Arabia)*

Freedom on My Mind (1994)

Frida (2002)*

The Front Page (1931)*

Funny Girl (1968)

Gandhi (1982)

Gaslight (1944)

Gentleman’s Agreement (1947)

Giant (1956)

Gladiator (2000)

The Godfather (1972)

The Godfather Part II (1974)

Godzilla Minus One (2023)

Gold Diggers of 1933 (1933)

Goldfinger (1964)

Gone with the Wind (1939)

The Goodbye Girl (1977)

Goodbye, Mr. Chips (1939)

Gosford Park (2001)

Grand Prix (1966)

The Grandmaster (2013, Hong Kong/China)*

The Grapes of Wrath (1940)

The Great Dictator (1940)

Great Expectations (1946)*

The Great Race (1965)

Green Dolphin Street (1947)*

Guess Who’s Coming to Dinner (1967)

Gunfight at the O.K. Corral (1957)

Gypsy (1962)*

Hamlet (1948)

The Heiress (1949)

Henry V (1944)

Henry V (1989)

Hercules (1997)

Here Come the Waves (1945)*

High Noon (1952)

How Green Was My Valley (1941)

How the West Was Won (1962)

How to Train Your Dragon: The Hidden World (2019)

The Hunchback of Notre Dame (1939)

The Hundred-Year-Old Man Who Climbed Out of the WIndow and Disappeared (2013, Sweden/France Germany)

The Hurt Locker (2008)

If Anything Happens I Love You (2020 short)

In America (2003)*

In the Heat of the Night (1967)

Indiana Jones and the Dial of Destiny (2023)

The Informer (1935)

Investigation of a Citizen Above Suspicion (1970, Italy)*

Io Capitano (2023, Italy)*

It Happened One Night (1934)

JFK (1991)*

Juno (2007)

Kung Fu Panda (2008)

Lady for a Day (1933)

The Last Command (1927)

The Last Emperor (1987)

The Last Picture Show (1971)

Laura (1944)

Lawrence of Arabia (1962)

A Letter to Three Wives (1949)

Life Is Beautiful (1997, Italy)

Lilies of the Field (1963)

Lincoln (2012)

The Little Foxes (1941)*

Lolita (1962)

The Longest Day (1962)

The Lord of the Rings: The Return of the King (2003)

The Lost Weekend (1945)

Love Affair (1939)*

The Love Parade (1929)

Love Is a Many-Splendored Thing (1955)

Loving Vincent (2017)

Lust for Life (1956)

The Magnificent Ambersons (1942)

Malcolm X (1992)

A Man for All Seasons (1966)

The Man Who Knew Too Much (1956)

The Man Who Skied Down Everest (1975)

March of the Penguins (2005, France)

Marie Antoinette (1938)*

Marty (1955)

Mary Poppins (1964)

Meet Me in St. Louis (1944)

Merrily We Live (1938)*

The Merry Widow (1934)

Mickey’s Orphans (1931 short)

Midnight in Paris (2011)

Milk (2008)*

Million Dollar Baby (2004)

Minari (2020)

Miracle on 34th Street (1947)

The Miracle Worker (1962)*

Mogambo (1953)*

Moneyball (2011)*

Monsieur Hulot's Holiday (1953, France)

Monsieur Lazhar (2011, Canada)

Moonstruck (1987)*

The More the Merrier (1943)

Mr. Deeds Goes to Town (1936)

Mrs. Miniver (1942)

Munich (2005)*

The Music Man (1962)

My Fair Lady (1964)

My Man Godfrey (1936)*

Napoleon (2023)*

National Velvet (1944)

Naughty Marietta (1935)*

Network (1976)

Never on Sunday (1960, Greece)*

Nimona (2023)

No Country for Old Men (2007)

None But the Lonely Heart (1944)*

North by Northwest (1959)

Now, Voyager (1942)

The Nun’s Story (1959)

Odd Man Out (1947)*

On Golden Pond (1981)

On the Waterfront (1954)

Out of Africa (1985)

Papillon (1973)

