list http://www.spout.com/ Recent community activity around Ghostbusters 2 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/Ghostbusters_2/13291/default.aspx Title: Ghostbusters 2
Year: 1989
Director: Ivan Reitman
Plot: Ivan Reitman's sequel to the phenomenally successful Ghostbusters is looser and more self-assured than the original. The film opens with a title reading "Five Years Later" and finds the ghostbusters living in hard times. A restraining order has forbidden the boys to partake in paranormal warfare, and as a result they have had to seek other lines of work. Ray (Dan Aykroyd) and Winston (Ernie Hudson) spend their time performing at children's' birthday parties, and Egon (Harold Ramis) is busy conducting experiments investigating the effect of human emotions on the environment, leaving ghostbusting behind. Venkman (Bill Murray) and Dana (Sigourney Weaver) have split up. Venkman now hosts a local cable show called "The World of the Psychic." Dana, now divorced and the mother of a little baby named Oscar, works as an art restorer in a museum -- and this is where the plot kicks in. While Dana is restoring a portrait of a 16th-century tyrant by the name of Vigo the Carpathian, the portrait becomes hexed. The evil Vigo wants to return to life by taking over the body of Dana's little child. Vigo has enlisted Dana's boss, Janosz Poha (Peter MacNicol), to compel Dana to cooperate. Soon dirty sludge and slime flow through the streets of Manhattan, and the ghostbusters have to reunite to save the city from a funky paranormal evil. ~ Paul Brenner, All Movie Guide
Times Tagged: 36
Number of Lists: 52
Number of blog posts: 7
Number of discussion threads: 1
SpoutRating: 3
]]>Mon, 20 Jul 2009 06:34:52 GMTGhostbusters 21989Ivan Reitman<a href="/players/P___107926/default.aspx" style='text-decoration:underline'>Ivan Reitman</a>'s sequel to the phenomenally successful <a href=/films/13290/default.aspx style='text-decoration:underline'>Ghostbusters</a> is looser and more self-assured than the original. The film opens with a title reading "Five Years Later" and finds the ghostbusters living in hard times. A restraining order has forbidden the boys to partake in paranormal warfare, and as a result they have had to seek other lines of work. Ray (<a href="/players/P____80282/default.aspx" style='text-decoration:underline'>Dan Aykroyd</a>) and Winston (<a href="/players/P____33733/default.aspx" style='text-decoration:underline'>Ernie Hudson</a>) spend their time performing at children's' birthday parties, and Egon (<a href="/players/P___107494/default.aspx" style='text-decoration:underline'>Harold Ramis</a>) is busy conducting experiments investigating the effect of human emotions on the environment, leaving ghostbusting behind. Venkman (<a href="/players/P___103861/default.aspx" style='text-decoration:underline'>Bill Murray</a>) and Dana (<a href="/players/P____75144/default.aspx" style='text-decoration:underline'>Sigourney Weaver</a>) have split up. Venkman now hosts a local cable show called "The World of the Psychic." Dana, now divorced and the mother of a little baby named Oscar, works as an art restorer in a museum -- and this is where the plot kicks in. While Dana is restoring a portrait of a 16th-century tyrant by the name of Vigo the Carpathian, the portrait becomes hexed. The evil Vigo wants to return to life by taking over the body of Dana's little child. Vigo has enlisted Dana's boss, Janosz Poha (<a href="/players/P____44305/default.aspx" style='text-decoration:underline'>Peter MacNicol</a>), to compel Dana to cooperate. Soon dirty sludge and slime flow through the streets of Manhattan, and the ghostbusters have to reunite to save the city from a funky paranormal evil. ~ Paul Brenner, All Movie Guide36Tag Target (>10)52713http://www.spout.com/ProductImages/t74539ocjpj.jpghttp://www.spout.com/films/Ghostbusters_2/13291/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/7/17/43141.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 7/17/2009 3:13:01 PM
Body: Five years ago, New York City was saved by the worst paranormal incident the world has ever seen up to that point by a group of "Ghostbusters" (Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson). However, things went down hill for the group after just about every department in the city government sued them and put them out of business. The team splits up thanks to a judicial restraining order, but still keep in touch. The crew gets back together to investigate some strange happenings which seems to be centered around "Oscar" (William and Henry Deutschendorf in their only movie role), the infant son of "Dana Barrett" (Sigourney Weaver), who broke up with "Dr. Peter Venkmen" (Murray) sometime between this and the original movie. What they find is a very large ammount of a kind of ectoplasm under the city that they eventually discover, during a trial against them, that this slime reacts to strong emotions. And to make things worse, a