list http://www.spout.com/ Recent community activity around Buffalo '66 on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Buffalo_66/116247/default.aspx Title: Buffalo '66
Year: 1998
Director: Vincent Gallo
Plot: Actor Vincent Gallo (The Funeral, Palookaville) made his feature directorial debut with this drama about convict Billy Brown (Gallo), released after half a decade spent behind bars. Drifting into downtown Buffalo, Billy kidnaps teen Layla (Christina Ricci) and has her pose as his loving wife when he visits his parents (Ben Gazzara and Anjelica Huston). Layla praises him and goes along with his fanciful tale that they met at CIA headquarters, where they both worked. Mom and dad not only fall for this, they are entranced by Layla, who soon begins to embellish her act. When she claims to be pregnant by Billy, he hustles her out to a bowling alley and on to a restaurant, where they run into trampy Wendy (Rosanna Arquette), who might be Billy's former girlfriend. Eventually, Billy seems ready to track down and kill the person he feels was responsible for his five years in the slammer. Shown at the 1998 Sundance Film Festival. ~ Bhob Stewart, All Movie Guide
Times Tagged: 30
Number of Lists: 40
Number of blog posts: 11
Number of discussion threads: 8
SpoutRating: 3
]]>Thu, 09 Jul 2009 11:18:05 GMTBuffalo '661998Vincent GalloActor <a href="/players/P____90927/default.aspx" style='text-decoration:underline'>Vincent Gallo</a> (<a href=/films/93396/default.aspx style='text-decoration:underline'>The Funeral</a>, <a href=/films/93022/default.aspx style='text-decoration:underline'>Palookaville</a>) made his feature directorial debut with this drama about convict Billy Brown (Gallo), released after half a decade spent behind bars. Drifting into downtown Buffalo, Billy kidnaps teen Layla (<a href="/players/P____59916/default.aspx" style='text-decoration:underline'>Christina Ricci</a>) and has her pose as his loving wife when he visits his parents (<a href="/players/P____26259/default.aspx" style='text-decoration:underline'>Ben Gazzara</a> and <a href="/players/P____34131/default.aspx" style='text-decoration:underline'>Anjelica Huston</a>). Layla praises him and goes along with his fanciful tale that they met at CIA headquarters, where they both worked. Mom and dad not only fall for this, they are entranced by Layla, who soon begins to embellish her act. When she claims to be pregnant by Billy, he hustles her out to a bowling alley and on to a restaurant, where they run into trampy Wendy (<a href="/players/P_____2417/default.aspx" style='text-decoration:underline'>Rosanna Arquette</a>), who might be Billy's former girlfriend. Eventually, Billy seems ready to track down and kill the person he feels was responsible for his five years in the slammer. Shown at the 1998 Sundance Film Festival. ~ Bhob Stewart, All Movie Guide30Tag Target (>10)401183http://www.spout.com/ProductImages/t31778rs1qj.jpghttp://www.spout.com/films/Buffalo_66/116247/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_20_Abducted/625/41893/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 4/29/2009 6:26:24 PM
Body: [quote user="Risselada"] [quote user="leeroy711"] [quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role. [/quote]. Ha, yeah me too! That strange dress!!! Somewhere between strange, kinky, slutty and a strange innocence. I guess that's how I'd describe a lot of Ricci's characters on average. Like Lucy in Fear and Loathing too. [/quote] Yeah, you kinda feel dirty by finding her soooo hot....... I don't know.
]]>Wed, 29 Apr 2009 22:26:24 GMTleeroy711Weekly Theme4/29/2009 6:26:24 PM[quote user="Risselada"] [quote user="leeroy711"] [quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role. [/quote]. Ha, yeah me too! That strange dress!!! Somewhere between strange, kinky, slutty and a strange innocence. I guess that's how I'd describe a lot of Ricci's characters on average. Like Lucy in Fear and Loathing too. [/quote] Yeah, you kinda feel dirty by finding her soooo hot....... I don't know. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_20_Abducted/625/41891/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 4/29/2009 5:41:57 PM
Body: [quote user="leeroy711"] [quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role. [/quote]. Ha, yeah me too! That strange dress!!! Somewhere between strange, kinky, slutty and a strange innocence. I guess that's how I'd describe a lot of Ricci's characters on average. Like Lucy in Fear and Loathing too.
]]>Wed, 29 Apr 2009 21:41:57 GMTRisseladaWeekly Theme4/29/2009 5:41:57 PM[quote user="leeroy711"] [quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role. [/quote]. Ha, yeah me too! That strange dress!!! Somewhere between strange, kinky, slutty and a strange innocence. I guess that's how I'd describe a lot of Ricci's characters on average. Like Lucy in Fear and Loathing too. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_20_Abducted/625/41841/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 4/28/2009 9:35:37 PM
Body: [quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role.