Parasite (2019, South Korea)

A Passage to India (1984)*

Patton (1970)

Penny Serenade (1941)

Perfect Days (2023, Japan)*

Persepolis (2007, France)

Phantom Thread (2017)

The Philadelphia Story (1940)

Pillow Talk (1959)

Planet of the Apes (1968)

Platoon (1986)

Pollock (2000)*

Popeye the Sailor Meets Sindbad the Sailor (1936 short)

The Pride of the Yankees (1942)

The Prince of Egypt (1998)

The Prisoner of Zenda (1937)

The Private Lives of Elizabeth and Essex (1939)*

The Public Enemy (1931)

Pulp Fiction (1994)

Pygmalion (1938)

Quo Vadis (1951)

The Quiet Man (1952)

Raging Bull (1980)

Raiders of the Lost Ark (1981)

Rain Man (1988)

Raintree County (1957)*

Random Harvest (1942)

Rashômon (1950, Japan)

The Razor's Edge (1946)

Rebecca (1940)

Rejected (2000 short)

Return of the Jedi (1983)

Rhapsody in Rivets (1941 short)*

The Robe (1953)*

Robin Hood: Prince of Thieves (1991)*

Robot Dreams (2023, Spain)

Rocky (1976)

Roma (2018, Mexico)

Roman Holiday (1953)

Room (2015)

Rustin (2023)*

Sadie Thompson (1928)*

Schindler's List (1993)

Searching for Sugar Man (2012)

Seconds (1966)*

Sergeant York (1941)

7 Faces of Dr. Lao (1964)

7th Heaven (1927)*

Shall We Dance (1937)

The Shawshank Redemption (1994)

She Wore a Yellow Ribbon (1949)

The Shop on Main Street (1965, Czechoslovakia)

Silence (2016)*

The Silence of the Lambs (1991)

The Silent Child (2017 short)

The Sin of Madelon Claudet (1931)

Singin' in the Rain (1952)

The Sixth Sense (1999)*

Society of the Snow (2023, Spain)*

The Sound of Music (1965)

Spellbound (1945)

Spider-Man: Across the Spider-Verse (2023)

Spotlight (2015)

Stagecoach (1939)

A Star Is Born (1937)

A Star Is Born (1954)

Star Trek: First Contact (1996)

Star Trek IV: The Voyage Home (1986)

Star Trek VI: The Undiscovered Country (1994)

Star Wars (1977)

Star Wars: The Force Awakens (2015)

Star Wars: Episode I – The Phantom Menace (1999)

Star Wars: Episode III – Revenge of the Sith (2005)

The Sting (1973)

La Strada (1954, Italy)

A Streetcar Named Desire (1951)

Strike Up the Band (1940)

Sun Valley Serenade (1941)

Sunrise: A Song of Two Humans (1927)

Sunset Boulevard (1950)

Superman (1978)

Superman Returns (2006)

Suspicion (1941)

The Tale of the Princess Kaguya (2013, Japan)

A Tale of Two Cities (1935)*

The Teachers’ Lounge (2023, Germany)

Terms of Endearment (1983)

Test Pilot (1938)*

The Thief of Bagdad (1940)

The Thin Man (1934)

To Kill a Mockingbird (1962)

Tom Jones (1963)*

The Tragedy of Macbeth (2021)

The Triplets of Belleville (2003, France)

12 Angry Men (1957)

20 Days in Mariupol (2023, Ukraine)

2001: A Space Odyssey (1968)

The Two Mouseketeers (1952 short)

Up (2009)

The Valley of Decision (1945)*

Vicky Cristina Barcelona (2008)*

War Horse (2011)

West Side Story (1961)

Whiplash (2014)

The White Helmets (2016 short)

Who Framed Roger Rabbit (1988)

The Window (1949)*

Wings (1927)

Winnie the Pooh and Tigger Too (1974 short)

Witness for the Prosecution (1957)

The Wizard of Oz (1939)

The Woman in Red (1984)*

Woman in the Dunes (1964, Japan)*

Written on the Wind (1956)*

Wuthering Heights (1939)

