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Quigley Down Under. Guilty Pleasure 1. Independence Day 2. Ever After 3. Bowfinger 4. Oscar 5. Robin Hood: Prince of Thieves. Great lists, Cody. Thanks for sharing them.

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Although, I think The Winslow Boy has been overlooked or forgotten more than any or your picks on that list. Would be nice if all the lists were published afterward. I know that sometimes you do this, but it would be a nice reference. Considering the above that i may have missed it — my apologies if it was mentioned but I was surprised that American History X was not mentioned.

Given there were over movies mentioned this seems like an oversight. One more nice thing would be a way to edit your own post — Guess I should proof read my own posts before submitting. We go back and forth on posting the lists. Will everybody listen if we post them?

One time Jason made it password protected for people who listened all the the through. That seemed like a good idea. This is a good point though, we should be better organized on this. Agreed on your new policy. I took notes. I doubt that people would just read the lists without listening. Where is the fun in that? If all I really wanted was a list, I could come up with plenty of those with a simple web search. Michal, Josh and Hammer: This is a fascinating debate. Three things and a final word for Michal below:.

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Setting aside audio-visual media for a moment — just the written word alone especially where it pertains to books and journalistic enterprises still has its gray eras in terms of online citations and so forth. Until I knew Josh and a guy named Barrett Hilton, I had no idea or consideration for the plight of the filmmaker, whether that filmmaker is Spielberg or an indie person. But Josh and Barrett have helped to put a face on their challenges, at least for me. And I know that Josh, for example, works very hard harder than he should have to to make a living as a filmmaker, to support his family.

That is wonderfully considerate of you, Sir. To everyone above, Thanks for commenting. Thank you for giving us your lists! It was only when I was listening to the show I realized what a big decade the 90s was for great movies. I worked in a video store for a few years in the 90s when I was a teenager. Maybe I missed them.

In the name of the Father was a great movie and of particular relevance to me being from Ireland and had quite a few Oscar nominations if I remember correctly. I forgot about that one. Wow Jason… just watched Out of the Furnace. I cannot believe how much I disagree with your masterpiece film. What should have happened at least by the 30 minute mark is drawn out to the one-hour mark. There are 30 minutes or more that could be cut from this film without mattering at all.

That made me smile so much! Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. I love this show so much. Revisit Rush Hour! Jason here. The catastrophe is usually related via a brief introductory title, a narrator who describes the events, a montage of nuclear explosions often only one suffices, so apocalyptic an icon is the broiling mushroom cloud—a true totem of the atomic age , or a combination of such.

This generic strategy requires the audience to acknowledge that nuclear war is not only possible but also probable. The feared conflict has become a fait accompli, signified by this now stereotyped mode of narrative introduction.

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Homo nuclearus. One recurring genre ploy associated with the long-term effects of nuclear war questions not only how the human species will survive but also in what form. A number of films e. Cyclops , to recast their familiar generic tales of horror into stories of genetic transformation caused by exposure to radioactive materials. Other films adopt similar themes from within a distinctly post-holocaust milieu. After a montage of nuclear detonations, a narrator in Creation of the Humanoids states that after an atomic war destroyed 92 per cent of humankind, androids of increasing simulacra were built to do most tasks, eventually becoming sentient, and in a twist ending, the xenophobic, robot-hating hero discovers his own synthetic structure.

In Zardoz , The Final Program , and Rats: Night of Terror , the post-holocaust future is transcended in hybrid evolutionary terms. The Future as Past. A new narrative device, similar to the encountering of non-terrestrial postholocaust societies, is that of temporal dislocation, either by technological means or via ironic juxtapositioning. In the latter strategy, the post-nuclear scenario is withheld from the audience, who are led to believe the events take place in a distant stone-age past.

As a warning to future generations a narrated coda reveals that a devastating atomic war has caused horrid mutations and the return of the dinosaurs. In Yor: Hunter from the Future , She , and Ator: the Invincible , protagonists inhabit a future post-nuclear Earth even though the imagery evokes a prehistoric past generically familiar from countless exploitation movies such as One Million Years BC or When Dinosaurs Ruled the Earth The entire Planet of the Apes series and TV spin-offs employ similar disorientations of time and space in their surreal renderings of post-holocaust human regression into farming stock with corresponding simian intellectual evolution toward an industrial, but pre-atomic, capacity.