]]>Wed, 29 Apr 2009 01:35:37 GMTleeroy711Weekly Theme4/28/2009 9:35:37 PM[quote user="Risselada"] Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. [/quote] I love that movie. Probably my favorite Ricci role. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_20_Abducted/625/41807/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 4/27/2009 12:30:03 PM
Body: [quote user="leeroy711"] Well it seems lots of other people liked it but I thought Taken was really rather weak. But we can talk about it anyway because it fits the theme. On of the most drastic differences between the quality of an original film and it's remake has got to be Spoorles and The Vanishing. Unfortunately for me, I had the misfortune of seeing the remake first, which kinda ruined the original for me. So far my favorite Kurosawa film is still High and Low, which is a gripping story about a kidnapping and ransom of a young boy. Everyone should watch this film. It works on pretty much every level imaginable. The cinematography is absolutely brilliant. And y'all know by now that I can't talk about kidnapping (or any other theme) without bringing up the Brothers Coen. These guys have somewhat of a kidnapping trilogy of sorts with Raising Arizona, Fargo and The Big Lebowski. These films together raise the most important question: If you were kidnapped, who would you rather have looking for you. [/quote] You are right, the Coens are the kings of kidnapping movies. And more in general their films usually involve some kind of scheme for getting money, if not kidnapping, then some kind of ransom, blackmail, heist, scheme, robbery, etc... In fact, looking over their filmography, the only movie of the 13 they have directed that doesn't involve something like this that I can think of is Barton Fink. And even that I think has some element of businessmen trying to manipulate for more money. I would be surprised if their next film A Serious Man doesn't feature someone attempting to scheme for huge sums of money, even though the descriptions of it make no mention of anything like that. Spoorloos is a great mention in this category! I think I will avoid seeing the remake ever. Doesn't sound like there is any reason to. When mentioning that movie I always have to mention that the music at the end is probably the creepiest music I've ever heard. Also, the bad guy is so identifiable, to me at least. I am always wondering what would happen if I took that step from imagining these occasional strange compulsions in my head to actually doing them! Not that I think I ever will, but maybe that's why this movie is good to watch. Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while.
]]>Mon, 27 Apr 2009 16:30:03 GMTRisseladaWeekly Theme4/27/2009 12:30:03 PM[quote user="leeroy711"] Well it seems lots of other people liked it but I thought Taken was really rather weak. But we can talk about it anyway because it fits the theme. On of the most drastic differences between the quality of an original film and it's remake has got to be Spoorles and The Vanishing. Unfortunately for me, I had the misfortune of seeing the remake first, which kinda ruined the original for me. So far my favorite Kurosawa film is still High and Low, which is a gripping story about a kidnapping and ransom of a young boy. Everyone should watch this film. It works on pretty much every level imaginable. The cinematography is absolutely brilliant. And y'all know by now that I can't talk about kidnapping (or any other theme) without bringing up the Brothers Coen. These guys have somewhat of a kidnapping trilogy of sorts with Raising Arizona, Fargo and The Big Lebowski. These films together raise the most important question: If you were kidnapped, who would you rather have looking for you. [/quote] You are right, the Coens are the kings of kidnapping movies. And more in general their films usually involve some kind of scheme for getting money, if not kidnapping, then some kind of ransom, blackmail, heist, scheme, robbery, etc... In fact, looking over their filmography, the only movie of the 13 they have directed that doesn't involve something like this that I can think of is Barton Fink. And even that I think has some element of businessmen trying to manipulate for more money. I would be surprised if their next film A Serious Man doesn't feature someone attempting to scheme for huge sums of money, even though the descriptions of it make no mention of anything like that. Spoorloos is a great mention in this category! I think I will avoid seeing the remake ever. Doesn't sound like there is any reason to. When mentioning that movie I always have to mention that the music at the end is probably the creepiest music I've ever heard. Also, the bad guy is so identifiable, to me at least. I am always wondering what would happen if I took that step from imagining these occasional strange compulsions in my head to actually doing them! Not that I think I ever will, but maybe that's why this movie is good to watch. Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39569.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 3:00:55 PM
Body: Each day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Darren Aronofsky’s Pi (1998). Today’s story is a little shorter than the rest in this series, but it’s worth remembering because it involves another instance where one Sundance success directly resulted in the making of a later Sundance success (a la Slacker leading to Clerks). The earlier film in this case was Welcome to the Dollhouse, which Darren Aronofsky saw at the 1996 festival. In Peter Biskind’s book Down and Dirty Pictures, Aronfsky comments on the experience: “I thought it was such a unique, weird film, that it really gave me the courage to go back to New York and just try to throw something together.” That November he was in production on Pi. A little over a year later, the stylish black and white Pi premiered at Sundance. When he submitted the film, Aronofsky thought maybe it could fit into the festival’s midnight program. Instead, it was selected for competition, alongside High Art, Buffalo ‘66, Next Stop Wonderland and Slam, which would win the Grand Jury Prize. Aronofsky would go on to win the Best Director award, but that wasn’t until near the end of the festival. Days beforehand, the filmmaker was given a first impression that Pi might leave Sundance with bupkis. The first screening, an all-industry presentation, did not go so well. Miramax’s Harvey Weinstein apparently refused to see the film. October Films’ Bingham Ray reportedly hated it and walked out. When the movie ended, there was little applause and not one person asked a question during the Q&A. Fortunately, one important person eventually saw Pi and liked it enough to make it a modest hit while also taking Aronofsky’s promising career under his wing: Amir Malin, who’s company Live Entertainment would soon be renamed Artisan Entertainment and would soon explode as one of the most successful independent distributors of the late ‘90s. Below is the first 20 minutes of Pi. The rest of the film can be found on YouTube in segments if you get hooked. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 20:00:55 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 3:00:55 PMEach day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Darren Aronofsky’s Pi (1998). Today’s story is a little shorter than the rest in this series, but it’s worth remembering because it involves another instance where one Sundance success directly resulted in the making of a later Sundance success (a la Slacker leading to Clerks). The earlier film in this case was Welcome to the Dollhouse, which Darren Aronofsky saw at the 1996 festival. In Peter Biskind’s book Down and Dirty Pictures, Aronfsky comments on the experience: “I thought it was such a unique, weird film, that it really gave me the courage to go back to New York and just try to throw something together.” That November he was in production on Pi. A little over a year later, the stylish black and white Pi premiered at Sundance. When he submitted the film, Aronofsky thought maybe it could fit into the festival’s midnight program. Instead, it was selected for competition, alongside High Art, Buffalo ‘66, Next Stop Wonderland and Slam, which would win the Grand Jury Prize. Aronofsky would go on to win the Best Director award, but that wasn’t until near the end of the festival. Days beforehand, the filmmaker was given a first impression that Pi might leave Sundance with bupkis. The first screening, an all-industry presentation, did not go so well. Miramax’s Harvey Weinstein apparently refused to see the film. October Films’ Bingham Ray reportedly hated it and walked out. When the movie ended, there was little applause and not one person asked a question during the Q&A. Fortunately, one important person eventually saw Pi and liked it enough to make it a modest hit while also taking Aronofsky’s promising career under his wing: Amir Malin, who’s company Live Entertainment would soon be renamed Artisan Entertainment and would soon explode as one of the most successful independent distributors of the late ‘90s. Below is the first 20 minutes of Pi. The rest of the film can be found on YouTube in segments if you get hooked. Originally posted on:SpoutBlog http://www.spout.com/blogs/atacta/archive/2008/11/28/37721.aspx Post By: atacta
Post To: atacta Blog
Post Date: 11/28/2008 4:14:00 PM
Body: in Hey, I love the Blues, I like Ricci (until she has those 'Oscar moment dialogues' near the end), I love Ricci in other stuff especially Buffalo 66' and The Ice Storm, I love Jackson and greatly respect the fact that he learned the guitar on this film. Justin Timberlake - - not so good. I found him much more appealing in his small role in Southland Tales. He was awful!In fact, its the Timberlake sequence with the preacher near the end as well as the end itself which is contrived. The ending is pure Hollywood tripe and I do not buy it.After the film, I will pick up my guitar and attempt again to play it well. Watching a bit of the Blu-Ray extra features solidified my views on the film - this was strategic Hollywood product. ** 1/2 / ***** Buffalo '66 (1998) The Ice Storm (1997) Southland Tales (2006)
]]>Fri, 28 Nov 2008 21:14:00 GMTatactaatacta Blog11/28/2008 4:14:00 PMin Hey, I love the Blues, I like Ricci (until she has those 'Oscar moment dialogues' near the end), I love Ricci in other stuff especially Buffalo 66' and The Ice Storm, I love Jackson and greatly respect the fact that he learned the guitar on this film. Justin Timberlake - - not so good. I found him much more appealing in his small role in Southland Tales. He was awful!In fact, its the Timberlake sequence with the preacher near the end as well as the end itself which is contrived. The ending is pure Hollywood tripe and I do not buy it.After the film, I will pick up my guitar and attempt again to play it well. Watching a bit of the Blu-Ray extra features solidified my views on the film - this was strategic Hollywood product. ** 1/2 / ***** Buffalo '66 (1998) The Ice Storm (1997) Southland Tales (2006) http://www.spout.com/blogs/spoutblog/archive/2008/11/11/37228.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/11/2008 6:01:24 PM
Body: The holidays are coming, and that either means spending time with your dysfunctional family or escaping them for the movies … where you’re likely to be met by other, fictional dysfunctional families. Already this season, Rachel Getting Married introduced us to the f’ed up faux masala of the Buchman clan, and later this month we get to follow Vince Vaughn and Reese Witherspoon as they’re pulled into their separate quadrants of kin in Four Christmases. Also, for those who think dysfunction is an American tradition, this weekend sees the release of the French film A Christmas Tale (Un conte de Noël), which unites the two major premises of dysfunctional family movies by being set during the holidays and involving an ill family member. With two more weeks left until Thanksgiving, after which we might not want to think about another family, real or cinematic, for the rest of our lives, it’s a perfect time to celebrate those dysfunctional tribes we love the best. Literally thousands of movies feature such families, though, so we’re sure to have left out some of your favorites. Definitely chime in below, and/or join the discussion currently going on over in our Top 5 group. The Corleones in The Godfather, The Godfather Part II and The Godfather Part III Any film about a family business is sure to qualify, but none exhibit more dysfunction than those in which the business is the mafia. Some other good examples include the Tempios of The Funeral and the Russian clan in Eastern Promises. But there’s no doubt that the Corleones take the cake. Maybe it’s Fredo’s fault, because inspiring fratricide is certainly evidence of a failing family. No, the Corleones are dysfunctional from the time Fredo and his siblings are little children, when Vito enters his family into a life of crime, from which none of its members will be able to escape. The “Johnsons” in Pink Flamingos If you