document_title: The Accountant (2016 film)

question_text: where was the last scene in the accountant filmed

text: The Accountant (2016 film)

text: Plot[edit]

text: As a child, Christian Wolff is diagnosed with a high-functioning form of autism and offered an opportunity to live at Harbor Neuroscience Institute. Chris's father declines the offer of a sensory friendly environment, believing that Chris must overcome the hardships inherent in his condition. Overwhelmed, Chris's mother abandons their family. Their father embarks on a brutal regimen of stoicism and martial arts training for both Chris and his brother, Braxton.

text: In the present, Chris works as a forensic accountant unmasking insider financial deceptions, often for criminal and terrorist enterprises. His clients are brokered over the phone by the Voice, an unidentified woman who calls Chris "Dreamboat".

text: Ray King, the director of FinCEN, is pursuing Chris, who is known by the alias "the Accountant". King blackmails data analyst Marybeth Medina, threatening to reveal her sealed juvenile crime records and destroy her career, in order to force her to help him locate the Accountant. King's leads include Chris's cover names, a recording from his hit on nine members of the Gambino crime family, and some vague photos.

text: Chris is called to audit the Living Robotics Corporation after the company's founder and CEO, Lamar Blackburn and his sister Rita, learn of discrepancies from an in-house accountant, Dana Cummings. The next day, Chris meets Dana, and they connect during lunch. He works through the night and tells Rita in the morning that over $61 million has been embezzled from the company, but refuses to speculate on the identity of the culprit. That night, CFO Ed Chilton, who is diabetic, is forced by a hitman to commit suicide from an insulin overdose. As a result, Lamar dismisses Chris and pays off his contract, claiming Chilton's death was a suicide, leaving Chris very distraught because he is not allowed to finish the audit.

text: Medina isolates Chris's voice from the recording of the Gambino hit, hearing him repeating the nursery rhyme Solomon Grundy. The techs tell her his cadence is reminiscent of those with autism, and she learns that Chris's aliases are famed mathematicians, including his current identity, Christian Wolff. Using IRS records, the trail leads her to his storefront office in Plainfield, Illinois.

text: A team of killers show up to kill Chris, but are quickly defeated. Before his death, the last assassin reveals that Dana is the next target. Rather than going into hiding, Chris goes to Dana's apartment, saving her from a team of killers before taking her with him to his storage unit, an Airstream Panamerica. He takes her to a fancy hotel, and as they talk, he realizes that the embezzlement at Living Robotics was a scheme like Crazy Eddie's. When he goes to confront Rita he finds her dead, exposing Lamar as the mastermind.

text: The government agents scour Chris's home, finding an extensive security system and weapons throughout. Privately, King explains to Medina that Chris went to Leavenworth after a brawl at his estranged mother's funeral, where his father was killed protecting Chris. In prison, he was mentored into accounting by Francis Silverberg (Jeffrey Tambor), a Gambino family accountant turned FBI informant. Silverberg was brutally killed by the Gambinos after he was released, and King was staking out the building when Chris came for his revenge. Chris got the drop on King but let him go after asking King if he was a good father. King then started getting information from the Voice, and rises to become director of FinCen. King tells Medina someone has to take over when he retires. The phone rings, and the Voice begins to instruct Medina.

text: Leaving Dana behind at the hotel, Chris goes to attack Lamar's mansion. During the shootout with the hitman's guards, the hitman hears Chris repeating the nursery rhyme and recognizes his brother. Braxton attacks Chris, blaming him for their father's death. In a brief detente in the fight, Lamar arrogantly interrupts, and Chris shoots him on the spot, to Braxton's astonishment. Chris amicably agrees to meet Braxton in a week, saying he will find him.

text: It is revealed Justine from Harbour Neuroscience is "The Voice" and he funds their hospital with profits from his bookkeeping.

text: Chris says farewell to Dana by giving her a Jackson Pollock painting she saw in Chris's trailer. Chris is last seen driving over a bridge with the Airstream in tow.

text: Cast[edit]

text:
Ben Affleck as Christian "Chris" Wolff

Seth Lee as Young Chris

Anna Kendrick as Dana Cummings
J. K. Simmons as Raymond "Ray" King
Jon Bernthal as Braxton

Jake Presley as Young Braxton

Jeffrey Tambor as Francis Silverberg
Cynthia Addai-Robinson as Marybeth Medina
John Lithgow as Lamar Blackburn
Jean Smart as Rita Blackburn
Andy Umberger as Ed Chilton
Alison Wright as Justine

Izzy Fenech as Young Justine

Robert C. Treveiler as Chris' father
Mary Kraft as Chris' mother
Gary Basaraba as Don

text: Production[edit]

text: On November 12, 2014, Variety reported that Anna Kendrick was in early talks to co-star in the film, alongside Affleck.[4] Later that day, J. K. Simmons was also announced as being in talks to join the cast.[5] On November 14, 2014, Jon Bernthal was also in talks.[6] On January 6, 2015, Variety reported that Cynthia Addai-Robinson was added to the cast.[7] On January 14, 2015, Jeffrey Tambor[8] and John Lithgow[9] were added to the cast of the film. Lithgow had previously appeared in another thriller about autism, Silent Fall (1994).

text: Filming began on January 19, 2015 in Atlanta, Georgia.[10][11] On March 16–20, filming was taking place at the Georgia Institute of Technology.[12] The film ends with the Accountant driving on Bethany Bridge over Lake Allatoona, Georgia.

text: Fight choreography[edit]

text: The action fighting sequences in the film featured the Indonesian martial art Pencak Silat.[13][14][15]

text: Marketing[edit]

text: On July 9, 2015, a year before the film's release, it had received graphic novelization published by Vertigo, a limited comic book imprint owned by Warner Bros. Pictures.[16]

text: Release[edit]

text: The film was released on October 14, 2016.[17] Before that, Warner Bros. had scheduled it for January 29, 2016, later moving it to October 7, 2016, before moving it back another week.[18][19]

text: Box office[edit]

text: The Accountant grossed $86.3 million in the United States and Canada and $68.9 million in other countries for a worldwide total of $155.2 million, against a production budget of $44 million.[2]

text: The Accountant was released alongside Max Steel and Kevin Hart: What Now?, and was expected to gross $20–25 million from 3,332 theaters in its opening weekend, although the studio was projecting a conservative $15 million opening.[20] The film made $1.35 million from its Thursday night previews, more than Affleck's Gone Girl ($1.2 million) in 2014. It grossed $9.1 million on its first day and $24.7 million in its opening weekend, finishing first at the box office and was the second highest-debut for a thriller of Affleck's career, behind Gone Girl ($37.5 million).[21] In its second weekend, the film grossed $13.6 million (a drop of 44.8%), finishing 4th at the box office.[22]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 52% based on 240 reviews, with an average rating of 5.7/10. The site's critical consensus reads, "The Accountant writes off a committed performance from Ben Affleck, leaving viewers with a scattershot action thriller beset by an array of ill-advised deductions."[23] On Metacritic, which assigns a normalized rating, the film has a score of 51 out of 100, based on 45 critics, indicating "mixed or average reviews".[24] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[25]

text: Vince Mancini of Uproxx gave the film a positive review, writing, "It’s transparent in its attempt both to pimp a future franchise and give autistic kids their own superhero. There’s a genuine sweetness to the latter that converts me on the former. Headshots, math problems, and pained social interactions? Sign me up. Of the two movies Ben Affleck has been in so far this year, The Accountant and Batman V Superman, The Accountant has by far the most franchise potential."[26] Richard Roeper of the Chicago Sun-Times gave the film 3.5 out of 4 stars, saying: "Madness abounds in The Accountant, an intense, intricate, darkly amusing and action-infused thriller that doesn’t always add up but who cares, it’s BIG FUN."[27]

text: Richard Brody of The New Yorker panned the film, stating: "This thrill-free thriller...piles up plotlines like an overbuilt house of cards that comes crashing down at the first well-earned guffaw of ridicule."[28]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Jupiter Awards
March 29, 2017
Best International Film
The Accountant
Nominated
[29]

