Feature Friday. In the final film in the Back to the Future trilogy, Marty travels back to 1885 to rescue Doc Brown who has become stranded in the past but he himself becomes trapped when the DeLorean is damaged.

Doc Brown once again sends Marty back to 1985 during the lightning storm, but another Marty arrives and asks for help. This brief view of modern Hill Valley is at Courthouse Square at Universal Studios.

Marty explains his predicament to a perplexed Brown inside his home at the Robert R. Blacker House.

This movie theater was constructed for this film in a field on the eastern side of Monument Valley. After traveling back in time and getting separated from the DeLorean by a bear, Marty falls down a hillside and is knocked out at what turns out to be his ancestors’ farm.

Marty wanders into the main town of Hill Valley and manages to find the Doc. This whole town was located in the former Red Hills movie ranch in central California, about 100 miles east of San Francisco.

The town was later used in The Adventures of Brisco County Jr. and Bad Girls before being destroyed in a brush fire in 1996.

The Doc and Marty look at the incomplete railway bridge over the Shonash Ravine and discuss their plan with the train. This ravine is just across the highway from Red Hills Ranch.

They load the DeLorean onto the railway spur next to a fake silver mine constructed as part of the Red Hills ranch. “Mad Dog” Tannen wakes up his gang to head into town from where they are sleeping next to a small pond about a mile to the north.

This was filmed at various points along the tracks near the ranch which have been used in Bonanza & Unforgiven. The DeLorean slows to a stop back in 1985 after crossing the ravine and is promptly destroyed by an oncoming train.

Marty runs back to his old neighborhood through the entrance at Kagel Canyon Street & Sandusky Avenue and arrives at his home at 9303 Roslyndale Avenue to grab his new truck. He drives over to Jennifer’s house at 161 North Magnolia Avenue and finds her still sleeping on her deck.

The starting point for the race is at Doris Avenue & Oxford Drive in Oxnard.

“Back to the Future Part III” comes close to making some sort of statement about the moral implications of time travel, only to back off at the very end. Doc’s instructions to Marty, in the letter at the beginning of the movie, are to return to 1985 with the DeLorean and destroy it.

After the plan with the train is successful and Marty returns to his original time alone, this is accomplished promptly by another train on the tracks, which demolishes the DeLorean almost instantly. Doc, it seems for a moment, is trapped in the past, but at least he’s in love and no one will ever mess with the timeline again.

So much for paradoxes and universe-destroying implications.

June 12 1967 (game). 18 (game).

78 (game). Martin Seamus “Marty” McFly, Sr.

He is the world’s second time traveler (after Einstein), the first to travel to the past, and the first human to travel through time. He was also a high school student at Hill Valley High School in 1985.

Emmett Brown, who unveiled his first working invention to him. While he was in 1955, he used the alias Calvin Klein.

Marty was born on June 12, 1968 in Hill Valley, California to George and Lorraine McFly. He was the youngest of three children.

During the first couple years of his life, Marty had a very strong bond with his maternal uncle Joey Baines, and loved spending time with him, which regularly involved Marty jumping from a great height and Joey catching him. The family attributed their connection to Joey’s own lack of maturity, as he was only 14 years older than Marty and acted as a troublemaker with the rest of the family.

On the night of June 23, 1972, Marty was playing with Joey past his bedtime until they were interrupted by Lorraine, which subsequently led to an argument that resulted in Joey storming out of the house, telling a crying Marty that the world was tough and that he had to get used to it. Distraught, Marty tried to run after Joey, who then turned around and ordered him to stop, telling Marty to be careful when crossing the street due to bad drivers.

After Lorraine failed to convince Joey to tell her about the bad group of people who had influenced him into stealing car parts, Joey told an upset Marty to listen to his mother, as he considered her to perhaps be the only good person in the world, and then left. Falling asleep, Marty was carried back into the house by Lorraine.

Later that night, Joey was arrested for breaking into the house of Mrs. Ellsworth, following which $85,000 was discovered to be missing.

