William Atherton

William Atherton

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Picture - William Atherton and guest , Thursday 1st March 2012

William Atherton - William Atherton and guest Thursday 1st March 2012 Tim And Eric'$ Billion Dollar Movie Los Angeles Premiere - arrivals

Tim & Eric's Billion Dollar Movie Trailer


Tim Heidecker and Eric Wareheim are given one billion dollars to make a movie by the Schlaaang Corporation. Instead, the pair spend nearly all of the money and use what little they have remaining to make a three minute movie, which turns out to be a disappointment.

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Picture - Drew Fuller and William Atherton San Diego, California, Saturday 2nd October 2010

Drew Fuller and William Atherton - Drew Fuller and William Atherton San Diego, California - The 2010 San Diego Film Festival - 'Kane Files: Life of Trial' - Screening Saturday 2nd October 2010

Ghostbusters Review


Extraordinary
Films like Ghostbusters are inseparable from the '80s -- self-mocking and smart, yet lowbrow and mainstream, they rescued us from the unfunny film comedies of previous times. (If Ghostbusters had been made earlier, it would have been much less funny. If it were remade today, it would probably be much dumber, like TV's Buffy the Vampire Slayer.)

Like Bill Murray's other top comedies, the slightly more subversive Caddyshack and Stripes, Ghostbusters passes the most important test of cinematic greatness -- no matter how many times you've seen it, you may end up watching it again when it comes around on TV. Murray, Aykroyd, and Ramis are postgraduates in "parapsychology" who pretend to investigate paranormal phenomena (the movie begins with Murray trying to pick up a coed by convincing her she's psychic) until they're kicked off campus. So they start a business and become celebrities when they start capturing real ghosts. This cheesy premise is handled so smoothly that there is never a confusing moment, something screenwriter Ramis would achieve again with Groundhog Day, an equally odd concept which also worked. Unlike Groundhog, Ghostbusters is strictly for laughs -- which doesn't mean that it's dumb.

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Burning Down The House Review


Grim
Most curious: Joanne Baron produces and stars Burning Down the House (not to be confused with Bringing Down the House).

Trashy and foul-mouthed (and playing with her boobs throughout the film), I wracked my brain to figure out where I'd seen her before. Turns out Baron was Mitch Taylor's mother in the cult classic Real Genius. Here she's reunited with Dr. Hathaway himself, William Atherton.

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Die Hard Review


Essential
If I were teaching a film class at a college (a shuddering prospect, I know), Die Hard would be studied the way Citizen Kane and Potemkin are. It's a perfect action movie in every detail, the kind of movie that makes your summer memorable.

Unfortunately, star Bruce Willis, director John McTiernan and company couldn't duplicate the heart-pulling thrill of the first one with two increasingly mediocre sequels. Die Hard 2 and Die Hard: With a Vengeance suffered because of stuffing thrills and spills in every crevice, to the point where I expected the Road Runner to make a cameo. Everyone involved seemed to forget that simplicity made the original so riveting. There's one flawed New York City detective trapped in a skyscraper with only his wits and some firearms to stop a band of talented international terrorists.

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Die Hard 2 Review


Grim
Die Hard had it all: a sympathetic hero, a wonderfully serpentine villain, kick-ass fight scenes and shootouts (which are really hard to make entertaining, in the glut of routine action flicks that overflow our video racks), an enjoyably quirky supporting cast of character actors, and dialogue you could really sink your teeth into. ("I wanted this to be professional. Efficient, adroit, cooperative, not a lot to ask. Alas, your Mr. Takagi did not see it that way, so he won't be joining us for the rest of his life.") This flick was so pervasive, we had to endure a slew of rip-offs: Die Hard at sea, Die Hard on an ocean liner, Die Hard in a friggin' library! OK, so they never did one in a library, but that would be pretty funny, wouldn't it? [Indeed they did do it in a library: Masterminds. -Ed.]

What a pity that Die Hard 2: Die Harder (based on the novel 58 Minutes) falls into the trap of being just another Die Hard in Washington's Dulles Airport. I mean, it's kinda funny that John McClane (Bruce Willis, having a good ol' time) acknowledges his pathetic luck. Not this shit again! He's waiting for his wife's plane to land when terrorists seize control of the airport, crashing a plane just to prove that they'll stop at nothing. Yes, they will stop at nothing! Insert an evil laugh here, and throw in a moustache twirl, why dontcha?

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The Hindenburg Review


Weak
Before there was Titanic (the movie, not the ship), there was The Hindenburg, an equally epic look at one of mankind's most notorious disasters -- this one, of course, caught on film, unlike that famed sunken ship. Robert Wise (Star Trek: The Motion Picture) tried to turn the disaster into part love story, part spy tale, part thriller, and part musical (really: there's a ditty about Hitler), with George C. Scott as a sympathetic Nazi trying to foil a bombing plot on the zeppelin (the disaster has since been pegged on static electricity). Incredibly long and awfully bad in its plotting and pacing, the film succeeds only as a curiosity: It shows us the guts of the ship as they really appeared. Who knew it was so fancy?

Real Genius Review


Extraordinary
Ah, the '80s. It was the semi-golden decade of decadence and self-importance. It was the last time when what the average Joe likes determined what the movie studios made, not the other way around. Consequently, it was the last decade for really funny movies. In the 90s, if you wanted to make something side-splitting, you had to go Independent.

In the '80s, however, there are no shortage of movies that are just plain fun. From the Ghostbusters films to Ferris Bueller's Day Off, to the off-kilter dark comedy/horror April Fools Day, the 80s had no shortage of movies that made you laugh. It was the only time that comedies had scripts instead of actors that make up their own scripts, and, as a consequence, the movies of the '80s were actually funny.

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Looking for Mr. Goodbar Review


Excellent
It takes a strong stomach to see Annie Hall playing a wanton slut of a woman, left behind by the sexual revolution. Nonetheless, Diane Keaton pulled a 180 in this gritty drama, about a schoolteacher for the deaf who experiments with drugs and (more importantly) wild sex, during the era of free love. Overflowing with symbolism and hopelessly depressing, this one is a true eye-opener. If you think you know Ms. Keaton -- you don't, until you've seen this one.

The Sugarland Express Review


Excellent
Somewhere between unleashing the homicidal tanker of Duel on television audiences and the man-eating shark of Jaws on moviegoers, a young Steven Spielberg found the time to spin a far more human yarn in his debut theatrical feature The Sugarland Express. Employing the same storytelling techniques here as in the more fantastic fables that would follow, he elevates the material above its fairly routine narrative.

Based on a true story, the film follows the efforts of two married convicts, Lou Jean and Clovis Michael Poplin (Goldie Hawn and William Atherton), to retrieve their son from the foster parents who took custody when the Poplins went into the clink. Having already served her time, Lou Jean springs her husband from jail and, a few tragic misjudgments later, soon she's on the run with him and a kidnapped patrolman, Slide (Michael Sacks).

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William Atherton

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