Cindy finds out the house she lives in is haunted by a little boy and goes on a quest to find out who killed him and why. Also, Alien "Tr-iPods" are invading the world and she has to uncover the secret in order to stop them.
Malcolm and Kisha move into their dream home, but soon learn a demon also resides there. When Kisha becomes possessed, Malcolm - determined to keep his sex life on track - turns to a priest, a psychic, and a team of ghost-busters for help.
The heroic Spartan king Leonidas, armed with nothing but leather underwear and a cape, leads a ragtag bunch of 13 Spartan misfit warriors to defend their homeland against thousands of ... See full summary »
A masked killer begins murdering teenagers in a small town, and as the body count rises, one girl and her friends contemplate the "rules" of horror films as they find themselves living in a real-life one.
A mysterious killer video tape is circulating around. One look at this tape and you have seven days left to live. News Reporter Cindy Campbell (Faris) witnesses this video tape and tries to work out a way to prevent her death. But this is not the only mystery to appear. Crop circles have been appearing in the local farm of Tom (Sheen) and George (Rex). With help from Aunt Shaneequa (Latifah), Cindy suspects that the aliens may be linked with the killer tape and must now work out both mysteries before it's the end of the world. Written by
The Car Driven by the main character is a Brilliant Blue Toyota Prius Hybrid. It is the first mass produced gas/electric hybrid to appear in a major motion picture. See more »
When Cindy drives away after the school scene when she forgets to put Cody into the car, the hybrid she is driving pulls away as normal down the road. But when she stops the car after driving for a minute, the car stops in the same place that it started. You can see this by the positions of the school bus and the same extras walking by the same spot once again. See more »
Don't call me "dude". I haven't been a stoner since...
[Mexican music plays]
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Midway through the credits, there is a line that reads: WE ARE ABOUT HALF WAY THROUGH THIS THING!! See more »
I like movies. I like to talk about and think about movies. And I believe that nearly all movies are about other movies anyway. So when any movie comes along that is explicitly about movies, I'm in the ticketline. I really liked the first one because it referenced dozens and dozens of movies. The fact that they could be blended relatively seamlessly was part of the joke, but there was also the game of recognizing the source.
The second one was no improvement on the invention of the first. But this installment is a completely different beast. It is as different from the others as any in the 'Alien' is different from the others.
The Wayons are comics in the old-fashioned, standup sense. They make fun of life. When they poke fun at black stereotypes, they are poking fun at how things really are. So they have a big following in that community because their comments often 'ring true.' I really liked their work because it gave me double value for all that money I spend on bad movies.
But the Zuckers are film comedians, a wholly different species. When they poke fun, they are poking fun not at life, but at the movies. Its a completely different sort of humor. The opening, for instance. In previous films, the dumb blond jokes were about dumb people. In this one, the jokes are about characters and are particularly complicated. Pammy pokes fun at herself, especially herself in the famous porn video. And all is in the context of a tape that haunts.
Indeed, 'Ringu' was a movie about movies, and it forms the basis for this. Layered on that is '8 Mile,' a performance about a performance, here parodied by another layer of performance.
Sheen and Nielson are there to poke fun at their prior appearances, and their skits are as deliberately (I think) as flat as the white rapper's. To further the film-about-films idea, we have a parade of outside references: the Michael Jackson bit as a Scoopy Doo character is pretty prime stuff.
This kind of structure means that you have to make the targets deliberate. So instead of ratatat touching on over a hundred films, they focus on 3 or 4, so you know the score.
I laughed a few times. But I laughed more when scanning the web and being reminded of certain skits, like the wake, which is a minor masterpiece of editing. My only regret is that the Weinsteins decided to de-raunch the whole thing. I would have tolerated the few score childish jokes for the few really clever, cutting ones that would have made it through.
Ted's Evaluation -- 3 of 3: Worth watching.
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