list http://www.spout.com/ Recent community activity around George Washington 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/George_Washington/151656/default.aspx Title: George Washington
Year: 2000
Director: David Gordon Green
Plot: David Gordon directs this bleak drama about a gang of rural teens going astray. The title character is 13-year-old boy who lives in an impoverished corner of North Carolina. While wandering around with his rag-tag band of mates, one boy gets inadvertently killed. Fearing parental retribution, the gang hides the body. Later, matters comes to a head when guilt and anxiety starts to take its toll. ~ Jonathan Crow, All Movie Guide
Times Tagged: 21
Number of Lists: 31
Number of blog posts: 12
Number of discussion threads: 1
SpoutRating: 3
]]>Thu, 07 May 2009 22:38:32 GMTGeorge Washington2000David Gordon GreenDavid Gordon directs this bleak drama about a gang of rural teens going astray. The title character is 13-year-old boy who lives in an impoverished corner of North Carolina. While wandering around with his rag-tag band of mates, one boy gets inadvertently killed. Fearing parental retribution, the gang hides the body. Later, matters comes to a head when guilt and anxiety starts to take its toll. ~ Jonathan Crow, All Movie Guide21Tag Target (>10)311213http://www.spout.com/ProductImages/t16668oyqy5.jpghttp://www.spout.com/films/George_Washington/151656/default.aspxFilm http://www.spout.com/blogs/captainryannn/archive/2008/12/4/37959.aspx Post By: CaptainRyannn
Post To: CaptainRyannn Blog
Post Date: 12/4/2008 4:48:38 PM
Body: After falling in love with David Gordon Green’s Undertow, I checked out some of his other films. George Washington was first on the list because I saw that it was also part of the Criterion Collection. George Washington is not about a white man from the mid-1700’s, but rather a group of children set in a small, rural southern town. With not much to do, they spend their days wandering around the broken community and have conversations that form into a collage of innocence. After a tragedy happens amongst the group, they all come together and attempt to cover it up which leads to their individual quests for redemption. In one of the most poetically beautiful films I’ve seen recently, David Gordon Green tells the heartbreaking story of kids who are forced to enter the adult world early and make decisions that they shouldn’t have to make. Although I’m sure not everyone has had to go through what the kids in the film had to go through, I believe it is the perfect metaphor for teenage friendships. A group of kids who are as tight as can be part away from each other for something or another or perhaps no reason at all. Green manages to create some of the most real characters I’ve seen on film in everyway from their dialogue to their simple hand gestures and reactions. I think I might’ve been close to tears because of how magnificent this one was. Damn, it was good.
]]>Thu, 04 Dec 2008 21:48:38 GMTCaptainRyannnCaptainRyannn Blog12/4/2008 4:48:38 PM After falling in love with David Gordon Green’s Undertow, I checked out some of his other films. George Washington was first on the list because I saw that it was also part of the Criterion Collection. George Washington is not about a white man from the mid-1700’s, but rather a group of children set in a small, rural southern town. With not much to do, they spend their days wandering around the broken community and have conversations that form into a collage of innocence. After a tragedy happens amongst the group, they all come together and attempt to cover it up which leads to their individual quests for redemption. In one of the most poetically beautiful films I’ve seen recently, David Gordon Green tells the heartbreaking story of kids who are forced to enter the adult world early and make decisions that they shouldn’t have to make. Although I’m sure not everyone has had to go through what the kids in the film had to go through, I believe it is the perfect metaphor for teenage friendships. A group of kids who are as tight as can be part away from each other for something or another or perhaps no reason at all. Green manages to create some of the most real characters I’ve seen on film in everyway from their dialogue to their simple hand gestures and reactions. I think I might’ve been close to tears because of how magnificent this one was. Damn, it was good. http://www.spout.com/blogs/usesoap/archive/2008/8/11/33835.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 8/11/2008 8:16:46 AM
Body: A friend with weed is a friend indeed. That is the lesson to be extracted from the latest comedy off the Judd Apatow assembly line, “Pineapple Express.” While it may get anti-marijuana advocates abuzz with consternation, it's a sweet little trip until a dramatic shift to violence quite literally calls the cops to this feel-good party. “Express” is laced with guffaws and gunplay, and while not as startlingly schizophrenic as this summer's “Hancock,” it still feels as though its personalities are squished together in such a forced fashion, it threatens to disrupt the good vibes it garners through much of the film. And, like all of Apartow's blockbuster comedies before it (“Knocked Up,” Superbad,” “The 40-Year-Old Virgin”), it overstays its welcome by at least 30 minutes. Imagine, if you will, an entire film devoted to the ganja-clouded escapades of Brad Pitt's Floyd, the moviewestoner he portrayed in Tony Scott's “True Romance (one of Pitt's best, albeit brief, performances on screen). James