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  • Open Access
  • Open Peer Review

Double-plating of ovine critical sized defects of the tibia: a low morbidity model enabling continuous in vivo monitoring of bone healing

  • 1Email author,
  • 1,
  • 1,
  • 1 and
  • 1
Contributed equally
BMC Musculoskeletal Disorders201112:214

  • Received: 2 June 2011
  • Accepted: 29 September 2011
  • Published:
Open Peer Review reports

Recent studies using sheep critical sized defect models to test tissue engineered products report high morbidity and complications rates. This study evaluates a large bone defect model in the sheep tibia, stabilized with two, a novel Carbon fibre Poly-ether-ether-ketone (CF-PEEK) and a locking compression plate (LCP) which could sustain duration for up to 6 month with an acceptable low complication rate.

A large bone defect of 3 cm was performed in the mid diaphysis of the right tibia in 33 sheep. The defect was stabilised with the CF - PEEK plate and an LCP. All sheep were supported with slings for 8 weeks after surgery. The study was carried out for 3 months in 6 and for 6 months in 27 animals.

The surgical procedure could easily be performed in all sheep and continuous in vivo radiographic evaluation of the defect was possible. This long bone critical sized defect model shows with 6.1% a low rate of complications compared with numbers mentioned in the literature.

This experimental animal model could serve as a standard model in comparative research. A well defined standard model would reduce the number of experimental animals needed in future studies and would therefore add to ethical considerations.

  • Lock Compression Plate
  • Tissue Engineer Construct
  • Large Bone Defect
  • Lock Compression Plate
  • Distal Screw

The healing of large bone defects caused by tumour, infection or high energy trauma remains one of the most challenging orthopaedic problems for both surgeons and patients. Autologous bone transplantation using cancellous bone graft harvested from sites such as the iliac crest, is currently considered as "gold standard" for reconstruction of these defects [1, 2]. The process of harvesting the cancellous bone, however, is associated with a high rate of donor site morbidity, and an increased risk of infection, nerve damage and loss of function [3]. Furthermore, the amount of suitable bone can be limited, particularly in older patients. Tissue engineering offers a possible solution to the problems of autologous bone transplantation. Tissue engineered constructs employ a combination of biodegradable, osteoconductive scaffolds, cells that provide osteogenic potential and osteoinductive growth factors [4, 5]. Comprehensive evaluation of new tissue engineered constructs requires both in vitro and in vivo testing. In vitro testing is popular for the characterisation of tissue engineered constructs particularly as medical researchers embrace the principles of animal reduction. In vitro testing gives useful information regarding cytotoxicity, genotoxicity, cell proliferation and differentiation [6, 7] and is particularly useful for the screening of new materials [8]. The final stages of evaluation prior to use in humans, however, requires in vivo testing in an animal model in order to demonstrate the tissue response to the construct. Critical sized defect models that simulate the poor healing seen in human patients with large bone defects have been developed in a number of species including rodents, rabbits, pigs, goats, dogs and sheep [9, 10]. The sheep critical sized defect model offers some unique advantages over other species that makes it particularly feasible for modelling human orthopaedic disease. Adult sheep are similar in body weight to humans and have long bones with similar surface to volume ratios and remodelling properties to humans. Therefore, the biomechanical and bone healing characteristics of sheep are more similar to those found in humans than of other, smaller species [9]. Furthermore, sheep are easy to handle, inexpensive to keep, and are not considered companion animals, which improves their ethical acceptability. A number of studies using sheep critical sized defect models report high morbidity and complication rates that range from 2.5% [11] up to 33% [12]. These studies vary in their experimental design, surgical technique and defect stabilisation technique, which makes comparison between these studies difficult. For this reason and after experiencing high complication rates in previous experiments in our institute we have designed a critical sized defect model in the sheep using two plates that enables in vivo radiographic monitoring of bone healing while overcoming the problems of high morbidity and high complication rates. Therefore, we set out to test the hypothesis that a 3 cm, critical sized defect in the sheep tibia stabilized with two, a novel Carbon fibre Poly-ether-ether-ketone (CF-PEEK) and a locking compression plate (LCP), can sustain a duration of up to 6 month and allows in vivo monitoring of bone healing.

Experimental animals

Thirty-three, skeletally mature, Swiss alpine sheep were selected for the study. The mean weight of the sheep was 62.6 kg (range: 50.0 to 78.0 kg). A pre-operative physical examination revealed no gross abnormalities in any of the sheep. Pre-operative radiographs which were used to confirm skeletal maturity based on closure of the tibial physis, revealed no bony abnormalities of both tibiae. Six sheep were maintained post-operatively for duration of 3 months and 27 sheep were maintained for duration of 6 months. Following surgery, sheep were housed in single stalls, fed a maintenance ration of hay and had ad libitum access to water for the whole duration of the study. All procedures during the study were carried out according to the Swiss Laws of animal welfare and were approved by the local Ethics Commission of the official veterinary authorities (Authorisation Number: 10/2005).

Surgical Procedure

All surgical procedures were performed under general anaesthesia. General anaesthesia was induced with butorphanol (0.06 mg/kg BW intravenously (iv), Morphasol, Gräub AG, Bern, Switzerland), midazolam (0.3 mg/kg BW iv, Dormicum, Roche Pharma, Reinach, Switzerland) and thiopental (5-10 mg/kg BW iv to effect, Pentothal, Abbott AG, Cham, Switzerland). Sheep were intubated and anaesthesia was maintained with 2% isoflurane (Pharmacia and Upjohn AG, Dübendorf, Switzerland) in oxygen.

Each sheep was placed in right lateral recumbence and the right tibia was prepared for aseptic surgery by routine clipping and cleaning of the skin using a chlorhexidine solution (Hibiscrub, Swissmedic, Bern, Switzerland). The right tibia was draped routinely for a medial approach to the tibial diaphysis. A 15 cm longitudinal incision centred on the mid diaphysis was made through the skin and subcutaneous tissues. Care was taken to avoid cutting the periosteum. At the level of the mid diaphyses (7 cm above the medial malleolus of the tibia) a length of 3 cm was marked on the bone. A seven hole, locking CF - PEEK plate (snakeplate, Icotec AG, Altstätten, Switzerland; Figure 1 and 2) was placed. Using the corresponding drill sleeves, the first, second, sixth and seventh holes were pre-drilled with a 4.0 mm drill bit. The third, fourth and fifth holes were left empty as they were within the defect zone. The plate was then removed and a 2.7 cm custom made spacer was placed and fixed with a monocortical 3.5 mm screw in the centre of the marked, pre-determined defect zone. Using an oscillating saw, the full diameter of the tibia at the distal end of the spacer was transected under constant cooling with Ringer's solution (B. Braun Melsungen AG, Melsungen, Germany). The tibia was then transected at the proximal end of the spacer and the 3 cm defect created in removing of the bone segment with the spacer attached. Care was taken to ensure that all of the periosteum was removed and that no tags of periosteum remained at the transected bone ends. The snakeplate was then placed on the medial aspect of the tibia again, the pre-drilled screw holes were tapped and 4.5 mm CF - PEEK screws were placed. A random selection of the screws contained tantalum fibres that enabled them to be seen radiographically (Figure 3A). The screws were tightened with a maximum force of 1.5 Nm. Subsequently, a 7-hole, 4.5 mm locking compression plate (LCP, Synthes GmbH, Oberdorf, Switzerland) was contoured to the cranial aspect of the tibia. The first, second, third, sixth and seventh holes were drilled using a 4.3 mm drill bit and self-tapping 5 mm screws (Synthes GmbH, Oberdorf, Switzerland) were placed. Care was taken to ensure that the plates were placed 90° to each other, that all screws were placed bicortically, and that the screws did not interfere with each other. This was done under visual control and resulted in a 3 cm mid diaphyseal defect with the periosteum completely removed. The appropriate treatment was placed into the defect and the fascia and subcutis were closed with continuous sutures (Polyglecaprone 25, Ethicon Inc., Neuchatel, Switzerland). The skin was closed using skin staples.
Figure 1
Figure 1

Intra-operative situation after ostectomy and osteosynthesis. The image shows the cranial LCP and the medial snakeplate on the tibia. The ostectomy in the tibia is clearly visible leaving space for potential tissue engineered solutions.

