But perhaps the strangest thing about Troll 2 is that it may not even be the strangest film in the franchise. He currently oversees a total of seven different franchises through his LA-based company, Full Moon Features. Before Full Moon, Band ran a similar company called Empire Pictures, which he set up in and under whose banner he made a slate of successful, theatrically released, low budget genre movies. Once it became clear Ghoulies was a hit, he began to contemplate some sort of follow-up with John Carl Buechler, who had overseen the special effects on the previous mini-monster extravaganza.
Troll , which was directed by first-time filmmaker Buechler, concerns the magical adventures of a teenage boy named Harry Potter whose sister becomes possessed by a troll shortly after his family move into an apartment in a San Francisco house. Magical adventures? Harry Potter? Band is full of praise for his Troll actors.
Everyone was terrific. Now at the same time we were making a movie on the lot called Crawlspace that had a wild man as a lead, and that was Klaus Kinski. It was what it was. Despite all this, Naha clearly regards the film with some affection. It was such an odd movie, strangely directed, strangely written, a very eclectic cast.
There are little moments that are wonderful, actually. Yet a financially successful one.
After Troll , Empire continued to churn out movies at a pace for another half decade. Band says he kept the sequel and remake rights to the movies he had made at Empire, including Troll. Yep, the producer figured, if anyone was going to make Troll 2 , then it would he him. Except that none of that sentence is technically true. Welcome to the Italian film industry. The latter stars Alice Cooper as a rock star who may also be a werewolf and is every bit as hilariously awful as that description suggests.
Goblins was only renamed Troll 2 after shooting was over, which explains the total lack of trolls in the movie. If the Screen Actors Guild had been involved with the project they might have suggested Fragasso hire some expert translators.
And the language barrier appears to have been of the principal reasons why Troll 2 would ultimately ascend into the Bad Movie Hall of Fame. While the crew were from Italy, the cast was made up of local, mostly Mormon, actors. The one notable exception was the Alabama-born George Hardy. But his father dissuaded him from entering into such a risky profession and steered him towards a more financially stable livelihood. Prior to Troll 2 , his dramatic experience was limited to appearing in a high school play and, while at Ann Arbor University, serving as a college cheerleader.
Hardy never lost the acting itch and after moving to Salt Lake City he got himself an agent. I read the part to about nine or ten Italians in this smoke-filled room. In addition to Stephenson and Hardy, the cast featured something of a loose cannon in the form of an actor named Don Packard who at the time was staying at a mental hospital following a nervous breakdown. I was really troubled, I can tell you that. That was a troubled person talking. It was a terrible experience making that movie.
It was always cold, it was always remote. And I remember there was a little kid there, a little Mormon kid, who was really a pain the ass. And I wanted to kill him. You walk around the table, up to the chair and p— on this food. Fragasso has subsequently claimed that he always intended the dialog in Troll 2 to be delivered in an absurdist fashion.
Hardy insists that, if this was the case, the director forgot to tell his cast.
I can honestly say I worked my a— off on that set. Yet a bad movie it was.
And a bad movie called Troll 2 to boot. Not that anyone connected with saw fit to alert Stephenson of this fact. The actor only found out about the name change more than a year after he had finished film. In the meantime, without my knowledge, my parents were trying to track it down. At a time when the strategy of engagement plays an increasingly central--and controversial--role in U. Seller Inventory BTE Ships with Tracking Number! Buy with confidence, excellent customer service!.
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Shape Created with Sketch. The 30 best romantic comedy movies, ranked Show all That Disney, the studio behind the film, imagined its aspirational romcom hero as a rich businessman prowling Hollywood Boulevard for an escort is slightly maddening. That Pretty Woman somehow pulls it off… even more so. There are a few moments in this high-school re-telling of George Bernard Shaw's Pygmalion — in which, due to an elaborate bet, popular jock Zach Freddie Prinze Jr attempts to turn artsy nerd Laney Boggs Rachael Leigh Cook into the Prom Queen in six weeks — that pull the rug out from under your feet.
Am I a bet? Saving Face is both a romantic comedy about gay women, and a romantic comedy about two Asian-Americans, making it a double rarity in the genre. But its loveliest quality is its Manhattan earthiness, with its smoky streets, subway cars, fire escapes and cheap take-out places, all backdrops to the tentative relationship between surgeon Michelle Krusiec and dancer Lynn Chen.
