list http://www.spout.com/ Recent community activity around Hudson Hawk 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/Hudson_Hawk/16264/default.aspx Title: Hudson Hawk
Year: 1991
Director: Michael Lehmann
Plot: Michael Lehmann directed this post-modernist hash of To Catch a Thief and The Naked Gun starring Bruce Willis as Hudson Hawk, a cat burglar who wants to go straight, but the circumstances won't allow it. The story begins in a pre-credit sequence that takes place in the renaissance. Leonardo Da Vinci (Stefano Molinari) is rushing through his Mona Lisa painting to work on his latest invention -- a machine to turn lead into bronze. But Da Vinci makes a mistake and, instead of bronze, the machine turns the lead into gold. Realizing the danger of his invention if the contraption gets into the wrong hands, he hides three parts of the apparatus inside three of his other works. Four hundred years later, Hudson Hawk, the world's greatest cat burglar, is being released from jail after pulling a ten-year stretch. He wants to retire from the profession of cat burglary and drink some cappuccino, but two screwball billionaires -- Darwin and Minerva Mayflower (Richard E. Grant and Sandra Bernhard) -- won't let him. Their nefarious plot is to steal the three Da Vinci works, restore Da Vinci's gold-making machine, and destroy the world's monetary system. They blackmail Hawks into working with them to steal the Da Vincis by threatening the life of Hawks's pal Tommy Five-Tone (Danny Aiello). Along with the power-mad billionaires, Hawks has to deal with the CIA, in the person of George Kaplan (James Coburn), breathing down his neck. He also has Vatican art restorer Anna Baragli (Andie MacDowell) falling for his smirk. ~ Paul Brenner, All Movie Guide
Times Tagged: 4
Number of Lists: 15
Number of blog posts: 2
Number of discussion threads: 1
SpoutRating: 2
]]>Wed, 15 Jul 2009 07:49:09 GMTHudson Hawk1991Michael Lehmann<a href="/players/P____99237/default.aspx" style='text-decoration:underline'>Michael Lehmann</a> directed this post-modernist hash of <a href=/films/35268/default.aspx style='text-decoration:underline'>To Catch a Thief</a> and <a href=/films/42209/default.aspx style='text-decoration:underline'>The Naked Gun</a> starring <a href="/players/P____76618/default.aspx" style='text-decoration:underline'>Bruce Willis</a> as Hudson Hawk, a cat burglar who wants to go straight, but the circumstances won't allow it. The story begins in a pre-credit sequence that takes place in the renaissance. Leonardo Da Vinci (Stefano Molinari) is rushing through his Mona Lisa painting to work on his latest invention -- a machine to turn lead into bronze. But Da Vinci makes a mistake and, instead of bronze, the machine turns the lead into gold. Realizing the danger of his invention if the contraption gets into the wrong hands, he hides three parts of the apparatus inside three of his other works. Four hundred years later, Hudson Hawk, the world's greatest cat burglar, is being released from jail after pulling a ten-year stretch. He wants to retire from the profession of cat burglary and drink some cappuccino, but two screwball billionaires -- Darwin and Minerva Mayflower (Richard E. Grant and <a href="/players/P____81634/default.aspx" style='text-decoration:underline'>Sandra Bernhard</a>) -- won't let him. Their nefarious plot is to steal the three Da Vinci works, restore Da Vinci's gold-making machine, and destroy the world's monetary system. They blackmail Hawks into working with them to steal the Da Vincis by threatening the life of Hawks's pal Tommy Five-Tone (<a href="/players/P______421/default.aspx" style='text-decoration:underline'>Danny Aiello</a>). Along with the power-mad billionaires, Hawks has to deal with the CIA, in the person of George Kaplan (<a href="/players/P___195536/default.aspx" style='text-decoration:underline'>James Coburn</a>), breathing down his neck. He also has Vatican art restorer Anna Baragli (<a href="/players/P____44167/default.aspx" style='text-decoration:underline'>Andie MacDowell</a>) falling for his smirk. ~ Paul Brenner, All Movie Guide4Slightly Tagged (1-5)15212http://www.spout.com/ProductImages/u46215q3mja.jpghttp://www.spout.com/films/Hudson_Hawk/16264/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/1/7/39215.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/7/2009 4:01:52 PM
Body: Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 07 Jan 2009 21:01:52 GMTKarinaKarina on SpoutBlog1/7/2009 4:01:52 PM Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/7/39213.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/7/2009 4:01:36 PM
Body: Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog
]]>Wed, 07 Jan 2009 21:01:36 GMTSpoutBlogSpoutBlog on spout.com1/7/2009 4:01:36 PM Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog http://www.spout.com/groups/Totally_Over_rated/Re_Your_overrated_list/170/4060/1/ShowPost.aspx Post By: Risselada
