🔥🔥🔥 One Flew Over The Cuckoos Nest Film Analysis

Clear your history. Box Office Mojo. A following shot is a shot that One Flew Over The Cuckoos Nest Film Analysis a character with pans, tilts, and tracking. Failed to load latest commit information. Days pass. Simultaneously, the tilting shot connotes that Durden is in control of the situation literally above Marla Singer, as depicted by Helena Bonham One Flew Over The Cuckoos Nest Film Analysis. He further explained why they chose the novel: One Flew Over The Cuckoos Nest Film Analysis not start with One Flew Over The Cuckoos Nest Film Analysis The story contrasts old narratives of the One Flew Over The Cuckoos Nest Film Analysis West" with One Flew Over The Cuckoos Nest Film Analysis Chinatown And Z-Boys Comparison, suggesting that the heroes of old can at best hope to escape from rather than to triumph over evil.

A Look Inside: One Flew Over The Cuckoos Nest

Carson Wells, another hired operative, fails to persuade Moss to accept protection in return for the money. Chigurh cleans and stitches his own wounds with stolen supplies and sneaks up on Wells at his hotel. After Wells unsuccessfully attempts to barter for his life, Chigurh kills him in his hotel room. Moss telephones the room and Chigurh answers; Chigurh vows to kill Carla Jean unless Moss gives up the money. Moss retrieves the case from the bank of the Rio Grande and arranges to meet Carla Jean at a motel in El Paso , where he plans to give her the money and hide her from danger.

Carla Jean is approached by Sheriff Bell, who promises to protect Moss. Carla Jean's mother unwittingly reveals Moss's location to a group of Mexicans who had been tailing them. Bell reaches the motel rendezvous at El Paso, only to hear gunshots and spot a pickup truck speeding from the motel. As Bell enters the parking lot, he sees Moss lying dead. When Carla Jean arrives, she chokes up upon finding out her husband is dead.

That night, Bell returns to the crime scene and finds the lock blown out. Chigurh hides behind the door after retrieving the money. Bell enters Moss's room and sees that the vent has been removed. Later, Bell visits his uncle Ellis, an ex-lawman, and tells him he plans to retire because he feels "overmatched" by the recent violence. Ellis replies that the region has always been violent.

Weeks later, Carla Jean returns from her mother's funeral to find Chigurh waiting in her bedroom, per his threat to Moss. She refuses his offer of a coin toss for her life, stating that he cannot pass blame to luck: the choice is his. Chigurh checks his boots as he leaves the house. As he drives through the neighborhood, a car crashes into his at an intersection and Chigurh is injured. He bribes two young witnesses for their silence and flees. Now retired, Bell shares two dreams with his wife. In the first, he lost some money his father had given him. In the other, he and his father were riding through a snowy mountain pass; his father had gone ahead to make a fire in the darkness and wait for Bell.

The role of Llewelyn Moss was originally offered to Heath Ledger , but he turned it down to spend time with his newborn daughter Matilda. Josh Brolin was not the Coens' first choice, and enlisted the help of Quentin Tarantino and Robert Rodriguez to make an audition reel. His agent eventually secured a meeting with the Coens and he was given the part. Javier Bardem nearly withdrew from the role of Anton Chigurh due to issues with scheduling.

English actor Mark Strong was put on standby to take over, but the scheduling issues were resolved and Bardem took on the role. Producer Scott Rudin bought the film rights to McCarthy's novel and suggested an adaptation to the Coen brothers , who at the time were attempting to adapt the novel To the White Sea by James Dickey. Joel Coen said that the book's unconventional approach "was familiar, congenial to us; we're naturally attracted to subverting genre. We liked the fact that the bad guys never really meet the good guys, that McCarthy did not follow through on formula expectations. The Coens' script was mostly faithful to the source material.

On their writing process, Ethan said, "One of us types into the computer while the other holds the spine of the book open flat. As explained by Kelly Macdonald, "the ending of the book is different. She reacts more in the way I react. She kind of falls apart. In the film she's been through so much and she can't lose any more. It's just she's got this quiet acceptance of it. Richard Corliss of Time stated that "the Coen brothers have adapted literary works before. But No Country for Old Men is their first film taken, pretty straightforwardly, from a [contemporary] prime American novel.