Franco channels Floyd, but successfully layers him with empathy and a hint of sadness. Franco is perhaps best known as Peter Parker's frenemy in the “Spider-Man” trilogy, as well as generic junk like “Annapolis” and “Flyboys,” which focused more on his Abercrombe and Fitch good looks than his acting chops. In “Express” he hides his sculptured silhouette behind a mop of greasy hair and clothes even a college hamper would reject. As Saul, he's a well-connected dealer who, despite his numerous contacts, remains rather friendless, reduced to surface conversations with his quasi-anonymous clientèle whose illegal purchases makes them more than a tad jittery to hang out for deeper disucssions. When Dale (played by co-writer Seth Rogan) pops by for his weekly fix, Saul reaches out by not only introducing him to the headlining herb, but shares his beloved concoction, a triple-ended joint that apparently induces a supreme high. Dale, reluctant at first, humors Saul and doesn't pass up the chance for a token toke. A tiny connection is made before Dale darts off to his thankless gig as a process server that at least provides him the opportunity to blaze up between deliveries. During one seemingly routine stop, Dale witnesses a murder and, in his drug-clouded escape, manages to smash a couple cars and attract the attention of the killers (Gary Cole and Rosie Perez). When he seeks the aid of Saul in a panic, it sets off a series of successively darker detours into pot-fueled paranoia that, were it not for the comic chops of its supporting cast, would otherwise derail this ride. Rogan does his best Rogan, meaning he coasts along with his standard understated charm and his proclivity to cling to the bliss of adolescence. It's Franco who brings out the best of the film, operating under the haze of his trade and letting humanity bubble to the surface at all the right (high) times. But Franco alone could not buoy the picture as it slowly descends into its bloody conclusion. He's helped by the go-to guy for straight-faced snickers Danny McBride, as the link between Saul and the local drug kingpin, as well as Craig Robinson (from “The Office”) and Kevin Corrigan as two henchmen dispatched to extinguish the leads. Throughout there are throwaway bits that could have easily tightened the two-hour escapade, most notably the romance between Rogan's Dale and his high school girlfriend (yes, she is technically “of age,” but that makes it no less icky). We get that this guy's unable to motivate into adulthood, but the real relationship here is the one he strikes with Saul. Stylistically, the film breaks free from the relatively staid comedic efforts of recent past, credited to director David Gordon Green, an indie filmmaker whose known more for his dramatic muscle and given the film more flourish than it deserves. The stoner comedy is one that's typically made on a shoestring and relies heavily on its hazy humor than on plot or artistry (Cheech and Chong, Harold and Kumar, “Half Baked”), and occasionally it will be elevated into headier territory (“Dazed and Confused,” “The Big Lebowski,” “The Wonder Boys”). But this may be the first stoner action film ever made, perhaps because the two adjectives are so diametrically opposed. “Pineapple Express” would be much easier to inhale if the aftertaste was not so bitter.
]]>Mon, 11 Aug 2008 12:16:46 GMTusesoapusesoap Blog8/11/2008 8:16:46 AMA friend with weed is a friend indeed. That is the lesson to be extracted from the latest comedy off the Judd Apatow assembly line, “Pineapple Express.” While it may get anti-marijuana advocates abuzz with consternation, it's a sweet little trip until a dramatic shift to violence quite literally calls the cops to this feel-good party. “Express” is laced with guffaws and gunplay, and while not as startlingly schizophrenic as this summer's “Hancock,” it still feels as though its personalities are squished together in such a forced fashion, it threatens to disrupt the good vibes it garners through much of the film. And, like all of Apartow's blockbuster comedies before it (“Knocked Up,” Superbad,” “The 40-Year-Old Virgin”), it overstays its welcome by at least 30 minutes. Imagine, if you will, an entire film devoted to the ganja-clouded escapades of Brad Pitt's Floyd, the moviewestoner he portrayed in Tony Scott's “True Romance (one of Pitt's best, albeit brief, performances on screen). James Franco channels Floyd, but successfully layers him with empathy and a hint of sadness. Franco is perhaps best known as Peter Parker's frenemy in the “Spider-Man” trilogy, as well as generic junk like “Annapolis” and “Flyboys,” which focused more on his Abercrombe and Fitch good looks than his acting chops. In “Express” he hides his sculptured silhouette behind a mop of greasy hair and clothes even a college hamper would reject. As Saul, he's a well-connected dealer who, despite his numerous contacts, remains rather friendless, reduced to surface conversations with his quasi-anonymous clientèle whose illegal purchases makes them more than a tad jittery to hang out for deeper disucssions. When Dale (played by co-writer Seth Rogan) pops by for his weekly fix, Saul reaches out by not only introducing him to the headlining herb, but shares his beloved concoction, a triple-ended joint that apparently induces a supreme high. Dale, reluctant at first, humors Saul and doesn't pass up the chance for a token toke. A tiny connection is made before Dale darts off to his thankless gig as a process server that at least provides him the opportunity to