only define dysfunctional as non-functioning, you leave out a great number of truly dysfunctional families, the kind that apparently gets along quite fine on their own but which doesn’t function within society. Think the Hewitts in the Texas Chainsaw Massacre films and the motley crew made up of Sycamores, Vanderhofs, Carmichaels and others in You Can’t Take it With You. Technically the “Johnsons” are an internally functioning group, and they even have an official place in society as “the filtiest people alive,” but with a shit-eating matriarch, an egg-obsessed granny and a son who likes to have sex employing live chickens, it doesn’t really get much more abnormal, and therefore dysfunctional, than this family. The Lisbons in The Virgin Suicides Both abnormal and non-functioning, it also doesn’t get much more dysfunctional than a family in which the kids commit collective suicide (well, one of them started the trend early). The Tenenbaums in The Royal Tenenbaums They’re clearly born out of Salinger’s Glass family, and their situation is so common that A Christmas Tale almost seems like a French remake of the Wes Anderson’s movie. But the Tenenbaums have come to be one of the most beloved dysfunctional families in cinema, so it’d be a crime to leave them off this list. They’re so popular that many fans probably wouldn’t mind having such an asshole for a father as long as they got to be a member of the family, similar to the dreams of outsider Eli Cash (Owen Wilson). Also, there are probably some guys out there who dream of having Margot (Gwyneth Paltrow) as a non-blood-related sister — as long as she’s really into making out with adopted-family siblings. The Aibellis in Spanking the Monkey Non-blood-related “incest” is one thing, but the Tenenbaums have nothing on the dysfunction of the Aibellis, with their motherloving son, Ray (Jeremy Davies), and the disturbingly consentual — though alcohol-induced — sex that occurs one awkward summer. The only incestuous family that might actually be more dysfunctional is the Cross clan of Chinatown. The Proffitts in Overboard The movie’s tone allows it to seem like such an innocently fun premise, but imagine a family in real life that would kidnap and exploit an amnesiac woman the way Dean Proffitt (Kurt Russell) and his four sons do. And imagine the woman who escapes this situation only to return in a Stockholm syndrome-as-happy-ending decision. Not only is it immoral, illegal and unlikely, it’s highly dysfunctional. The Crumbs in Crumb Dysfunctional families are obviously not limited to fiction, so it’s necessary to cite at least one documentary. Again, it’s difficult to narrow down. There are the scandal-stricken Friedmans of Capturing the Friedmans, the daffy duo in Grey Gardens (and The Beales of Grey Gardens) and the fraternal foursome of Brother’s Keeper. But it’s comic artist R. Crumb’s family that comes off as the most interestingly screwed up. Equally expected and revealing for a man of Crumb’s odd nature, reclusive brother Charles, bowel-cleansing Maxon and uncomfortable mother Beatrice are almost too strange to believe real. The Browns in Buffalo ‘66 Dysfunctional family movies often peak with their respective dinner scenes, in which uncomfortable announcements are made or food is thrown or climactic fights occur. None are funnier, however, than the reunion meal between Billy Brown (Vincent Gallo) and his unloving parents (Angelica Huston and Ben Gazzara). Mom ignores her son in order to watch football while Dad mostly hits on Billy’s pretend wife (Christina Ricci). The Dilwegs in The Pharmacist W.C. Fields has given us a few of the funniest dysfunctional families in film, and many fans would quickly reference the Sousés from The Bank Dick as his greatest tribe. But its this family from Fields’ earlier short The Pharmacist that should come to mind first, if only thanks to the daughter who shakes a martini with a pogo stick and eats the family pet after being denied supper. Radha’s family in Mother India The entire genre of melodrama offers up worthy selections for this list, but Bollywood arguably makes the most dysfunctional family melodramas of all, perhaps because a lot of them are meant as allegories for the dysfunctions of the Indian subcontinent. Mother India is possibly the most significant example from Indian cinema, even more than monumental films like Pather Panchali that aren’t of the Bollywood tradition. The film has all the necessary components: the metaphorically castrated and eventually abandoning patriarch; the desperate yet enduring matriarch; the sons who follow paths on separate side of the law. There’s even a familial sacrifice that’s comparable to the one in The Godfather Part II. Originally posted on:SpoutBlog
]]>Tue, 11 Nov 2008 23:01:24 GMTSpoutBlogSpoutBlog on spout.com11/11/2008 6:01:24 PMThe holidays are coming, and that either means spending time with your dysfunctional family or escaping them for the movies … where you’re likely to be met by other, fictional dysfunctional families. Already this season, Rachel Getting Married introduced us to the f’ed up faux masala of the Buchman clan, and later this month we get to follow Vince Vaughn and Reese Witherspoon as they’re pulled into their separate quadrants of kin in Four Christmases. Also, for those who think dysfunction is an American tradition, this weekend sees the release of the French film A Christmas Tale (Un conte de Noël), which unites the two major premises of dysfunctional family movies by being set during the holidays and involving an ill family member. With two more weeks left until Thanksgiving, after which we might not want to think about another family, real or cinematic, for the rest of our lives, it’s a perfect time to celebrate those dysfunctional tribes we love the best. Literally thousands of movies feature such families, though, so we’re sure to have left out some of your favorites. Definitely chime in below, and/or join the discussion currently going on over in our Top 5 group. The Corleones in The Godfather, The Godfather Part II and The Godfather Part III Any film about a family business is sure to qualify, but none exhibit more dysfunction than those in which the business is the mafia. Some other good examples include the Tempios of The Funeral and the Russian clan in Eastern Promises. But there’s no doubt that the Corleones take the cake. Maybe it’s Fredo’s fault, because inspiring fratricide is certainly evidence of a failing family. No, the Corleones are dysfunctional from the time Fredo and his siblings are little