Vince McMahon has a lot of negative qualities to him. He’s an egomaniacal, out-of-touch, petty sociopath who will chase people around the workplace with soiled underwear on a stick. Despite being an eccentric psycho, Vince still has his positives. One of them is how whenever WrestleMania comes by, he tends to treat the roster like Ebenezer Scrooge treats people on Christmas Day. WrestleMania is the biggest payday of the year and it’s a show where they try to get as many people on as possible so that even some of the lowest-ranking folks can earn some big money.
It can take many forms, from ten-man tag matches, Fatal 4-Ways, Money in the Bank, or even just tossing in a bunch of pointless singles matches featuring guys who aren’t even feuding. The most tried and true way to get a bunch of wrestlers on the show with little effort is a battle royal.
It can take many forms, from ten-man tag matches, Fatal 4-Ways, Money in the Bank, or even just tossing in a bunch of pointless singles matches featuring guys who aren’t even feuding. The most tried and true way to get a bunch of wrestlers on the show with little effort is a battle royal.
- 4/4/2020
- by Gavin Jasper
- Den of Geek
All films start out with the greatest of intentions, but some of them fail in massive proportions. When hit with budget over-runs, scripts rewritten by committee and other problems, they can be headed to the garbage dumps of movie history. Take a tour now through our photo gallery featuring 12 of the biggest box office bombs of all time. These turkeys might make you sick to your stomach, but let’s take a photo gallery tour anyway to look over these these rotten leftovers.
SEEThanksgiving on TV: 15 Greatest Episodes of All Time
1. Battlefield Earth – 2000
John Travolta fought for many years to get this adaptation of the L. Ron Hubbard novel made into a movie. Set in the year 3000, the science-fiction film is set on an Earth that has been ruled for 1,000 years by the brutal Psychlos.
2. Heaven’s Gate – 1980
Michael Cimino had full reign to do what he wanted coming off Best...
SEEThanksgiving on TV: 15 Greatest Episodes of All Time
1. Battlefield Earth – 2000
John Travolta fought for many years to get this adaptation of the L. Ron Hubbard novel made into a movie. Set in the year 3000, the science-fiction film is set on an Earth that has been ruled for 1,000 years by the brutal Psychlos.
2. Heaven’s Gate – 1980
Michael Cimino had full reign to do what he wanted coming off Best...
- 11/28/2019
- by Chris Beachum
- Gold Derby
Cody Johnson’s path to the country music mainstream has been a winding one, but his first single under a new major-label partnership, the heartfelt “On My Way to You,” is about a simpler, if more profound journey: falling in love.
A former rodeo rider and prison guard, the Texas native self-released six LPs in 10 years, but it wasn’t until 2014’s Cowboy Like Me landed in the country Top 10 that his fame began to skyrocket. Now releasing his music through a strategic partnership with Warner Music Nashville, “On My...
A former rodeo rider and prison guard, the Texas native self-released six LPs in 10 years, but it wasn’t until 2014’s Cowboy Like Me landed in the country Top 10 that his fame began to skyrocket. Now releasing his music through a strategic partnership with Warner Music Nashville, “On My...
- 8/10/2018
- by Jeff Gage
- Rollingstone.com
The Alamo
Opens
April 9
The makers of "The Alamo", the new movie based on the legendary defense and fall of the Texas compound, want to wrestle this piece of American history from the ranks of jingoism and patriotic fervor. They enjoy partial success, but this results in an epic that sometimes stalls in static, talky sequences that try to situate the heroic feat in the cross-currents of history and sort out an array of colorful characters whose bios must be divorced from legend.
"The Alamo", directed by native Texan John Lee Hancock, making only his second feature, is a respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots. But even that might be too narrow a demographic for a film whose budget insiders peg at $98 million. Over time and around the world, the film should generate profits, but the guess here is that it will fall short of the blockbuster status originally envisioned when Disney greenlighted the film.
Produced by Oscar-winners Mark Johnson and Ron Howard (who bowed out as director when the studio reportedly balked at his fee), "The Alamo" is a beautifully mounted historical re-creation. One senses authenticity in the costumes, sets, snatches of period music, military strategy and character sketches. Indeed, the first 40 minutes swims in political history and larger-than-life personalities to such a degree that the movie risks confusing general audiences not up on the American scene circa 1835-36. Eventually, the characters and their positions grow clearer as the centerpiece showdown draws nearer, but the movie clearly struggles to decide which -- and whose -- story to tell.
Several superstars of the 1830s are brought together for the battle. Most notable are Tennessee mountain man and furious self-promoter Davy Crockett Billy Bob Thornton), great knife-fighter and shady militiaman James Bowie (Jason Patric), nation-building Gen. Sam Houston (Dennis Quaid), Mexican dictator Gen. Antonio Lopez de Santa Anna (Emilio Echevarria) and the one person perhaps made famous by the event itself, Lt. Col. William Travis (Patrick Wilson), a young Alabama officer and lawyer whom chance made temporary commander of the old mission turned into a fort known as the Alamo.