Yankee Doodle Dandy (1942)

You Can’t Take It with You (1938)

[rabbitcruiser]

Talk Like a Grizzled Prospector Day

Talk Like a Grizzled Prospector Day commemorates the start of the  California Gold Rush, which began on January 24, 1848, when James  Marshall discovered gold while building a saw mill for John Sutter, near  what is now Coloma, California. The day has its roots in International Talk Like a Pirate Day, and was inspired by Prospectors Day, which was once held at Knott's Berry Farm each year on January 24. It also was inspired by an episode of the Simpsons with the following exchange:

Bart: That ain't been popular since aught-six, dagnabbit. Homer: Bart, what did I tell you? Bart: No talking like a grizzled 1890's prospector, consarn it.

Common examples of characters talking like grizzled prospectors in popular culture include Dallas McKennon narrating Disneyland's Mine Train Thru Nature's Wonderland and Big Thunder Mountain, Gabby Hayes—both drunk and sober—in many Western films, Gabby Johnson in Blazing Saddles, Will Ferrell as Gus Chiggins on Saturday Night Live, and Walter Huston in The Treasure of Sierra Madre.

Prospectors first came to the Sacramento Valley after Marshall found  flakes of gold in the American River near Sutter's Mill, at the base of  the Sierra Nevada Mountains. At the time there were less than 1,000  non-native inhabitants in California. Newspapers began reporting the  discovery of gold, and by August, 4,000 miners had descended on the  area. The first people that came from outside of the territory came by  boat, and arrived from Oregon, the Sandwich Islands—soon to be called  the Hawaiian Islands, Mexico, Peru, China, and Chili.

In December 1848, President James K. Polk announced a report by  Colonel Richard Mason which spoke of the abundance of gold in  California; this prompted more prospectors to travel to the territory.  Throughout 1849, thousands arrived, either traveling by sea or over  land, and became known as '49ers. Mining towns popped up in the area,  and with them came shops, saloons, and brothels. Many mining towns  became lawless, and San Francisco became an important city in the  territory. By the end of 1849, the non-native population had swelled to  100,000. The Gold Rush helped California gain statehood in 1850, and  gold discovery peaked in the state in 1852. In all, more than 750,000  pounds of gold were extracted during the Gold Rush.

The implication of a grizzled prospector is of one who has stayed so  long searching for gold that their hair has turned gray. Some  prospectors refused to quit the profession and continued to live in the  Western territories. So, when Bart Simpson mentioned a grizzled  prospector from the 1890s, he was referring to a prospector that had  stayed more than forty years after the Gold Rush happened, still trying  to find gold, or other commodities such as silver, oil, radium, and  uranium. Besides a gray beard, the stereotypical grizzled prospector had  faded clothes, missing teeth, a pickaxe, and a mule. They had bouts of  gold fever, and were suspicious of whoever came close to their claim.

How to Observe Talk Like a Grizzled Prospector Day

Celebrate the day talking like a grizzled prospector. Here are a few words prospectors commonly used, that you could use today:

Dadburn: to curse; e.g.: "Dadburned boll weevil done 'et my crop!"

Hornswoggle: to embarrass, disconcert, or confuse; e.g.: "I'll be hornswaggled!"

Consarn: the entirety of something, also a curse word.

Dumbfungled: all used up; e.g.: "This claim is dumbfungled! There's no gold left!"

Bonanza: a mine with lots of gold.

Borrasca: a mine with no gold.

Baby buggy: wheel barrow.

Muck: to dig with a shovel.

Powder monkey: a miner who used dynamite to make holes.

Johnny Newcome: a miner new to camp.

Blackjack and saw bosom: coffee and bacon.

Paydirt: land rich in gold.

Panned out: if they had found gold while sifting through dirt with a mining pan, then things had "panned out."

Flash in the pan: something shiny in pan that turned out to be nothing, or just a small piece of gold.

Stake a claim: claim a piece of land as your own as a place to  search for gold, must stake the land with wooden stakes when you arrive.