blaze up between deliveries. During one seemingly routine stop, Dale witnesses a murder and, in his drug-clouded escape, manages to smash a couple cars and attract the attention of the killers (Gary Cole and Rosie Perez). When he seeks the aid of Saul in a panic, it sets off a series of successively darker detours into pot-fueled paranoia that, were it not for the comic chops of its supporting cast, would otherwise derail this ride. Rogan does his best Rogan, meaning he coasts along with his standard understated charm and his proclivity to cling to the bliss of adolescence. It's Franco who brings out the best of the film, operating under the haze of his trade and letting humanity bubble to the surface at all the right (high) times. But Franco alone could not buoy the picture as it slowly descends into its bloody conclusion. He's helped by the go-to guy for straight-faced snickers Danny McBride, as the link between Saul and the local drug kingpin, as well as Craig Robinson (from “The Office”) and Kevin Corrigan as two henchmen dispatched to extinguish the leads. Throughout there are throwaway bits that could have easily tightened the two-hour escapade, most notably the romance between Rogan's Dale and his high school girlfriend (yes, she is technically “of age,” but that makes it no less icky). We get that this guy's unable to motivate into adulthood, but the real relationship here is the one he strikes with Saul. Stylistically, the film breaks free from the relatively staid comedic efforts of recent past, credited to director David Gordon Green, an indie filmmaker whose known more for his dramatic muscle and given the film more flourish than it deserves. The stoner comedy is one that's typically made on a shoestring and relies heavily on its hazy humor than on plot or artistry (Cheech and Chong, Harold and Kumar, “Half Baked”), and occasionally it will be elevated into headier territory (“Dazed and Confused,” “The Big Lebowski,” “The Wonder Boys”). But this may be the first stoner action film ever made, perhaps because the two adjectives are so diametrically opposed. “Pineapple Express” would be much easier to inhale if the aftertaste was not so bitter. http://www.spout.com/blogs/cinemarian/archive/2008/5/14/29106.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/14/2008 1:02:17 AM
Body: No, it's not a biopic of the president. George Washington is a slice of life film about a bunch of pre-teen kids growing up in the South. It's hard to describe this film, since it's not really about story, or even ideas or a theme. It's about mood, and tone, and location, and atmosphere. It's very good. Most of the chracters are black but it's not really a movie about race, although that stands in the background of every scene. Whites and blacks in co-exist in the community and are friends (possibly because they both have something in common: they are all poor), but race is always there, in the background. A movie like this says more about race relations in America than most of films that are obstensibly about that subject. The movie drops in on the lives of its characters during a summer. The kids are too young to work, so they have a lot time to think and talk. The tone of the movie is lazy and slow paced, just as their days must be. Well, except for George (Donald Holden). George has a genetic condition where the plates on his did not completly close, meaning that he must wear a hat, or preferably a football helmet at all times or he might be seriously hurt. Because of this, he obviously stands out from the crowd. He is more self-aware than most of people his age and has some unusual ideas. The film does not mock him for his goals and aims, no matter how weird they may seem. Throught the summer, a lot of events happen, most of them unexpected, but never outside the realm of what happens in life. The most interestign parts of the film for me was just looking at the backgrounds, the rundown houses and trailer parks the characters live in. There is an odd kind of beauty to all of this, and George seems to kind of get it. Often when writing film reviews it's helpful to compare the film in question to other movies, so that the reader may be able to determine what genre or style the film may be in. This one is totally unique- it's not Stand By Me, or neo-realist, or really drama. It's totally itself. George Washington does have some flaws, mainly in the acting. Although the kids in the film (Holden especially) do well in most scenes, occasionaly they sound fake, particulary in the long, existancial talks they sometimes have. I'm not sure their is anything that Green could have done about this, as acctors at that age usually just don't have the chops to pull such scenes off. It's never a huge problem but it does get occasionaly get in the way of the film. The beginning of the film is a little confusing as their are a lot characters introduced and it's sometimes hard to remeber who they all. But no film is perfect (not even Casablanca) and this are really minor problems. If you want to see a film that is like no other film you have seen, this is it. George Washington (2000)
