Indiana Jones and the Last Crusade's Recent Activity

list Indiana Jones and the Last Crusade's Recent Activity - Spout http://www.spout.com/ Recent community activity around Indiana Jones and the Last Crusade on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg Indiana Jones and the Last Crusade's Recent Activity - Spout http://www.spout.com/ 136 30 Film:Indiana Jones and the Last Crusade http://www.spout.com/films/Indiana_Jones_and_the_Last_Crusade/17012/default.aspx

Title: Indiana Jones and the Last Crusade
Year: 1989
Director: Steven Spielberg
Plot: The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, All Movie Guide
Times Tagged: 54
Number of Lists: 112
Number of blog posts: 12
Number of discussion threads: 3
SpoutRating: 4
]]>Thu, 16 Jul 2009 07:04:07 GMTIndiana Jones and the Last Crusade1989Steven SpielbergThe third installment in the widely beloved Spielberg/Lucas <a href=/films/114405/default.aspx style='text-decoration:underline'>Indiana Jones</a> saga begins with an introduction to a younger Indy (played by the late <a href="/players/P____56631/default.aspx" style='text-decoration:underline'>River Phoenix</a>), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (<a href="/players/P____24238/default.aspx" style='text-decoration:underline'>Harrison Ford</a>) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (<a href="/players/P____27282/default.aspx" style='text-decoration:underline'>Julian Glover</a>) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (<a href="/players/P____10646/default.aspx" style='text-decoration:underline'>Sean Connery</a>) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (<a href="/players/P____19683/default.aspx" style='text-decoration:underline'>Alison Doody</a>), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, All Movie Guide54Tag Target (>10)1121234http://www.spout.com/ProductImages/v75680zdh7b.jpghttp://www.spout.com/films/Indiana_Jones_and_the_Last_Crusade/17012/default.aspxFilm Spout Post: 5 Actors Who Shamefully Returned to Film Franchises http://www.spout.com/blogs/spoutblog/archive/2009/3/26/41266.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/26/2009 10:01:24 AM
Body: Next week, Vin Diesel returns (along with Paul Walker, Michelle Rodriguez and Jordanna Brewster) to the Fast and the Furious franchise, which he’d abandoned after the first movie (he did have a cameo in part 3). When news first hit that he’d be reprising the role of Dominic Toretto for the fourth installment, simply titled Fast & Furious, most of us saw the actor as returning under a veil of shame. Because he initially departed the series with an inflated ego — and with it unrealistic salary demands — it does seem obvious that Diesel is now only desperately crawling back because his career failed to take off the way he’d hoped it would. This is quite sad considering not even Steve Guttenberg ever crawled back to the Police Academy movies, nor did Burt Reynolds ever get dragged back for a fourth Smokey and the Bandit. But there have been other shameful returns by stars to franchises they’d previously sat out of (whether the hiatus was of their own choosing or not). Only one of these may have been as desperate as Diesel now appears, but it’s worth looking at four additional actors and actresses who should be very embarrassed of their delayed reprisals. Karen Allen Returned to: Indiana Jones franchise with Indiana Jones and the Kingdom of the Crystal Skull (2008) Karen Allen’s absence from Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade after playing the female lead in Raiders of the Lost Ark was not because she believed herself above those sequels. Her character, Marion Ravenwood, simply wasn’t written into them. And her return to the series was surely not because her career needed a boost. Her relative disappearance from films after 1990 was actually for personal reasons (she wanted to devote time to raising her son), not necessarily because she could no longer garner significant roles. So why is she on this list? Because even though it must have been quite tempting to again work with Steven Spielberg and Harrison Ford, especially in a role that is beloved by fans, she should have had a little more reserve, because she ended up looking like an easily employed, easily exploited actress. At least she didn’t have to swing through trees, and at least she didn’t receive the brunt of criticism with the film, but the latter fortune is also mostly because she’s given so little to do in the movie. Her participation in the film is largely forgettable, yet her association with the film is not. Instead of bothering with this very disappointing sequel, Allen should have held out for the more necessary Starman follow-up (continuing from where the TV series left off, of course). Sean Connery Returned to: James Bond franchise with Never Say Never Again (1983) Officially, it wasn’t exactly the James Bond franchise, because Never Say Never Again wasn’t made by EON Productions, though this clarification makes Sean Connery’s return to the role of 007 even more shameful. After Diamonds Are Forever, which had already marked his first delayed return as Bond (after the quick interruption of George Lazenby in the part with On Her Majesty’s Secret Service), the actor claimed he’d never return to the role he’d originated onscreen (this led to the film’s title), but obviously he was offered enough money to not only reprise the character but also to slap EON’s Albert Broccoli and Harry Saltzman in the face by agreeing to appear in an unofficial installment initially meant to directly compete head to head with EON’s own Octopussy, which starred Roger Moore as Bond. In agreeing to the film, Connery cemented his reputation for questionable career choices, most clearly influenced by big paychecks. Though he’d previously been enticed by huge offers, including the astonishing $2 million he demanded to come back to Bond for Diamonds, this time he showed a great lack of concern for fans of the Bond franchise through his apparent greediness. Given his love for big money, it’s surprising that he never sold himself out of retirement for Indiana Jones and the Kingdom of the Crystal Skull. Maybe his asking price has just gotten so out of hand that even Lucas and Spielberg couldn’t afford him. Lorraine Gary Returned to: Jaws franchise with Jaws: The Revenge (1987) She hadn’t been onscreen in eight years, but Lorraine Gary’s absence from films following her appearance in Spielberg’s 1941 was reportedly her choice. Certainly with a husband as powerful as Sid Sheinberg (President of MCA, Inc. for more than 30 years), she didn’t really need to work, and yet for some odd reason she came out of retirement to reprise her role as Ellen Brody for the dreadful fourth installment of Jaws. According to a press release for the movie, Gary claims she was drawn to the script because of how well it explored her character, which deserved more development than Jaws and Jaws II had allowed for. Gary has also admitted that she was partly lured back with the appeal of playing opposite Michael Caine, romantically. But again, with a husband as powerful as Sheinberg, she probably could have been given a better film with which to come back and with which to make out with Caine. Now, she’s unfortunately more memorable for having starred in Jaws: The Revenge than for originating the role in the first film. Gene Hackman Returned to: Superman franchise with Superman IV: The Quest for Peace (1987) Somewhat like Connery (his A Bridge Too Far costar), Gene Hackman ended up returning to a character thanks to a change in producers. He abandoned the Superman franchise after the first film — though he’d shot some scenes for Superman II, so he does appear in the sequel — because Alexander and Ilya Salkind fired Richard Donner as the director of the second installment. So, when new producers Menahem Golan and Yoram Globus took over the series, Hackman was fine with reprising his portrayal of Lex Luthor. Surely there was a big paycheck involved in addition to the appeal of new management, but with an ultimate budget of only $17 million (slashed from the planned $40 million), he couldn’t have gotten away with much. At least Christopher Reeve, in his deal to return to the series, was given the opportunity to star in a pet project, Street Smart. All Hackman ended up with was an embarrassing addition to his resume, one that displayed a lack of concern for Superman fans and a disappointing preference for pay over prestige. Peter Sellers Returned to: Pink Panther franchise with The Return of the Pink Panther (1975) Following The Pink Panther and its sequel, A Shot in the Dark, Peter Sellers declined to return to the series, and Alan Arkin took over the role for part 3, Inspector Clouseau. It made sense at the time, as Sellers was still doing quite well through the late 1960s. But after a number of flops in the early ‘70s, Sellers was wooed back to the franchise, obviously with the promise of a lot of money. And another two installments came about with reportedly increased paychecks. In fact, he was set to play Inspector Clouseau in another installment (the series’ seventh, his sixth), but he died before it went into production. Fortunately for his legacy, he also made the wonderful Being There before his death, so he didn’t go out completely on a desperation downturn. Like Sellers’ last few Pink Panther movies, the new Fast and the Furious installment will be a huge hit, but there is a cost of reputation and an increase of shame that comes with the returned wealth and popularity. Then again, Diesel probably isn’t sinking any lower than he did for The Pacifier, right? Originally posted on:SpoutBlog