The day could also be spent watching films such as The Treasure of Sierra Madre, or old Western films starring Gabby Hayes. A visit to the Sutter's Mill replica and the Gold Discovery and Visitor Center in Marshall Gold Discovery State Park could also be planned. The days' Facebook page could also be explored.

Source

[world-cinema-research]

Young Frankenstein (1974)

By Riley Goodale

Young Frankenstein (1974) is one of the quintessential parody films. While definitely not the first in this sub-genre of comedy, Mel Brooks’ horror parody, along with his many other spoof movies, is often considered one of the best. Brooks’ himself was already established in this realm, given the success of Blazing Saddles, a western parody, earlier that year. Therefore, Young Frankenstein was another showcase of not only Brooks’ talent, but leading actor Gene Wilder’s comedic capabilities. Aside from this, Young Frankenstein is above all else a tribute to its obvious inspiration Frankenstein (1931), an instantly recognizable and memorable horror film. 

Young Frankenstein seemed to be an instant critical success. This isn’t really surprising to me after watching the film, as it definitely lived up to its impressive reputation. However, looking at reviews from the time can provide some insight into why this film was such a hit. One review I was able to find gave me a good idea of the general critical consensus. Roger Ebert, possibly one of the most well known film reviewers, gave his thoughts on Young Frankenstein in his 1974 review. Ebert gives a great summary of Young Frankenstein, and he follows this up by stating “Young Frankenstein” is as funny as we expect a Mel Brooks comedy to be, but it’s more than that: It shows artistic growth and a more sure-handed control of the material by a director who once seemed willing to do literally anything for a laugh. It’s more confident and less breathless.” (Ebert). This approach to Young Frankenstein and its subject matter is one that separated it from your average comedy at the time. Ebert also makes a point of addressing Brooks’ previous works, and as he confirms that he believes Young Frankenstein is likely the best of all of them at this point. This movie, while very critically acclaimed at the time, was not the most commercially successful of Brooks’ tremendously successful comic trilogy of The Producers (1967) and Blazing Saddles (1974). Its predecessor Blazing Saddles has it beat, as that film made $119 million internationally, while Young Frankenstein raked in $86 million, according to “Box Office Mojo” and their statistics. 

Seeing how Young Frankenstein did not share quite as much financial success as the film before it, there may be a few factors that might have contributed to this. While it is now a very respected film and highly influential in the realm of parody movies, Young Frankenstein can be largely considered unconventional. Like Ebert mentioned in his review, I believe that all of this film’s innovation is due to its visual style. It is practically indistinguishable from the movie it’s satirizing. The black and white color is the most noticeable of these visual homages, but the dramatic and gothic sets and the lack of quick camera movements is what makes this film so reminiscent of its inspiration. The film is also very dramatically lit, which isn’t something I haven’t seen in many conventional comedies.The actual style of the original also carries over to Young Frankenstein. The original film and its sequels can be defined as gothic horror movies, with a focus on theatrics, high emotions, and a lack of realism in order to support more dramatic scenes. With Young Frankenstein, it is probably one of the few gothic comedies. Even ignoring the visual style, Brooks’ signature witty and satirical style of comedy, that may have been seen by some at the time as vulgar, could be viewed as unconventional. 

1974, nearly 45 years after the original, was not a time for many traditional monster movies. Horror was gory and brutal during this time, and there wasn’t much room for the subtle, atmospheric horror movies of the 1930’s like Frankenstein. In a way, despite making fun of it, Brooks’ film manages to still feel like it came from a good place, at least to me. I think you can tell that Brooks is familiar with these kinds of movies, and that familiarity and knowledge works to the film’s benefit. The attention to detail is a small point of this film that makes it stand out amongst some other of his films. Even the poster and trailer is derivative of those from the original Universal monster movies. 

With all this information about Young Frankenstein at our disposal, it can be hard to pick out individually what you think of it. However, I thought it was very funny. Unlike the previous film, I had heard of this film before, so I think it had more to live up to given that I’ve only heard great things. It actually surpassed these, and I’m beginning to realize I have a lot or respect for a film that can balance many elements, and the style and substance of Young Frankenstein made it an amazing watch.