Best International Actor
Ben Affleck
Nominated

Saturn Awards
June 28, 2017
Best Thriller Film
The Accountant
Nominated
[30]

text: Sequel[edit]

text: In June 2017, it was announced Warner Bros. was developing a sequel, with Affleck, Dubuque and O’Connor all scheduled to return.[31]


document_title: Halloween (1978 film)

question_text: the movie halloween primarily takes place in which state

root

text: Halloween (1978 film)

text: Plot[edit]

text: On Halloween night 1963, in Haddonfield, Illinois, 6-year-old Michael Myers, dressed in a clown costume and mask, stabs his older sister Judith to death with a kitchen knife in their home. Fifteen years later, on October 30, 1978, Michael's child psychiatrist, Dr. Sam Loomis, and his colleague Marion Chambers arrive at Warren County Smith's Grove Sanatarium. Michael escapes from Smith's Grove, stealing the car that was to take him to court. Returning home to Haddonfield, Michael kills a mechanic for his uniform and steals a white mask, a knife and some rope from a local store.

tag: p

text: The following day, Halloween, Michael stalks high school student Laurie Strode after she and Tommy Doyle drop off a key at his former house so her father can sell it. Throughout the day, Laurie notices Michael watching her, but her friends Annie Brackett and Lynda Van der Klok dismiss her concerns. Loomis follows Michael to Haddonfield in search of him. After discovering that Judith Myers' headstone has been stolen from the local cemetery, Loomis meets with Annie's father, Sheriff Leigh Brackett. The two begin their search at Michael's house, where Loomis tells the sheriff about the danger Michael poses, explaining that Michael is pure evil and capable of further violence, despite years of catatonia. Sheriff Brackett patrols the streets while Loomis waits and watches the house, expecting Michael to return there.

text: Later that night, Laurie goes over to babysit Tommy while Annie babysits Lindsey Wallace just across the street, unaware that Michael is watching them. When Annie's boyfriend Paul calls her to come and pick him up, she takes Lindsey over to the Doyle house to spend the night with Laurie and Tommy. Annie is just about to leave in her car when Michael, who hid in the back seat, strangles her before slashing her throat, killing her.

text: Soon after, Lynda and her boyfriend Bob Simms arrive at the Wallace house. After having sex, Bob goes downstairs to get a beer for Lynda, but Michael fatally stabs him with a knife which pins him to the wall. Michael then poses as Bob in a ghost costume and confronts Lynda, who teases him, to no effect. Annoyed, Lynda calls Laurie; just as Laurie picks up, Michael strangles Lynda to death with the telephone cord. Meanwhile, Loomis discovers the car Michael stole and begins combing the streets.

text: A suspicious Laurie goes over to the Wallace house. There, she finds the dead bodies of her friends in an upstairs bedroom, as well as Judith Myers' headstone. As a horrified Laurie cowers in the hallway, Michael suddenly appears and slashes her arm, causing her to fall down a flight of stairs. Barely escaping, Laurie races back to the Doyle house. Michael gets in and attacks her again, but Laurie manages to fend him off long enough for Tommy and Lindsey to escape. Loomis sees the two children fleeing the house, and goes to investigate, finding Michael and Laurie fighting upstairs. Loomis shoots Michael six times, knocking him off the balcony. When Loomis goes to check Michael's body, he finds it missing. Unsurprised, Loomis stares off into the night.

text: Cast[edit]

text:
Donald Pleasence as Dr. Sam Loomis
Jamie Lee Curtis as Laurie Strode
Nick Castle as Michael Myers (credited as "The Shape")

Tony Moran as Michael Myers (unmasked)
Will Sandin as Michael Myers (age 6)

P. J. Soles as Lynda Van Der Klok
Nancy Kyes as Annie Brackett
Charles Cyphers as Sheriff Leigh Brackett
Kyle Richards as Lindsey Wallace
Brian Andrews as Tommy Doyle
John Michael Graham as Bob Simms
Nancy Stephens as Marion Chambers
Arthur Malet as Graveyard Keeper
Mickey Yablans as Richie
Brent Le Page as Lonnie
Adam Hollander as Keith
Sandy Johnson as Judith Margaret Myers
David Kyle as Judith's Boyfriend
Peter Griffith as Laurie's Father

tag: ul

text: Production[edit]

text: After viewing Carpenter's film Assault on Precinct 13 (1976) at the Milan Film Festival, independent film producer Irwin Yablans and financier Moustapha Akkad sought out Carpenter to direct a film for them about a psychotic killer that stalked babysitters.[11] In an interview with Fangoria magazine, Yablans stated, "I was thinking what would make sense in the horror genre, and what I wanted to do was make a picture that had the same impact as The Exorcist."[12] Carpenter and his then-girlfriend Debra Hill began drafting a story originally titled The Babysitter Murders, but, as Carpenter told Entertainment Weekly, Yablans suggested setting the movie on Halloween night and naming it Halloween instead.[13]

text: Akkad agreed to put up $300,000 for the film's budget, which was considered low at the time[11] (Carpenter's previous film, Assault on Precinct 13, had an estimated budget of $100,000). Akkad worried over the tight, four-week schedule, low budget, and Carpenter's limited experience as a filmmaker, but told Fangoria, "Two things made me decide. One, Carpenter told me the story verbally and in a suspenseful way, almost frame for frame. Second, he told me he didn't want to take any fees, and that showed he had confidence in the project". Carpenter received $10,000 for directing, writing, and composing the music, retaining rights to 10 percent of the film's profits.[14]

text: Because of the low budget, wardrobe and props were often crafted from items on hand or that could be purchased inexpensively. Carpenter hired Tommy Lee Wallace as production designer, art director, location scout and co-editor. Wallace created the trademark mask worn by Michael Myers throughout the film from a Captain Kirk mask purchased for $1.98.[11] Carpenter recalled how Wallace "widened the eye holes and spray-painted the flesh a bluish white. In the script it said Michael Myers's mask had 'the pale features of a human face' and it truly was spooky looking. I can only imagine the result if they hadn't painted the mask white. Children would be checking their closet for William Shatner after Tommy got through with it."[13] Hill adds that the "idea was to make him almost humorless, faceless—this sort of pale visage that could resemble a human or not."[15] Many of the actors wore their own clothes, and Curtis' wardrobe was purchased at J. C. Penney for around a hundred dollars.[11]

text: The limited budget also dictated the filming location and time schedule. Halloween was filmed in 20 days in the spring of 1978 in South Pasadena, California, Garfield Elementary School in Alhambra, and the cemetery at Sierra Madre, California. An abandoned house owned by a church stood in as the Myers house. Two homes on Orange Grove Avenue (near Sunset Boulevard) in Hollywood were used for the film's climax.[16] The crew had difficulty finding pumpkins in the spring, and artificial fall leaves had to be reused for multiple scenes. Local families dressed their children in Halloween costumes for trick-or-treat scenes.[11]

text: In August 2006, Fangoria reported that Synapse Films had discovered boxes of negatives containing footage cut from the film. One was labeled "1981" suggesting that it was additional footage for the television version of the film. Synapse owner Don May, Jr. said, "What we've got is pretty much all the unused original camera negative from Carpenter's original Halloween. Luckily, Billy [Kirkus] was able to find this material before it was destroyed. The story on how we got the negative is a long one, but we'll save it for when we're able to showcase the materials in some way. Kirkus should be commended for pretty much saving the Holy Grail of horror films."[17] It was later reported, "We just learned from Sean Clark, long time Halloween genius, that the footage found is just that: footage. There is no sound in any of the reels so far, since none of it was used in the final edit."[18]

text: Writing[edit]

text: It took approximately 10 days to write the script. Yablans and Akkad ceded most of the creative control to writers Carpenter and Hill (whom Carpenter wanted as producer), but Yablans did offer several suggestions. According to a Fangoria interview with Hill, "Yablans wanted the script written like a radio show, with 'boos' every 10 minutes."[15] Hill explained that the script took three weeks to write and much of the inspiration behind the plot came from Celtic traditions of Halloween such as the festival of Samhain. Although Samhain is not mentioned in the plot of the first film, Hill asserts that:

