Additional information for Twilight Zone: The Movie, which has a domestic theatrical release set for June 24, 1983. The film is being distributed by Warner Bros Pictures and has not yet been rated. Twilight Zone: The Movie has a total running time of 101 minutes.
PG
Australia
K-12
Finland
16
Norway
15
Sweden
12
UK
PG
USA
16
West Germany
16
Argentina
14A
Canada
14
Iceland
Unrated
France
PG
Singapore
PG
New Zealand
12
Netherlands
10V
South Africa
M/12
Portugal
13
Spain
101min
45min
Al filo de la realidad
Argentina
Al filo de la realidad
Mexico
La quatrième dimension
Canada
La quatrième dimension
France
Ai confini della realtà
Italy
Dimensión desconocida
Venezuela
En los límites de la realidad
Spain
Epomenos stathmos: I zoni tou lykofotos
Greece
Hämärän pelottavat varjot
Finland
Homályzóna
Hungary
La quatrième dimension - le film
France
No Limiar da Realidade
Portugal
No Limite da Realidade
Brazil
På gränsen till det okända
Finland
På grænsen til det ukendte
Denmark
Strefa mroku
Poland
Twilight zone - På gränsen till det okända
Sweden
Unheimliche Schattenlichter
West Germany
Zona sumraka
Serbia
June 24, 1983
USA
July 28, 1983
Argentina
August 18, 1983
Australia
September 30, 1983
Ireland
October 21, 1983
Sweden
November 25, 1983
Finland
December 03, 1983
Norway
January 19, 1984
Netherlands
January 20, 1984
West Germany
January 27, 1984
Denmark
February , 1984
Portugal
February 01, 1984
France
February 17, 1984
Portugal
March 01, 1984
Colombia
No taglines exist for this title.
Four horror/sci-fi segments directed by four famous directors which are their own versions of classic stories from Rod Serling's landmark television series.
PrologueThe film starts with a driver (Albert Brooks) and his passenger (Dan Aykroyd) driving on a rural two-lane road very late at night, singing along to Creedence Clearwater Revival's cover of "Midnight Special" on a cassette, which then breaks. The pair make a game between themselves about TV theme songs, then the conversation turns to what scares them. They begin to talk about their favorite episodes of The Twilight Zone and how weird and scary some of the episodes were. Out of the blue, the passenger then asks the driver, "Do you want to see something really scary?" The driver reluctantly pulls the car over. His friend turns his head away for a few seconds, then turns around, having pulled off a false mask off his face... becoming a demonic creature. The creature then fatally attacks the driver.The opening scene then cuts to outside the car as the familiar Twilight Zone opening theme music and monologue begin, spoken by narrator Burgess Meredith, a veteran of the original TV series."You unlock this door with the key of imagination. Beyond it is another dimension. A dimension of sound. A dimension of sight. A dimension of mind. You're moving into a land of both shadow and substance of things and ideas. You've just crossed over into... The Twilight Zone."First segment ("Time Out")"You're about to meet an angry man: Mr. William Connor, who carries on his shoulder a chip the size of the national debt. This is a sour man, a lonely man, who's tired of waiting for the breaks that come to others, but never to him. Mr. William Connor, whose own blind hatred is about to catapult him into the darkest corner of the Twilight Zone."The only original segment, directed by John Landis. It is loosely based on two original Twilight Zone episodes: "A Quality of Mercy" and "Deaths-Head Revisited". Bill Conner (Vic Morrow) is an outspoken bigot who is bitter after being passed over for a promotion. Drinking in a bar after work with his friends, Bill makes prejudiced remarks and racial slurs towards Jews, blacks and Asians, attracting the attention of a group of black men sitting near them who, of course, strongly resent his racist comments. Bill leaves the bar very angry.When he walks outside, however, he is not in the parking lot. Instead, Bill inexplicably finds himself in Vichy France during World War II. He is spotted by a pair of SS officers patrolling the streets, who see him as a Jewish man. After a chase around the city, in which Bill is shot in his left arm by one of the German officers, Bill falls off a building ledge in trying to escape and suddenly time travels to the rural South during the 1950s, where the Ku Klux Klan sees him as an African American whom they are about to lynch. Bill is scared and confused and vehemently tries to tell them he's white. After kicking one KKK member against the burning cross and setting him on fire, Bill breaks free and tries to escape (while still hampered by his bullet wound). While trying to escape the Ku Klux Klan members, he dives into a nearby pond and time travels into the Vietnam War, where he is a Vietnamese man nearly blown to bits by U.S. soldiers.