]]>Wed, 14 May 2008 05:02:17 GMTCinemaRianCinemaRian Blog5/14/2008 1:02:17 AMNo, it's not a biopic of the president. George Washington is a slice of life film about a bunch of pre-teen kids growing up in the South. It's hard to describe this film, since it's not really about story, or even ideas or a theme. It's about mood, and tone, and location, and atmosphere. It's very good. Most of the chracters are black but it's not really a movie about race, although that stands in the background of every scene. Whites and blacks in co-exist in the community and are friends (possibly because they both have something in common: they are all poor), but race is always there, in the background. A movie like this says more about race relations in America than most of films that are obstensibly about that subject. The movie drops in on the lives of its characters during a summer. The kids are too young to work, so they have a lot time to think and talk. The tone of the movie is lazy and slow paced, just as their days must be. Well, except for George (Donald Holden). George has a genetic condition where the plates on his did not completly close, meaning that he must wear a hat, or preferably a football helmet at all times or he might be seriously hurt. Because of this, he obviously stands out from the crowd. He is more self-aware than most of people his age and has some unusual ideas. The film does not mock him for his goals and aims, no matter how weird they may seem. Throught the summer, a lot of events happen, most of them unexpected, but never outside the realm of what happens in life. The most interestign parts of the film for me was just looking at the backgrounds, the rundown houses and trailer parks the characters live in. There is an odd kind of beauty to all of this, and George seems to kind of get it. Often when writing film reviews it's helpful to compare the film in question to other movies, so that the reader may be able to determine what genre or style the film may be in. This one is totally unique- it's not Stand By Me, or neo-realist, or really drama. It's totally itself. George Washington does have some flaws, mainly in the acting. Although the kids in the film (Holden especially) do well in most scenes, occasionaly they sound fake, particulary in the long, existancial talks they sometimes have. I'm not sure their is anything that Green could have done about this, as acctors at that age usually just don't have the chops to pull such scenes off. It's never a huge problem but it does get occasionaly get in the way of the film. The beginning of the film is a little confusing as their are a lot characters introduced and it's sometimes hard to remeber who they all. But no film is perfect (not even Casablanca) and this are really minor problems. If you want to see a film that is like no other film you have seen, this is it. George Washington (2000) http://www.spout.com/blogs/jjgittes/archive/2008/5/13/28963.aspx Post By: jjgittes
Post To: jjgittes Blog
Post Date: 5/13/2008 5:33:11 PM
Body: Even though GEORGE WASHINGTON lacks the star power of the Reel 13 Indies of late (IMAGINARY HEROES, SUNSHINE STATE), it’s still a high profile independent film. It’s legendary in the industry as the first film from indie auteur David Gordon Green. It also already has its own Criterion Collection Edition on DVD, so Channel 13 can hardly claim to have made a discovery here. As disappointing as it is that Reel 13 has gone away from bringing us films that are new to us (though not that many of them were very good), you have to acknowledge that at the very least, we get an independent film that is wonderfully cinematic and well-crafted. David Gordon Green has a pretty simple formula – not a great deal of extraneous camera movement, realistic characters and scenes that are lyrically cut together with beautifully photographed landscapes. There is a certain poetry to his work that is all his own – a style that he worked to even greater impact with his follow-up film ALL THE REAL GIRLS.As similar as the feel of GEORGE WASHINGTON is to that film, it’s narrative is quite different and deals with a handful of young kids in a small, poor town somewhere in the South (Arkansas? NC?) as they deal with tragedy and the unstoppable nature of growing up. The kids, whom I suspect are all untrained actors, are all quite good, albeit playing characters that are perhaps more mature than their respective ages suggest. That aspect, along with the verisimilitude and honesty of the scenes, reminds me a lot of Peter Sollett’s work. Not as much RAISING VICTOR VARGAS (which airs on Reel 13 in May) than the short it was based on – FIVE FEET HIGH AND RISING – only Green accomplishes a similar effect without a handheld camera.There a couple of nitpicky things that keeps GEORGE WASHINGTON from being as effective as the previously mentioned ALL THE REAL GIRLS. For starters, it’s a little slow and hard to hear at times. Paul Schneider, who is outstanding in a much more significant role in REAL GIRLS, is more of a distraction here than an asset. His character, ostensibly intended for comic relief, is like a sixth toe on one foot – it doesn’t stop you from walking normally, but it’s really unnecessary. I also felt the voiceover was also extraneous – as if Green didn’t trust us to comprehend his themes. The biggest issue I had with the film, though, is the surreal turn it takes in its last twenty minutes or so. Without giving too much away, it relates to changes in the main kid character, which are personified by a radical shift in wardrobe. While I see the overarching purpose of the choice – to explicate how the character deals with some of his misfortunes – it is a major shift in tone for the piece and stands out like a sore thumb against the quiet beauty of the rest of the film.Still and all, beggars can’t be choosers and having sat through some very questionable indie films over the last few months, GEORGE WASHINGTON is a very welcome change.
