Retired NASA astronaut Nicole Stott experienced two spaceflights and 104 days living and working in space on both the International Space Station and the Space Shuttle. She was the 10th woman to perform a space walk and, just for funsies, she painted the first watercolor in space (it’s now on display at the Smithsonian Air and Space Museum).
In the video below, Stott breaks down scenes in classic space films, from Total Recall to Gravity to getting sucked into space in Alien: Resurrection. If you’ve ever wondered what would happen if an astronaut’s helmet cracks in space or what happens when a member of the crew is exposed to the vacuum of space (“there was a case of a guy who was doing a spacesuit test and somehow got exposed to the vacuum; he reports that he felt the boiling of his spit on his tongue…” she shared, to my horror), Stott has answers.
In Total Recall, a cracked helmet results in convulsions and eyes popping out of their sockets, emitting a laugh from Stott. “The helmet itself is really very durable. We try our best to avoid contact with anything, because they can scratch, too. When we do space checks, we’re always talking about doing a glove check or a crew member check where you look each other over and make sure you don’t see anything that might be a problem,” she explained. “But overall, the suits and helmets overall are really very durable and have done a great job of protecting us in space.”
She had a lot of great things to say about the realism in Gravity, although “there’s definitely not as much chatter as what you’re hearing [in the film]. We try very hard to keep it to what the tasks are about. We might be playing music inside the shuttle but that’s not something you’ll hear throughout all the comm that’s going on.”
She described how choreographed a space walk is, down to five minute increments. For safety, there’s always someone inside the shuttle during a space walk, as well.
“The thing that stands out the most to me is that you’d never have George Clooney, or any other crew member, just jet-packing around while the space walk was going on,” she clarified.
She went on to describe emergency procedures (and why unexpected debris in space is rather unlikely), as well as what she described as one of the greatest fears of any spacewalker: spinning out into space. She also commented on astronaut training, including simulation and virtual reality.
Stott giggled a bit before breaking down the ludicrous speed in Spaceballs, comparing it to the 17,000 miles per hour (5 miles per second!) that the Space Shuttle travels.
The topic of training came up again with the Armageddon training montage. “The underwater work looks just like what we would do if we were training to do a space walk. Thankfully, in space, it’s easier to move around in those suits! You just have to figure out how to stop if you start moving too fast!” she recalled with a bit of wistfulness in her voice. Check out the video above for more Armageddon and everything from pulling G’s in Interstellar tothe artificial intelligence of 2001: A Space Odyssey.
Hollywood has been abuzz since it was announced that Joe Jonas will be making his big-screen debut in the upcoming Korean War movie, Devotion. Jonas follows his younger brother’s appearance in 2019’s Midway. Other cast members include Glen Powell (also appearing in Top Gun: Maverick), Jonathan Majors and Christina Jackson, who will be playing lead roles in the movie. Devotion tells the story of two naval aviators from very different worlds who were brought together by friendship and tragedy.
Ens. Jesse Brown, expected to be portrayed by Majors, was born into an African-American sharecropping family in Depression-era Mississippi. Working in the fields, he developed a love of flight after seeing local pilots fly overhead. Working toward his goal of flying, Brown graduated salutatorian of his high school and enrolled at Ohio State University. Despite working two jobs to pay for school, he maintained top grades in his classes. During his second year, he enlisted in the Navy Reserves and became a midshipman in the school’s NROTC program to participate in the V-5 Aviation Cadet Training Program.
In March 1947, Brown began his Naval Flight Officer training. He also married his girlfriend, Daisy Nix, in secret. Naval cadets were prohibited from marrying during training under threat of immediate dismissal. Despite this and racism from at least one instructor and several classmates, Brown completed his flight training in August 1947. He then trained to fly carrier-based aircraft and became the first African-American naval aviator to earn the coveted wings of gold in October 1948. After breaking this color barrier, he was assigned to Fighter Squadron 32 (VF-32) flying the Vought F4U Corsair. By the time the Korean War broke out, Brown established a reputation in the squadron as a capable pilot and section leader.
In contrast to Brown’s upbringing, Thomas Hudner Jr., expected to be portrayed by Powell, had a privileged youth. The son of a grocery chain store owner, Hudner attended the prestigious Phillips Academy in Andover, Massachusetts. Inspired to join the military after the attack on Pearl Harbor, he entered the Naval Academy in 1943 and graduated in 1946. He attended Annapolis with future Admirals Marvin Becker, James Stockdale and Stansfield Turner, along with future President Jimmy Carter.
Although he initially served as a surface officer, Hudner was drawn by the challenge of aviation. After completing basic and advanced flight training, he earned his own wings of gold in August 1949. After a brief posting in Lebanon, he was also assigned to VF-32. It was there that he met and befriended Brown.
By the Korean War, the WWII-era Corsair was quickly becoming antiquated as a fighter. The new breed of jet fighters were faster and more lethal. However, piston planes the Corsair could deliver heavy ordnance in close air support roles better than their jet counterparts. Brown and Hudner flew these missions with the other members of VF-32 in Korea. Following the Chinese intervention in November 1950, VF-32 flew daily missions to support the encircled Marines at the Chosin Reservoir.
At 1338hrs on December 4, 1950, six planes from VF-32 took off the the USS Leyte. Known as Iroquois Flight, the group consisted of squadron XO Lt. Cdr. Dick Cevoli, Lt. George Hudson, Lt. JG Bill Koenig, Ens. Ralph McQueen, Lt. JG Thomas Hudner Jr., and Ens. Jesse Brown. On this flight, Hudner and Brown flew as wingmen. Hunting for Chinese troops, Iroquois Flight flew just 700 feet off the ground. At 1440hrs, Koenig radioed that Brown appeared to be trailing fuel.