(It is clearly inplied at this point that by evil or divine intervention, Bill has become the selected nationalities of the people against whom he was always prejudiced.)The grenade thrown by the soldiers blasts him back to Vichy France, where he is captured by the same two Nazi officers chasing him and put into an enclosed railroad freight car, along with other Jewish Holocaust prisoners, with no possibility of redemption or rescue. The final shot shows Bill futilely screaming for help to his friends from the bar that only he can see as the train pulls away, presumably to a concentration camp or death camp.Second segment ("Kick the Can")"It is sometimes said that where there is no hope, there is no life. Case in point: the residents of Sunnyvale Rest Home, where hope is just a memory. But hope just checked into Sunnyvale, disguised as an elderly optimist, who carries his magic in a shiny tin can."The second segment is directed by Steven Spielberg and is a remake of the episode "Kick the Can." Mr. Bloom (Scatman Crothers) is an old man who has just moved into his new home at Sunnyvale Retirement Home. Upon his arrival, he sits around kindly and smiles as he listens to the other elders reminisce about the joys they experienced in their days as youths. Mr. Bloom implies to them just because they're old doesn't mean they cannot enjoy life anymore and that feeling young and active has to do with your attitude not your age. He tells them that later that night, he will wake them and that they can join him in a game of "kick the can". All agree; however, a grumpy man named Leo Conroy who is fairly skeptical in his outlook on life disagrees, saying that now that they are all old they cannot engage in physical activity and play the games they once did as children.That night, Mr. Bloom gathers the rest of the optimistic residents outside and plays a game of kick the can. They are all ultimately transformed back into child versions of themselves. Although they are extremely ecstatic to be young again and engage in the activities they once enjoyed so long ago, they also realize that being young again means you not only experience the good aspects of life again but also the bad. They request to be old again, which Mr. Bloom grants to them. Leo Conroy witnesses one resident that still remains young and says that he wants to go with him before the boy runs off. Conroy realizes that he does not have to stop enjoying life because of his old age.The segment ends with Mr. Bloom leaving Sunnyvale Restirement Home to move into another retirement home in another town (which leaves the audience to presume that he repeats the process eternally), and Conroy is outside Sunnyvale home happily kicking a can around the yard, for he has learned being young at heart is what really matters.Third segment ("It's a Good Life")"Portrait of a woman in transit: Helen Foley, age 27. Occupation: schoolteacher. Up until now, the pattern of her life has been one of unrelenting sameness, waiting for something different to happen. Helen Foley doesn't know it yet, but her waiting has just ended."The third segment is directed by Joe Dante and is a loose remake of the episode "It's a Good Life". Helen Foley (Kathleen Quinlan) is a mild-mannered school teacher who is traveling to her new job across the country. While visiting a rural bar/diner for directions from the owner Walter (Dick Miller), she witnesses a young boy (Jeremy Licht) playing a video game and then being accosted by a group of rowdy drunks for "accidentally" turning off the TV they were watching. Soon after, Helen decides to leave. Not paying attention, she backs into the boy with her car in the parking lot, damaging his bike. Helen offers the boy, Anthony, a ride home.They eventually get to Anthony's house, which is an immense home in the country. When Helen arrives, she meets some people whom Anthony tells her are his family, his Uncle Walt (Kevin McCarthy) and his sister Ethel (Nancy Cartwright). Also included in the family are Anthony's parents. Helen notices that the family seems extremely apprehensive, though she dismisses it. Anthony shows Helen around the house, including his sister's room; Anthony tells Helen that the girl is his "other" sister Sara (Cherie Currie), who got involved in an accident. The camera pans down and the audience view that the girl has no mouth, unbeknownst