]]>Thu, 26 Mar 2009 14:01:24 GMTSpoutBlogSpoutBlog on spout.com3/26/2009 10:01:24 AMNext week, Vin Diesel returns (along with Paul Walker, Michelle Rodriguez and Jordanna Brewster) to the Fast and the Furious franchise, which he’d abandoned after the first movie (he did have a cameo in part 3). When news first hit that he’d be reprising the role of Dominic Toretto for the fourth installment, simply titled Fast & Furious, most of us saw the actor as returning under a veil of shame. Because he initially departed the series with an inflated ego — and with it unrealistic salary demands — it does seem obvious that Diesel is now only desperately crawling back because his career failed to take off the way he’d hoped it would. This is quite sad considering not even Steve Guttenberg ever crawled back to the Police Academy movies, nor did Burt Reynolds ever get dragged back for a fourth Smokey and the Bandit. But there have been other shameful returns by stars to franchises they’d previously sat out of (whether the hiatus was of their own choosing or not). Only one of these may have been as desperate as Diesel now appears, but it’s worth looking at four additional actors and actresses who should be very embarrassed of their delayed reprisals. Karen Allen Returned to: Indiana Jones franchise with Indiana Jones and the Kingdom of the Crystal Skull (2008) Karen Allen’s absence from Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade after playing the female lead in Raiders of the Lost Ark was not because she believed herself above those sequels. Her character, Marion Ravenwood, simply wasn’t written into them. And her return to the series was surely not because her career needed a boost. Her relative disappearance from films after 1990 was actually for personal reasons (she wanted to devote time to raising her son), not necessarily because she could no longer garner significant roles. So why is she on this list? Because even though it must have been quite tempting to again work with Steven Spielberg and Harrison Ford, especially in a role that is beloved by fans, she should have had a little more reserve, because she ended up looking like an easily employed, easily exploited actress. At least she didn’t have to swing through trees, and at least she didn’t receive the brunt of criticism with the film, but the latter fortune is also mostly because she’s given so little to do in the movie. Her participation in the film is largely forgettable, yet her association with the film is not. Instead of bothering with this very disappointing sequel, Allen should have held out for the more necessary Starman follow-up (continuing from where the TV series left off, of course). Sean Connery Returned to: James Bond franchise with Never Say Never Again (1983) Officially, it wasn’t exactly the James Bond franchise, because Never Say Never Again wasn’t made by EON Productions, though this clarification makes Sean Connery’s return to the role of 007 even more shameful. After Diamonds Are Forever, which had already marked his first delayed return as Bond (after the quick interruption of George Lazenby in the part with On Her Majesty’s Secret Service), the actor claimed he’d never return to the role he’d originated onscreen (this led to the film’s title), but obviously he was offered enough money to not only reprise the character but also to slap EON’s Albert Broccoli and Harry Saltzman in the face by agreeing to appear in an unofficial installment initially meant to directly compete head to head with EON’s own Octopussy, which starred Roger Moore as Bond. In agreeing to the film, Connery cemented his reputation for questionable career choices, most clearly influenced by big paychecks. Though he’d previously been enticed by huge offers, including the astonishing $2 million he demanded to come back to Bond for Diamonds, this time he showed a great lack of concern for fans of the Bond franchise through his apparent greediness. Given his love for big money, it’s surprising that he never sold himself out of retirement for Indiana Jones and the Kingdom of the Crystal Skull. Maybe his asking price has just gotten so out of hand that even Lucas and Spielberg couldn’t afford him. Lorraine Gary Returned to: Jaws franchise with Jaws: The Revenge (1987) She hadn’t been onscreen in eight years, but Lorraine Gary’s absence from films following her appearance in Spielberg’s 1941 was reportedly her choice. Certainly with a husband as powerful as Sid Sheinberg (President of MCA, Inc. for more than 30 years), she didn’t really need to work, and yet for some odd reason she came out of retirement to reprise her role as Ellen Brody for the dreadful fourth installment of Jaws. According to a press release for the movie, Gary claims she was drawn to the script because of how well it explored her character, which deserved more development than Jaws and Jaws II had allowed for. Gary has also admitted that she was partly lured back with the appeal of playing opposite Michael Caine, romantically. But again, with a husband as powerful as Sheinberg, she probably could have been given a better film with which to come back and with which to make out with Caine. Now, she’s unfortunately more memorable for having starred in Jaws: The Revenge than for originating the role in the first film. Gene Hackman Returned to: Superman franchise with Superman IV: The Quest for Peace (1987) Somewhat like Connery (his A Bridge Too Far costar), Gene Hackman ended up returning to a character thanks to a change in producers. He abandoned the Superman franchise after the first film — though he’d shot some scenes for Superman II, so he does appear in the sequel — because Alexander and Ilya Salkind fired Richard Donner as the director of the second installment. So, when new producers Menahem Golan and Yoram Globus took over the series, Hackman was fine with reprising his portrayal of Lex Luthor. Surely there was a big paycheck involved in addition to the appeal of new management, but with an ultimate budget of only $17 million (slashed from the planned $40 million), he couldn’t have gotten away with much. At least Christopher Reeve, in his deal to return to the series, was given the opportunity to star in a pet project, Street Smart. All Hackman ended up with was an embarrassing addition to his resume, one that displayed a lack of concern for Superman fans and a disappointing preference for pay over prestige. Peter Sellers Returned to: Pink Panther franchise with The Return of the Pink Panther (1975) Following The Pink Panther and its sequel, A Shot in the Dark, Peter Sellers declined to return to the series, and Alan Arkin took over the role for part 3, Inspector Clouseau. It made sense at the time, as Sellers was still doing quite well through the late 1960s. But after a number of flops in the early ‘70s, Sellers was wooed back to the franchise, obviously with the promise of a lot of money. And another two installments came about with reportedly increased paychecks. In fact, he was set to play Inspector Clouseau in another installment (the series’ seventh, his sixth), but he died before it went into production. Fortunately for his legacy, he also made the wonderful Being There before his death, so he didn’t go out completely on a desperation downturn. Like Sellers’ last few Pink Panther movies, the new Fast and the Furious installment will be a huge hit, but there is a cost of reputation and an increase of shame that comes with the returned wealth and popularity. Then again, Diesel probably isn’t sinking any lower than he did for The Pacifier, right? Originally posted on:SpoutBlog Spout Post: Re:Weekly Theme for February 9: Public Transportation http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_February_9_Public_Transportat/625/40372/1/ShowPost.aspx

Post By: mercurial
Post To: Weekly Theme
Post Date: 2/10/2009 3:47:32 AM
Body: The closing scene of The Graduate. The bus Will Farrell never misses in Stranger Than Fiction. The train packed full of hippies in Festival Express. The train systems of India in Slumdog Millionaire and The Darjeeling Limited. The zeppelin in Indiana Jones and the Last Crusade. The commuter train where Spider-Man fights Dr. Octopus in Spider-Man 2. Anna Faris using the bus for the first time in Smiley Face.