Missing his uncle, Marty later bragged about uncle’s actions in kindergarten, although he exaggerated the details. However, this resulted in him being chastised by his kindergarten teacher, who stated that what happened to his uncle was nothing to be proud of.

Notable events in Marty’s childhood unclude the time he set the living room rug on fire when he was eight years old and that he got a scar on his left knee from skateboarding down the courthouse steps when he was twelve.

Marty met his future girlfriend Jennifer Parker in elementary school, although they became less acquainted after the fourth grade.

However, his mother heard the sound of the skateboard and went after Marty in the family Chevrolet Nova.

Needles, who would frequently goad him into doing foolish things.

On October 2, 1982, Marty was playing his guitar in his garage when he was confronted by Needles and his gang, who wished to “borrow” Marty’s interocitor tube. Needles was scheduled to play with his band, The Tabascos, that night.

Marty insulted Needles playing under his breath and was willing to rent his interocitor tube to Needles for $5.00. Needles replied that he would pay the following day when he brought the tube back.

Needles then told McFly that he had to get him a new tube and bring it to the Clock tower by four o’clock that afternoon, or he would beat him up. Marty was initially hesitant to agree, citing his lack of money and unwillingness to steal.

Marty went to a music store and tried to buy one but was told by the shop attendant that all of the stock was sold to ELB Enterprises. Marty left to go to Dr.

Brown was a real nut case.

Brown set a series of traps which Marty had to overcome to gain entrance to the garage. After getting an electrical shock after using the keypad on the electrified gate around the garage, a recording stated that he was not “one to foresee” that happening.

He tried to knock on the door, but no-one answered. After deciding not to break the window, he attempted to find more clues and found a key underneath an unusual KNOW ENTRY sign.

He pushed his skateboard at the reset switch, which then released the net.

Einstein, Dr. Brown’s dog, then playfully jumped up on Marty, and Dr.

He told Marty to call him Doc, as in “What’s up, Doc. “, and asked him if he was here to apply for the assistant position that he said he had advertised.

Marty then admitted that he hadn’t come to apply for a job but had instead come for an interocitor tube. After Marty assured him that he hadn’t intended to rob him, Doc admitted that he had never put out an advertisement for an assistant but offered Marty the job anyway.

Doc told Marty that he threw out all of the tubes, as he only wanted the box for his Static-O-Matic electric hair chair. Marty then grabbed the tubes out of the trashcan and went back to Needles.

Emmett Brown. This resulted in Needles being scared, as he knew that Emmett Brown worked on the atomic bomb, and there were rumors that he was radioactive.

In September, 1984, Marty was in Doc’s garage looking through boxes of inventions and pulled out a pair of eye drop glasses, which Doc invented to make using eye drops easier for jittery people. Doc entered the lab with Einstein, carrying a book by Jules Verne, surprised to see Marty there.

Marty looking through Doc’s inventions. Marty told Doc that he had been busy with band practice, and he had a science project due the next day.

Doc told him that he was not going to do his work for him but said that he was free to borrow anything that he found in the lab.

Around the statue’s neck was an umbrella necktie, which Marty doubted would impress his teacher, Mrs. Zawadski.

Marty then picked up an electric hoe and a car battery. Doc told him that it was perfect for weeding, but since it used a lot of power, the user had to wear the battery.

Doc told him that he was disentangling it, which he found relaxing.

After Marty put on Mr. Sneeze, a wearable tissue dispenser on his head, he asked Doc for a tip on what he was looking for, which Doc said would defeat the point, as the essence of science is discovery.

At that point, the alarm went off, Einstein jumped on Doc, and the wire wrapped around the metal bar fell on the battery. It began to attract tools lying nearby, and Marty realized it was a magnet.

However, Marty interrupted him to ask if he could borrow them for his school project.

Doc also reminded Marty to bring a case of oil when he arrived.

However, their conversation was interrupted by Needles, who pulled up in his Ford F-150 and then asked Jennifer out on a date. However, Jennifer refused his offer and Needles drove off after being slapped by his girlfriend, who was sitting beside him in the truck.

