The Good Spy Kid Trailer

Total Page:16

File Type:pdf, Size:1020Kb

The Good Spy Kid Trailer More stories at WordBlanks.com The Good Spy Kid Trailer 1. Adverb 2. Verb - Present Tense 3. Proper Noun 4. Adverb 5. Noun 6. Proper Noun 7. Verb - Present Tense 8. Noun 9. Adjective 10. Verb - Past Tense 11. Adjective - Superlative 12. Verb - Past Participle 13. Adjective 14. Verb - Non 3Rd Person Singular Present 15. Proper Noun 16. Verb - Present Tense The Good Spy Kid Trailer Gregorio Cortez (Spy Kids): I think we went Adverb enough today. Let's get you home. Run, Juni! Juni Cortez (Spy Kids): Dad! ( Verb - Present Tense ) Where am I? Kaa (The Jungle Book): (Roaring) Juni Cortez (Spy Kids): ( Proper Noun ) Cody (The Rescuers Down Under): Grr! Juni Cortez (Spy Kids): Ow! Ow! Why, you Adverb ... Cody (The Rescuers Down Under): (Gasps) ( Noun ) Spork (Spy Kids 2: The Island of Lost Dreams): (Speaking) Cody (The Rescuers Down Under): ( Proper Noun ) Juni Cortez (Spy Kids): (Gasps) (Blowing) Sporks (Spy Kids 2: The Island of Lost Dreams): ( Verb - Present Tense ) Juni Cortez (Spy Kids): (Screaming) I need to get home. Wilbur Wilson (Spy Kids: All the Time in The World): I got a Noun for you. Keep on the dodge and sidle up the Adjective past them, kids Juni Cortez (Spy Kids): What? Isador Machete Cortez (Spy Kids): That boy Verb - Past Tense you. What is his name? Juni Cortez (Spy Kids): I don't know. Isador Machete Cortez (Spy Kids) I name him, I keep him. Killer. Juni Cortez (Spy Kids): Stinky! Isador Machete Cortez (Spy Kids): Violet. Juni Cortez (Spy Kids): Spike! Isador Machete Cortez (Spy Kids): Lunatic Juni Cortez (Spy Kids): Cody! Cody! Come here, Cody, come here! Rebecca Wilson (Spy Kids: All the Time in The World): Well, ain't you just the Adjective - Superlative thing? Cody (The Rescuers Down Under): Whoa! Juni Cortez (Spy Kids): I'm done being Verb - Past Participle . Wilbur Wilson (Spy Kids: All the Time in The World): If you ain't scared, you ain't Adjective . Juni Cortez (Spy Kids): (Roaring) I missed my family Cody (The Rescuers Down Under): Huh? Juni Cortez (Spy Kids): You don't Verb - Non 3rd Person Singular Present . Cody (The Rescuers Down Under): ( Proper Noun ) Juni Cortez (Spy Kids): ( Verb - Present Tense ) ©2021 WordBlanks.com · All Rights Reserved..
Recommended publications
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo by Victoria Lynn Kearley Thesis for the degree of Doctor of Philosophy May 2014 UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Thesis for the degree of Doctor of Philosophy ABSTRACT The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo Victoria Lynn Kearley This thesis examines how the conventions of four distinct genres, the star personas of two key Hispanic male stars and conceptions of Hispanic men as 'macho' intersected in constructing images of Hispanic masculinity in Hollywood between the years 1998 and 2008. The work makes an original contribution to knowledge as the first extensive study of Hispanic masculinity in contemporary Hollywood and affording new insights into the way in which genre conventions and star personas contributed to these representations.