Which is unfair for a host of reasons, but specifically because both Knocked Up and 27 Dresses are such pristine examples of how great the romcom can still be. Not strictly a romantic comedy, buoyed as it is by serious drama involving everything from infidelity to AIDS, Playing by Heart is one of those talky, interconnected, Robert Altman-esque indies that dominated so much of American cinema in the Nineties. But whatever the tone of each seemingly unrelated story, Playing by Heart is driven by a lovely, nostalgic sense of Los Angeles ennui at the end of the 20th century. Crazy Rich Asians may not have saved the romantic comedy last summer, as everyone predicted it would, but it remains a breathless celebration of the genre — with a far-too-late-in-the-day but still wholly appreciated diversity at its centre.
Constance Wu is the New York economics professor who discovers her apparently Average Joe fiancee is in fact Singapore royalty. What follows is a fish-out-of-water comedy that both indulges in its gorgeous opulence while never becoming too in awe of it.
Michelle Yeoh is a standout, as a high society matriarch intimidatingly protective of her son. Few romantic comedies are more nakedly aspirational about big-city jobs, capitalism and the social power of being busy than One Fine Day, a mid-Nineties comedy about two single parents thrust together when their hectic schedules mean their children miss the class trip.
There are far too many big cellphones here, but Michelle Pfeiffer and an ER-era George Clooney, as the squabbling pair at its centre, must surely rank as one of the most beautiful romantic comedy couples in recent memory. The first black, mainstream romantic comedy to possess the same aspirational sheen as their white counterparts, Boomerang is a lively battle-of-the-sexes comedy with Eddie Murphy as a powerful, womanising advertising executive spurned by his female doppelganger Robin Givens. He is a left-wing journalist recruited as a speechwriter for his former babysitter Charlize Theron , who is now the US Secretary of State, and the pair forge an unshakable bond despite their wildly juxtaposed looks and vocations in life.
Against the odds, Theron and Rogen are adorable together, while the film strikes a wonderful balance between sweetness and crudity. A perfect encapsulation of the Fifties, specifically the allure of the European jet-set, the idealised rat-a-tat-tat magic of big-city journalists, and the otherworldly regality of Audrey Hepburn, Roman Holiday is more of a time machine than most of the films here. Forgetting Sarah Marshall is a bit like peering into a time capsule; a reminder of a time when Russell Brand was nearly a Hollywood A-lister, and people believed Jason Segel could be a movie star.
Aniston, always underrated as a movie star, is brilliantly magnetic, while Vaughn nicely downplays the manic energy that tends to suffocate his on-screen partners in his other roles. This satirical comedy set at a gay conversion camp has, quite clearly, a lot more than romance on its mind. Revolving around a group of friends as they attend — you guessed it — four weddings and a funeral, this film marks the first of many collaborations between Hugh Grant and screenwriter Richard Curtis. We can probably all agree that the hopeless, stuttering Charlie should have ended up with his best friend Fiona Kristin Scott-Thomas , but without his devastating indifference towards her, we would never have been blessed with one of the most magnanimous displays of unrequited love ever committed to film.
Most great romcoms are lucky enough to have one stand-out set piece that becomes embedded in the cultural landscape. Love Actually, the annually inescapable Christmas romcom behemoth from Richard Curtis, has about six or seven. And all of that, in fairness, is true. Surrounding them are an array of recognisable faces, including Mila Kunis, Martin Short, Zoe Saldana and the literal Sisqo, while it features one of the finest Backstreet Boys-era boyband spoofs this side of Josie and the Pussycats. Beloved and loathed in equal measure, Days of Summer is notorious among a certain generation of young people who grew up with Joseph Gordon-Levitt and Zooey Deschanel as quirky hipster pin-ups.
It is funny in hindsight that there was such a stink over the casting of the Texan Renee Zellweger as the very English Bridget Jones. Because could you now imagine anyone else playing her? If every romantic comedy is a fantasy, then 13 Going on 30 is the ultimate fantasy romcom. As if she has watched too many herself, unhappy tween Jenna Rink wishes she could be 30, flirty and thriving, and wakes up one morning a high-powered magazine editor who looks like Jennifer Garner, and whose dorky neighbour has transformed into Mark Ruffalo.