to Helen.The family have dinner, which, as Helen realizes, is a meal made up of Anthony's favourite foods; mainly fast food, including a burger with peanut butter. During dinner, Ethel shouts at Anthony and her plate smashes on the ground, with no explanation. After satisfying her promise of taking Anthony home, Helen attempts to leave; it is at this point that Helen discovers Anthony possesses unexplained supernatural powers that allow him to do practically anything he desires by wishing whatever he wants, including making cartoon characters appear in real life and making people disappear.Helen asks to leave, but Anthony insists that she see Uncle Walt's "act". Uncle Walt is unsure as to what to do with the top hat that Anthony provides, and reluctantly pulls a white rabbit out of the hat. The family are relieved and applaud, only to see the rabbit become a demonic rabbit-monster before disappearing again. The people finally inform her they aren't his real family and that they were brought to the house under false pretense by Anthony, as she was. They also explain that they cannot leave for Anthony has imprisoned them there in his own fantasy world that he created out of his mind. Helen finds a note on the floor that a family member has left, reading, "Help US! Anthony Is A Monster!". The note is shown to be from Ethel after a short investigation, and Anthony, using his mental powers, sends Ethel into the television set where she is killed by a large, frightening, somewhat dragon-like cartoon character.After the "family" has angered Anthony, he instantly makes them and the house disappear, leaving himself and Helen in a limbo-like state surrounded by literal nothingness. Helen promises Anthony that she will be his true friend if he agrees not to abuse his power anymore. Anthony agrees to use his powers for good. He produces Helen's car and he and Helen ride off together to her new home, surrounded by bright meadows filled with flowers.Fourth segment ("Nightmare at 20,000 Feet")"What you're looking at could be the end of a particularly terrifying nightmare. It isn't. It's the beginning. Introducing Mr. John Valentine, air traveller. His destination: the Twilight Zone."The fourth segment is directed by George Miller and is a remake of the episode "Nightmare at 20,000 Feet". John Valentine (John Lithgow) is a nervous and stressed-out airline passenger on a flight to Los Angeles. The story begins with flight attendants attempting to coax Mr. Valentine from the lavatory as he tries to recover from what seems to be a panic attack. Although not mentioned during the segment, it is most likely that Mr. Valentine is suffering from severe aviatophobia. He is repeatedly assured by the flight attendants that everything is going to be all right, but his nerves and antics disturb the surrounding passengers.As Mr. Valentine takes his seat, he notices a hideous gremlin-like creature on the wing of the plane and begins to spiral into severe panic. He watches as the creature wreaks havoc on the wing, losing more control each time he sees it do something new. Valentine finally snaps, grabs a hand gun from another passenger, an air marshal, shoots out the window (causing a breach in the pressurized cabin), and begins firing at the creature. This only serves to catch the attention of the gremlin, who rushes up to Valentine and promptly destroys the gun. After a tense moment, in which they notice that the plane is landing, the gremlin grabs Valentine's face, then simply scolds him by wagging its finger in a "no, no" manner. The creature leaps into the sky and flies away as the airplane begins to make an emergency landing. As the delerious and incoherent Valentine is wrapped in a straitjacket and carried off in an ambulance, the police, crew, and passengers begin to discuss the incident, writing off Valentine as insane. The aircraft maintenance crew soon arrives however, and everyone gathers to examine the massive amounts of unexplained damage to the plane's engines.Epilogue...Valentine is in an ambulance going to a hospital when the driver (played by Dan Aykroyd, from the opening) starts playing Creedence Clearwater Revival's "Midnight Special". The ambulance driver turns around and says, "Heard you had a big scare up there, huh? Wanna see something really scary?" The film then ends as the scene fades out to a starry night sky along with Rod Serling's opening monologue from the first season of The Twilight Zone."There is a fifth dimension, beyond that which is known to man. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone."
