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  • Participant in “World of Reel” Critics Poll for Best Films of the 1950s — Every Movie Has a Lesson

    Participant in “World of Reel” Critics Poll for Best Films of the 1950s — Every Movie Has a Lesson







    MEDIA APPEARANCE: Participant in “World of Reel” Critics Poll for Best Films of the 1950s — Every Movie Has a Lesson

























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  • Included in Rotten Tomatoes “First Reviews” for “A Minecraft Movie” — Every Movie Has a Lesson

    Included in Rotten Tomatoes “First Reviews” for “A Minecraft Movie” — Every Movie Has a Lesson







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  • 20 Airplane! Behind the Scenes Stories of a Perfect Comic Takeoff

    20 Airplane! Behind the Scenes Stories of a Perfect Comic Takeoff


    Here are some Airplane behind the scenes stories we think you’ll enjoy.

    But First

    Credit: Paramount

    Airplane! almost didn’t take off. Studios didn’t initially see the potential of the the script for a disaster movie takeoff, which played the comedy completely straight in a way you had to see to understand. It was also crucial to cast Ted Hays and Julie Hagerty as romantic leads the audience would stay invested in despite the absurdity all around them.

    But after brother Jerry and David Zucker and their friend Jim Abrahams proved their comic chops with the cult classic Kentucky Fried Movie, they got the runway to make Airplane!, one of the most beloved comedies of all.

    And now… the Airplane! behind the scenes stories.

    The Studio Wanted Bill Murray or Chevy Chase

    Warner Bros.

    Airplane! writers-directors David and Jerry Zucker and Jim Abrahams — aka ZAZ — always wanted their actors to play it straight — and to cast stars known for drama. But Paramount Pictures, understandably, thought that since the 1980 release was a comedy, it should feature some of the biggest comedy stars of the day.

    “The requests kept coming in from the studio that we have this or that actor in to read,” David Zucker said in ZAZ’s excellent 2023 book Surely You Can’t Be Serious: The True Story of Airplane. “Comedians like Bill Murray and Chevy Chase.”

    Chase and Murray, of course, ended up in another huge 1980 comedy, Caddyshack (above).

    Leslie Nielsen Had a Fart Machine

    Paramount – Credit: C/O

    Leslie Nielsen, known before Airplane! for dramatic roles, was also known for carrying around a machine that made rude noises.

    “I think that the little fart machine he always carried with him might have been his way of coping with a career filled with heavy drama,” Jerry Zucker said in Surely You Can’t Be Serious: The True Story of Airplane!

    “A friend of his made them for him. I do remember he was selling them on the set. After a while the whole crew had them and all you’d hear was constant farting sounds. I could never get mine to work right, but Leslie… played it like a virtuoso.”

    Kareem Abdul-Jabbar recalled that Nielsen loved to press the button “whenever we were doing dialogue. At first, I thought he just had some sort of intestinal problem.”

    The PA Announcers Were a Real Couple Who Actually Did Airport Announcements

    Paramount – Credit: C/O

    ZAZ couldn’t find the right actors to read the lines from the feuding PA announcers, so they tracked down the people who did the real airport PA recordings. It turned out to be a married couple who had sold the PA system to the airport.

    “So we asked them to come in and give it a try. They did it perfectly,” Jerry Zucker said in Surely You Can’t Be Serious.

    Zucker-Abrahams-Zucker Grew Up Making Fun of Serious Shows

    Future Airplane! star Robert Stack in The Untouchables. ABC – Credit: C/O

    Jim Abrahams and brothers Jerry and David Zucker grew up together, and their dads were business partners in a real estate company.

    In their 2023 book Surely You Can’t Be Serious: The True Story of Airplane!, Jerrry Zucker explained that they spent hours, growing up, watching serious TV shows like The Untouchables, Sea Hunt, and Mission: Impossible — “shows where the characters just took themselves so seriously, and we’d blurt out ridiculous lines for them to say.”

    And in Airplane, “we actually got those same tough-guy actors to say the lines we always wished they would have said.” They included Untouchables star Robert Stack, Sea Hunt star Lloyd Bridges, and Mission: Impossible star Peter Graves.