Marty was then told by Jennifer to look at the car, and, distracted, he told her that it was really something. This caused Jennifer to walk off in disgust, leaving Marty confused.

Back to the Future Part III, the final installment of the Back to the Future trilogy, was released in theaters on May 25, It was directed by Robert Zemeckis and written by Bob Gale. Unlike the previous two films, which were set in the 1950s and the future, Back to the Future Part III transports Marty McFly and Doc Brown back to the Old West in the year 1885.

This allowed the cast and crew to efficiently film both movies and ensure consistency in the storyline and performances. Despite suffering from the early stages of Parkinson’s disease, Michael J.

His dedication and commitment to the role of Marty McFly impressed the entire cast and crew. Back to the Future Part III had a production budget of $40 million, making it one of the most expensive films of the time.

The DeLorean time machine, which serves as the main vehicle for time travel throughout the trilogy, makes a memorable return in Back to the Future Part III. However, this time it is modified to fit the needs of the Old West setting.

Clara Clayton, a schoolteacher from 1885, plays a significant role in the movie. She becomes a love interest for Doc Brown and adds a romantic element to the story.

It incorporates various Western tropes and features references to iconic movies such as “High Noon” and “Stagecoach.”. The popular rock band ZZ Top makes a cameo appearance in the movie as a group of musicians performing at the Hill Valley Festival.

Continuing the collaboration with ZZ Top, the theme song for Back to the Future Part III is “Doubleback.” The song perfectly complements the movie’s Western theme and adds to the overall experience. Upon its release, Back to the Future Part III received generally positive reviews from critics.

Back to the Future Part III was a box office hit, grossing over $244 million worldwide. This solidified the trilogy’s status as one of the most successful film franchises of all time.

The film’s seamless blending of practical effects and computer-generated imagery impressed both audiences and industry professionals. One of the most memorable sequences in the movie is the train scene.

Christopher Lloyd returned to portray the eccentric inventor, Doc Brown, in Back to the Future Part III. His portrayal of the character in all three films has become iconic and beloved by fans.

Wilson, who portrayed Biff Tannen in the trilogy, showcased his versatility in Back to the Future Part III by playing multiple characters. He portrayed Biff’s ancestors from different time periods, adding depth to his performance.

Her performance added a touch of romance to the adventurous plot. Back to the Future Part III delves into the concept of destiny and how our actions in the past can shape our future.

The cinematography in Back to the Future Part III is visually striking, capturing the beauty of the Old West landscape. The wide shots of Monument Valley and the attention to detail in the set design transport viewers into the world of the film.

It wraps up their time-traveling adventures and brings closure to the trilogy’s narrative arc. The tagline for Back to the Future Part III hints at the high stakes and thrilling adventure that awaits viewers.

Friendship and loyalty are central themes in Back to the Future Part III, with the bond between Marty McFly and Doc Brown being tested and strengthened throughout the film. It emphasizes the importance of standing by those we care about, no matter the circumstances.

His experiences in the Old West profoundly impact him and provide a deeper understanding of his motivations and personality. Back to the Future Part III juxtaposes the simplicity of the Old West with the futuristic technology of the time-traveling DeLorean.

Bob Gale, the writer of the Back to the Future trilogy, drew inspiration from his love of Western films when crafting the screenplay for Back to the Future Part III. This passion shines through in the movie’s authentic depiction of the Old West.

The well-crafted pacing ensures there is never a dull moment. Alan Silvestri composed the score for Back to the Future Part III, continuing his collaboration with director Robert Zemeckis.

In a thrilling climax, the final showdown between Marty McFly, Doc Brown, and the antagonists occurs during a dramatic thunderstorm. The ominous setting adds tension and excitement to the climactic moments.

These emotional scenes resonate with viewers and highlight the strong bonds between the film’s characters. As with the previous films in the trilogy, Back to the Future Part III delves into the complexities of time travel and the potential for paradoxes.