portrait at the museum "Dana", who now restores paintings in the museum for the living, holds the evil spirit of "Vigo the Carpathian" (the late Wilhelm von Homburg), who needs a child so that he might live again. "Vigo" seduces "Dana's" highly annoying boss, "Dr. Janosz Poha" (Peter MacNicol) with paranormal powers to find a child. "Dr. Poha" targets "Oscar". Now, the reinstated "Ghostbusters" have to battle the slime and "Vigo", which may have a connection with one another. First of all, the story is only slightly weaker than the original. However, the cast is still good and have not missed a beat. The chemistry between the "Ghostbusters" is close to perfect as they can get. We also get to see a bit more of "Louis" (Rick Moranis) and the "Ghostbuster's" secretary "Janine" (Annie Potts), who get together in this film while the two babysit "Oscar" as "Dr. Venkmen" tries to rekindle his romance with "Dana". If you ask me, "Vigo" is a limited character. For a good chunk of the movie, he is stuck within the portrait. von Homburg is pretty evil in this role, but he must rely on special effects to help expand his character. Other characters, including two new characters introduced in this movie, is not really developed in this role. We get some development with "Janine", who is in a slightly larger role in this film, and "Louis", who has become a lawyer. One character we get to see more of, who probably was added in due to the success of the syndicated cartoon television series "The Real Ghostbusters", is "Slimer". "Slimer" is only seen in only a few scenes and is not on camera very long. And, the only interaction he has with the main cast is when he picks up "Louis" while driving a public bus. There are some good laughs in this film. Yet, there seems to be more chuckles than laughs. Most of the best laughs comes from Murray, who carried a good chunk of the laughs in the first movie as well. One of the best comedic scenes is when "Dr. Venkman" first meets "Oscar" and has some quality time with the infant, while trying to avoid getting a stool sample from the boy for "Dr. Egon Spengler" (Ramis) to study. For the most part, the special effects have held up all these years pretty well. It's pretty obvious that the Statue of Liberty, which the "Ghostbusters" soak with the slime in an attempt to save New York City from Vigo. In the language department, I don't recall hearing anything too strong unlike the first film. So, parents will probably not have to worry about that.
]]>Fri, 17 Jul 2009 19:13:01 GMTThe_MOWThe_MOW Blog7/17/2009 3:13:01 PMFive years ago, New York City was saved by the worst paranormal incident the world has ever seen up to that point by a group of "Ghostbusters" (Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson). However, things went down hill for the group after just about every department in the city government sued them and put them out of business. The team splits up thanks to a judicial restraining order, but still keep in touch. The crew gets back together to investigate some strange happenings which seems to be centered around "Oscar" (William and Henry Deutschendorf in their only movie role), the infant son of "Dana Barrett" (Sigourney Weaver), who broke up with "Dr. Peter Venkmen" (Murray) sometime between this and the original movie. What they find is a very large ammount of a kind of ectoplasm under the city that they eventually discover, during a trial against them, that this slime reacts to strong emotions. And to make things worse, a portrait at the museum "Dana", who now restores paintings in the museum for the living, holds the evil spirit of "Vigo the Carpathian" (the late Wilhelm von Homburg), who needs a child so that he might live again. "Vigo" seduces "Dana's" highly annoying boss, "Dr. Janosz Poha" (Peter MacNicol) with paranormal powers to find a child. "Dr. Poha" targets "Oscar". Now, the reinstated "Ghostbusters" have to battle the slime and "Vigo", which may have a connection with one another. First of all, the story is only slightly weaker than the original. However, the cast is still good and have not missed a beat. The chemistry between the "Ghostbusters" is close to perfect as they can get. We also get to see a bit more of "Louis" (Rick Moranis) and the "Ghostbuster's" secretary "Janine" (Annie Potts), who get together in this film while the two babysit "Oscar" as "Dr. Venkmen" tries to rekindle his romance with "Dana". If you ask me, "Vigo" is a limited character. For a good chunk of the movie, he is stuck within the portrait. von Homburg is pretty evil in this role, but he must rely on special effects to help expand his character. Other characters, including two new characters introduced in this movie, is not really developed in this role. We get some development with "Janine", who is in a slightly larger role in this film, and "Louis", who has become a lawyer. One character we get to see more of, who probably was added in due to the success of the