The fuel line of Brown’s Corsair was ruptured by unseen ground fire. Fuel pressure dropping, Brown started to lose control of his aircraft. He dropped his external fuel tanks and rockets in preparation for a crash landing. Despite landing in the snow, the Corsair broke up so violently upon impact that the rest of the flight thought Brown to be dead. His leg pinned under the fuselage, Brown waved to his fellow aviators for help.
15 miles behind enemy lines in 15°F weather on the side of a mountain, Brown’s chances of survival were slim. Iroquois Flight put out a mayday call as the patrolled the area for any threats to their downed comrade. However, the crashed Corsair started to smoke from a fire near its internal fuel tanks. Seeing his wingman in trouble, Hudner intentionally crash-landed his own Corsair near Brown’s crashsite to rescue his trapped friend. He attempted to douse the flames with snow and tried in vain to pull Brown from the wreck. At around 1500hrs, rescue helicopter pilot Lt. Charles Ward arrived and joined Hudner’s efforts to free Brown. Despite the use of a fire extinguisher and an axe, the Corsair continued to burn as Brown remained trapped inside.
Fading in an out of consciousness, Brown, suggested that the two men amputate his pinned leg. Before the suggestion could be acted on, Brown fell completely unconscious. His last known words were to Hudner. “Tell Daisy I love her,” Brown said. Unable to fly in the dark, Ward was forced to fly his helicopter back to base before nightfall with Hudner, leaving Brown behind. He is believed to have died of exposure and his injuries shortly thereafter.
Despite Hudner’s pleas, the Navy prohibited further efforts to recover Brown’s body for fear of enemy ambushes. To prevent Brown’s body from falling into enemy hands, the crash site was bombed with napalm. The pilots forced to carry out the mission reportedly recited the Lord’s prayer as they watched their fellow aviator be consumed by the flames. Ens. Jesse Brown was the first African-American naval aviator killed in action.
Brown was posthumously awarded the Distinguished Flying Cross, the Air Medal and the Purple Heart. For his efforts to save his wingman, Hudner was awarded the Medal of Honor. Both men have had naval vessels named for them. A book and painting, both titled Devotion, capture the bravery and loyalty displayed that 4th of December. The upcoming movie retains this title and will finally bring the incredible story to the big screen. Devotion is currently in pre-production with no release date.
On March 11, 1964, Gene Roddenberry completed the first treatment of what would become one of the most beloved fandoms of all time: Star Trek. The sci-fi drama was pitched as a Space Western, and while the original concept would evolve before becoming the pilot episode starring William Schatner as the legendary Captain James T. Kirk, the foundation for Roddenberry’s “anthology-like range of exciting human experiences” was there.
The only problem was that the show was expensive and zany. It needed a home and a champion. Enter Lucille Ball.
By 1964, Lucille Ball had already made a name for herself as the titular character of her hit show I Love Lucy, which aired from 1951-1957. Along with her then-husband, Desi Arnaz, Ball had formed Desilu Productions to produce the pilot for I Love Lucy — and in doing so, they created the very first independent television production company.
This move allowed them to own the product they would provide to CBS and pave the way for reruns, syndication and one of the most lucrative deals in television history. Their financial success allowed them to produce or film series like The Andy Griffith Show and The Dick Van Dyke Show. In 1960, Ball and Arnaz divorced, and in 1962 she bought his share of the company, becoming one of the most powerful women in television.
Johnny Asks Lucille Ball About When She Lost Her Virginity on Carson Tonight Show – 03/22/1974
Johnny Asks Lucille Ball About When She Lost Her Virginity on Carson Tonight Show
This has nothing to do with Star Trek but it’s important.
In 1964, Desilu was in search of new original programming. Her Vice President of Production, Herbert Franklin Solow, pitched Roddenberry’s Star Trek — and Ball grabbed it. Even with her backing, however, Ball’s longtime network CBS turned down the idea. Roddenberry and Solow then took the idea to NBC, who ordered a pilot titled The Cage.
The Cage, however, was rejected by NBC. It was expensive (costing NBC 0,000 to produce — roughly the equivalent of ,245,562.90 in 2020) — but it impressed NBC executives enough to order a second pilot, thanks to Ball’s support.
The second pilot, which would now star William Shatner, was financed in part by Ball herself — even at the objections of her board of directors. Star Trek debuted in the fall of 1966 and even won its time slot. The rest, of course, is history.
For its latest recruiting commercial, the Marine Corps got an Oscar-winning filmmaker to draw a dramatic contrast between the often-isolating online world and the Corps’ pitch to Generation Z that service in its ranks offers a path toward a life of “belonging, community, and purpose.”
Wally Pfister, who won an Academy Award for his cinematography on Christopher Nolan’s mind-bending thriller, Inception, directed “Battle to Belong,” the Corps’ latest recruiting commercial.
The ad’s protagonist, played by Marine Staff Sgt. Jordan Viches, a correctional specialist stationed at Camp Pendleton, California, is shown walking down a near-future street while being bombarded with digital marketing, notifications, and alerts. Frustrated, he breaks through the electronic assault and emerges training to become a Marine.
Pfister told Military.com the inspiration behind the style in the opening scenes was based on science fiction films such as Steven Spielberg’s 2018 Ready Player One, which portrays a dystopic future where human beings spend much of their lives escaping reality in a virtual world called “the Oasis.”
“‘Battle to Belong’ takes a bold step to showcase how America’s youth can be caught up in a world that creates a confusing, and sometimes suffocating, digital hum as the new normal,” said Lt. Col. Christian Devine, national director of marketing and communication strategy, Marine Corps Recruiting Command. “The campaign is designed to provoke reaction from a generation of youth who are often disillusioned by the very technology and types of social connectivity that were supposed to bring us closer together.”
With the COVID-19 pandemic forcing more and more human interaction into the virtual realm, the Corps’ message may resonate even more with its increasingly isolated target audience.