text: ...the idea was that you couldn't kill evil, and that was how we came about the story. We went back to the old idea of Samhain, that Halloween was the night where all the souls are let out to wreak havoc on the living, and then came up with the story about the most evil kid who ever lived. And when John came up with this fable of a town with a dark secret of someone who once lived there, and now that evil has come back, that's what made Halloween work.[15]

text: Hill wrote most of the female characters' dialogue,[9] while Carpenter drafted Loomis' speeches on the soullessness of Michael Myers. Many script details were drawn from Carpenter's and Hill's adolescence and early careers. The fictional town of Haddonfield, Illinois was derived from Haddonfield, New Jersey, where Hill grew up, and most of the street names were taken from Carpenter's hometown of Bowling Green, Kentucky. Laurie Strode was the name of one of Carpenter's old girlfriends and Michael Myers was the name of an English producer who had previously entered, with Yablans, Assault on Precinct 13 in various European film festivals.[11] In Halloween, Carpenter pays homage to Alfred Hitchcock with two characters' names: Tommy Doyle is named after Lt. Det. Thomas J. Doyle (Wendell Corey) from Rear Window (1954), and Dr. Loomis' name was taken from Sam Loomis (John Gavin) from Psycho, the boyfriend of Marion Crane (Janet Leigh, who is the real-life mother of Jamie Lee Curtis). Sheriff Leigh Brackett shared the name of a Hollywood screenwriter.

text:
"I met this six year old child with this blank, pale, emotionless face, and the blackest eyes; the devil's eyes [...] I realized what was living behind that boy's eyes was purely and simply...evil."

— Loomis' description of a young Michael was inspired by John Carpenter's experience with a real life mental patient.[9]

tag: div

text: Carpenter's inspiration for the "evil" that Michael would embody came when he was in college. While on a class trip at a mental institution in Kentucky, Carpenter visited "the most serious, mentally ill patients". Among those patients was a young boy around twelve to thirteen years-old. The boy gave this "schizophrenic stare", "a real evil stare", which Carpenter found "unsettling", "creepy", and "completely insane". Carpenter's experience would inspire the characterization that Loomis would give of Michael to Sheriff Brackett in the film.[9]

text: Casting[edit]

text: The cast of Halloween included veteran actor Donald Pleasence and then-unknown actress Jamie Lee Curtis. The low budget limited the number of big names that Carpenter could attract, and most of the actors received very little compensation for their roles. Pleasence was paid the highest amount at $20,000, Curtis received $8,000, and Nick Castle earned $25 a day.[11] The role of Dr. Loomis was originally intended for Peter Cushing, who had recently appeared as Grand Moff Tarkin in Star Wars (1977); Cushing's agent rejected Carpenter's offer due to the low salary. Christopher Lee was also approached for the role; he too turned it down, although the actor would later tell Carpenter and Hill that declining the role was the biggest mistake he made during his career. Yablans then suggested Pleasence, who agreed to star because his daughter Angela, a guitarist, had enjoyed Assault on Precinct 13 for Carpenter's score.[9] American audiences were primarily acquainted with Pleasence due to his portrayal of the villain Ernst Stavro Blofeld in the James Bond film You Only Live Twice (1967).[19]

text: In an interview, Carpenter admits that "Jamie Lee wasn't the first choice for Laurie. I had no idea who she was. She was 19 and in a TV show at the time, but I didn't watch TV." He originally wanted to cast Anne Lockhart, the daughter of June Lockhart from Lassie, as Laurie Strode. However, Lockhart had commitments to several other film and television projects.[13] Hill says of learning that Jamie Lee was the daughter of Psycho actress Janet Leigh, "I knew casting Jamie Lee would be great publicity for the film because her mother was in Psycho."[15] Halloween was Curtis' feature film debut and launched her career as a "scream queen" horror star. Another relatively unknown actress, Nancy Kyes (credited in the film as Nancy Loomis), was cast as Laurie's friend Annie Brackett, daughter of Haddonfield sheriff Leigh Brackett (Charles Cyphers). Kyes had previously starred in Assault on Precinct 13 (as had Cyphers) and happened to be dating Halloween's art director Tommy Lee Wallace when filming began.[20] Carpenter chose P. J. Soles to play Lynda Van Der Klok, another friend of Laurie's, best remembered in the film for dialogue peppered with the word "totally." Soles was an actress known for her supporting role in Carrie (1976) and her minor part in The Boy in the Plastic Bubble (1976). According to one source, "Carpenter realized she had captured the aura of a happy go lucky teenage girl in the 70s."[21]

text: The role of "The Shape" — as the masked Michael Myers character was billed in the end credits — was played by Nick Castle, who befriended Carpenter while they attended the University of Southern California. After Halloween, Castle became a director, taking the helm of films such as The Last Starfighter (1984), The Boy Who Could Fly (1986), Dennis the Menace (1993), and Major Payne (1995).[22]

text: Direction[edit]

text: Historian Nicholas Rogers notes that film critics contend that Carpenter's direction and camera work made Halloween a "resounding success".[23] Roger Ebert remarks, "It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled, for example, at the use of foregrounds in his compositions, and everyone who likes thrillers knows that foregrounds are crucial ...."[24] The opening title, featuring a jack-o'-lantern placed against a black backdrop, sets the mood for the entire film. The camera slowly moves toward the jack-o'-lantern's left eye as the main title theme plays. After the camera fully closes in, the jack-o'-lantern's light dims and goes out. Film historian J.P. Telotte says that this scene "clearly announces that [the film's] primary concern will be with the way in which we see ourselves and others and the consequences that often attend our usual manner of perception".[25] During the conception of the plot, Yablans instructed "that the audience shouldn't see anything. It should be what they thought they saw that frightens them".[15] Carpenter seemingly took Yablans' advice literally, filming many of the scenes from Michael Myers's point-of-view that allowed audience participation. Carpenter is not the first director to employ this method or use of a steadicam; for instance, the first scene of Psycho offers a voyeuristic look at lovers in a seedy hotel. Telotte argues, "As a result of this shift in perspective from a disembodied, narrative camera to an actual character's eye ... we are forced into a deeper sense of participation in the ensuing action".[26] Along with the 1974 Canadian horror film Black Christmas, Halloween made use of seeing events through the killer's eyes.[citation needed]

text: The first scene of the young Michael's voyeurism is followed by the murder of Judith seen through the eye holes of Michael's clown costume mask. According to one commentator, Carpenter's "frequent use of the unmounted first-person camera to represent the killer's point of view ... invited [viewers] to adopt the murderer's assaultive gaze and to hear his heavy breathing and plodding footsteps as he stalked his prey".[27] Another technique that Carpenter adapted from Alfred Hitchcock's Psycho (1960) was suspense with minimal blood and gore. Hill comments, "We didn't want it to be gory. We wanted it to be like a jack-in-the box."[15] Film analysts refer to this as the "false startle" or "the old tap-on-the-shoulder routine" in which the stalkers, murderers, or monsters "lunge into our field of vision or creep up on a person."[28] Carpenter worked with the cast to create the desired effect of terror and suspense. According to Curtis, Carpenter created a "fear meter" because the film was shot out-of-sequence and she was not sure what her character's level of terror should be in certain scenes. "Here's about a 7, here's about a 6, and the scene we're going to shoot tonight is about a 9½", remembered Curtis. She had different facial expressions and scream volumes for each level on the meter.[29]

text: Carpenter's direction for Castle in his role as Myers was minimal. For example, when Castle asked what Myers' motivation was for a particular scene, Carpenter replied that his motivation was to walk from one set marker to another.[9] The documentary titled Halloween Un-masked, featured in the 22nd anniversary DVD of Halloween, John Carpenter states he also instructed Castle to tilt his head a couple of times as if he was observing the corpse, particularly in the scene when Myers impaled one of his victims against a wall.[9]

text: Music[edit]