    That was the origin of their approach to comedy — play it totally straight, and totally absurd.

    ZAZ Were Always Huge Kareem Abdul-Jabbar Fans

    Paramount – Credit: C/O

    Surely You Can’t Be Serious includes a letter that Jim Abrahams, 25 at the time, wrote to his local newspaper, The Milwaukee Sentinel, complaining about its overly harsh coverage of Abdul-Jabbar, who was then known as Lew Alcindor. (Abdul-Jabbar played for the Milwaukee Bucks from 1969-75.)

    Years later, of course, ZAZ cast Abdul-Jabbar in Airplane! to make fun of the practice of action movies casting sports stars.

    In Airplane!, of course, Abdul-Jabbar pretends he’s just co-pilot Roger Murdoch, not Abdul-Jabbar, even as a 10-year-old boy calls him out.

    The Creators of Airplane! Influenced Four-Time Oscar Nominee Willem Dafoe

    Willem Dafoe in American Psycho
    Willem Dafoe in American Psycho. Lionsgate. – Credit: C/O

    As young men, ZAZ founded a comedy theater in Madison, Wisconsin with their friend Dick Chudnow. They named it Kentucky Fried Theater after the fast food chain.

    A young Willem Dafoe was among those who saw an early Kentucky Fried Theater Show in the early 1970s, when his older sister Dee Dee took him to see one at the University of Wisconsin.

    “That really made me think, I could be doing this,” he told Esquire in a 2018 profile “You don’t have to be a card-carrying industry person.”

    Soon the team moved to Los Angeles and started a new theater.

    Also Read: The 15 Funniest Comedy Movies We’ve Ever Seen

    They Took a Lot From a 1957 Airplane Movie

    Paramount – Credit: C/O

    Zucker-Abrahams-Zucker started out writing Airplane! as a parody of all disaster movies, but based it especially on the 1957 airplane drama Zero Hour.

    They used the concept — a romance in mid-air, as our heroes struggle to land the plane safely — but packed it with jokes.

    ZAZ Had No Idea How to Write a Script, at First

    Jenny Agutter in An American Werewolf in London. Universal. – Credit: C/O

    When ZAZ started out on their Zero Hour parody in the 1970s, they weren’t sure how to start. Then they saw John Landis on The Tonight Show in 1973, talking about his low-budget monster movie tribute Schlock, of which Johnny Carson was a fan. Landis had made the film at 21.

    Zucker called him up and invited them to a performance of their comedy show at the Kentucky Fried Theater, where ZAZ told Landis about their movie idea. But they didn’t know anything about writing a screenplay, so he gave them a copy of his own An American Werewolf in London, which he would finally get to make into a movie in 1981.

    ZAZ used it as a template as they wrote Airplane. But when they couldn’t find backing for Airplane, they decided to make a film based on their live comedy sketches — which became Kentucky Fried Movie.

    Robert Hays Came Up With the Jacket Joke

    Airplane Disco Scene
    Airplane Disco Scene – Credit: C/O

    In the Saturday Night Fever sequence, Robert Hays had the idea for one of the best jokes — he stalks onto the dance floor and dramatically throws off his jacket… only to have someone throw it back at him,

    “That was my idea! I actually came up with something!” he self-effacingly said in Surely You Can’t Be Serious.

    It’s a great throwaway joke — pun very much intended — but for our money the funniest moment in the Airplane disco scene may be when Elaine picks Ted up, loosely grips his legs (then just his shoes) and swings him around the dance floor.

    Airplane! Filmed Alongside Raging Bull

    Max Will Restore Separate Credits for Directors and Writers After Fallout Over Consolidated 'Creators' Heading
    United Artists – Credit: C/O

    The classic comedy and ultra-serious Martin Scorsese drama both shot at Culver City Studios.

    “So once in a while, we could walk over to their stage and watch Martin Scorses direct Robert De Niro in boxing scenes,” Jim Abrahams said in Surely You Can’t Be Serious.

