Misandristic propaganda potboiler films aimed at teaching women that all men are abusive rapists.
The protagonist usually is a female who wishes to escape from her drunken husband or a young adult who is kidnapped and raped.
There are many different lifetime movies, but all have a the same plot.
The protagonist usually is a female who wishes to escape from her drunken husband or a young adult who is kidnapped and raped.
There are many different lifetime movies, but all have a the same plot.
by bikk April 25, 2010
Get the lifetime moviemug. 1. An excuse to hold a guy/girl's hand.
2. A way to show that you're tough (applies to men only)
3. A reason to cuddle.
2. A way to show that you're tough (applies to men only)
3. A reason to cuddle.
by austinidhitit April 4, 2010
Get the Scary Moviemug. (Sometimes called TV Parking.) Not parking for the movies, but the kind of ridiculously easy parking a character in a movie gets when s/he pulls right up to his/her destination, zeroing in on a miraculously wide-open parking spot in what otherwise is an impossibly tight urban area.
During the 1950s and 1960s, in movies and on television, Doris Day got such a rep for manifesting that lucky talent that a spin-off term was coined; see "Doris Day Parking." Generally Ms. Day's roles had her piloting sensible domestic sedans and station wagons, a visual metaphor for her competence, efficiency, self-reliance and ability to live without a man. By way of contrast, the neurotic characters Tony Randall portrayed often struggled with temperamental British roadsters, and Rock Hudson played dissolute types who poured themselves into a taxi -- hungover, drunk, in a hurry, or all three.
Times did change -- a little. On "The Doris Day Show," CBS-TV's' late 1960s career-girl sitcom and vehicle (no pun intended) for Ms. Day, her character drove a 1969 Dodge Charger. A red convertible Charger, on a legal secretary's salary. Modernity notwithstanding, Doris never seemed to have much trouble finding instant parking. In San Francisco. Business-district and high-rise parts of San Francisco. In all fairness, though, the opening credits included a very brief shot of her on the California Avenue cable car.
.
During the 1950s and 1960s, in movies and on television, Doris Day got such a rep for manifesting that lucky talent that a spin-off term was coined; see "Doris Day Parking." Generally Ms. Day's roles had her piloting sensible domestic sedans and station wagons, a visual metaphor for her competence, efficiency, self-reliance and ability to live without a man. By way of contrast, the neurotic characters Tony Randall portrayed often struggled with temperamental British roadsters, and Rock Hudson played dissolute types who poured themselves into a taxi -- hungover, drunk, in a hurry, or all three.
Times did change -- a little. On "The Doris Day Show," CBS-TV's' late 1960s career-girl sitcom and vehicle (no pun intended) for Ms. Day, her character drove a 1969 Dodge Charger. A red convertible Charger, on a legal secretary's salary. Modernity notwithstanding, Doris never seemed to have much trouble finding instant parking. In San Francisco. Business-district and high-rise parts of San Francisco. In all fairness, though, the opening credits included a very brief shot of her on the California Avenue cable car.
.
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In 1985 writer-director-male lead Albert Brooks, playing opposite Julie Hagerty in the film comedy LOST IN AMERICA, saw a movie convention ripe for satire. The lead couple, having had all kinds of bad luck in the Heartland, moves to New York City to find new careers. As the soundtrack blares Frank Sinatra's "New York, New York," their car, shown in exteme high shot, dives (no backing) right into a perfectly sized parking space dead center in front of a white high-rise office building in Midtown Manhattan. This knowing send-up of, and homage to the Movie Parking convention (which fit the plot perfectly) never fails to draw howls from the audience.
"Man, we were so lucky. TV parking in front of the building; the FedEx van had just pulled away."
"You want to see Movie Parking at its finest? Alfred Hitchcock's VERTIGO from 1957. Jimmy Stewart, Kim Novak, Barbara bel Geddes, all drove right up to Jimmy's apartment building, and it seemed to be the same spot perpetually open and waiting for them. Diagonal parking stalls, no less, or as you Midwesterners like to call it, angle parking."
In 1985 writer-director-male lead Albert Brooks, playing opposite Julie Hagerty in the film comedy LOST IN AMERICA, saw a movie convention ripe for satire. The lead couple, having had all kinds of bad luck in the Heartland, moves to New York City to find new careers. As the soundtrack blares Frank Sinatra's "New York, New York," their car, shown in exteme high shot, dives (no backing) right into a perfectly sized parking space dead center in front of a white high-rise office building in Midtown Manhattan. This knowing send-up of, and homage to the Movie Parking convention (which fit the plot perfectly) never fails to draw howls from the audience.
"Man, we were so lucky. TV parking in front of the building; the FedEx van had just pulled away."
"You want to see Movie Parking at its finest? Alfred Hitchcock's VERTIGO from 1957. Jimmy Stewart, Kim Novak, Barbara bel Geddes, all drove right up to Jimmy's apartment building, and it seemed to be the same spot perpetually open and waiting for them. Diagonal parking stalls, no less, or as you Midwesterners like to call it, angle parking."
by al-in-chgo February 25, 2010
Get the Movie Parkingmug. What God intended us to beat off to. The imagination; the mind's eye. Before spank movies made it obsolete, the mental movie was all people had: shutting their eyes tight, folks in bygone epochs envisaged hot, breathless fucks with acquaintances they passed on cobbled streets. Today, some still employ the mental movie, especially when away from their computers--in an isolated bathroom stall, a fitting room, the woods, etc., the fancy can still be relied on to do the trick when called upon.
Arthur slipped into the dank alley off Goodman St., having just seen Nora in a blue mini-skirt and tank top walking out of the department store. He leaned against the dumpster, glancing about him to be sure he was alone. Nora's sweet Alabama accent, her blue eyes, the superb abundance of her breasts, her chiseled legs: all these mingled in his mind as he cranked his now bare cock with abandon. His brain went blank and he came. He breathed a deep breath: "Nothing like the mental movie sometimes," he muttered.
by Cunning Linguist 28 July 22, 2011
Get the The Mental Moviemug. n. another term for vomit. Specifically the type that comes into the back of your throat, i.e.baby throwupwhile watching a horror movie in a theatre.
1. I was so scared watching Amityville Horror I tasted Movie Hotdogs.
2. We took the corner so fast, that I had movie hotdogs.
2. We took the corner so fast, that I had movie hotdogs.
by TonyTony June 24, 2005
Get the Movie Hotdogsmug. Awful movies in which big-money Hollywood stars (esp. Nicholas Cage) put forth mediocre performances just to get a paycheck.
by dozitgetchahi March 19, 2010
Get the paycheck moviemug. n 1. A group outing to the movies that involves chatter, yelling, and loud laughing.
v. 2. To be very loud and obnoxious while seeing a movie.
v. 2. To be very loud and obnoxious while seeing a movie.
by Hunter Pitkin June 29, 2005
Get the Movie-Partymug.