Joe Dante
John Landis
George Miller
Steven Spielberg
Director(s)
Rod Serling
John Landis
John Landis
George Clayton Johnson
Richard Matheson
Melissa Mathison
Jerome Bixby
Richard Matheson
Richard Matheson
Richard Matheson
Robert Garland
Writer(s)
Jon Davison
associate producer (segment 4)
Michael Finnell
associate producer (segment 3)
George Folsey Jr.
associate producer: prologue and segment 1
Kathleen Kennedy
associate producer (segment 2)
John Landis
producer
Frank Marshall
executive producer
Steven Spielberg
producer
Jon Davison
producer (segment 3) (uncredited)
Michael Finnell
producer (segment 3) (uncredited)
Kathleen Kennedy
producer (segment 2) (uncredited)
Producer(s)
Jerry Goldsmith
Composer(s)
Passenger / Ambulance Driver (Prologue / Segment #4)
Dan Aykroyd
Car Driver (Prologue)
Albert Brooks
Bill Connor (Segment #1)
Vic Morrow
Larry (Segment #1)
Doug McGrath
Ray (Segment #1)
Charles Hallahan
German Officer (Segment #1) (as Remus Peets)
Rainer Peets
German Officer (Segment #1)
Kai Wulff
Waitress No. 1 (Segment #1)
Sue Dugan
Waitress No. 2 (Segment #1)
Debby Porter
Bar Patron (Segment #1)
Steven Williams
French Monther (Segment #1)
Annette Claudier
Vietnamese (Segment #1)
Joseph Hieu
Vietnamese (Segment #1)
Al Leong
Charming G.I. (Segment #1)
Stephen Bishop
G.I. (Segment #1)
Thomas Byrd
G.I. (Segment #1)
Vincent J. Isaac
G.I. (Segment #1) (as William B. Taylor)
Bill Taylor
G.I. (Segment #1)
William S. Taylor
G.I. (Segment #1)
Domingo Ambriz
K.K.K. (Segment #1)
Eddy Donno
K.K.K. (Segment #1)
Michael Milgrom
K.K.K. (Segment #1)
John Larroquette
Soldier No. 1 (Segment #1)
Norbert Weisser
Mr. Bloom (Segment #2)
Scatman Crothers
Mr. Leo Conroy (Segment#2)
Bill Quinn
Mr. Weinstein (Segment #2)
Martin Garner
Mrs. Weinstein (Segment #2)
Selma Diamond
Mrs. Dempsey (Segment #2)
Helen Shaw
Mr. Agee (Segment #2)
Murray Matheson
Mr. Mute (Segment #2)
Peter Brocco
Miss Cox (Segment #2)
Priscilla Pointer
Young Mr. Weinstein (Segment #2)
Scott Nemes
Young Mrs. Weinstein (Segment #2)
Tanya Fenmore
Young Mr. Agee (Segment #2)
Evan Richards
Young Mrs. Dempsey (Segment #2)
Laura Mooney
Young Mr. Mute (Segment #2)
Christopher Eisenmann
Mr. Gray Panther (Segment #2)
Richard Swingler
Mr. Conroy's Son (Segment #2)
Alan Haufrect
Mr. Conroy's Daughter-in-Law (Segment #2)
Cheryl Socher
Nurse No. 2 (Segment #2)
Elsa Raven
John Landis
George Miller
Steven Spielberg
Director(s)
John Landis
John Landis
George Clayton Johnson
Richard Matheson
Melissa Mathison
Jerome Bixby
Richard Matheson
Richard Matheson
Richard Matheson
Robert Garland
Writer(s)
associate producer (segment 4)
Michael Finnell
associate producer (segment 3)
George Folsey Jr.
associate producer: prologue and segment 1
Kathleen Kennedy
associate producer (segment 2)
John Landis
producer
Frank Marshall
executive producer
Steven Spielberg
producer
Jon Davison
producer (segment 3) (uncredited)
Michael Finnell
producer (segment 3) (uncredited)
Kathleen Kennedy
producer (segment 2) (uncredited)
Producer(s)
Composer(s)
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