“Many high schools and colleges are returning to school via remote learning, which further challenges Marine recruiters who value the relationships they normally build with students and educators on campus,” said Gunnery Sgt. Justin Kronenberg, communication strategy chief at Marine Corps Recruiting Command. “At its height, the COVID pandemic had a dramatic effect on our ability to prospect and it continues to limit our ability to do some of the in-person activities so important to our success.”
Marines and sailors with Kilo Company, Battalion Landing Team 3rd Battalion, 5th Marine Regiment, 11th Marine Expeditionary Unit, conduct a live fire range during a pre-deployment training exercise at MAGTF Training Command/Marine Corps Air Ground Combat Center at 29 Palms, California, Nov. 11, 2018. US Marine Corps photo by Lance Cpl. Dalton S. Swanbeck.
Kronenberg said the Corps’ contracted advertising agency, Wunderman Thompson, regularly conducts research to gain insight on how the Marines’ brand is resonating with its target demographic of young people and influencers.
“We validated that young people of recruitable age hunger for belonging and self-transcendence and participation in a common moral cause or struggle,” he said.
“Like generations before, these youth are seeking identities that will define them,” Devine said. “They crave belonging, community, and purpose.”
The partnership between Wunderman Thompson and the Marine Corps goes back more than 74 years, according to Kronenberg, and the agency was again awarded the Corps’ business after a contract recompete last year.
“We value the team’s creative acumen and deep understanding of the Marine Corps’ ethos and brand identity,” Kronenberg said.
US Marine Corps Sgt. Sean Nash provides cover fire during the Integrated Training Exercise (ITX) at Marine Air Ground Combat Center Twentynine Palms, California, Jan. 28, 2020. ITX is a month-long training event that prepares Marines for deployment. US Marine Corps photo by Cpl. Jack C. Howell.
The new commercial features original music from legendary composer and Academy Award and Grammy Award winner Hans Zimmer, and Marine Corps musicians performed Zimmer’s music for the spot.
“The Marine Corps makes three promises to the American people: Win Battles, Make Marines, and Develop Quality Citizens,” Kronenberg said. “We consider each of those promises to be chapters of what we call the Longer Marine Corps Story.”
“Battle to Belong” is the third installment in the Longer Marine Corps Story. “Battle Up” focused on developing quality citizens, and “A Nation’s Call” showed the Corps’ winning battles.
Just a few years ago, Americans were stunned at the amount of oil spilled into the Gulf of Mexico by the British Petroleum-leased oil rig Deepwater Horizon. On April 20, 2010, a blowout during the drilling of an exploratory well caused an explosion visible from 40 miles away that killed 11 of its crew.
Over nearly three months, the spill from the Deepwater Horizondumped 210 million barrels of oil into the Gulf of Mexico.
Now a film about the disaster, “Deepwater Horizon,” is set to hit theaters Sept. 30.
Mark Wahlberg plays Mike Williams, an electrician and Deepwater Horizon survivor, in a film that takes an in-depth look at the people who were working on the rig that night. Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O’Brien, and Kate Hudson round out the ensemble cast.
We Are The Mighty met up with the cast – and the real Mike Williams – at the film’s premiere in New Orleans and talked with them about the film and the motivations behind it.
Godzilla’s roar has long been considered one of cinema’s most iconic and recognizable sounds. Oft-copied or otherwise homaged, the original and rather unique roar terrified audience goers in the 1950s and has been built upon to dramatic effect in the numerous sequels and remakes since. So how did they actually make the original sound and where did the idea for Godzilla come from in the first place?
As for the idea behind the monster, producer Tomoyuki Tanaka was looking for a project to work on after another film he was involved with got scrapped. Given the popularity of such films as King Kong among Japanese audiences, he decided to create a similarly themed movie. Except in this case, the monster would function as a not so subtle metaphor for the devastation of nuclear destruction and its radioactive aftermath ‚ hence Godzilla being a prehistoric creature awakened and energized by atomic explosions, and who in turn shoots a radioactive heat beam out of its mouth, leaving a wake of death and destruction, with many survivors in turn suffering from radiation sickness.
As for the final version of the creature itself (and, yes, while in Western versions Godzilla is generally referred to as a “he”, in the Japanese versions the creature is an “it”), before the iconic design we know today was settled on there were differing ideas on how to best realise the monster. An idea that was proposed early on before being eventually rejected was to make Godzilla resemble a large gorilla/whale hybrid, more or less mimicking the whole King Kong thing, but making the animal somewhat amphibious too. (Note here, the name Godzilla ultimately derives from the Japanese name “Gojira”, which is in turn a portmanteau of “whale” and “gorilla”.)
Behind the scenes photograph from the set of Godzilla Raids Again.
This whale/gorilla hybrid idea was initially proposed by Tanaka. However, when an artist was brought in to create a design for the creature based on this general idea, it was quickly rejected because the results ended up looking too human-like; they wanted something much more unique and ancient looking.
Switching it up, sculptor Teizo Toshimitsu and art director Akira Watanabe decided to base the design of Godzilla on that of dinosaur, specifically the T-Rex, with elements of other dinosaurs such as the Iguanodon and modern reptiles like the alligators thrown in. On top of that, to double down on the atomic radiation association, they put keloid scars all over its body, which would have been familiar to Japanese audiences, with these scars commonly showing up on survivors of the nuclear blasts.
As for Godzilla’s exaggerated dorsal fins, these originally were not meant to serve any purpose in the 1954 film, and were simply added to give the creature a more distinctive silhouette. However, it would ultimately be established that they can be used by Godzilla to absorb nearby radiation or even as a weapon.
After creating the monster, Godzilla needed a voice. As it was designed to be an unnatural combination of various creatures both alive and dead, the sound crew found it especially difficult to come up with something that worked for its roar. According to famed composer Akira Ifukube, who created both Godzilla’s roar, the sound of its footsteps, and composed the film’s soundtrack, sound engineers went to a local zoo and recorded the roars and cries of virtually every animal there to try to come up with something usable.
