list http://www.spout.com/ Recent community activity around Amélie 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/Am_lie/190595/default.aspx Title: Amélie
Year: 2001
Director: Jean-Pierre Jeunet
Plot: One woman decides to change the world by changing the lives of the people she knows in this charming and romantic comic fantasy from director Jean-Pierre Jeunet. Amelie (Audrey Tautou) is a young woman who had a decidedly unusual childhood; misdiagnosed with an unusual heart condition, Amelie didn't attend school with other children, but spent most of her time in her room, where she developed a keen imagination and an active fantasy life. Her mother Amandine (Lorella Cravotta) died in a freak accident when Amelie was eight, and her father Raphael (Rufus) had limited contact with her, since his presence seemed to throw her heart into high gear. Despite all this, Amelie has grown into a healthy and beautiful young woman who works in a cafe and has a whimsical, romantic nature. When Princess Diana dies in a car wreck in the summer of 1997, Amelie is reminded that life can be fleeting and she decides it's time for her to intervene in the lives of those around her, hoping to bring a bit of happiness to her neighbors and the regulars at the cafe. Amelie starts by bringing together two lonely people -- Georgette (Isabelle Nanty), a tobacconist with a severe case of hypochondria, and Joseph (Dominique Pinon), an especially ill-tempered customer. When Amelie finds a box of old toys in her apartment, she returns them to their former owner, Mr. Bretodeau (Maurice Benichou), sending him on a reverie of childhood. Amelie befriends Dufayel (Serge Merlin), an elderly artist living nearby whose bones are so brittle, thanks to a rare disease, that everything in his flat must be padded for his protection. And Amelie decides someone has to step into the life of Nino (Mathieu Kassovitz), a lonely adult video store clerk and part-time carnival spook-show ghost who collects pictures left behind at photo booths around Paris. Le Fabuleux Destin D'Amelie Poulain received unusually enthusiastic advance reviews prior to its French premiere in the spring of 2001, and was well received at a special free screening at that year's Cannes Film Festival. ~ Mark Deming, All Movie Guide
Times Tagged: 349
Number of Lists: 235
Number of blog posts: 23
Number of discussion threads: 22
SpoutRating: 4
]]>Mon, 24 Aug 2009 16:57:15 GMTAmélie2001Jean-Pierre JeunetOne woman decides to change the world by changing the lives of the people she knows in this charming and romantic comic fantasy from director <a href="/players/P___199452/default.aspx" style='text-decoration:underline'>Jean-Pierre Jeunet</a>. Amelie (<a href="/players/P___267962/default.aspx" style='text-decoration:underline'>Audrey Tautou</a>) is a young woman who had a decidedly unusual childhood; misdiagnosed with an unusual heart condition, Amelie didn't attend school with other children, but spent most of her time in her room, where she developed a keen imagination and an active fantasy life. Her mother Amandine (Lorella Cravotta) died in a freak accident when Amelie was eight, and her father Raphael (<a href="/players/P____62077/default.aspx" style='text-decoration:underline'>Rufus</a>) had limited contact with her, since his presence seemed to throw her heart into high gear. Despite all this, Amelie has grown into a healthy and beautiful young woman who works in a cafe and has a whimsical, romantic nature. When Princess Diana dies in a car wreck in the summer of 1997, Amelie is reminded that life can be fleeting and she decides it's time for her to intervene in the lives of those around her, hoping to bring a bit of happiness to her neighbors and the regulars at the cafe. Amelie starts by bringing together two lonely people -- Georgette (Isabelle Nanty), a tobacconist with a severe case of hypochondria, and Joseph (<a href="/players/P____56900/default.aspx" style='text-decoration:underline'>Dominique Pinon</a>), an especially ill-tempered customer. When Amelie finds a box of old toys in her apartment, she returns them to their former owner, Mr. Bretodeau (Maurice Benichou), sending him on a reverie of childhood. Amelie befriends Dufayel (Serge Merlin), an elderly artist living nearby whose bones are so brittle, thanks to a rare disease, that everything in his flat must be padded for his protection. And Amelie decides someone has to step into the life of Nino (<a href="/players/P____37013/default.aspx" style='text-decoration:underline'>Mathieu Kassovitz</a>), a lonely adult video store clerk and part-time carnival spook-show ghost who collects pictures left behind at photo booths around Paris. Le Fabuleux Destin D'Amelie Poulain received unusually enthusiastic advance reviews prior to its French premiere in the spring of 2001, and was well received at a special free screening at that year's Cannes Film Festival. ~ Mark Deming, All Movie Guide349Tag Target (>10)23523224http://www.spout.com/ProductImages/t18819nz9oa.jpghttp://www.spout.com/films/Am_lie/190595/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_movie_directed_by_Jean_Pi/657/42407/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 5/26/2009 12:23:46 PM
Body: [quote user="protexblue"] Count me out of this one, Jeunet's films leaves me cold - or nauseous. [/quote] I think I know what you might be getting at. For me Amelie epitomizes the "quirky" foreign film that is strange and fun enough for the average American to love, but not challenging or alien enough to put them off. I did think it was enjoyable enough, but I'm rather off put by the astouding reception it has had in that area. Delicatessen would probably be my favorite. I guess I like the strange distopian world. The characters were still "quirky" but a bit more dark and less cloying from my memory. Or maybe it's just because it was my first film of his and the style was newer and more striking to me.