text: Another major reason for the success of Halloween is the moody musical score, particularly the main theme. Lacking a symphonic soundtrack, the film's score consists of a piano melody played in a 10/8 or "complex 5/4" meter composed and performed by director John Carpenter. It took Carpenter three days to compose the entire score for the film. Critic James Berardinelli calls the score "relatively simple and unsophisticated", but admits that "Halloween's music is one of its strongest assets".[30] Carpenter stated in an interview, "I can play just about any keyboard, but I can't read or write a note."[13] In the end credits, Carpenter bills himself as the "Bowling Green Philharmonic Orchestra" for performing the film's score, but he did receive assistance from composer Dan Wyman, a music professor at San José State University.[11][31]

text: Some songs can be heard in the film, one being an untitled song performed by Carpenter and a group of his friends who formed a band called The Coupe De Villes. The song is heard as Laurie steps into Annie's car on her way to babysit Tommy Doyle.[11] Another song, "(Don't Fear) The Reaper" by classic rock band Blue Öyster Cult, appears in the film.[32]

text: The soundtrack was first released in the United States in October 1983, by Varèse Sarabande/MCA.[citation needed] It was subsequently released on Compact Disc in 1985, re-released in 1990, and again in 2000.[citation needed]

text: Release[edit]

text: Theatrical run[edit]

text: Halloween premiered on October 25, 1978 in Kansas City, Missouri (at the AMC Midland/Empire) and sometime afterward in Chicago, Illinois, and in New York City. It had its Los Angeles debut October 27, 1978.[33][34] It opened in Pittsburgh, Pennsylvania, on November 22, 1978.[35] The film grossed $47 million in the United States[2] and an additional $23 million internationally, making the theatrical total $70 million.[3]

text: On September 7, 2012, the official Halloween Movies Facebook page announced that the original Halloween would be theatrically re-released starting October 25, 2013 in celebration of the film's 35th anniversary in 2013. A new documentary was screened before the film at all locations, entitled, You Can't Kill the Boogeyman: 35 Years of Halloween, written and directed by HalloweenMovies.com webmaster Justin Beahm.[36][37]

text: Television rights[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)

tag: table

text: In 1980, the television rights to Halloween were sold to the National Broadcasting Company (NBC) for $4 million. After a debate among Carpenter, Hill and NBC's Standards and Practices over censoring of certain scenes, Halloween appeared on television for the first time in October 1981.[15] To fill the two-hour time slot, Carpenter filmed twelve minutes of additional material during the production of Halloween II. The newly filmed scenes include Dr. Loomis at a hospital board review of Michael Myers and Dr. Loomis talking to a then-6-year-old Michael at Smith's Grove, telling him, "You've fooled them, haven't you, Michael? But not me." Another extra scene features Dr. Loomis at Smith's Grove examining Michael's abandoned cell after his escape and seeing the word "Sister" scratched into the door. Finally, a scene was added in which Lynda comes over to Laurie's house to borrow a silk blouse before Laurie leaves to babysit, just as Annie telephones asking to borrow the same blouse. The new scene had Laurie's hair hidden by a towel, since Curtis was by then wearing a much shorter hairstyle than she had worn in 1978.[citation needed] The television scenes were released on a two-tape "limited-edition" VHS set of the film and the television version of the film was released on a second disc in the two-disc "limited-edition" DVD release of the film in 1999, a stand alone in 2001 as Halloween: Extended Edition on VHS and DVD as well as the Halloween: 30th Anniversary Commemorative Set along with the original Halloween on DVD and Blu-ray, disc one from the 25 Years of Terror documentary DVD and the Divimax editions of Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers in 2008 and is featured on the bonus disc in the Halloween limited edition Blu-ray box set released in 2014.[citation needed]

text: Home video releases[edit]

text: Since Halloween's premiere, it has been released in several home video formats, including VHS, LaserDisc, DVD, UMD and Blu-ray Disc. Early VHS versions were released by Media Home Entertainment and Blockbuster Video issued a commemorative edition in 1995. Anchor Bay Entertainment (succeder in-interest to Media Home Entertainment and Video Treasures) has released several restored editions of Halloween on VHS and DVD, including "Halloween: Unmasked"; a documentary produced and directed by Mark Cerulli which featured an array of interviews with original Halloween cast and crew including Jamie Lee Curtis, Debra Hill, John Carpenter, Nick Castle and others. The most recent release of the film is the 2007 single-disc restored version, with improved picture and sound quality.[38] Anchor Bay has also released an "extended edition" of Halloween that features the original theatrical release with the scenes that were shot for the broadcast TV version edited in at their proper places.[39] In 2003, the film was released on a two-disc "25th Anniversary edition" with improved DiviMax picture and audio, along with an audio commentary by John Carpenter, Jamie Lee Curtis and Debra Hill, the A Cut Above The Rest documentary, On Location: 25 Years Later featurette, the trailer, TV spots, radio spots, poster and still gallery, and DVD-ROM content. In 2007, the movie was released on Blu-ray as well, marking the film's first ever Blu-ray release. The Blu-ray features a commentary track by Carpenter, Hill and Curtis, the trailer, TV spots, radio spots, fast film facts and the documentary Halloween: A Cut Above the Rest.[34] In 2008, a "30th Anniversary commemorative set" was released, containing the film on DVD and Blu-ray along with the "extended edition", disc one of the 25 Years of Terror documentary DVD and the sequels: Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers, including a replica Michael Myers mask. The DVD release was THX certified. The film has made $18,500,000 in home video rentals.[citation needed]

text: On June 6, 2013, it was announced that a second, 35th anniversary, Blu-ray release for Halloween is in the works and that John Carpenter and Jamie Lee Curtis have recorded a new commentary.[40] On June 11, it was announced that Dean Cundey is supervising a new high-definition transfer.[41] On July 22, the official cover art for the 35th anniversary Blu-ray release was revealed including the new special features such as the all-new high definition transfer by Cundey, the new commentary track by Carpenter and Curtis as well as a new 7.1 audio mix, the original mono audio mix, a new featurette with Curtis titled "The Night She Came Home", an "On-Location" featurette, the trailer, television and radio spots and the additional scenes from the extended television version. The 35th-anniversary release earned a Saturn Award for Best Classic Film Release.[42]

text: Reception[edit]

text: Critical response[edit]

text: Although Halloween performed well with little advertising—relying mostly on word-of-mouth—many critics seemed uninterested or dismissive of the film. Pauline Kael wrote a scathing review in The New Yorker suggesting that "Carpenter doesn't seem to have had any life outside the movies: one can trace almost every idea on the screen to directors such as Hitchcock and Brian De Palma and to the Val Lewton productions" and claiming that "Maybe when a horror film is stripped of everything but dumb scariness—when it isn't ashamed to revive the stalest device of the genre (the escaped lunatic)—it satisfies part of the audience in a more basic, childish way than sophisticated horror pictures do."[43] The first glowing review by a prominent film critic came from Tom Allen of The Village Voice in November 1978. Allen noted that the film was sociologically irrelevant but ceded that the Hitchcock-like technique was effective and "the most honest way to make a good schlock film". Allen pointed out the stylistic similarities to Psycho and George A. Romero's Night of the Living Dead (1968).[33][44] The following month, Voice lead critic Andrew Sarris wrote a follow-up feature on cult films, citing Allen's appraisal of Halloween and saying in the lead sentence that the film "bids fair to become the cult discovery of 1978. Audiences have been heard screaming at its horrifying climaxes".[45] Roger Ebert gave the film similar praise in his 1979 review in the Chicago Sun-Times[46] and selected it as one of his top ten films of 1978.[47] Once-dismissive critics were impressed by Carpenter's choice of camera angles and simple music, and surprised by the lack of blood and graphic violence.[30] On review aggregate website Rotten Tomatoes, the film has an approval rating of 93% based on 54 reviews, with an average rating of 8.5/10. The site's critical consensus reads, "Scary, suspenseful, and viscerally thrilling, Halloween set the standard for modern horror films."[48]