children, when Vito enters his family into a life of crime, from which none of its members will be able to escape. The “Johnsons” in Pink Flamingos If you only define dysfunctional as non-functioning, you leave out a great number of truly dysfunctional families, the kind that apparently gets along quite fine on their own but which doesn’t function within society. Think the Hewitts in the Texas Chainsaw Massacre films and the motley crew made up of Sycamores, Vanderhofs, Carmichaels and others in You Can’t Take it With You. Technically the “Johnsons” are an internally functioning group, and they even have an official place in society as “the filtiest people alive,” but with a shit-eating matriarch, an egg-obsessed granny and a son who likes to have sex employing live chickens, it doesn’t really get much more abnormal, and therefore dysfunctional, than this family. The Lisbons in The Virgin Suicides Both abnormal and non-functioning, it also doesn’t get much more dysfunctional than a family in which the kids commit collective suicide (well, one of them started the trend early). The Tenenbaums in The Royal Tenenbaums They’re clearly born out of Salinger’s Glass family, and their situation is so common that A Christmas Tale almost seems like a French remake of the Wes Anderson’s movie. But the Tenenbaums have come to be one of the most beloved dysfunctional families in cinema, so it’d be a crime to leave them off this list. They’re so popular that many fans probably wouldn’t mind having such an asshole for a father as long as they got to be a member of the family, similar to the dreams of outsider Eli Cash (Owen Wilson). Also, there are probably some guys out there who dream of having Margot (Gwyneth Paltrow) as a non-blood-related sister — as long as she’s really into making out with adopted-family siblings. The Aibellis in Spanking the Monkey Non-blood-related “incest” is one thing, but the Tenenbaums have nothing on the dysfunction of the Aibellis, with their motherloving son, Ray (Jeremy Davies), and the disturbingly consentual — though alcohol-induced — sex that occurs one awkward summer. The only incestuous family that might actually be more dysfunctional is the Cross clan of Chinatown. The Proffitts in Overboard The movie’s tone allows it to seem like such an innocently fun premise, but imagine a family in real life that would kidnap and exploit an amnesiac woman the way Dean Proffitt (Kurt Russell) and his four sons do. And imagine the woman who escapes this situation only to return in a Stockholm syndrome-as-happy-ending decision. Not only is it immoral, illegal and unlikely, it’s highly dysfunctional. The Crumbs in Crumb Dysfunctional families are obviously not limited to fiction, so it’s necessary to cite at least one documentary. Again, it’s difficult to narrow down. There are the scandal-stricken Friedmans of Capturing the Friedmans, the daffy duo in Grey Gardens (and The Beales of Grey Gardens) and the fraternal foursome of Brother’s Keeper. But it’s comic artist R. Crumb’s family that comes off as the most interestingly screwed up. Equally expected and revealing for a man of Crumb’s odd nature, reclusive brother Charles, bowel-cleansing Maxon and uncomfortable mother Beatrice are almost too strange to believe real. The Browns in Buffalo ‘66 Dysfunctional family movies often peak with their respective dinner scenes, in which uncomfortable announcements are made or food is thrown or climactic fights occur. None are funnier, however, than the reunion meal between Billy Brown (Vincent Gallo) and his unloving parents (Angelica Huston and Ben Gazzara). Mom ignores her son in order to watch football while Dad mostly hits on Billy’s pretend wife (Christina Ricci). The Dilwegs in The Pharmacist W.C. Fields has given us a few of the funniest dysfunctional families in film, and many fans would quickly reference the Sousés from The Bank Dick as his greatest tribe. But its this family from Fields’ earlier short The Pharmacist that should come to mind first, if only thanks to the daughter who shakes a martini with a pogo stick and eats the family pet after being denied supper. Radha’s family in Mother India The entire genre of melodrama offers up worthy selections for this list, but Bollywood arguably makes the most dysfunctional family melodramas of all, perhaps because a lot of them are meant as allegories for the dysfunctions of the Indian subcontinent. Mother India is possibly the most significant example from Indian cinema, even more than monumental films like Pather Panchali that aren’t of the Bollywood tradition. The film has all the necessary components: the metaphorically castrated and eventually abandoning patriarch; the desperate yet enduring matriarch; the sons who follow paths on separate side of the law. There’s even a familial sacrifice that’s comparable to the one in The Godfather Part II. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/14/34014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/14/2008 5:02:21 PM
Body: There apparently are other reasons to see Woody Allen’s Vicky Cristina Barcelona besides the infamous lesbian kiss between Scarlett Johansson and Penélope Cruz or the threesome between these actresses and Javier Bardem. But as the first things most of us heard about the movie, the sex scenes are certainly a big sell (the ménage à trois is even being used in a promotional contest to win a “threesome” with ScarJo). Even if they’re reportedly underwhelming. Promise of tantalizing footage has been an appeal for moviegoers likely since the dawn of cinema, with film pioneer Eadweard Muybridge’s The Human Figure in Motion - Descending Stairs and Turning Around featuring nudity as far back as the 1880s. And if you’ve seen any of the titles included in today’s list, chances are their respective sex scenes were at least part of what made you buy a ticket (or rent the video). The Brown Bunny (2003) - As if this was the first feature film to show an actual blowjob. Yet the promise of seeing starlet Chloë Sevigny with a mouthful of Vincent Gallo was a huge tool in the marketing of this otherwise artfully shot but depressing movie, an ultimately disappointing follow up to Gallo’s highly enjoyable debut, Buffalo ‘66. Though the trailer above is quite tasteful, American ads for the film exploiting the fellatio sequence include a questionable billboard in Los Angeles and a theatrical spot that simply labeled it “the most controversial American film ever made” and spotlighted that it is for adults only. Too bad it was made in the era of internet porn and so wasn’t nearly as profitable as the blowjob blockbuster Deep Throat. 