list http://www.spout.com/ Recent community activity around In the Bedroom 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/In_the_Bedroom/184313/default.aspx Title: In the Bedroom
Year: 2001
Director: Todd Field
Plot: Character actor and noted photographer Todd Field made his directorial debut with this emotionally powerful drama, which earned enthusiastic reviews at the 2001 Sundance Film Festival. Frank Fowler (Nick Stahl) is a handsome and amiable young man who has recently graduated from high school and is spending the summer working as a lobster fisherman before heading off to college in the fall. Frank is also involved with Natalie (Marisa Tomei), an attractive woman ten years his senior who is separated from her husband Richard (William Mapother), though their divorce has not yet been finalized. Frank's parents, Matt (Tom Wilkinson) and Ruth (Sissy Spacek) wonder if it's wise for their son to be pursuing a romance that he won't be able to continue in a few months; Matt trusts Frank and leaves him to make his own decisions, while Ruth quietly but firmly registers her objections. One day, Richard snaps, and breaks into Natalie's home; when he discovers Frank is there, he viciously kills him. The wheels of justice turn in an unexpected direction, and Richard is released on bail, free to go his own way as he awaits his trial. Matt and Ruth are both deeply traumatized by the event; while Matt tries to deal with his hurt by retreating into his work and avoiding his feelings, Ruth instead becomes increasingly withdrawn, losing interest in her job as a music teacher and spending her nights chain smoking in front of the television. In the Bedroom was adapted from the short story Killings by Andre Dubus. ~ Mark Deming, All Movie Guide
Times Tagged: 13
Number of Lists: 18
Number of blog posts: 2
Number of discussion threads: 5
SpoutRating: 3
]]>Tue, 12 May 2009 03:44:26 GMTIn the Bedroom2001Todd FieldCharacter actor and noted photographer <a href="/players/P____23343/default.aspx" style='text-decoration:underline'>Todd Field</a> made his directorial debut with this emotionally powerful drama, which earned enthusiastic reviews at the 2001 Sundance Film Festival. Frank Fowler (<a href="/players/P____67497/default.aspx" style='text-decoration:underline'>Nick Stahl</a>) is a handsome and amiable young man who has recently graduated from high school and is spending the summer working as a lobster fisherman before heading off to college in the fall. Frank is also involved with Natalie (<a href="/players/P____71267/default.aspx" style='text-decoration:underline'>Marisa Tomei</a>), an attractive woman ten years his senior who is separated from her husband Richard (<a href="/players/P___145350/default.aspx" style='text-decoration:underline'>William Mapother</a>), though their divorce has not yet been finalized. Frank's parents, Matt (<a href="/players/P____76333/default.aspx" style='text-decoration:underline'>Tom Wilkinson</a>) and Ruth (<a href="/players/P____67043/default.aspx" style='text-decoration:underline'>Sissy Spacek</a>) wonder if it's wise for their son to be pursuing a romance that he won't be able to continue in a few months; Matt trusts Frank and leaves him to make his own decisions, while Ruth quietly but firmly registers her objections. One day, Richard snaps, and breaks into Natalie's home; when he discovers Frank is there, he viciously kills him. The wheels of justice turn in an unexpected direction, and Richard is released on bail, free to go his own way as he awaits his trial. Matt and Ruth are both deeply traumatized by the event; while Matt tries to deal with his hurt by retreating into his work and avoiding his feelings, Ruth instead becomes increasingly withdrawn, losing interest in her job as a music teacher and spending her nights chain smoking in front of the television. In the Bedroom was adapted from the short story Killings by Andre Dubus. ~ Mark Deming, All Movie Guide13Tag Target (>10)18253http://www.spout.com/ProductImages/t19791s2wae.jpghttp://www.spout.com/films/In_the_Bedroom/184313/default.aspxFilm http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/39484/1/ShowPost.aspx Post By: flair
Post To: Top 5
Post Date: 1/13/2009 6:35:16 PM