text: Many compared the film with the work of Alfred Hitchcock, although TV Guide calls comparisons made to Psycho "silly and groundless"[49] and critics in the late 1980s and early 1990s blame the film for spawning the slasher subgenre, which they felt had rapidly descended into sadism and misogyny.[50] Almost a decade after its premiere, Mick Martin and Marsha Porter critiqued the first-person camera shots that earlier film reviewers had praised and later slasher-film directors utilized for their own films (for example, Friday the 13th (1980)). Claiming it encouraged audience identification with the killer, Martin and Porter pointed to the way "the camera moves in on the screaming, pleading, victim, 'looks down' at the knife, and then plunges it into chest, ear, or eyeball. Now that's sick."[7]

text: Years after its debut, Halloween enjoys a reputation as a classic[48] and is considered by many as one of the best films of 1978.[47][51][52][53][54]

text: Themes and analysis[edit]

text: Many criticisms of Halloween and other slasher films come from postmodern academia. Some feminist critics, according to historian Nicholas Rogers, "have seen the slasher movies since Halloween as debasing women in as decisive a manner as hard-core pornography."[50] Critics such as John Kenneth Muir state that female characters such as Laurie Strode survive not because of "any good planning" or their own resourcefulness, but sheer luck. Although she manages to repel the killer several times, in the end, Strode is rescued in Halloween and Halloween II only when Dr. Loomis arrives to shoot Myers.[55]

text: On the other hand, other feminist scholars such as Carol J. Clover argue that despite the violence against women, slasher films turned women into heroines. In many pre-Halloween horror films, women are depicted as helpless victims and are not safe until they are rescued by a strong masculine hero. Despite the fact that Loomis saves Strode, Clover asserts that Halloween initiates the role of the "final girl" who ultimately triumphs in the end. Strode herself fought back against Myers and severely wounds him. Had Myers been a normal man, Strode's attacks would have killed him; even Loomis, the male hero of the story, who shoots Michael repeatedly at near point blank range with a large caliber handgun, cannot kill him.[56]

text: Aviva Briefel argued that moments such as when Michael's face was temporarily revealed are meant to give pleasure to the male viewer. Briefel further argues that these moments are masochistic in nature and give pleasure to men because they are willingly submitting themselves to the women of the film; they submit themselves temporarily because it will make their return to authority even more powerful.[57] Critics, such as Pat Gill, see Halloween as a critique of American social values. She remarks that parental figures are almost entirely absent throughout the film, noting that when Laurie is attacked by Michael while babysitting, "No parents, either of the teenagers or of the children left in their charge, call to check on their children or arrive to keen over them."[58]

text: Another major theme found in the film is the dangers of pre-marital sex. Clover believes that killers in slasher films are fueled by a "psychosexual fury"[59] and that all the killings are sexual in nature. She reinforces this idea by saying that "guns have no place in slasher films" and when examining the film I Spit on Your Grave she notes that "a hands-on killing answers a hands-on rape in a way that a shooting, even a shooting preceded by a humiliation, does not."[60] Equating sex with violence is important in Halloween and the slasher genre according to Pat Gill, who made a note of this in her essay "The Monstrous Years: Teens, Slasher Films, and the Family". She remarks that Laurie's friends "think of their babysitting jobs as opportunities to share drinks and beds with their boyfriends. One by one they are killed... by Michael Myers an asylum escapee who years ago at the age of six murdered his sister for preferring sex to taking care of him."[58]

text: The danger of suburbia is another major theme that runs throughout the movie and the slasher genre itself, Pat Gill states that slasher films "seem to mock white flight to gated communities, in particular the attempts of parents to shield their children from the dangerous influences represented by the city".[61] Halloween and slasher films, generally, are supposed to represent the underside of suburbia. Michael Myers was raised in a suburban household and after he escapes the mental hospital he returns to his hometown to kill again; Myers is a product of the suburban environment.[61]

text: Carpenter himself dismisses the notion that Halloween is a morality play, regarding it as merely a horror movie. According to Carpenter, critics "completely missed the point there". He explains, "The one girl who is the most sexually uptight just keeps stabbing this guy with a long knife. She's the most sexually frustrated. She's the one that's killed him. Not because she's a virgin but because all that sexually repressed energy starts coming out. She uses all those phallic symbols on the guy."[9][10]

text: Awards[edit]

text: Halloween was nominated for the Saturn Award for Best Horror Film by the Academy of Science Fiction, Fantasy & Horror Films in 1979, but lost to The Wicker Man (1973).[62] In 2001, Halloween ranked #68 on the American Film Institute TV program 100 Years...100 Thrills.[63] The film was #14 on Bravo's The 100 Scariest Movie Moments (2004).[64] Similarly, the Chicago Film Critics Association named it the 3rd scariest film ever made.[65] In 2006, Halloween was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[66] In 2007, the AOL 31 Days of Horror countdown named Halloween the greatest horror movie.[67] In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time.[68] In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time.[69]

text: American Film Institute lists

text:
AFI's 100 Years...100 Thrills – #68
AFI's 100 Years...100 Heroes & Villains:

Michael Myers – Nominated Villain

AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated

text: Influence[edit]

text: Halloween is a widely influential film within the horror genre; it was largely responsible for the popularization of slasher films in the 1980s. Halloween popularized many tropes that have become completely synonymous with the slasher genre. Halloween helped to popularize the final girl trope, the killing off of characters who are substance abusers or sexually promiscuous, and the use of a theme song for the killer. Carpenter also shot many scenes from the perspective of the killer in order to build tension. These elements have become so established that many historians argue that Halloween is responsible for the new wave of horror that emerged during the 1980s.[70][71] Due to its popularity, Halloween became a blueprint for success that many other horror films, such as Friday the 13th and A Nightmare on Elm Street, would follow, and that others like Scream would satirise.[citation needed]

text: The major themes present in Halloween would also become common in the slasher films it inspired. Film scholar Pat Gill notes that in Halloween, there is a theme of absentee parents[58] but films such as A Nightmare on Elm Street and Friday the 13th feature the parents becoming directly responsible for the creation of the killer.[72]

text: There are slasher films that predated Halloween, such as The Texas Chain Saw Massacre and Black Christmas which contained prominent elements of the slasher genre; both involving a group of teenagers being murdered by a stranger as well having the final girl trope. Halloween, however, is seen by historians as being responsible for the new wave of horror films because it not only used these tropes but also pioneered many others.[70][71]

text: A mass market paperback novelization of the same name, written by Curtis Richards (a pseudonym that was used by author Richard Curtis), was published by Bantam Books in 1979. It was reissued in 1982; it later went out of print. The novelization adds aspects not featured in the film, such as the origins of the curse of Samhain and Michael Myers' life in Smith's Grove Sanatorium, which contradict its source material. For example, the novel's version of Michael speaks during his time at the sanitarium;[73] in the film, Dr. Loomis states, "He hasn't spoken a word in fifteen years." In 1983, Halloween was adapted as a video game for the Atari 2600 by Wizard Video. None of the main characters in the game were named. Players take on the role of a teenage babysitter who tries to save as many children from an unnamed, knife-wielding killer as possible. The game was not popular with parents or players and the graphics were simple, as was typical in Atari 2600 games. In another effort to save money, most versions of the game did not even have a label on the cartridge. It was simply a piece of tape with "Halloween" written in marker. The game contained more gore than the film, however. When the babysitter is killed, her head disappears and is replaced by blood pulsating from the neck as she runs around exaggeratedly. The game's primary similarity to the film is the theme music that plays when the killer appears onscreen.[74][75]

text: Sequels and remake[edit]

text: Halloween spawned seven sequels, a 2007 remake directed by Rob Zombie, and a 2009 sequel to the remake, which is unrelated to the sequel of the original.[76] Of these films, only the first sequel was written by Carpenter and Hill. It begins exactly where Halloween ends and was intended to finish the story of Michael Myers and Laurie Strode. Halloween II was a box office success, becoming the second-highest grossing horror film of 1981 behind An American Werewolf in London. Carpenter did not direct any of the subsequent films in the Halloween series, although he did produce Halloween III: Season of the Witch (1982), the plot of which is unrelated to the other films in the series due to the absence of Michael Myers.[77] He, along with Alan Howarth, also composed the music for the second and third films. After the negative critical and commercial reception for Season of the Witch, the filmmakers brought back Michael Myers in Halloween 4: The Return of Michael Myers (1988), which was successful enough to warrant its own direct sequel with Halloween 5: The Revenge of Michael Myers (1989), as well as Halloween: The Curse of Michael Myers (1995).[citation needed]

