The Terminator Stand Up

The Terminator




The Terminator Stand Up

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James Cameron's The Terminator (1984), in a story about Sarah Connor - the future mother of John, the leader of a human rebellion against the machines (exemplified by the brutal cyborg T-800 played by Arnold Schwarzenegger), established an action film genre that extends to the present day.

Austin Powers Stand Up

Austin Powers




Austin Powers Stand Up

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Cars Movie Lightning Stand Up

Lightning




Lightning Stand Up

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Lightning McQueen (voiced by Owen Wilson), a hotshot rookie race car driven to succeed, discovers that life is about the journey, not the finish line, when he finds himself unexpectedly detoured in the sleepy Route 66 town of Radiator Springs. En route across the country to the big Piston Cup Championship in California to compete against two seasoned pros, McQueen gets to know the town's offbeat characters - including Doc Hudson (a 1951 Hudson Hornet with a mysterious past, voiced by screen legend Paul Newman), Sally Carrera (a snazzy 2002 Porsche voiced by Bonnie Hunt), and Mater (a rusty but trusty tow truck voiced by Larry the Cable Guy) - who help him realize that there are more important things than trophies, fame, and sponsorship.

The all-star vocal cast also includes free-wheeling performances by Tony Shalhoub, Michael Keaton, Cheech Marin, George Carlin, Katherine Helmond, and perennial Pixar “good luck charm,” John Ratzenberger. Michael Wallis, author of the critically acclaimed book, Route 66: The Mother Road, and the authority on that legendary American artery that connected north to south, and east to west, is heard in the film as the voice of the Sheriff of Radiator Springs.

Johnny Depp Captain Jack Sparrow Stand Up

Captain Jack Sparrow




Captain Jack Sparrow Stand Up

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Depp was enthusiastic to pursue the development of Captain Jack's journey in “At World's End.” “When we last saw Jack in `Dead Man's Chest,'” Depp explains, “he was swatting his way into the mouth of Kraken, and when we pick him up again in `At World's End' he's in Davy Jones' Locker, which is kind of beyond the idea of purgatory, a kind of hell in which he's surrounded by himself. I thought it was a brilliant idea of taking this guy and not have him face his demons, but rather the various sides of his personality.”

“It's an interesting idea that Jack Sparrow has an honest streak that will likely be his undoing,” adds screenwriter Ted Elliott. “He says it in the first movie, it actually does happen in the second one, and in this third film Jack has said, in effect, look, I've given up on the whole honest streak thing because we all saw where that one led to. That becomes Jack's struggle throughout…what are you willing to do to get what you want?”

“Johnny Depp is a very surprising, unusual and unique actor,” adds Jerry Bruckheimer, “who creates memorable, original characters that audiences just fall in love with. Captain Jack was unlike anything that audiences had seen on screen before, a drunken, swashbuckling character who can barely stand up sometimes, yet is so clever and smart that he outwits everybody around him. And Johnny does this on every movie. Whether it's Willy Wonka in `Charlie and the Chocolate Factory,' J.M. Barrie in `Finding Neverland' or `Donnie Brasco,' he creates something so indelible that you can't quite put your finger on how he invents that magic.”

Troy Bolton Stand Up

Troy Bolton




Troy Bolton Stand Up

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Homer Simpson Stand Up

Homer Simpson




Homer Simpson Stand Up

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HOMER SIMPSON is a simple man. A man who through punishing trial and error has proven that even one’s loftiest goals are attainable—provided you set them low enough. Homer is well versed in the ins and outs of his job at the Springfield Nuclear Power Plant, having innumerable times been fired and rehired for the same position.

Despite the fact that Homer is often the lumpen gristle stuck in the cogs of Mr. Burns’ money-crazed machinations, Mr. Burns can never remember Homer’s name. Homer is also stuck in the middle of a classic generational parenting cycle.

Having been constantly corrected and belittled by his father, Homer strives to be supportive of his own family by smothering them with indifference and vague endearments. As a result, Lisa feels left out, Bart acts out, and, as far as Homer is concerned, Maggie rarely even exists. Yet Homer deeply loves and is intensely devoted to his wife and kids, when it occurs to him. When Marge refuses to go scrounging at the dump, Homer promises to bring her back something nice. In fact, Homer spends as much time as possible singing Marge’s praises between rounds of beer at Moe’s Tavern. Now, if only he could remember the words to that praise song.

Moe’s Tavern is Homer’s homely home away from home; a place where he will be greeted with open arms by both well and ill-wishers alike, as long as he’s buying, which is seldom; a place where he can relax, scratch himself with his keys, blow his nose on his shirt, and drink glass after glass of sweet, sweet beer. A place where, after a few drinks and a pickled egg or two, anything seems possible, even his hare-brained get-richquick schemes. After all, life is too short to get rich slow.

John Wayne Stand Up

John Wayne




John Wayne Stand Up

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The cinema's heroes and families were much less secure than television's. Westems and epics alike defined the hero as someone to whom violence is done; loser, martyr or victim, the liberal hero was passive, defensive, unwilling or unable to take the initiative himself.

There was an inescapable taint of masochism in the inevitability with which James Stewart, Charlton Heston, Kirk Douglas, even Gary Cooper, were deliberately maimed and humiliated. Heston seldom survived an epic without being stripped and mutilated at least once.

Younger male stars, trained in the neurotic mannerisms of the Method school of acting, took the performance of physical and emotional vulnerability even further. What often seemed to be being celebrated was their capacity to soak up punishment, and no-one responded better to this treatment than the sulky and indecipherable Marlon Brando, whose mumbling was always most justified after a beating. Even John Wayne, the great icon of conservative male stability, did not escape without having repression and neurosis attached to his character in John Ford's The Searchers