The writing is also notable for its minimal use of dialogue. Josh Brolin discussed his initial nervousness with having so little dialogue to work with:. I mean it was a fear, for sure, because dialogue, that's what you kind of rest upon as an actor, you know? Drama and all the stuff is all dialogue motivated. You have to figure out different ways to convey ideas. You don't want to overcompensate because the fear is that you're going to be boring if nothing's going on.

You start doing this and this and taking off your hat and putting it on again or some bullshit that doesn't need to be there. So yeah, I was a little afraid of that in the beginning. Peter Travers of Rolling Stone praised the novel adaptation. Good and evil are tackled with a rigorous fix on the complexity involved. Director Joel Coen justified his interest in the McCarthy novel. Because you only saw this person in this movie making things and doing things in order to survive and to make this journey, and the fact that you were thrown back on that, as opposed to any dialogue, was interesting to us.

Coen stated that this is the brothers' "first adaptation". He further explained why they chose the novel: "Why not start with Cormac? Why not start with the best? He believed that the author liked the film, while his brother Ethan said, "he didn't yell at us. The title is taken from the opening line of 20th-century Irish poet William Butler Yeats ' poem " Sailing to Byzantium ": [30]. That is no country for old men. The young In one another's arms, birds in the trees — Those dying generations — at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies.

Caught in that sensual music all neglect Monuments of unageing intellect. Richard Gillmore relates the Yeats poem to the Coens' film. It is also a lament for the way the young neglect the wisdom of the past and, presumably, of the old Yeats chooses Byzantium because it was a great early Christian city in which Plato's Academy , for a time, was still allowed to function. The historical period of Byzantium was a time of culmination that was also a time of transition. In his book of mystical writings, A Vision , Yeats says, 'I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architect and artificers It is an ideal rarely realized in this world and maybe not even in ancient Byzantium.

Certainly within the context of the movie No Country for Old Men , one has the sense, especially from Bell as the chronicler of the times, that things are out of alignment, that balance and harmony are gone from the land and from the people. Craig Kennedy adds that "one key difference is that of focus. The novel belongs to Sheriff Bell. Each chapter begins with Bell's narration, which dovetails and counterpoints the action of the main story. Though the film opens with Bell speaking, much of what he says in the book is condensed and it turns up in other forms. Also, Bell has an entire backstory in the book that doesn't make it into the film.

The result is a movie that is more simplified thematically, but one that gives more of the characters an opportunity to shine. Jay Ellis elaborates on Chigurh's encounter with the man behind the counter at the gas station. Where the book describes the setting as 'almost dark', the film clearly depicts high noon: no shadows are notable in the establishing shot of the gas station, and the sunlight is bright even if behind cloud cover. The light through two windows and a door comes evenly through three walls in the interior shots. But this difference increases our sense of the man's desperation later, when he claims he needs to close and he closes at 'near dark'; it is darker, as it were, in the cave of this man's ignorance than it is outside in the bright light of truth.

In advance of shooting, cinematographer Roger Deakins saw that "the big challenge" of his ninth collaboration with the Coen brothers was "making it very realistic, to match the story I'm imagining doing it very edgy and dark, and quite sparse. Not so stylized. It's that order of planning. And we only shot , feet, whereas most productions of that size might shoot , or a million feet of film. It's quite precise, the way they approach everything. We never use a zoom," he said. You're actually getting closer to somebody or something. It has, to me, a much more powerful effect, because it's a three-dimensional move.

A zoom is more like a focusing of attention. You're just standing in the same place and concentrating on one smaller element in the frame. Emotionally, that's a very different effect. In a later interview, he mentioned the "awkward dilemma [that] No Country certainly contains scenes of some very realistically staged fictional violence, but In an interview with The Guardian , Ethan said, "Hard men in the south-west shooting each other — that's definitely Sam Peckinpah's thing. We were aware of those similarities, certainly. Director Joel Coen described the process of film making: "I can almost set my watch by how I'm going to feel at different stages of the process.

It's always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before. After watching this foolhardy but physically gifted and decent guy escape so many traps, we have a great deal invested in him emotionally, and yet he's eliminated, off-camera, by some unknown Mexicans. He doesn't get the dignity of a death scene. The Coens have suppressed their natural jauntiness.

