I hate you. I want you to know how much I absolutely fucking despise this redesign of BoxOfficeMojo. I’ve visited the site pretty much every day for 13 years, and I am ready to never visit again. This is not easier, not better design, it is fucking garbage. Was the objective just trying to piss off every loyal user possible? Because holy fucking shit, mission accomplished. I’m deleting my fucking IMDb, using BoxOffice.com and other sites for my box office info, and praying to Satan that everyone involved in this decision pisses cacti and shits glass when they are inevitably sent to hell. You are souless shells of trash incapable of enjoying positive experiences and taking it out on everyone else instead of walking into traffic like you should be doing. Come to your fucking senses and at least make a legacy design version available. I sincerely want you to know that Mr. Rogers hates you and has wished suffering upon you even when you were children. Even Jimmy Fallon wouldn’t laugh at your jokes. Steve Irwin would rather take up poaching than shake your hands. You probably enjoy the show Young Sheldon don’t you, you sick fucks.
I hope eternal life exists so you can spend yours in hell
submitted by What's your most and least favorite King adaptation? Please see the linked article for the 30+ also-rans.
https://www.vulture.com/2017/09/every-stephen-king-movie-ranked-from-worst-to-best.html 10. The Running Man (1987). Adapted from one of King’s Richard Bachman books — save for Thinner, the only one of the official Bachman Books canon to be made into a movie — The Running Man has almost no similarity to the novel at all. And thank goodness for that! Arnold Schwarzenegger is in full on ‘80s mode, to glorious effect, happily merging the silly and the grotesque — and it’s a blast. The movie has some real-life reality-show resonance today, but even if you ignore that, it’s just so much over-the-top fun that you won’t care either way. The real thrill comes from Richard Dawson, playing a nightmarish version of himself. It’s one of the greatest over-the-top villain performances of the ‘80s. Who loves you, and who do you love?
9. 1408 (2007). The plot of 1408 is the simplest thing: John Cusack is a writer who specializes in the paranormal and insists on staying in a hotel room that has driven everyone who has ever stayed in it suicidally insane. And that’s all the movie is: Cusack sitting in that room, as reality slowly dissolves around him, going nuts in a way that only Cusack can. This makes for a genuinely unsettling thriller, directed with inventive weirdness by Swedish filmmaker Mikael Håfström. The movie has four different endings, but none of them are that satisfying; it’s the journey into madness that sells this one.
8. It (2017). The 1990 mini-series had the space to encompass both halves of King’s epic tale of a group of friends in Derry, Maine, who do battle with the menacing Pennywise. But the Warner Bros. film sticks to the characters as outcast teens, whereas the planned sequel will flash-forward to when they’re adults once again confronting this spooky specter. Remarkably, though, director Andy Muschietti’s thriller doesn’t feel incomplete without the second segment, more than capably delivering enough scares and emotional resonance — not to mention an ending that leaves the door open for the next installment but also closes this chapter with real power. Jaeden Lieberher (so good in Midnight Special, and so much better than The Book of Henry deserved) is superb as Bill, who falls for the tomboy Beverly (a believably troubled Sophia Lillis), right as their small town starts being plagued by strange disappearances. Tim Curry’s portrayal of Pennywise was so iconic it was always going to be hard to top, but Bill Skarsgård’s performance is perhaps even more inhuman — and, therefore, even creepier. As an exploration and deft manipulation of the fears that adolescents face from a frightening, uncaring world, Ithas a fantastic psychological undercurrent to its horror scenes. (In this movie, your darkest anxieties are coming to kill you.) And anyone still on the fence about how goddamn unsettling clowns are will finally understand why the rest of us get the willies around them.
7. Stand by Me (1986). The first non-horror King adaptation is one of the quintessential 1980s hangout movies about guys being guys, working through their male bonding rituals. It’s also the only one with a dead body. Director Rob Reiner took his first step away from comedy to more dramatic fare with Stand by Me, and got remarkably lucky by casting young actors Wil Wheaton, River Phoenix, Corey Feldman, and Jerry O’Connell as best buds who go in search of a corpse in the woods during the summer of 1959. Terror doesn’t await them — unless you count universal anxieties, such as puberty — and while the film is undeniably nostalgic for the unhurried drift of youth, it’s also pretty smart about how seemingly minor adventures become, in hindsight, defining moments in a life. For all its modest pleasures, Stand by Mejustifies its inclusion of the classic Ben E. King title song: They’re both comforting declarations about the warm, unbreakable bonds of friendship. And, for what it’s worth, it’s the adaptation that Stephen King likes the most.