The costume design in Back to the Future Part III pays meticulous attention to detail, accurately representing the fashion of the Old West. From cowboys to saloon girls, each character’s attire reflects the time period in which they reside.

This combination of tones adds depth and complexity to the overall viewing experience. During the development process, the script for Back to the Future Part III underwent multiple revisions to ensure it maintained the quality and cohesiveness of the previous films.

Back to the Future Part III explores the potential consequences of altering the course of history and the ethical implications involved. It serves as a cautionary tale about tampering with the past and the importance of preserving the timeline.

The seamless integration of practical effects and CGI created visually stunning moments that impressed audiences and set new standards for visual storytelling. The attention to detail in Back to the Future Part III’s set design transports viewers to the Old West.

The climactic train sequence in Back to the Future Part III is filled with suspense and excitement. It showcases the film’s high-octane action and provides a thrilling conclusion to the trilogy.

The universal themes explored in the film contribute to its enduring popularity. Back to the Future Part III’s impact on popular culture cannot be overstated.

Back to the Future Part III, along with its preceding films, created a highly successful franchise that continues to captivate audiences. Its enduring popularity has spawned merchandise, theme park rides, and cultural references that have become ubiquitous in popular culture.

With its mix of adventure, humor, and heartwarming moments, it remains a beloved installment in the Back to the Future franchise. The film’s Wild West setting adds a unique twist to the time-traveling storyline, keeping viewers on the edge of their seats.

Its rich storyline, memorable characters, and iconic moments have solidified its place in pop culture history. Whether you’re a fan of the series or just looking for an exciting and entertaining film, Back to the Future Part III is a must-watch.

The emotional high point of Back To The Future comes when George McFly punches out Biff and somehow amazingly restrains himself from taking a dump on that attempted rapist asshole’s unconscious body. Oddly, though, when Biff is assaulting Lorraine and George comes to her rescue, they seem to be completely isolated in an empty parking lot:

Maybe they’re all time travelers who just got their parents to kiss and stopped fading out.

and finally gets punched in his stupid face. Where the hell are all those people during all that.

Well, yeah. In Back To The Future Part II they try to explain this weird moment by showing that this magic gang of students is literally doing just that:

” in the background. Even weirder, after the fight, everyone rushes over to Biff — no one stops to ask if Lorraine, the victim of sexual assault, is fine.

Jesus, what is this, the 1950s. Wait, shit.

Ever go on the original Star Tours ride at Disneyland. You’re seated in some kind of space ship/tour bus that is piloted by a loveable but incompetent (of course) robot, who almost crashes the ship at lift-off.

Afterwards, you feel as if you’ve actually spent some time within a Star Wars movie. And fortunately, or maybe unfortunately, that’s the feeling one gets while watching the musicalized version of the mid-80s movie blockbuster Back to the Future, which opened last night at the Winter Garden Theater.

When it travels through time, we travel through time. If you actually remember 1985, there’s perhaps an unintended, sobering, meta-experience of the show when you realize the much-ballyhooed future the heroes are trying to get back to is, in reality, almost forty years ago.

Add in some catchy tunes, top notch performers, a book that doesn’t veer too far from the beloved screenplay, bubbly choreography, that car, those effects and a hilarious Roger Bart as Doc Brown and Back to the Future: The Musical turns out to be a fun, escapist time at the theater. Or the movies.

I’m not quite sure but it’s fun nonetheless. Based on the boffo success of the musical’s current West End production alone, it could be traversing time on Broadway for some time.

Trapped in the small Mid-western town where his parents also grew up, Marty feels he has no future and sees no way out of his angsty predicament. He’s friendly with a middle-aged and very eccentric scientist, Doc Brown, who has been experimenting with time travel.

(Why no one thought to just get the clock repaired is perhaps a bigger mystery than time travel.). Late one night while helping the Doc run tests on his hybrid time machine/sports car, Marty accidentally activates the time travel mechanism and is transported back in time to his hometown, thirty years earlier.