Figure 2
Figure 2

The two osteosynthetic plates used. Upper: 7 hole broad LCP; lower: CF - PEEK (snakeplate) with the corresponding screws.

Figure 3
Figure 3

Continuous radiographic evaluation in vivo. The latero-medial radiographic image of the right tibia shows the situation two weeks post operative (Figure 3A). The cranial LCP is clearly visible while the medial snakeplate is radiolucent. The screws of the snakeplate randomly include tantalum wires (note the white arrow head) which make them visible on radiographs. If no tantalum wires are included in the implant the screw is completely radiolucent (image A, white arrow). On the radiographic image 24 weeks post operative (Figure 3B) very little bone formation is visible. The cortices alongside the ostectomy gap have narrowed and no bridging has occurred. Even though in this case no load sharing occurred there are no signs of implant loosening or instability. On a radiographic image 24 weeks post operative evaluating a different tissue engineered solution (Figure 3C) bridging has occurred. It was possible to evaluate the amount of bone formation during the study in one plane.

Postoperative management and monitoring

Postoperative analgesia was provided by intramuscular (im) administration of carprofen (4 mg/kg BW, Rimadyl, Pfizer AG, Zürich, Switzerland) and subcutaneous (sc) injections of buprenorphine (0.01 mg/kg BW, Temgesic, Reckitt and Colman Pharm., Hull, UK) at the end of surgery. Additional analgesia was administered by means of buprenorphine (0.01 mg/kg BW sc three times daily, Temgesic, Reckitt and Colman Pharm., Hull, UK) for 3 days and carprofen (4 mg/kg BW im once daily, Rimadyl, Pfizer AG, Zürich, Switzerland) for 5 days. No antimicrobial therapy was administered during or after aseptic surgical procedures.

After surgery sheep were housed in single stalls. For eight weeks post surgery the sheep were held in slings (Figure 4) allowing them to stand, bear full weight on all legs and move around in their boxes to a certain degree. During this time the sheep were protected them from high loading forces experienced when rising from a lying down position. This handling concept was pre-planned and defined in the animal experimental permission approved by the Ethics Comission. The sheep were monitored each day by an experienced animal caretaker and a veterinarian for signs of inflammation, lameness and general wellbeing. Here weight bearing and movement on the operated limb were controlled visually. Two weeks after surgery the skin staples were removed.
Figure 4
Figure 4

Animal supported by slings. A sheep on the second day after surgery. The slings allow the sheep to fully weight bear on the operated leg, but prevents peak loads during laying down and standing up.

Lateromedial radiographs of the operated tibia were taken immediately after surgery and every second week (Figure 3). The radiographic examinations were performed under sedation using detomidine (0,03 mg/kg BW im, Domosedan, Pfizer AG, Zürich, Switzerland). Bone regeneration was quantified using a digital image software analysis programme (GIMP, GNU General Public Licence). The results of the radiographic evaluation are published elsewhere [13]. At the end of the study the sheep were euthanized by means of an iv barbiturate overdose (60 mg/kg BW, Pentobarbital, Eutha 77, Swissmedic, Bern, Switzerland). Time points of euthanasia were at 3 month or 6 month after surgery, respectively, depending on the original study question.

There were no intraoperative complications during the study. Surgical time was between 90 and 120 minutes. Anaesthesia and recovery phase were uneventful for all operated sheep. Twenty-four hours after surgery all sheep were fully weight bearing on the operated limb. At no time after surgery clinical signs of infection were noticed. At about 2 weeks after surgery no clinical signs of inflammation were detected with the incision wound healed. The sheep adapted well to the slings and no complications were associated with the use of the slings. The animals were taken out of the slings at 8 weeks regardless of the radiological state of healing within the defect.

Severe postoperative complications were experienced in 2 sheep. One sheep was euthanized one day after surgery due to a fractured leg (Figure 5). The immediate postoperative radiograph showed that the most distal screw in the LCP was too short to engage both cortices (Figure 5). At necropsy the distal screw had pulled out and a spiral fracture extending through the two distal screw holes of the LCP was diagnosed. A second sheep was euthanized after 3 months because screw numbers 6 and 7 of the snakeplate were broken which resulted in increased loading and subsequent bending of the LCP (Figure 5). The complication rate was comparable in both groups with 1 sheep in the 3 month and the 6 month group, respectively. Low grades of lameness were noted in two sheep at 3 and 4 months after surgery. In these sheep the lameness was localised to the front limbs and laminitis was suspected. Based on this diagnosis, the sheep were placed on thick straw bedding and the lameness resolved. No lameness or pain was detected in any of the other sheep during the whole study period. The overall incidence of severe complications was 2 out of 33 sheep (6.1%).
Figure 5
Figure 5

Radiographic evaluation of complications that have occurred. Radiographic image of a sheep that had to be euthanized 3 month after surgery (Figure 5D). Here both distal screws of the snakeplate were broken and the LCP started to bend. Radiographic image at the end of surgery (Figure 5E1), note screw number 7 in the LCP is not placed bicortical (white arrow). Radiographic image of the same sheep the day after surgery (Figure 5E2). At necropsy a spiral fracture extending through the 2 distal screw holes of the LCP was diagnosed.

The successful treatment of large bone defects remains extremely challenging. New treatment modalities such as tissue engineered solutions are continuously being developed in order to expedite healing. Therefore, there is a need for reliable critical sized bone defect models in animals that can test the efficacy of these solutions. Because of the challenging nature of critical sized defects, many animal models described in the literature report high morbidity and high complication rates. For this reason we have developed a model that reduces morbidity and complications while enabling in vivo monitoring of bone healing.

Animal models described in the literature vary considerably, with differences in the species used, the defect size, ostectomy location, surgical technique and the type of osteosynthesis used. The defect size is generally determined by the dimensions of the bone in which the defect is made. In the sheep, a metatarsal defect of 0.6 cm constitutes a critical sized defect [14] whereas in the tibia defects of 3-4 cm are most common [10, 11, 15]. Unlike the femur which is limited by its thin cortices and its accessibility due to large amounts of overlying musculature, and the metatarsus which is limited in its vascularity due to scant overlying musculature [14], the tibia is almost two-thirds covered by muscle which provides excellent blood supply while at the same time having an easily accessible medial aspect which is devoid of muscle and major blood vessels. Furthermore, there is approximately 9.5 cm of bone spanning the mid tibial diaphysis that is almost circular in cross-section [3], making it particularly suitable for the placement of scaffolds. Thus, the dimensions of the tibia make it feasible to use either human or veterinary implants for stabilisation of the defect.

