Brooke Shields in a slightly awkward phase (she never did go through the braces-and-glasses thing, but she's a skinny smartass here and for her that's awkward enough). Her pinball wizardry catches the eye of a con-man and together they take on all-comers. Critics at the time singled out Charles Durning's performance as if he were the Second Coming; truth is, his role as the all-time pinball champion hits the picture a little too late in the game. It has already exhausted us with its low-rent production and aimless plot line. I did think Brooke showed some spunk here, but she's no Kristy McNichol (who might have elevated this to a somewhat substantial level, or at least given it some different shadings). As it is, "Tilt" is a dim bulb. *1/2 from ****
10 Reviews
Lives up to the Name
A_Minor_Blip4 March 2008
Warning: Spoilers
This movie could have been a lot better with a lot less Charles Durning. He's a great actor but his character should have been edited down some. It was as if the indie filmmaker was so happy to have a very talented "heavy" (literal and otherwise referring to a bad guy) appear in his film that he had to devote a lot of screen time to him. (He had extra weight added to his already large girth and seemed like he was trying to emulate the Orson Welles character in "Touch of Evil".) (Durning's put-on accent was almost exactly the same as "Doc Hopper" in "The Muppet Movie".) More should have been focused on Brooke Shield's character, "Tilt", a rebellious young girl who is very good at pinball. Although I don't think she has a very fitting nickname; calling a pinball champion "Tilt" is like calling a football player "Clip", isn't it? But nonetheless, this movie was wasted on long bouts of dialog between Durning and Shields, and Durning and Ken Marshall who plays a young musician who uses Tilt to save up money for a demo. Also there was too much time wasted on Marshall's character as he and a very bad acting buddy try swindling people until they meet their prodigy pinball queen who can help them rake up dough by means of hustling; the hustling scenes were good but there should have been more of them. All in all this is a so-so little movie, relaxing to watch on an afternoon when you don't have to work. I bought the VHS and I don't know if I'll ever watch it again but it was okay while it lasted. I guess what I'm trying to say is the film lived up to the name. It was alright for a while, and then just kind of... titled.
Excellent Pinball movie Cheese. Sucky music.
Vectrexer10 May 2021
Nothing like 1970's era gaming cheese for some mid-week entertainment. A lot of this movie has over-the-top dialog. Even for it's era. Sit back and enjoy this mindless movie with a bucket of popcorn for some fun pinball times. As with any movie like Tilt, there are many grains of truth stretched beyond their limits. Ignore the frayed cloth and you will enjoy the film.
She's a pinball wizard, there has to be a twist. . .
lazarillo7 March 2010
One of the many things I miss about the late 70's is that the kid's movies back then we're often completely inappropriate for children. Maybe it was because our irresponsible parents were off snorting coke at discos or having wife-swapping "key" parties, and they just didn't care what the hell we were watching when they gave us three bucks and sent us down to the local cinema. Still, if I had to choose between that kind of parental neglect and having the kind of modern-day "helicopter" parent who insist on going to movies with their kids or calling them right after on their GPS-tracked cellphones to "discuss" whatever they've just seen, I'm afraid I'd choose the late 70's any day. But I digress. . .
Brooke Shields was famous when she was young for appearing in movies that were usually not appropriate for someone her age to see. A lot of these movies really sexualized her, especially the more "respectable" ones like "Pretty Baby" and "The Blue Lagoon". This one doesn't do that at least; it's much more weird. Thirteen-year-old Brooke plays a runaway, but she doesn't resort to prostitution or drugs like a normal runaway, no, she's a pinball hustler. She hooks up with an older guy, who was also once a pinball hustler, but is now a (very bad) country singer. They hatch a scheme to finance his music career through pinball hustling, but they make a detour back to his hometown of New Orleans in order to try take on his old nemesis, an overweight hustler called "the Whale" (Charles Durning).
First off, pinball hustling?!--c'mon. Who the hell ever heard of that? The plot is stupid, the music is bad, the acting, generally, is horrid (even Brooke Shields looks good relatively). But Charles Durning gives a performance that is WAY too good for this movie, and the twist his grossly overweight crime-boss type character takes at the end is very interesting. The screenplay was actually written by talented Hollywood maverick Donald Cammell (who was actually English), and it occasionally shows through the incompetent directing of Rudy Durand and the terrible acting of pretty much everyone but Durning. And lest you think this movie might be too appropriate for children, there are scenes like the one where one of my favorite 70's character actors, Geoffrey Lewis (sidekick of Clint Eastwood/father of Juliette), shows up as a horny trucker who picks up a hitchhiking Brooke and hits on her, but then gets offended and calls her a "prevert" when she facetiously offers to do a three-way with his wife! This is by no means good, but they literally do not make movies like this anymore, only in that much more morally confused--but much more honest-- time called the 1970's.
