In 1939, WBN, a fourth radio network, is about to take to America's airwaves. As if the confusion of the premiere night wasn't enough, Penny Henderson, the owner's secretary, must deal with... See full summary »
Mary Stuart Masterson,
George Lucas commented that this film was so bad that "it made all of ten cents," and that he has no clue why he made it. See more »
The soldier outside the HQ bunker who spots Toad carries and then aims an AK-47 style rifle, supplied to communist forces by the Soviet Union and China. Using enemy weapons would normally be against regulations, although it was not unheard of for US soldiers in Viet Nam to obtain and use weapons like the AK-47. However, this would be very unlikely in relative rear areas like a fire base, especially under a commanding officer like Major Creech. See more »
Give me your signature, champ.
[thinks it over for a moment]
Well, I'll tell you what. I'm not gonna sign it, but why don't you light it on fire and stick it up your ass?
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Like Texasville, The Two Jakes and, before long, Evan Almighty, More American Graffiti is one of those sequels to that most people not only didn't want but don't know even exists: certainly George Lucas seems happy to pretend it doesn't (it's conspicuous by its complete absence in the otherwise comprehensive 78-minute documentary on the DVD for the original film), a fate not even Howard the Duck or The Radioland Murders share among his oeuvre. No Richard Dreyfuss, and Ron Howard is little more than a cameo but the rest of the original cast are all present and correct even an unbilled Harrison Ford turns up as a traffic cop while Scott Glenn, Delroy Lindo and Rosanna Arquette provide the "they were around that long?" factor in the supporting cast. Yet the result is even more of a mixed bag than the original, with writer-director Bill L. Norton separating his main characters over four different New Year's Eves with wildly varying results: Paul Le Mat has now graduated to drag racing, perhaps the least cinematic sport ever invented, Cindy Williams and Ron Howard get mixed up in student riots, Candy Clark's hippie chick finally gets the message about her loser guitarist boyfriend while, in by far the best part of the film, Charles Martin Smith's Terry the Toad is doing everything he possibly can to get out of Vietnam. Shot in multiple aspect ratios from 1.33:1 to 2.35:1 and with some imaginative and often amusing split-screen work, the execution is often better than the material and it's more entertaining than you might expect, but there's little of the resonance of the original.
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