]]>Tue, 26 May 2009 16:23:46 GMTRisseladaMovie Polls5/26/2009 12:23:46 PM[quote user="protexblue"] Count me out of this one, Jeunet's films leaves me cold - or nauseous. [/quote] I think I know what you might be getting at. For me Amelie epitomizes the "quirky" foreign film that is strange and fun enough for the average American to love, but not challenging or alien enough to put them off. I did think it was enjoyable enough, but I'm rather off put by the astouding reception it has had in that area. Delicatessen would probably be my favorite. I guess I like the strange distopian world. The characters were still "quirky" but a bit more dark and less cloying from my memory. Or maybe it's just because it was my first film of his and the style was newer and more striking to me. http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_movie_directed_by_Jean_Pi/657/42380/1/ShowPost.aspx Post By: tadiv
Post To: Movie Polls
Post Date: 5/22/2009 11:02:04 AM
Body: Amélie got my vote, though I have enjoyed most of his films. Delicatessen is a close second.
]]>Fri, 22 May 2009 15:02:04 GMTtadivMovie Polls5/22/2009 11:02:04 AM Am&eacute;lie got my vote, though I have enjoyed most of his films. Delicatessen is a close second. http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_movie_directed_by_Jean_Pierr/657/42333/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 5/19/2009 4:05:42 PM
Body: Please reference this thread for the rules of this group. Jean-Pierre Jeunet's got a new one on the horizon. Let's take a look at his current handful of quirky films and see which ones are people's favorites. Please vote only once in each poll. Movies referenced in this poll:Alien: ResurrectionAmélieThe City of Lost ChildrenDelicatessenA Very Long Engagement
]]>Tue, 19 May 2009 20:05:42 GMTRisseladaMovie Polls5/19/2009 4:05:42 PMPlease reference this thread for the rules of this group. Jean-Pierre Jeunet's got a new one on the horizon. Let's take a look at his current handful of quirky films and see which ones are people's favorites. Please vote only once in each poll. Movies referenced in this poll:Alien: ResurrectionAm&eacute;lieThe City of Lost ChildrenDelicatessenA Very Long Engagement http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/40434/1/ShowPost.aspx Post By: bailey822
Post To: Top 5
Post Date: 2/12/2009 9:52:49 PM
Body: I agree completely about Goodfellas. I love Scorsese, but this was no Godfather. Shakespeare in Love was another one that didn't exactly deserve all that critical acclaim...it was basically a romantic comedy with lots of expensive costumes. [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote]
]]>Fri, 13 Feb 2009 02:52:49 GMTbailey822Top 52/12/2009 9:52:49 PMI agree completely about Goodfellas. I love Scorsese, but this was no Godfather. Shakespeare in Love was another one that didn't exactly deserve all that critical acclaim...it was basically a romantic comedy with lots of expensive costumes. [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] http://www.spout.com/blogs/spoutblog/archive/2009/1/19/39678.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/19/2009 5:01:05 PM
Body: With a few more days left before the Oscar nominations are revealed, it is time to look at what the non-professionals anticipate will be among those contenders announced Thursday morning. Last Monday, we posted our own predictions for the Academy Award nominees and invited readers to weigh in with their own forecasts. A lot of comments concentrated on what shouldn’t happen, like The Dark Knight shouldn’t be nominated for Best Picture and Dustin Lance Black shouldn’t be nominated for his screenplay for Milk. And apparently The Curious Case of Benjamin Button could be this year’s Dreamgirls. However, there were some interesting trends among the many who chimed in. Check out some highlights after the jump. GRAN TORINO for Best Picture? With a strong wide release, Clint Eastwood’s second film of 2008 has been gaining a lot of Oscar buzz in the last minutes before the nominations are announced. JonathonSaia says it might even make the top category: “I would be hard pressed to believe that Gran Torino will not sneak in the Picture or Direction category. Yes, they will give him an actor nod, but the Academy loves his work. I expect either The Dark Knight or Christopher Nolan to be nominated, but not both. The other will be Gran Torino.” THE WRESTLER for Best Picture? The other strong major category candidate missing from our predictions for Best Picture is The Wrestler, which may indeed be another possibility, yet not an “upset.” Says Paul DeBenedetto: “No real love for the Wrestler in the Best Picture or Best Director categories? It was my favorite movie of the year and I think Aronofsky in particular really knocked it out of the park. It could really step in and ruin both the Dark Knight and Boyle’s evenings. That being said at the very least I don’t think noms in those categories would be an upset.” Nuttylichee agrees that the film will make the top five. Her reasoning: “simple story, a fantastic lead, great direction, better than revolutionary road (dear god, please don’t let revolutionary road get a best picture nod).” ARNAUD DESPLECHIN for Best Director? Anthony88 thinks David Fincher will be snubbed in favor of a foreign filmmaker, specifically the director of Un Conte de Noel (A Christmas Tale): “I know Desplechin is an out there pick but those few who have seen A Christmas Tale will surely agree. It has topped an impressive amount of critics’ lists. There is usually a room for a great film that is ineligible for best Foreign film (Letters From Iwo Jima, Talk To Her, Amélie, Vera Drake, Pan’s Labyrinth, Diving Bell and the Butterfly, City of God, and Cache).” [editor’s note: both Amelie and Pan’s Labyrinth received nods for Best Foreign Film; neither had a nod for Best Director. And Cache got no Academy love at all. But we get and agree with your point, Anthony.] JOSH BROLIN for Best Actor? Brolin’s portrayal of George W. Bush did make my wishlist for the Oscar nominations, but I think he’ll get snubbed in favor of his supporting performance in Milk. Michael disagrees: “Has everyone forgotten about JOSH BROLIN! His performance in W. was fantastic, say what you will about the overall film, he was brilliant and deserves a nod. He was a better Bush, than Langella was as a Nixon.” THE CLASS for Best Adapted Screenplay? Anthony88 really does have an argument for the Academy having a greater love for foreign films in the directing and writing categories. Here he foresees Francois Begaudeau and Laurent Cantet being recognized for adapting Begaudeau’s book: “Being a weak category this year there shouldn’t be any surprises here other than Cantet’s The Class, which is a shoe in to win Best Foreign Film. It should garner enough love to go the extra mile.” TROPIC THUNDER or THE WACKNESS or WALTZ WITH BASHIR for Best Original Screenplay? Another possible surprise upset could come from one or more of the following nominations in the Original Screenplay category: Tropic Thunder (predicted by jeremy); The Wackness (predicted by Aaron); Waltz with Bashir (predicted by Nic). On the latter idea, though, Anthony88 disagrees; yet he acknowledges that it deserves the honor: “Unfortunately, Ari Folman’s Waltz with Bashir will be dismissed as a documentary screenplay. IT’S STILL A SCREENPLAY!!” Originally posted on:SpoutBlog
