SCIENCE FICTION CINEMA

Science fiction is the popular name given to the genre that derived from fictional literature, along with fantasy and horror fiction. 

Born as a literary subgenre distinguished in the 1920´s and subsequently exported to the media, it enjoyed a boom in the second half of the twentieth century due to the popular interest in the future created by both scientific and technological progress achieves over those years. 

In literature, film and comic, science fiction proposes a fanciful version of reality, likely related to all the branches of science.

The genre imagines about the uncertain future but also suggests the active presence of extraterrestrial life and unexplored scientific possibilities in the contemporary time.

However, science fiction films offer a negative view of the future, which has made specialists understand that the viewer attempts to reconcile the fears that assault him/her towards scientific findings of difficult understanding. One of the most typical figures of speculative fiction is the mad scientist: a very competent researcher who discovers a mechanism or phenomenon of enormous power. From doctor Frankenstein to the geneticist that designs dinosaurs in Jurassic Park, this characters mark the evolution of the genre.

In film there are great examples of the genre, through the adaptation of stories and novels, and the production of films with scripts especially created for both the big and small screen. Science fiction cinema has been used occasionally for critical comments of political or social aspects, and the exploration of philosophical issues like the definition of the human being.

The genre first appeared on television during its golden age, first in Great Britain and then in America. The special effects and other production techniques allow creators to present an image of an imaginary world that is not limited to reality; this makes television an excellent medium for science fiction.

Films follow the trail of literature. George Méliés was inspired by the works of Jules Verne to shoot “Voyage dans la lune” (1902). New technological discoveries promoted fiction arguments too, like Spanish Segundo de Chomón, whose best known film, “El Hotel Eléctrico” (1908), explores the possibilities of electric energy, which use became popular at the time.

Russian film “Aelita” (1924) directed by Iakov Protaznov, is considered one of the first masterpieces of a genre that particularly influenced a follower of German expressionism, Fritz Lang, who drew in “Metropolis” (1926) a future that bore parallels with the rise of Nazism. “The Lost World” (1925) directed by Harry Hoyt, based on Arthur Conan Doyle’s novel, and provided the genre with another of its conventions: the prehistoric monsters that survive extinction.

Horror and science fiction genres intersect in productions like “Frankenstein” (1931) and “The Invisible Man” (1933) by James Whale, where the protagonists reached a terrible outcome for having found two scientific secrets.

The generalization of science fiction comics like “Flash Gordon” favored its cinematographic adaptation. Some examples are “Flash Gordon”/”Rocket Ship” (1936) by Frederick Stephani, and “The Adventures of Captain Marvel” (1941) by William Witney and John English.

The influence of the Cold War is also traceable in film, with productions like “The Thing” (1951, Christian Nyby), “The Day the Earth Stood Still” (1951, Robert Wise), “The War of the Worlds” (1953, Byron Haskin) and “The Invasion of the Body Snatchers” (1956, Don Siegel).

The researches on radioactive materials resulted in titles like “The Beast from 20.000 Fathoms” (1953, Eugene Lourie) and “The Incredible Shrinking Man” (1957, Jack Arnold), while others like “20.000 Leagues Under the Sea” (1954, Richard Fleischer) and “From the Earth to the Moon” (1958, Byron Haskin) showed more innocence. “Forbidden Planet” (1956, Fred McLeod Wilcox), “The Fly” (1958, Kurt Neumann) and “The Time Machine” (1960, George Pal) presented the mysteries about the future.

The 60’s brought films like “The Village of the Damned” (1960, Wolf Rilla) and “Barbarella” (1968, Roger Vadim). The film “2001: A Space Odyssey” (1968, Stanley Kubrick) offers a realistic prospect of the evolution of science.