They then tried a number of combinations of these sounds to create something distinct, failing each time because the resulting roar always sounded too familiar. Ikufube notes that the engineers eventually got so desperate they even tried distorting the cries of random animals like herons to the point that they were unrecognisable, but nothing was satisfactory.
The problem, at least in Ikufube’s eyes, was that the roars of other animals, even when heavily distorted, still sounded too natural. What they really wanted was a unique sound like nothing ever heard from an animal before, but still animal-like, and a little terrifying. Thus, scrapping all the previous sounds, despite working under an incredibly tight deadline, Ikufube decided to look at other potential means to make the roar. For the solution, he states, “For the roar of Godzilla, I took out the lowest string of a contrabass and then ran a glove that had resin on it across the string…. The different kinds of roars were created by playing the recording of the sound that I’d made at different speeds.”
And just as a brief aside here when talking about the tight deadline in scoring movies in Japan at the time, when asked about whether his now iconic music for Godzilla was among his favorite compositions, Ikufube stated,
Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can’t select any of my scores as favorites.
Going back to the roar, the resin on the glove helped create the added friction needed while being dragged across the string to make a noticeably grating sound that would hopefully cause a feeling of unease in those who heard it— akin to nails on a chalkboard, but with a lot more depth.
Attempting to recreate some version of Ikufube’s sounds for the 2014 version, Erik Aadahl and Ethan Van der Ryn, who created the new roar, stated, “We dissected that original roar and figured out exactly which key musically it was in, which is a C to D on the piano, and the finishing bellow that has the same notes on a lower octave. We figured out the timing, cadence and musical pitch of that original roar, and then started to experiment with different ways to re-create it.”
After a whopping six months of experimenting, they settled on a combination of sounds, though as to how they came up with them, they’ve promised to take that secret with them to the grave. Said Aadahl, “I think more so than any other sound effect we’ve designed, we have a certain protectiveness over that sound. It’s when you’re giving voice to something, you’re giving it its soul. And if we tell everybody exactly how we did it, people will think of that when they hear the roar, and we want them to think of Godzilla.”
Scene from Godzilla: King of the Monsters.
That said, what little they have revealed is that the sound, much like Ikufube’s, was the product of friction using something man-made, rather than modifying an animal sound. They also note that over the course of their experiments they played with things like car doors with rusty hinges, as well as rubbing the heads of drums, among other things. They further state they found that using the plastic sole from a hiking boot on the strings of a double bass produced the closest they could get to the original roar in their experiments.
During the course of all of this, to get an even more unique sound, Van der Ryn states, “We bought a microphone that was able to record above the range of human hearing. We started experimenting will all different types of sounds — sounds that we couldn’t actually hear when we were recording. But when we slowed them down into the human range of perception, we had an incredible palette of normally invisible sounds that people normally don’t get to hear.”
Finally, to get proper echo sounds, as well as what it would sound like from within a building or a car, etc. (basically different ways it might be heard in the final film), they managed to convince the band Rolling Stones to let them use their tour speakers. They then set everything up outside at various locations at Warner Brothers studios, and simply blared the roars at high volume and recorded the result from various other locations nearby.
Naturally, they got some complaints about this, with Aadahl stating, “The neighbors started tweeting, like, ‘Godzilla’s at my apartment door! And we were getting phone calls from Universal Studios across town, because tour groups were asking, ‘What’s all that commotion going on down in the valley?’ The sound that we were playing actually traveled over 3 miles… 100,000 watts of pure power.”
Going back to the original Godzilla, if you’re wondering about the aforementioned footstep sounds, according to Ikufube, the story behind those was,
One of Toho’s electrical engineers made a simplistic amplifying device some time before production on GODZILLA – KING OF THE MONSTERS got underway. It was just a box that had several coils connected to an amplifier and a speaker in it. When you struck it, the coils would vibrate, and a loud, shocking sound would be created. I accidentally stepped on the device while I was conducting the score for a movie that was produced shortly before GODZILLA – KING OF THE MONSTERS was made. I said, “What the heck is that?” when I heard the noise that was produced. When I was asked to create Godzilla’s footfalls, I decided to use the device.
Ever wonder how they made the sound effect for the lightsaber? Well, wonder no more, sound engineer Ben Burtt states, “In the booth where we projected the films… Those projectors would make a hum. They weren’t running, they were idling, the motors would just sit there with this kind of magical, mysterious humming sound that I thought was musical in a way and I thought that’s probably what a lightsaber would sound like… And I was searching for some other element, and I had a tape recorder with a broken mic cable that the shielding had come off of and when I walked passed a television set in my apartment it picked up the hum from the picture tube directly into the broken wire, and that made a buzz, and I thought, that’s a great buzz, that sounds dangerous… normally a sound person doesn’t want a buzz or a hum, but in this case a buzz and a hum was the answer.”
Moving on to the famous “Star Wars scream”, more properly known as the “Wilhelm Scream”, heard in hundreds of movies, this was created via the vocal talents of Sheb Wooley, perhaps better known for his hit 1958 song “Purple People Eater”. The genesis of the scream was that Wooley had an uncredited part in the first film the scream was heard in, a 1951 film called Distant Drums. At one point during the film, Captain Quincy is leading his soldiers through a swamp when one of them gets attacked and dragged under by an alligator, screaming in the process. During post-production recordings, Wooley recorded various vocal sound effects for the film, including a batch of screams.
So why was it dubbed the “Wilhelm Scream” if the man who did the scream was named Sheb Wooley? After being plucked from the Warner Brothers stock sound library, the scream was used in the 1953 film The Charge at Feather River, starring Guy Madison as Private Wilhelm. The sound effect is used when Private Wilhelm is shot in the thigh with an arrow. The scream was nicknamed “Wilhelm” from then on.
