Surprising Cult Movies


Surprising Cult Movies the room

Are cult movies related to cult? No, the term “cult movie” refer to those films that attract a cult-like following. In other words, those motion pictures that have a fanbase that watches the film, re-watches it and then gather in conventions to watch it again. Even though some movies have gained mixed reviews, they still have managed to receive a large amount of followers. Here are some of the films that have recruited an ultra-committed bunch of cinephiles.

This 1986 musical fantasy film revolves around 15-year-old Sarah's (Jennifer Connely) quest to reach the centre of an otherworldly maze to rescue her baby brother. The film features remarkable puppetry from Jim Henson, alongside captivating trouserage from David Bowie as the Goblin King who steals away heroine Sarah's infant brother. David Bowie himself composed the soundtrack of the film, which is one of the highlights of this motion picture. Most characters are played by puppets who magically come to life in the film.
Even though Labyrinth received a mixed critical response upon its release, the film has since received a large cult following, to the extent that a four-volume comic sequel to the film, Return to Labyrinth, was published by Tokyopop between 2006 and 2010.
Some of its most remarkable quotes are as follows:
“Live without your sunlight, love without your heartbeat,” - Jareth the Goblin King.
“Come inside and have a cup of tea!” - The Worm/The Four Guards/Gobin
“Everything I've done, I've done for you. I move the stars for no one.” - Jareth.
And that catchy song: Jareth: “You remind me of the babe.” Gobin: “What babe?” Jareth: “The babe with the power.” Goblin: “What power?” Jareth: “Power of voodoo.” Goblin: “Who do?” Jareth: “You do.”
“It's crystal. Nothing more. But if you turn it this way and look into it, it will show you your dreams. But this is not a gift for an ordinary girl who takes care of a screaming baby.” - Jareth.
“Once upon a time, there was a beautiful young girl whose stepmother always made her stay home with the baby. And the baby was a spoiled child, and wanted everything to himself, and the young girl was practically a slave. But what no one knew is that the king of the goblins had falling in love with the girl, and he had given her certain powers. So on night, when the baby had been particularly cruel to her, she called on the goblins for help!” - Sarah
“Everything that you wanted I have done. You asked the child be taken. I took him. You cowered before me, I was frightening. I have reordered time. I have turned the world upside down, and I have done it all for you! I am exhausted from living up to your expectations of me. Isn't that generous?” - Jareth.
The Room
The Room is a 2004 American drama film written, directed, produced by and starring Tommy Wiseau. The film centers on a love triangle between a nice baker (Wiseau), his deceptive bride-to-be Lisa (Juliette Danielle) and his conflicted best friend Mark (Sestero). The film dedicates a long time to a series of unrelated subplots, which are left unresolved give the film's inconsistent narrative structure.
The film has been criticised at many levels. Many publications have labelled it as the worst films ever made, while an assistant professor of film studies at Connecticut College, Ross Morin, described it as “the Citizen Kane of bad movies.” Wiseau may have described the film as a black comedy, but audiences have generally viewed it as a poorly made drama.
Upon its screening, Variety reporter Scott Foundas wrote that the film prompted “most viewers to ask for their money back - before even 30 minutes [had] passed.” Meanwhile, described Wiseau's speaking voice in the film as “Borat trying to do an impression of Christopher Walken playing a mental patient. The Guardian described the motion picture as a mix of “Tennessee Williams, Ed Wood, R. Kelly's Trapped in the Closet.”
In general, The Room received negative reviews for its acting, screenplay, dialogue, production values, score, direction and cinematography. Rotten Tomatoes' critical consensus reads, “A bona-fide classic of midnight cinema, Tommy Wiseau's misguided masterpiece subverts the rules of filmmaking with a boundless enthusiasm that renders such mundanities as acting, screenwriting, and cinematography utterly irrelevant. You will never see a football the same way again.”
Although this film has been described as the worst movie ever made, upon its release it quickly became a cult film given its bizarre and unconventional storytelling, technical and narrative flaws, and Wiseau's performance.


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