The script, written by Leslie Bohem, Stephen Gaghan and Hancock adds other characters such as Juan Seguin (Jordi Molla), a sympathetic Mexican, or Tejano, to demonstrate that the siege wasn't simply Latinos vs. Anglos, two black slaves (Edwin Hodge and Afemo Omilami) to represent that point of view and a couple of peripheral women.
The confusion of the opening scenes gives way to an intense stalemate as 2,400-odd Mexican soldiers surround a poorly designed fortress holding fewer than 200 rebels and -- its one attribute -- several powerful cannons. As the men sweat out the remaining days of their lives, Hancock also wants to sweat out their true selves.
Crockett comes off as a showman and master of the grand gesture, who admits to being a creation of 19th century media. Easily the movie's most fully drawn character, Thornton's role straddles the wide gap between the Disney television version of Crockett and the political opportunist who is shocked but amused to realize his ultimate demise will actually substantiate much that is his legend.
Patric's Bowie enters the Alamo a seemingly healthy man but swiftly takes to his bed, a victim not only of consumption but too many near-fatal wounds from his fighting past. Initially a rival of Bowie, Wilson's Travis grows in moral resolve and confidence as the 13-day siege wears on. Quaid's Houston gets sidelined by the movie's understandable focus on the Alamo. Raising and training an army in another part of Texas, Quaid can do little more than furrow his brow until redeemed by his strategy to lure the egomaniacal Santa Anna to his downfall following the triumph at the Alamo. Echevarria's Mexican general is an all-too-conventional villain, a vainglorious popinjay consumed by sensual desires during the siege and contemptuous of his own men's lives.
The movie shows signs of postproduction stress syndrome with key characters getting short shift, others drifting through without much introduction and situations emerging without explanation, the most notable being at the climatic battle of San Jacinto, where Santa Anna, fully dressed one minute, is seen running in underwear.
By default, Crockett dominates the movie until his demise, then somewhat disconcertingly, Houston, portrayed chiefly as a drunk until the siege, draws the focus. Mostly, the movie lacks the moments or gestures that will cement relationships and galvanize audience emotions. You will remember this "Alamo", but the sum and substance of conflict remains a little sketchy.
Under Hancock's command, cinematographer Dean Semler helps you understand the spatial relationships inside and outside the fortress, designer Michael Corenblith achieves the true grit of the forlorn compound and editor Eric L. Beason performs the Herculean task of giving movement to a static situation. Carter Birwell's score is serviceable though conventional.
THE ALAMO
Buena Vista Pictures
Touchstone Pictures/Imagine Entertainment
Credits:
Director: John Lee Hancock
Screenwriters: Leslie Bohem, Stephen Gaghan, John Lee Hancock
Producers: Mark Johnson, Ron Howard
Executive producers: Todd Hallowell, Philip Steuer
Director of photography: Dean Semler
Production designer: Michael Corenblith
Music: Carter Birwell
Costume designer: Daniel Orlandi
Editor: Eric L. Beason
Cast: Sam Houston: Dennis Quaid
Davy Crockett: Billy Bob Thornton
Jim Bowie: Jason Patric
William Travis: Patrick Wilson
Antonio Lopez de Santa Anna: Emilio Echevarria
Juan Seguin: Jordi Molla
Running time -- 137 minutes
MPAA rating: PG-13...
April 9
The makers of "The Alamo", the new movie based on the legendary defense and fall of the Texas compound, want to wrestle this piece of American history from the ranks of jingoism and patriotic fervor. They enjoy partial success, but this results in an epic that sometimes stalls in static, talky sequences that try to situate the heroic feat in the cross-currents of history and sort out an array of colorful characters whose bios must be divorced from legend.
"The Alamo", directed by native Texan John Lee Hancock, making only his second feature, is a respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots. But even that might be too narrow a demographic for a film whose budget insiders peg at $98 million. Over time and around the world, the film should generate profits, but the guess here is that it will fall short of the blockbuster status originally envisioned when Disney greenlighted the film.
Produced by Oscar-winners Mark Johnson and Ron Howard (who bowed out as director when the studio reportedly balked at his fee), "The Alamo" is a beautifully mounted historical re-creation. One senses authenticity in the costumes, sets, snatches of period music, military strategy and character sketches. Indeed, the first 40 minutes swims in political history and larger-than-life personalities to such a degree that the movie risks confusing general audiences not up on the American scene circa 1835-36. Eventually, the characters and their positions grow clearer as the centerpiece showdown draws nearer, but the movie clearly struggles to decide which -- and whose -- story to tell.
