list http://www.spout.com/ Recent community activity around Solaris 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/Solaris/211241/default.aspx Title: Solaris
Year: 2002
Director: Steven Soderbergh
Plot: A therapist travels to a distant space station to treat a group of astronauts traumatized by mysterious entities -- and ends up having to deal with an entity of his own -- in this second film version of Stanislaw Lem's philosophical sci-fi novel. Solaris stars George Clooney as Chris Kelvin, a psychologist still mourning the loss of his wife Rheya (Natascha McElhone) when he's implored by a colleague named Gibarian (Ulrich Tukur) to investigate the increasingly weird goings-on at the Prometheus space station. By the time Kelvin gets there, Gibarian has committed suicide, leaving only the cryptic, babbling Snow (Jeremy Davies) and the paranoid, guarded Gordon (Viola Davis), both of whom are holed up in their respective rooms. As Kelvin interrogates the skeleton crew, he learns that they've had unwanted "visitors," apparitions of long-dead friends, family, and loved ones who are apparently being generated by the interstellar energy source Solaris. The doctor is dubious of their claims until one night he, too, is greeted by his wife Rheya (Natascha McElhone), whose death still torments him. At first skeptical of the new Rheya, Kelvin gradually becomes obsessed with her -- and with the guilt that he feels over their troubled marriage -- to the point where the others begin to fear for his sanity. Produced by James Cameron, Solaris represented director Steven Soderbergh's first screenplay credit since the independently financed Schizopolis in 1996. ~ Michael Hastings, All Movie Guide
Times Tagged: 26
Number of Lists: 34
Number of blog posts: 8
SpoutRating: 3
]]>Sun, 25 Jan 2009 16:12:09 GMTSolaris2002Steven SoderberghA therapist travels to a distant space station to treat a group of astronauts traumatized by mysterious entities -- and ends up having to deal with an entity of his own -- in this second film version of Stanislaw Lem's philosophical sci-fi novel. Solaris stars <a href="/players/P____13722/default.aspx" style='text-decoration:underline'>George Clooney</a> as Chris Kelvin, a psychologist still mourning the loss of his wife Rheya (<a href="/players/P___224913/default.aspx" style='text-decoration:underline'>Natascha McElhone</a>) when he's implored by a colleague named Gibarian (Ulrich Tukur) to investigate the increasingly weird goings-on at the Prometheus space station. By the time Kelvin gets there, Gibarian has committed suicide, leaving only the cryptic, babbling Snow (<a href="/players/P___195669/default.aspx" style='text-decoration:underline'>Jeremy Davies</a>) and the paranoid, guarded Gordon (<a href="/players/P___321906/default.aspx" style='text-decoration:underline'>Viola Davis</a>), both of whom are holed up in their respective rooms. As Kelvin interrogates the skeleton crew, he learns that they've had unwanted "visitors," apparitions of long-dead friends, family, and loved ones who are apparently being generated by the interstellar energy source Solaris. The doctor is dubious of their claims until one night he, too, is greeted by his wife Rheya (<a href="/players/P___224913/default.aspx" style='text-decoration:underline'>Natascha McElhone</a>), whose death still torments him. At first skeptical of the new Rheya, Kelvin gradually becomes obsessed with her -- and with the guilt that he feels over their troubled marriage -- to the point where the others begin to fear for his sanity. Produced by <a href="/players/P____10397/default.aspx" style='text-decoration:underline'>James Cameron</a>, Solaris represented director <a href="/players/P___112040/default.aspx" style='text-decoration:underline'>Steven Soderbergh</a>'s first screenplay credit since the independently financed <a href=/films/93542/default.aspx style='text-decoration:underline'>Schizopolis</a> in 1996. ~ Michael Hastings, All Movie Guide26Tag Target (>10)3483http://www.spout.com/ProductImages/t33354ufti7.jpghttp://www.spout.com/films/Solaris/211241/default.aspxFilm http://www.spout.com/blogs/the_american_dream/archive/2009/1/25/39881.aspx Post By: The_American_Dream
Post To: The_American_Dream Blog
Post Date: 1/25/2009 11:12:09 AM
Body: This really was an incredible film. It is rare that film can truly balance everything that you want in a movie; there seems always to be a short coming, but "Slumdog Millionaire" does not have one. The plot of "Slumdog Millionaire" is really very simple, at least at its most basic. It is that story, even when you have seen it again and again, that when it is done right, really makes you believe that there is hope in the world against all adversity. So this kid lives in the slums of India, and he has battled all manor of terrible events, just to get back to the true love of his life. "Atonement" tried this last year (well, not the slums of India part, but that does not really matter) and "Atonement" was awful. "Atonement" and "Slumdog Millionaire" have a lot in common besides their stories, even despite the face that one was excellent and the other was atrocious. They are both stunningly beautiful, have this age old plot, are Oscar nominees, and do not really make you laugh that much. There