Brooke Shields was famous when she was young for appearing in movies that were usually not appropriate for someone her age to see. A lot of these movies really sexualized her, especially the more "respectable" ones like "Pretty Baby" and "The Blue Lagoon". This one doesn't do that at least; it's much more weird. Thirteen-year-old Brooke plays a runaway, but she doesn't resort to prostitution or drugs like a normal runaway, no, she's a pinball hustler. She hooks up with an older guy, who was also once a pinball hustler, but is now a (very bad) country singer. They hatch a scheme to finance his music career through pinball hustling, but they make a detour back to his hometown of New Orleans in order to try take on his old nemesis, an overweight hustler called "the Whale" (Charles Durning).
First off, pinball hustling?!--c'mon. Who the hell ever heard of that? The plot is stupid, the music is bad, the acting, generally, is horrid (even Brooke Shields looks good relatively). But Charles Durning gives a performance that is WAY too good for this movie, and the twist his grossly overweight crime-boss type character takes at the end is very interesting. The screenplay was actually written by talented Hollywood maverick Donald Cammell (who was actually English), and it occasionally shows through the incompetent directing of Rudy Durand and the terrible acting of pretty much everyone but Durning. And lest you think this movie might be too appropriate for children, there are scenes like the one where one of my favorite 70's character actors, Geoffrey Lewis (sidekick of Clint Eastwood/father of Juliette), shows up as a horny trucker who picks up a hitchhiking Brooke and hits on her, but then gets offended and calls her a "prevert" when she facetiously offers to do a three-way with his wife! This is by no means good, but they literally do not make movies like this anymore, only in that much more morally confused--but much more honest-- time called the 1970's.
Draining. But Better If You Skip The first 16 Minutes.
DeanNYC22 October 2018
Warning: Spoilers
"Tilt" is the name of the heroine of this movie, a teen girl who happens to be a pinball phenom. Brooke Shields is the titular character. But, for some reason, we have to wait more than 16 minutes for her to arrive, because the story starts with two losers who try to cheat a pinball champ/bookmaker (played by Charles Durning) so they can get the money to launch one of their careers as a Country/Western singer in, of all places, Los Angeles. Who wants to see a cheater succeed, when that's all we know about them in the first moments of the film? And who believes that someone who wanted to be a country crooner would go to LA and not Nashville?
Little Ms. Shields still looks like a "Pretty Baby" in this role, avoiding most things to do with her parents and siblings, skipping out on school, hitching rides with truckers and suggesting a manage a trois along the way. It's all part of her "street tough" persona that apparently goes with being the best at the Silverball.
In the world of "Tilt," betting on pinball is apparently as common as going to a casino, as people everywhere these characters go are wagering on games, based on their flipper expertise. Long time stand up comic Gary Mule Deer is one of Tilt's early victims and provides some of the most amusing moments in the entire film.
But the story is bogged down with those two doods, the wannabe acoustic guitarist and his loudmouth wannabe manager. Never mind that they transport a minor across state lines, or what the penalty for that is. They can't succeed in show biz, and they can't succeed in pinball, or even cheating at pinball, so they might as well exploit a girl with the talent they simply don't have.
As horrific as all that is, what little charm this film might have held drains, every time either of these two knuckleheads are on the screen, and that's most of the movie.
Little Ms. Shields still looks like a "Pretty Baby" in this role, avoiding most things to do with her parents and siblings, skipping out on school, hitching rides with truckers and suggesting a manage a trois along the way. It's all part of her "street tough" persona that apparently goes with being the best at the Silverball.
In the world of "Tilt," betting on pinball is apparently as common as going to a casino, as people everywhere these characters go are wagering on games, based on their flipper expertise. Long time stand up comic Gary Mule Deer is one of Tilt's early victims and provides some of the most amusing moments in the entire film.
But the story is bogged down with those two doods, the wannabe acoustic guitarist and his loudmouth wannabe manager. Never mind that they transport a minor across state lines, or what the penalty for that is. They can't succeed in show biz, and they can't succeed in pinball, or even cheating at pinball, so they might as well exploit a girl with the talent they simply don't have.