The fascination for aliens is reflected in “Close Encounters of the Third Kind” (1977) and “E.T.: The Extra-Terrestrial” (1982), both directed by Steven Spielberg while “Alien” (1979) directed by Ridley Scott shows them as a threat. On the other hand, the 70’s came up with adaptations of popular comics and TV series like “Star Trek: The Movie” (1979, Robert Wise) and “Superman” (1978, Richard Donner) and with the revival of atomic fear, “Mad Max” (1978, George Miller).

The 80’s showed movies like “Blade Runner” (1982, Ridley Scott), “The Terminator” (1984, James Cameron), “Ghostbusters” (1984, Ivan Reitman) and “Robocop” (1987, Paul Verhoeven). But maybe one of the most famous is “Back to the Future” (1985, Robert Zemeckis), in which a teenager, Marty McFly, is sent back in time to 1955, where he meets his future parents in high school and accidentally becomes his mother’s romantic interest. 

Since the 90’s digital special effects gave new impetus to visual entertainment in movies like “Jurassic Park” (1993, Steven Spielberg) and “Independence Day” (1996, Roland Emmerich).

Definitely, science fiction has improved markedly since the beginning, and if there is a highlight, these are the special effects. Today, with all the technology we have, we have made incredible effects. Although lately, has been questioned from several people arguing that "Examples of before were better than now" Like, Jurassic Park where dinosaurs looked more real than now with pure computer special effects.

But overall, it is a very good genre to enjoy because it is interesting and calls the attention of varied groups of people.

Finally, we leave you our Top 5 Recommend Science Fiction Films:

The Avengers 

The Star Wars franchise

Ghostbusters

The Batman franchise

The Back to the future trilogy

Magalí Nenezian, Kevin Vera and Federico Vargas - 3rd Year

REVIEW OF 'THE CLAN'

Crime cinema is one of the most successful genres in our national cinematographic industry. A big budget is not necessary to tell the story. 

With ‘The Clan’, Trapero (its director) decided to tell a real story about Archímedes Puccio and his family back in 1980, a case that moved the country with its cruelty and sadism. 

To do this work, Trapero invited actors who surprised the audience with their roles, like Guillermo Francella. 

The latest was believed to be a wrong choice to play Archímedes because people is used to seeing him playing comedy. Thanks to that factor, his interpretation is surprisingly good. He achieves to show his best during the two hours of film. 

Another big surprise was Peter Lanzani, an actor who is ready to ditch the role of a high school kid and become the traumatized Alessandro Puccio. If you still underestimate him, you better watch this movie. 

The plot of the film revolves about the story of the Puccio family, and gives an insight of the first five years of 1980, when the family turned into a clan dedicated to crime. 

The house where the film was shot is not the original one, but the looks, cars and even the money are the same.

If you haven’t seen this movie, you definitely must watch it. It has everything that needs to be the next Oscar for our country. 

Jazmín Mendoza, Tobías Zavalía, Sol Bidondo, Lautaro Morano, Matías Bruno and Brian Converso – 4th Year

A HISTORY OF HORROR FILMS: PART II

1950 - 1970

Throughout the 50s, 60s and 70s British producer Hammer struck exposing high quality movies as  The Curse of Frankenstein (1957) , Dracula (1958) and The Mummy (1959). The star directors of that time were the English Terence Fisher and the American Roger Corman, who specialized in low-budget films, based on stories by the writer Edgar Allan Poe. 

The beginning of the Cold War gave place to new ways of seeing horror in cinema and films like Gojira / Godzilla ( 1954) by Ishiro Honda came to light.

In the 60s , George Andrew Romero had premiered the Night of the Living Dead, film that gave birth to another theme : that of zombies. These, like the werewolf or vampires, are part of folk tradition and the oldest folk tales. The contemporary horror, however, both in literature and film, deals with the zombies without any romanticist shade, trying to achieve in the reader or viewer -through the raw expression of his cannibal monstrosity- an effect of ancestral pure terror.