]]>Tue, 13 May 2008 21:33:11 GMTjjgittesjjgittes Blog5/13/2008 5:33:11 PMEven though GEORGE WASHINGTON lacks the star power of the Reel 13 Indies of late (IMAGINARY HEROES, SUNSHINE STATE), it’s still a high profile independent film. It’s legendary in the industry as the first film from indie auteur David Gordon Green. It also already has its own Criterion Collection Edition on DVD, so Channel 13 can hardly claim to have made a discovery here. As disappointing as it is that Reel 13 has gone away from bringing us films that are new to us (though not that many of them were very good), you have to acknowledge that at the very least, we get an independent film that is wonderfully cinematic and well-crafted. David Gordon Green has a pretty simple formula – not a great deal of extraneous camera movement, realistic characters and scenes that are lyrically cut together with beautifully photographed landscapes. There is a certain poetry to his work that is all his own – a style that he worked to even greater impact with his follow-up film ALL THE REAL GIRLS.As similar as the feel of GEORGE WASHINGTON is to that film, it’s narrative is quite different and deals with a handful of young kids in a small, poor town somewhere in the South (Arkansas? NC?) as they deal with tragedy and the unstoppable nature of growing up. The kids, whom I suspect are all untrained actors, are all quite good, albeit playing characters that are perhaps more mature than their respective ages suggest. That aspect, along with the verisimilitude and honesty of the scenes, reminds me a lot of Peter Sollett’s work. Not as much RAISING VICTOR VARGAS (which airs on Reel 13 in May) than the short it was based on – FIVE FEET HIGH AND RISING – only Green accomplishes a similar effect without a handheld camera.There a couple of nitpicky things that keeps GEORGE WASHINGTON from being as effective as the previously mentioned ALL THE REAL GIRLS. For starters, it’s a little slow and hard to hear at times. Paul Schneider, who is outstanding in a much more significant role in REAL GIRLS, is more of a distraction here than an asset. His character, ostensibly intended for comic relief, is like a sixth toe on one foot – it doesn’t stop you from walking normally, but it’s really unnecessary. I also felt the voiceover was also extraneous – as if Green didn’t trust us to comprehend his themes. The biggest issue I had with the film, though, is the surreal turn it takes in its last twenty minutes or so. Without giving too much away, it relates to changes in the main kid character, which are personified by a radical shift in wardrobe. While I see the overarching purpose of the choice – to explicate how the character deals with some of his misfortunes – it is a major shift in tone for the piece and stands out like a sore thumb against the quiet beauty of the rest of the film.Still and all, beggars can’t be choosers and having sat through some very questionable indie films over the last few months, GEORGE WASHINGTON is a very welcome change. http://www.spout.com/blogs/kristen/archive/2008/3/23/26534.aspx Post By: kristen
Post To: kristen Blog
Post Date: 3/23/2008 7:40:50 PM
Body: This movie stirred up memories of childhood the way that the lime tea and madelines stirred Marcel in Marcel Prousts novel Swanns Way. I recalled things that I had not thought about in years. Childhood memories raced back. The conversations between the kids were conversations that I observed among my own friends. This script is dead on. It captures a universal quality of childhood. Most were at least exposed to conversations like these. George Washington is unique in that it shows the tragic and bitter elements in life but does not fall to despair. It has a message of hope that most art films tend to ignore, because the dark side of life is more interesting. This is a positive movie for the most part, and is so in a beautiful and inspiring way. Not all of the kids find this hope, but some dare to dream and are actually heroic. The film pays attention to all aspects of life, all the ups and downs of childhood, in such a refreshing way. It is made in love, and that shines out even in the darkest moments.
]]>Sun, 23 Mar 2008 23:40:50 GMTkristenkristen Blog3/23/2008 7:40:50 PMThis movie stirred up memories of childhood the way that the lime tea and madelines stirred Marcel in Marcel Prousts novel Swanns Way. I recalled things that I had not thought about in years. Childhood memories raced back. The conversations between the kids were conversations that I observed among my own friends. This script is dead on. It captures a universal quality of childhood. Most were at least exposed to conversations like these. George Washington is unique in that it shows the tragic and bitter elements in life but does not fall to despair. It has a message of hope that most art films tend to ignore, because the dark side of life is more interesting. This is a positive movie for the most part, and is so in a beautiful and inspiring way. Not all of the kids find this hope, but some dare to dream and are actually heroic. The film pays attention to all aspects of life, all the ups and downs of childhood, in such a refreshing way. It is made in love, and that shines out even in the darkest moments. http://www.spout.com/blogs/thefilmpanelnotetaker/archive/2008/3/5/25903.aspx Post By: thefilmpanelnotetaker
Post To: thefilmpanelnotetaker Blog
Post Date: 3/5/2008 4:01:11 PM
Body: Here's something I will be unable to attend, but definitely wanted to let you all know about. Tonight, indieWIRE presents a discussion with filmmaker David Gordon Green (George Washington, All the Real Girls, Undertow and the upcoming Pineapple Express) whose latest feature film Snow Angels opens in limited theatrical release on Friday. Along with Green, one of the film’s young stars, Olivia Thirlby (Juno) will also participate in the Q&A moderated by indieWIRE Editor-in-chief Eugene Hernandez.Last year, I saw Snow Angels at BAM, where Green and Thirlby were also accompanied by another of the film’s principal performers, Sam Rockwell (Confessions of a Dangerous Mind).Tonight's discussion at the Apple Store begins at 7pm. This is a free event and no RSVP is required, but I suggest an early arrival as seating is limited and first come, first serve. More details here. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you.
