list http://www.spout.com/ Recent community activity around JFK 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/JFK/17604/default.aspx Title: JFK
Year: 1991
Director: Oliver Stone
Plot: The November 22, 1963, assassination of U.S. President John F. Kennedy shocked the nation and the world. The brisk investigation of that murder conducted under the guidance of Supreme Court Justice Earl Warren distressed many observers, even though subsequent careful investigations have been unable to find much fault with the conclusions his commission drew, the central one of which was that the assassin, Lee Harvey Oswald, acted alone. Instead of satisfying the public, one result of the Warren Commission Report was that an unimaginable number of plausible conspiracy theories were bruited about, and these have supported a sizeable publishing mini-industry ever since. In making this movie, director Oliver Stone had his pick of supposed or real investigative flaws to draw from and has constructed what some reviewers felt was one of the most compelling (and controversial) political detective thrillers ever to emerge from American cinema. Long before filming was completed, Stone was fending off heated accusations of artistic and historical irresponsibility, and these only intensified after the film was released. In the story, New Orleans District Attorney Jim Garrison (Kevin Costner) is convinced that there are some big flaws in the investigation of Oswald (Gary Oldman), and he sets out to recreate the events leading up to the assassination. Along the way, he stumbles across evidence that a great many people had reason to want to see the president killed, and he is convinced that some of them worked in concert to frame Oswald as the killer. Among the suspects are Lyndon Baines Johnson (the next president), the CIA, J. Edgar Hoover, and the Mafia. Over the course of gathering what he believes to be evidence of a conspiracy, Garrison unveils some of the grittier aspects of New Orleans society, focusing on the shady activities of local businessman Clay Shaw (Tommy Lee Jones). Garrison's investigations culminate in his conducting a show trial that he knows he will lose and which he is sure will ruin his career in order to get his evidence into the public record where it can't be buried again. This movie won two of the many Academy Awards for which it was nominated: one for Best Photography (Robert Richardson) and the other for Editing (Joe Hutshing). ~ Clarke Fountain, All Movie Guide
Times Tagged: 25
Number of Lists: 35
Number of blog posts: 5
Number of discussion threads: 2
SpoutRating: 3
]]>Wed, 01 Jul 2009 19:51:50 GMTJFK1991Oliver StoneThe November 22, 1963, assassination of U.S. President John F. Kennedy shocked the nation and the world. The brisk investigation of that murder conducted under the guidance of Supreme Court Justice Earl Warren distressed many observers, even though subsequent careful investigations have been unable to find much fault with the conclusions his commission drew, the central one of which was that the assassin, Lee Harvey Oswald, acted alone. Instead of satisfying the public, one result of the Warren Commission Report was that an unimaginable number of plausible conspiracy theories were bruited about, and these have supported a sizeable publishing mini-industry ever since. In making this movie, director <a href="/players/P___112907/default.aspx" style='text-decoration:underline'>Oliver Stone</a> had his pick of supposed or real investigative flaws to draw from and has constructed what some reviewers felt was one of the most compelling (and controversial) political detective thrillers ever to emerge from American cinema. Long before filming was completed, Stone was fending off heated accusations of artistic and historical irresponsibility, and these only intensified after the film was released. In the story, New Orleans District Attorney Jim Garrison (<a href="/players/P____15189/default.aspx" style='text-decoration:underline'>Kevin Costner</a>) is convinced that there are some big flaws in the investigation of Oswald (<a href="/players/P____53946/default.aspx" style='text-decoration:underline'>Gary Oldman</a>), and he sets out to recreate the events leading up to the assassination. Along the way, he stumbles across evidence that a great many people had reason to want to see the president killed, and he is convinced that some of them worked in concert to frame Oswald as the killer. Among the suspects are Lyndon Baines Johnson (the next president), the CIA, J. Edgar Hoover, and the Mafia. Over the course of gathering what he believes to be evidence of a conspiracy, Garrison unveils some of the grittier aspects of New Orleans society, focusing on the shady activities of local businessman Clay Shaw (<a href="/players/P____36238/default.aspx" style='text-decoration:underline'>Tommy Lee Jones</a>). Garrison's investigations culminate in his conducting a show trial that he knows he will lose and which he is sure will ruin his career in order to get his evidence into the public record where it can't be buried again. This movie won two of the many Academy Awards for which it was nominated: one for Best Photography (<a href="/players/P___108198/default.aspx" style='text-decoration:underline'>Robert Richardson</a>) and the other for Editing (<a href="/players/P____95285/default.aspx" style='text-decoration:underline'>Joe Hutshing</a>). ~ Clarke Fountain, All Movie Guide25Tag Target (>10)35523http://www.spout.com/ProductImages/t37204yo0ok.jpghttp://www.spout.com/films/JFK/17604/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/12/19/38614.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/19/2008 2:00:53 PM
Body: Because there’s nothing like waiting until the last minute to do some holiday shopping, we’ve compiled this handy-dandy shopping guide to the best DVDs of 2008 that you can use now, or wait until the dust settles and clean up with any cash that Santa or Hanukkah Harry happened to leave you. It’s broken down by the person you’ll be shopping for to make things easier, even if that person happens to be yourself. When noted, we’ve picked the Blu-ray version over the standard definition, because we try to be all about 1080p and other technical terms whenever possible. But, the regular versions are just fine as well. Still, it’s true what they say: once you go HD you’ll never go back. The Superhero Fan Iron Man: In my opinion, this was a much better movie than The Dark Knight. Why? Because it nailed the whole comic book formula so well. This literally made me feel like I was back on my grandma’s summer porch reading a huge stack of comic books. Hancock: It was darker than the commercials let on, and Will Smith didn’t make his “concerned face” nearly as much as he does in Seven Pounds. That’s a plus that’s definitely not listed on the back of the DVD box. The Blu-ray version includes both the unrated and normal cuts of the flick, and also has producer Michael Mann popping up from time to time in the commentary. The Dark Knight: Even though I didn’t go bananas for it, this recently became the first Blu-ray DVD to sell a million copies. The best thing about the movie is Heath Ledger’s lip-smacking performance, and although the DVD lacks commentary from Christopher Nolan, it’s packed with enough extras to make you forget that. The Dreamer The Fall: This goes down as the most under-appreciated movie of the year. It’s part Princess Bride and part The Wizard of Oz, and is just incredibly gorgeous. Catinca Untaru, the little girl in the film, will charm your socks off, and the cinematography is stunning. It even features underwater shots of swimming elephants. Son of Rambow: This appeals to the filmmaker inside of all of us. It’s about a boy who has never seen movies before trying to make his own home video version of First Blood. It’s also a good way to jumpstart your own under-utilized imagination. Wall-E: Disney/Pixar’s robot-in-love story won’t just please any kids who happen to be within viewing range, adults will love it too. Plus you’ll be humming “Put on Your Sunday Clothes” from Hello, Dolly the rest of the day. The Drama Queen (or King) Juno: While I wouldn’t have thought that a movie about teenage pregnancy would end up being one of my favorite dramatic films from 2008, here it is. It retains all its charm on DVD, and adds a ton of special features like blog posts, screen tests, and the “Diablo Cody is Totally Boss” featurette. There Will Be Blood: I just watched this again last night, and I’m still amazed by what Paul Thomas Anderson can do with so little. There are scant few extra features on the DVD unfortunately, but there’s a great extended scene in the restaurant with Daniel and H.W. where Daniel Day Lewis cracks up at the end. That’s pure gold. How The West Was Won: Henry Fonda, Gregory Peck, Debbie Reynolds, James