6. Creepshow (1982). George Romero and King joined forces on the original horror anthology, a genuinely creepy, pulpy, and occasionally hilarious ode to old horror comics such as Tales From the Crypt and House of Mystery. One of these is dopey (“Father’s Day”); one of these is terrible but features an incredibly strange and oddly entertaining performance from King himself (“The Lonesome Death of Jordy Verrill”); one is good old monster-movie scary (“The Crate”); one is a true ‘80s relic (“Something to Tide You Over,” which features the amazing spectacle of Leslie Nielsen trying to kill Ted Danson); and one is still fantastic and skin-crawling today (“They’re Creeping Up on You,” with E. G. Marshall as a rich germophobe who will remind you quite a bit of our current president). It’s inconsistent, but still a load of fun.
5. Misery (1990). Nearly 30 years after Kathy Bates won the Oscar for her performance in Misery, it remains as surprising an occurrence as it did when the respected stage actress took to the podium to accept her prize, declaring, “I’d like to thank the Academy — I’ve been waiting a long time to say that.” That’s no knock on her remarkable portrayal — a perfect blend of menace and dark humor — but rather an acknowledgment that this isn’t the kind of role that usually gets accolades. Misery, a horror movie with a satiric streak, launched Bates’s film stardom. She’s fantastic as Annie Wilkes, the obsessive fan of Paul Sheldon (James Caan), a popular romance author who she holds prisoner in her home until he agrees to abandon his new manuscript — which she hates — and write something more to her liking. Annie could have been an easy, misogynistic monster, but in Bates’s hands, the character is turned into a complicated portrait of obsession, revealing the dangers of losing oneself in the work of others. Bates is frightening in her stillness, which makes Annie’s sudden bursts of violence all the more horrifying. But sneaky dark humor comes from the actress’s malicious glee at landing such a rich role. Annie may be a lunatic, but she’s also Paul’s comeuppance — a clever reminder that vain artists can be held captive by their need for stardom, sometimes literally.
4. The Shawshank Redemption (1994). King has such a low opinion of so many of the bad movies made from his work, one assumes he’d be fond of Frank Darabont’s Best Picture–nominated version of the early-1980s novella Rita Hayworth and Shawshank Redemption. But King had his concerns about Darabont’s screenplay: “Oh, man, no chance they’re going to make a movie out of this puppy,” the author told the Huffington Post he remembered thinking. “It’s too talky. It’s great, but it’s too much talking.” King wasn’t wrong: The film is too talky. But guided by its deeply likable leads, The Shawshank Redemption warmly and (relatively) understatedly walks us through its Big Themes: friendship, empathy, and that moment when a man decides whether to get busy living or get busy dying. Darabont’s thoughtful character study sees incarceration as a metaphorical purgatory in which people find their true selves — a notion that has helped make The Shawshank Redemption a now-permanent fixture at the top of IMDb’s user-voted best films of all time. Not surprisingly, the movie’s rhapsodic online devotion has provoked an equally passionate backlash. Neither reaction does justice to this modest tearjerker, which, ironically, works best when it’s muted and contemplative. Hardly a masterpiece and certainly not a sappy, populist embarrassment, The Shawshank Redemption is simply a solid, good movie — an assessment that will probably annoy people in both camps.
3. The Dead Zone (1983). Perhaps the most underrated Stephen King movie and the most underrated David Cronenberg movie, this haunted thriller is basically the “would you go back in time to kill Hitler if you could?” premise, put on film. Christopher Walken is the doomed Johnny Smith, a schoolteacher who gains the ability to touch someone and see their future after a car-accident-induced coma. This uncanny ability leads him to a senatorial candidate (Martin Sheen — inspired casting), who Johnny learns will someday become president and blow up the world. Cronenberg gives the whole movie a funereal pall: a sense that sad things are going to happen to good people, but there’ll be a sad honor to it all. Real-world parallels between Sheen’s Greg Stillson (who hires goons and thugs to push an authoritarian regime) and current presidents aside, the movie holds up splendidly today, not least of all thanks to Walken, who is as likable and leading-man-handsome as he would ever be. It’s one of his best performances. Seek it out — it’s still great.