]]>Tue, 10 Feb 2009 08:47:32 GMTmercurialWeekly Theme2/10/2009 3:47:32 AMThe closing scene of The Graduate. The bus Will Farrell never misses in Stranger Than Fiction. The train packed full of hippies in Festival Express. The train systems of India in Slumdog Millionaire and The Darjeeling Limited. The zeppelin in Indiana Jones and the Last Crusade. The commuter train where Spider-Man fights Dr. Octopus in Spider-Man 2. Anna Faris using the bus for the first time in Smiley Face. Spout Post: Movie Journal: Indiana Jones Tetralogy http://www.spout.com/blogs/christhilk/archive/2008/8/26/34424.aspx

Post By: ChrisThilk
Post To: ChrisThilk Blog
Post Date: 8/26/2008 10:01:07 PM
Body: In preparation for the fourth movie, and because I got a review copy of the new DVD box-set of the films, I watched all three of the original Indiana Jones movies, Raiders of the Lost Ark, The Temple of Doom and The Last Crusade. Since I watch them on a somewhat regular basis (probably about once a year) these movies have aged with me, meaning my perception of them isn’t so much colored by the years as they develop in a similar way as children. Raiders still winds up being the best of the batch, which Temple of Doom coming off not as bad as conventional wisdom now paints it as being. Crusade, though, is now impossible to watch as anything other than the beginning of the end for George Lucas. There are more outright sight-gags and more moments that he probably giggled over but which didn’t wind up being nearly as funny on-screen as he thought they were going to be. (Basically anything involving Marcus Brody, a character that I actually physically feel bad for since in this movie he’s portrayed as a bumbling dolt compared to the savvy advisor and conscious to Indy’s “jump first” persona.) It’s not that the movie is bad, but there’s clearly a sense that it’s trying to be “funny” and not “entertaining” in the same vein that Raiders was. Still, the chemistry between Harrison Ford and Sean Connery saves the movie and it’s strongest when the two are together on-screen. The Indy film-fest did, overall, create a good base for me to later see the new flick. Indiana Jones and the Kingdom of the Crystal Skull was, I’ll admit, a lot of fun to watch though with some obvious problems. Let’s dispense with those problems first: The clumsy way that we’re informed of the death of Henry Jones Sr. and Brody completely takes the viewer out of the movie and really betrays Lucas’ influence on the screenplay. Only he would make the assumption that the audience is so stupid that their passing needs to be laid in this heavy-handed a manner. Cate Blanchett’s accent. Come on. I don’t actually have a problem with the very ending of the flick other than it’s the same finale as X-Files: Fight the Future with the alien space ship rising out of its hiding place and ascending into the beyond. Let’s be honest: The whole red ants thing was a tad ridiculous. This scene, more than anything else in the last decade or so, points to the undeniable fact that CGI will never be as engaging or frightening as practical effects since it’s hard to feel on-edge about something that’s so clearly been computer-designed. So what worked? I actually thought the interactions between Indy and Mutt Williams was both believable and enjoyable. Shia Labouf’s performance isn’t nearly as bad as people have painted it as being, aside from a couple of moments where he’s channeling a character out of an early Roger Corman teen “bras and knives” flick. I’m convinced John Hurt’s performance is based on him not knowing entirely where he was and what movie he was in. It’s so out there that it actually comes full circle into being the most grounded character of the entire movie. Ray Winstone’s character needs to be given his own web-based animated shorts to flesh out his back-story, even if it’s Indy-free stories that we’re given. Winstone is asked to be Convenient Plot Device more than once but he does so will gusto and sells the back-and-forth that his character is required to engage in. Finally, Harrison Ford looks like he *wants* to be there, something that he hasn’t been able to pull off in quite a while. I’m not saying it’s his best turn as Indy but he finally looks like he’s trying to sell the character. The last time I remember seeing him do that is in Clear and Present Danger. He’s obviously just having fun returning to one of the two characters that made him a star and that comes through, even during the movie’s most illogical sequences. Overall, though, this was a fun flick and I think it’s a worthy entry in the Indiana Jones franchise. I’m OK with it being the last Indy flick in much the same way that I was OK with Crusade being the last movie. Let’s now leave them for us to enjoy all four films as a complete set of the archeologist’s adventures (aside from the Young Indy series as well as the various comics incarnations, but you know what I mean). Originally posted on:Chris Thilk
]]>Wed, 27 Aug 2008 02:01:07 GMTChrisThilkChrisThilk Blog8/26/2008 10:01:07 PMIn preparation for the fourth movie, and because I got a review copy of the new DVD box-set of the films, I watched all three of the original Indiana Jones movies, Raiders of the Lost Ark, The Temple of Doom and The Last Crusade. Since I watch them on a somewhat regular basis (probably about once a year) these movies have aged with me, meaning my perception of them isn’t so much colored by the years as they develop in a similar way as children. Raiders still winds up being the best of the batch, which Temple of Doom coming off not as bad as conventional wisdom now paints it as being. Crusade, though, is now impossible to watch as anything other than the beginning of the end for George Lucas. There are more outright sight-gags and more moments that he probably giggled over but which didn’t wind up being nearly as funny on-screen as he thought they were going to be. (Basically anything involving Marcus Brody, a character that I actually physically feel bad for since in this movie he’s portrayed as a bumbling dolt compared to the savvy advisor and conscious to Indy’s “jump first” persona.) It’s not that the movie is bad, but there’s clearly a sense that it’s trying to be “funny” and not “entertaining” in the same vein that Raiders was. Still, the chemistry between Harrison Ford and Sean Connery saves the movie and it’s strongest when the two are together on-screen. The Indy film-fest did, overall, create a good base for me to later see the new flick. Indiana Jones and the Kingdom of the Crystal Skull was, I’ll admit, a lot of fun to watch though with some obvious problems. Let’s dispense with those problems first: The clumsy way that we’re informed of the death of Henry Jones Sr. and Brody completely takes the viewer out of the movie and really betrays Lucas’ influence on the screenplay. Only he would make the assumption that the audience is so stupid that their passing needs to be laid in this heavy-handed a manner. Cate Blanchett’s accent. Come on. I don’t actually have a problem with the very ending of the flick other than it’s the same finale as X-Files: Fight the Future with the alien space ship rising out of its hiding place and ascending into the beyond. Let’s