Millennial song

Sarah Silverman - "Perfect Night" ft. Will.i.am

Hacksaw Ridge (2016 - Movie) Official Trailer – “Believe”

[Movies] Sorry Houston Press...GHOSTBUSTERS is a flop

Sony Fabricated Fake Review for GHOSTBUSTERS!

Classes of Movie Comedy

In 1980, Private Benjamin was released. http://www.imdb.com/title/tt0081375/?ref_=nv_sr_1 In 1981, Stripes followed close behind, having shot around the same time. http://www.imdb.com/title/tt0083131/?ref_=nv_sr_1 Either one of these movies - or the one-two punch of both - could have been the final statement of the long-standing comic premise of "funny people join the army." Goldie Hawn's character Judy Benjamin allows the titular name of the Nancy Meyers script to be male, despite there being no disguising the hook of the movie in posters - Goldie's clearly female peepers under a military helmet. Her film had the added element of not only a funny person in the army but a woman and also a fish out of water in the sense that she is a spoiled upper-class type who must win over her hard-nosed working-class drill Sargent who is also a woman and ultimately overcome her short comings to an extent and gain self-respect. Even though there is a plot twist later in the film which involves a blatant sexual overture that is clearly coercion rape which Judy has to escape by skydiving. So it manages to get its digs in. What is remarkable in our present culture of twitter wars and SJW Facebook discourse is that this popular and award-winning film plays indeed as a final thesis statement and not the start of a trend with feminist narratives. Nine-to-Five, produced by Jane Fonda and directed by the late Colin Higgins, came out the same year. http://www.imdb.com/title/tt0080319/?ref_=nv_sr_1 That got a short-lived TV series but nothing much else. Again, perhaps it said what had to be said at the time about sexism and injustice in the workplace. Decades Later, Horrible Bosses 2 came out. http://www.imdb.com/title/tt2170439/?ref_=nv_sr_1 This is noteworthy because it contains a scene where the the men at the core of the two films acknowledge that their story is basically Nine to Five and which one of them is the Jane Fonda. Nine to Five is to Horrible Bosses what Stripes and Private Benjamin are to the 1994 Paulie Shore vehicle In the Army Now. http://www.imdb.com/title/tt0110123/?ref_=nm_knf_i4 By the same principle, the 1984 Ghostbusters is to the 2016 Ghostbusters by Paul Feig. The Ivan Reitman film written by Dan Aykroyd and Harold Ramis with improvisations by Bill Murray and much of the cast (it was Sigourney Weaver's idea that she become possessed), could have been the last statement of the premise "funny people chase ghosts" which acknowledges a legacy that goes back to Abbott and Costello. Stripes contained a mud wrestling scene that ultimately involved toplessness. It also had the Aunt Jamima treatment scene in which Bill Murray's character lifts P.J. Soles (Halloween, also in Private Benjamin!!!) onto a stove and playfully uses a spatula on her -- something that as described might be infuriating and would cause hard core bloggy types to hit the roof but someone like Bill Murray and P.J.'s measured reactions allow to be funny and light. It may have been improvised by Murray as it would cause false red flags in a script. Both the characters played by P.J. and Sean Young in Stripes are MPs - Military Police. They out-rank Murray and Harold Ramis their love interests and they are the ones licking in fences and doors and shooting the guns and driving the souped-up recreational vehicle at the end. It would be a hard-nosed, humourless person that would call the movie sexist in that context. Ghostbusters with the same crew three years later contains a scene where a ghost visits Dan Aykroyd's character Ray in bed, unbuckles his pants (which he is wearing in bed for no reason) and gives him oral. It also has a scene where Dr. Venkman (Murray) administers thorazine to the possessed Dana Barrett (Sigourney) without explanation of why he happened to have the substance on him when he had only showed up at her apartment expecting to go on a date. We can choose, again because of Murray's tone in the scene, to write that off as convenient screenwriting and/ or the eccentricity of a scientist. It is most likely a scripting quirk and not meant to imply that Venkman is so far gone that he would recreationally drug a date. Especially because of the way he reports this matter-of-fact to his fellow ghostbuster on the phone. Now let's jump ahead to the much-hyped 2016 Paul Feig remake of Ghostbusters, for which the appearance of feminism and the importance of female role models busting ghosts took the focus away from the true concern of most fans, the abandonment of the continuity and universe created in 1984 embellished in the seven seasons of The Real Ghostbusters animated series and also 1989's under-appreciated Ghostbusters II. We might have liked to meet Oscar Barrett, the grown son of Dana, who might have become a Ghostbuster as the adopted son of Venkman. Maybe he would have a sister from Peter and Dana who is also in that field. Re-connecting with the surviving cast and giving fans a chance to mourn and pay tribute to Harold Ramis who played Egon would have been a substantive, culturally healthy thing to do. On top of that, they also could have introduced a count of four female ghostbusters anyway. But instead, the bare bones of the brand were strip-mined and a comedy of lower class ended up passing itself off as Ghostbusters. Along with Melissa McCarthy and Paul Feig, as well as others in support of the remake, throwing shade on anyone who is not excited about the bait and switch Amy Pascal at Sony and Paul Feig had connived to foist on the "Mother's basement-dwelling, forty-year-old, neck-bearded Trump supporting assholes" that aren't eager to shell out admission for something that appears to close the door on something that had been teased out in drips for ten or fifteen years. Not that the 2016 film doesn't have some charm and entertainment value, but so so the most reviled Adam Sandler movies that Sony has cranked out of late. If it had been announced after the death of Graham Chapman that Benny Hill would be in charge of remaking Monty Python's Life of Brian, the drop in comedy cachet would be similar.