lovintennis

In the book, we learn what the message decodes to merely from what Harry claims. In this movie, 'My name is Jerry' is actually what's printed on the screen, which isn't realistic. If it were realistic, all of the sentences would be messed up. After getting back from the falling eggs and getting unsuited, Norman states with determination that he wants to talk to Jerry, only to try to explain to him a minute later that the guys and he need some time alone to talk things over while Jerry's adamant to talk.

I would've rated this one a 7 if it hadn't been for the beginning when Max is driving the woman. They argue over which route's the fastest way and he persuades her to trust him. When they get close, she goes, "Go ahead, say it." He asks, "Say what?" She answers, "That you were right." He shouldn't ask that because it's a stupid question, because it's playing dumb. We all know what she means. Later, whether this is realistic or not is debatable: I'm just saying there's no point in the cops ordering Max with Vincent back to the garage immediately as they race off to the emergency call they receive because of COURSE he's not going to follow that order. The climax is stupid because it's too typical that the cell phone dies, and what Joe Schmoe is talking on the street corner in the middle of the night with a low battery? And just because the battery's low doesn't mean the line would break up as it doesn't have anything to do with reception. After Max shoots Vincent in the office, he quickly just grabs the girl and runs away to get away from him instead of sticking around to put him into submission and turn him in. Had he logically done so, the pursuit through the subway would've never happened.

Definitely sub-par. First off, how is it that the rapist goes from being shown to looking over the model's pictures on his computer at home to just so happening to catch her out of her room, walking down the hall, at the right time, which is hardly a 30-second window? Then, he wouldn't be snapping pictures of her from across the room to wake her up because he doesn't have any immediate way to stop her from screaming, which she merely threatens to do in three seconds if he doesn't leave. Who does that?? That's really weird. Just scream, you idiot. From there, she tases him and is filled with opportunity to save herself. She could scream, beat him up, or grab a knife from the kitchen. Running out the door is a fine thing to do but she could also scream in the process. And it's pretty unrealistic how fast he recoups given how long he gets tased for.

Along with it not being explained how the guys get into the house, the girl tells them initially that she's called the cops so they're on their way. Then she tells them that her BOYFRIEND'S on his way, a signal to them that she's lying about the cops that they don't even pick up on.

Good movie except for that I'm lost about Doris' attitude. She feels for Evelyn crying about the coach yelling at her for missing her cutoff man, pointing him to the hall to the locker room when the ump tosses him, and then walks by the dugout and makes fun of Kit for not being able to finish the game. Not only that but Kit understandably retaliates by nailing her in the head with her glove, only for HER to take offense for some reason by firing her water in her face. She insists Kit "not start with her" when Kit pursues her. How in the world is Kit starting with her? Is Doris on drugs? Finally, the coach hauls KIT off to the showers to "cool off" after brawling with her. So again, I'm lost.

It's stupid how the wonderment of whether the U.S. just went to war with Norway after the opening shooting scene. Except for the guy who shot the foreigner through the window, they all could see how the foreigner wasn't after them, walking right past them with his rifle; he was after the dog. He'd even tossed the grenade away once he saw that the dog was around PEOPLE.

I give this one a so-so rating. The movie as a whole, up to the end, is excellent. The climax/end, though, is so typical and stupid. There's no reason for the oldest brother to close the curtain to give his mom some privacy before he wanders off and you knew that move would play a factor in a minute because of course the dad would walk by and not be quite curious enough to see who's behind it. Then, when the son sees his dad down below, walking away through the crowd, all he has to do is yell his name and his dad, along with everyone else, would hear him. Yelling "Dad" would probably work, or even better, his name. He didn't have to keep wandering around the place silently until letting enough frustration build up in him to finally do it. Once he knows his dad's there, he should just start yelling for him, calling for him, and there would've been much less suspense and worry. That's just common sense.

First off, at the beginning, no girl would pursue a noise upstairs, much less to the ATTIC, by herself when there shouldn't be anybody up there. After the blond was haunted at the office so late at night, she wouldn't take a cab just back to her place; she'd want to be with someone. She'd want to stay out in public. Especially when she's ultimately creeped out after the phonecall, the last thing she'd want to do is lock herself up in her place by herself. And of course, in the whole building, even late at night, she doesn't run into anybody.

It's never explained why the Devil reacted violently to the tap water or didn't answer the priest about his mother's name, just vomited at him after a moment. And while it IS explained why he refused to pull the nightstand drawer out a second time, there's no reason for it--just do it.