The Hollywood tradition / inside joke of purposefully using the Wilhelm scream in a variety of films began with aforementioned sound effects designer Ben Burtt, who worked on numerous films, including Star Wars as noted. He noticed the scream being used in certain Warner Brother’s films, such as Them in 1954, Helen of Troy in 1956, and The Green Berets in 1968. Burtt then began slipping the Wilhelm Scream into every movie he worked on, beginning with George Lucas’s Star Wars: A New Hope. And it just sort of caught on from there.
It’s been 45 years since the last U.S. combat troops left Vietnam, but the conflict continues to play an outsized role in American politics and popular culture. From John Wayne’s stern-jawed performance in the 1968 propaganda film The Green Berets to Robert Downey, Jr.’s antics in the 2008 meta-comedy Tropic Thunder (a movie about a movie about Vietnam), the war’s complexity and social impact have made it an irresistible subject for generations of filmmakers and moviegoers. These nine films set the standard for the Vietnam War movie.
Fresh off an astonishing run of success that included The Godfather, The Godfather Part II, and The Conversation, Francis Ford Coppola set out to make a Vietnam War epic based on Joseph Conrad’s anti-colonialist novella The Heart of Darkness. It would turn out to be one of the most arduous productions in the history of cinema, taking over three years to complete and nearly destroying Coppola’s health and career in the process. But the result was nothing short of a masterpiece. With a star-studded cast including Marlon Brando, Martin Sheen, Robert Duvall, Harrison Ford, Laurence Fishburne, and Dennis Hopper, Apocalypse Now added the indelible phrases “I love the smell of napalm in the morning” and “Charlie don’t surf!” to the American vernacular and was ranked 14th on Sight and Sound‘s 2012 poll of the Top 50 Greatest Films of All Time.
Stanley Kubrick’s darkly comic and deeply disturbing portrait of war’s dehumanizing effects follows a group of U.S. Marine Corps recruits from basic training on Parris Island to the Battle of Hue during the Tet Offensive. Adapted from Gustav Hasford’s novel The Short-Timers, the screenplay was co-written by Kubrick, Hasford, and journalist Michael Herr, author of the acclaimed Vietnam War memoir Dispatches. Starring real-life drill instructor R. Lee Emery as the virtuosically profane Gunnery Sergeant Hartmann, Full Metal Jacket met with criticism from some early reviewers who found the film’s second half unequal to the brilliance of the boot camp scenes. It’s now recognized as a classic of the war movie genre and ranked 95th on the American Film Institute’s 100 Years…100 Thrills list.
Winner of five Academy awards, including Best Picture, Best Director, and Best Supporting Actor, The Deer Hunter is the saga of three Russian American steelworkers who leave their working-class Pennsylvania hometown to fight in Vietnam. Written and directed by Michael Cimino and starring Robert De Niro, Christopher Walken, Meryl Streep, and John Cazale (in his final role before succumbing to lung cancer), the film sparked controversy for its famous sequence in which sadistic Việt Cộng soldiers force POWs to play Russian roulette. There were no documented cases of Russian roulette during the war, but critics such as Roger Ebert defended Cimino’s use of artistic license, arguing that the deadly game is a “brilliant symbol” for how the conflict touched the lives of U.S. soldiers and their families.
The first Hollywood film to be written and directed by a Vietnam veteran, Platoon was based on Oliver Stone’s real experiences as an infantryman during the war. Charlie Sheen, son of Apocalypse Now star Martin Sheen, plays a naive college student who volunteers for combat duty in 1967. Assigned to an infantry platoon near the Cambodian border, he is caught up in a bitter rivalry between two veteran NCOs: hard-edged and cynical Staff Sergeant Barnes (Tom Berenger) and the more compassionate and idealistic Sergeant Elias (Willem Dafoe). Winner of four Academy Awards, including Best Picture and Best Director, the film achieved its consummate authenticity by hiring retired USMC Colonel Dale Dye to put the principal actors through an intensive 30-day boot camp before filming started.
A brilliant blend of comedy and drama, this Barry Levinson film is loosely based on the experiences of real-life Armed Forces Radio Service DJ Adrian Cronaeur. Robin Williams, who improvised most of his broadcast scenes, stars as Cronauer, a wild card whose irreverent sense of humor and love of rock and roll infuriated his immediate superiors but made him hugely popular with the enlisted men. Set in Saigon during the early days of the war, the screenplay offered a more nuanced portrait of the Vietnamese people than previous Hollywood films and earned Williams his first Academy Award nomination.
Based on David Morrell’s novel of the same name and starring Sylvester Stallone as a former Green Beret who fought in Vietnam and received the Medal of Honor, First Blood is the opening chapter in the hugely popular Rambo series. Set in the fictional town of Hope, Washington, the plot revolves around John Rambo’s escalating confrontation with a tyrannical local sheriff played by Brian Dennehy. Forced into the wilderness outside of town, Rambo relies on his survival and combat skills to escape capture by hundreds of state troopers and national guardsmen. By turning its veteran hero into a guerrilla fighter like the Việt Cộng, this blockbuster action film played an influential role in America’s reckoning with its first military defeat and helped raise awareness about PTSD.
Oliver Stone’s second film about the war is based on the bestselling autobiography by Ron Kovic, a patriotic Long Islander who enlisted in the U.S. Marine Corps and served two tours of duty in Vietnam before a firefight left him paralyzed from the mid-chest down. Struggling to adjust to life in a wheelchair and haunted by his role in the death of a fellow soldier, Kovic battles alcoholism, depression, and PTSD before eventually finding redemption as a leading activist in the anti-war movement. Tom Cruise received his first Academy Award nomination for his portrayal of Kovic, who thanked the actor by giving him the original Bronze Star Medal he received after the war.