[itwoodbeprefect]

i was tagged by @goneahead to post a snippet from a WIP! this is from the slow burn Starsky Watches Westerns... thing... which is now tentatively named Frequently Secretly. uh, it contains a spoiler for precisely one sentence from the 1974 western comedy blazing saddles, and starsky has hutch on the phone while he (starsky) is away from home for a while, watching movies and (i think) housesitting, and depending on the context that it eventually gets this section might still need a little more description, but for now it’s this:

-

“Goshdarnit, Hutchinson, you use your tongue prettier than a twenty-dollar whore.”

There’s the barest sliver of a pause, which gets revealed as a brain lag caused by how deeply unimpressed Hutch is when he says, “That’s a Blazing Saddles quote, right?”

“What if I said no?”

“I’d have to ask you if you’re feeling okay.”

“Why? Does that not sound like something I’d normally say?”

“It sounds like you’re undercover as a lost Texan dandy trying to pick up guys.”

Hutch is firing shots, but Starsky can volley those back. “So I’m stealing your schtick, is what you’re saying.”

There’s a laugh from Hutch. It’s loud and brief, like it’s shocked out of him. “Now I really know your judgment’s impaired, and that one’s not even a movie quote. Go to sleep, Starsk.”

“Aye aye, Blintz,” he says, just to shake things up a bit. Not too many pirates in all those westerns Hutch likes – at best an eye patch, here and there. “Hey, Hutch.”

“Hm?”

“Do I owe you twenty bucks now?”

“At least twenty-one. Sweet dreams, Starsky,” Hutch says, and hangs up.

-

i’ll tag: @actingcamplibrarian @redgoldblue @luredin @pterawaters @atlantis-scribe @logicgunn @incognito-insomniac @dedkake @spaceradars

[thekoopalingsandstuffs]

To the Broodals: What is your favorite movies?

Hariet: "The Count of Monte Cristo! I've read the book several times, and the movie is just as great! It has one of my favorite songs, Hell to Your Doorstep! The movie is an adventure story, and also a romance movie!! It-"

Topper: "BOOORING!!!"

Hariet: "AS I WAS SAYING!!! It's two hours long! And-"

Topper: "Two hours?? Dat really ain't helpin' your case-"

Hariet: "SHUDDUP!!!"

Topper: "My turn. I'm really into American Psycho. It's pretty cool, not gonna lie."

Hariet: "Okay, not a bad choice..."

Topper: "I also kinda like American Pie-"

Hariet: "TOPPER, FOR FUCK'S SAKES!!!"

Rango: "I like Blazing Saddles."

Hariet: "Lemme guess, is it a western movie?"

Rango: "A-yup."

Topper: "Of course it fucking is... wait..." *Googles it* "...... Rango!!"

Rango: "Oi, it's a good movie! Has a good message, it's funny, and not to mention, IT'S OLD!!!"

Hariet: "Please don't explain the plot-"

Rango: "I also like kids' movies! The Lego Movie was awesome!!"

Hariet: "Movies like that are made for people with little to no attention spans."

Rango: "LIKE ME!!!"

Topper: "What about you, Spewey?"

Spewart: "Aw, you already know the answer to this one. Mulan! The animated Disney one! That was my favorite movie as a kid--I watched it almost every day! It's funny, has good animation, amazing songs, and a fun ending! I don't watch it EVERY day anymore... But I still see it occasionally, and sometimes listen to the soundtrack as background noise while I work."

Rango: "...... Hey Spewart?"

Spewart: "Yes?"

Rango: "I guess you could say...... That movie successfully made a man out of you."

Spewart: "Oh jeez..." *Has a big smile on his face*

[spectrumtacular]

Top 5 noir movies? Top 5 westerns?

Already got asked about noir movies here! As for westerns, it was very difficult for me to narrow it down to a top 5 so I'm also gonna link a longer list of my favourites here.

But anyway. Top 5.