]]>Wed, 05 Mar 2008 21:01:11 GMTthefilmpanelnotetakerthefilmpanelnotetaker Blog3/5/2008 4:01:11 PMHere's something I will be unable to attend, but definitely wanted to let you all know about. Tonight, indieWIRE presents a discussion with filmmaker David Gordon Green (George Washington, All the Real Girls, Undertow and the upcoming Pineapple Express) whose latest feature film Snow Angels opens in limited theatrical release on Friday. Along with Green, one of the film’s young stars, Olivia Thirlby (Juno) will also participate in the Q&A moderated by indieWIRE Editor-in-chief Eugene Hernandez.Last year, I saw Snow Angels at BAM, where Green and Thirlby were also accompanied by another of the film’s principal performers, Sam Rockwell (Confessions of a Dangerous Mind).Tonight's discussion at the Apple Store begins at 7pm. This is a free event and no RSVP is required, but I suggest an early arrival as seating is limited and first come, first serve. More details here. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you. http://www.spout.com/blogs/spoutblog/archive/2008/1/10/23718.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/10/2008 12:00:39 PM
Body: What if this movie were not directed by acclaimed filmmaker Gus Van Sant? What if it had not been honored with a special prize at last year’s Cannes Film Festival? What if it had not been an official selection of the Toronto and New York Film Festivals? What if it wasn’t nominated for three (Independent) Spirit Awards, including Best Picture, Best Director and Best Producer? What if Manohla Dargis didn’t consider it, “one of the most moving and delicately felt films of Gus Van Sant’s career”? Would Paranoid Park still seem that appealing? Not to me, but then I’ve seen enough films involving teens covering up an intentional or accidental murder. And that’s despite having enjoyed most of them, including Mean Creek, Bully, George Washington and even (though much, much less so) I Know What You Did Last Summer. Honestly, if this new domestic trailer for Paranoid Park didn’t mention all its prestigious claims, I probably wouldn’t be that compelled to see it. In fact, even if it simply mentioned that it was directed by Van Sant and featured one or more positive review blurbs, that wouldn’t be enough to sell me. Van Sant did direct such lame films as Finding Forrester and Even the Cowgirls Get the Blues, so he’s not a name that is completely synonymous with greatness. And this specific film has received enough negative reviews that critical acclaim is also not constant enough to attract my attention. (more…) Originally posted on:SpoutBlog
]]>Thu, 10 Jan 2008 17:00:39 GMTSpoutBlogSpoutBlog on spout.com1/10/2008 12:00:39 PM What if this movie were not directed by acclaimed filmmaker Gus Van Sant? What if it had not been honored with a special prize at last year’s Cannes Film Festival? What if it had not been an official selection of the Toronto and New York Film Festivals? What if it wasn’t nominated for three (Independent) Spirit Awards, including Best Picture, Best Director and Best Producer? What if Manohla Dargis didn’t consider it, “one of the most moving and delicately felt films of Gus Van Sant’s career”? Would Paranoid Park still seem that appealing? Not to me, but then I’ve seen enough films involving teens covering up an intentional or accidental murder. And that’s despite having enjoyed most of them, including Mean Creek, Bully, George Washington and even (though much, much less so) I Know What You Did Last Summer. Honestly, if this new domestic trailer for Paranoid Park didn’t mention all its prestigious claims, I probably wouldn’t be that compelled to see it. In fact, even if it simply mentioned that it was directed by Van Sant and featured one or more positive review blurbs, that wouldn’t be enough to sell me. Van Sant did direct such lame films as Finding Forrester and Even the Cowgirls Get the Blues, so he’s not a name that is completely synonymous with greatness. And this specific film has received enough negative reviews that critical acclaim is also not constant enough to attract my attention. (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/Mumblecore/What_are_your_favorite_Mumblecore_films/489/21065/1/ShowPost.aspx Post By: csprague
Post To: Mumblecore
Post Date: 10/22/2007 2:54:09 PM
Body: Just from looking at the Mumblecore map, I would have to say that I enjoyed Great World of Sound quite a bit. It was torn down and transparent, which I felt added to the overall realism and humor of the film. I also liked George Washington for a lot of the same reasons. When I watched it, I wouldn't have labeled it "mumblecore", but when I think more about it, the filmmaking reflects a lot of the same characteristics. Its interesting seeing how all of these films and directors are related. I would never have drawn the connection between HomestarRunner and George Washington:)So, what are your favorites?
