The Perils and Promises of Revolving Doors
I've watched The Walking Dead since it debuted, because a) I have been an unabashed zombie fan since the first time I snuck out of my bedroom to watch Dawn of the Dead on cable while my parents slept, and b) I am a glutton for punishment.
AMC's most famous show not about chain smoking advertising execs gets slagged for many things: Lori, long stretches where not much happens, Carl, any member of the Grimes family not named Rick or Little Ass Kicker, really. But one thing you haven't been able to complain about this season is the lack of zombie action. Last Sunday, Noah -- who'd recently joined the group after leaving Atlanta -- suffered arguably the most horrifying death we've seen on the show to date. Trapped in a revolving door with Glenn, he's dragged to his doom by walkers when Nicholas panics and forces the door open.
Noah's death can also be seen as another example of one the most persistent criticisms of the show, i.e. its habit of killing off black characters (or, at least, the weird racial equilibrium that the survivors' group maintains: introduce Gabriel, kill Bob, introduce Noah, kill Tyreese). Hell, even the horse that died this season was black.
Whatever. All I want to do is talk about other revolving door scenes.
Return of the Pink Panther (1975)
I can't imagine modern movie audiences sitting still through a slow burn scene like this, and apparently neither could MGM, whose two remakes (2006's The Pink Panther and 2009's cleverly titled The Pink Panther 2), both starring Steve Martin, were loaded with enough fart jokes to satisfy 21st century sensibilities.
The Godfather (1972)
Cicci shooting Cuneo in the hotel revolving door is only one of the brilliantly executed ... executions that make the climactic sequence of Francis Ford Coppola's classic perhaps the best movie ending of all time.
This movie is almost 12 years old. I'm not sure we can elevate it into the uppermost pantheon of holiday movies alongside Gremlins, Die Hard, and Ernest Saves Christmas, but it's sweet enough. And Ferrell was still mostly not tiresome.
American Psycho (2000)
We've come a long way from the 1980s. Even when AP was released, the memory of the Greed Decade was still potent enough the film's satirical nature was clear. As we get further down the road, however, Bateman and his possibly (probably) hallucinated acts of violence have achieved a weird anti-hero status.
He did have nice abs.
Hannah Montana: The Movie (2009)
I freely admit I have never seen this movie (join the club), but stumbled upon this YouTube clip in my search. I suspect it represents the gradual maturation of Miley Cyrus' character and desire to shed her alter ego, which is a weird juxtaposition when you think about that whole VMA deal.
Damn, this movie was so good. I know the revolving door costume change doesn't occupy much screen time (and I love his bewilderment when confronted by a newfangled phone kiosk), but it works. Very well.
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