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,
A short film featuring Indiana's friend Sallah who narrates about Indy's discovery of the Temple of the Forbidden Eye built for god Mara where visitors can see future. Filmed for Adventureland ride in the Universal Theme Park.
George Lucas, inspired by Francis Ford Coppola's The Godfather: Part II (1974) wanted to make his sequel darker and more complicated. Writer/director Bill L. Norton thought that cutting between four different time frames would be to jolting for most of the audience and also didn't like the various film formats used for each of the four story lines. Years later Lucas would admit that Norton was right. See more »
When Milner pulls up to the line at the drag strip, a round sign for KYA FM is on the fence. KYA was an AM station in the 60s. 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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