list http://www.spout.com/ Recent community activity around Old School 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/Old_School/162543/default.aspx Title: Old School
Year: 2000
Plot: In this mock documentary, television journalist Christie (Fabienne Babe) and her camera crew trace the history and nefarious exploits of the new terrors of the French criminal underworld. The "Old School" Gang are four young men who grew up in the same orphanage; led by Letiole (Stephane Soo Mongo), they affect outlandish mid-'70s fashions and a retro-gangster/neo-blaxploitation persona as they rob, loot, and shoot their way through the seamy underbelly of Paris. Old School features a score by French hip-hop stars Joey Starr and DJ Spank. ~ Mark Deming, All Movie Guide
Number of blog posts: 2
]]>Thu, 29 Jan 2009 16:01:21 GMTOld School2000In this mock documentary, television journalist Christie (Fabienne Babe) and her camera crew trace the history and nefarious exploits of the new terrors of the French criminal underworld. The "Old School" Gang are four young men who grew up in the same orphanage; led by Letiole (Stephane Soo Mongo), they affect outlandish mid-'70s fashions and a retro-gangster/neo-blaxploitation persona as they rob, loot, and shoot their way through the seamy underbelly of Paris. Old School features a score by French hip-hop stars Joey Starr and DJ Spank. ~ Mark Deming, All Movie Guide2http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Old_School/162543/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/29/40057.aspxPost By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/29/2009 11:01:21 AM
Body: There is a good reason Hollywood continually makes Animal House wannabes and avoids producing films that actually focus on academia. Kids prefer their college movies to be about the fun stuff. And so a movie like Old School grossed $75 million while another Luke Wilson comedy called Tenure currently lacks a distributor. The latter film may also be hilarious, as a satire of the tenure process, but if it doesn’t concentrate more on beer bongs and naked co-eds, it won’t attract as big an audience. And according to some scholars, it may not even resonate with them, because it couldn’t possibly be what the process is really like. Film blogger and associate professor Chuck Tryon was quoted about the film last year as saying, “my ongoing pursuit of tenure typically involves me sitting in front of my laptop until 1 a.m., I don’t know how interesting that would be to watch.” And evident by the scathing reviews from Sundance of John Krasinski’s Brief Interviews With Hideous Men, it appears another film about academia has failed to make a strong case for the subject matter. Too bad for the late David Foster Wallace, whose stories were adapted for the film, that Gus Van Sant wasn’t at the helm. A decade ago, in an interview with Van Sant, Wallace pretty much gushed that Good Will Hunting is the most accurate film about academia ever made. Do we agree with him? Let’s just say there’s not a whole lot of competition for such an honor. But in our attempt to recognize the ten best films about academia, Good Will Hunting doesn’t quite make the top spot. 9. (tie) Elegy (2005) and The Human Stain (2003) Neither of these films is especially great, but it would be criminal for us not to recognize the work of Philip Roth, an author who depicts the academic world perfectly in his novels, particularly The Dying Animal (which is the basis for Elegy) and The Human Stain. The adaptations of these two books fail to capture much of what’s on the page, but each film has its own merit. Elegy, which primarily deals with an affair between a professor (Ben Kingsley) and a student (Penelope Cruz), is worth seeing for the more interesting relationship between that professor and his Pulitzer Prize-winning friend (Dennis Hopper). Rarely is fraternity between two members of the academic intelligentsia portrayed so enjoyably. As for The Human Stain, which also involves a professor (Anthony Hopkins) and his affair with a younger woman (Nicole Kidman), the film deals primarily with the issue of political correctness within academia. The topic is addressed nowhere near as well as it is in Roth’s novel, but it is at least a starting point for discussion, and it’s also worth seeing for an example in how not to cast a movie. 8. Soul Man (1986) If we are to include The Human Stain, it’s just as well we acknowledge this earlier comedy, which also involves ironic situations regarding race and academia. Hardly a brilliant movie, Soul Man is at least as humorous in its examination of racism as the Harold and Kumar movies. Yet it is far less esteemed. And the whole black face thing can no longer be looked down upon now that Robert Downey Jr. has that Oscar nomination for Tropic Thunder. The movie is a worthy lampoon of the politics of affirmative action and their affect on college admissions (as well as an obvious and general look at racism within the student population), but it’s especially entertaining for James Earl Jones as a professor who refuses to favor the masquerading protagonist (C. Thomas Howell) just because he’s black. 7. Back to School (1986) While Soul Man deals with the benefit of being a minority when it comes to getting into college, this film from the same year deals with the benefit of being rich. The idea that anyone with enough money can get into the school of his or her choice is depicted comically in a two-scene setup. In the first scene, a university dean (Ned Beatty) asks millionaire entrepreneur Thornton Mellon (Rodney Dangerfield) how he could possibly admit him as a student when he has no high school degree, no transcripts and no SAT scores. The movie then cuts to the punch-line scene, in which the dean and Mellon are celebrating the groundbreaking of a new business school for the university, named after Mellon, of course. Another favorite jab at academia is with the famous cameo by Kurt Vonnegut Jr., who is hired by Mellon to write a paper about his own work. The paper earns a failing grade. 