]]>Mon, 19 Jan 2009 22:01:05 GMTSpoutBlogSpoutBlog on spout.com1/19/2009 5:01:05 PMWith a few more days left before the Oscar nominations are revealed, it is time to look at what the non-professionals anticipate will be among those contenders announced Thursday morning. Last Monday, we posted our own predictions for the Academy Award nominees and invited readers to weigh in with their own forecasts. A lot of comments concentrated on what shouldn’t happen, like The Dark Knight shouldn’t be nominated for Best Picture and Dustin Lance Black shouldn’t be nominated for his screenplay for Milk. And apparently The Curious Case of Benjamin Button could be this year’s Dreamgirls. However, there were some interesting trends among the many who chimed in. Check out some highlights after the jump. GRAN TORINO for Best Picture? With a strong wide release, Clint Eastwood’s second film of 2008 has been gaining a lot of Oscar buzz in the last minutes before the nominations are announced. JonathonSaia says it might even make the top category: “I would be hard pressed to believe that Gran Torino will not sneak in the Picture or Direction category. Yes, they will give him an actor nod, but the Academy loves his work. I expect either The Dark Knight or Christopher Nolan to be nominated, but not both. The other will be Gran Torino.” THE WRESTLER for Best Picture? The other strong major category candidate missing from our predictions for Best Picture is The Wrestler, which may indeed be another possibility, yet not an “upset.” Says Paul DeBenedetto: “No real love for the Wrestler in the Best Picture or Best Director categories? It was my favorite movie of the year and I think Aronofsky in particular really knocked it out of the park. It could really step in and ruin both the Dark Knight and Boyle’s evenings. That being said at the very least I don’t think noms in those categories would be an upset.” Nuttylichee agrees that the film will make the top five. Her reasoning: “simple story, a fantastic lead, great direction, better than revolutionary road (dear god, please don’t let revolutionary road get a best picture nod).” ARNAUD DESPLECHIN for Best Director? Anthony88 thinks David Fincher will be snubbed in favor of a foreign filmmaker, specifically the director of Un Conte de Noel (A Christmas Tale): “I know Desplechin is an out there pick but those few who have seen A Christmas Tale will surely agree. It has topped an impressive amount of critics’ lists. There is usually a room for a great film that is ineligible for best Foreign film (Letters From Iwo Jima, Talk To Her, Amélie, Vera Drake, Pan’s Labyrinth, Diving Bell and the Butterfly, City of God, and Cache).” [editor’s note: both Amelie and Pan’s Labyrinth received nods for Best Foreign Film; neither had a nod for Best Director. And Cache got no Academy love at all. But we get and agree with your point, Anthony.] JOSH BROLIN for Best Actor? Brolin’s portrayal of George W. Bush did make my wishlist for the Oscar nominations, but I think he’ll get snubbed in favor of his supporting performance in Milk. Michael disagrees: “Has everyone forgotten about JOSH BROLIN! His performance in W. was fantastic, say what you will about the overall film, he was brilliant and deserves a nod. He was a better Bush, than Langella was as a Nixon.” THE CLASS for Best Adapted Screenplay? Anthony88 really does have an argument for the Academy having a greater love for foreign films in the directing and writing categories. Here he foresees Francois Begaudeau and Laurent Cantet being recognized for adapting Begaudeau’s book: “Being a weak category this year there shouldn’t be any surprises here other than Cantet’s The Class, which is a shoe in to win Best Foreign Film. It should garner enough love to go the extra mile.” TROPIC THUNDER or THE WACKNESS or WALTZ WITH BASHIR for Best Original Screenplay? Another possible surprise upset could come from one or more of the following nominations in the Original Screenplay category: Tropic Thunder (predicted by jeremy); The Wackness (predicted by Aaron); Waltz with Bashir (predicted by Nic). On the latter idea, though, Anthony88 disagrees; yet he acknowledges that it deserves the honor: “Unfortunately, Ari Folman’s Waltz with Bashir will be dismissed as a documentary screenplay. IT’S STILL A SCREENPLAY!!” Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/39479/1/ShowPost.aspx Post By: flair
Post To: Top 5
Post Date: 1/13/2009 5:56:38 PM
Body: [quote user="pippin06"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] leeroy, I think you are harsh on Scorsese, and he didn't only make those three flicks prior to the Departed. In the land of overrated for Scorsese, I submit Gangs of New York and The Aviator. I hate them, and they were nominated a million times for a million awards (and were some in the long line of Scorsese's no-Oscar curse). Though, I totally agree with Gladiator (also doesn't hold up to repeat viewings) and Shakespeare in Love. I was hot when the latter won Best Picture thanks to the alpha-campaignig of the Weinsteins. Saving Private Ryan is a much better film, and I personally and generally prefer romances to war movies any day, but come on. And now I see why Shawshank might be considered overrated Ok, I concede on that point, but I'm with leeroy on Amelie. [/quote]