Stewart and John Wayne star in this sweeping Western epic. The first disc contains the movie formatted for regular television screens, but the second disc features the full three-camera Cinerama process, and they’ve digitally erased the lines between each image. While this really needs to be seen on a giant screen to be appreciated, it will look pretty darn good in your living room too. The Space and Fantasy Crowd CJ7: Stephen Chow’s slapstick comedy version of E.T. didn’t really connect with audiences over here, but it’s a really fun movie that deserves a second chance. Spielberg meets Wile E. Coyote is about the best way to describe this, with the touching story of a little boy (who is played by a girl) and her down on his luck father. Southland Tales: Yes, this movie is still a trainwreck, but what I can’t figure out is why it’s such a watchable trainwreck. With the new edition of the DVD out, writer/director Richard Kelly actually offers up a commentary track that leaves you even more perplexed. But for some reason, it’s impossible to turn this off and walk away. MirrorMask: Full disclosure: I actually did notes on the early drafts of scripts for this when I worked at Henson. It’s truly spectacular that Dave McKean was able to pull this off on a shoestring budget, and it’s a fantasy written by Neil Gaiman. Pure escapism and gorgeous visuals. The Election Buff JFK: New to Blu-ray this year was a special edition of Oliver Stone’s JFK in Warner’s “digibook” format that features the disc along with a slim book in one package. This director’s cut added 17 minutes of unused footage, a lot of special features, and it’s the perfect movie to herald the dawn of new hope with our new President-elect. While the film focuses on the assassination of Kennedy, it also shows the impact his presidency meant to people, and what drove one man to pursue justice to the brink. Nixon: Also new to Blu-ray in the hopes of capitalizing on an election year was Oliver Stone’s Nixon. Even the case for it shouts Election Year Edition on the front cover. But it adds more than a half hour of footage to the movie and includes great extras, like the documentary made by Stone’s son Sean called Beyond Nixon. I missed this in the theaters, and saw it this year for the first time and it did not disappoint. Recount: It’s hard to watch this HBO Films movie and not get angry while doing so. Yes, it’s been eight years since the election, but seeing this is like tearing the band-aid off a wound that’s almost closed. Kevin Spacey is really great in this, but it’s Laura Dern, as former Secretary of State for Florida Katherine Harris, who you’ll find yourself loving to hate . The Documentary Addict The Unforseen: This documentary screened at the 2007 Sundance Film Festival, and it’s an extremely impressive (and scary) look at the effects of land development on the watershed in an area of Austin, Texas. It’s both tragic and hopeful, and it’s coming out on DVD during the start of the U.S. recession, which can be blamed on poor real estate planning and development. Eerily timely. John Adams: This HBO miniseries is based on the David McCullough book of the same name and produced by HBO Films. While it might take a few liberties with creating historical dialogue, it’s a great way to learn about our nation’s history. Paul Giamatti really hits all the notes as Adams, and Tom Wilkinson is surprisingly perfect as Benjamin Franklin. Also includes a nice documentary about the author called Painting With Words. This American Life: This Showtime series based on the long-running radio show falls between entertainment and documentary. All of the stories are real, and they’re some of the most hilarious and moving things you’ll ever see. Episode four’s animated Chris Ware piece is worth the cost of the whole set alone. The Gamer WarGames: Yes, it’s an oldie. But the 25th (god, I’m old!) anniversary edition of this came out this year, and it’s bargain priced. It’s also been beautifully restore, and has never looked better. Toss in the fact that both Ally Sheedy and Matthew Broderick came back to do new interviews for this version, and it’s a perfect stocking stuffer. Tilt: The Battle To Save Pinball: I’ve written about this movie previously, but I can’t say enough good things about it. If you or someone you know loves pinball machines, you really can’t go wrong with this one. Just don’t complain when they ask for a full-sized machine of their very own next year. The King of Kong: A Fistful of Quarters: Despite the controversy that swirls around it, this movie is so entertaining that I’ll usually end up watching the whole thing when I flip past it on cable, even though it’s sitting on a shelf a few feet away. It also cements Steve Wiebe in place as probably the nicest guy in the entire known universe. The Boxed Set Obsessetarian Casablanca: The Ultimate Collector’s Edition: Casablanca is probably one of my favorite films, and this edition is the ultimate for any movie geek. Not because the transfer is excellent and the sound pristine: it’s because it comes with a replica of the Letters of Transit! Now you too can pretend to be Peter Lorre and wheeze “Hide me, Reek!” to people. Okay, the movie is also gorgeous, too, and it’s been given the Blu-ray treatment. There’s also a great documentary here called Jack Warner: The Last Mogul. This is some good stuff. The Godfather Trilogy: The Coppola Restoration: The Godfather films have been released before on DVD, but this new set runs rings around it. Coppola called up Steven Spielberg when Viacom acquired Dreamworks, and asked him to let them release money for a Godfather restoration project. This is the end result, and it has been digitally restored and packed with amazing extras. A real gem. Mystery Science Theater 3000: 20th Anniversary Edition: This boxed set features four of the best MST3K episodes, along with a 3-part documentary about the history of the show, as well as video coverage of the MST3K reunion panel from this year’s Comic-Con. Plus if you can find the limited edition version of this set in a collectible tin, it comes with a little Crow figurine. Rad. The Non-Tivo Owning TV Watcher Mad Men: If you think it’s impossible to like this show, then you need to head out and pick up the first season on DVD. It will definitely change your mind. You’ll either want to be Don Draper, or have sex with him. Just stay away from my Joan Holloway. The first season DVD includes commentary on all 13 episodes, and a nifty “Advertising and the American Dream” documentary. Dexter: Michael C. Hall made the near-impossible jump from one highly successful series to another, only now he’s playing a lovable serial killer instead of a gay undertaker. This is one of those shows I hate to miss, and the new Blu-ray of the first season looks great and is packed with nifty features, including the first two episodes of the Steven Spielberg / Diablo Cody tv show The United States of Tara. I Dream of Jeannie: The Complete Series: Earlier this year Sony released a boxed set of I Dream of Jeannie, and it comes in a big purple bottle carrying case. That’s almost reason alone to pick this up. It’s the complete series, and features commentary from Barbara Eden, Larry Hagman, and Bill Daily. This is one of my true guilty pleasures, and this is the first time I’m publically admitting it. Originally posted on:SpoutBlog
]]>Fri, 19 Dec 2008 19:00:53 GMTSpoutBlogSpoutBlog on spout.com12/19/2008 2:00:53 PMBecause there’s nothing like waiting until the last minute to do some holiday shopping, we’ve compiled this handy-dandy shopping guide to the best DVDs of 2008 that you can use now, or wait until the dust settles and clean up with any cash that Santa or Hanukkah Harry happened to leave you. It’s broken down by the person you’ll be shopping for to make things easier, even if that person happens to be yourself. When noted, we’ve picked the Blu-ray version over the standard definition, because we try to be all about 1080p and other technical terms whenever possible. But, the regular versions are just fine as well. Still, it’s true what they say: once you go HD you’ll never go back. The Superhero Fan Iron Man: In my opinion, this was a much better movie than The Dark Knight. Why? Because it nailed the whole comic book formula so well. This literally made me feel like I was back on my grandma’s summer porch reading a huge stack of comic books. Hancock: It was darker than the commercials let on, and Will Smith didn’t make his “concerned face” nearly as much as he does in Seven Pounds. That’s a plus that’s definitely not listed on the back of the DVD box. The Blu-ray version includes both the unrated and normal cuts of the flick, and also has producer Michael Mann popping up from time to time in the commentary. The Dark Knight: Even though I didn’t go bananas for it, this recently