Body: 1) Gangs of New York (2002) As Pippin points out, in the land of overrated Scorsese, there are plenty of choices. But this represents the apogee: a meticulously researched, carefully staged, beautifully filmed, soulless, empty-headed, costume drama variation on all his other celebrations of violence. No matter how compelling the characters and intriguing their stories, Scorsese always manages to miss their heart. That's forgivable in rubbish like "Goodfellas" or a cartoon like "The Departed," where we know he's just filling time between spasms of bloodshed. But consider the resources that went into recreating this vanished world, only for Marty to once again fail at Storytelling 101. In an earlier era, Scorsese would be the batty uncle in the attic. Today, he's an award-winning director. Who says there's been no progress in the treatment of the mentally ill? 2) In the Bedroom (2001) Anyone who has ever lost a family member through crime, and struggled through the resulting legal proceedings, understands the continued heartbreak and frustration involved, and the amount of forbearance and character required to get through the days. For the sake of a cheap twist, this disgraceful twaddle dishonors all those sacrifices. 3) The Hospital (1971) I'm not sure this movie is still well-known enough to be truly overrated, but at the time this shrill, misogynistic, self-satisfied and self-defeating satire actually attracted some good notices. The combination of bombastic screenwriter Paddy Chayefsky, pedestrian director Arthur Hiller and george C. Scott in real social realist mode as the bitter alcoholic he was born to be, er, play, trample whatever green shoots of antic comedy that attempt to poke up their heads. Diana Rigg, an actress I usually like, gives the worst performance of her career simply by playing her ludicrous character, The Girl, straight. 4) Stage Beauty (2004) I understand the criticism of "Shakespeare in Love," but that's "Battleship Potemkin" compared to this pale copy. Not only do Claire Danes and Billy Crudup make Gwynneth Paltrow and Joseph Fiennes look like Brangelina, this movie actually borrows the silliest storyline element from "Goldfinger." No, not the attack on Fort Knox, the part where one fling with Sean Connery cures Honor Blackman of her lesbian proclivities. Here, it's boyish Claire who supposedly entices Billy away from the boys; perhaps he just didn't notice a difference. ZZZZZZ. (Billy lost even more cred off-screen by leaving pregnant girlfriend Mary Louise Parker for Claire. No, truly, I'm not making that up. Talk about sexual confusion. Fittingly, Claire then left Billy for an avowedly gay actor.) 5) Closer Certain productions work acceptably on stage, where the immediacy of the acting and the intimacy of the setting can overcome contrived writing. With the right cast, "Closer" makes for an interesting if chilly theatrical experience. Blown up on screen, with little effort to expand the stagey settings and set-up, every bit of plot machinery and line of by-the-numbers dialogue gets cruelly exposed. The high-profile cast is not exactly bad, but strikes few sparks. In a sexual rondelet of two couples, it doesn't help that Natalie Portman exudes all the allure of an average 12-year-old playing dress up, while Jude Law opts to push his boyishness to new extremes.
]]>Tue, 13 Jan 2009 23:35:16 GMTflairTop 51/13/2009 6:35:16 PM 1) Gangs of New York (2002) As Pippin points out, in the land of overrated Scorsese, there are plenty of choices. But this represents the apogee: a meticulously researched, carefully staged, beautifully filmed, soulless, empty-headed, costume drama variation on all his other celebrations of violence. No matter how compelling the characters and intriguing their stories, Scorsese always manages to miss their heart. That's forgivable in rubbish like "Goodfellas" or a cartoon like "The Departed," where we know he's just filling time between spasms of bloodshed. But consider the resources that went into recreating this vanished world, only for Marty to once again fail at Storytelling 101. In an earlier era, Scorsese would be the batty uncle in the attic. Today, he's an award-winning director. Who says there's been no progress in the treatment of the mentally ill? 2) In the Bedroom (2001) Anyone who has ever lost a family member through crime, and struggled through the resulting legal proceedings, understands the continued heartbreak and frustration involved, and the amount of forbearance and character required to get through the days. For the sake of a cheap twist, this disgraceful twaddle dishonors all those sacrifices. 3) The Hospital (1971) I'm not sure this movie is still well-known enough to be truly overrated, but at the time this shrill, misogynistic, self-satisfied and self-defeating satire actually attracted some good notices. The combination of bombastic screenwriter Paddy Chayefsky, pedestrian director Arthur Hiller and george C. Scott in real social realist mode as the bitter alcoholic he was born to be, er, play, trample whatever green shoots of antic comedy that attempt to poke up their heads. Diana Rigg, an actress I usually like, gives the worst performance of her career simply by playing her ludicrous character, The Girl, straight. 