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TM1617-2 (371)


Jamie should use Michael's name when addressing him Is there a kiss at the end? If so, then why isn't it shown? Did anyone else watch this for Jason's birthday? Does Biff alter the timeline twice? Does Jack realize that he lies to Wendy about room 237? Has Norman tried to sign himself in to a psychiatric facility? Do the Addamses intermarry? Did anyone else watch the marathon on AMC yesterday? I think that Biff's grandmother is only babysitting Does Ernie set the final card game for Rita to win? View all posts >


Sidha108, no, because the point of the climax was to emphasize that Dr. Loomis was the only person who had enough of a connection to and comprehension of his patient to stop Michael, at least in theory. He needed to rescue Laurie by himself and then be alone with the girl afterward in order to demonstrate the idea. Mister Babadook, simply because he can. Michael doesn't just kill, he overpowers. He menacingly advances to his victims with a tortuously slow yet smooth and confident stride. Sidha108, in a way, yes. However, there is an equal fright from suddenly seeing Michael's cold, cruelly determined face and his disoriented eyes that seem to be from outer space. It displays that the killer has no ethical cognizance of his actions and is unstoppable. He barely looks human. Recall that during his first appearance, twenty-one-year-old Michael does not yet have the mask. Since that scene and the final one take place in the presence of Dr. Loomis, there might be symbolism for how the psychiatrist is the sole person who not only knows how his patient operates but can make the latter feel vulnerable. Please disregard my question. After reading subtitles and the script, I know that Donald tells Nancy to get rest. Because it is between the words "some" and "Nancy", I have always heard "rest" as "breasts". The auditory collections of the letters M and R next to each other create a sound that resembles the letter B. John Saxon's lingering pronunciation of the letter T moving in to an N produces something that sounds like an S. Also, I have taken Heather's shivering and wrapping her top closer to herself as instinctively trying to cover her breasts due to what I have misheard. My incorrectly detecting the line is welcome. I have assumed that an improper comment has come from the influence of Freddy, but it has still been very uncomfortable hearing Donald say such a thing to his daughter. Dylan must be Nancy's son in this scene after all. Thank you, hurricane. Yes, it could just be a matter of memory. However, Biff obviously cannot forget that he is talking to his young self. I still find the comment misplaced, but what you say makes me realize that the mentioning of a safe might have more to do with the year that elderly Biff travels from. He has seen the twenty-first century, which this film presumes to have extreme inflation and wild crimes. Maybe in the movie's version of 2015 a safe is no longer unnecessary for the average person and now a household staple. You have answered your question without realizing it, artguylarry. The idea is to blend real life with movies, which turns existence in to a film. The plot of <i>A Nightmare On Elm Street</i> consumes John, but not Heather. This is to explain the gray area where fact and fiction bizarrely meet. Heather is forced in to reprising her role, whereas her co-worker disappears. In this scene, Donald is no longer a story character but a natural member of society, but Nancy remains a scripted product. The use of the inside of the iconic house would be a fun addition, but the dynamics of the location better support disorientation. At first Heather sees her home, then imaginary Freddy's, and in the next minute hers again. She then finds herself in genuine Freddy's lair, which has been unwittingly represented through the boiler room that Robert Englund's character is associated with. I have always found Miko Hughes to be a very talented child, artguylarry. He is quite expressive. The problem is not with the boy but his character. Dylan is highly underdeveloped and rather withdrawn. If Heather's son had more depth, then the little actor would have something to show. Miko Hughes just hasn't been given enough to work with in this movie, which is not his fault. Thank you, MinorityRules15. I believe that Jason knows that Chris is still alive after she faints, but decides to not kill her since he can no longer overpower her. He sees her as a waste of time and moves on to a victim whom he can display his rage to. Many of the slasher's steps look like part of someone fooling around in woods with a camcorder, so I can imagine Jason doing the things that you mention. Thank you, bobbydallas. While you're partially right, Jason must know about intense physical intimacy. He probably doesn't when he drowns, but grows as an undead corpse and learns more along the way. The slasher likely associates sex with the counselors who have let him die and believes that everyone who does such a thing in his vicinity has the same character. I think that it's why anyone who engages in the act at or near the camp is killed, not simply because of the rules of horror movies. Jason might even feel as though he is getting revenge against the two original kids whenever he murders people after they share a bed. I'm sure that there is a similar basis for the homicidal man saving Rennie from rape in part eight. He hates sex, so he doesn't want it to be forced on to anybody. You're welcome. Thank you too. I've never auditorily deciphered your mentioned line either, but have been able to faintly hear something from the side in the moment. View all replies >