became the first Blu-ray DVD to sell a million copies. The best thing about the movie is Heath Ledger’s lip-smacking performance, and although the DVD lacks commentary from Christopher Nolan, it’s packed with enough extras to make you forget that. The Dreamer The Fall: This goes down as the most under-appreciated movie of the year. It’s part Princess Bride and part The Wizard of Oz, and is just incredibly gorgeous. Catinca Untaru, the little girl in the film, will charm your socks off, and the cinematography is stunning. It even features underwater shots of swimming elephants. Son of Rambow: This appeals to the filmmaker inside of all of us. It’s about a boy who has never seen movies before trying to make his own home video version of First Blood. It’s also a good way to jumpstart your own under-utilized imagination. Wall-E: Disney/Pixar’s robot-in-love story won’t just please any kids who happen to be within viewing range, adults will love it too. Plus you’ll be humming “Put on Your Sunday Clothes” from Hello, Dolly the rest of the day. The Drama Queen (or King) Juno: While I wouldn’t have thought that a movie about teenage pregnancy would end up being one of my favorite dramatic films from 2008, here it is. It retains all its charm on DVD, and adds a ton of special features like blog posts, screen tests, and the “Diablo Cody is Totally Boss” featurette. There Will Be Blood: I just watched this again last night, and I’m still amazed by what Paul Thomas Anderson can do with so little. There are scant few extra features on the DVD unfortunately, but there’s a great extended scene in the restaurant with Daniel and H.W. where Daniel Day Lewis cracks up at the end. That’s pure gold. How The West Was Won: Henry Fonda, Gregory Peck, Debbie Reynolds, James Stewart and John Wayne star in this sweeping Western epic. The first disc contains the movie formatted for regular television screens, but the second disc features the full three-camera Cinerama process, and they’ve digitally erased the lines between each image. While this really needs to be seen on a giant screen to be appreciated, it will look pretty darn good in your living room too. The Space and Fantasy Crowd CJ7: Stephen Chow’s slapstick comedy version of E.T. didn’t really connect with audiences over here, but it’s a really fun movie that deserves a second chance. Spielberg meets Wile E. Coyote is about the best way to describe this, with the touching story of a little boy (who is played by a girl) and her down on his luck father. Southland Tales: Yes, this movie is still a trainwreck, but what I can’t figure out is why it’s such a watchable trainwreck. With the new edition of the DVD out, writer/director Richard Kelly actually offers up a commentary track that leaves you even more perplexed. But for some reason, it’s impossible to turn this off and walk away. MirrorMask: Full disclosure: I actually did notes on the early drafts of scripts for this when I worked at Henson. It’s truly spectacular that Dave McKean was able to pull this off on a shoestring budget, and it’s a fantasy written by Neil Gaiman. Pure escapism and gorgeous visuals. The Election Buff JFK: New to Blu-ray this year was a special edition of Oliver Stone’s JFK in Warner’s “digibook” format that features the disc along with a slim book in one package. This director’s cut added 17 minutes of unused footage, a lot of special features, and it’s the perfect movie to herald the dawn of new hope with our new President-elect. While the film focuses on the assassination of Kennedy, it also shows the impact his presidency meant to people, and what drove one man to pursue justice to the brink. Nixon: Also new to Blu-ray in the hopes of capitalizing on an election year was Oliver Stone’s Nixon. Even the case for it shouts Election Year Edition on the front cover. But it adds more than a half hour of footage to the movie and includes great extras, like the documentary made by Stone’s son Sean called Beyond Nixon. I missed this in the theaters, and saw it this year for the first time and it did not disappoint. Recount: It’s hard to watch this HBO Films movie and not get angry while doing so. Yes, it’s been eight years since the election, but seeing this is like tearing the band-aid off a wound that’s almost closed. Kevin Spacey is really great in this, but it’s Laura Dern, as former Secretary of State for Florida Katherine Harris, who you’ll find yourself loving to hate . The Documentary Addict The Unforseen: This documentary screened at the 2007 Sundance Film Festival, and it’s an extremely impressive (and scary) look at the effects of land development on the watershed in an area of Austin, Texas. It’s both tragic and hopeful, and it’s coming out on DVD during the start of the U.S. recession, which can be blamed on poor real estate planning and development. Eerily timely. John Adams: This HBO miniseries is based on the David McCullough book of the same name and produced by HBO Films. While it might take a few liberties with creating historical dialogue, it’s a great way to learn about our nation’s history. Paul Giamatti really hits all the notes as Adams, and Tom Wilkinson is surprisingly perfect as Benjamin Franklin. Also includes a nice documentary about the author called Painting With Words. This American Life: This Showtime series based on the long-running radio show falls between entertainment and documentary. All of the stories are real, and they’re some of the most hilarious and moving things you’ll ever see. Episode four’s animated Chris Ware piece is worth the cost of the whole set alone. The Gamer WarGames: Yes, it’s an oldie. But the 25th (god, I’m old!) anniversary edition of this came out this year, and it’s bargain priced. It’s also been beautifully restore, and has never looked better. Toss in the fact that both Ally Sheedy and Matthew Broderick came back to do new interviews for this version, and it’s a perfect stocking stuffer. Tilt: The Battle To Save Pinball: I’ve written about this movie previously, but I can’t say enough good things about it. If you or someone you know loves pinball machines, you really can’t go wrong with this one. Just don’t complain when they ask for a full-sized machine of their very own next year. The King of Kong: A Fistful of Quarters: Despite the controversy that swirls around it, this movie is so entertaining that I’ll usually end up watching the whole thing when I flip past it on cable, even though it’s sitting on a shelf a few feet away. It also cements Steve Wiebe in place as probably the nicest guy in the entire known universe. The Boxed Set Obsessetarian Casablanca: The Ultimate Collector’s Edition: Casablanca is probably one of my favorite films, and this edition is the ultimate for any movie geek. Not because the transfer is excellent and the sound pristine: it’s because it comes with a replica of the Letters of Transit! Now you too can pretend to be Peter Lorre and wheeze “Hide me, Reek!” to people. Okay, the movie is also gorgeous, too, and it’s been given the Blu-ray treatment. There’s also a great documentary here called Jack Warner: The Last Mogul. This is some good stuff. The Godfather Trilogy: The Coppola Restoration: The Godfather films have been released before on DVD, but this new set runs rings around it. Coppola called up Steven Spielberg when Viacom acquired Dreamworks, and asked him to let them release money for a Godfather restoration project. This is the end result, and it has been digitally restored and packed with amazing extras. A real gem. Mystery Science Theater 3000: 20th Anniversary Edition: This boxed set features four of the best MST3K episodes, along with a 3-part documentary about the history of the show, as well as video coverage of the MST3K reunion panel from this year’s Comic-Con. Plus if you can find the limited edition version of this set in a collectible tin, it comes with a little Crow figurine. Rad. The Non-Tivo Owning TV Watcher Mad Men: If you think it’s impossible to like this show, then you need to head out and pick up the first season on DVD. It will definitely change your mind. You’ll either want to be Don Draper, or have sex with him. Just stay away from my Joan Holloway. The first season DVD includes commentary on all 13 episodes, and a nifty “Advertising and the American Dream” documentary. Dexter: Michael C. Hall made the near-impossible jump from one highly successful series to another, only now he’s playing a lovable serial killer instead of a gay undertaker. This is one of those shows I hate to miss, and the new Blu-ray of the first season looks great and is packed with nifty features, including the first two episodes of the Steven Spielberg / Diablo Cody tv show The United States of Tara. I Dream of Jeannie: The Complete Series: Earlier this year Sony released a boxed set of I Dream of Jeannie, and it comes in a big purple bottle carrying case. That’s almost reason alone to pick this up. It’s the complete series, and features commentary from Barbara Eden, Larry Hagman, and Bill Daily. This is one of my true guilty pleasures, and this is the first time I’m publically admitting it. Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/12/13/38349.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/13/2008 5:59:40 PM