    The Crash Scene Could Have Been a Real-Life Disaster

    Paramount – Credit: C/O

    Airplane! wrapped shooting on August 8, 1979. Its final shot was the 747 crashing through the glass, into the terminal.

    Because it involved a fake plane nose on a flatbed 10-ton truck, tempered glass that was essential for safety, 100 extras and 50 stuntmen, it was a huge production. Howard Koch, who was in charge of the production for Paramount and was known for being laid-back and supportive, was shocked at the expense.

    “That was one of the few times we saw Howard furious,” David Zucker said in Surely You Can’t Be Serious.

    But the shot was worth it: Besides getting a huge laugh in the film, it was used in the trailer and promotion , and provided the backdrop for cast and crew photos.

    Leslie Nielsen Really Hit That Lady

    Paramount – Credit: C/O

    Lee Bryant plays the hysterical woman who is battered by fellow passengers. The script called for her to be shaken, but Bryant has the idea that Lorna Patterson, as the flight attendant, should shake her very hard, and that a man should then take over, shaking her even harder, then slapping her.

    After that, Leslie Nielsen’s doctor slaps her — twice — and then a nun takes over. Soon we see a long line of passengers lining up — one in boxing gloves, one holding a knife, one holding a gun.

    “Leslie was the only one who actually slapped me,” Bryant later said. “He even threw in an extra one. I guess he was improvising.”

    Zucker-Abrahams-Zucker Cast Their Moms

    Paramount – Credit: C/O

    David and Jerry Zucker cast their mom, Charlotte Zucker, as the woman putting on makeup during turbulence. Jim Abrahams mom, Louise Abrahams Yaffe, is the character who introduces Leslie Nielsen’s character in the film by saying, “”Oh stewardess? I think the man next to me is a doctor.” (He is wearing a stethoscope at the time.)

    The moms also posed for a picture with TV mom Barbara Billingsley.

    ZAZ Had Serious Leave it to Beaver Credentials

    Kentucky Fried Movie
    United Film Distribution Company – Credit: C/O

    Leave it to Beaver, the squeaky clean black-and-white family sitcom that aired from 1957-63, was a staple of the Zucker household.

    It starred Barbara Billingsley as June Cleaver, Hugh Beaumont as Ward Cleaver, Tony Dow as his their teenage son Wally, and Jerry Mathers as the Beaver, aka Theodore.

    Zucker, Abrahams and Zucker were huge fans of the show that they even cast one of Tony Dow in their first film, 1977’sThe Kentucky Fried Movie. In a courtroom scene, he played his Leave it to Beaver character, Wally, while Jerry Zucker played Theodore. Then, of course, they cast Barbara Billingsley in Airplane!

    The Jive Scene Was Inspired by Shaft

    MGM – Credit: C/O

    Jim Abrahams, who wrote and directed Airplane with brothers Jerry Zucker and David Zucker, explained in an Airplane behind-the-scenes commentary that “the whole notion for jive dialogue originated from when we went on saw Shaft,” referring to Gordon Parks’ 1971 blaxploitation-action classic, starring Richard Roundtree (above).

    “We went and saw it and didn’t understand what they were saying,” Abrahams said.

    They decided to include some jokes in Airplane about slang that would befuddle white people: “So we did our best as three nice Jewish boys from Milwaukee writing jive talk in the script,” Abrahams said.

    The Original Airplane Jive Talk Script Was Lacking

    Airplane Behind the Scenes Abrahams Zucker
    (L-R) David Abrahams, Jerry Zucker and David Zucker in the Airplane commentary. Paramount. – Credit: C/O

    David Zucker explained that when Norman Alexander Gibbs and Al White auditioned for their roles, “they came in and they had prepared this entire run of jive talking and we were just hysterically laughing the whole time.”

    Al White explained in Zucker-Abrahams-Zucker’s excellent 2023 book Surely You Can’t Be Serious: The True Story of Airplane, that when he read the script, “I couldn’t make hide nor hair of the actual verbiage… they wanted jive as a language, which it is not.”