4) Stage Beauty (2004) I understand the criticism of "Shakespeare in Love," but that's "Battleship Potemkin" compared to this pale copy. Not only do Claire Danes and Billy Crudup make Gwynneth Paltrow and Joseph Fiennes look like Brangelina, this movie actually borrows the silliest storyline element from "Goldfinger." No, not the attack on Fort Knox, the part where one fling with Sean Connery cures Honor Blackman of her lesbian proclivities. Here, it's boyish Claire who supposedly entices Billy away from the boys; perhaps he just didn't notice a difference. ZZZZZZ. (Billy lost even more cred off-screen by leaving pregnant girlfriend Mary Louise Parker for Claire. No, truly, I'm not making that up. Talk about sexual confusion. Fittingly, Claire then left Billy for an avowedly gay actor.) 5) Closer Certain productions work acceptably on stage, where the immediacy of the acting and the intimacy of the setting can overcome contrived writing. With the right cast, "Closer" makes for an interesting if chilly theatrical experience. Blown up on screen, with little effort to expand the stagey settings and set-up, every bit of plot machinery and line of by-the-numbers dialogue gets cruelly exposed. The high-profile cast is not exactly bad, but strikes few sparks. In a sexual rondelet of two couples, it doesn't help that Natalie Portman exudes all the allure of an average 12-year-old playing dress up, while Jude Law opts to push his boyishness to new extremes. http://www.spout.com/blogs/risselada/archive/2009/1/13/39458.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 1/13/2009 12:44:28 PM
Body: I'm told that Üç maymun (Three Monkeys) is Turkey's official submission for consideration of the Academy Award for Best Foreign Language Film. I really have no idea how many films with this level of production are made in Turkey each year. And now that I think about it, I can't think of a single movie I have ever seen that has come out of Turkey. The only movie I can think of that I've seen that is even set substantially in Turkey is Midnight Express, and I believe that was an American produced film that wasn't especially fair in portraying the full Turkish culture for Americans. However there's actually not too much about Three Monkeys that sets it in any particular location. At least there was nothing culturally unusual or alien to me. I'm not saying that there SHOULD be, just an observation from someone who doesn't know too much about Turkey and hasn't seen too much of their artistic exports. What we have here is a film that is well executed in many ways, nice pacing, framing, cinematography, sound, and superb acting. And the dialogue and story are realistic and easy to follow. The film does well with the "show don't tell" rule of story telling. We pick up a lot of things about the feelings of the characters and specific events and background elements without anyone speaking about them explicitly. YET, despite all of this I found the movie to be sorely lacking. Even if everything that a movie is trying to do is done well, if what it's trying to do has no originality or holds no interest then what is the point? This is a tragic drama. People in conflict, anguish, humorless. All of the characters make foolish decisions as people often do. But when we don't see much of the characters apart from their foolish decisions or the ill consequences on them due to the foolish decisions of others, no scenes of them really enjoying themselves or with any real hope or interesting personality traits, then the tragedy is not too affecting. The one key element that the movie is suggesting has played a key role in their backgrounds and how they got to where they are now is the apparent loss of another son in family many years ago. I did find quite a bit of skill and restraint in the way this is revealed. It's virtually never mentioned by any of the characters. The movie lets you as the viewer piece together the history of what happened and how much it has affected everyone through very simple images. But I do not feel as though this element adds enough to make this story particularly worth watching. The insight is too miniscule. One other interesting aspect of this film that I recall is that there is absolutely no non-diegetic music (from what I remember, if there was it must have been quite subtle). The only music in the film is the ringtone from the mother's cell phone which has some extremely sad lyrics about love turning into hate and destruction. The fact that this is the only music ever heard makes the song even more blunt. And it also makes the use of sound in the film even more apparent. Sound stands out in this movie. With your attention brought to the sounds around you more than you would normally notice it, normal things can sound quite strange and startling. There is a tense scene (well pretty much all of them are tense actually) where a man who is rather upset stands up and walks off screen. We hear a very strange noise, and then when the picture cuts back to him we see he is standing in front of an electric fan. The film also makes excessive use of sound bridges where the sounds of the next scene start to play quite long before the image cuts over as well. Sometimes the sound is that of the ringtone so that