From the 70's we found two remarkable films. The Exorcist by William Friedkin (1973) is considered by many critics the scariest movie in the history of cinema; the same goes for that infamous Jaws (1975) by Steven Spielberg. 

A new topic was used in this decade: paranormal powers. This was perfectly demonstrated in Carrie (1976), based on the novel of the same title by Stephen King, who later entered the psychological terror with Dressed to Kill (1980). 

Then, the mixture of horror and science fiction literature by Lovecraft reappears with an excellent film called Alien (1979).

1980 - 1990

In the 80s, movies of "teen horror" became fashionable, addressed to that one group in particular. Friday the 13th by Sean S. Cunningham began a series of films in which the manager is a wild terrifying murderer operating in the dark. They were followed by A Nightmare on Elm Street another one signed by Wes Craven. Prom Night (1980), Terror Train (1980), Bloody Valentine (1981), Happy Birthday to Me (1981), The Slumber Party Slaughter (1982), Sleepaway Camp (1983), Silent Night, Deadly Night (1984), The Day Aprils Fool (1986), Devil Doll (1988), and Clownhouse (1989) all explored the same theme.

Other notable films of the decade were The Shining (1980) by Stanley Kubrick; The body (1981) by Sidney Furie; The Thing (1982) by John Carpenter; Poltergeist by Tobe Hooper; Re-Animator (1985) by Stuart Gordon; Hellraiser (1987) by Clive Barker. The Canadian David Cronenberg hit it again with The Fly (1986, a remake of the 50s version) and Dead Ringers (1988). The film that would close a decade of the best adaptations on the work of novelist Stephen King is Pet Sematary by Mary Lambert (1989).

The 90's brought lots of horror movies, like Interview with the Vampire (Neil Jordan, 1994); the production of the Canadian science fiction Cube (1997), powerful and innovative in its theme; the aforementioned Dracula by Francis Ford Coppola (1992), and the great success among teenagers Wes Craven's Scream (1996) and its sequels; besides I Know What You Did Last Summer (1997) parodied in Scary Movie (2000, Keenen Ivory Wayans). 

The New Zealander Peter Jackson (trilogy The Lord of the Rings) had opened with the spectacular -although parody- entitled Braindead (1992) and Bad Taste (1987) . Indian-born director M. Night Shyamalan, gave us the original The Sixth Sense (1999), which has also been compared with the chilling Others by Alejandro Amenabar.

2000's

The 2000s were a quiet time for the genre. Horror films began to be based on sales rather than on creating original stories . The extended version of The Exorcist and blockbusters like Final Destination (2000) -which includes 4 years following- sequels-, Jason X  (2001) and Freddy vs. Jason (2003) were launched. The Jeepers Creepers series also succeeded . Films like Hollow Man, The Orphan, Wrong Turn, Cabin Fever and House of 1000 Corpses helped bring the genre back to qualifications restricted in theaters. Comic book adaptations such as Blade, Constantine (2005) and the Hellboy (2004) series also became box office hits. Adaptations of video games like Doom (2005) and Silent Hill (2006) also had a moderate box office success , while the Van Helsing (2004) and Underworld series had a huge box office success .

Style web videos featuring Slender Man became popular on YouTube in the beginning of the decade. Horror has become prominent on television with The Walking Dead, American Horror Story and The Strain. Many popular horror films have had successful television series made, like Psycho spawned Bates Motel, The Silence of the Lambs spawned Hannibal; while Scream and Friday the 13th both have television series in development. 

Horror cinema has grown since its very first movie came out. Nowadays, we can find frightening films for everyone, even on television. Some people think that old scary movies were better than today´s movies. We believe that times have changed and that we can find excellent cinematographic productions even today. Here are our top movies. Enjoy!