    He and Gibbs agreed to work on it. So White consulted two books on language, one of which was by J.L. Dillard, a linguist known for his expertise on African-American vernacular, and then took the meaning of the writers’ script and tried to “jive it down, using actual words.” He explained: “It’s not a bunch of gibberish. It does mean something.”

    Al White Put a Lot of Gray Matter Into the Airplane Jive Scene Rewrites

    Paramount – Credit: C/O

    Here’s an example of Al White’s contributions, which illustrates how much he finessed the jive dialogue.

    At one point, White’s Second Jive Dude tells Gibbs’ First Jive Dude, aka Arthur: “That gray matter back, lotta performers down, not take TCB-in’, man!”

    White explains in Surely You Can’t Be Serious how he came up with the phrase: “I needed a word to jive down the word ‘remember,’ but I didn’t find it in either of the books, so I said, ‘Well, let me see — gray matter. That’s the thinking part of the brain, and ‘back’ for remember back. I can say ‘Gray matter back.’

    “And from there I’m just saying that a lot of performers stayed down and weren’t taking care of business on the technical side… man!”

    The film translates all this jive as “Each of us faces a clear moral choice.”

    Barbara Billingsley Was Cast in the Airplane Jive Scene by Being ‘the Whitest White Lady on the Planet’

    Paramount

    “Just the thought of June Cleaver in that role made us laugh,” David Zucker said in Surely You Can’t Be Serious. “She was simply the whitest white lady on the planet.”

    Billingsley said in an interview for the Archive of American Television, “I was sent the script, and I thought it was the craziest script I’d ever read. My husband said, ‘I think it’s funny!’ Well, my part wasn’t written, really. It just said I talked jive. So I went to see the producers and I said I would do it.”

    Jerry Zucker said meeting her “was like we had been put up for adoption, and now we were finally getting to meet our real mom.”

    Al White and Norman Alexander Gibbs Taught Barbara Billingsley Jive

    Airplane Jive Scene actors
    Paramount – Credit: C/O

    “These fellas were wonderful, and they taught me,” Billingley said in her Archive of American Television interview. “They could rattle off jive like you have no idea. I could never get a clue as to how it was done. … Maybe they were good teachers!”

    She also said she had done some research into the history of jive, and that no one knew if it was “street talk” or if enslaved Black people had invented it because “they didn’t want whitey to know what they were talking about.”

    Al White explained in the book, “I ended up writing Barbara Billingley’s jive dialogue and instructing her in the proper elocution. She was very intent on getting it right.”

    White’s mother was a Leave it to Beaver fan, and White asked Billingsley if she would mind talking with her on the phone. “I called my mother, and I said, ‘Mom, I have Barbara Billingsley here, and she’d actually like to speak with you. She was so excited, and Barbara was so gracious,” White said in the book.

    The Airplane Girl Scout Joke Has a Backstory

    Paramount – Credit: C/O

    Airplane! also includes a ridiculous bar fight involving girl scounts. ZAZ loved jokes about girl scouts.

    When they ran the Kentucky Fried Theater, the program included a page entitled, “Things to do after the show.” They included: Visit a dairy and see how milk is handled and prepared for delivery; plan a series of window displays on home safety; help start a library; discuss with your dentist what you can do to make your teeth more attractive.”

    All those suggestions are from The Girl Scout Handbook.

    Thanks for Reading These Airplane! Behind the Scenes Stories

    Madeline Kahn Blazing Saddles
    Warner Bros.

    You might also this list of Every Mel Brooks Movie, Ranked or these Blazing Saddles Behind the Scenes Stories.

    Main image: Airplane!, of course. Paramount



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  • Episode 192 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson

    Episode 192 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson



    For their 192nd episode, two haughty film critics, two betrothed dads, and two classical school teachers, Will Johnson and Don Shanahan, refine their usual viewing to discuss possibly unexpected from their norm, but something with extreme class. We’re talking about director Joe Wright’s sumptuous 2005 adaptation of Jane Austen’s Pride and Prejudice, starring Kiera Knightly in her prime stardom. The gents are joined by a special guest: Will’s daughter Lizzie, an ardent fan of the book and movie. If the movie didn’t class up the podcast, having the target demographic of Jane Austen sure did. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!