it sounds at first like non-diegetic music until we realize what is happening. These uses of sound and few realistic indications of the dead son still affecting the lives of the main characters are the moments where the film starts to extend into the surreal but never in a way that really seems unrealistic than our own perceptions of things. I would certainly be willing to watch something else by these same filmmakers in the future if someone were to tell me that their next project was going to feature a little more humor. As it is, as the first Turkish film production I have seen my impression of the country is that it's a place pretty much devoid of life and hope. Of course I know that isn't true. And I realize the filmmakers are also hinting that there was once some joy before the death of the son in this family, but I'd rather take my tragedy with a little more profundity. (At least this movie didn't have any horribly pretentious voice-overs like that other mavens movie I reviewed not too long ago, Summer Palace). Some better straight up tragic dramas that I prefer, that I think you may like if you like this movie: 21 Grams, House of Sand and Fog, In the Bedroom Rating: 5/10
]]>Tue, 13 Jan 2009 17:44:28 GMTRisseladaRisselada Blog1/13/2009 12:44:28 PMI'm told that &Uuml;&ccedil; maymun (Three Monkeys) is Turkey's official submission for consideration of the Academy Award for Best Foreign Language Film. I really have no idea how many films with this level of production are made in Turkey each year. And now that I think about it, I can't think of a single movie I have ever seen that has come out of Turkey. The only movie I can think of that I've seen that is even set substantially in Turkey is Midnight Express, and I believe that was an American produced film that wasn't especially fair in portraying the full Turkish culture for Americans. However there's actually not too much about Three Monkeys that sets it in any particular location. At least there was nothing culturally unusual or alien to me. I'm not saying that there SHOULD be, just an observation from someone who doesn't know too much about Turkey and hasn't seen too much of their artistic exports. What we have here is a film that is well executed in many ways, nice pacing, framing, cinematography, sound, and superb acting. And the dialogue and story are realistic and easy to follow. The film does well with the "show don't tell" rule of story telling. We pick up a lot of things about the feelings of the characters and specific events and background elements without anyone speaking about them explicitly. YET, despite all of this I found the movie to be sorely lacking. Even if everything that a movie is trying to do is done well, if what it's trying to do has no originality or holds no interest then what is the point? This is a tragic drama. People in conflict, anguish, humorless. All of the characters make foolish decisions as people often do. But when we don't see much of the characters apart from their foolish decisions or the ill consequences on them due to the foolish decisions of others, no scenes of them really enjoying themselves or with any real hope or interesting personality traits, then the tragedy is not too affecting. The one key element that the movie is suggesting has played a key role in their backgrounds and how they got to where they are now is the apparent loss of another son in family many years ago. I did find quite a bit of skill and restraint in the way this is revealed. It's virtually never mentioned by any of the characters. The movie lets you as the viewer piece together the history of what happened and how much it has affected everyone through very simple images. But I do not feel as though this element adds enough to make this story particularly worth watching. The insight is too miniscule. One other interesting aspect of this film that I recall is that there is absolutely no non-diegetic music (from what I remember, if there was it must have been quite subtle). The only music in the film is the ringtone from the mother's cell phone which has some extremely sad lyrics about love turning into hate and destruction. The fact that this is the only music ever heard makes the song even more blunt. And it also makes the use of sound in the film even more apparent. Sound stands out in this movie. With your attention brought to the sounds around you more than you would normally notice it, normal things can sound quite strange and startling. There is a tense scene (well pretty much all of them are tense actually) where a man who is rather upset stands up and walks off screen. We hear a very strange noise, and then when the picture cuts back to him we see he is standing in front of an electric fan. The film also makes excessive use of sound bridges where the sounds of the next scene start to play quite long before the image cuts over as well. Sometimes the sound is that of the