As horrific as all that is, what little charm this film might have held drains, every time either of these two knuckleheads are on the screen, and that's most of the movie.
Tilt
BandSAboutMovies26 April 2022
Warning: Spoilers
Neil Gallagher (Ken Marshall, Prince Colwyn from Krull) wants to get back at Harold "The Whale" Remmens (Charles Durning), who just might be the best pinball player in the world. After he's busting cheating, he leaves town and soon discovers 14-year-old pinball player Brenda "Tilt" Davenport (Brooke Shields), who comes from a bad home and has mostly turned to a bartender Mickey (John Crawford) as her father figure. She thinks she's using her pinball skills to hustle players to fund Neil's singing career, but it's all about coming back home to win that big bet and get revenge.
With Lorenzo Lamas, Don Stark and Geoffrey Lewis, who is in a wild scene with Shields where she offends him by telling him that she wants to make love to his life - Shields was 13 at the time this was filmed, the 70s were insanity - this is a movie that makes us think that the economy of 1979 America was based on pinball.
I was wondering why this movie seems so deranged and then I saw the credits. It was co-written by Donald Cammell, who made Performance and it all makes sense. This was directed by Randy Durand, who only made this one film. Cammell left the movie when they wouldn't hire Jodie Foster as the lead. Durand was the director, a co-writer, the producer, musical director, and in the sound department, was responsible for the pinball machine musical sound effects. He'd wanted to hire Orson Welles to be Durning's role, but even though he couldn't do it, he mentioned the movie on The Tonight Show, which helped Durand get some funding.
With Lorenzo Lamas, Don Stark and Geoffrey Lewis, who is in a wild scene with Shields where she offends him by telling him that she wants to make love to his life - Shields was 13 at the time this was filmed, the 70s were insanity - this is a movie that makes us think that the economy of 1979 America was based on pinball.
I was wondering why this movie seems so deranged and then I saw the credits. It was co-written by Donald Cammell, who made Performance and it all makes sense. This was directed by Randy Durand, who only made this one film. Cammell left the movie when they wouldn't hire Jodie Foster as the lead. Durand was the director, a co-writer, the producer, musical director, and in the sound department, was responsible for the pinball machine musical sound effects. He'd wanted to hire Orson Welles to be Durning's role, but even though he couldn't do it, he mentioned the movie on The Tonight Show, which helped Durand get some funding.
Not a must-see, but duly entertaining
I_Ailurophile27 June 2022
There are elements here we've definitely seen elsewhere, and at its roots it's a classic story: a little bit of a coming-of-age feel as a skilled youth pairs with an older person who's less than honest, and one way or another the partnership will end badly and/or change them both. With 14-year old Brooke Shields starring there are aspects of school-age humor or dialogue, to say nothing of the bluster and boasting that follows from the pinball match-ups. Still, even for all the playfulness and levity, 'Tilt' seems like it declines some of the more ham-handed hooks and embellishments we'd expect of similar fare from the subsequent four decades. In their stead we get somewhat somber portraits of the seediness, hypocrisy, or judgmental swarthiness of US culture, and some commentary thereon, as well as reflections of the ethics and habits of some of the figures in this tableau. One way or another, though, the core remains fairly straightforward - and if imperfect, it's suitably enjoyable.
There are some definite indelicacies on hand, especially frank, unnecessary, and tired fatphobia surrounding Charles Durning's character. Though their characters' partnership is stated to be strictly business, there's something untoward about the two leads being a 29-year old man and a 14-year old girl. The movie also runs a tad long - did it need to be almost two hours? Put these bits aside, though, and more than anything, the "trouble" with 'Tilt' is that it just isn't especially remarkable in its content; again, we've seen other titles of a like slant. Even at that, though, the cast is actually pretty swell: Shields is perhaps limited somewhat by her youth and inexperience, but her portrayal of "Tilt" Davenport is solid and believable. Durning depicts Mr. Remmens with strong personality, and it's a small delight to see him let loose a little compared to other roles. And while Ken Marshall is hardly a household name, here in his film debut he plays Neil with boyish energy that's a touch endearing. I also think Rudy Durand's direction is quite able, guiding his cast and the orchestration of shots and scenes into the best arrangement they could be. True, one had better like pinball, because there's a lot of footage of machines in play - but I appreciate the detail, and it helps to maintain engagement with a hint of exciting tension even as the picture draws on.