• The Amityville Horror (1979)
• Mama (2013)
• Carrie (1976)
• Friday the 13th (1980)
• Rosemary's Baby (1968)
• The Sixth Sense (1999)
• The Silence of the Lambs (1991)
• The Exorcism of Emily Rose (2005)
• The Blair Witch Project (1999)
• Scream (1996)
• The Exorcist (1976)
• Psycho (1960)
• The Texas Chain Saw Massacre (1974)
• The Ring (2002)
• Paranormal Activity (2007)
• Insidous (2010)
• Grave Encounters (2011)

Nadia Palaziol, Iara Stendler, Ignacio Penzotti and Melina Estaras - 4th Year

REVIEW OF 'PAPER TOWNS'

John Green, author of the best-selling book ‘The Fault in Our Stars’, surprises us with a new story; this time without low punches. The adaptation was in the hands of the director Jake Schreier, who succeeds in not using clichés on a classic teen movie. 

The story has as a protagonist, Quentin (Nat Wolff), a teenager who is a few weeks away of finishing high school to begin an adult life in college. 

Since he was a child, he has lived in the same neighborhood as Margo (Cara Delevigne), a mysterious girl who he has always been in love with but never found the opportunity to tell her everything he feels about her. 

One night, Margo appears in Quentin’s room ad comes out with the idea of being partners in crime. She wants to take revenge of her friends who hurt her in the past. 

He fell in love even more, but then Margo disappears again –as usual- leaving a series of clues for everyone to find her. 

Quentin is really sure that the clues are for him and decides to make a 27-hour trip to find her before the prom ball. He is not alone; he is with his best friends: Ben and Radar.

The main theme could be finding Margo, but friendship becomes very important at this point. 

It is very well achieved because it doesn’t have the typical clichés we are so used to seeing in teen movies. 

In a film industry full of remakes, this movie has some really fresh things. 

I recommend it if you want to see something different: it has good performances and the script is even better that the book. 

Cielo Palavecino – 5th year

A HISTORY OF HORROR FILMS - PART I

Horror is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience's primal fears. Inspired by literature from authors like Edgar Allan Poe, Bram Stoker and Mary Shelley, horror films have for more than a century featured scenes that startle the viewer. The macabre and the supernatural are frequent themes; as a result they may overlap with the fantasy, supernatural, and thriller genres.

Horror films often deal with the viewer's nightmares, hidden fears, revulsions and fright of the unknown. Plots within the horror genre often involve the intrusion of an evil force, event, or personage, commonly of supernatural origin, into the everyday world. Prevalent elements include ghosts, aliens, vampires, werewolves, demons, gore, torture, vicious animals, evil witches, monsters, zombies, cannibals, and serial killers. Conversely, movies about the supernatural are not necessarily always horrific.

Since this is one of the most popular genres among cinemagoers, we decided to investigate about famous films from the moment of its invention to the 1950’s.

1890-1920s 

The first depictions of supernatural events appear in several of the silent shorts created by the film pioneer Georges Méliès in the late 1890s, the best known being Le Manoir du Diable, which is sometimes credited as being the first horror film. Another of his horror projects was 1898's La Caverne maudite. Japan made early forays into the horror genre with Bake Jizo and Shinin no Sosei, both made in 1898. In 1910, Edison Studios produced the first film version of Frankenstein, which was thought lost for many years. Edison's version of Frankenstein followed the 1908 film adaptation of Dr. Jekyll and Mr. Hyde, the first of many film adaptations of Stevenson's 1885 novel, in a slue of other literary adaptations including the works of Poe, Dante, Shakespeare and many other authors. This trend instilled a macabre element intro these early films and made it synonymous with the horror film genre. 

The second monster to appear in a horror film: Quasimodo, the hunchback of Notre Dame, who had appeared in Victor Hugo's novel, Notre-Dame de Paris (1831). Films featuring Quasimodo included Alice Guy's Esmeralda (1905), The Hunchback (1909), The Love of a Hunchback (1910) and Notre-Dame de Paris (1911). 