They have become orderly, disciplined masters of chaos, but one still has the feeling that, out there on the road from nowhere to nowhere, they are rooting for it rather than against it. Josh Brolin discussed the Coens' directing style in an interview, saying that the brothers "only really say what needs to be said. They don't sit there as directors and manipulate you and go into page after page to try to get you to a certain place. They may come in and say one word or two words, so that was nice to be around in order to feed the other thing. I'll just watch Ethan go humming to himself and pacing. Maybe that's what I should do, too.

Maybe it was because we both [Brolin and Javier Bardem ] thought we'd be fired. With the Coens, there's zero compliments, really zero anything. No 'nice work. And then—I'm doing this scene with Woody Harrelson. Woody can't remember his lines, he stumbles his way through it, and then both Coens are like, 'Oh my God! We tried to give it the same feeling. The Coens minimized the score used in the film, leaving large sections devoid of music. The concept was Ethan's, who persuaded a skeptical Joel to go with the idea. There is some music in the movie, scored by the Coens' longtime composer, Carter Burwell , but after finding that "most musical instruments didn't fit with the minimalist sound sculpture he had in mind Sound editing and effects were provided by another longtime Coens collaborator, Skip Lievsay , who used a mixture of emphatic sounds gun shots and ambient noise engine noise, prairie winds in the mix.

The foley for the captive bolt pistol used by Chigurh was created using a pneumatic nail gun. Anthony Lane of The New Yorker states that "there is barely any music, sensual or otherwise, and Carter Burwell's score is little more than a fitful murmur", [45] and Douglas McFarland states that "perhaps [the film's] salient formal characteristic is the absence, with one telling exception, of a musical soundtrack, creating a mood conducive to thoughtful and unornamented speculation in what is otherwise a fierce and destructive landscape.

But it is there, telling our unconscious that something different is occurring with the toss; this becomes certain when it ends as Chigurh uncovers the coin on the counter. The deepest danger has passed as soon as Chigurh finds and Javier Bardem's acting confirms this and reveals to the man that he has won. Dennis Lim of The New York Times stressed that "there is virtually no music on the soundtrack of this tense, methodical thriller. Long passages are entirely wordless. In some of the most gripping sequences what you hear mostly is a suffocating silence. The idea here was to remove the safety net that lets the audience feel like they know what's going to happen.

I think it makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone. James Roman observes the effect of sound in the scene where Chigurh pulls in for gas at the Texaco rest stop. As the scene opens in a long shot, the screen is filled with the remote location of the rest stop with the sound of the Texaco sign mildly squeaking in a light breeze. The sound and image of a crinkled cashew wrapper tossed on the counter adds to the tension as the paper twists and turns. The intimacy and potential horror that it suggests is never elevated to a level of kitschy drama as the tension rises from the mere sense of quiet and doom that prevails. Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as suspenseful as anything the Coens have ever staged.

And that has as much to do with what we hear as what we see. No Country for Old Men lacks a traditional soundtrack, but don't say it doesn't have music. The blip-blip-blip of a transponder becomes as frightening as the famous theme from Jaws. The sound of footsteps on the hardwood floors of a hotel hallway are as ominous as the drums of war. When the leather of a briefcase squeaks against the metal of a ventilation shaft, you'll cringe, and the distant echo of a telephone ringing in a hotel lobby will jangle your nerves.

While No Country for Old Men is a "doggedly faithful" adaptation of McCarthy's novel and its themes, the film also revisits themes which the Coens had explored in their earlier movies Blood Simple and Fargo. Still, the Coens open the film with a voice-over narration by Tommy Lee Jones who plays Sheriff Ed Tom Bell set against the barren Texas country landscape where he makes his home. His ruminations on a teenager he sent to the chair explain that, although the newspapers described the boy's murder of his year-old girlfriend as a crime of passion, "he told me there weren't nothin' passionate about it.

Said he'd been fixin' to kill someone for as long as he could remember. Said if I let him out of there, he'd kill somebody again. Said he was goin' to hell. Reckoned he'd be there in about 15 minutes. And their impact has been improved upon in the delivery. When I get the DVD of this film, I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film. In The Village Voice , Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who if anyone gets away with the loot than in the primal forces that urge the characters forward When Jack Torrance Nicholson is offered a job as winter caretaker for the Overlook Hotel he accepts it as an opportunity to work on his novel in an isolated environment.