I suppose it could be said that the writing feels slightly imbalanced. Marshall gets the chief spotlight as Neil, even as Shields' character inspires the title of the film. The feature seems to be more about how the course of events changes Neil, and Tilt's story kind of seems unresolved and left blowing on the wind. This is unfortunate, because there was untapped narrative potential between the two of them - alas. Nevertheless, more so than not the plot is reasonably sturdy, if light, and where it leave something to be desired, the scene writing picks up the slack. Each actor appearing here does a great job of carrying scenes by themselves, and are even better as scene partners. And with that, each passing moment we see of the tale being stitched together arguably bears the most value in the screenplay.
If my words seem a smidgen non-committal, consider that an echo of 'Tilt' itself. It's not at all bad, and I had a good time watching it. Only - unless you're a specific fan of someone involved, a pinball connoisseur, or just deeply curious, there's no particular reason to seek this out. You could definitely do a lot worse, however, and to be honest I think it's capable enough to warrant checking it out if you come across it. With the cast and scene writing standing out the most, 'TIlt' is hardly an essential watch, but a pleasant, satisfying, and even quietly rewarding way to pass the time if you have the chance.
There are some definite indelicacies on hand, especially frank, unnecessary, and tired fatphobia surrounding Charles Durning's character. Though their characters' partnership is stated to be strictly business, there's something untoward about the two leads being a 29-year old man and a 14-year old girl. The movie also runs a tad long - did it need to be almost two hours? Put these bits aside, though, and more than anything, the "trouble" with 'Tilt' is that it just isn't especially remarkable in its content; again, we've seen other titles of a like slant. Even at that, though, the cast is actually pretty swell: Shields is perhaps limited somewhat by her youth and inexperience, but her portrayal of "Tilt" Davenport is solid and believable. Durning depicts Mr. Remmens with strong personality, and it's a small delight to see him let loose a little compared to other roles. And while Ken Marshall is hardly a household name, here in his film debut he plays Neil with boyish energy that's a touch endearing. I also think Rudy Durand's direction is quite able, guiding his cast and the orchestration of shots and scenes into the best arrangement they could be. True, one had better like pinball, because there's a lot of footage of machines in play - but I appreciate the detail, and it helps to maintain engagement with a hint of exciting tension even as the picture draws on.
I suppose it could be said that the writing feels slightly imbalanced. Marshall gets the chief spotlight as Neil, even as Shields' character inspires the title of the film. The feature seems to be more about how the course of events changes Neil, and Tilt's story kind of seems unresolved and left blowing on the wind. This is unfortunate, because there was untapped narrative potential between the two of them - alas. Nevertheless, more so than not the plot is reasonably sturdy, if light, and where it leave something to be desired, the scene writing picks up the slack. Each actor appearing here does a great job of carrying scenes by themselves, and are even better as scene partners. And with that, each passing moment we see of the tale being stitched together arguably bears the most value in the screenplay.
If my words seem a smidgen non-committal, consider that an echo of 'Tilt' itself. It's not at all bad, and I had a good time watching it. Only - unless you're a specific fan of someone involved, a pinball connoisseur, or just deeply curious, there's no particular reason to seek this out. You could definitely do a lot worse, however, and to be honest I think it's capable enough to warrant checking it out if you come across it. With the cast and scene writing standing out the most, 'TIlt' is hardly an essential watch, but a pleasant, satisfying, and even quietly rewarding way to pass the time if you have the chance.
Durning and Shields outshine the others
Tom_Barrister18 January 2021
For almost ten years, writer/agent Rudy Durand had tried to turn his story about the world of pinball machines into a movie. Eventually writing the screenplay himself, he sent a copy of it to Orson Welles. Welles read the screenplay and liked it so much that he spoke to Durand about it and recommended that Durand direct it himself. Welles then talked glowingly about the screenplay on "The Tonight Show. The phone calls began to come in for Durand, who was offered as much as $900,000 for the screenplay. Unfortunately, all such offers called for a more seasoned director than Durand, who wanted control over filming. Finally, real estate developer Mel Simon, who dabbled in independent productions (i.e. the "Porky's" movies), offered to fund the film and to give Durand full control over creative content.