Directed by Brian De Palma, written by Tony Award-winning playwright David Rabe, starring Michael J. Fox and Sean Penn, and based on Daniel Lang’s New Yorker article and follow-up book, Casualties of War is the story of the Incident on Hill 192, a notorious war crime committed by U.S troops in 1966. Penn plays Sergeant Tony Meserve, an experienced squad leader who seeks revenge for his friend’s death by ordering his men to kidnap and rape a Vietnamese girl. Fox is Private First Class Max Eriksson, the only member of the patrol brave enough to stand up to Meserve. Told in flashback, the film has a hopeful ending that resonated with viewers seeking to put the horrors of the war behind them. Quentin Tarantino has called it “the greatest film about the Vietnam War.”
According to Michael Moore, it’s “the best documentary I have ever seen” and the movie that inspired him to pick up a camera. But Hearts and Minds polarized audiences even before it was released. Columbia Pictures refused to distribute it, and an interviewee unhappy with his portrayal obtained a temporary restraining order against the producers. Despite the controversy, Peter Davis’s searing indictment of America’s involvement in Vietnam won the Academy Award for Best Documentary Feature in March 1975–one month before the fall of Saigon brought an end to the war. Featuring interviews with subjects on all sides of the conflict, from General William Westmoreland to Daniel Ellsberg to a Vietnamese coffin maker, and a wealth of archival news footage from the font lines and the home front, this landmark film is a must-see for anyone seeking to understand the meaning and significance of the Vietnam War.
When we last saw (the Marvel Cinematic Universe’s) Wanda Maximoff, she was at the funeral of Tony Stark after the Avengers finally defeated Thanos. During Avengers: Infinity War, she was forced to destroy the Mind Stone — killing her lover, Vision, in the process — until Thanos used the Time Stone to undo her actions and tear the Mind Stone from Vision, killing the sentient android himself. Wanda disappeared — along with half the universe — during ‘The Snap’ before being restored in Avengers: Endgame; but sadly, Vision remained among the casualties of the war.
So when Marvel announced that a six-episode series called WandaVision would be added to its Phase 4 lineup, there were questions. Would it take place in the past (a popular Loki theory)? Did Vision somehow survive (like Agent Coulson in Agents of S.H.I.E.L.D.)?
Once the official trailer dropped…well…the questions just keep coming.
WATCH THE OFFICIAL TRAILER HERE:
Set to debut on Disney+ on Jan. 15, 2021, WandaVision appears to take place in an alternate dimension. Star Elizabeth Olsen told the New York Times that the series will explore Wanda as the Scarlet Witch much as she is in the comic books — including addressing the character’s mental health and illness.
The series begins in a 1950s television sitcom where the characters are blissfully unaware of the tragedy that has befallen them. Marvel literally filmed the pilot in front of a studio audience (who signed “very, very strict NDAs,” reported Entertainment Weekly).
“It is even better than it was pitched. It’s even more complicated and fun and interesting and playful than I could have ever imagined this job being,” gushed Olsen. Her co-star Paul Bettany, who plays the titular Vision character, called it “totally bonkers” with a grin.
“Our content is so different from Marvel. It’s like a conversation of American sitcom through the decades with Marvel Film and they’re constantly in dialogue with each other. So it’s really fun!” hinted Olsen.
After a decade of successful films and television series within the MCU, Marvel has earned the right to take some risks. The show will bridge itself to Doctor Strange in the Multiverse of Madness, according to Marvel Studios president Kevin Feige. Due for release in March 2022, the sequel to 2016’s Doctor Strange promises to feature Olsen’s Wanda Maximoff alongside Benedict Cumberbatch’s zany Dr. Stephen Strange.
As we reach the halfway point for The Falcon and the Winter Soldier, we’ve been given some great character moments and intriguing details into a post-Blip world. A Global Repatriation Council attempts to help the billions of people who have returned from the dead after five years, one of them being a doctor who perfected the Super Soldier Serum.
Let’s dive in — spoilers ahead.
The new Captain America takes a bit of a back seat in this week’s episode, but we do get a glance at his short fuse when he confronts some of Karli Morgenthau’s contacts and is rewarded with spit in his face. John Walker and his more even-tempered partner Lemar will remain a step behind Bucky and Sam this week.
As the last episode hinted, Bucky and Sam decide to contact Helmut Zemo and Bucky, unbeknownst to Sam, makes quick work of freeing Zemo from his cell. Maybe not a great decision, considering the man bombed the UN and killed Wakanda’s King T’Chaka before framing Bucky for the crimes — and he’s reading Machiavelli — but Zemo has knowledge about the Super Soldier Serum.
Daniel Bruhl’s performance also makes Zemo a character who is entertaining to have around.
They begin their search in Madripoor, a classic Marvel Comics location (primarily for mutant story-lines). There, they go undercover, delivering some excellent character fun. Sam is forced to drink “the usual” drink of his colorful alias — some kind of cocktail with raw snake organs (DEAR GOD WHY) — much to our amusement. Later when they flee the scene, he shouts, “I can’t run in these heels!” It’s a great writing touch.
Bucky, meanwhile, plays the Winter Soldier, following Helmut’s commands — even when they are violent. Sebastian Stan’s performance as a battle-weary veteran is constantly impressive; Bucky’s inner turmoil is right there beneath the surface.
When Sam’s cover is blown by a phone call from his sister, the unlikely trio flee with bounties on their heads. They’re saved by none other than Sharon Carter, albeit a much grittier, pissed off Sharon Carter, who has been on the run since giving Steve Rogers his shield (although with a brief five-year hiatus, as she was disintegrated in the Snap). And yo, she’s pissed about it.
Her outfit slaps, though. I want her pants. She agrees to help Sam and Bucky find Super Soldier Serum Dr. Nagle while Sam promises to clear her name. They head to Nagle’s secret lab in a shipment container yard, where they learn that Morgenthau stole his 20 vials of perfected serum. Zemo kills the doctor and the lab is attacked and destroyed, giving us impressive fight sequences from Carter and Zemo.
Carter parts ways with Bucky and Sam, but based on her final interaction with her bodyguard, we can expect to see her again. Bucky, Sam, and Zemo follow another lead, but rather than join them inside, Bucky announces that he’s going to take a walk. He follows a few devices that turn out to be Wakandan, and the episode ends with another familiar face.