    [Show full text]
  • JOHN CARTER Production Notes
    JOHN CARTER (2012) PRODUCTION NOTES JOHN CARTER Production Notes Release Date: March 9, 2012 (3D/2D) Studio: Walt Disney Pictures Director: Andrew Stanton Screenwriter: Andrew Stanton, Mark Andrews, Michael Chabon Starring: Taylor Kitsch, Lynn Collins, Samantha Morton, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Daryl Sabara, Polly Walker, Bryan Cranston, Thomas Hayden Church, Willem Dafoe Genre: Action, Adventure, Sci-Fi MPAA Rating: PG-13 (for intense sequences of violence and action) Official Website: Disney.com/JohnCarter From Academy Award®–winning filmmaker Andrew Stanton comes "John Carter"—a sweeping action- adventure set on the mysterious and exotic planet of Barsoom (Mars). "John Carter" is based on a classic novel by Edgar Rice Burroughs, whose highly imaginative adventures served as inspiration for many filmmakers, both past and present. The film tells the story of war-weary, former military captain John Carter (Taylor Kitsch), who is inexplicably transported to Mars where he becomes reluctantly embroiled in a conflict of epic proportions amongst the inhabitants of the planet, including Tars Tarkas (Willem Dafoe) and the captivating Princess Dejah Thoris (Lynn Collins). In a world on the brink of collapse, Carter rediscovers his humanity when he realizes that the survival of Barsoom and its people rests in his hands. © 2012 Walt Disney Pictures 1 JOHN CARTER (2012) PRODUCTION NOTES SYNOPSIS Walt Disney Pictures presents the epic, action-adventure film "John Carter," based on the Edgar Rice Burroughs classic, "A Princess of Mars," the first novel in Burroughs Barsoom series. 2012 marks the 100th anniversary of Burroughs' character John Carter, the original space hero featured in the series, who has thrilled generations with his adventures on Mars.
    [Show full text]
  • Congratulations SPY KIDS 4D
    12 Friday 19th August, 2011 E.A.P. Films presents at Liberty Cinema, Colpetty from 26th August 2011 SPY KIDS 4D armen and Juni Cortez live with degree when they had their chil- their parents, Ingrid and dren. CGregorio, who they believe are At the beginning of the film, boring, unaware that their parents are Carmen’s main concern in life is actually semi-retired international with the unwelcome responsibili- spies, working for an organization ty of babysitting her brother, Juni, called the OSS (Organization of Super and is therefore usually mean to Spies). Originally, Ingrid and Gregorio him. However, underneath her abusive were enemies until they fell in love and exterior, Carmen is hiding secrets of wear revealed got married. They retired to some her own: she skips school, and has to diapers at night due to having problems with bedwetting. She is desperate to that Third keep both of these problems secret, Brain is hid- especially from her brother. Juni lacks den in the house self-esteem and is a fan of a children’s and that Gradenko television show called “Floop’s is in allegiance with Fooglies.” Hosted by Fegan Floop and Lisp. The children escape but co-starring the Fooglies—colorful, soon encounter robotic clones of Directed by Robert Rodriguez mutant, gibberish speaking friends of themselves who steal the Third Brain Produced by Robert Rodriguez Floop—the show proves to be an irri- and deliver it to Minion, who takes Executive producers Bob Weinstein tant to Gregorio, who openly displays command of the robots and imprisons Robert Rodriguez Elizabeth Avellan his dislike for the program.
    [Show full text]
  • Robert Rodriguez and the Transformation of a Microbudget
    FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL By Copyright 2015 Zachary Ingle Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chairperson _______________________________ Tamara Falicov, Ph.D. ______________________________ Michael Baskett, Ph.D. ______________________________ Germaine Halegoua, Ph.D. ______________________________ John Tibbetts, Ph.D. ______________________________ Ben Chappell, Ph.D. Date Defended: April 24, 2015 The Dissertation Committee for Zachary Ingle certifies that this is the approved version of the following dissertation: FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL ________________________________ Chairperson Tamara Falicov Date approved: April 24, 2015 ii ABSTRACT Studies based on a director often follow a common model, generally resorting to an overview of that director’s films and examining shared aesthetic qualities and themes. This sort of study was grounded in the auteur theory—following authorship approaches in literature—and was invested in a consistency that justified the place of film authorship as a worthy pursuit in academia. In this study, however, I examine Mexican-American filmmaker Robert Rodriguez through a discursive analysis, unencumbered to textual analysis or even a chronological approach, with a look at the media discourse, Rodriguez’s own writings and interviews, and the pertinent scholarship. His debut award-winning debut feature, El Mariachi (1992), as well as the production diary that would soon follow, Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player inspired a generation of filmmakers into making ultra-low (or microbudget) films.