6. Wet Hot American Summer (2001) You’re probably wondering how a comedy set at a summer camp could possibly be about academia. Well, it’s not specifically about academia, but it does feature a subplot involving a science professor (David Hyde Pierce) that does poke fun of the concept of tenure. This was pointed out by Elaine Showalter, an English professor at Princeton and author of the book Faculty Towers: The Academic Novel and Its Discontents, so you have to accept that it fits the list. Sure, she’s the mother of WHAS star and screenwriter Michael Showalter, but that shouldn’t take away from her observation. 5. The Paper Chase (1973) This film features a plot that could very well lend itself to the other kind of college film, but it focuses its attention on the classroom and the relationship between student and professor rather than the dorm room and social affairs. Of course, the student protagonist (Timothy Bottoms) is getting some action, but it is with the daughter (Lindsay Wagner) of the professorial antagonist (John Houseman, who won an Oscar for the performance), and so even the sex stuff is part of the politics of academia. The best scene is at the end, when Bottoms’ character gives the finger to higher education by not even bothering to look at his final grades. If only the audience was also left unaware of his marks, as the original novel leaves that revelation out. 4. Good Will Hunting (1997) David Foster Wallace may have considered this film to be the best film about academia when he discussed it with Gus Van Sant in 1998, but since that time there have been two more poignant films to deal with the subject. Plus, it never was the best film on academia to begin with. So, as much as he’s right to celebrate the film and in particular the portrayal of Stellan Skarsgard’s character and the issue of professors wanting their students to be brilliant, but not too brilliant, there are three more titles to go. 3. Wonder Boys (2000) Based on Michael Chabon’s novel of the same name, Curstin Hanson’s film cinematically captures the atmosphere of academia as well as Philip Roth does on the page (perhaps Hanson should adapt Roth?). However, one issue with this atmosphere may be that the relationships and characters, though written and portrayed wonderfully, are rather common for such a story. Also, why not change things a bit and have the main character be a film teacher rather than a creative writing teacher, which an overused profession in these kinds of movies. The switch would be more appropriate for the medium, too. Aside from these minor criticisms, though, we can barely take a red pen to this film. It’s terrific. 2. The Rules of Attraction (2002) Probably the most cynical look at higher education ever filmed, Roger Avary’s highly underrated adaptation of Bret Easton Ellis’ novel shows us just enough of the classroom and professors (i.e. canceled classes and a single professor who accepts sexual bribes) to let us understand that the joke is in how little of that side of academia is actually necessary to a film like this. In that way it kind of does for college what Heathers does for high school. Neither film is a teen sex comedy in the fashion of most high school and college movies. And neither is a satire of education institutions in the way most of the other films on this list are. Rather, they’re mockeries of the whole education system, but only in that they each consider their respective system to be already a mockery of itself. 1. Horse Feathers (1932) Nobody mocks and satirizes better than the Marx Brothers, and in this film they bring their anarchic shenanigans and brilliant puns to the world of academia. At its core is the basic college sports story, but it’s also one of the first films (if not the first film) to deal with the concept of buying students/players. In addition to lampooning that practice, Horse Feathers makes fun of intellectual gatherings and talk, the influence of trustees and nearly every other aspect of scholarship and higher education you can think of, all in the opening scene. After more than 75 years, it’s still the funniest college movie and the greatest film about academia there is. Originally posted on:SpoutBlog
]]>Thu, 29 Jan 2009 16:01:21 GMTSpoutBlogSpoutBlog on spout.com1/29/2009 11:01:21 AMThere is a good reason Hollywood continually makes Animal House wannabes and avoids producing films that actually focus on academia. Kids prefer their college movies to be about the fun stuff. And so a movie like Old School grossed $75 million while another Luke Wilson comedy called Tenure currently lacks a distributor. The latter film may also be hilarious, as a satire of the tenure process, but if it doesn’t concentrate more on beer bongs and naked co-eds, it won’t attract as big an audience. And according to some scholars, it may not even resonate with them, because it couldn’t possibly be what the process is really like. Film blogger and associate professor Chuck Tryon was quoted about the film last year as saying, “my ongoing pursuit of tenure typically involves me sitting in front of my laptop until 1 a.m., I don’t know how interesting that would be to watch.” And evident by the scathing reviews from Sundance of John Krasinski’s Brief Interviews With Hideous Men, it appears another film about academia has failed to make a strong case for the subject matter. Too bad for the late David Foster Wallace, whose stories were adapted for the film, that Gus Van Sant wasn’t at the helm. A decade ago, in an interview with Van Sant, Wallace pretty much gushed that Good Will Hunting is the