Welles wasn't avaiable to play the part of the Whale, but veteran character actor Charles Durning was an excellent replacement. Much padding was added to the clothing of the already-hefty Durning, and much makeup was applied to make him look more weathered than he really was. Newcomer Ken Marshall was cast as Neil Gallagher, and an assortment of "B" actors filled out the other minor parts. Durand's first two choices for the role of Tilt were Jodie Foster, who wasn't interested, and Tatum O'Neal, who wasn't avaialble. Brooke Shields' mother Teri Shields was more than happy to get her daughter on the screen again. Filming began in late 1977 and ran for five months. Except for a few on-location shots in Corpus Christi, shooting was mainly in the L.A. area.
After Durand put together his director's cut of the film, it and all footage were sent on to distributor Warner Brothers. The studio decided to create its own version, which was eventually sent out to theaters in April of 1979. It bombed and saw limited theatrical release, although it was shown frequently on late-night cable TV in the 1980's, notably on TBS. To say that Durand was unhappy about Warner deciding to use its own version, rather than his, would be a major understatement. He asked the studio to rerelease his version of the movie. When the studio refused, he sued them, representing himself in court appearances. Thirteen years and over 150 court appearances later, including before the California Supreme Court, he was awarded a large, but undisclosed settlement. Unfortunately, Durand never did release his version of the film commercially. The film as we know it has been largely forgotten, and only a VHS version was ever released by Warner, although at least one copy exists on YouTube. It may be possible to purchase a copy of Mr. Durand's version from him.
Except for Durning, John Crawford, and possibly Shields, the acting in the movie is somewhat bland to say the least. You can find reviews of the movie elsewhere. Remember that you're seeing reviews of Warner's release of the movie. Durand's version had to be much better. I am certain of this, because Orson Welles wouldn't have gone on national TV to praise the version that appeared on screen. In light of that, I want to focus on the footage towards the end of the movie, when Tilt goes to see Mr. Remmens/"The Whale" (to give more details would require putting a "spoiler" notice on this review). This appears to be one of the areas of the movie that was altered the least by the editors at Warner. The manner in which the amused Remmens handles the self-assured (and somewhat mouthy) Tilt, and the way that he eventually warms to her by the end of their encounter, is a case study in character acting by one of the masters of the art. Durning is superb throughout the movie, but the scene with Shields is especially good. There is nothing wooden or artificial about this scene, and I wouldn't be surprised if Durning helped Shields through its performance. If you find the movie (and it's online at a popular video location), watch this scene carefully to see what I mean.
Welles wasn't avaiable to play the part of the Whale, but veteran character actor Charles Durning was an excellent replacement. Much padding was added to the clothing of the already-hefty Durning, and much makeup was applied to make him look more weathered than he really was. Newcomer Ken Marshall was cast as Neil Gallagher, and an assortment of "B" actors filled out the other minor parts. Durand's first two choices for the role of Tilt were Jodie Foster, who wasn't interested, and Tatum O'Neal, who wasn't avaialble. Brooke Shields' mother Teri Shields was more than happy to get her daughter on the screen again. Filming began in late 1977 and ran for five months. Except for a few on-location shots in Corpus Christi, shooting was mainly in the L.A. area.
After Durand put together his director's cut of the film, it and all footage were sent on to distributor Warner Brothers. The studio decided to create its own version, which was eventually sent out to theaters in April of 1979. It bombed and saw limited theatrical release, although it was shown frequently on late-night cable TV in the 1980's, notably on TBS. To say that Durand was unhappy about Warner deciding to use its own version, rather than his, would be a major understatement. He asked the studio to rerelease his version of the movie. When the studio refused, he sued them, representing himself in court appearances. Thirteen years and over 150 court appearances later, including before the California Supreme Court, he was awarded a large, but undisclosed settlement. Unfortunately, Durand never did release his version of the film commercially. The film as we know it has been largely forgotten, and only a VHS version was ever released by Warner, although at least one copy exists on YouTube. It may be possible to purchase a copy of Mr. Durand's version from him.