He is told stories of the last caretaker going mad and butchering his family but isn't deterred. He arrives at the Overlook Hotel with his wife Duvall and child Danny Lloyd and is shown around the hotel by the cook Scatman Crothers who has the gift of perception. The cook warns Danny that the hotel can be of particular danger for those with the gift. It's only a matter of time before Jack begins to act increasingly erratic. This is one of Jack Nicholson's finest roles, his increasingly unhinged character is amusing and terrifying in almost equal measures. Duvall plays the role of the terrorised wife quite well - she does look like she's genuinely filled with fear - but doesn't have much else to do. Lloyd is excellent as the boy, although he doesn't have too much emotion to express.

However no doubt that this is Jack's show. The story doesn't stick to King's novel and is better for it; this is Kubrick's Shining. The film has plenty of genuinely scary moments but manages to keep a creepy atmosphere all through - especially as the ghosts come out and Jack begins to move between his reality and the reality that is gradually claiming him.

Kubrick is excellent here, his cold direction adds to the overall creep factor of the film. It's one of the best examples of his masterful touch. Overall this is an excellent horror movie - because the focus is on horror and fear rather than gore alone as with modern horrors. Jack is excellent in one of his best roles ever and the whole package is delivered in a cold creepy manner by a sadly lost director. Prismark10 25 July I remember as a kid being mesmerised by the UK poster of The Shining outside the local cinema. I said this is terrible. He has an axe and is about to kill her. My friend responded but she has a big knife, so I guess it is evens.

Of course I was too young to actually watch the movie. I only saw it some years later, even then I was not familiar with Stanley Kubrick's filmography. Adapted from a Stephen King novel. The hotel is in the Colorado Rockies where it will be isolated and snowbound. Jack hopes to spend the time writing. He will be there with his wife Wendy Shelley Duvall and young son Danny.

Danny is a precocious child with an imaginary friend and some visions. At the job interview, Jack is warned that there is a danger of getting cabin fever due to the isolated nature of the job. The previous caretaker was involved in a notorious incident. As the family arrive, the elderly cook Dick Hallorann Scatman Crothers shows them around the kitchen. Soon all the staff will depart the hotel. Dick can communicate with Danny telepathically. Over some ice cream, Dick tells the boy of the 'shining' the ability to communicate without opening your mouth and having visions of past or future events. As time goes by Jack starts to unravel and goes slowly psychotic. Danny realises thorough his visions that he and his mother are in danger.

The film starts of leisurely with familiar scenes of the Rockies as Warner Brothers inserted them in the ending of Blade Runner. Kubrick is infatuated with the Stedicam as Danny goes around the hotel corridor on his bike. Pretty soon the unshaven, dishevelled Jack shows the famous 'Nicholson' mannerisms. He is unhinged and has visions of his own. Drinking at the hotel bar, talking to the bartender and later a waiter who tells Jack that he should correct his wife and child. Kubrick has made an art house horror thriller just look at that naked tall, slim woman who clearly is a model. It is eerie and uncomfortable despite the fact that the British movie poster indicated that this would be a slasher film.

Kubrick demonstrates his technical expertise as a filmmaker rather than concentrate on the source material. There is that scene with the pool of blood gushing down the stairs. The climactic chase scene in the snowy hedge maze at night which is curiously lit despite the snow and the hotel being closed. It is the only way Kubrick could light that scene. The Shining is unlike the slew of Stephen King adaptations that followed in the s.

It is better than many of the King films released in that decade by a country mile. Jack Nicholson gave a polarising performance that split opinions. Shelley Duvall's performance was even more divisive. Wendy is more resourceful than the apparitions in the hotel thought she would. I am not sure about Duvall's acting though. Was it too hysterical or not hysterical enough? I guess as the notoriously fickle Kubrick did not replace her, he was happy with the result. At least with Jack Nicholson he plays it like he was in a darkly comic drama. His performance has been parodied and emulated many times. Even by Nicholson himself later in the decade as the Joker in Batman. The Shining is an uneven film, with a director more interested in the technical aspects of making a movie than the performance and pacing side.