Ayo, second-in-command of the Dora Milaje, has come for the man who killed T’Chaka. What will happen on the Falcon and the Winter Soldier next?
It’s not bravado, it’s not some Hollywood publicity stunt, and it sure as hell isn’t special effects. Arnold Schwarzenegger not only owns a tank, he knows how to drive it and operate it in every possible way. It wouldn’t have done him much good in the Army if he didn’t know how to use its weapons. But the tank he has is a special one – to him, anyway.
The Terminator’s tank is the same one he used to learn his tank skills while serving in the Austrian Army.
Schwarzenegger (left, duh) in his Army days.
Austria is one of few countries in Europe to have mandatory civil or military service upon graduating from high school at age 18. A young Arnold Schwarzenegger, never one to shirk his duties, did what he had to do. He joined up and became a tanker in the Austrian National Army in 1965. His tank is a 1951 M-47 Patton tank, designed for the U.S. Army and Marine Corps to take the place of the Pershing tank in the early days of the Cold War.
He’s owned his tank since 1991, paying ,000 to have it shipped from Austria.
The 50-ton behemoth uses a V-12 Chrysler twin turbo gas engine and cranks out 810 horsepower for a max speed of 30 miles per hour and a whopping 2.3 miles per gallon. But Schwarzenegger doesn’t use it to get around the streets of Southern California.
He uses it to keep kids in school.
Disadvantaged or at-risk students come to Schwarzenegger’s home to check out the tank and have fun with him in a series of after-school programs. The ones who stay in school get to drive the tank. With Arnold. And maybe even driving it over a few cars.
He even put a day in the tank up as an Omaze reward, offering donors to The After-School All-Stars Program the chance to crush stuff and “blow sh*t up” with him. Before that, the tank was housed at the Motts Military Museum in Ohio. In 2008, the then-Governor of California decided his role would soon include driving over a few jalopies to support youth enrollment. The program has been ongoing ever since.
Recently, we delved into the 5 best military movies of the 1990s, so it only seemed right that we give the 1980’s the same treatment, especially now that most of us are stuck in our houses without much else to do than take a trip down cinema’s memory lane.
Whenever you’re compiling a list of movies like this, it’s inevitable that you’ll miss some really good picks. In a decade like the 1980s, when there was a laundry list of great films depicting military service or a time of war, the chances that you’ll miss a doozy becomes that much more significant. After all, how do you choose between Clint Eastwood’s “Heartbreak Ridge,” and Robin Williams’ “Good Morning Vietnam?” Easy, I didn’t include either — and I’m sure that’ll ruffle some feathers.
That’s what’s so great about film and analyzing its value or impact. A movie that means the world to you may not have had any impact at all on the next guy. It’s value to you isn’t diminished by his opinion and it doesn’t have to be. Everybody can have their own favorites.
So with the understanding that this list won’t be exhaustive and will probably make some folks mad — here’s my list of the best military movies of the 1980s.
Right out of the gate, including this movie on the list requires a disclaimer: In order to be a good military movie, you don’t need to be realistic. “Iron Eagle” is a lot of things, but realistic isn’t one of them.
For those who haven’t seen it, “Iron Eagle” is the story of a young man named Doug Masters who aspires to be a pilot like his father, U.S. Air Force fighter pilot Col. Ted Masters. When Col. Masters is shot down over the fictional Arab nation of Bilya, Doug enlists the help of another fighter pilot, Colonel “Chappy” Sinclair. The two hatch a scheme to steal two F-16 Fighting Falcons and somehow fly them all the way to the Middle East, take on an entire Air Force, land on an enemy airstrip, and fly Doug’s dad home.
This movie is about as realistic as my chances of being elected president in 2020, but that doesn’t matter. This silly romp is a blast to watch, especially if you enjoy ironically watching ridiculous movies.
While it maybe a bit slow paced compared to high budget action movies of today, “Red Dawn” earns its spot on this list thanks to solid acting from its young cast (some of whom went on to successful careers in Hollywood) and its semi-serious approach to depicting an America that’s not only at war… but losing it.
“Red Dawn” can certainly be categorized as pro-American propaganda, but if you ask me, that just makes it all the more fun. Despite the fall of the Soviet Union, Russia remains one of America’s primary diplomatic opponents on the world’s stage, making it that much easier to revel in the Wolverine’s efforts to take back their town from the combined Cuban and Soviet occupational forces.
If you can watch this movie and not scream “Wolverines” at the top of your lungs, you’re a better movie-goer than I am.
What do you get when you take two future governors, a Hollywood script writer, and Apollo Creed and stick them in the jungle with a bunch of guns? You get what is perhaps the greatest piece of action satire of all time.
You might be surprised to hear me refer to “Predator” as a satire film, but when you take a step back and really look at the framework of this movie, you’ll realize that it is a pretty clever deconstruction of the big-budget action movies of the 80’s. It’s got all the same ingredients of an 80’s thrill ride, but delivered in a way that takes the wind right out our action hero’s sails. After using traditional action movie tactics to easily wipe out a village of bad guys, Dutch’s vaguely special operations crew are then faced with a far worthier opponent: a monster that doesn’t yield to the tropes of action movie heroes.
What follows is a rapid transition from action movie to slasher flick, and a movie that doesn’t just hold up over time, but offers an insightful critique of movie culture in general.
While “Top Gun” may take the number two spot on this list, it’s ranked number one in terms of recruiting. “Top Gun” offered many Americans their first glimpse into the world of Naval aviation, and in particular, the Navy’s very real Strike Fighter Tactics Instructor Program.
With a long awaited sequel slated to drop later this year, Top Gun’s appeal clearly stands the test of time, even if Maverick is admittedly a pretty bad pilot that has no place in the cockpit of an F-14 Tomcat. This movie led to a boon in Navy recruiting, with some recruiters setting up tables right outside cinema doors to engage with excited young aspiring pilots while their blood pressure was still high.