are more similarities but they are less important. When "Atonement" tried to accomplish these things, even in the scope of the stage it used to present it; a war, about 70 years of a characters life, sex in a library, et cetera, it could not bring to the audience into the passion of the plight for these characters. "Slumdog Millionaire" has, in some cases, similar scope; we meet the characters three times in their lives, and they walk and hitch-hike on trains all over a subcontinent. The difference lies in the directors. It seems characteristic of Joe Wright to be somewhat disconnected from his subject; Wright sets you in their world but does not have the audacity to throw his characters in the audiences face, challenging their opinion of a world they do not know. Joe Wright's "Pride & Prejudice" was the same; while his concise, and beautiful telling was a nice departure from the 1995 version made for television, the actors in Wright's telling (all of them A-list in my opinion) did not bring the weight of 1995 version. Additionally, the performances in the 1995 version were spread over 5 hours of film. Wright's upcoming film, "The Soloist" looks good in trailers, but will be no different. Danny Boyle, on the other hand, is uncompromising when he tells a story. Even in his less moving work "Sunshine", Boyle forced the audience to see eye to eye and into the souls of his characters. "Sunshine" is not really a great movie, more a cool movie that is awesome to see in theaters, but when I compare it to other Sci-Fi epics like Soderbergh's "Solaris", one really feels close to the characters. Needless to say, this comes from Danny Boyle's characteristic close-ups and sharp as a razor light shows. Danny Boyle has found a way to bring a character to the audience in an unusual way that makes a story stick in a viewers mind. Further more, Boyle does not seem limited by the talent of the like Chris Evans. To speak specifically to this movie is difficult, it seems to me to be unique despite its reused parts. The screenplay by Simon Beaufoy has enough spins on the accepted story that this one is totally new. Some of these spins sent drops of dramatic blood into the veins of "Slumdog Millionaire"; scenes of hardships faced by the children in India made some in the audience gasp, but what else would you expect from a developing nation. The scenes of the slums in "Slumdog Millionaire" were far more moving than those in the documentary "Born into Brothels". Also, the spin that the game-show has in this movie provides a sort of backbone that other films do not have. There are three plots moving throughout most of this film, and when they harmoniously meet at the end, it really brings emotion off the screen. These gems of originality set "Slumdog Millionaire" apart from many other films I've seen. "Slumdog Millionaire" deserves all the honour it can get from the Hollywood crowd. This seems a year that one of the more independent films can finally take the big prize. Not only does "Slumdog Millionaire" have everything and more that one would want from any Best Picture film, "Slumdog Millionaire" has originality and depth that set it apart from many films this year or any year.
]]>Sun, 25 Jan 2009 16:12:09 GMTThe_American_DreamThe_American_Dream Blog1/25/2009 11:12:09 AMThis really was an incredible film. It is rare that film can truly balance everything that you want in a movie; there seems always to be a short coming, but "Slumdog Millionaire" does not have one. The plot of "Slumdog Millionaire" is really very simple, at least at its most basic. It is that story, even when you have seen it again and again, that when it is done right, really makes you believe that there is hope in the world against all adversity. So this kid lives in the slums of India, and he has battled all manor of terrible events, just to get back to the true love of his life. "Atonement" tried this last year (well, not the slums of India part, but that does not really matter) and "Atonement" was awful. "Atonement" and "Slumdog Millionaire" have a lot in common besides their stories, even despite the face that one was excellent and the other was atrocious. They are both stunningly beautiful, have this age old plot, are Oscar nominees, and do not really make you laugh that much. There are more similarities but they are less important. When "Atonement" tried to accomplish these things, even in the scope of the stage it used to present it; a war, about 70 years of a characters life, sex in a library, et cetera, it could not bring to the audience into the passion of the plight for these characters. "Slumdog Millionaire" has, in some cases, similar scope; we meet the characters three times in their lives, and they walk and hitch-hike on trains all over a subcontinent. The difference lies in the directors. It seems characteristic of Joe Wright to be somewhat disconnected from his subject; Wright sets you in their world but does not have the audacity to throw his characters in the audiences face, challenging their opinion of a world they do not know. Joe Wright's "Pride &amp; Prejudice" was the same; while his concise, and beautiful telling was a nice departure from the 1995 version made for television, the actors in Wright's telling (all of them