Using the double plating technique, 6.1% of the sheep in this study experienced severe complications necessitating euthanasia. One sheep was euthanized due to a fractured tibia the day after surgery. Post mortem evaluation revealed that the surgical technique may have contributed to failure in this case. The results, in which we had one complication between 0 months and 3 months and one complication between 3 months and 6 months, are comparable with the low complication rate reported by Den Boer et al [11] following the use of an interlocking nail for fixation of a 3 cm tibial defect for a period of 3 months. Whereas, the overall complication rate of 6.1% in the present study is more favourable than those experienced in our own institute using a different sheep tibial defect model [12]. It is difficult, however, to directly compare complication rates of different studies because these often show variability in defect size, study duration and type of fixation. Interestingly, many of the studies which use the sheep tibial defect have duration of less than 6 months. In an earlier study in our own institute we performed a single medial LCP osteosynthesis with a 4 cm mid tibial defect in the sheep. In this study, five of 15 (33%) animals of the experimental group did not reach the termination of the study at 3, 6 and 10 month due to implant failure [12]. This highlights the value of the double plating technique in providing maximum stability over a prolonged period of time.

Other types of double fixation used for sheep tibial defects have demonstrated higher complication rates than the present study. Gao et al reported an 8.3% complication rate following the use of a two-plate fixation technique for a 1.6 cm tibial defect over a period of 4 months [16]. Krischak et al found that 2 out of 9 sheep in which a two-plane external fixation was used experienced distal fractures through the pin tracks [17]. This is a complication rate of 22%. Also, 4 out of the 9 sheep experienced deep infections; a complication that is commonly associated with the long-term use of external fixation devices. In the study by Krischack et al, healing of the osteotomy was reduced when compared to a one-plane fixation [17]. The authors suggest that this might be due to greater disturbance of the blood supply when using a two-plane fixation [17]. Interference between the fixation device and the blood supply and also with the implanted scaffold must be taken into consideration when designing a sheep critical sized defect study. The use of conventional dynamic compression plates (DCPs) can result in impaired blood supply to the bone due to compression of the periosteum. In contrast, angular stable implants such as the plates used in the present study, do not require direct contact to the bone and do not compress the periosteum. Consequently, the major blood supply to the bone is preserved. Intramedullary nailing is another form of fixation [11, 15] that results in complication rates that tend to be quite low; however, there are several disadvantages to this fixation method. Damage to the intramedullary blood supply as a result of reaming may delay healing. To make matters more complicated, the nail itself may affect bone healing, such as in the case of titanium nails which are known to have good osteoconductivity. The presence of the nail, which occupies space within the centre of the defect, limits the amount of test material that can be implanted and also affects the shape of the scaffold material in order to accommodate the centrally positioned nail. Furthermore, the presence of the nail can interfere with mechanical testing of the explanted bones and continuous radiographic evaluation of bone formation is difficult. Two plate constructs [16] often limit the ability for continuous in vivo evaluation.

In the current study using a two-plate system, in which one plate was radiolucent, continuous evaluation of bone and callus formation was possible by taking latero-medial radiographic images (Figure 3). This enables the researcher to evaluate the amount of callus formation in different experimental groups as well as the onset of callus formation. It has to be mentioned, however, that the snakeplate can not be contoured and the maximal loading strength is inferior to titanium alloy implants. This may have contributed to the failure of the distal screws in the second sheep that had to be euthanized after 3 month.

The time frame up to 3 month was conducted to test the biocompatibility of the tissue engineered solutions since the occurrence of foreign body or inflammatory reactions to the material is indicative for this phase. In the time frame of 6 months, in previous studies dealing with similar critical sized defects of the tibia we have not found new bone formation after this time period. Most of the tissue engineered constructs tested except calcium phosphates were resorbed and replaced by new bone within this period. The rigid internal fixation using two angular stable plates could well lead to a late onset of healing as well as incomplete ossification due to load sharing situations between implants and bone. However, we believe that minimizing micro motions is ideal for an animal model because these micro motions account for bone healing in an unknown amount. The repeatability of the present fixation method enables a reproducible rigidity in this model.

In hind side, the use of the slings in this critical sized defect model is questionable. After experiencing high complication rates in critical sized defect models in large animals in our own institute we have decided to accept the additional reduction of life quality for the sheep in order to lower the mortality significantly. All sheep were taken out of the slings after 8 weeks regardless the stage of healing. Even sheep that showed no or low degrees of bone healing without additional stability did not show any complications later on. However, it is possible, that micro fractures occurring during surgery have healed by this time point. Whether the use of the slings added significantly to the low complication rate in this study is not applicable at this time point and needs further investigation.

In total, 33 sheep were operated using this technique with a low complication rate. The use of the radiolucent snakeplate enabled continuous radiographic monitoring which was beneficial for evaluating the healing response over time.

We have found the described model to be a simple and reproducible model for evaluating bone healing continuously throughout the duration of the study. It results in low morbidity and a low complication rate. Therefore, it is sustainable for at least 6 months even when no load sharing between implant and bone occurs. For these reasons we believe that this model can be used as a standard model for the evaluation of new tissue engineered solutions for the treatment of large bone defects.

The authors wish to thank Urban Lanker and the animal caretaker team for their dedicated work with the experimental animals.

Authors’ Affiliations

AO Research Institute, Clavadelerstrasse 8, Davos, Switzerland

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  18. Pre-publication history

    1. The pre-publication history for this paper can be accessed here:

© Hahn et al; licensee BioMed Central Ltd. 2011

This article is published under license to BioMed Central Ltd. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.


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Paul Baker and the Integration of Abilities

Front Cover
Robert Flynn, Eugene McKinney
TCU Press, 2003 - Architecture - 261 pages
0 Reviews
"Irritating, arrogant, nuts--and a genius." That's what Charles Laughton said of Paul Baker. He also said, "Paul Baker is one of the most important minds in the world theater today. He seems to have invented new ways of doing things, and I think something big will come out of it."

Something big did come out of it. Stage productions such as Othello, Hamlet, and A Cloud of Witnesses brought critics including Henry Hewes of Saturday Review and photographers such as Eliot Eliosofon of Life magazine to Baylor Theater in Waco. Baker's production of Eugene McKinney's A Different Drummer received an invitation from CBS TV's cultural program, Omnibus, to present the play live from their New York studio.

Baker's production of As I Lay Dying, Robert Flynn's adaptation of William Faulkner's novel, brought an invitation to present the play at the Theater of Nations in Paris, the first non-Broadway production to compete there, where it won a Special Jury Award.

That was Paul Baker the theater director. Equally important was Baker's role as teacher and mentor in the arts. Architect Arthur Rogers stated, "No single person has contributed more to (theater architecture) development than Paul Baker." Baker's architectural visions at Baylor Theater, the Dallas Theater Center, and Trinity University's Ruth Taylor Theater have inspired similar constructions not only in the United States but in places such as Manila and Seoul.

Baker's teaching philosophy, based on his famous class "The Integration of Abilities," has been inspirational. In education Baker has been founder, mentor, or director of children's theaters where children are the creators of the drama; of the Booker T. Washington School of the Arts; of the Learning About Learning Foundation, a retail line of interactive kits that included books and toys; and dozens of creative programs for children, parents, and educators.