German Expressionist film makers, during the Weimar Republic era and slightly earlier, would significantly influence later films, not only those in the horror genre. Paul Wegener's The Golem (1920) and Robert Wiene's The Cabinet of Dr. Caligari (also 1920) had a particular impact. 

The first vampire-themed movie was made during this time: F. W. Murnau's Nosferatu (1922), an unauthorized adaptation of Bram Stoker's Dracula. The Man Who Laughs (1928), based on the Victor Hugo novel of the same name, released by Universal Studios shows the influence German Expressionism had on early American horror films. 

Hollywood dramas used horror themes, including versions of The Hunchback of Notre Dame (1923) and The Monster (1925) both starring Lon Chaney, the first American horror movie star. Other films of the 1920s include Dr. Jekyll And Mr Hyde (1920), The Phantom Carriage (Sweden, 1920), The Lost World (1925), The Phantom Of The Opera (1925), Waxworks (Germany, 1924), and Tod Browning's (lost) London After Midnight (1927) with Chaney. Another great film from this period is, also a Browning/Chaney collaboration, The Unknown (1927). These early films were considered dark "melodramas", the word "horror" to describe the film genre would not be used until the next decade after Universal Pictures released Dracula (1931) and Frankenstein (1931). These films were grouped in with melodramas because of their stock characters and their emotion heavy plots that focused on romance, violence, suspense, and sentimentality.

The trend of inserting an element of macabre into these pre-horror melodramas was continued into the 1920s. Directors known for putting a large amount of macabre into their films during the 1920s were Maurice Tourneur, Rex Ingram and Tod Browning; many of his works have already been mentioned above. The Magician (1926), a Rex Ingram film, provides one of the first examples of a "mad doctor" and it is said to have had a large amount of influence on James Whale's version of Frankenstein. The Unholy Three (1925) starring Lon Chaney and directed by Tod Browning is a great example of Browning's use of macabre and shows his own unique style of morbidity. Browning remade the film in 1930 as a talkie which also starred Chaney and it became the actor's only sound film.

The Terror (1928) was the first horror film with sound.

1930s–1940s

During the early period of talking pictures, the American Movie studio Universal Pictures began a successful Gothic horror film series. Tod Browning's Dracula (1931), with Bela Lugosi, was quickly followed by James Whale's Frankenstein (also 1931) and The Old Dark House (1932), both featuring Boris Karloff as monstrous mute antagonists. Some of these films blended science fiction with Gothic horror, such as Whale's The Invisible Man (1933) and, mirroring the earlier German films, featured a mad scientist. These films, while designed to thrill, also incorporated more serious elements. Frankenstein was the first in a series which lasted for many years, although Karloff only returned as the monster in Bride of Frankenstein (1935). The Mummy (1932) introduced Egyptology as a theme for the genre.

Other studios followed Universal's lead. Tod Browning made the once controversial Freaks (1932) for MGM, based on "Spurs", a short story by Tod Robbins, about a band of circus freaks. Rouben Mamoulian's Dr. Jekyll and Mr. Hyde (Paramount, 1931), was remembered for its use of color filters to create Jekyll's transformation before the camera. Michael Curtiz's Mystery of the Wax Museum (Warner Brothers, 1933), and Island of Lost Souls (Paramount, 1932) were all important horror films.

With the progression of the genre, actors were beginning to build entire careers in such films, most especially Boris Karloff and Bela Lugosi.

Frankenstein (1931)

After Lugosi turned the part down, screen legend has it that Boris Karloff was plucked from obscurity in the studio canteen to play the Monster. Studio executives thought his character was so peripheral to the movie that they did not even invite him to the premiere, yet it is his lumbering, pathetic creation that is now synonymous with Frankenstein. James Whale, still numbered amongst the best horror directors of all time, directs with great attention to both spectacle and detail.