Body: There's a sad irony to Frost/Nixon as it parallels today's political landscape: A wartime president with incredibly low approval ratings, belligerently refusing to admit any fault in a conflict costing countless lives. What's perhaps equally tragic is this sort of naked, no-holds-barred exchange, ratings-be-damned type of mainstream television, will most likely never happen in our lifetime; as we are already being treated to a "re-writing" of our sitting president's history by a cadre of his operatives.As both Frost (played by Michael Sheen) and Nixon (played ny Frank Langella) get top billing, there is a third headliner of the film and that is the role of the ol’ boob tube itself. Not only are those days of televised journalism over, but the film demonstrated just how valuable it was politically. From Nixon's admission to his sweaty upper lip costing him a debate, to Frost's entire interview being all-but obsolete after no major network agrees to air it, Frost/Nixon demonstrated just how integral the tube had become in the American political landscape. There is a workman-like structure to the film, which follows the waning days of both its leads careers - Frost, once an international talk show sensation, now resorting to stories on magicians in his British homeland, and Nixon, resigning his post in a web of paranoia-fueled corruption. In a desperate move for legitimacy, Frost attempts to nab Nixon for a four-part interview, but soon realized how deep he's in it after the tv studios reject it and Nixon proves to be much more cunning and savvy a subject than his hangdog expression appears. If possible, Langella should be nominated for his body language over his vocal delivery, which is more mockery than manifestation. While his harumphing and bluster can distract, the small, subtle shifts and physical tics are what makes him so imminently watchable.In his performance, we get more out of his long, uncomfortable stretches of silence, body adjustments and far-off inner reflection than we do from his line readings. The dialogue, based on the award-winning Broadway production from Peter Morgan, does have its crackling moments , such as Nixon effortlessly burrowing under Frost's skin mere moments before they "go live" in order to knock him off balance. (As a personal aside, those scenes reminded me of my own unnerving dalliances as a guest on live broadcast TV. On a local news program, I nervously tried to memorize all my responses, focusing on being calm, cool, relaxed and witty . This was made increasingly more difficult as the camera rolled threateningly closer to my face and its operator started the countdown: "and in five!...four! ... three!... *Remember, Rob, don't look directly into the camera*...two!...one! ...") I think there are deer out there that did a better job not looking into headlights than I. As David Frost, Sheen recalls the stiff, slightly befuddled Tony Blair he provided for The Queen. You can sense his desperation that, being a public TV personality he's not allowed to leak in the public eye. Director Ron Howard is such an unobtrusive director, he's the perfect choice to helm a feature based on a stage play, where every move matters. He does not waste time with artistic flourishes, but punches it with just enough theatricality to make it appealing to large audiences. Like JFK Howard understands the importance of a shiny supporting cast : think Ed Harris in Apollo 13, Robert DeNiro in Backdraft and Wilson in Cast Away.Here, Sam Rockwell, Oliver Platt, Kevin Bacon and Toby Jones all provide what is required from roles such as theirs, pithy, scene-grabbing deliveries within their respective minutes on screen. I know Frost / Nixon is being floated as Oscar bait, and while both leads are worthy of some acknowledgement, I can't bring myself to wholly support this as a serious contender to the already strong list of potential candidates already making the rounds. It's perhaped a bit too polished for one of the most tarnishined times in our nation's presidential history.
]]>Sat, 13 Dec 2008 22:59:40 GMTusesoapusesoap Blog12/13/2008 5:59:40 PMThere's a sad irony to Frost/Nixon as it parallels today's political landscape: A wartime president with incredibly low approval ratings, belligerently refusing to admit any fault in a conflict costing countless lives. What's perhaps equally tragic is this sort of naked, no-holds-barred exchange, ratings-be-damned type of mainstream television, will most likely never happen in our lifetime; as we are already being treated to a "re-writing" of our sitting president's history by a cadre of his operatives.As both Frost (played by Michael Sheen) and Nixon (played ny Frank Langella) get top billing, there is a third headliner of the film and that is the role of the ol&rsquo; boob tube itself. Not only are those days of televised journalism over, but the film demonstrated just how valuable it was politically. From Nixon's admission to his sweaty upper lip costing him a debate, to Frost's entire interview being all-but obsolete after no major network agrees to air it, Frost/Nixon demonstrated just how integral the tube had become in the American political landscape. There is a workman-like structure to the film, which follows the waning days of both its leads careers - Frost, once an international talk show sensation, now resorting to stories on magicians in his British homeland, and Nixon, resigning his post in a web of paranoia-fueled corruption. In a desperate move for legitimacy, Frost attempts to nab Nixon for a four-part interview, but soon realized how deep he's in it after the tv studios reject it and Nixon proves to be much more cunning and savvy a subject than his hangdog expression appears. If possible, Langella should be nominated for his body language over his vocal delivery, which is more mockery than manifestation. While his harumphing and bluster can distract, the small, subtle shifts and physical tics are what makes him so imminently watchable.In his performance, we get more out of his long, uncomfortable stretches of silence, body adjustments and far-off inner reflection than we do from his line readings. The dialogue, based on the award-winning Broadway production from Peter Morgan, does have its crackling moments , such as Nixon effortlessly burrowing under Frost's skin mere moments before they "go live" in order to knock him off balance. (As a personal aside, those scenes reminded me of my own unnerving dalliances as a guest on live broadcast TV. On a local news program, I nervously tried to memorize all my responses, focusing on being calm, cool, relaxed and witty . This was made increasingly more difficult as the camera rolled threateningly closer to my face and its operator started the countdown: "and in five!...four! ... three!... *Remember, Rob, don't look directly into the camera*...two!...one! ...") I think there are deer out there that did a better job not looking into headlights than I. As David Frost, Sheen recalls the stiff, slightly befuddled Tony Blair he provided for The Queen. You can sense his desperation that, being a public TV personality he's not allowed to leak in the public eye. Director Ron Howard is such an unobtrusive director, he's the perfect choice to helm a feature based on a stage play, where every move matters. He does not waste time with artistic flourishes, but punches it with just enough theatricality to make it appealing to large audiences. Like JFK Howard understands the importance of a shiny supporting cast : think Ed Harris in Apollo 13, Robert DeNiro in Backdraft and Wilson in Cast Away.Here, Sam Rockwell, Oliver Platt, Kevin Bacon and Toby Jones all provide what is required from roles such as theirs, pithy, scene-grabbing deliveries within their respective minutes on screen. I know Frost / Nixon is being floated as Oscar bait, and while both leads are worthy of some acknowledgement, I can't bring myself to wholly support this as a serious contender to the already strong list of potential candidates already making the rounds. It's perhaped a bit too polished for one of the most tarnishined times in our nation's presidential history. http://www.spout.com/blogs/spoutblog/archive/2008/12/2/37861.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/2/2008 4:01:04 PM