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  • Sinners — Every Movie Has a Lesson

    Sinners — Every Movie Has a Lesson







    MOVIE REVIEW: Sinners — Every Movie Has a Lesson























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  • Two to One – Review from Glasgow Film Festival

    Two to One – Review from Glasgow Film Festival


    With the reunification of Germany, residents of the former GDR (or DDR, as it’s known in its mother tongue) were given less than a week to trade in their currency at a truly unfavourable rate of ‘two to one’. For an economy that was already shattered, with all state industries on the brink of extinction, it was another hammer blow to the people of the regime. 

    And it’s here where we find Maren (Sandra Hüller) at the start of writer / director Natja Brunckhorst’s Two to One. It’s July 1990 and she’s been made unemployed; as has her husband, Robert (Max Riemelt), and just about everyone else who lives in their apartment block. The socialist architecture of their domestic dwelling in Halberstadt underlines a community entirely dependent on a non-existent state for their income and home. Robert convinces his grouchy uncle Markowski (Peter Kurth) to let him, Maren and Volker (Ronald Zehrfeld) have a look in the state-owned bunker where he works. In there, they find entire caverns full of East German marks. With just days left to cash in as much as they can carry, they must hatch a plan. 

    There’s a relatively playful feel throughout the film. The kaleidoscopic opening credits almost seem to make fun of the concept of money. Even the attempts to break into the bunker are met with a Mission Impossible style score and out-of-breath attempts at sneaking along corridors. This is further evident in the colour palette. When you picture former GDR neighbourhoods, you probably don’t think of sun-dappled yellows, warm corals and striking turquoise. But that is exactly the palette that Brunckhorst employs. Sure, there’s the old Trabant cars and dodgy rip-offs of Western clothing, but the Halberstadt community is anything but grey and austere. It suggests a hope for the future that is yet to be realised. 

    Two to One - Zwei zu eins - Glasgow Film Festival

    At the heart of the film are two parallel stories; a national drama and a personal one. With all the flaws of the GDR laid bare, there’s a disillusionment and an anger that juxtaposes the firmly held beliefs that life won’t be better in the West. “They’ve screwed us all these years,” Robert says to Maren. “But you always knew that,” she shrugs in reply. “Yeah, but I hoped for something else,” he sighs. It’s a quick snippet of dialogue that belies the betrayal and fears of those suddenly finding themselves ‘stateless’. There’s the devastation in realising that the work you were doing ‘for the advancement of socialism’ was nothing more than cheap labour for the West. What can you do when an entire ideology is stripped away from you, becoming meaningless overnight? 

    There’s also commentary on what it means to swap one extreme for the other – does greed immediately replace the ‘greater good’? Does having endless piles of cash and stacks of electronic goods suddenly make you happy? Brunckhorst’s script would suggest not. There’s a desire to share the money and good amongst everyone in the apartment block in order to get one over on the failed regime, but there’s always personal interest and aspirations bubbling away in the background. It’s an interesting insight into real life events. 

    On the personal level, Maren is struggling with Volker’s return, because it is immediately clear that they have had a romantic past. Whilst he urges her to leave for the West – as he did; we first meet him upon his return from Hungary – she is convinced that both he and Robert can live with her in the East. It’s perhaps the weakest part of the film, not least because Robert is allegedly oblivious to their love affair. 

    Two to One - Zwei zu eins - Glasgow Film Festival

    In terms of performances, Peter Kurth gives an engaging turn as the spirit-swigging Markowski; a man who has lived through the horrors of Germany’s past and is utterly devoid of personal politics. Sandra Hüller, although undoubtedly the draw for many here, isn’t given too much to do beyond count cash and keep both the men in her life on an even keel. Max Riemelt adds cheeky humour and genuine hurt to his character; layering both personal and national tragedy on thickly. It’s a pleasing ensemble, and there’s plenty of funny on-liners to keep you engaged. 