syndicated cartoon television series "The Real Ghostbusters", is "Slimer". "Slimer" is only seen in only a few scenes and is not on camera very long. And, the only interaction he has with the main cast is when he picks up "Louis" while driving a public bus. There are some good laughs in this film. Yet, there seems to be more chuckles than laughs. Most of the best laughs comes from Murray, who carried a good chunk of the laughs in the first movie as well. One of the best comedic scenes is when "Dr. Venkman" first meets "Oscar" and has some quality time with the infant, while trying to avoid getting a stool sample from the boy for "Dr. Egon Spengler" (Ramis) to study. For the most part, the special effects have held up all these years pretty well. It's pretty obvious that the Statue of Liberty, which the "Ghostbusters" soak with the slime in an attempt to save New York City from Vigo. In the language department, I don't recall hearing anything too strong unlike the first film. So, parents will probably not have to worry about that. http://www.spout.com/blogs/christhilk/archive/2008/9/18/35285.aspx Post By: ChrisThilk
Post To: ChrisThilk Blog
Post Date: 9/18/2008 8:01:19 PM
Body: There’s no question that the original Ghostbusters is the superior of this pair, though it’s certainly arguable that the Ghostbusters 2 at least manages to hold its own and certainly doesn’t, as some sequels do, degrade from the enjoyment of the original. The original is one of those films that I’ve literally grown up with. Released in 1984 when I was all of nine years old, I’ve watched it several times a year more or less regularly since then. So it’s aged with me, never far from my mind and still acting as a source of quotes when I need a response to someone saying “Chris, I need to let you know about something…” (The proper response, of course, is, “What did you do, Ray?”) While GBII  contains a lot of the usual sequel contrivances (it’s once again Dana Barrett being harassed by the spooks) it does so in a very believable (so far as these things go) way and manages to bring something new to the characters beyond the usual rehashing of the first movie’s plot.        Originally posted on:Chris Thilk
]]>Fri, 19 Sep 2008 00:01:19 GMTChrisThilkChrisThilk Blog9/18/2008 8:01:19 PMThere’s no question that the original Ghostbusters is the superior of this pair, though it’s certainly arguable that the Ghostbusters 2 at least manages to hold its own and certainly doesn’t, as some sequels do, degrade from the enjoyment of the original. The original is one of those films that I’ve literally grown up with. Released in 1984 when I was all of nine years old, I’ve watched it several times a year more or less regularly since then. So it’s aged with me, never far from my mind and still acting as a source of quotes when I need a response to someone saying “Chris, I need to let you know about something…” (The proper response, of course, is, “What did you do, Ray?”) While GBII  contains a lot of the usual sequel contrivances (it’s once again Dana Barrett being harassed by the spooks) it does so in a very believable (so far as these things go) way and manages to bring something new to the characters beyond the usual rehashing of the first movie’s plot.        Originally posted on:Chris Thilk http://www.spout.com/blogs/spoutblog/archive/2008/7/21/32850.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/21/2008 4:00:41 PM
Body: Video games today are great for recreating scenes from old films (such as The Godfather) and plopping you into the action. But how faithful do a game’s sequences need to be? From the way Sierra Entertainment is advertising its new Ghostbusters video game, I guess you want the gaming to be as close to the direction of the original film as possible. Not only does the new trailer for the game include many scenes from the first Ghostbusters movie, it displays side-by-side comparisons of footage from the film and the game. Because what would the game be without a near-identical shot of library catalog cards shot into the air? Interestingly enough, the game is not actually a total video game remake of Ghostbusters. Instead, it’s “an all new story you won’t see in theaters,” featuring a script by Dan Aykroyd and Harold Ramis, who also wrote both the original and the sequel, and the voices of Aykroyd, Ramis, Bill Murray, Ernie Hudson, Annie Potts, William Atherton and Brian Doyle-Murray, all reprising their roles from the films (I understand Sigourney Weaver opting out, but why no Rick Moranis?). Of course, it does require you to battle old favorites, such as Slimer, Gozer, the Stay Puft Marshmallow Man and Vigo (”master of evil”), but there will also be new villains, including the biggest paranormal problem the Ghostbusters have ever seen. Oh, by the way, from what Aykroyd has been saying in interviews, this is as close to a Ghostbusters III we’re going to get, and the script for the game pretty much follows the plot of the proposed third installment (despite all it’s apparent recreations of earlier episodes), so enjoy it. Originally posted on:SpoutBlog