9 ½ Weeks (1986) - Here is the first of many films on this list that I haven’t actually seen. I guess sex just doesn’t sell me on a film like it does other people. Having such a detachment, though, makes it clearer for me to see how effective most of these sex scenes were, since I have no idea what this movie is about, yet I am sufficiently familiar with the scene involving ice cubes — though I think I’ve really only seen as much as is shown in the trailer above (the fuller, better quality version can be see here), as well as the parody in Hot Shots! I was only 8½ when 9 ½ Weeks came out, and I remember then hearing about the allure of the sex scenes. 22 years later, I still haven’t heard of any other reason to see it. Wild Things (1998) - A decade before ScarJo and PenCruz locked lips for Vicky Cristina Barcelona, this movie was sold on the prospect of seeing lesbian action between Denise Richards and Neve Campbell, who also participate in a threesome with Matt Dillon. Again, the trailer above doesn’t do a good job of exploiting the sex scenes, but fortunately word got out about them and the movie became fairly successful. Similar movies that likely attracted some audiences due solely to the inclusion of lesbian scenes include Bound, Mulholland Dr. and, forty years ago, The Killing of Sister George. Traffic in Souls (1913) - Going back almost a century, this film was one of the first features to be sold for its “sex scenes”, according to the comprehensive (53 page) “Sex in Cinema” guide at FilmSite.org. Historically, it was the first American feature-length sex film, the most expensive production of its time, the greatest moneymaker of its time and, well, there might never have been a Universal Pictures without its being a success for Carl Laemmle and his Independent Motion Picture Company. For those of you disappointed that the film lacks actual nudity, check out this clip from Lois Weber’s 1915 feature Hypocrites, which does contain a completely naked woman prancing around a forest and therefore had a very controversial release. Monika: Story of a Bad Girl (1953)- Kroger Babb, which also had one of the highest grossing films of the ’40s (Mom and Dad) thanks to promises like “EVERYTHING SHOWN!”, distributed this American version of Ingmar Bergman’s Summer with Monika, which was cut down, dubbed and re-scored and marketed solely on the appeal of its nudity and single love scene. American Pie - It may not be a sexy sex scene, but there’s no denying that the love act shared by Jason Biggs and a pie was a draw for audiences hungry for gross out humor. Never mind the scene’s inclusion in the trailer or the poster with the poked-in pie featured prominently, the title alone alludes to the act. Emmanuelle (1974) - I grew up always thinking that the Emmanuelle series of films were simply famous pornos, like Deep Throat or the Debbie Does …. franchise. But that’s probably because it has spawned so many ripoffs and has become synonymous with erotic films. Plus, in my lifetime, softcore movies have been more associated with late night Cinemax (or Skinamax) and straight-to-video titles. I would have never guessed that this was one of France’s highest grossing films of all time nor that film critics such as Roger Ebert paid it attention let alone gave it a good review. But at its time, it must have been very appealing to have so much nudity and so many sex scenes without displaying hardcore penetration. Or, as Ebert wrote: “It’s a relief to see a movie that drops the gynecology and returns to a certain amount of sexy sophistication.” Caligula - Of course, there was also this big-budget, mainstream Hollywood production, to which Ebert gave zero stars and admitted walking out of. He even included a quote from a fellow moviegoer: “‘This movie,’ said the lady in front of me at the drinking fountain, ‘is the worst piece of shit I have ever seen.’” Produced by Penthouse publisher Bob Guccione and starring highly respectable British actors such as John Gielgud, Peter O’Toole and Helen Mirren, the epic period piece was certainly expected to cash in on the popularity of erotic films in the ’70s. Ebert, one more time: “I assume that the crowds lining up for admission to the Davis Theater were hoping for some sort of erotic experience; I doubt that they were spending $15 a couple for a lesson on the ancient history of Rome.” The Crying Game - Possibly the only movie marketed for a sex scene that wasn’t marketed for being a sex scene. Instead, the shocking moment when a seemingly heterosexual love scene is revealed to in fact be a homosexual love scene was famously employed in marketing the secret plot twist that comes with it. Lust, Caution - It’s possible that selling the explicit (and allegedly real) sex scenes in this Ang Lee film hurt it, because the well-publicized embrace of its NC-17 rating made the film seem like these scenes were the main reason to go see it. Never mind the awards the film received or the fair amount of positive reviews. Looking at its dismal $4.6 million U.S. gross, it’s apparent that sex is not as big a sell as it once was. Originally posted on:SpoutBlog
]]>Thu, 14 Aug 2008 21:02:21 GMTSpoutBlogSpoutBlog on spout.com8/14/2008 5:02:21 PM There apparently are other reasons to see Woody Allen’s Vicky Cristina Barcelona besides the infamous lesbian kiss between Scarlett Johansson and Penélope Cruz or the threesome between these actresses and Javier Bardem. But as the first things most of us heard about the movie, the sex scenes are certainly a big sell (the ménage à trois is even being used in a promotional contest to win a “threesome” with ScarJo). Even if they’re reportedly underwhelming. Promise of tantalizing footage has been an appeal for moviegoers likely since the dawn of cinema, with film pioneer Eadweard Muybridge’s The Human Figure in Motion - Descending Stairs and Turning Around featuring nudity as far back as the 1880s. And if you’ve seen any of the titles included in today’s list, chances are their respective sex scenes were at least part of what made you buy a ticket (or rent the video). The Brown Bunny (2003) - As if this was the first feature film to show an actual blowjob. Yet the promise of seeing starlet Chloë Sevigny with a mouthful of Vincent Gallo was a huge tool in the marketing of this otherwise artfully shot but depressing movie, an ultimately disappointing follow up to Gallo’s highly enjoyable debut, Buffalo ‘66. Though the trailer above is quite tasteful, American ads for the film exploiting the fellatio sequence include a questionable billboard in Los Angeles and a theatrical spot that simply labeled it “the most controversial American film ever made” and spotlighted that it is for adults only. Too bad it was made in the era of internet porn and so wasn’t nearly as profitable as the blowjob blockbuster Deep Throat. 