The Mummy (1932)

The Tutankhamen Exhibition toured the world in the 1920s and 1930s, and the concept of Egyptologists suffering the effects of an ancient curse was part of contemporary urban legend. Audiences were fascinated by the concept of 3000 year old remains, and the Ancient Egyptians' rituals that ensured immortality. The film, which may seem overly slow-moving to modern viewers, introduced the concept of the desert escape and terrible, ancient evil to movie audiences. 

The main action takes place in Cairo (or the Universal backyard’s version of that city) and revolves around a mummy who is brought to life by the accidental reading of a spell. He then hunts down the reincarnation of his lost love, only to be thwarted, and reduced to the dust from whence he came. The storytelling is slow and atmospheric, and, as with all Karloff characters, the monster is imbued with a sense of tragedy. Its influence can be seen in assorted films like The English Patient (The Mummy revolves around a similarly tragic love story) and... um... Stargate.

The reboot of the franchise in the 2000s focuses more on blockbuster action sequences, but it's interesting to note that both Clive Barker and George A. Romero were attached to the project as directors at some stage. It would have been interesting to see this property regenerated as low-budget horror rather than a multi-million dollar special effects festival.

Camila Fernández, Micaela Rolle and Belén Rivera Tola - 4th Year

A HISTORY OF COMEDY FILMS

Along with the documentary, comic film is the oldest genre in the entire history of cinematography. As cinema emerged in the late nineteenth century, its first intention was to surprise the public with a playful, festive and attractive offer. 

The most convincing model to achieve that goal was the music hall, and therefore screen cinema got the same stereotypes that had already worked on stage. In any case, dynamic situations, runaways, where there is no shortage of misunderstandings and violence is sublimated to lose every threatening shade.

It is here where it’s clear the subtle and shaky difference between comic film and cinema of comedy, later intermixed with no apparent contradiction. Comic film promotes hilarious situations through stunts and visual conventions, and comedy gets it through linguistic effects. In both cases, cinema practices the humor, causing that bankruptcy on the expectations that according to the psychoanalysts produce our laughter. 

In other words, what makes us laugh is to verify that a character, in which a particular action is expected, makes another quite different, sometimes crazy. In the case of comic cinema, that action would have visual character, and will be led by a dynamic line. However, comedy film inherits from its theatrical antecedents the pun, the replicas and contra replicas that cause laughter through dialogues and situations.

The Biter Bit, 1899, is often cited as the first antecedent of this genre that in our days is still practiced by actors like British Rowan Atkinson whose character Mr. Bean has obtained a deserved popularity.

Despite its continuity, it’s inevitable to identify comic cinema and silent movies, because it was in the period before the onset of sound when the genre reached its moments of glory.

Among the stars that triumphed over this period include Buster Keaton, Harold Lloyd, Max Linder, Harry Langdon, Charles Chaplin 'The Tramp' and Laurel & Hardy.

Comic cinema held some force with the arrival of sound. In fact much of the interpretative effectiveness of comedians like Danny Kaye, Jacques Tati and Jerry Lewis comes from their visual gags, developed without explanatory dialogues.

Being a theatrical genre with a long traditional, comedy quickly adapted to the range of preferences of moviegoers. Comedy credited in film a satire, teasing, mocking quality with more or less propensity towards the grotesque of social customs. Comedy achieved humor through a disruption of the established order, putting the rules inside out and disintegrating the urbanity criteria to, at the end of the show, restores the order altered before. 

Comedy films choose, from the beginning, the snappy dialogue and the play of misunderstandings. In the thirties, Mae West in I’m no angel, 1933 and W.C. Fields personified the mischievous comedy both on stage and in front of the camera. The surreal absurdity was embodied by the Marx Brothers in movies like A Night at the Opera, 1935, while Cary Grant in His Girl Friday, 1940, was presented as the wealthy ladies man from films imbued with a certain romance in their plots. 

The Marx’s wild and verbal comedy was even intellectualized by comedians like Woody Allen in plays like Sleeper, 1973, and Annie Hall, 1977. And the romantic and festive comedy directed by filmmakers like Howard Hawks (Bringing Up Baby, 1938) remains today, albeit with a lower dose of talent in the dialogues. 