most accurate film about academia ever made. Do we agree with him? Let’s just say there’s not a whole lot of competition for such an honor. But in our attempt to recognize the ten best films about academia, Good Will Hunting doesn’t quite make the top spot. 9. (tie) Elegy (2005) and The Human Stain (2003) Neither of these films is especially great, but it would be criminal for us not to recognize the work of Philip Roth, an author who depicts the academic world perfectly in his novels, particularly The Dying Animal (which is the basis for Elegy) and The Human Stain. The adaptations of these two books fail to capture much of what’s on the page, but each film has its own merit. Elegy, which primarily deals with an affair between a professor (Ben Kingsley) and a student (Penelope Cruz), is worth seeing for the more interesting relationship between that professor and his Pulitzer Prize-winning friend (Dennis Hopper). Rarely is fraternity between two members of the academic intelligentsia portrayed so enjoyably. As for The Human Stain, which also involves a professor (Anthony Hopkins) and his affair with a younger woman (Nicole Kidman), the film deals primarily with the issue of political correctness within academia. The topic is addressed nowhere near as well as it is in Roth’s novel, but it is at least a starting point for discussion, and it’s also worth seeing for an example in how not to cast a movie. 8. Soul Man (1986) If we are to include The Human Stain, it’s just as well we acknowledge this earlier comedy, which also involves ironic situations regarding race and academia. Hardly a brilliant movie, Soul Man is at least as humorous in its examination of racism as the Harold and Kumar movies. Yet it is far less esteemed. And the whole black face thing can no longer be looked down upon now that Robert Downey Jr. has that Oscar nomination for Tropic Thunder. The movie is a worthy lampoon of the politics of affirmative action and their affect on college admissions (as well as an obvious and general look at racism within the student population), but it’s especially entertaining for James Earl Jones as a professor who refuses to favor the masquerading protagonist (C. Thomas Howell) just because he’s black. 7. Back to School (1986) While Soul Man deals with the benefit of being a minority when it comes to getting into college, this film from the same year deals with the benefit of being rich. The idea that anyone with enough money can get into the school of his or her choice is depicted comically in a two-scene setup. In the first scene, a university dean (Ned Beatty) asks millionaire entrepreneur Thornton Mellon (Rodney Dangerfield) how he could possibly admit him as a student when he has no high school degree, no transcripts and no SAT scores. The movie then cuts to the punch-line scene, in which the dean and Mellon are celebrating the groundbreaking of a new business school for the university, named after Mellon, of course. Another favorite jab at academia is with the famous cameo by Kurt Vonnegut Jr., who is hired by Mellon to write a paper about his own work. The paper earns a failing grade. 6. Wet Hot American Summer (2001) You’re probably wondering how a comedy set at a summer camp could possibly be about academia. Well, it’s not specifically about academia, but it does feature a subplot involving a science professor (David Hyde Pierce) that does poke fun of the concept of tenure. This was pointed out by Elaine Showalter, an English professor at Princeton and author of the book Faculty Towers: The Academic Novel and Its Discontents, so you have to accept that it fits the list. Sure, she’s the mother of WHAS star and screenwriter Michael Showalter, but that shouldn’t take away from her observation. 5. The Paper Chase (1973) This film features a plot that could very well lend itself to the other kind of college film, but it focuses its attention on the classroom and the relationship between student and professor rather than the dorm room and social affairs. Of course, the student protagonist (Timothy Bottoms) is getting some action, but it is with the daughter (Lindsay Wagner) of the professorial antagonist (John Houseman, who won an Oscar for the performance), and so even the sex stuff is part of the politics of academia. The best scene is at the end, when Bottoms’ character gives the finger to higher education by not even bothering to look at his final grades. If only the audience was also left unaware of his marks, as the original novel leaves that revelation out. 4. Good Will Hunting (1997) David Foster Wallace may have considered this film to be the best film about academia when he discussed it with Gus Van Sant in 1998, but since that time there have been two more poignant films to deal with the subject. Plus, it never was the best film on academia to begin with. So, as much as he’s right to celebrate the film and in particular the portrayal of Stellan Skarsgard’s character and the issue of professors wanting their students to be brilliant, but not too brilliant, there are three more titles to go. 3. Wonder Boys (2000) Based on Michael Chabon’s novel of the same name, Curstin Hanson’s film cinematically captures the atmosphere of academia as well as Philip Roth does on the page (perhaps Hanson should adapt Roth?). However, one issue with this atmosphere may be that the relationships and characters, though written and portrayed wonderfully, are rather common for such a story. Also, why not change things a bit and have the main character be a film teacher rather than a creative writing teacher, which an overused profession in these kinds of movies. The switch would be more appropriate for the medium, too. Aside from these minor criticisms, though, we can barely take a red pen to this film. It’s terrific. 