Except for Durning, John Crawford, and possibly Shields, the acting in the movie is somewhat bland to say the least. You can find reviews of the movie elsewhere. Remember that you're seeing reviews of Warner's release of the movie. Durand's version had to be much better. I am certain of this, because Orson Welles wouldn't have gone on national TV to praise the version that appeared on screen. In light of that, I want to focus on the footage towards the end of the movie, when Tilt goes to see Mr. Remmens/"The Whale" (to give more details would require putting a "spoiler" notice on this review). This appears to be one of the areas of the movie that was altered the least by the editors at Warner. The manner in which the amused Remmens handles the self-assured (and somewhat mouthy) Tilt, and the way that he eventually warms to her by the end of their encounter, is a case study in character acting by one of the masters of the art. Durning is superb throughout the movie, but the scene with Shields is especially good. There is nothing wooden or artificial about this scene, and I wouldn't be surprised if Durning helped Shields through its performance. If you find the movie (and it's online at a popular video location), watch this scene carefully to see what I mean.
my views
golgo12 June 2000
ok... the review listed here already is pretty accurate and explains the mechanics of the film... a couple things id like to mention however...
i saw this one night and it totally blew me away... i was really bored and i thought i might as well sit through it... it reminded me of some other really lousy movies that might get shown at like noon on a sunday on the local station that only ever shows reruns... it has this painfully stupid song which is like this rock/country 70s type junk which completely fuels and drives the film... it repeats at least 3 or 4 times, and the most "exciting" moments of the film are arranged to it... its as bad a catchy theme song could ever be and has some twangy hicks singing "pinball... pinball...". the character described as the "whale" dances (whilst playing pinball) and seems possesed by this song and pretty much LIVES to hear it...
but beyond that... it was deep. brooke shields' performance was adequate for like the 9 or 10 year old girl she is... but its not really HOW she acted... its WHAT she seemed to be... if i may quote twin peaks... "the owls are not what they seem".
the relationship between her and the budding musician she attempts to save (like some sort of ethereal spirit or angel come to help) is very strange... he is like a little puppy to her and i think he bursts out crying to her at some point...
she uses her incredibly pinball skills in a battle against the "whale"... (of course to the tune of "pinball... pinball...") afterwards, when he tries to compliment her on being a good little lady or something... it was so creepy... she stares at him and slowly and sternly says "im NOT a little lady"...
i ended up shaking my head at the theme song but i was just blown away... ive wanted to show this movie to some other people... it really tried to make some sort of statement... and since it really felt like it was aimed at little kids i was just blown away at what i THOUGHT was going on...
look for it... you might hate it in 20 sec... but i really believe that things are NOT what they seem in the "tilt" universe...
made me wanna read moby dick...
i saw this one night and it totally blew me away... i was really bored and i thought i might as well sit through it... it reminded me of some other really lousy movies that might get shown at like noon on a sunday on the local station that only ever shows reruns... it has this painfully stupid song which is like this rock/country 70s type junk which completely fuels and drives the film... it repeats at least 3 or 4 times, and the most "exciting" moments of the film are arranged to it... its as bad a catchy theme song could ever be and has some twangy hicks singing "pinball... pinball...". the character described as the "whale" dances (whilst playing pinball) and seems possesed by this song and pretty much LIVES to hear it...
but beyond that... it was deep. brooke shields' performance was adequate for like the 9 or 10 year old girl she is... but its not really HOW she acted... its WHAT she seemed to be... if i may quote twin peaks... "the owls are not what they seem".
the relationship between her and the budding musician she attempts to save (like some sort of ethereal spirit or angel come to help) is very strange... he is like a little puppy to her and i think he bursts out crying to her at some point...
she uses her incredibly pinball skills in a battle against the "whale"... (of course to the tune of "pinball... pinball...") afterwards, when he tries to compliment her on being a good little lady or something... it was so creepy... she stares at him and slowly and sternly says "im NOT a little lady"...
i ended up shaking my head at the theme song but i was just blown away... ive wanted to show this movie to some other people... it really tried to make some sort of statement... and since it really felt like it was aimed at little kids i was just blown away at what i THOUGHT was going on...
look for it... you might hate it in 20 sec... but i really believe that things are NOT what they seem in the "tilt" universe...
made me wanna read moby dick...
Good movie with an even better message
gotoads28 January 2019
I liked this movie. The 1970s seemed like a fun time. Teenagers weren't looked down upon for simply living their lives on their terms. You could be 14, learn a skill, drop out of school, and travel the country supporting yourself or even yourself and a friend. Every day would be an adventure. And when you think about it, that's the way it should always be. I know that pinball isn't as popular as it once was but there are plenty of other things that can be mastered in the modern era. But today, busybodies will ultimately destroy whatever dream you have. It's really nothing more than pathetic jealousy. I give this film 8/10 stars for its entertainment value and a bonus 2 stars for being bold and inspirational. There is a great lesson when Tilt Davenport and The Whale battle each other at the end. I won't spoil it for you. Just trust me when I say you won't be disappointed.
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