2. Carrie (1976). King’s breakthrough as an author famously almost didn’t happen. While working on Carrie, the struggling writer tossed his initial few pages into the trash, ready to abandon the idea of a telekinetic teen, until his wife pulled them out of the garbage and insisted he keep going. Director Brian De Palma turned that book into one of the singular teen dramas — which just so happens to also be one of the great horror films. Sissy Spacek is superb as Carrie, a small-town gal as terrified about her budding womanhood as she is of her shaming, religious-zealot mother (Piper Laurie, practically demonic). People think of Carrie as being frightening but, until its murderous finale at the high-school dance, the movie’s dread has little to do with gore or body count. Rather, De Palma puts us into the paranoid mind of a young person, showing how her daily life is a waking nightmare that a lot of high-schoolers can recognize as their own: the pain of first love, the awkwardness of feeling like a weirdo, the strange changes in your body, the anxiety of figuring out popularity. Above all, Carrie is a beautifully calibrated, slowly escalating symphony of tension. By the time prom comes and Carrie sets her classmates aflame, it’s both a relief and a shock. In the wake of Columbine, films such as Elephant and We Need to Talk About Kevin wrestled with the reasons why kids take up arms to express their misery. But Carrieremains the most disturbing and sympathetic film about the hell inside so many teens.
1. The Shining (1980). Perversely, one of the reasons that The Shining is such a beloved horror film is that Stephen King hates it so. “I don’t get it,” he said in 2014 about the movie’s passionate fans. “But there are a lot of things that I don’t get. But obviously people absolutely love it, and they don’t understand why I don’t. The book is hot, and the movie is cold; the book ends in fire, and the movie in ice.” This is a large chunk of the movie’s appeal: Director Stanley Kubrick took the basic idea of King’s acclaimed novel and distorted it. Instead of a tragedy about a decent, flawed man who goes insane, we get Jack Nicholson’s pathetic Jack Torrance, a grandiose, pompous ass who dreams of literary glory, dragging his unhappy family to a remote ski lodge, resulting in bloodshed and agony. Kubrick’s film is a hell of a black comedy that satirizes the mediocrity of middle-class life: In the director’s world, fathers are pitiful providers, mothers are blandly cheerful (while quietly suffering enormously), and the kids see far more than their parents do. But by stripping the story down to its core elements — supernatural powers, madness, claustrophobia — Kubrick opened viewers’ minds to a treasure trove of possible interpretations, many of which were compiled in the wonderfully labyrinthine documentary Room 237. (Not surprisingly, King hates that movie, too.) But if Kubrick’s Shining is so cold, why, then, do we keep revisiting it and devouring its details, enraptured over and over again by its meticulous construction and elegant horror? Is it, just maybe, that it’s the only King adaptation that actually improves on the source material — giving us not just one way to look at the author’s masterful work, but two?
Today’s beat sheet is provided by our Coolest Cat – screenwriter, teacher and author of “Your Screenplay Sucks!”, William Akers. Big shout out to our longtime friend – and Cat! colleague. Thanks, Will!!! Nominated for 6 Oscars, with a total of 51 award nominations and 44 wins, “Up in the Air” is a magnificent expression of post-modern middle-aged angst. Adapted for the screen by
Jason Reitman and
Sheldon Turner, this beautiful film delivers a powerful metaphor on the price of “freedom” – a life lived alone.
Let’s beat it out!
SPOILER ALERT! Opening Image: TITLES OVER images of cities moving far below us, seen from an airplane. Then, series of employees being fired. Each has a little story and each one is worse than the one before. The first time we see Ryan, the firee asks him, “Who the fuck are you, man?” “Excellent question. Who the fuck am I?”
Theme Stated: Many of the fired people talk about their families. Ryan has no family. “To know me is to fly with me. This is where I live.” Ryan has no home. Travel is his home…(so let’s see if that is going to change!)
Set-Up: [
The separate strands of the hero’s world are established. We meet his sister, his girlfriend, his motivational speeches, his work life. And that’s it. Nothing else.]
Ryan fires strangers for a living. He travels ALL of the time. He likes it. He likes the perks. He likes traveling efficiently. He tells us, via NARRATION, that he is at home when he is traveling.
He also gives motivational speeches. “How much does your life weigh?” He carries a backpack up on stage and talks about stuff people have in their lives… all the things you value, in the backpack. “Moving is living.” He tells the audience to imagine waking up with nothing… and that it’s exhilarating.