In Paul Baker and the Integration of Abilities, Baker tells how a summer in Paris gave him a new way of looking at theater. Eugene McKinney describes Baker's development of writers, and Glenn Allen Smith demonstrates the use of the elements in creating a play. In other chapters on acting, directing, speech, and design, Baker's ideas gave roots and wings to his students and colleagues.

Despite invitations from theaters in other places, including Austria, Germany, Yugoslavia, and New Zealand, and offers of positions at other universities, Baker chose to remain in Texas where he was born and where he lives today.

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Paul Baker and the integration of abilities

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Baker is a delightfully colorful West Texas nonagenarian-and a theatrical genius. Over the last 50 years, he has created significant academic theater programs at Baylor and Trinity universities ... Read full review

A Tale of Five Cities Eugene McKinney
Exercises for Creative Growth William M Doll
Paul Baker and Theater Architecture Arthur J Rogers
The Phoenix Rises Harry Thompson and Raymond E Carver
Paris and Beyond Paul Baker
A Different Drummer Times Six Darrel Baergen
Playwrights Are Made Not Born Eugene McKinney
Chester Grace and Me Glenn Allen Smith
From the Baylor Othello to the Dallas Theater Center Mary Bozeman
Those Old Boats Dont Float Frances Swinny
Booker T Washington Arts High School Louise Mosley Smith
Children and Teen Theater Kitty Baker Irene Corey Ruth Byers
Learning About Learning Susan Russell Julia Jarrell Susan McAtee Monday
Theater of the Spirit The Reverend Raymond Bailey
Paul Baker Biography
Paul Bakers Theaters

Roots and Wings Irene Corey
An Actors Journey Claudia Sullivan

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About the author (2003)

Robert Flynn is the author of twelve books including North to Yesterday, Wanderer Springs, and Tie-Fast Country. Flynn's stage adaptation of Faulkner's As I Lay Dying premiered at Baylor Theater and was presented by the Dallas Theater Center at the Theater of Nations competition in Paris.

Eugene McKinney was associated with Paul Baker for thirty-nine continuous years as a playwriting professor and playwright-in-residence. He has written and produced ten plays, four of which were published, and eight television scripts that have been produced on major networks. For twenty-four years McKinney and Flynn co-taught a fiction-writing course at Trinity University.

Bibliographic information


text:
AHA: Awakening. Honesty. Action: by Kyle Idleman

Author: Kyle Idleman

[Image: AHA: Awakening. Honesty. Action: by Kyle Idleman]

We've all had "aha!" moments in our lives, times when a sudden revelation surprises us with insight. According to pastor and bestselling author Kyle Idleman, we can experience this same kind of "aha!" in our spiritual lives. With everyday examples and trademark testimonies, Idleman draws on Scripture to reveal how three key elements can draw us closer to God and change our lives for good. Awakening to the reality of our true spiritual condition, we see ourselves and our need for a Savior with renewed honesty. This realization leads to action, obeying God's commands and following the example set by Christ. As we see in the transformation of the prodigal son, the result is a life-changing, destiny-altering collision-an AHA moment that leads us home to our loving Father.

ISBN: 0781410495 EAN: 9780781410496
Publisher: David C. Cook
US SRP: 16.99 US
Binding: Paperback
Pub Date: March 01, 2014
Features: Excerpt, Price on Product, Table of Contents
Physical Info: 0.6" H x 8.29" L x 5.6" W (0.5 lbs) 217 pages
Carton Quantity: 24

Kyle Idleman is the teaching pastor at Southeast Christian Church in Louisville, Kentucky, the fourth-largest church in America. Author of the award-winning and bestselling book "Not a Fan," he regularly speaks at conferences and events around the world. He and his wife DesiRae have four children.

To browse more products click the back button at the top of the page.

AHA: Awakening. Honesty. Action: by Kyle Idleman
Author: Kyle Idleman

isbn - 10

9780781410496 Paperback 0781410495 $ 12.95
Author of the breakout bestseller "Not a Fan," pastor Kyle Idleman reveals three vital ingredients--Awakening, Honesty, Action--that combine for lasting change.

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15mm Ork Hooker with Cyber “Enhancements”

This is the last WIP from my “Street Freaks” collection of the Cyberpunk range. Sculpted in Beesputty.

The main issue with getting this range produced is that it is soooooo niche that there is no real demand for the miniatures, as such it’s quite hard to justify the cost of casting them up.

I really like her, so she will definitely get done at some point – even if it’s only me that ever has a copy 🙂


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14 July 2010 @ 11:11 pm
Tito thinks he's human!
I was working on my fish tank today and was taking a brief break when I happened to look down at the carpet and noticed Tito taking a nap on his back. I immediately grabbed my camera and shot some pics and a vid!

He was like that for a good long while before I started making some noise and he got up!
I am feeling: amusedamused
Violet Foxx: penny pup2violet_foxx on July 15th, 2010 03:27 am (UTC)
That's now my Boston sleeps all the time! :D


text:
Back Plate, by Donna RuBert - #4459

Anatomically-correct front and back plates are taken from a one piece torso, so they are proportionate when used together, even though the front plate is shorter than the back plate. These plates are meant to be snug and tied on, over the top of a cloth body. The fit may vary depending on the size of the doll, the body size and style, and how tightly the doll body is stuffed. Click the picture to see more examples of these plates in use.

Made from our Extra Soft Bountiful Baby BabySkin(tm) Vinyl, in a Peach color!

Fits Newborn size baby dolls (18 to 22 inch). The length of this plate from neck to bottom is approximately 9 inches. Premade, precut, and ready-to-go. No cutting needed.

Click here to open more information and/or photos for this item.


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Shipping is free, no matter how many items, how heavy or how far they must go within the continental USA. Often our shipping cost exceeds $30-$40 on a single order. The Packaging Fee is PER ORDER not per item so you could order 50 items, pay no shipping, only the one-time per order charge of $5.95. This fee is standard on many sites and is a set amount to help defray packaging and stocking costs. There is no fee when purchasing only a gift certificate. This fee is non-refundable once package has shipped.

Brunswick Snake Glow Bowling Ball - 10 lb

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Finn Wolfhard – Girlfriend, Family, Net Worth, Height

Facts of Finn Wolfhard

Age:15 years 10 months
Birth Date:December 23, 2002
Birth Place: Vancouver, Canada
Profession:Actor, Singer
Height:5 ft 8 in or (173cm)
Net Worth:$2 Million
Weight:58 kg
Hair Color:Dark Brown
Eye Color:Dark Brown

Relationship Statistics of Finn Wolfhard

What is his marital status? (single, married, in relation or divorce):Single
Is he having any relationship affair?:No
Is he gay?:No

More about the relationship

Finn Wolfhard is currently single and putting more focus on his career. He has not been involved in any relationship speculations either.

Who Is Finn Wolfhard?

He is a notable and Successful professional Actor and Musician who rose to stardom when he appeared in the Netflix series Stranger Things and so many notable movies over the years. He has gain a high range of fans due to his excellent roles in several movies.

Family & Birth

He was born and raised In Vancouver, Canada. He has a brother who is named Nick Wolfhard. His father is a researcher on aboriginal.

Educational Background

He has not disclose his educational background and learning activities.