]]>Tue, 13 Jan 2009 22:56:38 GMTflairTop 51/13/2009 5:56:38 PM[quote user="pippin06"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] leeroy, I think you are harsh on Scorsese, and he didn't only make those three flicks prior to the Departed. In the land of overrated for Scorsese, I submit Gangs of New York and The Aviator. I hate them, and they were nominated a million times for a million awards (and were some in the long line of Scorsese's no-Oscar curse). Though, I totally agree with Gladiator (also doesn't hold up to repeat viewings) and Shakespeare in Love. I was hot when the latter won Best Picture thanks to the alpha-campaignig of the Weinsteins. Saving Private Ryan is a much better film, and I personally and generally prefer romances to war movies any day, but come on. And now I see why Shawshank might be considered overrated Ok, I concede on that point, but I'm with leeroy on Amelie. [/quote] http://www.spout.com/blogs/spoutblog/archive/2008/12/9/38154.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/9/2008 7:02:15 PM
Body: Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.” If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages. Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies. Love & Basketball (2000) This underrated film has something for everyone: sports for the boys and romance for the girls; and sports for the girls and romance for the boys. See, it’s a love story that avoids clichés and speaks to both sexes equally. And as far as meet-cutes go, it’s hard to top Quincy’s first encounter with Monica: she beats him at basketball, he knocks her to the ground, and they instantly fall in love, at the age of 13. Plenty of recent films have done the whole love-since-childhood thing, including the contrived Love Me if You Dare and this year’s less-sexually-balanced Slumdog Millionaire. But while others treat this kind of story as fairy tale, Love & Basketball is more real, and true love is definitely more romantic than fantastical love. Punch-Drunk Love (2002) Who knew that Adam Sandler, as a modern-day Popeye, could be so romantic? Apparently Paul Thomas Anderson did, and he was able to transform the typical Sandler man-boy persona into an old-fashioned man-as-protector sort of romantic hero. A bit sexist and a little creepy, sure, but Sandler’s Barry Egan manages to fall on the right side of the fine line between stalker and sentimentally drastic admirer (kind of like a male “Amelie”). All the Real Girls (2003) The direction this film may seem too ironic and cynical to be considered truly romantic, but then think of how cynical our favorite romantic classics are. Gone With the Wind and Casablanca? Neither is as positive and hopeful as we pretend Hollywood romance to be. And while those films’ dialogue may be memorable after all these years, none of their lines are as simply and sweetly romantic as the stuff said by Paul (Paul Schneider) and Noel (Zooey Deschanel) to each other when they’re still falling in love. Cold Mountain (2003) Nicole Kidman and Jude Law may be the worst actors to play romantic leads, considering how stiff and plastic they are. But forgetting the performances and concentrating on the epic love story, this relatively modernized take on The Odyssey (set during the Civil War) is as classically romantic as it gets, right down to the tragic denouement. Surprisingly, it was not well received by either critics or audiences. The problem may have been the fault of Kidman and Law, whose characters were hardly believable as in love, although their compatibility is beside the point. The romantic quest made by Inman (Law) to get back to his barely-familiar sweetheart is powered by the concept of love more than the certainty of love. 50 First Dates (2004) Another Adam Sandler movie? That’s right, and this one is even sweeter and more thoughtfully romantic than Punch-Drunk Love. The plot, which is like a reciprocal Groundhog Day, is a tad too gimmicky to grab your heartstrings right away, but the final scene (ironically in the Arctic) could warm the center of even the most pragmatic, unemotional viewer. Eternal Sunshine of the Spotless Mind (2004) Two of the best films of 2004 were deconstructions of love. But while Jonathan Glazer’s Birth shattered romance to pieces, Eternal Sunshine of the Spotless Mind showed us what it’s made of. The film also somewhat argues that love and romance aren’t necessarily about “happily ever after,” even if the two main characters do seem destined to be together at the end, nor are these concepts limited to good times. The Notebook (2004) It doesn’t get more traditionally romantic than this: forbidden love; correspondence; longing; a World War. But how is this more beloved than either Pearl Harbor or Australia? And why is Nicholas Sparks more respected and read than most romance novelists? Well, if it were that easy to determine, Hollywood wouldn’t keep failing in its attempts to make more films like this. Or, maybe it’s just that The Notebook doesn’t seem to be trying too hard –– it just tells a genuine love story without tugging or overreaching for your presumed romantic buttons. Me and You and Everyone We Know (2005) If Amelie is the most romantic non-American film of the last ten years, and if Punch-Drunk’s Barry Egan is the male Amelie, then Miranda July’s character is simply the American Amelie. She’s a little weird, a little too forthcoming, but she’s so sweet and creative in her pursuits that she’s not just forgivable; she’s completely lovable. Of course, lovable doesn’t exactly equal romantic, but then there are plenty of oddly romantic scenes in the film, too, such as the metaphoric first walk shared by July and John Hawkes’ characters. It’s frank, it’s harsh, but it’s also the best flirtation seen in American cinema in a long time. Brokeback Mountain (2005) It’s upsetting to think of any story involving adultery as being romantic (though Unfaithful almost made this list for other, spoilerific reasons), but the two lovers in Brokeback Mountain are given an exception because of the society they live in. The unapproved affair also makes for one of the most heartbreaking romances ever put on screen. And of all the films selected, this is easily the one that’s liable to make you lose your cynical perspective, at least for a couple of hours. WALL-E (2008) In a way, this animated film is not romantic at all for humans, who are viewed as plump slugs with no real interaction with other people (seriously, a time when we all just use video chat, even when we’re in the vicinity of one another, is not too far off). But for robots, it’s the most romantic thing to come along since the implied relationship between C-3PO and R2-D2. And it’s gender-equal (or, if you believe the characters are gender-neutral, the film is partner-equal) as far as the pursuing, the rescuing and the responsibility go regarding WALL-E and EVE’s relationship. Hopefully, this most recent film on the list will inspire future romantic films to be so progressive and so lacking in cynicism (such optimism: even two humans seem to fall in love at the end). Originally posted on:SpoutBlog