His assistant tells him he got phone call from his sister Kara… about their sister, Julie’s wedding. And has an invitation to speak at GoalQuest in Vegas. That’s a
big deal. (It’s something Ryan
wants.) He talks to Boss, who tells him he wants him in Omaha at the end of the week, for a game changer. Won’t tell him what it is.
His sister, Kara, is the glue that holds the family together. They need his help for Julie’s wedding… “You’re awfully isolated the way you live…” She wants him to take photos of a cardboard cutout of Julie and Fiancé in Vegas. He hates the Luxor…
Ryan spent 322 days on the road last year and 43 miserable days at “home” – a bland, bland, bland apartment, empty, empty and devoid of ANY personality.
Ryan receives a cardboard cutout of Julie and Fiancé in the mail. There’s a girl across the way who he used to sleep with, but she’s started seeing somebody. “Good to see you. Seems like it’s been a while, this time.”
B Story: [
The B story must affect the A story or it shouldn’t exist. Eventually, this B story will really
affect Ryan and his desire for a human connection…]
Very early, even before Catalyst… Ryan meets Alex (a woman!) at a bar, discussing the perks of the differen
t car rental programs and flying stories. “Their kiosk placement blows.” He has a Concierge Card from American Airlines, which impresses her. She has 60k domestic miles. He won’t tell her his total number. He has a number that he wants to hit… won’t reveal it. “There’s nothing cheap about loyalty.”
They talk about being in the Mile High Club, which she has done repeatedly… and during the day. “I’m really flexible.” They have sex, and schedule (barely) another rendezvous. Alex: “I think I should go back to my room so I can wake up in my bed.” “That would be the ladylike thing to do.”
[
At this point, all the story elements are in place: Ryan’s love of flying and simulated hospitality. His job. His Boss. His hope to speak in Vegas. His new girlfriend. His sister and the other sister’s wedding. Time to get this sucker rolling!]
Catalyst: Omaha. The head office. All the workers are in one room for the first time. A new girl from Cornell… Natalie Keener. She has a great new idea: fire people via the internet… She uses Ryan’s dialogue to “fire” the practice guy. Natalie is very cute, very young, terribly efficient. This is the “game changer” and will save the company 85% of their travel budget… and everyone on the road gets to come home. [
Not good news for our hero.]
Debate: Ryan tells his boss that this is a terrible idea. They argue about it. Natalie comes in…
Ryan tells her to “fire” him… They have all kinds of conflict over the fake firings. “Before you try to revolutionize my business, I’d like to know you know my business.” They don’t get along well. Boss wants Ryan to show Natalie the ropes. Ryan says no. [
Luke Skywalker turns down the Call to Adventure.] “I’m not a fucking tour guide.” Boss tells him he has to take her with him.
So, Ryan packs up for another road tour. This time, he’ll be with Miss Perky Personality. And the cardboard cutout.
Fun and Games: At the airport, Ryan sees Natalie hugging her fiancé goodbye. She has a massive piece of luggage that she’s going to check. “You willing to throw away an entire week on that?” He buys her a new one, one she doesn’t have to check. He makes her throw away half her stuff and teaches her how to travel efficiently.
Natalie creates a workflow chart to teach people how to fire people. She is all numbers. Ryan feels they are giving people hope.
At a job site, he tells Natalie to watch and listen. Another montage of people getting fired. “How do you sleep at night?” She watches, sort of horrified, as these are real people. She steps in to try to help and the firee crushes her, tells her to go fuck herself. Ryan does an ace save and brings the guy around. Ryan’s a miracle worker. Tells the guy to go follow his dream of being a chef. “If not for you, do it for your children.”
Ryan tells Natalie he wants to hit 10 million miles. He’d be the seventh person to do it. “More people have walked on the moon.” She would GO someplace if she had all those miles.
Break into Two: Natalie asks if she can fire the next woman. The woman hears what Natalie says and is confident of her plan: she’s going to jump off a bridge. Natalie freaks.
Alex calls looking for a rib place in Atlanta. “I am the woman you don’t have to worry about.” “Think of me as
yourself, only with a vagina.” She agrees to push her schedule to meet him…
Montage: Natalie is getting overwhelmed by firing people. She talks to her boyfriend… not knowing when this road trip is going to end.
Alex and Ryan go into a hotel room for more fun sex.
More cities. More firings. Natalie is upset by it all. Ryan asks if she’s okay.