2. The Rules of Attraction (2002) Probably the most cynical look at higher education ever filmed, Roger Avary’s highly underrated adaptation of Bret Easton Ellis’ novel shows us just enough of the classroom and professors (i.e. canceled classes and a single professor who accepts sexual bribes) to let us understand that the joke is in how little of that side of academia is actually necessary to a film like this. In that way it kind of does for college what Heathers does for high school. Neither film is a teen sex comedy in the fashion of most high school and college movies. And neither is a satire of education institutions in the way most of the other films on this list are. Rather, they’re mockeries of the whole education system, but only in that they each consider their respective system to be already a mockery of itself. 1. Horse Feathers (1932) Nobody mocks and satirizes better than the Marx Brothers, and in this film they bring their anarchic shenanigans and brilliant puns to the world of academia. At its core is the basic college sports story, but it’s also one of the first films (if not the first film) to deal with the concept of buying students/players. In addition to lampooning that practice, Horse Feathers makes fun of intellectual gatherings and talk, the influence of trustees and nearly every other aspect of scholarship and higher education you can think of, all in the opening scene. After more than 75 years, it’s still the funniest college movie and the greatest film about academia there is. Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/11/30/37770.aspxPost By: usesoap
Post To: usesoap Blog
Post Date: 11/30/2008 8:19:41 PM
Body: Someone should alert that bloviating Bill O'Reilly that, between this film and last year's "Fred Claus," Vince Vaughn is launching his own one-man attack on Christmas. In "Four Christmases" he stars as Brad, a self-involved yuppie who marks the holiday by lying to his family about helping the underprivileged so that he and his live-in girlfriend Kate (played by Reese Witherspoon) can jet off to a tropical paradise. When a dense fog blankets the airport, their cancelled flight leads them into the homes and hearths of their various families. It follows the standard "Meet the Parents" formula, as their numerous familial oddities are trotted out and past skeletons unearthed, much to the cutesy couple's dismay. Each scenario is less amusing than the last. And, as Robert DeNiro demonstrated in the above-mentioned film, “Christmases” is quick to populate former serious actors in the wacky parents' roles (Look, it's Robert Duvall as a beer-swiggin' redneck! Sissy Spacek as a new-age hippie, Mary Steenburgen as a Jesus freak!) As we are forced to travel with them, countless questions arise (beyond the typical "how did this film get greenlit?" "who's this hard up for cash to accept a paycheck for this."). 1) Just how close do these families live to each other? Seriously, this is Jack Bauer territory, for only "24's" super-agent is capable of accomplishing so much in the course of a day. By the film's end, the two have sat through several holiday meals, installed a satellite dish on a roof, rehearsed and performed in a nativity play, stroll down memory lane with various family members, wash and dry clothes vomit-stained clothes, swear off children, want to have children, break up and make up (and please don't give me grief for ruining the end, you know exactly what you're getting in a film like this. 2) If they are skilled enough at lying to learn the Burmese saying for “Merry Christmas,” they certainly could have come up with a whopper to save them the time with certain members of the family, couldn't they? Brad's family alone has to be the most obnoxious clan of mouth-breathers (with Duval as his cruel, selfish dad and Jon Favreau and Tim McGraw as his loutish siblings), that any woman with half a brain would be hitchhiking her way back to San Fran. The film never gives us a sense that there is anything but contempt from any part of this clan. 3) After stridently defending their relationship at the beginning of the film, why change what ain't broke? Seriously, if they were content in their own little hermetically sealed relationship, there is little provided in this film for a persuasive argument to the testament of marriage and family? Just what happens with Kate when one minute the mere mention of children curls her lips as though she just sucked a lemon, to suddenly longing to have a child herself. Was it the scene when she's asked to look for poop in a diaper? Or perhaps it was the stench of curdled breast milk her little nephew spews on her. Either way, the transition was not once believable. 4) Just how large was that crafts services table to keep Vaughn happy? OK, I realize that this one is just plain mean, but really, he does not look healthy, resembling an older brother of Kevin (“King of Queens”) James with perhaps a chain-smoking problem. Vaughn does his shtick that has carried him through many a film, firing off lines as though it was an Olympic event. And while that works in more zany or sophisticated comedies (like “Old School” and “Swingers,” respectively), he's out of his element in sweet romantic comedies. His aggressive banter worked much better in "The Break-Up"," where he played a total ass in what can only be described as an anti-romantic comedy. Witherspoon is a non- entity here, in a role that any number of blondes could have filled. The sass so professionally shown in "Election," Legally Blonde and Walk the Line is tucked behind her perky Jennifer Anniston haircut. So, fruitcake, take a breather, you're about to be replaced. That oft-chided holiday gift tradition that is so spurned by recipients now has a cinematic substitute . The "Four Christmases" DVD should in the coming years be the one item recipients are loathe to get.