Body: It’s already been called the most important civil rights film of the decade, but only time will tell if Milk has any real impact on the gay marriage issue or any other related civil rights matter. Obviously the film, which is set thirty years in the past, can be appropriated by the campaign to overturn Proposition 8, but if that campaign is successful, it will be difficult to prove with certainty Milk contributed to the end result. The Birth of a Nation may have inspired a reformation of the Ku Klux Klan and Guess Who’s Coming to Dinner may have opened some minds to wider acceptance of interracial marriage (which had just recently been legalized). However, as Time magazine reported earlier this year, it’s quite rare for cinema to really change the world. A movie like Philadelphia easily gets moviegoers thinking about AIDS and discrimination, for instance, and Sicko exposes some of the supposed benefits of universal health care, yet most of these kinds of message films preach primarily to the choir. But at least five films have made an actual difference, either on a local or national level. Will Milk join the small group of movies detailed below? Victim (1961) Long before Milk, Philadelphia or even Cruising, this British thriller became the first motion picture in history to feature the word “homosexual.” At the time, same-sex acts were illegal in the UK, and so, even though the laws weren’t strictly enforced, the film was quite controversial (and it was banned in the U.S.). Still, this story of a closeted bisexual lawyer who becomes the target of an anti-gay extortion ring had a deep, lasting effect on the people in Britain, and it’s unofficially yet widely considered to have influenced both general acceptance of homosexuality and the 1967 Sexual Offenses Act, which legalized consensual same-sex relations across the pond (anti-sodomy laws in the States, on the other hand, were not completely eliminated until 2003). I Am Curious (Yellow) (1967) It may seem extremely tame by today’s standards (in the recent words of John Waters, it’s nothing more than a “limp dick and some ugly women naked.”), but this warmer-titled of Vilgot Sjoman’s I Am Curious films became infamous for its depiction of full frontal nudity and an oral sex act that could barely be called fellatio. After being banned in Massachusetts, where it was labeled pornography, it became the subject of an obscenity case that went all the way to the U.S. Supreme Court, where it was ultimately determined not to be obscene. Once it could be freely distributed, it became a must-see, though many were disappointed with it, and it held the record for highest grossing foreign film in the U.S. for more than twenty years. More importantly, the Supreme Court decision was groundbreaking in terms of obscenity law, and the multi-billion dollar pornographic film industry of the 70s was able to happen as a result of this one little Swedish art film. The Thin Blue Line (1988) This Errol Morris film is considered one of the most influential documentaries of all time, for a couple of reasons. In addition to being significant to the craft of nonfiction cinema, it also had a direct effect on the freedom of one man. Rather than merely present the story of Randall Dale Adams, who was tried and convicted of murdering a Dallas police officer, Morris also investigates the case, with enough detail to convince viewers of Adams’ innocence. Following the release of the film, Adams was able to get his conviction overturned and eventually was released from prison. While rescuing one individual may not be the same as changing the world, The Thin Blue Line is considered one of the only motion pictures to be directly influential in bringing about some kind of change. JFK (1991) Oliver Stone’s controversial look at the Kennedy assassination didn’t exactly tell us who killed the president. It didn’t even convince everyone that Oswald wasn’t responsible. But despite all the controversy and negative reviews, JFK went on to be a landmark film for its cause, because it led to the passage of The President John F. Kennedy Assassination Records Act of 1992 (aka the JFK Act) and the formation of the U.S. Assassination Records Review Board. Officially, Congress was more annoyed by the conclusions of JFK than inspired by the film, but the result just goes to show (and Michael Moore likely was paying attention) that being a burden can be as worthwhile as being convincing. An Inconvenient Truth (2006) Davis Guggenheim’s film of Al Gore’s Global Warming presentation didn’t bring about a lot of change or legislation in the U.S., but it did have a significant effect in terms of breaking ground on discussion of the issue. However, it was apparently instrumental in the passing of a law to curb greenhouse gases in California. Meanwhile, elsewhere, it has been employed in school curriculum and it certainly helped Gore win the Nobel Peace Prize. Because not all films can be as direct and quickly effect as The Thin Blue Line and JFK, though, we’ll need more than the past two years to fully see the difference made by this one. Originally posted on:SpoutBlog
]]>Tue, 02 Dec 2008 21:01:04 GMTSpoutBlogSpoutBlog on spout.com12/2/2008 4:01:04 PMIt’s already been called the most important civil rights film of the decade, but only time will tell if Milk has any real impact on the gay marriage issue or any other related civil rights matter. Obviously the film, which is set thirty years in the past, can be appropriated by the campaign to overturn Proposition 8, but if that campaign is successful, it will be difficult to prove with certainty Milk contributed to the end result. The Birth of a Nation may have inspired a reformation of the Ku Klux Klan and Guess Who’s Coming to Dinner may have opened some minds to wider acceptance of interracial marriage (which had just recently been legalized). However, as Time magazine reported earlier this year, it’s quite rare for cinema to really change the world. A movie like Philadelphia easily gets moviegoers thinking about AIDS and discrimination, for instance, and Sicko exposes some of the supposed benefits of universal health care, yet most of these kinds of message films preach primarily to the choir. But at least five films have made an actual difference, either on a local or national level. Will Milk join the small group of movies detailed below? Victim (1961) Long before Milk, Philadelphia or even Cruising, this British thriller became the first motion picture in history to feature the word “homosexual.” At the time, same-sex acts were illegal in the UK, and so, even though the laws weren’t strictly enforced, the film was quite controversial (and it was banned in the U.S.). Still, this story of a closeted bisexual lawyer who becomes the target of an anti-gay extortion ring had a deep, lasting effect on the people in Britain, and it’s unofficially yet widely considered to have influenced both general acceptance of homosexuality and the 1967 Sexual Offenses Act, which legalized consensual same-sex relations across the pond (anti-sodomy laws in the States, on the other hand, were not completely eliminated until 2003). I Am Curious (Yellow) (1967) It may seem extremely tame by today’s standards (in the recent words of John Waters, it’s nothing more than a “limp dick and some ugly women naked.”), but this warmer-titled of Vilgot Sjoman’s I Am Curious films became infamous for its depiction of full frontal nudity and an oral sex act that could barely be called fellatio. After being banned in Massachusetts, where it was labeled pornography, it became the subject of an obscenity case that went all the way to the U.S. Supreme Court, where it was ultimately determined not to be obscene. Once it could be freely distributed, it became a must-see, though many were disappointed with it, and it held the record for highest grossing foreign film in the U.S. for more than twenty years. More importantly, the Supreme Court decision was groundbreaking in terms of obscenity law, and the multi-billion dollar pornographic film industry of the 70s was able to happen as a result of this one little Swedish art film. The Thin Blue Line (1988) This Errol Morris film is considered one of the most influential documentaries of all time, for a couple of reasons. In addition to being significant to the craft of nonfiction cinema, it also had a direct effect on the freedom of one man. Rather than merely present the story of Randall Dale Adams, who was tried and convicted of murdering a Dallas police officer, Morris also investigates the case, with enough detail to convince viewers of Adams’ innocence. Following the release of the film, Adams was able to get his conviction overturned and eventually was released from prison. While rescuing one individual may not be the same as changing the world, The Thin Blue Line is considered one of the only motion pictures to be directly influential in bringing about some kind of change. JFK (1991) Oliver Stone’s controversial look at the Kennedy assassination didn’t exactly tell us who killed the president. It didn’t even convince everyone that Oswald wasn’t responsible. But despite all the controversy and negative reviews, JFK went on to be a landmark film for its cause, because it led to the passage of The President John F. Kennedy Assassination Records Act of 1992 (aka the JFK Act) and the formation of the U.S. Assassination Records Review Board. Officially, Congress was more annoyed by the conclusions of JFK than inspired by the film, but the result just goes to show (and Michael Moore likely was paying attention) that being a burden can be as worthwhile as being convincing. An Inconvenient Truth (2006) Davis Guggenheim’s film of Al Gore’s Global Warming presentation didn’t bring about a lot of change or legislation in the U.S., but it did have a significant effect in terms of breaking ground on discussion of the issue. However, it was apparently instrumental in the passing of a law to curb greenhouse gases in California. Meanwhile, elsewhere, it has been employed in school curriculum and it certainly helped Gore win the Nobel Peace Prize. Because not all films can be as direct and quickly effect as The Thin Blue Line and JFK, though, we’ll need more than the past two years to fully see the difference made by this one. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/10/21/36545.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/21/2008 11:01:01 AM
Body: This past weekend, Saturday Night Live received a huge ratings boost thanks to the appearance of vice-presidential candidate Sarah Palin. But as much fun as it was seeing her act the good sport next to a jokingly critical Alec Baldwin, it only made me anticipate her inevitable feature film debut. I mean, did you notice she was the only person who didn’t need to keep reading from the cue cards? She’s a natural. And whether her ticket wins or loses the race on November 4, it’s certain that one day Palin will at least make a cameo in some kind of fictional movie, whether she means to or not. So, as we wait for her to show up in a small part in the Coen brothers’ adaptation of Michael Chabon’s The Yiddish Policemen’s Union (both because she’s from Alaska and reminds me of Frances McDormand in Fargo), let’s take a look at some other politicians who’ve made interesting film cameos, some intentionally and some not. John McCain in Wedding Crashers (2005) Few of us noticed or thought much of it when Senator McCain appeared as himself, shaking hands with Christopher Walken and Jane Seymour, in this romantic comedy. But so far this year you’ve probably seen the cameo, or a photo from it, more times than you’ve seen the rest of the movie. I wonder if McCain and Walken had time to chat about the latter’s role in The Deer Hunter. Christopher Dodd in Dave (1993) When I was in high school, I had no idea who my state’s U.S. Senators were. Fortunately, I saw Dave and saw Dodd’s cameo, complete with a caption telling who he is. Other state’s youth who might have had similar experiences include Iowa, Ohio, Illinois and Wyoming, as the political comedy also featured cameos from Senators Tom Harkin, Howard Metzenbaum, Paul Simon and Alan Simpson. Representative Tip O’Neill also appears, but everybody knew who he was, right? Patrick Leahy in The Dark Knight (2008) What’s a U.S. Senator doing in a comic book movie? More importantly, what’s a Democrat politician doing in a Republican’s wet dream? Well, Vermont’s Leahy is apparently a huge Batman fan and has also appeared in Batman and Robin and lent his voice to an episode of Batman: The Animated Series. Al D’amato in The Devil’s Advocate (1997) There’s no more appropriate place for a politician to make an appearance than a movie about the Devil. Right? Well, D’amato’s cameo is unfortunately a little more innocent than it seems, though he is still seen cavorting with employees of Satan. Rudy Giuliani in The Out-of-Towners (1999) It’s definitely appropriate for an NYC mayor to make an appearance in a movie that promotes Manhattan tourism, but Giuliani picked the wrong movie to be associated with. Possibly one of the worst remakes ever, it’s more likely to dissuade viewers to come to the Big Apple. Ed Koch in The Muppets Take Manhattan (1984) Koch, on the other hand, is a huge cinephile (he even moonlights as a film critic) and has appeared in a ton of NYC-set films, good and bad. When I was a kid, nothing made me think Koch was cooler than his appearance alongside the Muppets. Jim Garrison in JFK (1991) It’s typical for people to have cameos in films about themselves, so it’s not too surprising to see the former District Attorney show up in Oliver Stone’s film. Not only did he get to make a small appearance, though, he actually got to portray someone as famous as Earl Warren. And he kind of did a better job of it than Kevin Costner did of portraying Garrison. John F. Kennedy in Forrest Gump (1994) Thanks to movie magic, the former President of the United States was able to make a cameo opposite Tom Hanks sixty years after he’d been assassinated. Of course, another actor provided his line for him, but I’m sure the real JFK would have been down to knowingly costar with an Oscar winner and memorably say, “I believe he said he had to go pee.” George W. Bush in Death of a President (2006) Thanks to similar movie magic, the current U.S. President was able to be seamlessly edited into this movie so that it truly appears as though the real G.W. Bush has been shot. To think, back when Forrest Gump was made, there were such innocent ways of featuring a deceased or unauthorized personality in a movie or TV commercial (remember John Wayne hawking Coors?), but now they’re killing presidents and employing dead child stars (that controversial new Poltergeist Direct TV ad). I wonder how far the ethics will be stretched in another decade. Gerald Ford in The Bees (1978) This is another cameo that probably wasn’t authorized, but it’s even more innocent than putting words into Kennedy’s mouth. Plus, it’s not a very good movie, and so the former U.S. President’s uncredited appearance probably wasn’t a very big deal. Even if the filmmakers try to make it seem that a swarm of killer bees are a threat to Ford as he’s riding on a Rose Bowl Parade float. If Hollywood ever remakes this film, they’ll probably use effects wizardry to make it look like the President actually gets stung and dies. Originally posted on:SpoutBlog
]]>Tue, 21 Oct 2008 15:01:01 GMTSpoutBlogSpoutBlog on spout.com10/21/2008 11:01:01 AMThis past weekend, Saturday Night Live received a huge ratings boost thanks to the appearance of vice-presidential candidate Sarah Palin. But as much fun as it was seeing her act the good sport next to a jokingly critical Alec Baldwin, it only made me anticipate her inevitable feature film debut. I mean, did you notice she was the only person who didn’t need to keep reading from the cue cards? She’s a natural. And whether her ticket wins or loses the race on November 4, it’s certain that one day Palin will at least make a cameo in some kind of fictional movie, whether she means to or not. So, as we wait for her to show up in a small part in the Coen brothers’ adaptation of Michael Chabon’s The Yiddish Policemen’s Union (both because she’s from Alaska and reminds me of Frances McDormand in Fargo), let’s take a look at some other politicians who’ve made interesting film cameos, some intentionally and some not. John McCain in Wedding Crashers (2005) Few of us noticed or thought much of it when Senator McCain appeared as himself, shaking hands with Christopher Walken and Jane Seymour, in this romantic comedy. But so far this year you’ve probably seen the cameo, or a photo from it, more times than you’ve seen the rest of the movie. I wonder if McCain and Walken had time to chat about the latter’s role in The Deer Hunter. Christopher Dodd in Dave (1993) When I was in high school, I had no idea who my state’s U.S. Senators were. Fortunately, I saw Dave and saw Dodd’s cameo, complete with a caption telling who he is. Other state’s youth who might have had similar experiences include Iowa, Ohio, Illinois and Wyoming, as the political comedy also featured cameos from Senators Tom Harkin, Howard Metzenbaum, Paul Simon and Alan Simpson. Representative Tip O’Neill also appears, but everybody knew who he was, right? Patrick Leahy in The Dark Knight (2008) What’s a U.S. Senator doing in a comic book movie? More importantly, what’s a Democrat politician doing in a Republican’s wet dream? Well, Vermont’s Leahy is apparently a huge Batman fan and has also appeared in Batman and Robin and lent his voice to an episode of Batman: The Animated Series. Al D’amato in The Devil’s Advocate (1997) There’s no more appropriate place for a politician to make an appearance than a movie about the Devil. Right? Well, D’amato’s cameo is unfortunately a little