Me, Myself & Irene (1/5) Movie CLIP – Hank Comes Out (2000) HD

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Me, Myself & Irene movie clips: http://j.mp/1IjySi9
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CLIP DESCRIPTION:
After a mother takes advantage of Charlie (Jim Carrey), the evil Hank appears.

FILM DESCRIPTION:
Six years after Dumb and Dumber, Jim Carrey reunited with Peter Farrelly and Bobby Farrelly for this anarchic comedy with a hint of romance. Charlie (Carrey) is a good-natured Rhode Island state trooper who likes helping people. But years of internalizing his frustrations about his work and his family have caused Charlie to develop an alter ego: Hank, an abusive, violent, sexually compulsive police officer. Charlie can keep Hank at bay with medication, but just barely. When Irene (Renee Zellweger) finds herself in legal trouble through a series of misunderstandings involving her ex-boyfriend, Charlie must escort her on a long drive to New York for questioning. After Charlie loses his medication, he and Hank wind up vying for her affections: Charlie wants Irene to marry him, while Hank has more brutal intentions. Me, Myself, and Irene also features Chris Cooper, Robert Forster, and Jessica Harper, as well as Anthony Anderson, Mongo Brownlee, and Jerod Mixon as Charlie’s rotund, African-American sons.

CREDITS:
TM & © Fox (2000)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Jim Carrey, Googy Gress, Tracey Abbott
Directors: Bobby Farrelly, Peter Farrelly
Producers: Mark Charpentier, Bobby Farrelly, Peter Farrelly, Linda Fields, Marc S. Fischer, Clem Franek, Kris Meyer, J.B. Rogers, Tom Schulman, Charles B. Wessler, Bradley Thomas, Patrick Healy
Screenwriters: Peter Farrelly, Mike Cerrone, Bobby Farrelly

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Me, Myself & Irene (4/5) Movie CLIP – What Is Your Problem? (2000) HD

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CLIP DESCRIPTION:
Hank (Jim Carrey) picks a fight with a little kid and insults the albino waiter.

FILM DESCRIPTION:
Six years after Dumb and Dumber, Jim Carrey reunited with Peter Farrelly and Bobby Farrelly for this anarchic comedy with a hint of romance. Charlie (Carrey) is a good-natured Rhode Island state trooper who likes helping people. But years of internalizing his frustrations about his work and his family have caused Charlie to develop an alter ego: Hank, an abusive, violent, sexually compulsive police officer. Charlie can keep Hank at bay with medication, but just barely. When Irene (Renee Zellweger) finds herself in legal trouble through a series of misunderstandings involving her ex-boyfriend, Charlie must escort her on a long drive to New York for questioning. After Charlie loses his medication, he and Hank wind up vying for her affections: Charlie wants Irene to marry him, while Hank has more brutal intentions. Me, Myself, and Irene also features Chris Cooper, Robert Forster, and Jessica Harper, as well as Anthony Anderson, Mongo Brownlee, and Jerod Mixon as Charlie’s rotund, African-American sons.

CREDITS:
TM & © Fox (2000)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Michael Bowman, Jim Carrey, Sean Gildea, Rene Zellweger
Directors: Bobby Farrelly, Peter Farrelly
Producers: Mark Charpentier, Bobby Farrelly, Peter Farrelly, Linda Fields, Marc S. Fischer, Clem Franek, Kris Meyer, J.B. Rogers, Tom Schulman, Charles B. Wessler, Bradley Thomas, Patrick Healy
Screenwriters: Peter Farrelly, Mike Cerrone, Bobby Farrelly

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Me, Myself & Irene (3/5) Movie CLIP – Survival Mode (2000) HD

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CLIP DESCRIPTION:
After ditching their car, Hank (Jim Carrey) comes up with a foolproof plan to get some money.

FILM DESCRIPTION:
Six years after Dumb and Dumber, Jim Carrey reunited with Peter Farrelly and Bobby Farrelly for this anarchic comedy with a hint of romance. Charlie (Carrey) is a good-natured Rhode Island state trooper who likes helping people. But years of internalizing his frustrations about his work and his family have caused Charlie to develop an alter ego: Hank, an abusive, violent, sexually compulsive police officer. Charlie can keep Hank at bay with medication, but just barely. When Irene (Renee Zellweger) finds herself in legal trouble through a series of misunderstandings involving her ex-boyfriend, Charlie must escort her on a long drive to New York for questioning. After Charlie loses his medication, he and Hank wind up vying for her affections: Charlie wants Irene to marry him, while Hank has more brutal intentions. Me, Myself, and Irene also features Chris Cooper, Robert Forster, and Jessica Harper, as well as Anthony Anderson, Mongo Brownlee, and Jerod Mixon as Charlie’s rotund, African-American sons.