Miami: Ryan gives another backpack lecture. This time, instead of putting stuff in your backpack, you put people. Finally your husband, wife, boyfriend, girlfriend… He says the relationships are the heaviest components in your life. Natalie watches him while he tells people they don’t need to carry that weight. “The slower we move the faster we die, we are not swans. We’re sharks.”
Bad Guys Close In: [
Natalie is one Bad Guy. She hammers Ryan about his lack of a life. Ryan’s sister, Kara, is another Bad Guy. She hammers Ryan about his lack of a life. Alex is the third Bad Guy, but she’s different. Alex is the shining road to happiness that he slowly realizes he wants. He would not realize this without being hammered by Natalie and Kara. So, let’s watch the Bad Guys slowly tear down the wall Ryan has built around himself.]
Ryan and Natalie debate about marriage and kids. He never, ever wants either one. She thinks it’s bizarre. He doesn’t see the value of it. Asks her to sell him marriage. Love, stability, someone to talk to… he says he’s surrounded be people to talk to. He feels we all die alone. She cries. Says her boyfriend left her. She cries like a baby in the hotel lobby. Just as he takes her in his arms, Alex walks up. Alex suggests they have a drink.
In a bar. Natalie says her boyfriend broke up with her with a text message. Alex says that we date guys who are pricks and are surprised when they turn out to be pricks. Natalie followed this guy to Omaha… She thinks success won’t matter without the right guy. She could have made it work… Natalie asks Alex what she’s looking for… “Not an asshole, would be nice.” “Someone who wants kids…” “Some hair on his head.” “Nice smile, just might do it.” Ryan listens. The women discuss “settling.” Because of their ages, they have different points of view. Ryan listens.
Tech conference: The three of them go to the conference. Steal badges. Natalie’s says Jennifer Chu… Go to the party. Natalie drinks. They all dance. A guy asks Natalie to dance. They have their picture taken surfing.
After the dancing, Ryan and Alex talk. Natalie does karaoke. Ryan gives Alex “the key to his place,” his room key.
Back end of a yacht: Alex says she doesn’t get to act like this at home. Asks him about his backpack thing, and
his not wanting to be tied down. He says he’s thinking about emptying the backpack… and he’s looking at her deeply. They kiss. [
The dude is getting smitten!] And the power goes out on the yacht!
The partygoers wade to shore and go back to the hotel barefooted.
Alex leaves the hotel early, she has a meeting in Cincinnati. He feels bad because she’s leaving.
He tells her he really likes her. She likes him too… He smiles as she goes. [
This is a big step in the assault Alex makes on Ryan. His defenses are crumbling.]
By the pool: Natalie apologizes for what she’s not sure she said.
Harbor: Taking pictures of the cutout… Natalie asks about his relationship with Alex. “It works for us.” Natalie asks if there is a future there… he says he never thought about it. She says he’s an asshole. Natalie nails him… asks him if his “cocoon of self banishment” has set up a way of life that keeps him from having a human connection. She tells him he’s a 12- year-old. He drops the cutout in the water and falls in trying to fetch it.
Hotel room: Ryan dries the cutout.
Detroit: Ryan warns Natalie that the Detroit guys are tough. The Boss is there, online, and wants them to fire people… and wants Natalie to do it. She says she’s good. She fires a guy… “They send a fourth grader to can me? What the fuck is this?” Ryan watches her, sees how tough this is for her. It’s brutally difficult for her and for the guy… The guy cries and they can hear him in the next room. Meanwhile, Boss is watching. The firee finally goes and Ryan says that she did good. That guy was #1 of a long, long list.
Ryan talks to Boss, says he’s proud of Natalie… Boss says they’re pulling them off the road. “We’re going home.” “For good?” “Good job.” [
Natalie seems to have succeeded in killing Ryan’s dream of staying on the road.]
Ryan RSVPs to the wedding. Airport. Natalie apologizes for what she said about Alex. Natalie asks if he’s going to be okay in Omaha. Galvanized by what he’s been thinking, Ryan turns and leaves… to grab another flight… “something I gotta take care of…”
Midpoint: Vegas: Alex holds the cutout in front of the Luxor. Ryan asks if she can go with him to Northern Wisconsin this weekend…
asks her to be his date at the wedding. He wants a plus one, and wants it to be her. She smiles. [
Wow. Huge tectonic shift for our hero. He has asked her to go with him to a family event. Giant step for Ryan toward what he needs, which is commitment and a family and a real life.