]]>Wed, 10 Dec 2008 00:02:15 GMTSpoutBlogSpoutBlog on spout.com12/9/2008 7:02:15 PMIs romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.” If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages. Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies. Love & Basketball (2000) This underrated film has something for everyone: sports for the boys and romance for the girls; and sports for the girls and romance for the boys. See, it’s a love story that avoids clichés and speaks to both sexes equally. And as far as meet-cutes go, it’s hard to top Quincy’s first encounter with Monica: she beats him at basketball, he knocks her to the ground, and they instantly fall in love, at the age of 13. Plenty of recent films have done the whole love-since-childhood thing, including the contrived Love Me if You Dare and this year’s less-sexually-balanced Slumdog Millionaire. But while others treat this kind of story as fairy tale, Love & Basketball is more real, and true love is definitely more romantic than fantastical love. Punch-Drunk Love (2002) Who knew that Adam Sandler, as a modern-day Popeye, could be so romantic? Apparently Paul Thomas Anderson did, and he was able to transform the typical Sandler man-boy persona into an old-fashioned man-as-protector sort of romantic hero. A bit sexist and a little creepy, sure, but Sandler’s Barry Egan manages to fall on the right side of the fine line between stalker and sentimentally drastic admirer (kind of like a male “Amelie”). All the Real Girls (2003) The direction this film may seem too ironic and cynical to be considered truly romantic, but then think of how cynical our favorite romantic classics are. Gone With the Wind and Casablanca? Neither is as positive and hopeful as we pretend Hollywood romance to be. And while those films’ dialogue may be memorable after all these years, none of their lines are as simply and sweetly romantic as the stuff said by Paul (Paul Schneider) and Noel (Zooey Deschanel) to each other when they’re still falling in love. Cold Mountain (2003) Nicole Kidman and Jude Law may be the worst actors to play romantic leads, considering how stiff and plastic they are. But forgetting the performances and concentrating on the epic love story, this relatively modernized take on The Odyssey (set during the Civil War) is as classically romantic as it gets, right down to the tragic denouement. Surprisingly, it was not well received by either critics or audiences. The problem may have been the fault of Kidman and Law, whose characters were hardly believable as in love, although their compatibility is beside the point. The romantic quest made by Inman (Law) to get back to his barely-familiar sweetheart is powered by the concept of love more than the certainty of love. 50 First Dates (2004) Another Adam Sandler movie? That’s right, and this one is even sweeter and more thoughtfully romantic than Punch-Drunk Love. The plot, which is like a reciprocal Groundhog Day, is a tad too gimmicky to grab your heartstrings right away, but the final scene (ironically in the Arctic) could warm the center of even the most pragmatic, unemotional viewer. Eternal Sunshine of the Spotless Mind (2004) Two of the best films of 2004 were deconstructions of love. But while Jonathan Glazer’s Birth shattered romance to pieces, Eternal Sunshine of the Spotless Mind showed us what it’s made of. The film also somewhat argues that love and romance aren’t necessarily about “happily ever after,” even if the two main characters do seem destined to be together at the end, nor are these concepts limited to good times. The Notebook (2004) It doesn’t get more traditionally romantic than this: forbidden love; correspondence; longing; a World War. But how is this more beloved than either Pearl Harbor or Australia? And why is Nicholas Sparks more respected and read than most romance novelists? Well, if it were that easy to determine, Hollywood wouldn’t keep failing in its attempts to make more films like this. Or, maybe it’s just that The Notebook doesn’t seem to be trying too hard –– it just tells a genuine love story without tugging or overreaching for your presumed romantic buttons. Me and You and Everyone We Know (2005) If Amelie is the most romantic non-American film of the last ten years, and if Punch-Drunk’s Barry Egan is the male Amelie, then Miranda July’s character is simply the American Amelie. She’s a little weird, a little too forthcoming, but she’s so sweet and creative in her pursuits that she’s not just forgivable; she’s completely lovable. Of course, lovable doesn’t exactly equal romantic, but then there are plenty of oddly romantic scenes in the film, too, such as the metaphoric first walk shared by July and John Hawkes’ characters. It’s frank, it’s harsh, but it’s also the best flirtation seen in American cinema in a long time. Brokeback Mountain (2005) It’s upsetting to think of any story involving adultery as being romantic (though Unfaithful almost made this list for other, spoilerific reasons), but the two lovers in Brokeback Mountain are given an exception because of the society they live in. The unapproved affair also makes for one of the most heartbreaking romances ever put on screen. And of all the films selected, this is easily the one that’s liable to make you lose your cynical perspective, at least for a couple of hours. WALL-E (2008) In a way, this animated film is not romantic at all for humans, who are viewed as plump slugs with no real interaction with other people (seriously, a time when we all just use video chat, even when we’re in the vicinity of one another, is not too far off). But for robots, it’s the most romantic thing to come along since the implied relationship between C-3PO and R2-D2. And it’s gender-equal (or, if you believe the characters are gender-neutral, the film is partner-equal) as far as the pursuing, the rescuing and the responsibility go regarding WALL-E and EVE’s relationship. Hopefully, this most recent film on the list will inspire future romantic films to be so progressive and so lacking in cynicism (such optimism: even two humans seem to fall in love at the end). Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_5_weirdest_movies/190/37870/1/ShowPost.aspx Post By: GradysGhost
Post To: Top 5
Post Date: 12/2/2008 7:10:33 PM