text: The sequels feature more explicit violence and blood and are generally dismissed by mainstream film critics, excluding Halloween II (1981) and Halloween H20: 20 Years Later (1998), which did receive better reviews than most of the other sequels in the franchise, yet still paled in comparison to the original film. They were filmed on larger budgets than the original: in contrast to Halloween's modest budget of $300,000, Halloween II's budget was around $2.5 million,[78] while the final sequel to the original, Halloween: Resurrection (2002), boasted a budget of $15 million.[79] Financier Moustapha Akkad continued to work closely with the Halloween franchise, acting as executive producer of every sequel until his death in the 2005 Amman bombings.[80]

text: With the exception of Halloween III, the sequels further develop the character of Michael Myers and the Samhain theme. Even without considering the third film, the Halloween series contains continuity issues, which some sources attribute to the different writers and directors involved in each film.[81] The 10 Halloween films, including the 2007 remake and its sequel, have had eight directors. Only Rick Rosenthal and Rob Zombie directed more than one: Rosenthal directed the first sequel as well as Halloween: Resurrection, while Zombie directed the remake of the original film and its sequel.[citation needed]

text: On February 9, 2017, Carpenter announced that the new Halloween film would be released on October 19, 2018, and is going to be written by David Gordon Green and Danny McBride and will be directed by Green.[82] It will be a direct sequel to the original film and will ignore all the sequels.[83][84][85] In September 2017, Jamie Lee Curtis confirmed that she would reprise her role as Laurie Strode.[86] In October, Judy Greer entered negotiations to play Laurie's daughter Karen Strode.[87] The film will be distributed by Universal Pictures, their first involvement in the franchise since distributing 1982's Halloween III: Season of the Witch. On October 17, 2017, Carpenter announced that he would be returning to score the upcoming film, saying "I’ll be consulting with the director to see what he feels. I could create a new score, we could update the old score and amplify it, or we could combine those two things. I’ll have to see the movie to see what it requires."[88]


document_title: Brad Culpepper

question_text: who did culpepper play for in the nfl

question_tokens: who did culpepper play for in the nfl

text: Brad Culpepper

text: Early life[edit]

text: Culpepper was born in Tallahassee, Florida in 1969.[1] He attended Leon High School in Tallahassee,[2] where he was a standout prep player for the Leon Lions high school football team.[citation needed]

text: Culpepper was born into a family of University of Florida alumni.[3] His father, Bruce Culpepper, was a center for the Florida Gators football team from 1960 to 1962 and co-captain of the Gators' 1962 Gator Bowl team, and became a prominent Tallahassee attorney.[3] His uncle, Blair Culpepper, was a Gators fullback in 1957 and 1958, and became a bank president in Winter Park, Florida.[3] His grandfather, J. Broward Culpepper, was also a Florida graduate and served as the chancellor of the State University System of Florida.[4]

text: College career[edit]

text: Culpepper accepted an athletic scholarship to attend the University of Florida in Gainesville, Florida, where he played for coach Galen Hall and coach Steve Spurrier's Florida Gators football teams from 1988 to 1991.[5] During his senior season in 1991, Culpepper was a standout defensive tackle and team captain on the Gators' Southeastern Conference (SEC) championship team, a first-team All-SEC selection and a consensus first-team All-American.[5][6] He finished his college career with eighteen quarterback sacks and 47.5 tackles for a loss.[5] He was also named to the SEC Academic Honor Roll all four years, was a first-team Academic All-American, and received the Draddy Trophy recognizing him as college football's most outstanding student-athlete.[5][7] While Culpepper was a Florida undergraduate, he was also an active member of Sigma Chi Fraternity (Gamma Theta Chapter).[citation needed]

text: Culpepper graduated from Florida with his bachelor's degree in history after his junior year, and enrolled in a master's degree program in exercise and sports sciences during his senior football season. After finishing his professional playing career, Culpepper returned to graduate school and law school full-time, and earned his master's degree and law degree from Florida in 2001. He was inducted into the University of Florida Athletic Hall of Fame as a "Gator Great" in 2001.[8][9] The sports editors of The Gainesville Sun ranked him as the No. 47 all-time greatest player of the first 100 seasons of the Florida Gators football team in 2006.[10]

text: Professional career[edit]

text: Culpepper was a tenth round selection (264th overall pick) in the 1992 NFL Draft by the Minnesota Vikings,[11] and he played for the Vikings from 1992 to 1993,[12] the Tampa Bay Buccaneers from 1994 to 1999,[13] and the Chicago Bears in 2000.[14] In his nine-year professional career, Culpepper played in 131 games, started 83 of them,[1] and recorded 34 quarterback sacks and one safety.[15]

text: Life after football[edit]

text: Culpepper is now a trial lawyer for the Culpepper Kurland law firm in Tampa, Florida.[16] Since his retirement, he has spoken out about his concerns regarding the increasing size of NFL players; he believes that the increasing number of 300-pound (140 kg) players is "unnatural and unsafe" and has led to many serious health problems. During his football career, Culpepper inflated his weight to 280 pounds (130 kg); after he retired from professional football, he lost almost 100 pounds (45 kg).[17]

text: This section about a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2017) (Learn how and when to remove this template message)

text: Survivor[edit]

text: Blood vs. Water[edit]

text: Prior to his appearances, Culpepper's wife Monica was selected as a participant for the 24th season of the CBS reality television show. Survivor,[18]

text: Monica and Brad participated together in the show's 27th season, Survivor: Blood vs. Water.[19] Culpepper came in 15th place while Monica was the season's runner-up.

text: On May 6, 2015, it was revealed that Culpepper was one of 16 former male players eligible to be voted onto Survivor's 31st season, Survivor: Cambodia. However, he was not voted onto it.[20]

text: Game Changers[edit]

text: On February 8, 2017, Culpepper was revealed to be one of the contestants competing in Survivor: Game Changers, the show's 34th season, which began airing in March 2017. Throughout Culpepper's second season, he played relatively consistently, and stayed loyal to his alliances, despite being in the minority for the most part. However, at his endgame, he won five individual immunity challenges; a feat shared only by a few other elite Survivor players, which propelled him to the Final Three with Sarah Lacina and "Troyzan" Robertson. Although Culpepper played a solid social game and was a prominent threat, he became very arrogant and made some condescending remarks toward fellow tribe mate Tai Trang in the last few days. At the Final Tribal Council, Lacina's skillful strategic and social gameplay was preferred by the jury over Culpepper's physical dominance, and she was awarded the title of "Sole Survivor" in a 7–3–0 vote. Culpepper received three votes, making him the runner-up.

text: Personal life[edit]

text: In 1990, Culpepper met Monica Frakes when he was a sophomore at the University of Florida.[21] The couple married weeks after Culpepper was drafted into the NFL in 1992.[22] The couple have three children together.[18] Their oldest son, Rex, is a quarterback at Syracuse University.[23] He and his wife, Monica, are the only Survivor couple to both be runners-up in separate seasons. Coincidentally, they both achieved this feat in their second time playing the game, Monica in Survivor: Blood vs. Water and Brad in Survivor: Game Changers.[24][better source needed][25][better source needed] This paradigm is similar to another Survivor couple, Rob Mariano and Amber Brkich, who are the only couple to both have won Survivor, Amber in Survivor: All-Stars and Rob in Survivor: Redemption Island.[26][better source needed][27][better source needed][28][better source needed][29][better source needed]


document_title: List of Barbados hurricanes

question_text: what was the last hurricane to hit barbados

text: List of Barbados hurricanes

text: September 2, 1951: Hurricane Hosa passes 60 miles to the north.

text: October 5, 1954: Hurricane Hazel passes 45 miles to the south.

text: September 22, 1955: Hurricane Janet passes miles to the south-east as a Category 2 hurricane.

text: August 30, 1958: Hurricane Ella passes 50 miles to the north.