Professional Life & Career

He started his career professional when she appeared in Craigslist and he made his movie debut in The 100 and also appeared in Supernatural. He appeared in Netflix movie series Stranger Things where he portrayed the role Mike Wheeler in 2016. On September 8, 2017 he appeared in the movie Stephen King where he portrayed the role of Richie Tozier. On September 22, 2017 he appeared in The Ken Marino movie film titled Dog days. Finn also appeared in the movie The Turning. In 2018 he joined the cast of the movie The Goldfinch where played the role of Young Boris Pavlikovsky.

Wolfhard featured in Netflix animated series Carmen Sandiego where he voice the player. The series is going to premiere in 2009. Wolfhard is the lead vocalist and guitarist for the Vancouver base rock band Calpurnia.

Net Worth

Finn Wolfhard’s net worth is estimated at $2 Million.

Interesting & Fun Facts

1. He Is very talented actor and has appear notable roles.

2. He has a huge some of 10.3 million followers on his verified Self titled Instagram page.


text:
Mike’s Top Ten of 1980

1980 is the transition period from the filmmaker-driven period of the 70s to the studio-driven period of the 80s. You can definitely see that shift taking place. Plus, this year has the big end marker: the giant bomb that effectively ended directors having complete control of projects.

The 80s as a decade always felt a bit formless to me. It’s just a weird time. But when you take each year on its own, there’s some great stuff. Here, two of the all-time most iconic films ever made were released. And honestly, if you didn’t know they came out in 1980, you wouldn’t know when it was they came out.

I think the theme of this decade is going to be, “Strong at the top, weak down below, with some good gems sprinkled throughout.” And a lot of terrible fashion choices. Oh, but it looks good on you though.

Here’s 1980.

Mike’s Top Ten of 1980

The Blues Brothers

The Elephant Man

Ordinary People

Raging Bull

The Shining

Star Wars Episode V: The Empire Strikes Back

The Stunt Man

11-20: Altered States, Atlantic City, The Big Red One, Breaker Morant, Coal Miner’s Daughter, Flash Gordon, Heaven’s Gate, Melvin and Howard, Private Benjamin, Where the Buffalo Roam

Tier two: 9 to 5, Bon Voyage Charlie Brown (and Don’t Come Back!!), Brubaker, The Competition, Dressed to Kill, The Fog, Friday the 13th, Gloria, Hopscotch, The Idolmaker, Inside Moves, Little Miss Marker, Popeye, The Return of the King, Stardust Memories, Stir Crazy, Superman II, Used Cars

– – – – – – – – – –

1. Raging Bull

“You didn’t get me down, Ray.”

This is Martin Scorsese’s masterpiece. I know, he has like, three or four of them, but this is the one. This is the greatest film he’s made. It’s perfect.

The backstory to this movie is that, after New York, New York, he had a major failure, had been doing way too many drugs, overdosed, and thought this was going to be his last movie. De Niro had been pressuring him to make this movie for years, and finally, he decided to throw himself completely into the filming of it, giving it everything he had. And this is the result.

De Niro plays Jake LaMotta, and the film is a journey through his life, focusing on his self-destructive tendencies and his relationship with his brother, played by Joe Pesci, and his wife, played by Cathy Moriarty. The fight scenes redefined how one shoots a boxing movie, and they’re so visceral that they become part of the characterization.

This is a brilliant movie, through and through. And it’s one of those movies I could watch all the way through at any given time.

2. Caddyshack

“I hear this place is restricted, Wang, so don’t tell ’em you’re Jewish, okay?”

One of the greatest comedies ever made. This movie never ceases to be hilarious.

The amount of different storylines that are going on in this movie should not make it work as well as it does: Danny wants a scholarship, Carl trying to get the gopher, Danny and his girlfriend/Lacey, Lacey and Ty, Al vs. Judge Smails, Smails and Danny… every one of them works. This movie is 98 minutes and takes a four minute detour to have the priest going out and playing during the rainstorm.

To me, Rodney Dangerfield is the best part. I will never not laugh at him walking up to the green, eyeing Smails and going, “Thousand bucks you miss that putt.” Or how he ends a dialogue exchange by playing music and dancing. Any moment of Rodney Dangerfield dancing in this movie is hilarious to me. Then there’s Bill Murray and everything he’s doing — the Dalai Lama speech, the “It’s in the hole!” monologue. Ted Knight as Smails is just incredibly funny. This movie has like a hundred lines that will make me laugh every time I hear them. And there’s stuff going on in the background that you don’t even notice sometimes!

This is one of my favorite comedies of all time. It’s perfect. It’s somehow the right amount of dated and still manages to hold up. Funny is funny.

3. The Shining

“Hello, Danny. Come and play with us. Come and play with us, Danny. Forever… and ever… and ever.”

It’s The Shining. Come on, guys. This is on everyone’s top ten of 1980. Hell, this is most people’s #1!

This is probably most people’s favorite Stanley Kubrick movie. I’m a Dr. Strangelove guy myself, but he’s also someone who has like eight masterpieces, so it’s all good.

You know a movie is perfect when it’s one of the best examples of a genre (in this case, horror), but is so good that most people don’t even really list it with the best horror movies, because it’s so good it’s almost above the notion of a list. There’s Mount Rushmore, and then there’s everything else. And this is on Mount Rushmore.

This is the kind of movie that could have just been good. But in the hands of Stanley Kubrick, it’s become the kind of great that people are still theorizing about. There are entire films dedicated to what some of the stuff in this movie means. There are like a dozen or more moments in this movie that are so iconic that people reference them without even knowing where they’re from!

Fun fact: This movie (as seems to be the case with Kubrick throughout his career) was met with mixed reviews when it came out, and was even nominated for some Razzie Awards. Which goes to show you just how right film critics and audiences are most of the time.

4. Star Wars Episode V: The Empire Strikes Back

“I love you.”
“I know.”

It was always gonna be a matter of “when” and not “if” with this one. Of course it’s in the top ten. Being number four actually feels high for me. A lot of other years, this would be in that 6-7-8 range, not that any of the numbers really matter.

It’s Empire. It’s Star Wars. Everyone knows this movie and everyone knows how important and famous and all that stuff. You’re not coming here for me to tell you to see it. So I’m just gonna use the rest of the space to throw out some trivia for this. Because if you need me to tell you to see Star Wars, I’m not really sure what you’re really doing here.

Probably the most underreported fact about this movie is that Lucas, not wanting to deal with the Hollywood studio system, financed this movie himself. Which means that he made a fuck ton of money from it. Oh, and the reason he didn’t direct it is because he was focusing on all the special effects work that was being done by ILM, a company that he founded. That huge sum he got for selling Star Wars — a lot of that was Disney also buying the rights to ILM, which, if you look at all the effects-heavy films that come out… chances are ILM did them.

I also like how the infamous line, quoted above, was done in part because Harrison Ford wasn’t entirely sure he wanted to come back for a third movie. He wanted his character to die in this one, since he’d served his role. (Which, if we’re being honest… he was kinda right.) Also pretty dope that the script was co-written by Leigh Brackett, who also wrote on The Big Sleep and Rio Bravo.

5. Airplane!

“You’d better tell the Captain we’ve got to land as soon as we can. This woman has to be gotten to a hospital.”
“A hospital? What is it?”
“It’s a big building with patients, but that’s not important right now.”

The first of the ZAZ parody films. This movie is still hilarious. Most people think it’s their best. I, as we all know, am a Naked Gun guy, but this movie still has it.