Because Midpoint is either a false high or a false low… this one is a false high. He’s going to fall hard and long because he’s made this decision.]
Wisconsin hotel: Ryan and Alex check in. They meet Kara, Ryan’s sister. A bit of confusion about if Alex is Ryan’s “girlfriend”… and we learn that Kara is separated from her husband…
Rehearsal dinner… little sister Julie meets Alex. She has a ring with a tiny diamond and she loves it. Ryan sticks his pictures of the cutout on a huge board with a hundred pictures… all his effort gone to waste. They couldn’t afford a honeymoon, so they had the pictures travel for them.
Fiancé tells Ryan about his investment… it’s about a home, and a need for a home. Fiancé asks if Ryan is renting the one bedroom… nope, but still doesn’t own a home… but he’s okay with that… more thinking by Ryan…
Ryan likes Fiancé. Ryan asks Kara if he can walk Julie down the aisle… Jim’s uncle is going to do it… “He’s been really supportive.” This gets to Ryan.
Day: Ryan shows Alex where he went to high school. The front door is locked and he gives up, but she credit cards a window, and they’re in. The room he took geography in. He’d been a jock…photos of him in the trophy case. Shows her where his first fight was. Stairs where he used to make out. They kiss. They watch basketball practice. She’s happy she came here. So is he. Emergency call from Kara.
All Is Lost: [
The Bad Guys have got Ryan in their merciless grip. Ryan, the non-family man, now must argue FOR marriage and against loneliness… He is in the process of making more steps toward an eventual character change. But it’s a slow, painful, and well-earned process. He will have to struggle mightily to get there…]
Church: Fiancé has got cold feet. Ryan, the one who cares not a whit for marriage, has to tell Fiancé how great marriage is… Kara tells him to go in and save the day. “Basically you don’t exist to us. I know you want to be there for her, well there it is. This is your chance.” Ryan goes into a Sunday school classroom. Fiancé is reading
The Velveteen Rabbit. “Powerful stuff.” Fiancé wonders what the point of it all is: get married, and
then you die. “You seem happier than all my married friends.” Ryan gives him a speech while Kara watches through the door. “Your favorite memories, the most important moments of your life, were you alone?” Ryan tells him that you need a copilot. Ryan sells him. “Go get her.”
Fiancé tells Julie he needs a copilot. They cry. Kara tells Ryan, “Welcome home.”
Alex helps Ryan dress. The wedding. A nice song plays over silent footage while Julie gets married. Ryan holds hands with Alex. Reception. Ryan dances with Julie, then Alex. They get all cuddly on the dance floor
and afterwards.
Airport: Ryan escorts Alex to her gate. “When am I going to see you?” “You’re going to have to come visit…” “You’re not going to change on me are you?” “Same guy. One address.” “Call me when you get lonely.” “I’m lonely.” She chuckles
Dark Night of the Soul: [
It’s all happening quickly now. The agony is piling up on Ryan faster and harder. He’s about to make his huge decision. He’s about to face death. Loneliness = death.]
Omaha: Back to his one-room hellhole of an apartment. No clothes in the closet. No art on the walls.
The office: Natalie’s business plan is happening. The workflow / computer firing thing is what the company is going with. Ryan is checking on GoalQuest… Back at his house, miniature liquor bottles and he has a drink looking at his lousy view.
Vegas: GoalQuest. He’s thinking. He has his backpack. He is invited to speak. Huge crowd. Last year, he flew 350,000 miles. The moon is 250. Starts his backpack speech. Talking about the little things… he stops… thinks… and walks off stage. And he’s smiling and running…
Break into Three: [
Finally, Ryan knows what he wants, and that’s Alex. He’s happy. He’s actually smiling. Like Shirley MacLaine in THE APARTMENT and Billy Crystal in WHEN HARRY MET SALLY
, he’s running toward the one he loves and he is happy because he knows what he wants. He feels great. We feel fantastic for him! So… what happens? Wait for it…]
Ryan
runs into an airport… barely gets on a flight. Flies into Chicago. Rents a car in a hurry. Snow. Drives into town. Runs up to a house… knocks on the door of a brownstone… he’s all smiles, anticipating… She answers… “So, I was in the neighborhood…” and he hears her kids and her husband, “Hey honey, who’s at the door.” “Just somebody who’s lost…” [
Holy moley, she’s married!]
Finale: Hotel room: Ryan drinks. Alone.
