Quotes / World of Ham

"Tennesse didn't care for the ending... He found the fight at the end melodramatic—that from Tennessee, whose heroes, when not castrated, are eaten alive by small boys in Amalfi."
Gore Vidal, Palimpsest

"You know, the thing about Star Trek is they use more theater people, Shakespearean-trained. (I've done a lot of Shakespeare, most of the Klingons have done a lot of Shakespeare)... They tend to go with people who can operate in a strangely heightened reality and somehow make it as close to reality as you can."
J. G. Hertzler

"This is ostensibly trying to go for Ballard-esque 2000 AD-inflected dystopias of street gangs and cannibal old women running around a council estate. Unfortunately, it looks like a children's panto... The Kangs are too old to be a child street gang and don't so much act like a street gang as like a childish approximation thereof. The Rezzies are over the top. Pex is a completely inadequate parody of an action hero. And yes, Richard Briers is channeling his inner John Cleese in portraying a fascist authoritarian."
Phil Sandifer on Doctor Who, "Paradise Towers"

"Sure there were a couple of moments when the dialogue was so atrocious that no one would have been able to deliver them with anything resembling poise but this is Smallville; people constantly speak like they're auditioning for commercials on this show."
Julian Finn on Smallville, "Fortune"

"The ridiculous scenes are endless. Samples: Walken, surrounded by gunmen and trapped in a burning cabin, scribbles a farewell note in which he observes that he is trapped in the burning cabin, and then he signs his full name so that there will be no doubt who the note was from. Kristofferson, discovering Huppert being gang-raped by several men, leaps in with six-guns in both hands and shoots all the men, including those aboard Huppert, without injuring her. In a big battle scene, men make armored wagons out of logs and push them forward into the line of fire, even though anyone could ride around behind and shoot them. There is more. There is much more."

"First, there is a brief opening that manages to cram David Warner and John Glover into the first five minutes; that is in itself no small accomplishment. Half of the weird character actors in Hollywood are in this movie... Honestly, I was waiting for Dennis Hopper or Crispin Glover to show up, causing the movie to collapse in on itself from overt weirdness."
Justin Helmer on In the Mouth of Madness

John: This is a movie where Brenda rides alligators as water skis. We need to get that out of the way.
Josh: Of course.
John: I also want to be open and say the instant this movie started I was on board with it...It very quickly establishes who she is, what sheís like, whatís at stake, and that this is a universe where rival journalists wear fur wraps to police shootouts.
Josh: Where journalism rivalries are worth dying and/or killing for.
The Toast, "We Watched Brenda Starr (1989)"

"Owing to the influence from pulps like The Shadow and its heroís nocturnal theme, Gotham was always a little darker than average, but thereís really nothing in those original stories that required an environment that wasnít, say, New York City. Itís not until creators like Dick Sprang start playing around with the environment to make chase scenes and set pieces more exciting that Gotham really becomes distinct as this strange world of larger-than-life props and 'advertising displays' mounted on the sides of buildings. I love that idea, that Gotham is by its very nature a place thatís bigger than life, where everything ó advertising, crime, heroism, everything ó is operating on this massively grand scale. Thatís the kind of environment that could produce the Riddler..."