ringtone so that it sounds at first like non-diegetic music until we realize what is happening. These uses of sound and few realistic indications of the dead son still affecting the lives of the main characters are the moments where the film starts to extend into the surreal but never in a way that really seems unrealistic than our own perceptions of things. I would certainly be willing to watch something else by these same filmmakers in the future if someone were to tell me that their next project was going to feature a little more humor. As it is, as the first Turkish film production I have seen my impression of the country is that it's a place pretty much devoid of life and hope. Of course I know that isn't true. And I realize the filmmakers are also hinting that there was once some joy before the death of the son in this family, but I'd rather take my tragedy with a little more profundity. (At least this movie didn't have any horribly pretentious voice-overs like that other mavens movie I reviewed not too long ago, Summer Palace). Some better straight up tragic dramas that I prefer, that I think you may like if you like this movie: 21 Grams, House of Sand and Fog, In the Bedroom Rating: 5/10 http://www.spout.com/blogs/usesoap/archive/2009/1/5/39115.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 1/5/2009 4:37:37 PM
Body: So often, when a film is described as 'deliberately paced,' it's can be read as being 'slow.' 'In the Bedroom' initially comes to mind off the top of my head. And while the camera may stay statioary to soak in the scenery, the electrical undercurrent of 'Three Monkeys' (Uc Maymun in Turkish) is anything but lethargic. Cinematographer Nuri Bilge Ceylan uses natural and man-made elements as supporting actors. A rolling storm cloud here, a thundering train there, all signify struggles the main characters face as they attempt to lie and cheat their way out of the dark corners in which they've found themselves. A middle-aged politician (Ercan Kesal) drives down a desolate road, eyes heavy with sleep, when he is jolted awake by his car slamming into and killing a pedestrian. In a panic, he bolts the scene and later persuades his longtime driver, Eyup (played by Yavuz Bingol), to take the fall and and serve the jail time in exchange for large chunks of change for him, Hacer his wife ( played by Hatice Aslan) and Ismael, his young son (played by Ahmet Rifts Sungar). As often does happen with money, problems arise. Ismael is of limited motivation and feels that only if the money were spent on a new car, his dream career could be attained. Hacer, on the other hand, begins an affair with her hubby's boss -- yes, the man Eyuap's serving time for -- and is reluctant to let it go upon his prison release. The film's title refers to those little chimps that cover their eyes, ears and mouth in order to "see no evil..." etc. And that is exactly what the characters do, they shut down the darker parts and sort of wish their troubles away. And this often justifies the lingering, physically inert stretches, hoping that those dark clouds will just roll over eventually and sunny skies will soon follow. But just as director Ceylan cuts away, so does the hope for a cheerful conclusion. It's not the prettiest portrait of human nature ( as evidenced by Eyup's violent reaction to his wife's affair, but indifference of his boss killing a man and covering it up), but may be more accurate than we're comfortable with. If it's pictures on the TV, we feel brief sadness before turning the channel; if it hits home, we're pissed. The performances are uniformly believable, with Aslan as the true standout. She's the victim of a loveless marriage, and when her husband's jailed for the better part of a year, her flirtation with freedom is palpable. And though Three Monkeys dabbles with excellence throughout, it never fully acheives it. Resolutions come a tad too easy in a film as emotionally messy as this, and while the cinematography enhances, it is too often used as a narrative crutch. Still, Three Monkeys offers further progression of a filmmaker who is not afraid of a few risks, and with each film, Ceylan has been building a solid resume (with 2002's Distant and 2006's Climates) that will most likely reap future rewards
