Word: milius
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Dates: during 1980-1989
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...that after the director spent so much time working on the accents of some characters, like Press, that others have none. A brief sojourn in Europe must have rid Catherine Holly (Anne Schott) of her accent, and Sister Felicity (Sally Milius) must have drowned hers in the ascetic life...
...this indicates some sort of twisted mentality on the part of the creators of this film, director Walter Hill and co-writer John Milius. When a movie features contributions by people whose previous work includes Red Dawn, Rambo, First Blood Part 2 and Streets Of Fire, the emerging world-view would have to be a little skewed. Skewed, however, does not even come close to describing the world of Extreme. The motto here is not "liberty and justice for all," but "we didn't hurt him none, we just roughed...
...Bruce Johnston, 44, whose group celebrates its silver anniversary this year, bought a house near California's Rincon Beach, partly to be near one of his favorite spots. "Surfing is probably my only feeling of freedom," says Johnston. "My mortgage payments are not in the water with me." John Milius, 42, co-writer of Apocalypse Now and writer-director of Big Wednesday, the 1978 surfing epic, calls himself a surfer first and anything else second. "I'll be surfing until they carry me away," Milius says...
...Most of the segments are flimsy and half-baked (three stories are sometimes crowded into the hour) or weighted down by gloomy moralizing, one of the more lamentable legacies of Rod Serling's classic program. But there have been surprises. Among them was a striking episode from Director John Milius (Red Dawn), in which a man murders his mistress's husband while on a hunting trip, then relives the crime with the roles reversed. Milius bathed his key scenes in orange light and an otherworldly fog, giving the routine tale a haunting resonance...
...tossing grenades soon after his father shouts, "Avenge me! Avenge me!" He refuses, however, to kill a wounded female comrade (Lea Thompson), so she borrows a spare grenade to blow up herself and an enemy soldier. Red Dawn is too crude and incoherent to be taken either seriously by Milius' ideological allies or frivolously by the nuclear-freezers. So how to explain the robust $8.2 million in ticket sales on its first weekend of release, when most Americans were engaged in the sissy activity of watching the Olympics? Perhaps the film's audience loves guerrilla theater, no matter...