]]>Mon, 21 Jul 2008 20:00:41 GMTSpoutBlogSpoutBlog on spout.com7/21/2008 4:00:41 PM Video games today are great for recreating scenes from old films (such as The Godfather) and plopping you into the action. But how faithful do a game’s sequences need to be? From the way Sierra Entertainment is advertising its new Ghostbusters video game, I guess you want the gaming to be as close to the direction of the original film as possible. Not only does the new trailer for the game include many scenes from the first Ghostbusters movie, it displays side-by-side comparisons of footage from the film and the game. Because what would the game be without a near-identical shot of library catalog cards shot into the air? Interestingly enough, the game is not actually a total video game remake of Ghostbusters. Instead, it’s “an all new story you won’t see in theaters,” featuring a script by Dan Aykroyd and Harold Ramis, who also wrote both the original and the sequel, and the voices of Aykroyd, Ramis, Bill Murray, Ernie Hudson, Annie Potts, William Atherton and Brian Doyle-Murray, all reprising their roles from the films (I understand Sigourney Weaver opting out, but why no Rick Moranis?). Of course, it does require you to battle old favorites, such as Slimer, Gozer, the Stay Puft Marshmallow Man and Vigo (”master of evil”), but there will also be new villains, including the biggest paranormal problem the Ghostbusters have ever seen. Oh, by the way, from what Aykroyd has been saying in interviews, this is as close to a Ghostbusters III we’re going to get, and the script for the game pretty much follows the plot of the proposed third installment (despite all it’s apparent recreations of earlier episodes), so enjoy it. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/7/2/32024.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 7/2/2008 12:01:15 PM
Body: This is it, the day we’ve been waiting for two full decades (or, at least, since we first heard it was happening back in December): the Huey Lewis plot song written specifically for the David Gordon Green-driected, Judd Apatow-produced stoner comedy Pineapple Express has hit the web! The Playlist first posted a clip of the song last night; today, Whitney at Pop Candy points to the full thing, available for streaming or download on MySpace. It’s very much in classic Huey Lewis plot song mode, complete with gratuitous hand claps and sax solo. It’s not as directly narrative as, say, “Back in Time” (above), but it’s slightly more literally connected to the film than, like, “The Power of Love.” A sample from the chorus: “How did we get into this mess? Pineapple Express! Can’t deal with this stress! Totally gone, cause we’re on, Pineapple Express!” It is the best, and it is also totally the worst. As we’ve discussed before, plot songs take the science of the source cue to a new level. After the jump, a brief, video-guided journey through plot song history. Let us know what we’ve left out. 1955: “(Love is) The Tender Trap” from The Tender Trap Though this Frank Sinatra/Debbie Reynolds sex comedy was based on a play, the song sung twice by Sinatra in the film (once over the opening credits, once directly to Reynolds, as seen above) was written specifically for the movie, and was nominated for an Oscar. Like the best plot songs, it does more than just set a tone or reiterate the film’s plot––it actually becomes integral to it. 1967: “Mrs. Robinson” from The Graduate According to Mark Harris’ Pictures at a Revolution, Paul Simon was under contract to write three original songs for Mike Nichols’ movie. He turned in two, and Nichols liked neither. “Have you got anything else?” the director asked. Simon and Art Garfunkel apparently “muttered to each other” for a few minutes, and then played a song-in-progress, which was then called “Mrs. Roosevelt,” “about icons of a certain generation.” Nichols loved it, “Roosevelt” was changed to “Robinson,” but the song remained unfinished by the time a mostly instrumental version of it was cut into the movei (see above). When it was released as a single a year later, lines alluding to characters and themes from the film were mashed together with lyrics from the “Roosevelt” draft. 1981: “Arthur’s Theme” from Arthur I desperately wanted to honor this era with a song from another Dudley Moore film, “Ready to Take a Chance Again” as sung by Barry Manilow in Foul Play, but this Christopher Cross classic is really the finer specimen of plot song. I think most people my age know this song, but haven’t even seen Arthur; I watched it for the first time a few years ago and was blown away (okay, maybe not blown away, but definitely surprised) by how dark it is. It’s about this total fuck-up rich kid, this terrible, terrible alcoholic who leaves nothing but destruction in his path…until he falls in love with Liza Minnelli. But the song totally give him a pass, reframing Arthur as this loveable loon, “just a boy…laughing about the way they want him to be.” Um…he’s laughing because he’s been drunk since 1967. 