I once read that the reason Kubrick did so many takes was that he hoped for some kind of serendipity to spontaneously happen. I have not yet watched the TV version of the Shining. You know the one Stephen King actually likes and prefers to Kubricks version of his novel. But I cannot imagine it being better than this one. And while I have not read the book King wrote and therefor cannot tell you the differences of how you should feel about King not liking it , I do like this movie very much. Saying there is attention to detail would be one major understatement.

There is a documentary who interprets all the details of the film and goes quite far out at times, but more on that elsewhere. The movie at hand has powerhouse performances. Watching some behind the scenes footage, gives you quite the feeling of what went on. Some may have had issues with the way Kubrick went on to do things, the amount of takes he demanded, the way he behaved allegedly and much more.

But the results on the screen speak for themselves. You may not like horror movies and yet still find something here. You also may like horror movies and think this isn't a horror movie at all. It's not easy, but he knows what he's doing and he plays the viewer like a fidel - relax and let it happen. Kubrick, King and Nicholson, the writing was literally on the wall, and I don't mean RedRum, forty years on, and The Shining is still a masterpiece.

Kubrick takes King's fantastic book, and builds on it, bringing the story to life in his own inimitable way. It's dark, it's bleak, it's terrifying, a masterpiece in storytelling. You watch as the central character's mental collapse is played out in a spine chilling fashion. Gorgeous camera work, incredible visuals, that opening is iconic. So many incredible, visual moments, the twins, lift, barman etc, no wonder it's been parodied multiple times over the years, famously by The Simpsons. An iconic role for Jack Nicholson, he is incredible, well supported by a terrific cast. Back in the Seventies when Stephen King's horror novels were coming out, I would challenge myself to read them in the dead of night with the rest of the lights in the house off and no one else around.

Most of the time I could force myself through a couple of chapters, but every once in a while King's narrative would stimulate the imagination so wildly I'd have to put the book down. With 'The Shining', it was the idea of those dead twin girls inviting little Danny to come and play. I only saw this film once before when it first came out and thought it was a masterful representation of the Stephen King book. Watching today, I thought it was a bit slow and too deliberate at times in it's exposition, with Nicholson's character Jack Torrance a little too over the top in the early stages. But you have to admit, he carries over that crazed catatonic look of Randle McMurphy from 'Cuckoo's Nest' quite effectively.

By the time he turns into a would be ax murderer at the finale, he's firing on all cylinders and his manic performance is a wonder to behold. For me, I guess the scariest moment of the film didn't have anything to do with murder and mayhem. It was catching Wendy's Shelley Duvall reaction to those dozens of typed pages of manuscript bearing a single sentence over and over again in various iterations. At that moment, you knew that Jack's mind had unraveled to a point of no return and he had completely lost it.

Imagine the frustration and paranoia of typing the same thing repeatedly until the mind simply snaps. That was just a powerful scene. Anyway, going back to my opening thought, the idea here would be the same. Try watching this one in the middle of the night with nothing but the TV set on and the room completely dark otherwise. No cheating now, you have to watch the movie all by yourself. A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father Jack Nicholson into violence, while his psychic son Danny Lloyd sees horrific forebodings from the past and of the future.

What is most interesting is that this film has gone from bad to good. When it first came out, the reviews were not so positive, and there were even some Golden Raspberry nominations but no wins. Today, this is not only considered a top horror film but one of the top films of any genre Then we have King's disappointment, and I think he raises serious concerns: he did not like the casting of Nicholson, and he did not think Kubrick made the film as horror-focused as it could have been. On the first point, it is true that the lead should have had a greater transition. Nicholson just looks crazy from the first scene. I would love to have seen Michael Moriarty As for the Kubrick criticism, it is true It is a great film, but maybe not a great horror film.

If you want a good haunting film, for example, "The Changeling" has this one beat Since everyone knows the story, I'll go straight into the analysis. Specifically, after Wendy locks Jack in the pantry, Grady lets him out. We never see Grady in that scene, but the door didn't just open itself. By the end, we are not sure whether the Overlook is haunted, or whether everyone is having a group hallucination. What about some of the other aspects? What does he mean? Maybe it has something to do with the hotel's history: we heard about how they built it on an Indian burial ground, and Grady calls African-American cook Dick Hallorann Scatman Crothers "the N-word cook".