CREDITS:
TM & © Fox (2000)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Jim Carrey, Rene Zellweger
Directors: Bobby Farrelly, Peter Farrelly
Producers: Mark Charpentier, Bobby Farrelly, Peter Farrelly, Linda Fields, Marc S. Fischer, Clem Franek, Kris Meyer, J.B. Rogers, Tom Schulman, Charles B. Wessler, Bradley Thomas, Patrick Healy
Screenwriters: Peter Farrelly, Mike Cerrone, Bobby Farrelly

WHO ARE WE?
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MASH (3/5) Movie CLIP – The Last Supper (1970) HD

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CLIP DESCRIPTION:
A last supper is thrown in honor of Walter ‘Painless’ Waldowski (John Schuck) before he ingests the black ‘suicide’ pill.

FILM DESCRIPTION:
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood’s 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. “Hot Lips” Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O’Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless’s momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman’s sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman’s films quickly became known. Although the on-screen war was not Vietnam, MASH’s satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman’s nose-thumbing attitude towards all kinds of authority and embraced the film’s frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood’s politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman’s systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood “New Wave” had arrived.

CREDITS:
TM & © Fox (1970)
Courtesy of Twentieth Century Fox Film Corporation
Cast: David Arkin, Timothy Brown, Carl Gottlieb, Elliott Gould, Ken Prymus, John Schuck, Tom Skerritt, Donald Sutherland, Bobby Troup
Director: Robert Altman
Producers: Leon Ericksen, Ingo Preminger
Screenwriter: Ring Lardner Jr.

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MASH (5/5) Movie CLIP – This Is an Insane Asylum! (1970) HD

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CLIP DESCRIPTION:
Following the show prank, Hot Lips (Sally Kellerman) complains about the antics of the MASH unit to Lt. Col. Blake (Roger Bowen).

FILM DESCRIPTION:
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood’s 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. “Hot Lips” Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O’Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless’s momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman’s sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman’s films quickly became known. Although the on-screen war was not Vietnam, MASH’s satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman’s nose-thumbing attitude towards all kinds of authority and embraced the film’s frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood’s politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman’s systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood “New Wave” had arrived.

CREDITS:
TM & © Fox (1970)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Roger Bowen, Indus Arthur, Sally Kellerman
Director: Robert Altman
Producers: Leon Ericksen, Ingo Preminger
Screenwriter: Ring Lardner Jr.

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MASH (2/5) Movie CLIP – Sayonara to Frank Burns (1970) HD

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CLIP DESCRIPTION:
Frank (Robert Duvall) gets taken off the military base in a straight jacket after losing his cool while being provoked by Hawkeye (Donald Sutherland).

FILM DESCRIPTION:
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood’s 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. “Hot Lips” Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O’Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless’s momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman’s sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman’s films quickly became known. Although the on-screen war was not Vietnam, MASH’s satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman’s nose-thumbing attitude towards all kinds of authority and embraced the film’s frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood’s politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman’s systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood “New Wave” had arrived.

CREDITS:
TM & © Fox (1970)
Courtesy of Twentieth Century Fox Film Corporation
Cast: David Arkin, Gary Burghoff, Robert Duvall, Elliott Gould, Tom Skerritt, Donald Sutherland
Director: Robert Altman
Producers: Leon Ericksen, Ingo Preminger
Screenwriter: Ring Lardner Jr.

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MASH (4/5) Movie CLIP – A Shower With Hot Lips (1970) HD

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CLIP DESCRIPTION:
Hawkeye (Donald Sutherland), Duke (Tom Skerritt), and Trapper John (Elliott Gould) play a prank on Hot Lips (Sally Kellerman) when she goes to shower.

FILM DESCRIPTION:
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood’s 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. “Hot Lips” Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O’Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless’s momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman’s sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman’s films quickly became known. Although the on-screen war was not Vietnam, MASH’s satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman’s nose-thumbing attitude towards all kinds of authority and embraced the film’s frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood’s politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman’s systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood “New Wave” had arrived.

CREDITS:
TM & © Fox (1970)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Gary Burghoff, Bud Cort, Carl Gottlieb, Elliott Gould, Tom Skerritt, Donald Sutherland, Sally Kellerman, Samantha Scott
Director: Robert Altman
Producers: Leon Ericksen, Ingo Preminger
Screenwriter: Ring Lardner Jr.

WHO ARE WE?
The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.

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MASH (1/5) Movie CLIP – Hot Lips on the Radio (1970) HD

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CLIP DESCRIPTION:
As a practical joke, Frank (Robert Duvall) and Hot Lips’ (Sally Kellerman) love-making session is broadcast throughout the military base.

FILM DESCRIPTION:
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood’s 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. “Hot Lips” Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O’Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless’s momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman’s sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman’s films quickly became known. Although the on-screen war was not Vietnam, MASH’s satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman’s nose-thumbing attitude towards all kinds of authority and embraced the film’s frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood’s politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman’s systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood “New Wave” had arrived.

CREDITS:
TM & © Fox (1970)
Courtesy of Twentieth Century Fox Film Corporation
Cast: Rene Auberjonois, Gary Burghoff, Bud Cort, Robert Duvall, Elliott Gould, John Schuck, Tom Skerritt, Donald Sutherland, Sally Kellerman
Director: Robert Altman
Producers: Leon Ericksen, Ingo Preminger
Screenwriter: Ring Lardner Jr.

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