Body: [quote user="seely"] Hm, so many of the ones I would pick have already been picked. Theres a few notables missing, however. One of the all-time weirdest: The Fountain Darren Aronofsky (sp?) at his weirdest. I would try to explain it, but I'm not sure I can anymore. If you're interested, I reviewed it here. Requiem for a Dream Same director as Pi and the Fountain. The really trippy drug induced fantasies and hallucinations, plus the steady downward spiral of all the characters in this film make it a weird one. Fantasia Satan. Mickey Mouse. Pluto. Wizards. Demons. Nuff said. Me and You and Everyone We Know I saw this one twice and still can't really figure out quite what it is about. I've heard a wide range of theories. All I know is there is a 5 year old making out with a 35 year old woman, and he's obsessed with 'pooping back and forth forever'. Is it a metaphor? Is it funny? I don't really know. Stranger than Fiction / The Science of Sleep I don't know why, but I always think of these films together. Anyways, I think they both should be included on any 'weird' list. Both have pretty strange concepts that seem like they wouldn't work/be that interesting, but somehow both of them turned out to be good films--a big compliment to STF considering I don't like Will Ferrel as a rule of thumb. Both will definately mess with your mind a bit. [/quote] It's been ages since I've seen Fantasia, but I will vouch for The Science of Sleep and Me and You and Everyone We Know for being weird. Science of Sleep is such an amazing movie. Another thread around here somewhere spoke of Amelie as being a "gateway drug" to other foreign flicks. My brother has always adamently refused to watch foreign movies on the basis that he doesn't like to "read his movies." But he caught the last half of Science of Sleep and loved it. Something about how they keep switching between three languages for the entire film has this whirlwind effect that just sucks you up and moves you through the narrative, even when it's not so narrativey. Stranger Than Fiction is a pretty good metafiction film, but as far as metafiction is concerned, I have to offer up a couple of Michael Haneke films, Cache and Funny Games. While neither of these movies might be considered "weird," they have a fourth-wall-breaking aspect that your average film doesn't. And that's the understatement of the century. Cache has some disturbing imagery at one point, which seems more gruesome than that of Funny Games, even though Funny Games is far gorier. I think it has something to do with the way Funny Games incorporates its violence, the way that the "bad guys" let you, the audience, know that you know what these games are all about, and you're used to it by now. It's quite convincing, which I guess is the true horror of the film.
]]>Wed, 03 Dec 2008 00:10:33 GMTGradysGhostTop 512/2/2008 7:10:33 PM[quote user="seely"] Hm, so many of the ones I would pick have already been picked. Theres a few notables missing, however. One of the all-time weirdest: The Fountain Darren Aronofsky (sp?) at his weirdest. I would try to explain it, but I'm not sure I can anymore. If you're interested, I reviewed it here. Requiem for a Dream Same director as Pi and the Fountain. The really trippy drug induced fantasies and hallucinations, plus the steady downward spiral of all the characters in this film make it a weird one. Fantasia Satan. Mickey Mouse. Pluto. Wizards. Demons. Nuff said. Me and You and Everyone We Know I saw this one twice and still can't really figure out quite what it is about. I've heard a wide range of theories. All I know is there is a 5 year old making out with a 35 year old woman, and he's obsessed with 'pooping back and forth forever'. Is it a metaphor? Is it funny? I don't really know. Stranger than Fiction / The Science of Sleep I don't know why, but I always think of these films together. Anyways, I think they both should be included on any 'weird' list. Both have pretty strange concepts that seem like they wouldn't work/be that interesting, but somehow both of them turned out to be good films--a big compliment to STF considering I don't like Will Ferrel as a rule of thumb. Both will definately mess with your mind a bit. [/quote] It's been ages since I've seen Fantasia, but I will vouch for The Science of Sleep and Me and You and Everyone We Know for being weird. Science of Sleep is such an amazing movie. Another thread around here somewhere spoke of Amelie as being a "gateway drug" to other foreign flicks. My brother has always adamently refused to watch foreign movies on the basis that he doesn't like to "read his movies." But he caught the last half of Science of Sleep and loved it. Something about how they keep switching between three languages for the entire film has this whirlwind effect that just sucks you up and moves you through the narrative, even when it's not so narrativey. Stranger Than Fiction is a pretty good metafiction film, but as far as metafiction is concerned, I have to offer up a couple of Michael Haneke films, Cache and Funny Games. While neither of these movies might be considered "weird," they have a fourth-wall-breaking aspect that your average film doesn't. And that's the understatement of the century. Cache has some disturbing imagery at one point, which seems more gruesome than that of Funny Games, even though Funny Games is far gorier. I think it has something to do with the way Funny Games incorporates its violence, the way that the "bad guys" let you, the audience, know that you know what these games are all about, and you're used to it by now. It's quite convincing, which I guess is the true horror of the film. http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37625.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 2:01:13 PM