]]>Mon, 22 Oct 2007 18:54:09 GMTcspragueMumblecore10/22/2007 2:54:09 PMJust from looking at the Mumblecore map, I would have to say that I enjoyed Great World of Sound quite a bit. It was torn down and transparent, which I felt added to the overall realism and humor of the film. I also liked George Washington for a lot of the same reasons. When I watched it, I wouldn't have labeled it "mumblecore", but when I think more about it, the filmmaking reflects a lot of the same characteristics. Its interesting seeing how all of these films and directors are related. I would never have drawn the connection between HomestarRunner and George Washington:)So, what are your favorites? http://www.spout.com/blogs/dibot/archive/2007/7/1/12800.aspx Post By: dibot
Post To: dibot Blog
Post Date: 7/1/2007 10:30:00 PM
Body: Ocean's 13 is the third in director Steven Soderbergh ("The Good German")'s heist series. It's better than the second film, but doesn't quite have the magic of the first. Everyone is very charming and handsome. But mostly I was only kind of interested in the story. However, Casey Affleck ("The Last Kiss")'s story line with the worker revolution was priceless. George Washington is the first movie from writer/director David Gordon Green ("Snow Angels"). The film is set in a rural Southern town populated with interesting people. The story focuses on a group of kids and a tragic accident. Voice over plays throughout the film and some of it is insightful. Some of it just weird. A couple of times I was surprised at what was happening. But some lines and scenes have stuck in my head all week. And that's a good thing. "I wish there were 200 of me." Flashdance was just different than I expected. I thought it was going to be entirely fluffy, but it was much more serious than I had anticipated. A story about a girl who is a welder by day and exotic dancer by night, but she really wants to take ballet. It's very, very 80s, the music, the clothes. I totally enjoyed it. Black Snake Moan is almost perfect. From the previews, I expected almost a soft core. But I got a story of two lost souls finding their way with the help of each other and the blues. Christina Ricci ("Penelope") is almost unrecognizable. Even her giant forehead is disguised. Both she and Samuel L. Jackson ("1408") are reminding the world that they can act, loosing themselves in their roles. I can't wait to see what writer/director Craig Brewer ("Hustle and Flow") has in store for us next. As far as recent horror movies go, 1408 is pretty good. The atmosphere and cinematography especially. Very creepy. And the set-up of John Cusack ("Grace is Gone") as a cynical ghost writer is very strong. But once the story gets Cusack in the titular room, I lost a bit of interest. It was just too much to happen in one hour. Samuel L. Jackson ("Black Snake Moan") was appropriately sinister. Good. But not great.
]]>Mon, 02 Jul 2007 02:30:00 GMTdibotdibot Blog7/1/2007 10:30:00 PMOcean's 13 is the third in director Steven Soderbergh ("The Good German")'s heist series. It's better than the second film, but doesn't quite have the magic of the first. Everyone is very charming and handsome. But mostly I was only kind of interested in the story. However, Casey Affleck ("The Last Kiss")'s story line with the worker revolution was priceless. George Washington is the first movie from writer/director David Gordon Green ("Snow Angels"). The film is set in a rural Southern town populated with interesting people. The story focuses on a group of kids and a tragic accident. Voice over plays throughout the film and some of it is insightful. Some of it just weird. A couple of times I was surprised at what was happening. But some lines and scenes have stuck in my head all week. And that's a good thing. "I wish there were 200 of me." Flashdance was just different than I expected. I thought it was going to be entirely fluffy, but it was much more serious than I had anticipated. A story about a girl who is a welder by day and exotic dancer by night, but she really wants to take ballet. It's very, very 80s, the music, the clothes. I totally enjoyed it. Black Snake Moan is almost perfect. From the previews, I expected almost a soft core. But I got a story of two lost souls finding their way with the help of each other and the blues. Christina Ricci ("Penelope") is almost unrecognizable. Even her giant forehead is disguised. Both she and Samuel L. Jackson ("1408") are reminding the world that they can act, loosing themselves in their roles. I can't wait to see what writer/director Craig Brewer ("Hustle and Flow") has in store for us next. As far as recent horror movies go, 1408 is pretty good. The atmosphere and cinematography especially. Very creepy. And the set-up of John Cusack ("Grace is Gone") as a cynical ghost writer is very strong. But once the story gets Cusack in the titular room, I lost a bit of interest. It was just too much to happen in one hour. Samuel L. Jackson ("Black Snake Moan") was appropriately sinister. Good. But not great. http://www.spout.com/blogs/analogzombie/archive/2007/6/24/11967.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 6/24/2007 4:28:00 PM