text: July 10, 1960: Hurricane Abby makes landfall.

text: September 25, 1963: Hurricane Edith passes 30 miles to the north as a Category 2 hurricane.

text: August 28, 1965: Hurricane Betsy passes 40 miles to the north-east.

text: September 29, 1966: Tropical Storm Judith passes 20 miles to the north.

text: All these hurricanes passed within 65 miles of the island's center.

text: September 6, 1967: Hurricane Beulah passes 25 miles to the north.

text: September 25, 1968: Unnamed storm, 1968 passes 20 miles to the south.

text: July 26, 1969: Unnamed Storm, 1969 makes landfall.

text: October 1, 1970: Unnamed Storm, 1970 passes 25 miles to the north.

text: August 20, 1970: Tropical Storm Dorothy passes 45 miles to the north.

text: September 13, 1971: Hurricane Irene-Olivia passes 50 miles to the south.

text: August 19, 1971: Tropical Storm Chloe passes 40 miles to the north.

text: October 2, 1974: Hurricane Gertrude passes 55 miles to the south.

text: October 7, 1976: Unnamed Storm, 1976 passes 60 miles to the north-west.

text: August 8, 1978: Unnamed storm, 1978 makes landfall.

text: August 29, 1979: Hurricane David passes 75 miles to the north-east.

text: June 23, 1979: Tropical Storm Ana passes 60 miles to the north.

text: August 4, 1980: Hurricane Allen makes landfall as a major Category 3 hurricane. It causes $6 million in damage. 129 mile per hour winds battered the island. Over 500 homes were destroyed. Amazingly, no deaths were reported.

text: July 23, 1983: Unnamed Storm, 1983 passes 15 miles to the north.

text: July 25, 1984: Unnamed Storm, 1984 passes 50 miles to the north.

text: September 8, 1986: Tropical Storm Danielle passes 65 miles to the south.

text: Septer 21, 1987 Hurricane Emily passes 50 miles to the south.

text: September 9, 1988 Hurricane Gilbert passes 75 miles to the north-east.

text: August 14, 1993: Tropical Storm Cindy passes 60 miles to the north.

text: September 9, 1994: Tropical Storm Debby passes 20 miles to the north.

text: September 14, 1995: Hurricane Marilyn passes 50 miles to the north-east.

text: August 25, 1995 Hurricane Iris passes 70 miles to the north.

text: October 4, 2001 Hurricane Iris passes 25 miles to the south.

text: October 7, 2001: Tropical Storm Jerry passes 30 miles to the south-west.

text: September 23, 2002: Hurricane Lili passes 45 miles to the south.

text: August 4, 2004: Tropical Storm Bonnie passes 20 miles to the north.

text: September 7, 2004: Hurricane Ivan passes to the south.

text: August 17, 2007: Hurricane Dean passes 65 miles to the north.

text: September 1, 2007: Hurricane Felix passes 70 miles to the south.

text:
October 30, 2010 – Hurricane Tomas skirts the southern coast of Barbados as a strong tropical storm.[1] Upon striking the island and the rest of the Windward archipelago, Tomas becomes the latest hurricane on record in a calendar year to impact the region. At Grantley Adams International Airport, a wind gust of 105 mph (165 km/h) is documented. The same station measured 11.56 in (294 mm) of rain. The strong winds knock down power lines and damage homes; an estimated 1,200 residences sustain damage as a result of Tomas. Overall damage amounts to US$8.5 million, though no deaths are reported.[2]
August 3, 2012 – Hurricane Ernesto passes 35 mi (56 km) northwest of Barbados, though despite its proximity, brings generally minimal effects to the island.[3]


document_title: A Goofy Movie

question_text: who does max voice in a goofy movie

question_tokens: who does max voice in a goofy movie

text: A Goofy Movie

text: Plot[edit]

text: It is the last day of school before the summer break for Goofy's teenage son Max, who has a plan to shed his "Goof" label and impress his crush, Roxanne. Max and his best friends, P.J. and Bobby Zimuruski, hijack the auditorium stage in the middle of Principal Mazur's speech, creating a small concert where Max performs, while costumed as the pop singer Powerline. The performance succeeds in making Max a school celebrity, but he, P.J.,Randy and Bobby are sent to Mazur's office. While waiting outside of the office, Roxanne speaks with Max and agrees to go with him to a party where Powerline's concert will be aired live. However, Mazur exaggerates these events to Goofy during a phone call with him and claims that Max's actions may result in him facing capital punishment, therefore extremely rubbing in Goofy's fear that Max is drifting away from him.

text: Oblivious to Max's plans with Roxanne, Goofy decides to take Max on a fishing trip to Lake Destiny, Idaho, following a map route he and his father took years ago, and the two go into his station wagon. Max stops by Roxanne's house to call off their date, but when Roxanne says she will just have to go with someone else, Max panics and instead fabricates a story about his father knowing Powerline, telling her that he will appear on stage at the concert.

text: Despite his son's objections, Goofy plans his own trip, with initially disastrous results, leading to Max hurting his father's feelings after being humiliated at an opossum-based theme park.

text: While camping, Pete and P.J. join them. Following Pete's advice to keep Max under control, Goofy takes his son fishing and performs the Perfect Cast fishing technique, luring Bigfoot to their camp, forcing Pete and P.J. to flee, and leaving Goofy and Max to spend the night with Bigfoot. That night, while Goofy is asleep, Max surreptitiously alters the map route to Los Angeles, where the concert is taking place.

text: The next morning, Goofy decides to make Max the navigator of the trip. The two go to several locations that satisfy both of them, and stop by a motel where they meet Pete and P.J. again. Pete overhears a conversation between Max and P.J., and reluctantly tells Goofy that Max is tricking him into traveling to Los Angeles.

text: The next day, Goofy and Max come to a junction: one leading to Idaho, the other to California. After Max chooses the route to California, Goofy stops the car at the Grand Canyon in frustration. With the brake loose, the car drives off on its own, leaving Goofy and Max to chase after it and ending up in the canyon.

text: Goofy reveals his believing Mazur's exaggerations to Max and also says that no matter how old Max gets, he will always be his son, and the two reconcile with each other. After learning that Max had promised Roxanne that he would be at the concert, Goofy decides to take him to Los Angeles. The two nearly plummet down a waterfall to their deaths, but Max fortunately saves Goofy, using the Perfect Cast technique.

text: Goofy and Max get to Los Angeles, and while attempting to sneak backstage, they end up onstage and dance with Powerline, watched by Pete, P.J. and Roxanne on separate televisions.

text: Goofy and Max later return to Roxanne's house in their damaged car, where Max tells the truth to Roxanne; she accepts it and admits she always had feelings for him, ever since he first said, "Ahyuck!", starting a relationship between them.

text: Goofy's car suddenly explodes due to the damage it has sustained, ejecting Goofy in the process, but he safely falls through the porch roof of Roxanne's house, where Max proceeds to introduce him to Roxanne.

text: Voice cast[edit]

text:
Bill Farmer as Goofy, Max's father who works as a photographer at a convenience store
Jason Marsden as Maximillan "Max" Goof, Goofy's insecure teenage son
Kellie Martin as Roxanne, Max's high school crush and love interest
Jim Cummings as Pete, Goofy's coworker who he and Max happen upon during their road trip.
Rob Paulsen as P.J., Pete's son and Max's best friend
Pauly Shore (uncredited) as Robert "Bobby" Zimuruski, Max and P.J.'s other best friend at school.
Jenna von Oÿ as Stacey, Roxanne's best friend.
Julie Brown as Lisa, a student in Max's high school who, along with the other students, makes fun of Max until his performance as Powerline made her and the students congratulate Max. She is Chad's girlfriend.
Joey Lawrence as Chad, a student in Max's high school who, along with the other students, makes fun of Max until his performance as Powerline made him and the students congratulate Max. He is Lisa's boyfriend.
Tevin Campbell as the singing voice of Powerline, a famous rock star celebrity who Max looks up to.
Wallace Shawn as Principal Mazur, the bad-tempered principal of Max's school.
Frank Welker as Bigfoot, a monster who lives in the forest.
Kevin Lima as Lester the Possum
Florence Stanley as a Waitress
Jo Anne Worley as Miss Maples
Wayne Allwine as Mickey Mouse, who is seen hitchhiking alongside Donald Duck during Max and Goofy's road trip.
Pat Buttram as the Possum Park Emcee
Herschel Sparber as a Security guard
Brittney Alyse Smith as the Photo Studio Girl
Corey Burton as Wendell
Pat Carroll as a restaurant waiter.