    [Show full text]
  • Jorge Mauricio Espinoza, M.A
    Inventing the Latino/a Hero: ‘Legality’ and the Representation of Latino/a Heroic Figures in U.S. Film, Television, and Comics Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jorge Mauricio Espinoza, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ignacio Corona, Advisor Frederick Aldama Guisela Latorre Laura Podalsky Copyright by Mauricio Espinoza 2015 Abstract The heroic narratives appearing in U.S. popular culture have been traditionally dominated by Anglo characters, with limited spaces for the representation of ethnic minorities. When they do appear in these narratives, ethnic minorities typically occupy the roles of subservient sidekicks or stereotyped villains—whose main functions, respectively, are to aid the Anglo hero in his pursuits and to serve as cannon fodder in order to highlight his superiority. While few in number, the presence of ethnic minority heroes in popular culture narratives becomes important for examining and understanding the limitations and possibilities of positive portrayals by and about members of historically marginalized communities in the United States. Inventing the Latino/a Hero explores the historical representation of U.S. Latino/a heroic figures and heroism discourses in film, television, and comics. This study concentrates on hero narratives that directly explore, interrogate, or wrestled with the issue of legality, which is central to the construction of Latino/a heroes and their narratives’ relationship with ideology and power relations. In this regard, I contend that Latino/a heroes either challenge the dominant, often oppressive system of U.S.
    [Show full text]
  • Missione 3 – D – Game Over Di Robert Rodriguez SINOSSI Juni Cortez Ha
    Missione 3 – D – Game over di Robert Rodriguez SINOSSI Juni Cortez ha lasciato l'attività di agente segreto per la OSS e ora cerca quotidianamente di sbarcare il lunario svolgendo alcune attività che ben poco hanno di avventuroso. L'occasione si ripresenta quando la OSS lo richiama per salvare la sorella Carmen, rimasta intrappolata nel cyberspazio all'interno di un videogioco chiamato "Game Over", creato dal perfido Giocattolaio che intende dominare tutte le menti degli adolescenti con i suoi sofisticati software. Entrando nella realtà virtuale del cyberspazio, Juni dovrà superare quattro complicatissimi livelli di gioco, cercando di non esaurire le varie vite virtuali di cui dispone, per poter accedere al quinto livello, quello in cui è intrappolata la sorella, il più complicato da superare perché programmato dal Giocattolaio stesso in modo che sia impossibile risolverlo. Juni, che è stato scambiato per una delle componenti del gioco "Game Over", incontra come compagni di viaggio nella realtà virtuale quattro coetanei, Arnold, Rez, Francis e Demetra, della quale si innamora quando questa si sacrifica per lui per permettergli di superare un livello in cui stava soccombendo: decide di chiedere aiuto al nonno, che ha un vecchio conto in sospeso con il Giocattolaio, ritenuto responsabile della sua paralisi alle gambe. Giunti con uno stratagemma al quinto livello e incontrata finalmente Carmen, i ragazzi, con l'aiuto del nonno, riescono a spegnere il videogioco in cui sono stati introdotti. Ma il perfido Giocattolaio, liberato da nonno Cortez per potersi vendicare compiutamente, riesce a far trasferire i suoi mostri virtuali sulla terra. I mostri saranno sconfitti soltanto dall'arrivo di tutta la famiglia Cortez al completo e dai suoi fedeli amici, accorsi per fornire un decisivo aiuto.
    [Show full text]
  • The Green Inferno
    E L I R OTH ’ S THE GREEN INFERNO WRITTEN BY ELI ROTH & GUILLERMO AMOEDO STORY BY ELI ROTH RUNNING TIME: 103 Minutes PRESS CONTACT DDA Public Relations - [email protected] 2 Synopsis How far would you go for a cause you believe in? In master of horror Eli Roth’s terrifying new film, THE GREEN INFERNO, a group of college students take their humanitarian protest from New York to the Amazon jungle only to get kidnapped by the native tribe they came to save. A tribe that still practices the ancient tribal rite of cannibalism, with a healthy appetite for intruders. THE GREEN INFERNO is Eli Roth’s return to directing for the big screen after 2007’s HOSTEL PART II, and tells the story of what happens when “slacktavism,” the well-meaning social media response to global catastrophes, turns into terror in the depths of the Amazon jungle. The movie begins in the protected world of an elite college campus in New York City, where students stage a protest, much to the dismay of the other students. A charismatic and dangerously hypnotic student Alejandro (Ariel Levy) delivers a wild speech to a group of students, drawing them in with passionate rhetoric. He shocks them with stories about a tribe far away in the Amazon jungle that is under threat of extinction. He urges students to join him, to do something, to get truly involved through action, not just through reaction and a few re-tweets. Alejandro is hard to resist and the story he weaves is real; these tribes will disappear due to the world’s corporations raping the jungle of its natural resources and destroying their habitat.
    [Show full text]