be honest: The whole red ants thing was a tad ridiculous. This scene, more than anything else in the last decade or so, points to the undeniable fact that CGI will never be as engaging or frightening as practical effects since it’s hard to feel on-edge about something that’s so clearly been computer-designed. So what worked? I actually thought the interactions between Indy and Mutt Williams was both believable and enjoyable. Shia Labouf’s performance isn’t nearly as bad as people have painted it as being, aside from a couple of moments where he’s channeling a character out of an early Roger Corman teen “bras and knives” flick. I’m convinced John Hurt’s performance is based on him not knowing entirely where he was and what movie he was in. It’s so out there that it actually comes full circle into being the most grounded character of the entire movie. Ray Winstone’s character needs to be given his own web-based animated shorts to flesh out his back-story, even if it’s Indy-free stories that we’re given. Winstone is asked to be Convenient Plot Device more than once but he does so will gusto and sells the back-and-forth that his character is required to engage in. Finally, Harrison Ford looks like he *wants* to be there, something that he hasn’t been able to pull off in quite a while. I’m not saying it’s his best turn as Indy but he finally looks like he’s trying to sell the character. The last time I remember seeing him do that is in Clear and Present Danger. He’s obviously just having fun returning to one of the two characters that made him a star and that comes through, even during the movie’s most illogical sequences. Overall, though, this was a fun flick and I think it’s a worthy entry in the Indiana Jones franchise. I’m OK with it being the last Indy flick in much the same way that I was OK with Crusade being the last movie. Let’s now leave them for us to enjoy all four films as a complete set of the archeologist’s adventures (aside from the Young Indy series as well as the various comics incarnations, but you know what I mean). Originally posted on:Chris Thilk Spout Post: Re:Spoutblog Coverage at Comic-Con http://www.spout.com/groups/Comic_Con/Re_Spoutblog_Coverage_at_Comic_Con/611/33017/1/ShowPost.aspx

Post By: csprague
Post To: Comic-Con
Post Date: 7/24/2008 10:34:53 AM
Body: Comic-Con 2008: Back to the Future Hover Board Nearly Within My Grasp There it is, the real thing, Marty McFly’s actual hover board from Back to the Future Part II. Or it’s one of them, at least. The woman staffing the Comic-Con booth full of drool-worthy Hollywood artifacts informed me that the prop department made several hover boards, of which this is only one of several originals. They’ve sold a few before. She seemed confident that the sale would land between the $30,000 to $50,000 estimated cost, if not exceed it. Sure, it doesn’t actually work as a hover board (my eight-year-old self is still waiting on that one) but it’s still very real, in another way. Comic-Con is truly an adolescent hedonist’s feast, but almost everything is simulated in one way or another. From big-budget Hollywood remakes of classic comics to the scintillating tease of 2-D cleavage displayed on innumerable posters and comic covers, to cutesy bobble-head versions of even the most bad-ass super heroes, it actually came as a surprise to see something genuine. That thing is the real hover board, or at least the real fake one they used in the movie. Oh well. After the jump, another unattainable Hollywood artifact… When I first saw the actual Holy Grail from Indiana Jones and the Last Crusade, I couldn’t believe how crude it was! I mean seriously! I could make that prop with three dollars worth of crap from Hobby Lobby! Then I remembered scene… the cup of a humble carpenter, made of wood, and so on… it ended up being a very contemplative moment. Despite that, I still had an urge to smash the glass case, stuff the chalice in my ruck-sack, and swing away on my whip while yelling, “It belongs in a museum!!!!”
]]>Thu, 24 Jul 2008 14:34:53 GMTcspragueComic-Con7/24/2008 10:34:53 AM Comic-Con 2008: Back to the Future Hover Board Nearly Within My Grasp There it is, the real thing, Marty McFly’s actual hover board from Back to the Future Part II. Or it’s one of them, at least. The woman staffing the Comic-Con booth full of drool-worthy Hollywood artifacts informed me that the prop department made several hover boards, of which this is only one of several originals. They’ve sold a few before. She seemed confident that the sale would land between the $30,000 to $50,000 estimated cost, if not exceed it. Sure, it doesn’t actually work as a hover board (my eight-year-old self is still waiting on that one) but it’s still very real, in another way. Comic-Con is truly an adolescent hedonist’s feast, but almost everything is simulated in one way or another. From big-budget Hollywood remakes of classic comics to the scintillating tease of 2-D cleavage displayed on innumerable posters and comic covers, to cutesy bobble-head versions of even the most bad-ass super heroes, it actually came as a surprise to see something genuine. That thing is the real hover board, or at least the real fake one they used in the movie. Oh well. After the jump, another unattainable Hollywood artifact… When I first saw the actual Holy Grail from Indiana Jones and the Last Crusade, I couldn’t believe how crude it was! I mean seriously! I could make that prop with three dollars worth of crap from Hobby Lobby! Then I remembered scene… the cup of a humble carpenter, made of wood, and so on… it ended up being a very contemplative moment. Despite that, I still had an urge to smash the glass case, stuff the chalice in my ruck-sack, and swing away on my whip while yelling, “It belongs in a museum!!!!” Spout Post: Comic-Con 2008: Back to the Future Hover Board Nearly Within My Grasp http://www.spout.com/blogs/spoutblog/archive/2008/7/24/33009.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/24/2008 5:00:48 AM
Body: There it is, the real thing, Marty McFly’s actual hover board from Back to the Future Part II. Or it’s one of them, at least. The woman staffing the Comic-Con booth full of drool-worthy Hollywood artifacts informed me that the prop department made several hover boards, of which this is only one of several originals. They’ve sold a few before. She seemed confident that the sale would land between the $30,000 to $50,000 estimated cost, if not exceed it. Sure, it doesn’t actually work as a hover board (my eight-year-old self is still waiting on that one) but it’s still very real, in another way. Comic-Con is truly an adolescent hedonist’s feast, but almost everything is simulated in one way or another. From big-budget Hollywood remakes of classic comics to the scintillating tease of 2-D cleavage displayed on innumerable posters and comic covers, to cutesy bobble-head versions of even the most bad-ass super heroes, it actually came as a surprise to see something genuine. That thing is the real hover board, or at least the real fake one they used in the movie. Oh well. After the jump, another unattainable Hollywood artifact… When I first saw the actual Holy Grail from Indiana Jones and the Last Crusade, I couldn’t believe how crude it was! I mean seriously! I could make that prop with three dollars worth of crap from Hobby Lobby! Then I remembered scene… the cup of a humble carpenter, made of wood, and so on… it ended up being a very contemplative moment. Despite that, I still had an urge to smash the glass case, stuff the chalice in my ruck-sack, and swing away on my whip while yelling, “It belongs in a museum!!!!” Originally posted on:SpoutBlog