Once again, “Top Gun” proved that you don’t have to be realistic to be great. Here’s hoping the new one can do the same.
After the massive hit that was “Alien,” the much anticipated sequel somehow managed to add a platoon of Space Marines and still retain the chilling vibe the “Alien” universe is known for. Now, this movie may not take place in a fictional Arab nation or involve existing military branches, but who doesn’t love a story about Space Marines fighting alien monsters?
This movie might be the least “military” of the lot, but it’s also the most fun to re-watch again and again, which earns it a whole lot of extra credit in my book. For Marines like me, we may not want to associate with the cowardly yelps of Bill Paxton’s Pvt. Hudson, but let’s all be honest with ourselves… a few yelps are warranted when you’re being hunted by a slimy space monster with acid for blood.
That does it for my list of the best military movies of the 1980s, so the question is: what’s on your list?
“Star Wars” movies are going on hiatus after this year’s Star Wars: The Rise of Skywalker, but fans can still expect plenty of content to come.
Disney’s upcoming streaming service, Disney Plus, will not only include the entire collection of “Star Wars” movies, but new original titles. The first live-action “Star Wars” TV show, The Mandalorian, will be available at launch on November 12, and more original series will follow.
Disney Plus will have to satisfy fans for the time being, as new “Star Wars” movies won’t make it to theaters for some time. After Solo: A Star Wars Story disappointed at the box office, failing to crack even $400 million worldwide, Disney CEO Bob Iger said to expect a “slowdown.”
Lucasfilm president Kathleen Kennedy reiterated Iger’s point during “Star Wars” Celebration over the weekend. Kennedy told Entertainment Weekly that the “Star Wars” movies are “going to take a hiatus for a couple of years.”
“We’re not just looking at what the next three movies might be, or talking about this in terms of a trilogy,” Kennedy said. “We’re looking at: What is the next decade of storytelling?”
But Kennedy did confirm that Star Wars: The Last Jedi director Rian Johnson and Game of Thrones showrunners David Benioff and D.B. Weiss are still working on their own sets of films, and even coordinating with each other. We don’t know whether these movies will be released in theaters or head straight to Disney Plus, though.
“As they finish Game of Thrones, they’re going to segue into Star Wars,” Kennedy said of Benioff and Weiss. “They’re working very closely with Rian.”
Below are more details on all the Star Wars projects in the works for after December’s The Rise of Skywalker:
The Mandalorian will be the first live-action “Star Wars” TV series ever, and it will be available to stream on day one when Disney Plus launches November 12.
It stars “Narcos” actor Pedro Pascal as the title character, a lone warrior traveling the galaxy after the fall of the Empire, but before the rise of the First Order. It also stars Carl Weathers and Werner Herzog.
The series is written and produced by Iron Man and The Lion King director Jon Favreau, and directed by Jurassic World actress Bryce Dallas Howard, Thor: Ragnarok director Taika Waititi, and more.
Cassian Andor Live-Action Series Announced! | The Star Wars Show
Lucasfilm announced in November 2017 that Star Wars: The Last Jedi director Rian Johnson would write and direct a new trilogy of movies separate from the Skywalker saga, which is set to end with the ninth installment, “The Rise of Skywalker,” in December.
After rumors swirled that Johnson was no longer developing the trilogy, he confirmed on Twitter in February that he actually is. Lucasfilm president Kennedy reiterated over the weekend that Johnson is still working on the movies, and collaborating with Game of Thrones showrunners David Benioff and D.B. Weiss on their own series of films.
New Star Wars Films Announced! | The Star Wars Show
Lucasfilm announced in February 2018 that Benioff and Weiss, the showrunners of “Game of Thrones,” would write and produce a new series of films that would be separate from Rian Johnson’s planned trilogy and the Skywalker saga.
The number of films and story details are under wraps, but Lucasfilm president Kathleen Kennedy recently said that they are “working very closely” with Johnson.
“As they finish Game of Thrones, they’re going to segue into Star Wars,” Kennedy said.
In America, we call it “eminent domain.” In China, they call it a Wednesday. Or whatever day the government comes and decides to take your house so they can build a freeway across what used to be your living room.
Yang Youde was a 56-year-old rice farmer who one day got the word that the government wanted to develop the land on which his farm stood. He wasn’t having it. He’d heard the stories about other regular people being forced off their land. Yang wasn’t about to become a victim.
Before the Chinese government and the hired agents of the land developers could force him out, he set out to create a system of defenses that would keep them in fear of coming onto his property. Using old stovepipes and fireworks, he built a real-life cannon that could fire rockets up to 100 yards.
“My goal isn’t to hurt anyone, I just want to solve my problem,” Yang told al-Jazeera. “If I get hounded out, I’m left with nothing. What’s my future except to steal, rob, or beg?
In February 2010, they came for him determined to violently force him away. He fired rockets at 30 crews until he ran out of ammo. After a physical altercation, the local police stepped in and forced the developers to come back some other time.
Yang made more ammo. And a giant watchtower. He also converted a push cart into a mobile rocket launcher.
From that high vantagepoint, he was able to hold off 100 demolition crew workers. This time, when the police came, they came for Yang.
Yang was offered the U.S. equivalent of ,000 for his Wuhan-adjacent farm. But he had a nice parcel of land with a fishpond on it. He knew he couldn’t fight the government forever, but he wanted at least a fair price. After all, his contract for the land didn’t run out for another 19 years.
And he said the Chinese government’s compensation policies entitled him to five times the offered amount. The old farmer had been growing watermelons and cotton on the land for some 40 years.
When all was said and done, Chinese state media reported that Yang was offered upward of 0,000 for his land, which he eventually agreed to. According to al-Jazeera, Yang was also held in jail for 51 days and tortured for his famous stand.