1985: “Weird Science” from Weird Science The rare example of a plot song making the film that spawned it superfluous. Infused with an introspection that the the John Hughes movie simply had no interest in (”From my heart and from my head, why don’t people understand my intentions?”), there’s absolutely no reason to see the entire film if you can watch the Oingo Boingo music video above. Um, okay…the movie has a young Robert Downey Jr, I guess. But the song encapsulates the narrative such as it is and the video incorporates all the relevant clips from the film––plus it’s got original Dr. Frankenstein Colin Clive, AND Danny Elfman imitating Colin Clive. We’re done here. 1989: “On Our Own” from Ghostbusters 2 I understand that the selection of Bobby Brown over Ray Parker Jr might seem controversial to some. But look at the evidence: “Found out about Vigo/The Master of Evil/Try to battle my boys?/That’s not legal!” I’m absolutely positive that this is the finest plot song verse ever written. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 02 Jul 2008 16:01:15 GMTKarinaKarina on SpoutBlog7/2/2008 12:01:15 PM This is it, the day we’ve been waiting for two full decades (or, at least, since we first heard it was happening back in December): the Huey Lewis plot song written specifically for the David Gordon Green-driected, Judd Apatow-produced stoner comedy Pineapple Express has hit the web! The Playlist first posted a clip of the song last night; today, Whitney at Pop Candy points to the full thing, available for streaming or download on MySpace. It’s very much in classic Huey Lewis plot song mode, complete with gratuitous hand claps and sax solo. It’s not as directly narrative as, say, “Back in Time” (above), but it’s slightly more literally connected to the film than, like, “The Power of Love.” A sample from the chorus: “How did we get into this mess? Pineapple Express! Can’t deal with this stress! Totally gone, cause we’re on, Pineapple Express!” It is the best, and it is also totally the worst. As we’ve discussed before, plot songs take the science of the source cue to a new level. After the jump, a brief, video-guided journey through plot song history. Let us know what we’ve left out. 1955: “(Love is) The Tender Trap” from The Tender Trap Though this Frank Sinatra/Debbie Reynolds sex comedy was based on a play, the song sung twice by Sinatra in the film (once over the opening credits, once directly to Reynolds, as seen above) was written specifically for the movie, and was nominated for an Oscar. Like the best plot songs, it does more than just set a tone or reiterate the film’s plot––it actually becomes integral to it. 1967: “Mrs. Robinson” from The Graduate According to Mark Harris’ Pictures at a Revolution, Paul Simon was under contract to write three original songs for Mike Nichols’ movie. He turned in two, and Nichols liked neither. “Have you got anything else?” the director asked. Simon and Art Garfunkel apparently “muttered to each other” for a few minutes, and then played a song-in-progress, which was then called “Mrs. Roosevelt,” “about icons of a certain generation.” Nichols loved it, “Roosevelt” was changed to “Robinson,” but the song remained unfinished by the time a mostly instrumental version of it was cut into the movei (see above). When it was released as a single a year later, lines alluding to characters and themes from the film were mashed together with lyrics from the “Roosevelt” draft. 1981: “Arthur’s Theme” from Arthur I desperately wanted to honor this era with a song from another Dudley Moore film, “Ready to Take a Chance Again” as sung by Barry Manilow in Foul Play, but this Christopher Cross classic is really the finer specimen of plot song. I think most people my age know this song, but haven’t even seen Arthur; I watched it for the first time a few years ago and was blown away (okay, maybe not blown away, but definitely surprised) by how dark it is. It’s about this total fuck-up rich kid, this terrible, terrible alcoholic who leaves nothing but destruction in his path…until he falls in love with Liza Minnelli. But the song totally give him a pass, reframing Arthur as this loveable loon, “just a boy…laughing about the way they want him to be.” Um…he’s laughing because he’s been drunk since 1967. 1985: “Weird Science” from Weird Science The rare example of a plot song making the film that spawned it superfluous. Infused with an introspection that the the John Hughes movie simply had no interest in (”From my heart and from my head, why don’t people understand my intentions?”), there’s absolutely no reason to see the entire film if you can watch the Oingo Boingo music video above. Um, okay…the movie has a young Robert Downey Jr, I guess. But the song encapsulates the narrative such as it is and the video incorporates all the relevant clips from the film––plus it’s got original Dr. Frankenstein Colin Clive, AND Danny Elfman imitating Colin Clive. We’re done here. 1989: “On Our Own” from Ghostbusters 2 I understand that the selection of Bobby Brown over Ray Parker Jr might seem controversial to some. But look at the evidence: “Found out about Vigo/The Master of Evil/Try to battle my boys?/That’s not legal!” I’m absolutely positive that this is the finest plot song verse ever written. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/7/2/32023.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/2/2008 12:01:06 PM