Since it didn't affect the overall storyline, I'm rating it decently, though not as high as a 7 because of it. If the dog's blind in one eye, he would have a depth perception problem, not a problem of seeing an object off to the side of where it actually is. Other than that, I really like this one.

Early on when the team finds the alien nest. They're all ready with their guns and go through too long of a premonition of the aliens about to jump out at them for it to be realistic that one successfully lands on the girl's face before she has time to react. And once that happens, how in the world would they ALL end up with face-huggers? That's a load of garbage. Also, the last predator had to catch and kill the alien that jumped out of the guy's stomach toward the end because the girl was too stupid to shoot him in his gut to kill it. She just walked away thinking she'd done a good job after the guy in his HEAD. Then, at the end, the predator never got face- hugged and just got the alien tail through his abdomen, so how would he have a live alien inside him? This is definitely a sub-par movie.

The dad knows how messed up it is overseas and couldn't've tried harder to explain that to his wife and daughter, who couldn't've acted like more of jerks about being mad at him for not letting her go. They act extremely naive and the wife, who's already divorced him, punches him below the belt, calling him "pathetic" before leaving him high and dry at the restaurant. When all's said and done, he doesn't react realistically coldly toward them like he should. He's way to soft. Why would the wife divorce him and get with some idiot instead who's as naive as she?

I marked this pretty low because this happened in both the beginning, when she's sitting across from the clown, and end, when she's trying to get away. Throughout the end, she has many chances to end the villain but keeps running away instead, constantly assuming that whatever she's just done to him, which isn't even much, is good enough. ...So...stupid.

The only problem I have with this one is why Michael killed Danny Trejo's character. All of his victims make sense for the most part except him. As he pleaded with him, he was always the one who was good to him. He stuck up for him. So, I feel for Michael except for that decision.

The rest of the movie, from the beginning on, should never have happened. Laurie has Michael in submission, tied up. It couldn't be more obvious it's really him; just kill him! Why would she have to verify and much less the idiotic way she does? It's just to create more suspense and get a movie under way. It's ridiculous.

This one's a little overrated; I wouldn't call it "solid". While the action scenes are clever and certainly entertaining, they're also unrealistic, like when Clive Owen's sitting by the fireplace and raises the bullets between his fingers up to shoot Paul Giamatti, he'd burn the back of his hand. That stunt would be almost impossible to pull off because if the butt of the bullets is heating up enough for them to fire, the back of his hand would be feeling the same and he wouldn't be able to take it. His cute little punch line that Paul's gotten it right that he's dead doesn't even hold true because it didn't kill him.

I couldn't give this a 7 since it's stupid how Ross just kept waiting at the end of the pipe with the "blow torch" for the queen to emerge and didn't just fire away, knowing she had to be there in the darkness. Then, he even gave up after moments and dropped his arms down, only for her to, of COURSE, shoot out at him at that moment to dance with him. You know she's lurking right before you, you idiot; just fire! Start filling that pipe with heat/fire/smoke!

First, after Laurie tells her boyfriend at the climax about her past and who she is, he asks her how old she was when all that happened. With a horrified realization in her eye as she looks at her son's 17th birthday card on the mantle, she tells him 17. He turns around, sees it, and cluelessly goes, "What?" What does he mean "What?" We all see the interesting connection there. Very annoying how he plays stupid. Second, after Laurie bonks Michael on the head with the fire extinguisher, she shouldn't just run away but stay there and keep whacking the snot out of him, even use his own KNIFE. Last, that is so stupid how Rodney comes into the scene to stop Laurie from ultimately putting the nail on his coffin after he falls onto the table, insisting there's no need to because he's allegedly dead. She shouldn't've been so cooperative back with him, knowing her brother way too well. She'd try to fight him away so she could go ahead and do it.

What's up with the lighting throughout? This family lives like bats. What kind of family with little kids eats dinner with only the table gathering lit? Everything around them is pitch black. The dad keeps searching the house in the dark and the little girl, early on, searches for the bathroom in the pitch black, then tells him she can't find it. Gee, I wonder why. No little girl would even begin to that without light on. Even at the end, back at their real house, he's working at his desk in the dark. It's apparently awfully hard in this movie for lights/lamps to light up a room; it's like reflection doesn't exist. And a cop wouldn't just so happening to be camped on the side of a countryside road in the wee hours of the morning in the middle of nowhere. Also, the mom repeatedly yells at the dad about living there being a bad idea and that they should leave, and then when the dad finally tells her she's right when burning the films, she's curious as to why, telling him he's scaring her. Very annoying. And typical. At the very end, what the deputy explains to the dad over the phone after some research shouldn't've been a shock because that's what the dad realized about halfway through as he abruptly hung up.