]]>Thu, 24 Jul 2008 09:00:48 GMTSpoutBlogSpoutBlog on spout.com7/24/2008 5:00:48 AM There it is, the real thing, Marty McFly’s actual hover board from Back to the Future Part II. Or it’s one of them, at least. The woman staffing the Comic-Con booth full of drool-worthy Hollywood artifacts informed me that the prop department made several hover boards, of which this is only one of several originals. They’ve sold a few before. She seemed confident that the sale would land between the $30,000 to $50,000 estimated cost, if not exceed it. Sure, it doesn’t actually work as a hover board (my eight-year-old self is still waiting on that one) but it’s still very real, in another way. Comic-Con is truly an adolescent hedonist’s feast, but almost everything is simulated in one way or another. From big-budget Hollywood remakes of classic comics to the scintillating tease of 2-D cleavage displayed on innumerable posters and comic covers, to cutesy bobble-head versions of even the most bad-ass super heroes, it actually came as a surprise to see something genuine. That thing is the real hover board, or at least the real fake one they used in the movie. Oh well. After the jump, another unattainable Hollywood artifact… When I first saw the actual Holy Grail from Indiana Jones and the Last Crusade, I couldn’t believe how crude it was! I mean seriously! I could make that prop with three dollars worth of crap from Hobby Lobby! Then I remembered scene… the cup of a humble carpenter, made of wood, and so on… it ended up being a very contemplative moment. Despite that, I still had an urge to smash the glass case, stuff the chalice in my ruck-sack, and swing away on my whip while yelling, “It belongs in a museum!!!!” Originally posted on:SpoutBlog Spout Post: Hulk as The Hulk. Clip of the Day http://www.spout.com/blogs/spoutblog/archive/2008/6/13/31220.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/13/2008 4:00:48 PM
Body: The thing I love about YouTube is that you can usually find what you’re looking for even if you don’t know it exists. Case in point: I wanted to find a clip of Hulk Hogan acting like The Incredible Hulk, and I found this gem of an action sequence from the Hulkster’s 1989 movie No Holds Barred. I guess I was one of the few people who missed this when it arrived in theaters just one week after Indiana Jones and the Last Crusade, but it was a busy time for action movies (who knew that 1989 was so much like 2008? You had Indy, Batman and Hulk all in the same summer!*) and despite opening at #2, the movie finished #64 for the year. This weekend’s big opener, The Incredible Hulk, will likely fare better, though it similarly won’t be able to top the grosses of Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight (Batman came in first for 1989 — can he do the same in 2008?). And it probably isn’t be as much fun to watch as No Holds Barred probably is. Too bad it’s not available on DVD (yet Suburban Commando, Mr. Nanny and The Secret Agent Club are) and I can’t add it to my Netflix queue. For more video evidence of why the blond variety of Hulk is better than the green: Hulk vs. Gremlins; Hulk vs. Animatronic Santa; Hulk in a tutu. *If you want to try and dismiss the release of No Holds Barred not being the same kind of Hulk movie, let me also direct your attention to that year’s The Trial of the Incredible Hulk, which kicked off the summer movie season when it aired on NBC in early May. Originally posted on:SpoutBlog
]]>Fri, 13 Jun 2008 20:00:48 GMTSpoutBlogSpoutBlog on spout.com6/13/2008 4:00:48 PM The thing I love about YouTube is that you can usually find what you’re looking for even if you don’t know it exists. Case in point: I wanted to find a clip of Hulk Hogan acting like The Incredible Hulk, and I found this gem of an action sequence from the Hulkster’s 1989 movie No Holds Barred. I guess I was one of the few people who missed this when it arrived in theaters just one week after Indiana Jones and the Last Crusade, but it was a busy time for action movies (who knew that 1989 was so much like 2008? You had Indy, Batman and Hulk all in the same summer!*) and despite opening at #2, the movie finished #64 for the year. This weekend’s big opener, The Incredible Hulk, will likely fare better, though it similarly won’t be able to top the grosses of Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight (Batman came in first for 1989 — can he do the same in 2008?). And it probably isn’t be as much fun to watch as No Holds Barred probably is. Too bad it’s not available on DVD (yet Suburban Commando, Mr. Nanny and The Secret Agent Club are) and I can’t add it to my Netflix queue. For more video evidence of why the blond variety of Hulk is better than the green: Hulk vs. Gremlins; Hulk vs. Animatronic Santa; Hulk in a tutu. *If you want to try and dismiss the release of No Holds Barred not being the same kind of Hulk movie, let me also direct your attention to that year’s The Trial of the Incredible Hulk, which kicked off the summer movie season when it aired on NBC in early May. Originally posted on:SpoutBlog Spout Post: 10 Movie Romances That Probably Didn’t Last http://www.spout.com/blogs/spoutblog/archive/2008/6/9/31014.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/9/2008 5:01:53 PM
Body: It took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog
]]>Mon, 09 Jun 2008 21:01:53 GMTSpoutBlogSpoutBlog on spout.com6/9/2008 5:01:53 PMIt took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog Spout Post: Indiana Jones and the Last Crusade http://www.spout.com/blogs/tjl30/archive/2008/6/2/30303.aspx

Post By: tjl30
Post To: tjl30 Blog
Post Date: 6/2/2008 12:04:48 AM
Body: Indiana Jones and the Last Crusade is probable the best Indiana Jones movie out of all of them (out of all of the old ones that is, have not seen the new one). The Last Crusade has lots of action, mean bad guys, and a story that is told in a very well thought out way.The way the movie starts out with Indiana and a kid and his first adventure that made him who he is as an adult was genius. From the snakes, to the adventure, to the whip, and the famous hat, you learn the background story of Indiana Jones. Also the research and following the clues was something that I think was missing from The Temple of Doom, and makes scenes more thought provoking and exciting. The final tasks Indiana Jones must overcome, required quick thinking to avoid the traps, to get the greatest treasure of all the Holy Grail. Their is just something about this movie that makes it extremely entertaining, and has that timeless value that many movies will never have. This movie also has great replay value, its one of those movies you can watch every year and still never tire of it. I guess there is something about George Lucas movies and replay value (Star Wars).