Body: When you gather with your loved ones this week, be sure to give extra thanks for that turkey or soy-based equivalent on which you’re about to dine. Times are hard, but for most of us, we’re still able to eat. Nevertheless, we need to prepare for the even tougher times that inevitably lay ahead. As countless movies attest, desperate times call for desperate measures at the dinner table. Like cannibalism. The circumstances under which “eat or be eaten” becomes the rule vary widely. Plenty of films have taken on this ancient taboo; in fact, a search for the tag “cannibal” on Spout.com yields eleven pages of results. For your holiday viewing pleasure, I’ve narrowed the list down to ten. Alive Often the best cannibalism stories are the true ones. The tale of the Uruguayan rugby team that crash-landed in the Andes and eventually resorted to eating the dead is one that filmmakers can’t get enough of. Not only was it the source for 1993’s Alive, starring Ethan Hawke, the story was also told in a documentary that same year, Alive: 20 Years Later. Recently, there have been two more documentaries: an episode of the National Geographic show Trapped, and Stranded: I Have Come from a Plane That Crashed on the Mountains (2008). I wonder what’s harder, surviving 72 days in the mountains with no food, or repeatedly being asked, “So, when did you decide to eat you friends?” Soylent Green Sure, putting this on the list is a spoiler. But if this movie hasn’t been ruined yet by The Simpsons or one of the many other references to soylent green’s mysterious ingredient, you’ve been living under a rock. While there are plenty of sci-fi movies that depict a future where desperation leads to cannibalism, Soylent Green is notable because the taboo is the act of a corporation, rather than a savage choice by an individual. Eating Raoul (This clip is NSFW) A gold standard for black comedies, this 1982 film follows the story of Paul and Mary, a married couple hard up for cash. While fending off a would-be rapist, they realize they can make a decent living killing unsuspecting swingers and taking their money. Raoul, a locksmith/burglar, finds out about their scheme, and wants in on the action. He helps them dispose of bodies, until his desire for Mary complicates the arrangement. If you want to know how it ends, um… read the title again. Zombie Movies It’s impossible to pick just one, when there are so many great flicks about brain-hungry walking dead. George Romero, godfather of all things zombie, must be mentioned. His first film, Night of the Living Dead, was the first zombie movie where the creatures wanted to eat the flesh of the living. Romero continues his Dead series of zombie apocalypse movies, along with countless imitators. BRAAAAAINS!!! The Silence of the Lambs Know what we need more of? Academy Award winning cannibal movies. There aren’t enough of them. This is a total classic. Anthony Hopkins holds two records: one, the shortest amount of screen time to ever win a best actor Oscar (16 minutes). And two, being the creepiest human being on the planet. 301/302 This Korean horror film is notable because it is centered only on female characters. Two women, neighbors in an apartment building, have very different ways of dealing with the travails of life. Their differences come to a head in a final scene that you should probably skip if you have a weak stomach. You’ve been warned. C.H.U.D. Another staple of obscure Simpsons references, the 1984 cult classic C.H.U.D. tells the story of “Cannibalistic Humanoid Underground Dwellers” who are eating the homeless in New York City. The C.H.U.D.’s, once homeless people themselves, were mutated by improper storage of nuclear waste, turning them into flesh-hungry beasts. Delicatessen Before Jean-Pierre Jeunet made Amelie, he made some dark and freaky movies. His first was Delicatessen. It’s a darkly comic post-apocalyptic tale about a small apartment building with a butcher shop on the ground floor. Meat is becoming scarce, and you know what that means. This film is actually a great companion piece to Amelie, because it shares the playful quality and fun cast of character with the later film. And people get eaten. Keep The River On Your Right: A Modern Cannibal Tale As a young man, Tobias Schneebaum lived with the Harakambut people of Peru and the Asmat people of Indonesia, both cannibalistic tribes. In true “going native” style, he not only joined them in their wars against other tribes, he also partook or their unsavory meals. He returned in 1999 with a documentary crew, was reunited with his former lover, and confronted the scars of war and fear. Interesting bit of info: the Asmat tribe are suspected of killing and eating Michael Rockefeller, son of New York Governor Nelson Aldrich Rockefeller, but there is no proof. This was before Schneebaum arrived. But it would be pretty crazy if Schneebaum, a native New Yorker, ate one of his city’s elite. Hopefully a fictionalized version will come to the screen that’s not afraid to take some artistic license in this matter. [minor spoiler alert] The Road This adaptation of the award-winning Cormac McCarthy novel of the same name was once my most highly anticipated 2008 release. Sigh. It is now my most highly anticipated 2009 release. The film version will star Viggo Mortensen as the father of a young boy, the two of whom struggle to traverse a burned, post-apocalyptic landscape. I understand that simply putting it on this list could be seen as a minor spoiler, so I won’t say anything else about it. We’ll have to wait a little while, but The Road offers hope that The Silence of the Lambs will no longer be alone as an Oscar-snagging tale dealing with the most taboo of food choices. Originally posted on:SpoutBlog
]]>Tue, 25 Nov 2008 19:01:13 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 2:01:13 PM When you gather with your loved ones this week, be sure to give extra thanks for that turkey or soy-based equivalent on which you’re about to dine. Times are hard, but for most of us, we’re still able to eat. Nevertheless, we need to prepare for the even tougher times that inevitably lay ahead. As countless movies attest, desperate times call for desperate measures at the dinner table. Like cannibalism. The circumstances under which “eat or be eaten” becomes the rule vary widely. Plenty of films have taken on this ancient taboo; in fact, a search for the tag “cannibal” on Spout.com yields eleven pages of results. For your holiday viewing pleasure, I’ve narrowed the list down to ten. Alive Often the best cannibalism stories are the true ones. The tale of the Uruguayan rugby team that crash-landed in the Andes and eventually resorted to eating the dead is one that filmmakers can’t get enough of. Not only was it the source for 1993’s Alive, starring Ethan Hawke, the story was also told in a documentary that same year, Alive: 20 Years Later. Recently, there have been two more documentaries: an episode of the National Geographic show Trapped, and Stranded: I Have Come from a Plane That Crashed on the Mountains (2008). I wonder what’s harder, surviving 72 days in the mountains with no food, or repeatedly being asked, “So, when did you decide to eat you friends?” Soylent Green Sure, putting this on the list is a spoiler. But if this movie hasn’t been ruined yet by The Simpsons or one of the many other references to soylent green’s mysterious ingredient, you’ve been living under a rock. While there are plenty of sci-fi movies that depict a future where desperation