Post To: Totally Over-rated
Post Date: 12/6/2006 12:22:12 PM
Body: [quote user="Rock"][quote user="Risselada"] I Am Sam - WOW...why was this on your list?Shrek - Must not like animated movies?Selena - Didn't like J-Lo doing the film? I thought it was a great biopic on her life.Million Dollar Baby - GREAT FILM. What didn't you like?The Wedding Singer - Good film. But not sure that it was hyped to begin withMeet The Parents - Good film. Hilarious sceens. again I'm not sure there was alot of hype to begin withTrue Lies - Personally my favorite film of both Arnolds. I thought both Arnolds interacted well together. I'd like to see a return of those charactersBad Boys II - While it was a decent film. I too didn't think it lived up to the original filmToy Story - I really think you don't like animated moviesThe Whole Nine Yards - Great film. Almost as good as the Hudson HawkMen In Black II - I thought it was a worthy sequelThe Truman Show - I believe that film showcased Jim Carrey's best acting abilitiesLiar Liar - Again, Jim Carrey's best acting but in a comedic role. I thought it was his best comedy.Fahrenheit 9/11 - I soo dislike Michael Moore.Meet the Fockers - Funny film. Field of Dreams - You must not be a dreamerAlien Vs. Predator - They must continue this series. I loved it.Gladiator - WHY is this on your list?[/quote] [/quote] A lot of these I don't like because they are what I usuaully call manipulative. I am watching them and I can feel the filmmakers trying their hardest to make me feel a certain emotion. Sometimes they succeed. However if I can feel them doing it, then it seems false. It seems like it's a trick and there's no reason for it. I Am Sam is probably at the top because I give it the worst rating possible. Let's get some sweet innocent mentally challenged people, a precocious, lovable child, people that want to fight for a cause against those darned courts. And of course lots of Beatles music. Who the hell doesn't love the Beatles? When you look at the cirumstances of the movie it's so untrue. Things never could or ever would happen the way they ever do in that film. But they put you in the most emotionally reactive situations possible. Why? As an exercise? Weird that you mentioned Hudson Hawk. I've never seen it, but my impression was that it was in the same category as Ishtar and Waterworld as movies that had a lot of hype and budget to them, but then totally tanked.
]]>Wed, 06 Dec 2006 17:22:12 GMTRisseladaTotally Over-rated12/6/2006 12:22:12 PM[quote user="Rock"][quote user="Risselada"] I Am Sam - WOW...why was this on your list?Shrek - Must not like animated movies?Selena - Didn't like J-Lo doing the film? I thought it was a great biopic on her life.Million Dollar Baby - GREAT FILM. What didn't you like?The Wedding Singer - Good film. But not sure that it was hyped to begin withMeet The Parents - Good film. Hilarious sceens. again I'm not sure there was alot of hype to begin withTrue Lies - Personally my favorite film of both Arnolds. I thought both Arnolds interacted well together. I'd like to see a return of those charactersBad Boys II - While it was a decent film. I too didn't think it lived up to the original filmToy Story - I really think you don't like animated moviesThe Whole Nine Yards - Great film. Almost as good as the Hudson HawkMen In Black II - I thought it was a worthy sequelThe Truman Show - I believe that film showcased Jim Carrey's best acting abilitiesLiar Liar - Again, Jim Carrey's best acting but in a comedic role. I thought it was his best comedy.Fahrenheit 9/11 - I soo dislike Michael Moore.Meet the Fockers - Funny film. Field of Dreams - You must not be a dreamerAlien Vs. Predator - They must continue this series. I loved it.Gladiator - WHY is this on your list?[/quote] [/quote] A lot of these I don't like because they are what I usuaully call manipulative. I am watching them and I can feel the filmmakers trying their hardest to make me feel a certain emotion. Sometimes they succeed. However if I can feel them doing it, then it seems false. It seems like it's a trick and there's no reason for it. I Am Sam is probably at the top because I give it the worst rating possible. Let's get some sweet innocent mentally challenged people, a precocious, lovable child, people that want to fight for a cause against those darned courts. And of course lots of Beatles music. Who the hell doesn't love the Beatles? When you look at the cirumstances of the movie it's so untrue. Things never could or ever would happen the way they ever do in that film. But they put you in the most emotionally reactive situations possible. Why? As an exercise? Weird that you mentioned Hudson Hawk. I've never seen it, but my impression was that it was in the same category as Ishtar and Waterworld as movies that had a lot of hype and budget to them, but then totally tanked. http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
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