Other films to employ the "Rip Van Winkle as visitor to the post-holocaust future" plot device include Genesis II , Planet Earth , Buck Rogers in the 25th Century , and the Polish production Sex Mission , in which two hibernating men awake to find a matriarchal society they despise, one where all males perished from radioactive contamination decades earlier.

The most frequent temporal shift, however, comes from films depicting deliberate attempts at time travel in which characters discover a nuclear war-ravaged future.

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In The Time Machine , a Victorian inventor travels into the future only to find that London and the rest of the world had been devastated in the atomic war of Anticipating Planet of the Apes by 20 years, World Without End depicts astronauts landing on an unknown planet post-holocaust Earth unrecognized where gigantic spiders and deformed mostly cyclopean primitive mutants roam the surface. The expedition discovers an underground technological city inhabited by nubile women but sexually impotent men who explain they are survivors of a 22nd-century atomic war.

The 20th-century visitors eventually manage to return to their own time but are trapped in a marvelously realized cyclical time-loop paradox which prevents them from warning their contemporaries of the future war.

Equally fatalistic renderings of the theme can be found in Beyond the Time Barrier , which features a test pilot thrust into the future who also encounters an underground race of technologically superior telepathic survivors, and Escape from the Planet of the Apes , where a trio of time-traveling ape scientists are executed when they reveal a future "history" of nuclear genocide which marks them as the causal prophets of doom. Another variant on this theme portrays emissaries materializing from a post-nuclear holocaust future into the 20th century, ostensibly to halt the immutable progress leading toward the cataclysmic war The Terror from the Year 5,, ; I Killed Einstein, Gentlemen, ; and Future Hunters, , which explicitly adopts apocalyptic mythology when emissaries from a post-holocaust future visit contemporary Earth hoping to avert a nuclear war by using a Christian religious relic.

The Terminator entertains a similar premise, but from a bleaker nihilistic perspective: a cyborg from the 21st century is sent into the "past" to eliminate Sara Connor, the mother of a post-holocaust resistance leader. But instead of Connor trying to prevent the nuclear war, foretold as being preempted by Pentagon artificial intelligences, she accepts and accommodates this potential future as preordained and prepares for its survival. In the recent sequel Terminator 2: Judgement Day direct action is taken to avert this nuclear predeterminism, though the finale remains ambiguous as to its eventual success.

More often than not these movies articulate overt messages of warning both through expository dialogue and in the depiction of dehumanized futures the survivor species struggle to inhabit. Otherwise, these films have either a fatalistic or an ambiguous conclusion where it is hoped that "the present" i.

Exterminating Angels: The Post-apocalyptic Hero.

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Set long after the nuclear war, they depict a world in which what little fabric of community remains is constantly threatened by rampaging bands of marauders, challenged only by self righteous individuals or occasionally by smaller, organized groups. They are the Warriors, Terminators, Exterminators, Equalizers, Hunters, and Gladiators of the post-apocalyptic future.

Ironically, the cross-cultural success of these films relies upon an existing cinema of nuclear and ecological catastrophe, e. Earthquake , Meteor Yet even prior to Mad Max the predominant imagery set in this long-term realm was that of atavism and regression.

As early as , Captive Women demonstrated another approach to nuclear war by combining the neophyte visions of its contemporaries Five, Rocketship X-M in rendering a far distant Earth reduced to barbarism as a consequence of an atomic Third World War. Set in the ruins of Manhattan a thousand years hence, the film depicts three distinct castes of survivors: the Mutates, offspring of those genetically damaged by radiation; the relatively healthy underground-dwelling Norms; and their mutual enemy, the brutal and satanic Upriver people.

A decade later Lord of the Flies showed how quickly dormant atavistic desires manifest themselves when a group of British Public Schoolboys crash-land on an uninhabited island during a nuclear war. More provocatively, A Boy and His Dog acts to distill much of the preceding category of film examining long-term survival, while adding variation to the generic corpus.

By now long-familiar motifs and tropes are sardonically united in a post-apocalyptic desert plateau around what used to be Phoenix, Arizona. Decades after a cataclysmic war, an adolescent named Vic and his mutant-telepathic dog, Blood, respectively hunt for women and food.