]]>Mon, 05 Jan 2009 21:37:37 GMTusesoapusesoap Blog1/5/2009 4:37:37 PMSo often, when a film is described as 'deliberately paced,' it's can be read as being 'slow.' 'In the Bedroom' initially comes to mind off the top of my head. And while the camera may stay statioary to soak in the scenery, the electrical undercurrent of 'Three Monkeys' (Uc Maymun in Turkish) is anything but lethargic. Cinematographer Nuri Bilge Ceylan uses natural and man-made elements as supporting actors. A rolling storm cloud here, a thundering train there, all signify struggles the main characters face as they attempt to lie and cheat their way out of the dark corners in which they've found themselves. A middle-aged politician (Ercan Kesal) drives down a desolate road, eyes heavy with sleep, when he is jolted awake by his car slamming into and killing a pedestrian. In a panic, he bolts the scene and later persuades his longtime driver, Eyup (played by Yavuz Bingol), to take the fall and and serve the jail time in exchange for large chunks of change for him, Hacer his wife ( played by Hatice Aslan) and Ismael, his young son (played by Ahmet Rifts Sungar). As often does happen with money, problems arise. Ismael is of limited motivation and feels that only if the money were spent on a new car, his dream career could be attained. Hacer, on the other hand, begins an affair with her hubby's boss -- yes, the man Eyuap's serving time for -- and is reluctant to let it go upon his prison release. The film's title refers to those little chimps that cover their eyes, ears and mouth in order to "see no evil..." etc. And that is exactly what the characters do, they shut down the darker parts and sort of wish their troubles away. And this often justifies the lingering, physically inert stretches, hoping that those dark clouds will just roll over eventually and sunny skies will soon follow. But just as director Ceylan cuts away, so does the hope for a cheerful conclusion. It's not the prettiest portrait of human nature ( as evidenced by Eyup's violent reaction to his wife's affair, but indifference of his boss killing a man and covering it up), but may be more accurate than we're comfortable with. If it's pictures on the TV, we feel brief sadness before turning the channel; if it hits home, we're pissed. The performances are uniformly believable, with Aslan as the true standout. She's the victim of a loveless marriage, and when her husband's jailed for the better part of a year, her flirtation with freedom is palpable. And though Three Monkeys dabbles with excellence throughout, it never fully acheives it. Resolutions come a tad too easy in a film as emotionally messy as this, and while the cinematography enhances, it is too often used as a narrative crutch. Still, Three Monkeys offers further progression of a filmmaker who is not afraid of a few risks, and with each film, Ceylan has been building a solid resume (with 2002's Distant and 2006's Climates) that will most likely reap future rewards http://www.spout.com/groups/Community_Recommendations/Re_Mercurial_Yet_Not_Entirely_Unrefined/643/38159/1/ShowPost.aspx Post By: dibot
Post To: Community Recommendations
Post Date: 12/9/2008 8:45:35 PM
Body: [quote user="JimBell"] Mercurial, Have you seen any of the following thrillers/dramas that you would recommend: Insomnia (2002) In the Bedroom (2001) Read My Lips (2002) Red Lights (French; 2004) Bound (1996) Tell No One (French; 2008) Charade (1963) The Last Seduction (1995) Death and the Maiden (1995) Red Rock West Blindness (2008) JIMBELL [/quote] I know I'm not Mercurial, but I have seen and would recommend, Insomnia, In the Bedroom (heartbreaking), Bound and Death and the Maiden. But not Blindness (2008). There's just something missing from that film.
]]>Wed, 10 Dec 2008 01:45:35 GMTdibotCommunity Recommendations12/9/2008 8:45:35 PM[quote user="JimBell"] Mercurial, Have you seen any of the following thrillers/dramas that you would recommend: Insomnia (2002) In the Bedroom (2001) Read My Lips (2002) Red Lights (French; 2004) Bound (1996) Tell No One (French; 2008) Charade (1963) The Last Seduction (1995) Death and the Maiden (1995) Red Rock West Blindness (2008) JIMBELL [/quote] I know I'm not Mercurial, but I have seen and would recommend, Insomnia, In the Bedroom (heartbreaking), Bound and Death and the Maiden. But not Blindness (2008). There's just something missing from that film. http://www.spout.com/groups/Top_5/Re_Top_5_Tear_Jerking_Scenes/190/10105/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 6/4/2007 3:28:35 PM
Body: I've got a couple more that I don't know if they brought me to tears, but I remember them being affecting and full of drama and emotion.In The BedroomHouse of Sand and Fog
]]>Mon, 04 Jun 2007 19:28:35 GMTRisseladaTop 56/4/2007 3:28:35 PMI&#39;ve got a couple more that I don&#39;t know if they brought me to tears, but I remember them being affecting and full of drama and emotion.In The BedroomHouse of Sand and Fog http://www.spout.com/blogs/best_movie_soundtracks-100/archive/2006/5/9/1133.aspx Post By: paul
Post To: Best Movie Soundtracks
Post Date: 5/9/2006 11:42:56 AM
Body: Flip. I forgot to include John Newman's score for In the Bedroom. And I'm surprised nobody has said The Shawshank Redemption.
]]>Tue, 09 May 2006 15:42:56 GMTpaulBest Movie Soundtracks5/9/2006 11:42:56 AMFlip. I forgot to include John Newman's score for In the Bedroom. And I'm surprised nobody has said The Shawshank Redemption. http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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