After unexpectedly encountering his future mom and dad, now his same age, a desperate and confused Marty tracks down a much younger Doc Brown. Once convinced of the truth of Marty’s story, Doc sets out to help Marty return to the future.

Will Marty be able to connect his now teenage parents even though he, not his father, is the object of his unsuspecting mother’s affections. Will he return to 1985.

Rando infuses the production with a very broad comic sensibility. The concept of subtlety had apparently not yet been invented in either 1955 or 1985, at least based on Rando’s over-the-top direction of all performances.

After all, it’s a musical about a working time machine so grounding is not a big priority. The priority is fun and the show delivers all kinds of joy with its multiplicity of surreal, funny and genuinely touching moments.

This allows for some clever anachronisms and knowing winks to the audience along the way, including a surprise appearance of 60s-era Ann-Margret-looking chorus girls, all sporting 70s-era Farrah Fawcett hair while dancing in 1985. Sure, why not.

Musically, the show sounds like a cross between The Producers, Hairspray, 80s pop and rock ‘n roll – with a little gospel and R&B thrown in to boot. Huey Lewis’s hit song Power of Love is held over from the film but may have been utilized better there.

However, it’s performed well and the audience loved it so perhaps that’s what matters in this play/movie/thrill ride. There’s also a pronounced overall theme to the show of “dreamers following their dreams” that regrettably plays like the over-used cliché it is.

The major characters from the film have made it to the boards and, while their forms onstage are true to the movie, the actors have been able to mostly make the characters their own. Casey Likes nicely inhabits Michael J.

Nathaniel Hackmann’s Biff is a real meathead, yet his revealing baritone gives some fleeting insight into why he’s such an unabashed bully. Liana Hunt is a charming, strong and sexual Lorraine, Marty’s (future) mom.

Jelani Remy, the only African-American principal in the cast, is a knock-out as town mayor Goldie Wilson. It’s a bit odd, however, considering the acknowledgement the show gives towards the limitations of the 50s that book writer Bob Gale (from his screenplay with Robert Zemekis) and song writers Alan Silvestri and Glen Ballard write Remy’s Goldie as merely a functionary of 50s storytelling.

As Goldie belts (of course) this toe-tapping tune, his malt shop uniform transforms and his broom, apron and cap are now in dazzling gold lamé. (Why only the signifiers of subservience are highlighted in gold is another one of those, you know, mysteries.) The song’s real purpose, however, is to encourage the self-doubting Marty.

Remy is a brilliant performer and deserves the thunder – but perhaps a little more thought from the creative team about this sequence in context may have been useful. So, of course, there’s that car and the creative wizardry of Video Designer Finn Ross, Illusion Designer Chris Fisher, Lighting Designers Tim Lutkin and Hugh Vanstone, Sound Designer Gareth Owen and Scenic Designer Tim Hatley and effects house TwinsFX that bring it to life.

There’s the authentic and colorful Costume Design, also by Hatley. But the heart of the show is the impressive and moving performance of Hugh Coles as Marty’s father, George McFly.

However, he also endears his George with such an open vulnerability and extreme desire to retreat that his slow process of coming out of his shell is very touching while also very funny. When he finally stands up for himself, the moment garners a well-earned sense of victory – for both George and the audience.

The story structure often remains the same and provides a semi-immersive experience that one could also get by going on the amusement park ride version of that IP. But is that theater.

I don’t know the answer. What I know is, while it’s not Rodgers and Hammerstein (or Lin Manual Miranda) Back to the Future: The Musical does a remarkable job of blending film and theater methodologies so neither form suffers in the translation.

And the show doesn’t ask much of the audience other than to just sit down and have fun. And nothing wrong with just having fun – be it with a movie, musical or amusement park ride.

BACK TO THE FUTURE: The Musical Winter Garden Theatre open run Tues and Thurs at 7, Wed at 7:30, Fri and Sat at 8, Wedy and Sa. Sun at 3 for tickets, call 212.239.6200 or visit Telecharge or BackToTheFutureMusical.