]]>Mon, 01 Dec 2008 01:19:41 GMTusesoapusesoap Blog11/30/2008 8:19:41 PMSomeone should alert that bloviating Bill O'Reilly that, between this film and last year's "Fred Claus," Vince Vaughn is launching his own one-man attack on Christmas. In "Four Christmases" he stars as Brad, a self-involved yuppie who marks the holiday by lying to his family about helping the underprivileged so that he and his live-in girlfriend Kate (played by Reese Witherspoon) can jet off to a tropical paradise. When a dense fog blankets the airport, their cancelled flight leads them into the homes and hearths of their various families. It follows the standard "Meet the Parents" formula, as their numerous familial oddities are trotted out and past skeletons unearthed, much to the cutesy couple's dismay. Each scenario is less amusing than the last. And, as Robert DeNiro demonstrated in the above-mentioned film, “Christmases” is quick to populate former serious actors in the wacky parents' roles (Look, it's Robert Duvall as a beer-swiggin' redneck! Sissy Spacek as a new-age hippie, Mary Steenburgen as a Jesus freak!) As we are forced to travel with them, countless questions arise (beyond the typical "how did this film get greenlit?" "who's this hard up for cash to accept a paycheck for this."). 1) Just how close do these families live to each other? Seriously, this is Jack Bauer territory, for only "24's" super-agent is capable of accomplishing so much in the course of a day. By the film's end, the two have sat through several holiday meals, installed a satellite dish on a roof, rehearsed and performed in a nativity play, stroll down memory lane with various family members, wash and dry clothes vomit-stained clothes, swear off children, want to have children, break up and make up (and please don't give me grief for ruining the end, you know exactly what you're getting in a film like this. 2) If they are skilled enough at lying to learn the Burmese saying for “Merry Christmas,” they certainly could have come up with a whopper to save them the time with certain members of the family, couldn't they? Brad's family alone has to be the most obnoxious clan of mouth-breathers (with Duval as his cruel, selfish dad and Jon Favreau and Tim McGraw as his loutish siblings), that any woman with half a brain would be hitchhiking her way back to San Fran. The film never gives us a sense that there is anything but contempt from any part of this clan. 3) After stridently defending their relationship at the beginning of the film, why change what ain't broke? Seriously, if they were content in their own little hermetically sealed relationship, there is little provided in this film for a persuasive argument to the testament of marriage and family? Just what happens with Kate when one minute the mere mention of children curls her lips as though she just sucked a lemon, to suddenly longing to have a child herself. Was it the scene when she's asked to look for poop in a diaper? Or perhaps it was the stench of curdled breast milk her little nephew spews on her. Either way, the transition was not once believable. 4) Just how large was that crafts services table to keep Vaughn happy? OK, I realize that this one is just plain mean, but really, he does not look healthy, resembling an older brother of Kevin (“King of Queens”) James with perhaps a chain-smoking problem. Vaughn does his shtick that has carried him through many a film, firing off lines as though it was an Olympic event. And while that works in more zany or sophisticated comedies (like “Old School” and “Swingers,” respectively), he's out of his element in sweet romantic comedies. His aggressive banter worked much better in "The Break-Up"," where he played a total ass in what can only be described as an anti-romantic comedy. Witherspoon is a non- entity here, in a role that any number of blondes could have filled. The sass so professionally shown in "Election," Legally Blonde and Walk the Line is tucked behind her perky Jennifer Anniston haircut. So, fruitcake, take a breather, you're about to be replaced. That oft-chided holiday gift tradition that is so spurned by recipients now has a cinematic substitute . The "Four Christmases" DVD should in the coming years be the one item recipients are loathe to get.