text: Production[edit]

text: A Goofy Movie was the directorial debut for Disney crew member Kevin Lima, who went on to direct the Disney films Tarzan (1999), 102 Dalmatians (2000) and Enchanted (2007).[4] In 1995, Lima said that "Instead of just keeping Goofy one-dimensional as he's been in the past, we wanted to give an emotional side that would add to the emotional arc of the story. We wanted the audience to see his feelings instead of just his antics."[5]

text: Although based upon a Disney TV series, A Goofy Movie was jointly produced by Walt Disney Feature Animation, Walt Disney Television Animation, Disney MovieToons, Walt Disney Animation France. and Walt Disney Animation Australia. Pre-production was done at the main Feature Animation studio in Burbank, California, starting as early as mid-1993. The animation work was done at Walt Disney Animation France in Paris, France supervised by Paul and Gaëtan Brizzi, with additional scenes animated at Disney's studio in Sydney, Australia under the direction of Steve Moore, and clean-up work done at the main Burbank studio.[6][7] Additional clean-up/animation was done by Phoenix Animation Studios in Canada, and Digital ink and paint by the Pixibox studio in France.[8]

text: According to Bill Farmer, who provided the voice talent for Goofy, in a panel interview, producers had asked him to give Goofy a "normal dad voice" as opposed to the voice he traditionally gives the character, but Farmer refused to, stating that "no one wants to hear that."[9] The voice of Max was done by Jason Marsden, whereas his singing voice was done by Aaron Lohr.[9] The movie is dedicated to Pat Buttram, who voiced the emcee at possum park, as he passed away after finishing voice work for the film.[10]

text: Music[edit]

text: The score for A Goofy Movie was provided by Carter Burwell and Don Davis.[11] Burwell was the primary composer; after Burwell had recorded his score with Shirley Walker orchestrating and conducting, Davis was hired to rework his score rather than write a completely new one. Burwell later wrote "My score had relied somewhat on unusual instrumentation - banjo, percussion and choir for example - and Disney wanted the sweeping scale and familiar affect of symphonic score." .[12] Davis is credited with "additional music" on the movie and the soundtrack album.

text: The songs "I 2 I" and "Stand Out" were performed by R&B singer Tevin Campbell. The soundtrack album for A Goofy Movie was released by Walt Disney Records on March 18, 1995.[13] Mitchell Musso covered the song "Stand Out" for the DisneyMania 7 album, which was released on March 9, 2010.[14]

text:
A Goofy Movie Original Soundtrack

No.
Title
Length

1.
"I2I" (Tevin Campbell and Rosie Gaines)
4:37

2.
"After Today" (Aaron Lohr and Chorus)
2:21

3.
"Stand Out" (Tevin Campbell)
3:00

4.
"On the Open Road" (Bill Farmer, Aaron Lohr, and Chorus)
3:01

5.
"Lester's Possum Park" (Kevin Quinn and Chorus)
1:25

6.
"Nobody Else But You" (Bill Farmer and Aaron Lohr)
2:35

7.
"Opening Fanfare / Max's Dream / Transformation"
1:25

8.
"Deep Sludge"
2:35

9.
"Bigfoot"
1:50

10.
"Hi Dad Soup"
2:04

11.
"Runaway Car"
2:14

12.
"Junction"
1:32

13.
"The Waterfall! / The Truth"
2:17

text: Release[edit]

text: A Goofy Movie was originally scheduled for a November 1994 theatrical release,[15] but production setbacks resulted in a push-back to 1995, while The Lion King was reissued to fill in for the film's absence.[16] The film's premiere took place on April 5, 1995, at the AMC Pleasure Island at Walt Disney World Resort in Lake Buena Vista, and was attended by director Kevin Lima and voice stars Bill Farmer and Jenna von Oy. On May 7, it was released nationwide.[17] The film played a limited engagement at the El Capitan Theatre from August 25 through September 4, 2017.[18]

text: Home media[edit]

text: The film was first released on VHS by Walt Disney Home Video on September 6, 1995, and included a music video for the Parachute Express song Doctor Looney's Remedy on their video, Come Sing with Us. In the United Kingdom, it was released in theaters succeeding the Mickey Mouse short Runaway Brain on October 18, 1996, and on VHS in 1997. It was reissued on June 20, 2000, along with a DVD version, as part of the Walt Disney Gold Classic Collection.[19][20] This edition includes the Goof Troop episode, "Calling All Goofs", the episode "The Goofy Success Story" from the Disneyland television series, and a "Disney-fied" edit of "Mambo No. 5."[21] To date, this film and Doug's 1st Movie are the only two Disney animated films produced in widescreen that have pan and scan-only Region 1 DVD releases (not counting separate widescreen and pan and scan DVD releases of the two Disney/Pixar films The Incredibles and Cars). However, the film's PAL and NTSC (Japan) counterpart does have a non-anamorphic widescreen DVD, and the film is available in a letterbox presentation on LaserDisc and also in standard-definition widescreen on digital video retailers.

text: Reception[edit]

text: Critical response[edit]

text: On the review aggregator website, A Goofy Movie holds an approval rating of 53% with an average rating of 5.6/10 based on 15 critics.[22]

text: Variety's Todd McCarthy criticized the film's score, calling the six featured songs "unmemorable". He also felt that the personality of Goofy's character, while agreeable enough in support, proved a bit over the top for a headliner, and that "by any reasonable reckoning, he's distinctly overbearing and selfish, and responds with a bland dismissal to any opinion offered up by his son". McCarthy praised the film's technical aspects, calling them "crisp and clean".[6] Louis Black of The Austin Chronicle summed up his review by saying the film was "bland, a barely television-length cartoon stretched out to fill a feature, and not much fun".[5]

text: Siskel and Ebert both approved of the movie, praising the color scheme and the "sweet" father-son plot, and gave it three stars.[23] Writing for Common Sense Media, Nell Minow gave the film 4 stars, saying that "even tweens will enjoy this road trip with Goofy."[24]

text: Box office[edit]

text: A Goofy Movie was considered a relative success for Disney, opening in 2,159 theaters at #2 on its opening weekend with $6,129,557 - held from the #1 spot only because of the Will Smith blockbuster Bad Boys that opened the same weekend, with $15,523,358 in box office returns.[25] It ultimately ended its run at the US box office grossing $35,348,597.[3]

text: Accolades[edit]

text: The film was nominated for "Best Animated Feature" in the production categories and "Best Production Design", "Best Storyboarding", "Best Music", and "Best Animation" in the individual categories at the 23rd Annie Awards.[26]

text: Legacy[edit]

text: A direct-to-video sequel to A Goofy Movie, titled An Extremely Goofy Movie, was released on DVD and VHS in 2000. The film centers Max's freshman year in college. Characters that returned for the sequel were Goofy, Max, P.J., Pete and Bobby, but Roxanne, Max's love interest, is absent from the sequel and is not referenced. Roxanne later appeared in the television series House of Mouse in the episode titled "Max's Embarrassing Date", where she was voiced by Grey DeLisle instead of Kellie Martin.

text: The film has gained that of a cult following, particularly among millennials who grew up with the movie.[27] On August 14, 2015, a 20th anniversary reunion for the film was held at the D23 Expo at Anaheim Convention Center in Anaheim, California.[28] Those in attendance included Bill Farmer, Jason Marsden, Jim Cummings, Rob Paulsen, Jenna von Oÿ and producer Don Hahn. Wallace Shawn, Pauly Shore and director Kevin Lima also sent video messages.[28] The panel also included musical performances from Farmer, Marsden, and Tevin Campbell.[28][29]