These two points bring up something interesting: we expect the Indians to take revenge on the white people, but that never happens; also it sort of shocks us when Grady uses the N-word, because we don't really expect an upper-class Englishman to use that kind of word, regardless of his opinion of black people. And the final scene? In a book about Stanley Kubrick, I read that it poses the question "How independent are we of the forces that govern us?

As for camera angle, the scene where Jack first? When Wendy finds "All work and no play makes Jack a dull boy", she is positioned right in the center of the scene and it's red right behind her Kubrick always makes interesting use of red. Then, what appears to be a POV shot moves towards the chamber, but it turns out not to be; Jack moves into the scene. The point is, "The Shining" makes us ask what exactly is up with the Overlook Hotel. We cannot be totally sure. Just a personal note, my parents saw this movie when it first came out. My dad didn't have any problems with it, but it unnerved my mom: Danny looked like my cousin. Creepier and creepier still. This may be the greatest horror film of all time. Basically, aspiring writer, husband and father Jack Torrance Jack Nicholson has been interviewed and hired for the job of winter caretaker at the Overlook Hotel.

In the secluded Colorado mountains, the hotel is built over an ancient Indian burial ground. The hotel manager Stuart Ullman Barry Nelson warns Jack of the previous tragedy, that the previous caretaker murdered his family with an axe before shooting himself, but Jack is unphased. There, one by one, they experience the hotel's dark past with a series of apparitions, hallucinations and time-warps. He sees the ghosts and bodies of the caretaker's murdered identical twin daughters Lisa and Louise Burns , and a tidal wave of blood.

Jack meanwhile has his mentality deteriorating, having writer's block, and nightmares when he does sleep. Wendy is shocked after Danny has been injured, she says the Danny entered room 23 and was strangled by a woman in the room. Jack investigates, and hallucinates a naked woman in the bath Lia Beldam , and when she steps out they kiss. Moments later, she turns into a hideous naked old woman Billie Gibson , and he walks out in terror. Jack also has a hallucination of a ball taking place in the Gold Room, where a number of other ghosts appear. The ghost of butler Delbert Grady Philip Stone is part of an evil and spiritual presence influencing him he should "correct" his family, meaning to kill them. One day, Wendy looks at Jack's manuscript, and realises Jack is insane seeing that on every page he has written the same sentence over and over again, "All work and no play makes Jack a dull boy".

Jack threatens Wendy, and she bashes him on the head with a baseball bat. He tumbles down the stairs, injuring his ankle, and gets locked in the pantry. At that moment, Jack starts chopping through the door with an axe. Danny escapes through the bathroom window, while Wendy is trapped. Jack chops through the bathroom door and tries to unlock it, but is cut by the knife Wendy is holding. Hallorann is concerned for the family, after hearing about the severe snowstorm, and travels back to the hotel. He arrives at the hotel in a snowcat, and Jack ambushes and murders him in the lobby. Jack chases after Danny through the snow, into the large hedge maze, he loses him when Danny covers his tracks and escapes with Wendy. Jack collapses and freezes to death.

The film ends with a photograph on the wall of the hotel's dinner party, with Jack in it! While this film is not very shocking, it is very chilling and disturbing, especially with the help of a fantastic performance from Nicholson, who is both fun and hammy as the disturbingly unhinged man driven to madness. His finest moment is of course chopping through the door, stopping to deliver the iconic and ad-libbed line, the introduction for Johnny Carson on "The Tonight Show", and number 68 on Years, Quotes, "Here's Johnny!

All shot with gliding Steadicam, making the never-ending hotel corridors very claustrophobic, with very good opening aerial scenes, and assisted with very screechy music by Wendy Carlos and Rachel Elkind, this is a brilliantly disturbing horror film. It was nominated the Razzies for Worst Director why?! Mise-en-Scene Essay Twilight is a contemporary love story between a human and a vampire. They are madly in love but cannot be together. According to the movie, Bella Swan moved to a small city Forks, Washington to live with her dad that she did not SpongeBob Squarepants created by Marine Biologist and animator Stephen Hillenburg is an animated TV series about a yellow sea sponge that lives underwater in a pineapple in this town called Bikini Bottom.

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