Body: With the recent release of David Gordon Green’s third feature film; Undertow, I revisited his first masterpiece of tone; George Washington, in an attempt to uncover the secret passion of this wunderkind. At first viewing George Washington may seem to be nothing more than a recent film school graduate’s pretentious debut. While it cannot be disputed that the film certainly languishes in the realm of pomposity at times (especially during the 6 minute pre-credit sequence) there is more going on here than simple experiments in emotion capturing. The film revolves around the exploits of a group of impoverished, southern kids over one summer. Anyone hailing from the South’s medium sized cities, as I do, will instantly recognize the decaying cityscapes presented in the film. This downtown, burned out palette is utilized by Green to create a sort of ethereal, unworldly realm for his characters to inhabit. It is this realm that is undeniably the star of the film. Green manages to romanticize a part of the South rarely seen. (Think of Gummo’s Xenia Ohio treated like the Savannah of Midnight in the Garden of Good and Evil.) The characters become an extension of this dreamy, deceased landscape, as if they too are merely passing the days like the rusting hulks that are slowly rotting into the earth of the abandoned rail yard. As the story grows it becomes apparent that our narrator, Nazia in the film, is not all knowing, or even understanding of the greater plot developing. This semi-knowledgeable narration serves to imbue the film with a sort of authenticity of character. This is not a wise overseer we are hearing, merely a 12 year old girl too obsessed with boys for her own good. This too, becomes an aspect of the landscape. Her words mingling with slow motion shots that give us a sort of detachment from the mounting action on screen. But perhaps detachment is rather harsh; a better word would be malaise. Like life in the south itself, the film settles into a gentle ebb and flow that we can ride to our own conclusions about its meaning. The story passes no real judgment on its characters. Instead it presents genuine positive and negative traits of them, leaving the decisions entirely to the audience. Even the most violent characters in the film are presented as human beings with flaws that make it hard to chastise them. And the indifference of some of the seemingly ‘noble and respectable’ characters forces us to reexamine any preconceived ideas about their role. In fact the only overwhelming emotion displayed by any character of consequence in the film is shown by our moral center, whose undenied loyalty to his friend, and turmoil with his decisions leads him to want for escape. Ultimately succeeding in the face of more personal tragedy, this character makes his exit on the most signature of Green’s symbols: a train.What Green has accomplished with George Washington is a film that captures the essence of the poor southern experience. It’s a life on the edge of reality, and entirely open to subjective analysis.
]]>Sun, 24 Jun 2007 20:28:00 GMTanalogzombieanalogzombie Blog6/24/2007 4:28:00 PMWith the recent release of David Gordon Green’s third feature film; Undertow, I revisited his first masterpiece of tone; George Washington, in an attempt to uncover the secret passion of this wunderkind. At first viewing George Washington may seem to be nothing more than a recent film school graduate’s pretentious debut. While it cannot be disputed that the film certainly languishes in the realm of pomposity at times (especially during the 6 minute pre-credit sequence) there is more going on here than simple experiments in emotion capturing. The film revolves around the exploits of a group of impoverished, southern kids over one summer. Anyone hailing from the South’s medium sized cities, as I do, will instantly recognize the decaying cityscapes presented in the film. This downtown, burned out palette is utilized by Green to create a sort of ethereal, unworldly realm for his characters to inhabit. It is this realm that is undeniably the star of the film. Green manages to romanticize a part of the South rarely seen. (Think of Gummo’s Xenia Ohio treated like the Savannah of Midnight in the Garden of Good and Evil.) The characters become an extension of this dreamy, deceased landscape, as if they too are merely passing the days like the rusting hulks that are slowly rotting into the earth of the abandoned rail yard. As the story grows it becomes apparent that our narrator, Nazia in the film, is not all knowing, or even understanding of the greater plot developing. This semi-knowledgeable narration serves to imbue the film with a sort of authenticity of character. This is not a wise overseer we are hearing, merely a 12 year old girl too obsessed with boys for her own good. This too, becomes an aspect of the landscape. Her words mingling with slow motion shots that give us a sort of detachment from the mounting action on screen. But perhaps detachment is rather harsh; a better word would be malaise. Like life in the south itself, the film settles into a gentle ebb and flow that we can ride to our own conclusions about its meaning. The story passes no real judgment on its characters. Instead it presents genuine positive and negative traits of them, leaving the decisions entirely to the audience. Even the most violent characters in the film are presented as human beings with flaws that make it hard to chastise them. And the indifference of some of the seemingly ‘noble and respectable’ characters forces us to reexamine any preconceived ideas about their role. In fact the only overwhelming emotion displayed by any character of consequence in the film is shown by our moral center, whose undenied loyalty to his friend, and turmoil with his decisions leads him to want for escape. Ultimately succeeding in the face of more personal tragedy, this character makes his exit on the most signature of Green’s symbols: a train.What Green has accomplished with George Washington is a film that captures the essence of the poor southern experience. It’s a life on the edge of reality, and entirely open to subjective analysis. http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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