    The pace takes a dip towards the end of the second act and into the beginning of the third. Brunckhorst seems to lose the sense of whimsy and fun that really draws you into the film in the opening 45 minutes or so. It’s made up for with a ridiculous ending that is equal parts incredible and entertaining. There’s also lovely archival footage of East German companies who survived past 1990 and facts about the real money bunker – with notes still appearing as recently as the early 2000s.Two to One is an entertaining approach to a period of history that caused personal conflict and national hardship. It’s enough of a light touch to keep you engaged whilst it deals with bigger themes and a traumatic historical backdrop.

    Two to One is up for the Audience Award at the Glasgow Film Festival. Get your tickets here.

    https://www.youtube.com/watch?v=DCY0Z0-IseU

    Mary Munoz
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  • The End – Review from Glasgow Film Festival

    The End – Review from Glasgow Film Festival


    There are certain things that Hollywood simply does not include in its renderings of a post-apocalyptic world. There’s no bright colours; no priceless works of art on the walls; no cosy clothing; no rich food; and certainly no grand pianos. And yet, in Joshua Oppenheimer’s The End, it’s all there. Oh, and it’s a musical. 

    Mother (Tilda Swinton) and Father (Michael Shannon) have managed to escape the hellfires of earth in a luxurious underground bunker. They’ve raised their Son (George Mackay) entirely underground, never allowing anyone else to seek refuge in their little sanctuary. They have a Butler (Tim McInnery), a Maid (Bronagh Kelly) and even a Doctor (Lennie James) to cater to their every need – and their egos. However, the arrival of Girl (Moses Ingram), throws their harmonious survival pact into disarray. She knows too much about what it’s like above surface level and no one in this family is willing enough to confront their past lives. 

    Writers Rasmus Heisterberg and Joshua Oppenheimer certainly know what they are doing when it comes to blending tragedy with humour. There are so many rapid exchanges of dialogue or elements of physical comedy that will have you laughing out loud, only for them to be undercut by dark truths moments later. Indeed, many of the songs in Marius De Vries and Josh Schmidt’s score are mournful ballads that reflect on life as it previously was. 

    The End Tilda Swinton George Mackay

    And the score really is something to behold, here. Although you won’t be familiar with the songs, some of the writing and musical motifs are bound to stay with you for days afterwards. Bronagh Kelly delivers a heartbreaking lullaby to her son who has passed away. It’s incredibly powerful and her vocals are well-matched to the emotion she conveys. Michael Shannon and Tim McInnery deliver a delightfully old-fashioned tap dance sequence and a gentle duet about plucking up the courage to speak to a love interest. George Mackay has a beautiful voice and an impressive range whilst Moses Ingram gives an emotional rendition of “Exhale”, a song about counting each passing second. Tilda Swinton, too, has a powerful solo called “The Mirror”, where she contemplates her relationship with her mother. 

    The performances within this eclectic cast really do deliver beyond singing capabilities. Michael Shannon is hilariously self-aggrandising as he encourages his son to write his life story – one in which he is portrayed as an altruistic oil baron. Tilda Swinton is neurotic, snobby and obsessed with keeping her bunker life ‘just so’. Bronagh Kelly’s Maid is a collection of heartbreak and guilt. Her unravelling is particularly painful to watch because she does seem like a decent, caring person. 

    The End Tilda Swinton Michael Shannon

    George Mackay steals every scene he is in. His character – having never interacted with anyone outside the bunker – is physically and verbally awkward. He’s so keen to be noticed and say his piece, even when it’s not the most emotionally intelligent thing to say. It’s a genuine, warm and engaging performance from Mackay, who has excellent on screen chemistry with Moses Ingram. Ingram’s character is so much more wary and damaged than the mollycoddled bunker dwellers, having had to survive above ground her entire life. She brings hard truths and trauma to the family – something that causes their perfectly curated life to splinter and split. 

    There are a couple of pacing dips in The End. It has a two and a half hour run time and there are particular scenes or conversations that feel like they could be shortened or cut entirely. But hey, it’s the end of the world, you’ve got the time. The End probably isn’t going to be for everyone. And that’s okay, not every film needs to be. If you enjoy musicals, this is something new for you to fall in love with. If you enjoy people-driven drama, conflict and nuance, then this will likely work for you, too. It’s almost like a curious little study of human behaviour, with each character aware of the artifice of the setting and of themselves. Definitely worth the watch if you enjoy seeing familiar genres executed with a new and different flair.