A straight up parody of Airport and Zero Hour, the thing that makes it work is the fact that they go deep on the gags rather than the story. They basically lift parts of the story (and dialogue) from Zero Hour, which allows them the grounded nature of the story and lets them go nuts on the ridiculous dialogue around it and all the sight gags. That’s the thing parody films don’t get anymore. That’s what Mel Brooks always did right. Root it in the story or the genre, and then go nuts.

Leslie Nielson became the breakout star of this movie, because of both his history as a dramatic actor and his ability to play the role so straight that it became even funnier when he would say ridiculous stuff. Like when they tell him the dinner was steak or fish and he goes, “Yes, I remember. I had lasagna.” It’s so great!

You know a comedy is good when you can quote like two dozen lines from it and everyone gets them. You know a movie’s really made it when something like this can be made and everyone gets it:

6. The Elephant Man

“I am not an elephant! I am not an animal! I am a human being! I am a man!”

Everyone knows that quote as a reference, but fewer people have actually sat down to watch the movie. David Lynch made this! I think it might even be his best movie. I know Blue Velvet and Mulholland Drive and all that, but this one is him doing a straight narrative, and it’s terrific.

It’s a biopic of John Merrick, the titular man, born with a rare disease that makes him look elephantine. John Hurt plays Merrick, and he’s so good in the role. Had he not been up against De Niro and Raging Bull this year, I think he would have hands down won the Oscar. The film is mainly focused on him being found by Anthony Hopkins after being abused by a crooked promoter and taken into a hospital, where Hopkins tries to convince his colleagues that Merrick is actually intelligent, despite his appearance.  It’s a beautiful film. Lynch directs the hell out of it. This was nominated up and down for Oscars this year, and rightfully so. I also do think this is my favorite David Lynch movie.

Mel Brooks produced this movie, by the way. They left his name off the credits because they figured people would stupidly go to it expecting a comedy. Which, ironically, is hilarious.

7. The Stunt Man

“If God could do the tricks that we can do, he’d be a happy man!”

Look at that. That’s our third Best Actor nominee this year. Peter O’Toole had the kind of career where all his Best Actor nominations have gone totally overlooked because they sadly almost always came against someone else whose performance has more notoriety than his. Which — history lesson time:

His first nomination was Lawrence of Arabia, which was up against Gregory Peck’s Atticus Finch. His second was for Becket, which unfortunately was up against Richard Burton for the same film and Peter Sellers in Dr. Strangelove. He lost to Rex Harrison for My Fair Lady. Third nomination, The Lion in Winter. Probably his best shot. He lost to Cliff Robertson in Charly. Fourth, Goodbye, Mr. Chips. He lost to John Wayne in True Grit, and was up against the two Midnight Cowboy performances. Fifth was The Ruling Class. Which, as you know from 1972, is a film and a performance I love. Who was he up against? Brando in The Godfather. This was sixth, and De Niro overshadowed him. Seventh, after this, is My Favorite Year, where he was up against Ben Kingsley for Gandhi, Dustin Hoffman for Tootsie and Paul Newman for The Verdict. And then eighth was Venus, where he lost to Forest Whitaker for The Last King of Scotland. Man couldn’t catch a break.

Anyway, this movie is really awesome, and one of those movies that stands out, historically, because it’s one of those movies where you have a journeyman director most people don’t really know of who didn’t have that much acclaim beforehand, who makes the one film for which he’s remembered. This is one of the great directorial efforts of all time, and it feels like so many people don’t even know about it.

It stars Steve Railsbeck as a guy on the run from police. While eluding them, he stumbles onto a movie set, right as one of the stunts goes wrong and the stunt man is killed. No one seems to know about this except him and Peter O’Toole, the film’s tyrannical director. O’Toole, sensing he’s in some trouble, makes him a deal — he takes the stunt man’s place and he’ll hide him on the film set and pay him. So now Railsbeck has entered Hollywood, and literally the rest of the movie is not what it seems. The film pulls all sorts of visual, directorial tricks, really blurring the line between what is real and what’s a movie. And Railsbeck stars working on the film, having a romance with the female lead, being put into possibly dangerous situations by O’Toole, all the while building toward the climactic stunt, which killed the last guy who tried it, with the added bonus of him not knowing whether or not O’Toole is actually gonna let him survive it.

It’s so good. Richard Rush had a pretty unknown career before this. His biggest movie is Freebie and the Bean, which I guarantee you most of you have no idea even exists. This is the movie he’s remembered for. And it’s great. This is one of the greatest films ever made about Hollywood, and one of the films you need to see if you want to be a director. The stuff they pull off in this movie, visually, is incredible.

8. Fame

“(Fame) I’m gonna live forever
I’m gonna learn how to fly (High)
I feel it coming together
People will see me and cry (Fame)
I’m gonna make it to heaven
Light up the sky like a flame (Fame)
I’m gonna live forever
Baby, remember my name”

I knew of this movie for years. I can’t remember when I first saw it. Had to be 2010 or 2011. And man, did I fall in love with it almost immediately.

First off… it’s very 70s in feel. Which I love. Grimy 70s New York on screen makes me feel at home. And it’s about a bunch of kids at a performing arts high school who are just trying to make it. And we follow them over their time there. We follow them from audition to graduation. It’s incredible.

The cast are mostly unknown. The biggest name among the kids is Irene Cara, who sang the iconic theme song (and later sang “Flashdance… What a Feeling”). But it’s not about the stars. It’s the film. It’s just great. Alan Parker directs, part of an amazing run for him that started with Bugsy Malone, moved to Midnight Express, and then came back to this. He’d go on to make Pink Floyd The Wall after this. Man certainly knew how to make films with music.

This is one of those movies that you’d think influenced shows like Glee. But don’t think that’s the kind of tone you’re getting from it. This is a very serious movie. The kids have real problems. Some of the don’t end up so well. The beauty of this movie is the realism it infuses, rather than that over-the-top, comedic tone that you think you’re gonna get. Trust me when I say, this is not the movie you think you’re gonna get, and that’s what makes it so good.

9. The Blues Brothers

“It’s 106 miles to Chicago, we got a full tank of gas, half a pack of cigarettes, it’s dark… and we’re wearing sunglasses.”
“Hit it.”

What are the odds that three all-time classic comedies come out in the same year? (Well, four if you count The Elephant Man.)

The thing about a movie like this — what can I say about it other than, “It’s The Blues Brothers”? It’s like, how have you not seen this by now? This is one of the best comedies of all time, with some of the best musical cameos and performances of all time, with one of the best car chases of all time. In the same movie!

This is also one of those movies (which I suspect is the same for Caddyshack) that somehow turned out well after all the possibilities of going wrong. Dan Aykroyd wrote something like a 300 page script, and the first cut of the movie was way long, and you have to feel like that they had so much footage, this could have been an incoherent mess if all the stars didn’t align just right. But they did, and here we are.

10. Ordinary People

“You never came to the hospital! How do you know about the hospital!”
“Connie! Your mother did come to the hospital, you know she did, she had the flu and couldn’t come inside but she came to the hospital!”
“She never would have had any flu if Buck was in the hospital, she would have come if Buck was in the hospital!”
“Buck never would have been in the hospital!”

This is your Best Picture winner for this year, which has always been the subject of some criticism. But if you take that part out of it and look at the film on its own terms, it’s really good.