leads to cannibalism, Soylent Green is notable because the taboo is the act of a corporation, rather than a savage choice by an individual. Eating Raoul (This clip is NSFW) A gold standard for black comedies, this 1982 film follows the story of Paul and Mary, a married couple hard up for cash. While fending off a would-be rapist, they realize they can make a decent living killing unsuspecting swingers and taking their money. Raoul, a locksmith/burglar, finds out about their scheme, and wants in on the action. He helps them dispose of bodies, until his desire for Mary complicates the arrangement. If you want to know how it ends, um… read the title again. Zombie Movies It’s impossible to pick just one, when there are so many great flicks about brain-hungry walking dead. George Romero, godfather of all things zombie, must be mentioned. His first film, Night of the Living Dead, was the first zombie movie where the creatures wanted to eat the flesh of the living. Romero continues his Dead series of zombie apocalypse movies, along with countless imitators. BRAAAAAINS!!! The Silence of the Lambs Know what we need more of? Academy Award winning cannibal movies. There aren’t enough of them. This is a total classic. Anthony Hopkins holds two records: one, the shortest amount of screen time to ever win a best actor Oscar (16 minutes). And two, being the creepiest human being on the planet. 301/302 This Korean horror film is notable because it is centered only on female characters. Two women, neighbors in an apartment building, have very different ways of dealing with the travails of life. Their differences come to a head in a final scene that you should probably skip if you have a weak stomach. You’ve been warned. C.H.U.D. Another staple of obscure Simpsons references, the 1984 cult classic C.H.U.D. tells the story of “Cannibalistic Humanoid Underground Dwellers” who are eating the homeless in New York City. The C.H.U.D.’s, once homeless people themselves, were mutated by improper storage of nuclear waste, turning them into flesh-hungry beasts. Delicatessen Before Jean-Pierre Jeunet made Amelie, he made some dark and freaky movies. His first was Delicatessen. It’s a darkly comic post-apocalyptic tale about a small apartment building with a butcher shop on the ground floor. Meat is becoming scarce, and you know what that means. This film is actually a great companion piece to Amelie, because it shares the playful quality and fun cast of character with the later film. And people get eaten. Keep The River On Your Right: A Modern Cannibal Tale As a young man, Tobias Schneebaum lived with the Harakambut people of Peru and the Asmat people of Indonesia, both cannibalistic tribes. In true “going native” style, he not only joined them in their wars against other tribes, he also partook or their unsavory meals. He returned in 1999 with a documentary crew, was reunited with his former lover, and confronted the scars of war and fear. Interesting bit of info: the Asmat tribe are suspected of killing and eating Michael Rockefeller, son of New York Governor Nelson Aldrich Rockefeller, but there is no proof. This was before Schneebaum arrived. But it would be pretty crazy if Schneebaum, a native New Yorker, ate one of his city’s elite. Hopefully a fictionalized version will come to the screen that’s not afraid to take some artistic license in this matter. [minor spoiler alert] The Road This adaptation of the award-winning Cormac McCarthy novel of the same name was once my most highly anticipated 2008 release. Sigh. It is now my most highly anticipated 2009 release. The film version will star Viggo Mortensen as the father of a young boy, the two of whom struggle to traverse a burned, post-apocalyptic landscape. I understand that simply putting it on this list could be seen as a minor spoiler, so I won’t say anything else about it. We’ll have to wait a little while, but The Road offers hope that The Silence of the Lambs will no longer be alone as an Oscar-snagging tale dealing with the most taboo of food choices. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/37449/1/ShowPost.aspx Post By: seely
Post To: Top 5
Post Date: 11/19/2008 2:48:42 PM
Body: I guess a lot of those are movies that didn't particularly change my life, but I'm not particularly offended by either. One thing I will say about 'Amelie' (and I agree that it is quite overrated) is that I feel foreign films often get a critical and audience nod simply because they are foreign. Its kind of like how people with an accent are inherently more attractive and interesting than your non-accented compatriots. Crouching Tiger Hidden Dragon is a good example of this as well. Its a mediocre Asian film, but floored audiences stateside, I would argue, simply because it was foreign and different. Its a film I enjoy, but ultimately was not as amazing as it was hyped up to be, especially in the light of other great selections from Asian cinema. [quote user="SkyPilot"] 1. The Shawshank Redemption 2. The Usual Suspects 3. Amelie 4. Forrest Gump 5. Braveheart I enjoy all of these to some degree (especially Braveheart, which is deeply un-good in some ways)...but let's be honest...these aren't great films. Who disagrees with me? I was prompted to post this by the Most Overrated Movies group. [/quote]
]]>Wed, 19 Nov 2008 19:48:42 GMTseelyTop 511/19/2008 2:48:42 PMI guess a lot of those are movies that didn't particularly change my life, but I'm not particularly offended by either. One thing I will say about 'Amelie' (and I agree that it is quite overrated) is that I feel foreign films often get a critical and audience nod simply because they are foreign. Its kind of like how people with an accent are inherently more attractive and interesting than your non-accented compatriots. Crouching Tiger Hidden Dragon is a good example of this as well. Its a mediocre Asian film, but floored audiences stateside, I would argue, simply because it was foreign and different. Its a film I enjoy, but ultimately was not as amazing as it was hyped up to be, especially in the light of other great selections from Asian cinema. [quote user="SkyPilot"] 1. The Shawshank Redemption 2. The Usual Suspects 3. Amelie 4. Forrest Gump 5. Braveheart I enjoy all of these to some degree (especially Braveheart, which is deeply un-good in some ways)...but let's be honest...these aren't great films. Who disagrees with me? I was prompted to post this by the Most Overrated Movies group. [/quote] http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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