Answered questions about specific movies, TV shows and more
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Question: At the end, Orson Welles is wounded, and flees up a ladder out onto the face of the church clock. The clock contains an automata of statues that move in front of the clock face. One of the statues holds a sword which impales Orson Welles. We even have a distance shot in which the sword is seen sticking out of Orson Welles' back. Is such an end feasible? Surely, for a sword to fully pierce a human body it would have to be very sharp, and be driven with incredible force and speed. Would the statue be moving with anything remotely approaching such force and speed? And surely a statue on a clock would not carry a real sword, but a facsimile, meant to look like a weapon from a distance? And, if somebody really was pierced completely through with a sword, could they really press their body forward to fully withdraw the weapon? (01:34:45)Rob Halliday
Question: Something that puzzles me about the thee Omen films taken together. In the first film of the series the very young Damien is taken into a church. As the son of the Devil he has a great aversion to all things Christian, so he has a huge tantrum, and screams, struggles and resists going into the building. So how is it, that, as the series progresses, he can enter Christian buildings without any ill effects? (The denouement of the third and final Omen film is set in Fountains Abbey, a venerated Christian church in Yorkshire).Rob Halliday
Question: In this version the Phantom was a highly gifted composer, who, as a grown adult, was horribly disfigured in an accident. Much of the Hammer version centres on the performance of the Phantom's masterpiece, an opera about Joan Of Arc, segments of which are shown during the film. I am not an expert on opera, but it seemed to me that the Phantom's musical take on the Joan Of Arc lenient was one of the dullest musical performances I have ever seen, consisting of perfectly ordinary (and uninspiring) dialogue, sung on a single (and rather monotonous) octave. (Imagine some people who can't sing very well singing the text of a second rate historical novel.) Did anybody else who saw this little known film of the classic horror story have any opinion on the Joan Of Arc opera?Rob Halliday
Question: Vader tortured Han to lure Luke into a trap because he knows Luke will sense they are in danger and will come try to rescue them since they are his friends. How did Vader know Han, Leia, and Chewbacca were Luke's friends?
Question: At the end of the film Blondie, sitting on the horse, turns around, aims his rifle, fires, and severs the rope with a single shot. Lets face it, that rope would be a very small target, and difficult to hit with precision, even from ten or twenty feet, and Blondie is now so far from Tuco that he would no longer even be able to see the rope. Could anyone hit such a small target from such a distance with such incredible accuracy?Rob Halliday
Question: Loki (as Odin) quotes a conversation that occurred between Thor and Odin. This conversation happened after Loki let go of the handle Thor offered to keep him from falling off the bi-frost. How does Loki know what Odin tells Thor when he's supposedly headed to Midgard (Earth) as they speak? Can Loki read minds? If so, I don't recall any movies he comes out in mentioning mind reading.
Question: During the movie when a viewer can make decisions, I chose to honk the horn twice which saved Frankie's life. Later in the film, Frankie is being arrested by two officers. The scene pauses and a question appears asking if it was right to save his life. I chose "yes" and because of this he is seen being taken away. If I had chosen "no", what would have happened to Frankie?
Question: Why did heat seeking missiles go after the fireball created by fuel instead of the fighter jet? I thought heat seeking missiles went after specific infrared frequencies, and specific temperatures.
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