It's not funny, just silly. The humor's corny overall. I can picture a little kid having written this one. Adam's made funnier. It's not the acting, it's the dialogue and directing. Out of four stars, I'd give it one, for it's definitely sub-par. The original's better. The only good part is Here Comes the Boom. And I understand the ending's trying to make an @$$ of the warden but come on, it's obvious that even William Fitchner's character sure thought Adam Sandler was going for the gate to escape. ...And then he shoves the rifle at the warden upon the false alarm like he's such an idiot. The stupidest thing, though, is Adam deciding to stay in prison from a fellow inmate's insight. You don't throw your life away to metaphorically pop someone. You POPPED him, it's not like you negatively altered his LIFE. And how has it been worth "every dam minute" of staying in prison when it's obvious he'll never change and isn't exactly crying about it every day? Your punch to his face he's clearly shaken off and forgotten about as easily as an itch that he simply scratched away.

I understand she's in the middle of nowhere but still shouldn't have the doors unlocked. What's the point of keeping only the KITCHEN locked, anyway? He tries to beat her to the door when she first meets him, then tells her he can come in whenever he wants, then later races to the back window before she can get back in and close it. HE wouldn't be in such hot pursuit of her immediately after an arrow to his left chest and SHE wouldn't try so hard for the arrow on the porch when he's obviously close enough to her.

Great acting. Now for criticism: how many doors do the Beckers need for crying out loud? Why are they all glass and why so many windows? Haven't these people heard of curtains? A young girl would never leave every door unlocked when home alone and when she keeps talking to the caller, she goes around locking only random ones, every other. Not all. What's the point of that? It's when she's finally frantic that goes ahead and locks the rest, including the FRONT door! When she first locks the SIDE, we later learn that there are actually two side-by-side doors, only one of which she initially locks. And she doesn't have to keep answering his calls and talking to him when she's obviously annoyed and insecure before becoming frantic. This whole opening sequence is so completely unrealistic and stupid. When things are heating up half way through, the sheriff's talking to Dewey in front of the station. Dewey asks if there's any way that a cellular could've been cloned. The sheriff never answers that, just progresses to tomorrow being the anniversary of Mrs. Prescott's death. At the climax, Billy and Stu relish how they want their spree to end way too much and it's no wonder it backfires. This movie's definitely sub-par.

Funny but far from good. When Samuel L. Jackson gets shot in the knee, he'd be down for awhile and would need help getting up. If he ever got to his feet, he definitely wouldn't be able to walk, even limp. While his limp is clearly there, it's not significant enough. He wouldn't be able to put any weight at all on that leg. As he takes the bullet out while talking to his honey, who uses the F bomb way too much, by the way, trying to funny and entertaining, his expression of pain is unrealistically subtle. This makes the rest of the movie unrealistic; and he fights Ryan Reynolds in the apartment soon after before fainting to the floor. He wouldn't be able to even fight like that in the first place. When Gary Oldman drives a knife through the back of a guy's hand, the guy's red face and extreme wincing is also unrealistically mellow. He'd be SCREAMING in pain, especially because Gary even TWISTED it in his hand. Gary rubbed a bunch of words in throughout this process, every one of which the guy wouldn't be able to process. At the climax, of course good guy Samuel L. Jackson made it out of the way of the oncoming truck as he reversed out into the busy street but the bad guys had perfect timing in having it plough right into them. Of course the explosion on the rooftop doesn't kill Samuel as he's in pursuit of Gary Oldman and surprises everybody by suddenly emerging from the smoke to take care of him once and for all. So predictable.

This is a decent one, not a good one. Where it goes downhill is at the climax: there's no reason for the mother to delay her suicide just to confirm to the ghost that she can't exist without her. We're watching the movie so we already know that. Realistically, she would just shut up and pull the trigger. What is the reiteration going to do? It's unnecessary. Then, the movie gives one last suspension with the flickering light in the ambulance. That's stupid and unnecessary because we already know what the deal was, so if the ghost WAS still around, it wouldn't make sense.

When the girl's in the tub, throwing the ball for the pooch that suddenly doesn't come back, which makes her curious to get out, and especially when she thinks she sees or hears something weird from down the hall, not only does she sure take her sweet time to calmly put her robe on but does it with her back turned until she gets REALLY freaked out, at which point she gasps and finally spins around. It's stupid. The second most typical part is where the old man kneels down next to the sink to pick the razor up as the killer sneaks up from behind. Could he have taken longer kneeling down? I mean he goes about it like it's just such a pain in the @$$ and turns it into a project.