Body: This is it, the day we’ve been waiting for two full decades (or, at least, since we first heard it was happening back in December): the Huey Lewis plot song written specifically for the David Gordon Green-driected, Judd Apatow-produced stoner comedy Pineapple Express has hit the web! The Playlist first posted a clip of the song last night; today, Whitney at Pop Candy points to the full thing, available for streaming or download on MySpace. It’s very much in classic Huey Lewis plot song mode, complete with gratuitous hand claps and sax solo. It’s not as directly narrative as, say, “Back in Time” (above), but it’s slightly more literally connected to the film than, like, “The Power of Love.” A sample from the chorus: “How did we get into this mess? Pineapple Express! Can’t deal with this stress! Totally gone, cause we’re on, Pineapple Express!” It is the best, and it is also totally the worst. As we’ve discussed before, plot songs take the science of the source cue to a new level. After the jump, a brief, video-guided journey through plot song history. Let us know what we’ve left out. 1955: “(Love is) The Tender Trap” from The Tender Trap Though this Frank Sinatra/Debbie Reynolds sex comedy was based on a play, the song sung twice by Sinatra in the film (once over the opening credits, once directly to Reynolds, as seen above) was written specifically for the movie, and was nominated for an Oscar. Like the best plot songs, it does more than just set a tone or reiterate the film’s plot––it actually becomes integral to it. 1967: “Mrs. Robinson” from The Graduate According to Mark Harris’ Pictures at a Revolution, Paul Simon was under contract to write three original songs for Mike Nichols’ movie. He turned in two, and Nichols liked neither. “Have you got anything else?” the director asked. Simon and Art Garfunkel apparently “muttered to each other” for a few minutes, and then played a song-in-progress, which was then called “Mrs. Roosevelt,” “about icons of a certain generation.” Nichols loved it, “Roosevelt” was changed to “Robinson,” but the song remained unfinished by the time a mostly instrumental version of it was cut into the movei (see above). When it was released as a single a year later, lines alluding to characters and themes from the film were mashed together with lyrics from the “Roosevelt” draft. 1981: “Arthur’s Theme” from Arthur I desperately wanted to honor this era with a song from another Dudley Moore film, “Ready to Take a Chance Again” as sung by Barry Manilow in Foul Play, but this Christopher Cross classic is really the finer specimen of plot song. I think most people my age know this song, but haven’t even seen Arthur; I watched it for the first time a few years ago and was blown away (okay, maybe not blown away, but definitely surprised) by how dark it is. It’s about this total fuck-up rich kid, this terrible, terrible alcoholic who leaves nothing but destruction in his path…until he falls in love with Liza Minnelli. But the song totally give him a pass, reframing Arthur as this loveable loon, “just a boy…laughing about the way they want him to be.” Um…he’s laughing because he’s been drunk since 1967. 1985: “Weird Science” from Weird Science The rare example of a plot song making the film that spawned it superfluous. Infused with an introspection that the the John Hughes movie simply had no interest in (”From my heart and from my head, why don’t people understand my intentions?”), there’s absolutely no reason to see the entire film if you can watch the Oingo Boingo music video above. Um, okay…the movie has a young Robert Downey Jr, I guess. But the song encapsulates the narrative such as it is and the video incorporates all the relevant clips from the film––plus it’s got original Dr. Frankenstein Colin Clive, AND Danny Elfman imitating Colin Clive. We’re done here. 1989: “On Our Own” from Ghostbusters 2 I understand that the selection of Bobby Brown over Ray Parker Jr might seem controversial to some. But look at the evidence: “Found out about Vigo/The Master of Evil/Try to battle my boys?/That’s not legal!” I’m absolutely positive that this is the finest plot song verse ever written. Originally posted on:SpoutBlog