more innocent than it seems, though he is still seen cavorting with employees of Satan. Rudy Giuliani in The Out-of-Towners (1999) It’s definitely appropriate for an NYC mayor to make an appearance in a movie that promotes Manhattan tourism, but Giuliani picked the wrong movie to be associated with. Possibly one of the worst remakes ever, it’s more likely to dissuade viewers to come to the Big Apple. Ed Koch in The Muppets Take Manhattan (1984) Koch, on the other hand, is a huge cinephile (he even moonlights as a film critic) and has appeared in a ton of NYC-set films, good and bad. When I was a kid, nothing made me think Koch was cooler than his appearance alongside the Muppets. Jim Garrison in JFK (1991) It’s typical for people to have cameos in films about themselves, so it’s not too surprising to see the former District Attorney show up in Oliver Stone’s film. Not only did he get to make a small appearance, though, he actually got to portray someone as famous as Earl Warren. And he kind of did a better job of it than Kevin Costner did of portraying Garrison. John F. Kennedy in Forrest Gump (1994) Thanks to movie magic, the former President of the United States was able to make a cameo opposite Tom Hanks sixty years after he’d been assassinated. Of course, another actor provided his line for him, but I’m sure the real JFK would have been down to knowingly costar with an Oscar winner and memorably say, “I believe he said he had to go pee.” George W. Bush in Death of a President (2006) Thanks to similar movie magic, the current U.S. President was able to be seamlessly edited into this movie so that it truly appears as though the real G.W. Bush has been shot. To think, back when Forrest Gump was made, there were such innocent ways of featuring a deceased or unauthorized personality in a movie or TV commercial (remember John Wayne hawking Coors?), but now they’re killing presidents and employing dead child stars (that controversial new Poltergeist Direct TV ad). I wonder how far the ethics will be stretched in another decade. Gerald Ford in The Bees (1978) This is another cameo that probably wasn’t authorized, but it’s even more innocent than putting words into Kennedy’s mouth. Plus, it’s not a very good movie, and so the former U.S. President’s uncredited appearance probably wasn’t a very big deal. Even if the filmmakers try to make it seem that a swarm of killer bees are a threat to Ford as he’s riding on a Rose Bowl Parade float. If Hollywood ever remakes this film, they’ll probably use effects wizardry to make it look like the President actually gets stung and dies. Originally posted on:SpoutBlog http://www.spout.com/groups/HORROR_MOVIES_101/Re_ZODIAC/222/17597/1/ShowPost.aspx Post By: Puhnner
Post To: HORROR MOVIES 101
Post Date: 8/8/2007 11:34:26 AM
Body: Although I cared very little for Panic Room unlike all of his other works that I think very highly of, your description of the film is just great, the last sentence is particularly insightful. God, how true that seems to be.I quite enjoyed Zodiac and went on to read the 2 books that helped frame the film. The film seemed to speak to Robert Graysmith/Jake Gyllenhaal's obsessiveness ( surely a good thing ) apparent between the lines in the books. I enjoy seeing that sort of thing played out, how some thing, maybe simple, maybe very complex, grabs, enters, and envelopes the pysche and just will not let go until some sort of passionate thing is done ( or madness???)...there was that great Jim Garrison/Kevin Costner 'gotca' moment in JFK, that seemed to say it all to me.
]]>Wed, 08 Aug 2007 15:34:26 GMTPuhnnerHORROR MOVIES 1018/8/2007 11:34:26 AMAlthough I cared very little for Panic Room unlike all of his other works that I think very highly of, your description of the film is just great, the last sentence is particularly insightful. God, how true that seems to be.I quite enjoyed Zodiac and went on to read the 2 books that helped frame the film. The film seemed to speak to Robert Graysmith/Jake Gyllenhaal&#39;s obsessiveness ( surely a good thing ) apparent between the lines in the books. I enjoy seeing that sort of thing played out, how some thing, maybe simple, maybe very complex, grabs, enters, and envelopes the pysche and just will not let go until some sort of passionate thing is done ( or madness???)...there was that great Jim Garrison/Kevin Costner &#39;gotca&#39; moment in JFK, that seemed to say it all to me. http://www.spout.com/blogs/erico_77375/archive/2007/7/22/15545.aspx Post By: erico_77375
Post To: erico_77375 Blog
Post Date: 7/22/2007 6:39:32 AM
Body: Everybody has a conspiracy theory about the murder of John Fitzgerald Kennedy. Some say Lee Harvey Oswald did it (though they're less in numbers now). Some say the mob or the Cubans. Others even claim aliens. What most critic's of Oliver Stone's masterpiece don't understand is that it doesn't matter who they believe did it, but that they're less likely to believe the lies behind the fact; there was more than one shooter.But Oliver Stone's film doesn't start with a president's death as much his life. We get a brief history of Kennedy's presidency. There's two good reasons for this: 1) It catches new audiences up on things that will be discussed later in the film and 2) It allows us to connect with the man before we get to his death. And even then, we do not relate to his death first-hand, but through Jim Garrison (Kevin Costner), district attorney of New Orleans. He finds that there's a link to assassins in New Orleans, but as he's about to make a collar, Oswald is killed and it's no longer needed. Years later, Garrison looks at the case again after a conversation with a congressman lures him back to it. He reopens the case to the confusion of his staff and realizes there's more to this story than he bargained for. The film rounds off more than a few of the conspiracy theories that all have merit (besides the alien one). Connections to anti-communist forces and CIA operatives come into focus. Any of these are plausible, but Garrison focuses on the one that makes the most sense to him: the government was involved. Eventually, his investigation leaks and Garrison finds his case in a spotlight. It forces him to arrest Clay Shaw (Tommy Lee Jones) as one of the conspirators and brings down a wrath of hate from the media. Not to mention that Jim's wife (Sissy Spacek) is starting to crack under the pressure of constant threats to her family. Jim's staff is staring to pull away from him. He keeps continuing on the self-assurance that the truth is within reach. The trial is done in full spectacle. Garrison doesn't really have enough to show Shaw's connection, but what he does have is more than enough to prove there was a conspiracy. The film is more than glad to go through all of this over and over again. Perhaps Garrison's reasons for having the trial wasn't so much to get the person responsible, but to voice the concerns of a nation the only way he knew how. If that manner was appropriate, I leave to you to decide.JFK is anything if a character study of Garrison as a person and as an ideal. Could he have fallen in love with being the latter, I'd almost say yes. What Costner does with Garrison is make him bold to the point of blindness, stubborn to the point of noble. Supporting him are a cast of actors who bring their best game forward. Watch Michael Rooker as one of Garrison's lead investigators as he slowly becomes disillusioned with his boss' quest for truth. Look at Gary Oldman's Oswald as he portrays this character three different ways, each more mysterious than the other. Kevin Bacon and Joe Pesci both adding more fuel to this bonfire with pitch perfect supporting roles. And finally Spacek who underplays and overplays in just the right moments, leaving us to feel more sympathy for her than if she were just another movie nagging wife.But it is Oliver Stone who is the real star. His boldness to tell this story is already a thing of legend. But what makes this such an important film isn't just the message, but Stone's way of photographing feelings and emotions and making us believe he knows what he's talking about. He uses every trick in the book from 8mm to black and white, to over saturation to Dutch angles. You can follow along with a film student and within 30 minutes of this film they'll have enough homework for two months. But finally, he makes us care about these people and make us care about the truth. And when you're able to do that, that's when you know your film is powerful.Perhaps Oswald did kill Kennedy. Perhaps all those little things were just coincidences and that mass hysteria did take effect on that grassy knoll. Or perhaps Johnson was involved. The mark of a good conspiracy is the way that it can never be proven. Maybe we'll know one day, but the truth will never effect how this film will move us.