9 ½ Weeks (1986) - Here is the first of many films on this list that I haven’t actually seen. I guess sex just doesn’t sell me on a film like it does other people. Having such a detachment, though, makes it clearer for me to see how effective most of these sex scenes were, since I have no idea what this movie is about, yet I am sufficiently familiar with the scene involving ice cubes — though I think I’ve really only seen as much as is shown in the trailer above (the fuller, better quality version can be see here), as well as the parody in Hot Shots! I was only 8½ when 9 ½ Weeks came out, and I remember then hearing about the allure of the sex scenes. 22 years later, I still haven’t heard of any other reason to see it. Wild Things (1998) - A decade before ScarJo and PenCruz locked lips for Vicky Cristina Barcelona, this movie was sold on the prospect of seeing lesbian action between Denise Richards and Neve Campbell, who also participate in a threesome with Matt Dillon. Again, the trailer above doesn’t do a good job of exploiting the sex scenes, but fortunately word got out about them and the movie became fairly successful. Similar movies that likely attracted some audiences due solely to the inclusion of lesbian scenes include Bound, Mulholland Dr. and, forty years ago, The Killing of Sister George. Traffic in Souls (1913) - Going back almost a century, this film was one of the first features to be sold for its “sex scenes”, according to the comprehensive (53 page) “Sex in Cinema” guide at FilmSite.org. Historically, it was the first American feature-length sex film, the most expensive production of its time, the greatest moneymaker of its time and, well, there might never have been a Universal Pictures without its being a success for Carl Laemmle and his Independent Motion Picture Company. For those of you disappointed that the film lacks actual nudity, check out this clip from Lois Weber’s 1915 feature Hypocrites, which does contain a completely naked woman prancing around a forest and therefore had a very controversial release. Monika: Story of a Bad Girl (1953)- Kroger Babb, which also had one of the highest grossing films of the ’40s (Mom and Dad) thanks to promises like “EVERYTHING SHOWN!”, distributed this American version of Ingmar Bergman’s Summer with Monika, which was cut down, dubbed and re-scored and marketed solely on the appeal of its nudity and single love scene. American Pie - It may not be a sexy sex scene, but there’s no denying that the love act shared by Jason Biggs and a pie was a draw for audiences hungry for gross out humor. Never mind the scene’s inclusion in the trailer or the poster with the poked-in pie featured prominently, the title alone alludes to the act. Emmanuelle (1974) - I grew up always thinking that the Emmanuelle series of films were simply famous pornos, like Deep Throat or the Debbie Does …. franchise. But that’s probably because it has spawned so many ripoffs and has become synonymous with erotic films. Plus, in my lifetime, softcore movies have been more associated with late night Cinemax (or Skinamax) and straight-to-video titles. I would have never guessed that this was one of France’s highest grossing films of all time nor that film critics such as Roger Ebert paid it attention let alone gave it a good review. But at its time, it must have been very appealing to have so much nudity and so many sex scenes without displaying hardcore penetration. Or, as Ebert wrote: “It’s a relief to see a movie that drops the gynecology and returns to a certain amount of sexy sophistication.” Caligula - Of course, there was also this big-budget, mainstream Hollywood production, to which Ebert gave zero stars and admitted walking out of. He even included a quote from a fellow moviegoer: “‘This movie,’ said the lady in front of me at the drinking fountain, ‘is the worst piece of shit I have ever seen.’” Produced by Penthouse publisher Bob Guccione and starring highly respectable British actors such as John Gielgud, Peter O’Toole and Helen Mirren, the epic period piece was certainly expected to cash in on the popularity of erotic films in the ’70s. Ebert, one more time: “I assume that the crowds lining up for admission to the Davis Theater were hoping for some sort of erotic experience; I doubt that they were spending $15 a couple for a lesson on the ancient history of Rome.” The Crying Game - Possibly the only movie marketed for a sex scene that wasn’t marketed for being a sex scene. Instead, the shocking moment when a seemingly heterosexual love scene is revealed to in fact be a homosexual love scene was famously employed in marketing the secret plot twist that comes with it. Lust, Caution - It’s possible that selling the explicit (and allegedly real) sex scenes in this Ang Lee film hurt it, because the well-publicized embrace of its NC-17 rating made the film seem like these scenes were the main reason to go see it. Never mind the awards the film received or the fair amount of positive reviews. Looking at its dismal $4.6 million U.S. gross, it’s apparent that sex is not as big a sell as it once was. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_July_21_Road_Trip/625/32843/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/21/2008 2:18:16 PM
Body: With the summer months waning and my own plans for vacation steadily approaching, it seemed apropos to dedicate this week's theme to that equally loved and despised category of film known as the road movie. From the family-friendly RV to the magnificently perverse Natural Born Killers, the road movie appears in countless incarnations and across all genres. Personally, Almost Famous has remained not only my favorite road movie but overall one as well. The aforementioned Natural Born Killers, Pee-Wee's Big Adventure, Dogma, Little Miss Sunshine, Boys on the Sideand Fear and Loathing in Las Vegas round off the list. Others include Gregg Araki's The Doom Generation and The Living End; the various Aussie flicks like the Mad Max trilogy and The Adventures of Priscilla, Queen of the Desert; the Indie hits such as Easy Rider and Buffalo '66; and lastly Alexander Payne's About Schmidt and Sideways. So bring out the map and let us in on some your favorite road movies!