In this world, there are two kinds of people, my friend: those who's favourite western is The Good the Bad and the Ugly, and those who haven't seen it yet. Greatest score ever written, masterful use of long shots and close ups, Clint Eastwood and Lee Van Cleef at their very coolest, all in gorgeous widescreen... One of my top five movies, period.

No Name on the Bullet. As I mentioned in the noir ask, I 🧡 movies that are cheap and pulpy and kind of bad lol. Jokes aside though this one's got a very tight script with a lot to say on mob mentality/paranoia and individual corruption, a building tension that grabs you by throat and squeezes, all carried along by Audie Murphy and his cold cold eyes... There's something very special about a well-made b-movie I must say.

Winchester '73. Ranown cycle this, Wayne-Ford movies that, well if you ask me the Mann-Stewart movies are the best western actor/director collabs out there, and this one's the finest among them. Okay actually The Naked Spur is the better film, but this one's got my guy Dan Duryea in his absolute best role, so you know I'll take it over the others any day of the week.

Blazing Saddles. I do love a good parody, and Mel Brooks is the undisputed king thereof. This one's laugh out loud funny, the type of movie that has me going "oh man that's my favourite bit" every three seconds. Except the bean scene, that one's a dud, but the mere presence of Madeline Kahn makes up for it ten times over.

Longtime followers will know of my inexplicable soft spot for godawful singing cowboy movies + my other inexplicable soft spot for godawful mountie movies, so naturally I've got a soft spot the size of Saskatchewan for the Renfrew of the Royal Mounted serial. Like idk what to tell you, they're mounted men....... though odds may be one to ten....... they'll follow the trail........ they never will fail to capture......... dangerous foes, for everyone knows they say........ they'll get their man, despite any plan you'll have to pay......... Yes I know the theme song by heart don't judge me.

Ask me my top 5/top 10 anything!

[strangeauthor]

It’s like what they say, You can’t make Blazing Saddles today

The majority of the cast have passed away and the cowboy Western genre isn’t as popular or common anymore to warrant an parody.

Now pirates on the other hand

dchjdchjdf

[reviewing-the-views]

Literally Breaking the Fourth Wall: Blazing Saddles Review

God, I love Mel Brooks movies.

They're not grand masterpieces by any means. Not every jokes lands, nor can they ever be remade (for many reasons). Yet, they can be some of the best parodies I will ever see in my life.

Blazing Saddles is one such film by Mel Brooks. Made in 1974, the story revolves around our protagonist named Bart, who becomes sheriff of your standard, Western town. Thing is, Bart is Black, and he ends up facing scrutiny and ostracism from the town due to his race. Yet, when thugs try to take over the town, they realize he is their only defense and hope. Comedy aside, this movie provides really good commentary regarding how standard Western films were made by flipping the script.

The biggest part of what makes this movie so great is the endless comedy. Mel Brooks never fails to deliver on a wide array of jokes -- from puns, visual gags, and more. The most iconic and funniest scenes in the film (Spoilers) is when the townsfolk commence the big, climatic battle against the villains in the end, only for the camera to pan over to a Hollywood movie lot where a completely different movie is being filmed. This leads to even more chaos as the townsfolk literally break through the walls of the studio lot and bring the fight along with them. Just watch the scene titled "The French Mistake" on YouTube and you'll get a mere glimpse of what I'm talking about. Insanity ensues, and it is glorious to watch on screen.

However, a lot of the jokes can be outdated, especially for our modern sensitivities. Due to it's comedy, not everyone is bound to enjoy it in comparison to other films, so I can't say it's something that is guaranteed for everyone to enjoy. But, if you enjoy witty wordplay, fourth wall breaks, and just chaotic tomfoolery, I would recommend Blazing Saddles as a fun movie to watch on an easy-breezy Saturday.

I give this movie a cool 7.5/10. While not suited for everyone and a bit outdated, it's still going to give you a great time with a lot of laughs. Also, if you enjoy movies that poke fun at the way movies are made, then Blazing Saddles -- and other Mel Brooks films -- will be right up your alley!