]]>Sun, 22 Jul 2007 10:39:32 GMTerico_77375erico_77375 Blog7/22/2007 6:39:32 AMEverybody has a conspiracy theory about the murder of John Fitzgerald Kennedy. Some say Lee Harvey Oswald did it (though they&#39;re less in numbers now). Some say the mob or the Cubans. Others even claim aliens. What most critic&#39;s of Oliver Stone&#39;s masterpiece don&#39;t understand is that it doesn&#39;t matter who they believe did it, but that they&#39;re less likely to believe the lies behind the fact; there was more than one shooter.But Oliver Stone&#39;s film doesn&#39;t start with a president&#39;s death as much his life. We get a brief history of Kennedy&#39;s presidency. There&#39;s two good reasons for this: 1) It catches new audiences up on things that will be discussed later in the film and 2) It allows us to connect with the man before we get to his death. And even then, we do not relate to his death first-hand, but through Jim Garrison (Kevin Costner), district attorney of New Orleans. He finds that there&#39;s a link to assassins in New Orleans, but as he&#39;s about to make a collar, Oswald is killed and it&#39;s no longer needed. Years later, Garrison looks at the case again after a conversation with a congressman lures him back to it. He reopens the case to the confusion of his staff and realizes there&#39;s more to this story than he bargained for. The film rounds off more than a few of the conspiracy theories that all have merit (besides the alien one). Connections to anti-communist forces and CIA operatives come into focus. Any of these are plausible, but Garrison focuses on the one that makes the most sense to him: the government was involved. Eventually, his investigation leaks and Garrison finds his case in a spotlight. It forces him to arrest Clay Shaw (Tommy Lee Jones) as one of the conspirators and brings down a wrath of hate from the media. Not to mention that Jim&#39;s wife (Sissy Spacek) is starting to crack under the pressure of constant threats to her family. Jim&#39;s staff is staring to pull away from him. He keeps continuing on the self-assurance that the truth is within reach. The trial is done in full spectacle. Garrison doesn&#39;t really have enough to show Shaw&#39;s connection, but what he does have is more than enough to prove there was a conspiracy. The film is more than glad to go through all of this over and over again. Perhaps Garrison&#39;s reasons for having the trial wasn&#39;t so much to get the person responsible, but to voice the concerns of a nation the only way he knew how. If that manner was appropriate, I leave to you to decide.JFK is anything if a character study of Garrison as a person and as an ideal. Could he have fallen in love with being the latter, I&#39;d almost say yes. What Costner does with Garrison is make him bold to the point of blindness, stubborn to the point of noble. Supporting him are a cast of actors who bring their best game forward. Watch Michael Rooker as one of Garrison&#39;s lead investigators as he slowly becomes disillusioned with his boss&#39; quest for truth. Look at Gary Oldman&#39;s Oswald as he portrays this character three different ways, each more mysterious than the other. Kevin Bacon and Joe Pesci both adding more fuel to this bonfire with pitch perfect supporting roles. And finally Spacek who underplays and overplays in just the right moments, leaving us to feel more sympathy for her than if she were just another movie nagging wife.But it is Oliver Stone who is the real star. His boldness to tell this story is already a thing of legend. But what makes this such an important film isn&#39;t just the message, but Stone&#39;s way of photographing feelings and emotions and making us believe he knows what he&#39;s talking about. He uses every trick in the book from 8mm to black and white, to over saturation to Dutch angles. You can follow along with a film student and within 30 minutes of this film they&#39;ll have enough homework for two months. But finally, he makes us care about these people and make us care about the truth. And when you&#39;re able to do that, that&#39;s when you know your film is powerful.Perhaps Oswald did kill Kennedy. Perhaps all those little things were just coincidences and that mass hysteria did take effect on that grassy knoll. Or perhaps Johnson was involved. The mark of a good conspiracy is the way that it can never be proven. Maybe we&#39;ll know one day, but the truth will never effect how this film will move us. http://www.spout.com/groups/Philosophy_of_Film/Re_Deception/281/6729/1/ShowPost.aspx Post By: porcupine
Post To: Philosophy of Film
Post Date: 4/4/2007 6:10:57 PM
Body: The thing about Fargo claiming to be factual is really fascinating. On the one hand, every movie is telling a lie in the sense that it's creating a fiction. This becomes the most troubling with films that claim to be portraying factual events (including documentaries) because we let our guard down and accept them as truth. A great example of this was how JFK lent credibility to a theory about the assassination which is now widely believed to be false, even to the point of influencing a government investigation. Even documentaries are not strictly factual, events are first seen from one perspective, then edited. Hemingway said that every true story ends in death, so I'd say that any movie that edits events into a "story" is already fiction (weather or not that fiction attempts to describe reality).But about Fargo: It seems like the issue is where the work of art ends and the real world begins. Is it fair to say that the misleading title card and the Coens' statements are part of the "artwork"? In the world of post-modern contemporary art this distinction has long been obscured. The key example being Andy Warhol, whose persona and artworks constantly blurred into one big beautiful mess that just was Andy. Are the Coen brothers trying to do this? I don't think it matters. I'm not sure if Andy was really trying to do it. But as viewers we can step back and look at the big picture, what's beyond the canvas, what's said after the roll, and take it all for what it is: art, entertainment, mystery.
]]>Wed, 04 Apr 2007 22:10:57 GMTporcupinePhilosophy of Film4/4/2007 6:10:57 PMThe thing about Fargo claiming to be factual is really fascinating. On the one hand, every movie is telling a lie in the sense that it&#39;s creating a fiction. This becomes the most troubling with films that claim to be portraying factual events (including documentaries) because we let our guard down and accept them as truth. A great example of this was how JFK lent credibility to a theory about the assassination which is now widely believed to be false, even to the point of influencing a government investigation. Even documentaries are not strictly factual, events are first seen from one perspective, then edited. Hemingway said that every true story ends in death, so I&#39;d say that any movie that edits events into a "story" is already fiction (weather or not that fiction attempts to describe reality).But about Fargo: It seems like the issue is where the work of art ends and the real world begins. Is it fair to say that the misleading title card and the Coens&#39; statements are part of the "artwork"? In the world of post-modern contemporary art this distinction has long been obscured. The key example being Andy Warhol, whose persona and artworks constantly blurred into one big beautiful mess that just was Andy. Are the Coen brothers trying to do this? I don&#39;t think it matters. I&#39;m not sure if Andy was really trying to do it. But as viewers we can step back and look at the big picture, what&#39;s beyond the canvas, what&#39;s said after the roll, and take it all for what it is: art, entertainment, mystery. http://www.spout.com/members/0/tags/brilliant/MemberTagFilms.aspxbrilliant
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