Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
An uncredited Marcia Lucas edited the split-screen scenes for the 1966 sequence (many of which were incorporated to cover up the story defects). George Lucas, also uncredited, edited the Vietnam scenes for the 1965 sequence, making footage of just two helicopters seem like a dozen. See more »
The final account of the characters states that Terry was reported missing in action in Vietnam. However he staged his death so that his superiors believe he was blown to bits at a specific place and time. Thus he would be reported KIA (killed in action), not missing in action. See more »
Bobby, whatever you do, don't hit those trashcans!
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The guitar strum, from Bob Dylan's How Does it Feel? brings forth the first few end credits of the film. See more »
The final frames of the original "American Graffiti" provide one-line summaries of the fates of the film's four central male characters. While somewhat sexist in omitting the female characters, the ending of the original film provided all the information about those people that even the most ardent fan of the movie would want. However, someone felt that mega-bucks could be made by detailing the dreary lives of these characters after the original film ended. Bad move. Making an insurance salesman and his wife, a nerdy private in Vietnam, a drag race driver, and a overgrown hippie into interesting characters in interesting situations was far beyond the talents of those who wrote this nearly unwatchable movie. While most of the original cast is back, with only Richard Dreyfuss having the good sense to stay away, "More American Graffiti" is a mess of silly situations that involve protests, car races, country singers, and the Vietnam war. The use of split screens, once thought innovative and daring, is overused here to the point of distraction and adds confusion to the already confused goings one. This is a sequel that demonstrates nearly everything that can go wrong with a sequel. Perhaps it should be screened in film schools as a lesson. Even the use of period music, which was a delight in the original, is poorly done here. If you want more "American Graffiti," see the original twice.
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