This is Robert Redford’s directorial debut, a family drama about a tragic boating accident in which the oldest child of a family is killed and his younger brother is left scarred from the experience. We open after younger boy’s suicide attempt and entry into therapy. We see what the family’s home life has become; Donald Sutherland as the father trying to bond with his son and keep everything together, Mary Tyler Moore as the mother, pretending like everything is okay and shutting out her surviving son because the boy who died was her favorite, Timothy Hutton as the boy dealing with survivor’s guilt, and Judd Hirsch as Hutton’s psychiatrist.

It’s a great film. Hutton won an Oscar for his performance, Moore was nominated, but was good enough to have won, and Hirsch was also nominated (opposite Hutton). Redford won Best Director for the film, his only win. And as I said before – set aside what you think about it as a winner… as a film it’s very good.

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Altered States — This is a movie I was aware of from a young age. My uncle had a DVD of this in his collection, so I always saw the cover whenever I was over there (and using the DVD player to watch whatever the hell I was watching at the time). I never actually saw it for the first time until the past five or six years. It’s a sensory deprivation film. William Hurt is a doctor studying the effects, and the longer he spends in there, the more weird and fucked up things happen to him. It’s like a precursor to The Fly, almost. Ken Russell was the right person to direct this. It’s really well done. Also William Hurt’s debut. Which is impressive.

Atlantic City — Really great Louis Malle film that was nominated for Best Picture. Burt Lancaster stars as an aging, low level mobster (minor numbers runner) who still harbors dreams of being a real deal gangster. Susan Sarandon is a casino waitress who lives in his building with her drug-dealing boyfriend. One day, the boyfriend is killed and Lancaster ends up with Sarandon and the drugs. He sees this as a way to impress her, so he sells the drugs, uses the money to seem like a big shot and gets to feel young and important. Only, the guys who killed her boyfriend are now after them. It’s a nice little gem and Lancaster’s last, great performance.

The Big Red One — This is Sam Fuller’s magnum opus. A badass war film (but aren’t they all with him?). It’s a simple story about a sergeant and his men trying to survive in World War II. It’s great. Fuller’s films are all great, but this is the one. If you’re gonna see one of his films, this is probably the one to see. I can give you a handful of other great ones, but this is the one for which he’s most associated. It’s a classic.

Breaker Morant — Classic war film. It’s an Australian Paths of Glory. Three lieutenants are court-martialed for executing prisoners as a way to deflect attention from all the war crimes committed by their superiors. It’s terrific.

Coal Miner’s Daughter — Sissy Spacek playing Loretta Lynn. That’s the film. She won an Oscar for it and is great here. And the movie’s really good. Tommy Lee Jones is fantastic as the husband, and it’s one of the great music biopics out there.

Flash Gordon — The camp, cult classic. Featuring music from Queen! That’s really the star of the show. Otherwise the movie is just nuts. Really it’s all about this right here:

Heaven’s Gate — This is the movie that ended the 70s. The era of the auteur directors went away, and this film is listed as the culprit. Or at least the poster child. Michael Cimino, fresh off The Deer Hunter, releases a four-hour movie about a fictional dispute between land barons that goes wildly over budget, is a nightmare shoot, and then bombs horribly at the box office. That, coupled with a bunch of other big artistic failures, led to the studios to take control over the content and bring us into the blockbuster era. That said… the movie’s quite good. It’s achieved more of a cult status over time, because people are going back to it to see it because they hear its notoriety (it’s one of the few films with an “Impact on the U.S. Film Industry” tab on its Wikipedia page), and then they realize, “It’s actually good.” You gotta be in for the long haul, but it’s a good movie. Kris Kristofferson, Christopher Walken, John Hurt, Sam Waterston, Brad Dourif, Isabelle Huppert, Joseph Cotten, Jeff Bridges, and Mickey Rourke. This is definitely the film that went too far and ended everyone’s good time, but that doesn’t mean it’s not still a very good piece of work.

Melvin and Howard — An early Jonathan Demme film. Based on an apocryphal story that was so worth its own film. It’s about a regular man who, while driving back home from work, picks up a hitchhiker in the desert. He later realizes the man he picked up was Howard Hughes, and later claims that Hughes, in order to thank him, left him a piece of his fortune in his will after he died. Of course, this was all later revealed (in real life) to be falsified, but the movie version begins with this event (with a great performance by Jason Robards as Hughes), and then branches off into what this guy’s life is like. Mary Steenburgen won an Oscar for playing his girlfriend, and she’s really good here. This is one of those movies that’s just so unique and offbeat that everyone always likes it. It’s a real gem from this year.

Private Benjamin — The prototype of the army comedy. I know MASH was the grandfather, but in terms of mainstream army comedies, this is the one. This came out a year before Stripes, which follows a bit of a similar track (and then Police Academy later did a version of the same broad strokes story). Goldie Hawn plays a woman whose husband dies suddenly (and hilariously) on their wedding night. In her grief, she is convinced she should sign up for the army. Naturally, as a pampered woman, she thinks it’ll be fun, until she realizes what the army really is. And the film is about her clashing with Eileen Brennan, her drill sergeant, and all the hijinks that ensue. It’s great. Hawn is at her peak here, and it’s just a funny movie.

Where the Buffalo Roam — This is the first Hunter S. Thompson film to come out. Everyone knows Fear and Las Vegas, but this is the early version. Here, Bill Murray plays Thompson. That’s right. Bill Murray. And Peter Boyle is the Benicio del Toro to his Johnny Depp. Just like Fear and Loathing, the plot doesn’t matter. You’re watching it for the experience. It’s good. Thompson always got the best people to play him.

– – – – – – – – – –

Tier two:

  • 9 to 5
  • Bon Voyage, Charlie Brown (and Don’t Come Back!!)
  • Brubaker
  • The Competition
  • Dressed to Kill
  • The Fog
  • Foxes
  • Friday the 13th
  • Gloria
  • Hopscotch
  • The Idolmaker
  • Inside Moves
  • Little Miss Marker
  • The Long Good Friday
  • Popeye
  • The Return of the King
  • Stardust Memories
  • Stir Crazy
  • Superman II
  • Used Cars

The Competition is another Richard Dreyfuss hidden gem. I love finding these. He’s got so many of them. This is a movie about a piano competition. Basically an ensemble, though eventually it boils down to a few main characters. It’s about a bunch of people all competing in this contest, all with something to prove. Dreyfuss is a very gifted pianist who is also very arrogant and whose life hasn’t turned out the way he’d hoped. He’s joining this one last competition before giving up and taking a job as a music teacher. (One could see this as a prequel to Mr. Holland’s Opus, in that sense.) Then there’s the Italian kid from New York, the technically brilliant but emotionless guy, the Russian girl who doesn’t speak English, and Amy Irving. Naturally, she has a thing for Dreyfuss, and that romance sort of develops over the course of the film. It’s really good. This is the kind of gem I like having on these lists, because it’s something I’d point to for sure to tell people to watch. I just discovered this within the past year, and I’m so excited to be able to share it with people.