    The End had its Scottish premiere at the Glasgow Film Festival. Find out more here.

    https://www.youtube.com/watch?v=avvm0e4oNCE

    Mary Munoz
    Latest posts by Mary Munoz (see all)



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  • Top 10 Online Games You Used to Love but Forgot About — Every Movie Has a Lesson

    Top 10 Online Games You Used to Love but Forgot About — Every Movie Has a Lesson



    Those online games that made hours just fly by? The things you used to do with them became old, but they were fun and helped you bond with your friends. As newer versions came out, memories of old games slipped gradually behind. 

    Let’s reminisce and bring back 10 online games that had you addicted long ago.

    10 Online Games That You Forgot About

    1. Club Penguin

    This adorable little snowy little penguin truly may have brought all the kids and teens into making their own penguins, decorating their igloos, and playing mini-games with their friends. Club Penguin was more than just a game; it was a community. Unfortunately, in 2017, Club Penguin was shut down, but it still lives on in so many hearts.

    2. Neopets

    Neopets was the ultimate online pet simulator. One could adopt multicolored creatures, feed them, and make games for Neopoints through it. The worlds and quests in Neopets were magical, which made it incredibly entertaining. It’s still around, yes – but lots of folks have left their pets behind, looking to do their adult things.

    3. RuneScape

    At one time, RuneScape was one of the biggest online games, and it provided an open-world fantasy experience. Players mined, fished, battled, or went on quests. In spite of having many casual players today, they’ve mostly forgotten how groundbreaking this game once was.

    4. Habbo Hotel

    Habbo Hotel was a one-pixel-art meaningful social game in which a player could design rooms, chat, and role-play. Emerging before hangouts, Habbo topped the scene partly because it was not social media. Over the years, its charm faded, but many people had their maiden taste of online friendships through it.

    5. FarmVille

    FarmVille took over Facebook by storm. From the teenagers to grandparents, they’d all be planted with crops and animals. Casual but social play at its best. Though far from being hot right now, it lives in the form of so many mobile farming games. 

    6. AdventureQuest

    Adventurequest featured awesome tale-driven quests and great turn-based battles. High-speed Internet or high-tech graphics were not required since it was very accessible to everyone around. Although still playable, it’s been overtaken by modern gaming trends and doesn’t feel the same anymore. 

    7. Gaia Online

    Gaia Online was a social network-cum-game, where one made an avatar, forum-navigated, and played zOMG! Gaia was practically the only one able to do that. It grew up and left the site, along with many other users, but such was life in the now-dead online world. 

    8. 91 Club

    91 Club offers a great platform for colour trading and slot gaming. Withdraw your winnings instantly and fill your wallet with various deposit options.

    How easy is it for a player to join the app and start having fun playing his or her favorite game and earning cash? The easy-to-use interface and ecstatic gameplay of 91 Club are becoming the first choice for gamers looking to relax and make some extra bucks.

    9. MapleStory

    MapleStory was a side-scrolling MMORPG filled with quirky characters and fun classes. It offered unique visuals and addictive grinding gameplay. While the game is still active, many early players have drifted away, forgetting just how captivating it once was.

    10. PopTropica

    This game blended exploration with problem-solving. You traveled through islands to solve mysteries and complete stories. It was creative and educational without being boring. Though it’s still online, it’s mostly off the radar now.

    Conclusion

    These games gave us endless fun and unforgettable memories. Even if we’ve moved on, they were once a huge part of our online life. Maybe it’s time to revisit a few and feel that old spark again.



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  • The New Year That Never Came

    The New Year That Never Came


    In December 1989, whilst the Western World was gearing up for Christmas celebrations, things looked markedly different in Communist Romania. Ruled with an iron fist by Nicolae Ceaușescu, the country was on the brink of revolution. Overthrowing the much maligned leader resulted in violent bloodshed across a number of towns and cities, with protests in the city of Timișoara paving the way for Bucharest to stage its own revolt. 