Airport: Once again, Ryan passes through the airport. Checks in. Calls Alex, gets her in a car in a parking structure. Alex says her family is her real life. “I thought I was a part of your real life…” She thought their relationship was perfectly clear, that he was an escape. She asks him what he wants… he can’t tell her… “You don’t know what you want…. I’m a grownup. If you would like to see me again, then give me a call.”
Airplane: Up in the air, Ryan finally hits ten million miles. Sam Elliott, chief pilot, sits with him. Says he’s the youngest ever to hit 10 million. Gives him the card. “We really appreciate your loyalty.” “So where are you from?” Ryan gestures to the plane: “I’m from here…”
Omaha office: He calls American and wants to transfer his miles to his sister. He wants them to be able to go around the world. It’s a million miles. Boss comes in… the woman in Wichita jumped off a bridge. Ryan asks about Natalie. She quit… with a text message. They are sending the people back in the air. “We’re going to let you sail and sail.”
Natalie has a job interview. The guy wonders why she moved to Omaha. “I followed a boy.” She got a hell of a rec letter from Ryan. The guy gives her a job.
Ryan’s little apartment. Empty.
Montage: Fired people talking about their families. Their purpose. Money doesn’t do it for them. Their kids are their purpose, their family.
Final Image: Ryan walks up to an airport flight board… sees all the destinations. Tells us in V.O. how most people will see their families at night… and they’ll look up and see the stars, “and one of those lights, slightly brighter than the rest, will be my wingtip, passing over.”
[
Ryan had a shot at happiness, and character change… but he lost that chance. So, he’s still up there, in the air.]
“Up in the Air” concludes our 2009 Oscar nominated Beat Sheet Breakdowns. While we will continue to update our collection of
Save the Cat! Beat Sheets, we’d like to hear from
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Meow! submitted by Young Sheldon (TV Series 2017– ) cast and crew credits, including actors, actresses, directors, writers and more. Jetzt Episode 12 Staffel 1 von Young Sheldon & weitere Folgen komplett in bester HD Qualität online als Stream. 100% Kostenlos Online 3000+ Serien Created by Steven Molaro, Chuck Lorre. With Iain Armitage, Zoe Perry, Lance Barber, Montana Jordan. Meet a child genius named Sheldon Cooper; (already seen as an adult in The Big Bang Theory (2007)) and his family. Some unique challenges face Sheldon who seems socially impaired. Entdecken Sie Young Sheldon: Die komplette 1. Staffel [DVD] und weitere TV-Serien auf DVD- & Blu-ray in unserem vielfältigen Angebot. Gratis Lieferung möglich. Young sheldon imdb - Der Favorit unserer Redaktion. Du findest bei uns die größte Auswahl an getesteten Young sheldon imdb als auch jene wichtigen Merkmale welche du brauchst. Die Redaktion testet diverse Eigenschaften und geben dem Kandidat dann die finale Gesamtbewertung. Wider unseren Sieger konnte sich niemand durchsetzen. Der Testsieger konnte beim Young sheldon imdb Vergleich ... Young Sheldon İMDb : 7,4 4 Sezon - 71 Bölüm 2017 7,4 183. Sheldon Cooper adında bir dahi çocukla tanışın; ( The Big Bang Theory'de (2007) bir yetişkin olarak görülüyordu ) ve ailesi. Bazı benzersiz zorluklar, sosyal olarak engelli görünen Sheldon ile yüzleşir. Durum: Devam Ediyor Orjinal Adı: Young Sheldon İlk Yayın Tarihi: 25.09.2017 Bölüm Süresi: 22 Dakika Web Sitesi ... For young Sheldon Cooper, it isn't easy growing up in East Texas. Being a once-in-a-generation mind capable of advanced mathematics and science isn't always helpful in a land where church and football are king. And while the vulnerable, gifted and somewhat naïve Sheldon deals with the world, his very normal family must find a way to deal with him "Young Sheldon" schaut ihr nicht nur im TV, sondern auch bei diversen Streaming-Anbietern. Die Sendetermine und eine Liste der Streaming-Anbieter findet ihr hier. Best Episodes Of Young Sheldon, Ranked By IMDb. Young Sheldon, the beloved prequel to The Big Bang Theory, has had many memorable episodes in its short run. Which are the best? IMDb has the answer. By Katerina Daley Published 13 minutes ago. Share Share Tweet Email. 0. Comment. It might have taken Young Sheldon a little bit to find its footing when it first began, but The Big Bang Theory's ...