Bon Voyage, Charlie Brown is more Charlie Brown. The gang are exchange students in Europe, meanwhile Snoopy is at Wimbledon. It’s Peanuts. You can never go wrong with Peanuts. Stardust Memories is Woody Allen doing a Fellini film. After Annie Hall, he started doing his own versions of his favorite filmmakers. And after a Bergman or two, he went to Fellini. It’s a self-reflective look, a la 8 1/2, that also works as a commentary to Allen’s person career. It’s about a director whose fans don’t like his recent, artistic films, and prefer his early comedies. And along the way, he’s got a bunch of women, and all that stuff. It’s one of the Allen movies I like. Of his almost 50 films, there are five or six I really like, another ten I just like, another ten I’m fine with, and the rest are varying degrees of ‘don’t like’, ‘really don’t like, and ‘hate’. This is in that second bunch. I just like it. 9 to 5 is a classic comedy. Dolly Parton, Jane Fonda, Lily Tomlin. Their boss is a misogynist prick, so they kidnap him and start running the company themselves. It’s great.

The Return of the King is the Rankin and Bass finale to the Ralph Bakshi Lord of the Rings from 1978. They went ahead and made it after they heard Bakshi wasn’t gonna make the third book. It’s what you think it is. John Huston as Gandalf, Orson Bean as Frodo (and Bilbo), Theodore Bikel as Aragorn, Roddy McDowall as Sam, and Casey Kasem as Merry, because why not? Superman II is an interesting film. Because production was done at the same time as the first film. Though within a few months, they were a year behind schedule, so they had Donner focus on the first film so they could get that out, and then right after the first one came out, they got rid of Donner and got Richard Lester to finish the second one. As such, a lot of the cast and crew also didn’t want to return. Gene Hackman refused to come back for reshoots once his scenes were done, Brando sued for like $50 million (and won), and John Williams left too. Still, the result is a pretty cool movie. The Zod stuff is memorable, and was iconic for a while (before it got eclipsed by the last twenty years of superhero movies that essentially rendered all of this a relic), and it’s just a fun movie. These Superman movies are enjoyable.

Inside Moves is a movie I first discovered because of a stray Supporting Actress nomination for Diana Scarwid. I truly didn’t know what to expect when I saw it, and I ended up really liking it. John Savage stars as a dude left crippled from a failed suicide attempt. Sorry for himself, he decides to become a drunk, and starts hanging around a local bar. There, he befriends a lot of the misfits, all disabled in different ways. One of them is played by Harold Russell, the guy from The Best Years of Our Lives without hands. Savage befriends David Morse, the bartender, who has a bad leg. One day, while attending a basketball game, Morse plays one of the players one-on-one. And he almost wins. So one of the players gives him the money to get surgery to fix his leg, and before he knows it, he goes on to be a basketball star. Though, naturally, when that happens, he starts ignoring his old friends… you know how it goes. It’s a nice little movie. I didn’t know where it was gonna go, since I went in cold. But most people don’t have that benefit because few of you are just gonna watch this out of nowhere without a recommendation. I think it’s worth seeing. I liked this one quite a bit.

Brubaker is a really interesting drama. Robert Redford stars. He shows up as an inmate at a prison, and is shocked to see how horrible conditions there are. Eventually he reveals himself to be the new warden, and goes about reforming the place. Naturally, the rest of the people who work there and the rest of the state (all corrupt), don’t really like this new crusader trying to disrupt their cushy lives, so they work to try to get him out of there. Best part? All happened. Probably embellished, but you get the point. A really underrated film. Foxes is a teen drama directed by Adrian Lyne. It’s about a group of teen girls in LA in the 70s. Jodie Foster stars, as does Cherie Currie, Randy Quaid, Sally Kellerman, Scott Baio and Laura Dern. Used Cars is a fun Robert Zemeckis comedy. It’s about a struggling used car lot whose owner dies, so its hotshot salesman (Kurt Russell) has to keep the place afloat before the competition across the street finds out the owner is dead (whereupon he can take it over). One of those comedies that people who saw it then love that not enough people know about now.

The Fog is John Carpenter again. Low budget, but made iconic because of his tone and score. He manages to take something that should be dumb and make it kinda scary. It’s about a mysterious fog that rolls into a coastal town on the 100th anniversary of a ship sinking in its waters. It’s good. One of the horror movies you should see. Friday the 13th is the prototype slasher film. Halloween might have been the granddaddy, but this is the one they all copied. A bunch of teens in the woods or something, being picked off by a killer. Sex and blood. It’s a landmark for horror. And it’s still pretty good. Horror’s not my genre, but it’s hard not to appreciate something like this. The Long Good Friday is a British gangster film with Bob Hoskins. This is the movie that established him as a star. He plays a gangster who is trying to become a legitimate businessman, whose life suddenly spirals out of control one day. It’s a really great performance, and a really solid film.

Gloria is John Cassavetes’ most mainstream film. This feels like a straight up 80s thriller compared to his other films. Also, when you see it… clear influence on The Professional. The opening scenes are basically lifted from this. A mob accountant is murdered in his apartment building, and their son is taken in by a mobster’s girlfriend who lives up the hall. She decides she has to protect him, and takes him with him as they go on the run from the mob. It may seem like a bit of a copout for Cassavetes, who made way more indie character dramas, but this has been really influential for a bunch of movies. This is the first prototype of this particular movie… person protecting a child who is sought by gangsters. You don’t get Witness without this. Dressed to Kill is Brian De Palma doing Hitchcock again. It’s… very much influenced by Psycho. A prostitute witnesses a murder, and now the mysterious killer is after her. Nancy Allen is the prostitute, Michael Caine plays her psychiatrist, Angie Dickinson is also in it. It’s solid. If you like De Palma doing Hitchcock, this is for you.

Hopscotch is a Cold War comedy. Walter Matthau stars as a retired CIA agent who decides to write a tell-all book about his experiences, which naturally makes everyone want to kill him. Glenda Jackson co-stars (and their chemistry is great), as do Sam Waterston and Ned Beatty. Fun movie. The Idolmaker is a loose biopic of a real record producer, who discovered a bunch of 50s and 60s crooners, like Frankie Avalon. Ray Sharkey stars in his one iconic role (before sadly dying at a young age), and he’s great. He’s a wheeler-dealer who knows how to find and turn people into stars, even at the expense of his own personal life. It’s a solid film. Taylor Hackford’s directorial debut. Little Miss Marker is a remake of the 1934 Shirley Temple film. A throwback movie, which they made a bunch of between 1974 and 1983. It stars Walter Matthau, Julia Andrews, Tony Curtis, Bob Newhart, Lee Grant and Brian Dennehy. It’s worth it for the actors and because you know the story. Like when Billy Wilder remade The Front Page with Lemmon and Matthau. You knew it wasn’t gonna be great because it was 1974, but it’s fun because you like all the people involved. That’s what this is.

Popeye is one of those movies… I saw it as a kid and I enjoyed it. I knew Popeye from the cartoons, and I saw this movie and I liked it. It’s like when you see John Huston’s Annie. You don’t notice until you’re older how bloated and strange-looking it is. Shot on those New York, New York style sets, that are trying to seem like throwbacks to the 30s and 40s but just look weird. Still, though, it’s a fun movie. Altman was a very weird choice to direct this, but hey, it’s amusing. Robin Williams as Popeye is good. Shelley Duvall was the perfect choice for Olive Oyl. And hey, even if you think this movie is a big disaster, one of the songs from it was later used by Paul Thomas Anderson as a motif in one of his movies. So how bad can it be? Stir Crazy is Richard Pryor and Gene Wilder, directed by Sidney Poitier. Wilder and Pryor are friends who get thrown in prison for a crime they didn’t commit. And hilarity ensues. The two of them are so funny together. One of the great comedy teams in screen history.

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