]]>Wed, 02 Jul 2008 16:01:06 GMTSpoutBlogSpoutBlog on spout.com7/2/2008 12:01:06 PM This is it, the day we’ve been waiting for two full decades (or, at least, since we first heard it was happening back in December): the Huey Lewis plot song written specifically for the David Gordon Green-driected, Judd Apatow-produced stoner comedy Pineapple Express has hit the web! The Playlist first posted a clip of the song last night; today, Whitney at Pop Candy points to the full thing, available for streaming or download on MySpace. It’s very much in classic Huey Lewis plot song mode, complete with gratuitous hand claps and sax solo. It’s not as directly narrative as, say, “Back in Time” (above), but it’s slightly more literally connected to the film than, like, “The Power of Love.” A sample from the chorus: “How did we get into this mess? Pineapple Express! Can’t deal with this stress! Totally gone, cause we’re on, Pineapple Express!” It is the best, and it is also totally the worst. As we’ve discussed before, plot songs take the science of the source cue to a new level. After the jump, a brief, video-guided journey through plot song history. Let us know what we’ve left out. 1955: “(Love is) The Tender Trap” from The Tender Trap Though this Frank Sinatra/Debbie Reynolds sex comedy was based on a play, the song sung twice by Sinatra in the film (once over the opening credits, once directly to Reynolds, as seen above) was written specifically for the movie, and was nominated for an Oscar. Like the best plot songs, it does more than just set a tone or reiterate the film’s plot––it actually becomes integral to it. 1967: “Mrs. Robinson” from The Graduate According to Mark Harris’ Pictures at a Revolution, Paul Simon was under contract to write three original songs for Mike Nichols’ movie. He turned in two, and Nichols liked neither. “Have you got anything else?” the director asked. Simon and Art Garfunkel apparently “muttered to each other” for a few minutes, and then played a song-in-progress, which was then called “Mrs. Roosevelt,” “about icons of a certain generation.” Nichols loved it, “Roosevelt” was changed to “Robinson,” but the song remained unfinished by the time a mostly instrumental version of it was cut into the movei (see above). When it was released as a single a year later, lines alluding to characters and themes from the film were mashed together with lyrics from the “Roosevelt” draft. 1981: “Arthur’s Theme” from Arthur I desperately wanted to honor this era with a song from another Dudley Moore film, “Ready to Take a Chance Again” as sung by Barry Manilow in Foul Play, but this Christopher Cross classic is really the finer specimen of plot song. I think most people my age know this song, but haven’t even seen Arthur; I watched it for the first time a few years ago and was blown away (okay, maybe not blown away, but definitely surprised) by how dark it is. It’s about this total fuck-up rich kid, this terrible, terrible alcoholic who leaves nothing but destruction in his path…until he falls in love with Liza Minnelli. But the song totally give him a pass, reframing Arthur as this loveable loon, “just a boy…laughing about the way they want him to be.” Um…he’s laughing because he’s been drunk since 1967. 1985: “Weird Science” from Weird Science The rare example of a plot song making the film that spawned it superfluous. Infused with an introspection that the the John Hughes movie simply had no interest in (”From my heart and from my head, why don’t people understand my intentions?”), there’s absolutely no reason to see the entire film if you can watch the Oingo Boingo music video above. Um, okay…the movie has a young Robert Downey Jr, I guess. But the song encapsulates the narrative such as it is and the video incorporates all the relevant clips from the film––plus it’s got original Dr. Frankenstein Colin Clive, AND Danny Elfman imitating Colin Clive. We’re done here. 1989: “On Our Own” from Ghostbusters 2 I understand that the selection of Bobby Brown over Ray Parker Jr might seem controversial to some. But look at the evidence: “Found out about Vigo/The Master of Evil/Try to battle my boys?/That’s not legal!” I’m absolutely positive that this is the finest plot song verse ever written. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/6/9/31014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/9/2008 5:01:53 PM
Body: It took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog
]]>Mon, 09 Jun 2008 21:01:53 GMTSpoutBlogSpoutBlog on spout.com6/9/2008 5:01:53 PMIt took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog http://www.spout.com/blogs/jakestevens/archive/2007/10/11/20608.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 10/11/2007 1:40:41 AM
Body: Obviously made to capitalize on the enormous popularity the first film had, this one feels slightly rushed now that some time has passed. When it came out, though, I couldn't get enough, and I think I had to buy the cassette tape of the soundtrack twice because I wore the damn thing out. I can't totally hate on this movie, though...it's still a lot better than most sequels.