]]>Mon, 02 Jun 2008 04:04:48 GMTtjl30tjl30 Blog6/2/2008 12:04:48 AMIndiana Jones and the Last Crusade is probable the best Indiana Jones movie out of all of them (out of all of the old ones that is, have not seen the new one). The Last Crusade has lots of action, mean bad guys, and a story that is told in a very well thought out way.The way the movie starts out with Indiana and a kid and his first adventure that made him who he is as an adult was genius. From the snakes, to the adventure, to the whip, and the famous hat, you learn the background story of Indiana Jones. Also the research and following the clues was something that I think was missing from The Temple of Doom, and makes scenes more thought provoking and exciting. The final tasks Indiana Jones must overcome, required quick thinking to avoid the traps, to get the greatest treasure of all the Holy Grail. Their is just something about this movie that makes it extremely entertaining, and has that timeless value that many movies will never have. This movie also has great replay value, its one of those movies you can watch every year and still never tire of it. I guess there is something about George Lucas movies and replay value (Star Wars). Spout Post: JP Paxton and the Review That Wasn't Suppose to be Written http://www.spout.com/blogs/the1theonlyjp/archive/2008/5/23/29866.aspx

Post By: The1TheOnlyJP
Post To: The Paxton Log
Post Date: 5/23/2008 8:59:41 PM
Body: The wind blows northeast failing miserably in its attempt to offer even the slightest relief from the scorching sun above. The sweat drips profusely from my hurting head here as I remain in the confines of almost deafening silence for what has now been 159 days. Too long some have said; too long. As much as I would like to voice my hatred of this I'm afraid I ashamedly cannot. It was my decision after all, but perhaps the wrong one. It is now though I make another. It is now as I hold in my hand a particular perforated souvenir I know it is time. Ah yes, time indeed. Ladies and gentleman, I present to you this ever so special piece: JP Paxton and the Review That Wasn't Suppose to be Written.It was the summer of 1981 and one of the most recognizable characters in film had been introduced to the world sporting a fedora, leather jacket, pistol, & of course a ten foot bullwhip. His name: Henry Walton Jones, Jr. better known as Indiana Jones. Played then by a thirty-eight year old Harrison Ford, the brave adventurer would forever be remembered as being apart of what many claim to be the greatest adventure film of all time, 'Raiders of the Lost Ark.' Who would've known then we'd still be seeing him up on the big screen here twenty-seven years later? (Please put your hands down.) In 'Indiana Jones and the Kingdom of the Crystal Skull' Harrison Ford returns for yet another installment of the now classic series proving (not that he had to) he's still got it. Though it may have taken quite a while for him, Steven Speilberg, & George Lucas to arrive at an agreement after seemingly ending the series in '89, it doesn't appear to make any difference to those thousands who flocked to midnight showings just a couple of days ago.Taking place in 1957 'Crystal Skull' picks up nineteen years after Jones' last escapade 'The Last Crusade.' Once captured by a group of Reds lead by Irina Spalko played by the super talented Cate Blanchett Indy and his friend Mac are forced to aid in their mission to find a lost crystal skull. Along for the ride is star of the moment, Shia LeBeouf as greaser Mutt, Jon Broadbent as a former colleague of Jones' Harold Oxley, & returning to reprise her role as Indy's old flame from 'Raiders' Karen Allen playing the not-so-fiesty-anymore Marion Ravenwood.Going into this I was absolutely ecstatic. I love the first two and 'Crusade' was okay (please don't kill me) so I was really looking forward to what Speilberg and Lucas had in store hoping to impress us all yet again. Sadly I have to tell you, I was disappointed. It's not horrible by any means though. The initial problem lies within the writing and everything else just goes from there beginning with three character mishaps all the while Harrison as Indy remaining great. Here we had Cate Blanchett, one of my favorite actresses for once as a villain. It wasn't her cheesy accent that got me, it was the fact I couldn't get away from the fact that it was fucking Cate Blanchett. In my eyes, just too big for the role. Also, she wasn't all that dangerous. I mean yeah, she could swordfight and was able to throw a few punches here and there, but I didn't find her to be that evil. Next there's Karen Allen back as Marion Ravenwood. Any good writer would've used her and Indy's reunion as more of a way to make the story more dramatic, while in true Jones style equally humorous. Instead all we end up getting is Karen smiling as wide as she can no matter what as if she's just thrilled to have even been invited back. Then finally there's LeBeouf a.k.a. Mr. Hey I Can Have Three Hit Movies In One Summer But Not Really Have Any Talent. Did anyone actually take him seriously in this? I'm sorry, but I just don't see him as the knife-wielding badass type. To me he came off like a pretty boy with a cool cycle.The other issue I had regarding this shameful screenplay was the overall inclusion of over-the-top action scene after over-the-top action scene set to an overall flat storyline. This is pretty much how the film flows: death defying stunt, another defying stunt, one more death defying stunt, little bit of story, repeat. With that said, it can't go without saying that there were in fact some really fun and enjoyable moments throughout. The cycle chase, fight atop the cars, as well as the ants attack were all spectacular. I just would've preferred a more well paced approach as was seen in 'Raiders.'The thing about 'Indiana Jones and the Kingdom of the Crystal Skull' though is that there are so many fans out there that will just be pleased another Jones movie has been made that nothing will be able to tarnish their opinion of it. I completely understand that. However, although it's not what they want to hear, the sad truth is, 'Crystal Skull' skull is just okay. Not awful, not fantastic, just okay. If you're looking to pass a couple of hours with some mindless fun, this is the way to do it.