Several superstars of the 1830s are brought together for the battle. Most notable are Tennessee mountain man and furious self-promoter Davy Crockett Billy Bob Thornton), great knife-fighter and shady militiaman James Bowie (Jason Patric), nation-building Gen. Sam Houston (Dennis Quaid), Mexican dictator Gen. Antonio Lopez de Santa Anna (Emilio Echevarria) and the one person perhaps made famous by the event itself, Lt. Col. William Travis (Patrick Wilson), a young Alabama officer and lawyer whom chance made temporary commander of the old mission turned into a fort known as the Alamo.
The script, written by Leslie Bohem, Stephen Gaghan and Hancock adds other characters such as Juan Seguin (Jordi Molla), a sympathetic Mexican, or Tejano, to demonstrate that the siege wasn't simply Latinos vs. Anglos, two black slaves (Edwin Hodge and Afemo Omilami) to represent that point of view and a couple of peripheral women.
The confusion of the opening scenes gives way to an intense stalemate as 2,400-odd Mexican soldiers surround a poorly designed fortress holding fewer than 200 rebels and -- its one attribute -- several powerful cannons. As the men sweat out the remaining days of their lives, Hancock also wants to sweat out their true selves.
Crockett comes off as a showman and master of the grand gesture, who admits to being a creation of 19th century media. Easily the movie's most fully drawn character, Thornton's role straddles the wide gap between the Disney television version of Crockett and the political opportunist who is shocked but amused to realize his ultimate demise will actually substantiate much that is his legend.
Patric's Bowie enters the Alamo a seemingly healthy man but swiftly takes to his bed, a victim not only of consumption but too many near-fatal wounds from his fighting past. Initially a rival of Bowie, Wilson's Travis grows in moral resolve and confidence as the 13-day siege wears on. Quaid's Houston gets sidelined by the movie's understandable focus on the Alamo. Raising and training an army in another part of Texas, Quaid can do little more than furrow his brow until redeemed by his strategy to lure the egomaniacal Santa Anna to his downfall following the triumph at the Alamo. Echevarria's Mexican general is an all-too-conventional villain, a vainglorious popinjay consumed by sensual desires during the siege and contemptuous of his own men's lives.
The movie shows signs of postproduction stress syndrome with key characters getting short shift, others drifting through without much introduction and situations emerging without explanation, the most notable being at the climatic battle of San Jacinto, where Santa Anna, fully dressed one minute, is seen running in underwear.
By default, Crockett dominates the movie until his demise, then somewhat disconcertingly, Houston, portrayed chiefly as a drunk until the siege, draws the focus. Mostly, the movie lacks the moments or gestures that will cement relationships and galvanize audience emotions. You will remember this "Alamo", but the sum and substance of conflict remains a little sketchy.
Under Hancock's command, cinematographer Dean Semler helps you understand the spatial relationships inside and outside the fortress, designer Michael Corenblith achieves the true grit of the forlorn compound and editor Eric L. Beason performs the Herculean task of giving movement to a static situation. Carter Birwell's score is serviceable though conventional.
THE ALAMO
Buena Vista Pictures
Touchstone Pictures/Imagine Entertainment
Credits:
Director: John Lee Hancock
Screenwriters: Leslie Bohem, Stephen Gaghan, John Lee Hancock
Producers: Mark Johnson, Ron Howard
Executive producers: Todd Hallowell, Philip Steuer
Director of photography: Dean Semler
Production designer: Michael Corenblith
Music: Carter Birwell
Costume designer: Daniel Orlandi
Editor: Eric L. Beason
Cast: Sam Houston: Dennis Quaid
Davy Crockett: Billy Bob Thornton
Jim Bowie: Jason Patric
William Travis: Patrick Wilson
Antonio Lopez de Santa Anna: Emilio Echevarria
Juan Seguin: Jordi Molla
Running time -- 137 minutes
MPAA rating: PG-13...
- 7/9/2004
- The Hollywood Reporter - Movie News
Variety reports that Dennis Quaid will re-team with his The Rookie director John Lee Hancock for Disney's historical epic The Alamo, currently slated for a 2003 holiday release. Quaid will play Sam Houston. Though an ensemble piece, the role of Houston is considered to be the largest in the film; Quaid now joins Billy Bob Thornton in the film, which is expected to start shooting in January. At one point, Russell Crowe was to play Houston, with Ron Howard directing, but when Disney downsized the project from $125 million to $80 million (with a requisite for a PG-13 rating), both Howard and Crowe bailed.
- 11/19/2002
- IMDbPro News
Variety reports that Disney is in negotiations for Billy Bob Thornton to star as Davy Crockett in its delayed period drama The Alamo. The $75 million film, to be directed by John Lee Hancock (The Rookie) is slated to start shooting in January in hopes of a holiday 2003 release; in fact, the film's set has already been constructed in Austin, TX. Hancock was hired in late July to replace Ron Howard, who left the project over budgetary disputes. Disney is expected to re-approach Ethan Hawke for the role of William Travis, a scoundrel who wound up a hero in the siege, and possibly Russell Crowe, who had considered playing the role of Sam Houston under Howard's direction.
- 10/3/2002
- IMDbPro News
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