]]>Thu, 11 Oct 2007 05:40:41 GMTJakeStevensJakeStevens Blog10/11/2007 1:40:41 AMObviously made to capitalize on the enormous popularity the first film had, this one feels slightly rushed now that some time has passed. When it came out, though, I couldn&#39;t get enough, and I think I had to buy the cassette tape of the soundtrack twice because I wore the damn thing out. I can&#39;t totally hate on this movie, though...it&#39;s still a lot better than most sequels. http://www.spout.com/groups/Top_5/Re_Top_5_Guilty_Pleasure_films/190/8443/1/ShowPost.aspx Post By: josephkuzma
Post To: Top 5
Post Date: 5/8/2007 11:32:23 PM
Body: My list is more guilty pleasures as actors, not films. I could probably make Top 5 lists out of each of these people and more... but here goes: 1. Sylvester Stallone: Rocky II, III & IV. I don't include the first because it's a great movie and I am not ashamed of liking it. I didn't include V because it's crap. And I haven't seen Rocky Balboa so I can't say one way or the other. Also Cop Land.2. Arnold Schwarzenegger's 80s (and early 90s) catalog defines guilty pleasure over and over. I hate that I like Twins, Terminator, The Running Man, Total Recall, Predator. However, I will proudly say that I like T2. Now if only T3 had been watchable...3. Keanu Reeves - Bill & Ted's Excellent Adventure/Bogus Journey, Matrix: Reloaded/Revolutions (the first wasn't a guilty pleasure in my book), Point Break , Feeling Minnesota, My Own Private Idaho, The Devil's Advocate, The Watcher.I could almost combine 4 - 5 and some of them probably aren't guilty pleasures so much but I'm listing them anyways. Take them for what you will.4. John Candy - I can't help it. Uncle Buck, The Great Outdoors, Planes, Trains & Automobiles, Nothing But Trouble, Canadian Bacon? Brilliant.5. Dan Akroyd - Nothing But Trouble, Coneheads, Ghostbusters/Ghostbusters 2, Spies Like Us, Grosse Pointe Blank, Blues Brothers, Feeling Minnesota.
]]>Wed, 09 May 2007 03:32:23 GMTjosephkuzmaTop 55/8/2007 11:32:23 PMMy list is more guilty pleasures as actors, not films. I could probably make Top 5 lists out of each of these people and more... but here goes: 1. Sylvester Stallone: Rocky II, III &amp; IV. I don&#39;t include the first because it&#39;s a great movie and I am not ashamed of liking it. I didn&#39;t include V because it&#39;s crap. And I haven&#39;t seen Rocky Balboa so I can&#39;t say one way or the other. Also Cop Land.2. Arnold Schwarzenegger&#39;s 80s (and early 90s) catalog defines guilty pleasure over and over. I hate that I like Twins, Terminator, The Running Man, Total Recall, Predator. However, I will proudly say that I like T2. Now if only T3 had been watchable...3. Keanu Reeves - Bill &amp; Ted&#39;s Excellent Adventure/Bogus Journey, Matrix: Reloaded/Revolutions (the first wasn&#39;t a guilty pleasure in my book), Point Break , Feeling Minnesota, My Own Private Idaho, The Devil&#39;s Advocate, The Watcher.I could almost combine 4 - 5 and some of them probably aren&#39;t guilty pleasures so much but I&#39;m listing them anyways. Take them for what you will.4. John Candy - I can&#39;t help it. Uncle Buck, The Great Outdoors, Planes, Trains &amp; Automobiles, Nothing But Trouble, Canadian Bacon? Brilliant.5. Dan Akroyd - Nothing But Trouble, Coneheads, Ghostbusters/Ghostbusters 2, Spies Like Us, Grosse Pointe Blank, Blues Brothers, Feeling Minnesota. http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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]]>Tue, 15 Dec 2009 16:38:30 GMT10872531342Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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]]>Tue, 08 Dec 2009 22:39:51 GMT4183888Tag http://www.spout.com/members/0/tags/newyork/MemberTagFilms.aspxnewyork
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]]>Tue, 20 Oct 2009 21:24:02 GMT10102433Tag http://www.spout.com/members/0/tags/dark-comedy/MemberTagFilms.aspxdark-comedy
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]]>Fri, 20 Feb 2009 19:18:41 GMT271938Tag http://www.spout.com/members/0/tags/SNLAlum/MemberTagFilms.aspxSNLAlum
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]]>Sat, 23 Jun 2007 07:57:40 GMT7115107Tag http://www.spout.com/members/0/tags/SNL-Alum/MemberTagFilms.aspxSNL-Alum
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]]>Mon, 29 Dec 2008 21:27:19 GMT661278Tag http://www.spout.com/members/0/tags/spirits/MemberTagFilms.aspxspirits
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]]>Wed, 24 Dec 2008 06:39:03 GMT111214Tag