]]>Mon, 21 Jul 2008 18:18:16 GMTmercurialWeekly Theme7/21/2008 2:18:16 PMWith the summer months waning and my own plans for vacation steadily approaching, it seemed apropos to dedicate this week's theme to that equally loved and despised category of film known as the road movie. From the family-friendly RV to the magnificently perverse Natural Born Killers, the road movie appears in countless incarnations and across all genres. Personally, Almost Famous has remained not only my favorite road movie but overall one as well. The aforementioned Natural Born Killers, Pee-Wee's Big Adventure, Dogma, Little Miss Sunshine, Boys on the Sideand Fear and Loathing in Las Vegas round off the list. Others include Gregg Araki's The Doom Generation and The Living End; the various Aussie flicks like the Mad Max trilogy and The Adventures of Priscilla, Queen of the Desert; the Indie hits such as Easy Rider and Buffalo '66; and lastly Alexander Payne's About Schmidt and Sideways. So bring out the map and let us in on some your favorite road movies! http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28765.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 10:42:33 PM
Body: Buffalo '66 is the kind of movie that thinks a character spending twenty minuets looking for a place to go the bathroom is funny. I found the movie only slightly more entertaining than having an experince like that in real life. The movie stars director Vincent Gallo as Billy, a complete loser, who falls in love with Layla (Christina Ricci) a woman who is completely insane. Billy has just been released from prison after he lost $10,000 gambling on the Super Bowl, which was lost at the last minute when Chris Wood (who I learn from Wikipedia is based on real football player Chris Norwood) blew a free through and lost the game. Wanting to impress his parents, he kidnaps Layla and forces her to act like his wife (have the laughs started yet?). He then decides to kill Chris Wood, who now own a strip club, because the sportsman ruined his life. Billy is own of the most unlikable movie protagonists ever. One of the hallmarks of a great director is how they are able to make you like charcters that you would loathe in real life. Kubrick made me like Alex DeLarge, the hoodlum and serial rapist from A Clockwork Orange. I didn't like Billy one iota. In fact, I didn't like anyone in this movie- Billy's parents are neglectful and ignoratant, his one friend is a weirdo, and Layla is nuts. All of this would be acceptable if Buffalo '66 was intended as downer drama, but Gallo thinks this material is funny. In order for comedy to work, you have to beleive in the reality of the film, and that's something I did not do once. Take Layla, for example. Lots of women would take any of the myriad chances she has to run away after Billy kidnaps her. There also has to be some level of taste and proper context. Take Billy's mom, who is such a huge sports fan that she neglects her son, even he when he is telling her something very important. Or Billy's dad, who strangles a puppy to death. That's really funny. Buffalo '66 cannot be technically counted in my Clever Comedy genre because it is not as upbeat and not every character has a quirk, but it's clearly a cousin, sharing an "ironic" detachment and some hipster techniques. I found it just as annoying. There are lot of people who like Buffalo '66. Despite the fact that I watched the movie in a room filled with them, I don't understand why. This is an obnoxious and unfunny film about people I only cared enough about to dislike. There was one pleasant surprise, however. It was discovering the film was ten minuets shorter than allmovie said it was. Why do I get the feeling I'm going to get some hate mail? Buffalo '66 (1998)
]]>Tue, 13 May 2008 02:42:33 GMTCinemaRianCinemaRian Blog5/12/2008 10:42:33 PMBuffalo '66 is the kind of movie that thinks a character spending twenty minuets looking for a place to go the bathroom is funny. I found the movie only slightly more entertaining than having an experince like that in real life. The movie stars director Vincent Gallo as Billy, a complete loser, who falls in love with Layla (Christina Ricci) a woman who is completely insane. Billy has just been released from prison after he lost $10,000 gambling on the Super Bowl, which was lost at the last minute when Chris Wood (who I learn from Wikipedia is based on real football player Chris Norwood) blew a free through and lost the game. Wanting to impress his parents, he kidnaps Layla and forces her to act like his wife (have the laughs started yet?). He then decides to kill Chris Wood, who now own a strip club, because the sportsman ruined his life. Billy is own of the most unlikable movie protagonists ever. One of the hallmarks of a great director is how they are able to make you like charcters that you would loathe in real life. Kubrick made me like Alex DeLarge, the hoodlum and serial rapist from A Clockwork Orange. I didn't like Billy one iota. In fact, I didn't like anyone in this movie- Billy's parents are neglectful and ignoratant, his one friend is a weirdo, and Layla is nuts. All of this would be acceptable if Buffalo '66 was intended as downer drama, but Gallo thinks this material is funny. In order for comedy to work, you have to beleive in the reality of the film, and that's something I did not do once. Take Layla, for example. Lots of women would take any of the myriad chances she has to run away after Billy kidnaps her. There also has to be some level of taste and proper context. Take Billy's mom, who is such a huge sports fan that she neglects her son, even he when he is telling her something very important. Or Billy's dad, who strangles a puppy to death. That's really funny. Buffalo '66 cannot be technically counted in my Clever Comedy genre because it is not as upbeat and not every character has a quirk, but it's clearly a cousin, sharing an "ironic" detachment and some hipster techniques. I found it just as annoying. There are lot of people who like Buffalo '66. Despite the fact that I watched the movie in a room filled with them, I don't understand why. This is an obnoxious and unfunny film about people I only cared enough about to dislike. There was one pleasant surprise, however. It was discovering the film was ten minuets shorter than allmovie said it was. Why do I get the feeling I'm going to get some hate mail? Buffalo '66 (1998) http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
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