Diane Keaton and Woody Allen - Annie Hall

In the development of comedy film played a prominent role German Ernst Lubitsch especially with The Merry Widow, 1934, and To Be or not To Be, 1942, and Austrian Billy Wilder with Sabrina, 1954, Some Like it Hot, 1959, and The Apartment, 1960, that led American cinema to the Central European rhythm.

Cinema of comedy from recent decades has gathered its main inspiration from the small screen. For example, eighties’ films are characterized by the presence of comedians from television, like Steve Martin, Richard Pryor, Chevy Chase, Dan Aykroyd, Eddie Murphy, John Belushi, John Candy and Bill Murray. 

As it happens with other films genres, comedy is interspersed with other thematic trends and today is linked to productions of adventurous genre where there is no shortage of comic situations.

Finally, here are some examples of different comedy subgenres:

Romantic comedy

It (1927), City Lights (1931), It's a Wonderful World (1939), The Shop Around the Corner (1940), Sabrina (1954 and the 1995 version), Annie Hall (1977), When Harry Met Sally... (1989), Pretty Woman (1990), Four Weddings and a Funeral (1994)

Parody

Get Smart, Casino Royale, Young Frankenstein, Airplane! Top Secret, Hairspray (1988, then the 2007 version), Hot Shots, Scary Movie, Tropic Thunder, Austin Powers, High Anxiety.

Musical

Sweeney Todd, Grease, Singin’ in the Rain, Mamma Mia! West Side Story, Chicago, My Fair Lady, Rent, Seven Brides for Seven Brothers, Step up, Annie.

Fantasy comedy

Being John Malkovich, Ernest Saves Christmas, Ernest Scared Stupid, Night at the Museum, Groundhog Day, Click and Shrek.

Sci-fi comedy

Back to the Future, Spaceballs, Ghostbusters, Evolution, Innerspace, Galaxy Quest, Mars Attacks! Men in Black and The World's End.

Military comedy

Shoulder Arms,  Buck Privates, Carry On Sergeant, Catch-22, Delta Farce, the Flagg and Quirt series,  the Francis (1950 film) series,  Good Morning, Vietnam,  How I Won the War,  I Was a Male War Bride,  M*A*S*H,  Military Intelligence and You, Mister Roberts,  No Time for Sergeants, Gomer Pyle, U.S.M.C., Operation Petticoat,  Major Payne, Private Benjamin,  The Private War of Major Benson,  The Secret War of Harry Frigg,  See Here, Private Hargrove, Stripes,  Teahouse of the August Moon,  Up the Academy,  McHale's Navy,  What Did You Do in the War, Daddy?, Forrest Gump, Enlisted.

Horror comedy

Little Shop of Horrors, Haunted Mansion, An American Werewolf In London, Dead Alive (1992), Evil Dead (1981), The Toxic Avenger (1984), and Club Dread.

Action comedy

Midnight Run, Rush Hour, 21 Jump Street, Bad Boys, Starsky and Hutch and Hot Fuzz, The Incredibles, Hancock, Kick-Ass and Mystery Men, The Hard Way.

Black comedy

Arsenic and Old Lace (1944), Monsieur Verdoux (1947), Kind Hearts and Coronets (1949), The Ladykillers (1955), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Loved One (1965), MASH (1970), Monty Python's The Meaning of Life (1983), Brazil (1985), The War of the Roses (1989), Heathers (1989), Your Friends & Neighbors (1998), Keeping Mum (2005), and Burn After Reading (2008).

Top 5 Recommended movies

1. Mamma Mia!
2. Bringing Up Baby
3. Mr. Bean
4. Horrible Bosses
5. The Hangover trilogy 

Magalí Nenezian, Federico Vargas and Kevin Vera - 3rd Year