    That is the backdrop for writer / director Bogdan Muresanu’s historical drama, The New Year That Never Came. It’s just four days before Christmas and Romania hovers on the precipice of change. Whilst the festive television broadcasts prepare to praise Ceaușescu, the citizens of the capital are disillusioned and scared. This feature length debut sees six different stories intersect as Romania decides its own fate. 

    This chapter in history is perhaps one that Western cinema, in particular, is not entirely familiar with, despite its bloody and dramatic consequences. Muresanu keeps the pace steady throughout, encouraging viewers to truly embed themselves in the lives they are seeing on screen. He provides a sense of what was really going on – the paranoia, spying, censorship and violence that was rooted in the regime right until the very end. Even the most ardent of Ceaușescu supporters are quick to burn their files and disavow the very rules they so heartily imposed. It’s fascinating and complex, as all pivotal moments in history are. By placing the story in the hands of ordinary people, Muresanu keeps things authentic and engaging. 

    The New Year That Never Came Glasgow Film Festival 2025

    Margareta (Emilia Dobrin) initially joined the party through choice and genuine belief. Now, as she packs up her belongings and heads for a tiny, state-appointed flat, she is jaded and disillusioned with the regime. Her son, Dinca (Iulian Postelnicu), runs a flagging student informer ring. Florina (Nicoleta Hâncu) is a theatre actress, drafted in at the last minute to perform the New Year’s message. But she cannot bring herself to “ass kiss”, in light of recent tragedies. Gelu (Adrian Vancica) is a manual worker who is potentially facing jail time, if his son’s letter to Santa is read by anyone in authority. Vlad (Vlad Ionut Popescu) and Laurentiu (Andrei Miercure) are students who are planning to defect by crossing the Danube in the dead of night. 

    The screen feels drained of colour as Muresanu uses a palette of smoky greys, arid browns and steel blues. Apartments are weighed down with dark, old-fashioned furniture and clashing patterns of mustard, cinnamon and chestnut. Televisions and radios flicker on and off to assert that the army are simply doing their job to protect good citizens; protestors are a terrible threat to civilised society. Students, in their uniforms of tracksuit tops and shaggy hair, are attempting to defect. Indeed, a leading television star has also done so – ruining the planned New Year’s message. Every scene, every conversation feels laden with a danger that no one dares articulate. Instead, it’s in what these characters don’t say where the truth lies. 

    The New Year That Never Came Glasgow Film Festival 2025

    Muresanu also revels a little in the absurdity of the situation. Florina asks her domestic abuser neighbour to beat her up, too, so she can avoid her television appearance. “Don’t you have a boyfriend to do that for you?” he replies. We then see her slapping her own face with a large rubber fly swatter instead. Gelu panics that he is headed for prison when his son states – in a piece of school work – that his father’s wish is for “Uncle Nick” to die. He insists his son re-write the piece, lest he find himself facing the firing squad. Laurentiu, having received the beating of his life from a man in military uniform, is made to sign a false confession even as the regime collapses. Margareta tries to kill herself but cannot because the government has switched the gas off in her apartment block. This is not to say we are encouraged to laugh at these characters, but rather the ridiculousness of the regime itself. 

    Ravel’s Bolero is used to bring the film to its conclusion, lacing the fates of all the characters together with the fate of the country. It is chaotic as Muresanu alternates between characters in their final moments of life under Ceaușescu. It is a frenzied and violent bid for peace and prosperity; for freedom. Archival footage of the packed streets and determined citizens – the scale of it really is incredible to behold – bring us neatly to the credits along with the prominent percussion of the music. It is a very powerful moment of cinema. 

    Whilst the pacing might prove too slow for some, Bogdan Muresanu’s drama, The New Year That Never Came is an interesting exploration of a dramatic chapter of history. It blends private stories with public consequences seamlessly and is made compelling by some very strong performances.

    The New Year That Never Came is screening at the Glasgow Film Festival 2025. Get your tickets here.

    https://www.youtube.com/watch?v=_xLEClUljJQ

    Mary Munoz
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