]]>Sat, 24 May 2008 00:59:41 GMTThe1TheOnlyJPThe Paxton Log5/23/2008 8:59:41 PMThe wind blows northeast failing miserably in its attempt to offer even the slightest relief from the scorching sun above. The sweat drips profusely from my hurting head here as I remain in the confines of almost deafening silence for what has now been 159 days. Too long some have said; too long. As much as I would like to voice my hatred of this I'm afraid I ashamedly cannot. It was my decision after all, but perhaps the wrong one. It is now though I make another. It is now as I hold in my hand a particular perforated souvenir I know it is time. Ah yes, time indeed. Ladies and gentleman, I present to you this ever so special piece: JP Paxton and the Review That Wasn't Suppose to be Written.It was the summer of 1981 and one of the most recognizable characters in film had been introduced to the world sporting a fedora, leather jacket, pistol, & of course a ten foot bullwhip. His name: Henry Walton Jones, Jr. better known as Indiana Jones. Played then by a thirty-eight year old Harrison Ford, the brave adventurer would forever be remembered as being apart of what many claim to be the greatest adventure film of all time, 'Raiders of the Lost Ark.' Who would've known then we'd still be seeing him up on the big screen here twenty-seven years later? (Please put your hands down.) In 'Indiana Jones and the Kingdom of the Crystal Skull' Harrison Ford returns for yet another installment of the now classic series proving (not that he had to) he's still got it. Though it may have taken quite a while for him, Steven Speilberg, & George Lucas to arrive at an agreement after seemingly ending the series in '89, it doesn't appear to make any difference to those thousands who flocked to midnight showings just a couple of days ago.Taking place in 1957 'Crystal Skull' picks up nineteen years after Jones' last escapade 'The Last Crusade.' Once captured by a group of Reds lead by Irina Spalko played by the super talented Cate Blanchett Indy and his friend Mac are forced to aid in their mission to find a lost crystal skull. Along for the ride is star of the moment, Shia LeBeouf as greaser Mutt, Jon Broadbent as a former colleague of Jones' Harold Oxley, & returning to reprise her role as Indy's old flame from 'Raiders' Karen Allen playing the not-so-fiesty-anymore Marion Ravenwood.Going into this I was absolutely ecstatic. I love the first two and 'Crusade' was okay (please don't kill me) so I was really looking forward to what Speilberg and Lucas had in store hoping to impress us all yet again. Sadly I have to tell you, I was disappointed. It's not horrible by any means though. The initial problem lies within the writing and everything else just goes from there beginning with three character mishaps all the while Harrison as Indy remaining great. Here we had Cate Blanchett, one of my favorite actresses for once as a villain. It wasn't her cheesy accent that got me, it was the fact I couldn't get away from the fact that it was fucking Cate Blanchett. In my eyes, just too big for the role. Also, she wasn't all that dangerous. I mean yeah, she could swordfight and was able to throw a few punches here and there, but I didn't find her to be that evil. Next there's Karen Allen back as Marion Ravenwood. Any good writer would've used her and Indy's reunion as more of a way to make the story more dramatic, while in true Jones style equally humorous. Instead all we end up getting is Karen smiling as wide as she can no matter what as if she's just thrilled to have even been invited back. Then finally there's LeBeouf a.k.a. Mr. Hey I Can Have Three Hit Movies In One Summer But Not Really Have Any Talent. Did anyone actually take him seriously in this? I'm sorry, but I just don't see him as the knife-wielding badass type. To me he came off like a pretty boy with a cool cycle.The other issue I had regarding this shameful screenplay was the overall inclusion of over-the-top action scene after over-the-top action scene set to an overall flat storyline. This is pretty much how the film flows: death defying stunt, another defying stunt, one more death defying stunt, little bit of story, repeat. With that said, it can't go without saying that there were in fact some really fun and enjoyable moments throughout. The cycle chase, fight atop the cars, as well as the ants attack were all spectacular. I just would've preferred a more well paced approach as was seen in 'Raiders.'The thing about 'Indiana Jones and the Kingdom of the Crystal Skull' though is that there are so many fans out there that will just be pleased another Jones movie has been made that nothing will be able to tarnish their opinion of it. I completely understand that. However, although it's not what they want to hear, the sad truth is, 'Crystal Skull' skull is just okay. Not awful, not fantastic, just okay. If you're looking to pass a couple of hours with some mindless fun, this is the way to do it. Spout Post: 'Skull' drudgery http://www.spout.com/blogs/usesoap/archive/2008/5/23/29825.aspx

Post By: usesoap
Post To: usesoap Blog
Post Date: 5/23/2008 1:17:59 PM
Body: This is not going to be one of those columns that goes into a lengthy diatribe about the influence on Dr. Indiana Jones had on this reviewer’s life as a child. I refuse to prattle on about owning a fedora and a bullwhip used to scare the bejeezus out of the family dog, or the backyard films created as homage to “Raiders of the Lost Ark” and the countless scars and bruises that serve as a testament to my inexperience and/or stupidity in attempts to replicate the adventures of the intrepid archeologist. It seems that the prerequisite in reviewing this latest installment in the Indiana Jones canon, “Kingdom of the Crystal Skull” has almost every critic launching into some wistful rant on its impact of his/her life. And while I am certainly one to appreciate the personal power of cinematic experiences, I think this self-indulgent therapy session approach is a tad tiresome now. Let’s take “Indiana Jones and the Kingdom of the Crystal Skull” for what it is, without the nostalgic mist clouding my eyes. I will begin with stating that, as slavish as my devotion was, I do not consider the entire trilogy of Indiana Jones films as the be-all, end-all of adventure films. “Raiders” was, and remains, a masterwork of cinema – thrilling, thoughtful and thorough. Its sequels – “Temple of Doom” and “The Last Crusade” – had their strengths, but rose to levels nowhere near their source. So the thought of another entry two decades later held only slight promise. And there is much wish fulfillment to be found, but there are several critical elements that drag the tale into the catacombs of many Indy Come Lateleys, such as “The Mummy” and “National Treasure.” The film picks up 20 years after “The Last Crusade” in 1957, where Dr. Jones (played by Harrison Ford, duh!) finds himself in New Mexico searching for the eponymous object located in a government storage warehouse (keep your eyes peeled for flashes of his previous conquests located within). From here, he tangles with old-fashioned cinematic Russkies (headed by a Cate Blanchett, acting as though she stepped out of a “Rocky and Bullwinkle” cartoon), survives a point-blank impact of an atomic bomb, floats down not one, but three, waterfalls, eludes countless natives and soldiers who have apparently all been trained at the Keystone Kops Weaponry Training Academy, killer mutant ants, various auto and motorcycle chases and takes more punches than a speed bag. Honestly, were Wile E. Coyote and Road Runner out of budget range to make a cameo? I know Indy has survived many things – rolling boulders, a pit full of snakes, airplane crashes, Kate Capshaw – but by layering on so many narrow escapes, there was never a moment that felt as though he was honestly in any danger. The problem lies predominately in the script. In these last two decades, there have been countless attempts to jumpstart the series again from names like Chris Columbus (“Harry Potter and the Sorcerer’s Stone”), Jeb Stuart (“Die Hard” and “The Fugitive”), Frank Darabont (“The Shawshank Redemption”), George Lucas. Even M. Night Shyamalan is to have reported to take a stab at the legend. David Koepp (“Spider Man,” Jurassic Park”) was eventually hired to cobble together what feels like the “greatest hits” of all the previous drafts (and trust me, they are all available on the internet for those who snoop hard enough). There are elements, plot devices and characters that pop up for several scenes only to disappear for gaping sections of the film or are never heard from again (what’s up with those groundhogs?). Most notable of these slights is the character of Marion Ravenwood (played by Karen Allen). Looking game for adventure, Allen makes a grand entrance, only to serve as a getaway driver for the majority of her screen time. When Indy professes a still-burning flame for her, we want it to give us chills, but director Steven Spielberg has far too many hoops for his hero to jump through to get bogged down with emotional development of any sort. Shia LaBeouf, here playing a Indy’s young greaser sidekick by the name of Mutt, has been the source of much debate from fans who have not cozied up to the actor’s snarky style (but they were completely content with the whiny musings of Short Round in “Temple of Doom”?). Frankly, it was all for naught, as he is easily one of the few new elements in a film that has many other problems with which to deal. With all that said, there is still a level of comfort that can be found in “Skull,” but it is not in the Rube Goldberg archeological sites set up for the characters. It is more in the iconic shots of Indiana once again picking up his weathered fedora and placing it on his head; or when he and his college’s dean (played by a criminally underused Jim Broadbendt) briefly ruminate over their accelerated age; or the old-school motorcycle chase scene through campus involving more stunt work than pixels. Too often, the film succumbs to its bombastic tendencies, though, that severely diminish Indiana’s humanity and vulnerability that made him so accessible in the first place. He is now no more defenseless than any other CGI-enhanced superhero at the box office. Ironically, it’s all these attempts to stay “new” is what ages “Crystal Skull” the most. For in its seemingly relentless pursuit to appease the current box office action appetites, what true Indiana Jones fans want is less breakneck pace, more of the same old “hat.”
]]>Fri, 23 May 2008 17:17:59 GMTusesoapusesoap Blog5/23/2008 1:17:59 PMThis is not going to be one of those columns that goes into a lengthy diatribe about the influence on Dr. Indiana Jones had on this reviewer’s life as a child. I refuse to prattle on about owning a fedora and a bullwhip used to scare the bejeezus out of the family dog, or the backyard films created as homage to “Raiders of the Lost Ark” and the countless scars and bruises that serve as a testament to my inexperience and/or stupidity in attempts to replicate the adventures of the intrepid archeologist. It seems that the prerequisite in reviewing this latest installment in the Indiana Jones canon, “Kingdom of the Crystal Skull” has almost every critic launching into some wistful rant on its impact of his/her life. And while I am certainly one to appreciate the personal power of cinematic experiences, I think this self-indulgent therapy session approach is a tad tiresome now. Let’s take “Indiana Jones and the Kingdom of the Crystal Skull” for what it is, without the nostalgic mist clouding my eyes. I will begin with stating that, as slavish as my devotion was, I do not consider the entire trilogy of Indiana Jones films as the be-all, end-all of adventure films. “Raiders” was, and remains, a masterwork of cinema – thrilling, thoughtful and thorough. Its sequels – “Temple of Doom” and “The Last Crusade” – had their strengths, but rose to levels nowhere near their source. So the thought of another entry two decades later held only slight promise. And there is much wish fulfillment to be found, but there are several critical elements that drag the tale into the catacombs of many Indy Come Lateleys, such as “The Mummy” and “National Treasure.” The film picks up 20 years after “The Last Crusade” in 1957, where Dr. Jones (played by Harrison Ford, duh!) finds himself in New Mexico searching for the eponymous object located in a government storage warehouse (keep your eyes peeled for flashes of his previous conquests located within). From here, he tangles with old-fashioned cinematic Russkies (headed by a Cate Blanchett, acting as though she stepped out of a “Rocky and Bullwinkle” cartoon), survives a point-blank impact of an atomic bomb, floats down not one, but three, waterfalls, eludes countless natives and soldiers who have apparently all been trained at the Keystone Kops Weaponry Training Academy, killer mutant ants, various auto and motorcycle chases and takes more punches than a speed bag. Honestly, were Wile E. Coyote and Road Runner out of budget range to make a cameo? I know Indy has survived many things – rolling boulders, a pit full of snakes, airplane crashes, Kate Capshaw – but by layering on so many narrow escapes, there was never a moment that felt as though he was honestly in any danger. The problem lies predominately in the script. In these last two decades, there have been countless attempts to jumpstart the series again from names like Chris Columbus (“Harry Potter and the Sorcerer’s Stone”), Jeb Stuart (“Die Hard” and “The Fugitive”), Frank Darabont (“The Shawshank Redemption”), George Lucas. Even M. Night Shyamalan is to have reported to take a stab at the legend. David Koepp (“Spider Man,” Jurassic Park”) was eventually hired to cobble together what feels like the “greatest hits” of all the previous drafts (and trust me, they are all available on the internet for those who snoop hard enough). There are elements, plot devices and characters that pop up for several scenes only to disappear for gaping sections of the film or are never heard from again (what’s up with those groundhogs?). Most notable of these slights is the character of Marion Ravenwood (played by Karen Allen). Looking game for adventure, Allen makes a grand entrance, only to serve as a getaway driver for the majority of her screen time. When Indy professes a still-burning flame for her, we want it to give us chills, but director Steven Spielberg has far too many hoops for his hero to jump through to get bogged down with emotional development of any sort. Shia LaBeouf, here playing a Indy’s young greaser sidekick by the name of Mutt, has been the source of much debate from fans who have not cozied up to the actor’s snarky style (but they were completely content with the whiny musings of Short Round in “Temple of Doom”?). Frankly, it was all for naught, as he is easily one of the few new elements in a film that has many other problems with which to deal. With all that said, there is still a level of comfort that can be found in “Skull,” but it is not in the Rube Goldberg archeological sites set up for the characters. It is more in the iconic shots of Indiana once again picking up his weathered fedora and placing it on his head; or when he and his college’s dean (played by a criminally underused Jim Broadbendt) briefly ruminate over their accelerated age; or the old-school motorcycle chase scene through campus involving more stunt work than pixels. Too often, the film succumbs to its bombastic tendencies, though, that severely diminish Indiana’s humanity and vulnerability that made him so accessible in the first place. He is now no more defenseless than any other CGI-enhanced superhero at the box office. Ironically, it’s all these attempts to stay “new” is what ages “Crystal Skull” the most. For in its seemingly relentless pursuit to appease the current box office action appetites, what true Indiana Jones fans want is less breakneck pace, more of the same old “hat.” Spout Tag:family http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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]]>Thu, 03 Dec 2009 20:09:21 GMT62882261138Tag Spout Tag:Loved-It http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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