A-list in my opinion) did not bring the weight of 1995 version. Additionally, the performances in the 1995 version were spread over 5 hours of film. Wright's upcoming film, "The Soloist" looks good in trailers, but will be no different. Danny Boyle, on the other hand, is uncompromising when he tells a story. Even in his less moving work "Sunshine", Boyle forced the audience to see eye to eye and into the souls of his characters. "Sunshine" is not really a great movie, more a cool movie that is awesome to see in theaters, but when I compare it to other Sci-Fi epics like Soderbergh's "Solaris", one really feels close to the characters. Needless to say, this comes from Danny Boyle's characteristic close-ups and sharp as a razor light shows. Danny Boyle has found a way to bring a character to the audience in an unusual way that makes a story stick in a viewers mind. Further more, Boyle does not seem limited by the talent of the like Chris Evans. To speak specifically to this movie is difficult, it seems to me to be unique despite its reused parts. The screenplay by Simon Beaufoy has enough spins on the accepted story that this one is totally new. Some of these spins sent drops of dramatic blood into the veins of "Slumdog Millionaire"; scenes of hardships faced by the children in India made some in the audience gasp, but what else would you expect from a developing nation. The scenes of the slums in "Slumdog Millionaire" were far more moving than those in the documentary "Born into Brothels". Also, the spin that the game-show has in this movie provides a sort of backbone that other films do not have. There are three plots moving throughout most of this film, and when they harmoniously meet at the end, it really brings emotion off the screen. These gems of originality set "Slumdog Millionaire" apart from many other films I've seen. "Slumdog Millionaire" deserves all the honour it can get from the Hollywood crowd. This seems a year that one of the more independent films can finally take the big prize. Not only does "Slumdog Millionaire" have everything and more that one would want from any Best Picture film, "Slumdog Millionaire" has originality and depth that set it apart from many films this year or any year. http://www.spout.com/blogs/spoutblog/archive/2008/12/17/38479.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/17/2008 10:00:43 AM
Body: Beyonce’s video for “Single Ladies (Put a Ring On It)” may have already garnered nearly 20 million views on YouTube, but it’s not the best of the many great music videos of 2008. Here are five that are better –– and none of them rip off Bob Fosse. You can see my picks for the 5th through 10th best videos of 2008 (yes, including Beyonce) at my blog, alsolikelife.com/shooting. 5. Killer Mike featuring Ice Cube, “Pressure” Directed by Giovanni Hidalgo One can only imagine how many hours director Hidalgo spent ripping and mixing clips off the internet, cable news, and who knows where else, but watching the result is like a long night’s cram session for a Black liberation theory class in the space of a song. The sheer breadth of footage is breathtaking, flashing everything from archival newsreel to Hollywood clips to graphic crime videos. The shock-and-awe montage makes it hard to arrive at a coherent thesis for grappling with the laundry list of social ills laid out by both the lyrics and visuals, full of jarring juxtapositions that radically recontextualize familiar images and figures into an alternative universe of hip-hop resistance. Even Barack Obama doesn’t come away unscathed: his “Yes We Can” iconography is eventually followed by a clip of him dancing with Ellen Degeneres that’s as ingratiating as Stepin Fetchit. The lasting effect is a purposeful distancing from the daily stream of images that spoon-feed us into complacency, something that viewers of any race or background can take to heart. As Ice Cube says, “I’m here to deprogram you.” A machine gun spray of media-fueled dissonance, “Pressure” accomplishes in six minutes what took Oliver Stone’s JFK three hours. Zoom in on: 2:46. The juxtaposition of Saddam Hussein and O.J. Simpson at their respective trails exemplifies the mad method of this video: a knee-jerk provocation, an inspired association, or both. Compare to: Terry Lynn, ”The System” O’Death - New Music - More Music Videos 4. O’Death, “Lowtide” Directed by Benh Zeitlin The perfect marriage of Jean Cocteau and hillbilly folk rock, the video for “Lowtide” starts on the most polluted shoreline imaginable, littered with thousands of bottles, from which a redneck Orpheus plucks one bottle cast from the other end of the world. The message of despair contained within propels him to bore deep into the earth to find his own Eurydice of the Orient. This live action equivalent of a claymation video literally spills over with dirt in its headlong rush towards love and resurrection. It’s a stunningly lo-fi vision of a journey to the center of the earth whose inventiveness is worth a thousand Brendan Fraser paychecks. Zoom in on: 0:28. Ask not how they did that (though really, how?) but how they captured that feeling of giddy love at first sight that suspends you in air. Compare to: Passion Pit: “Sleepyhead” Kanye West - New Music - More Music Videos 3. Kanye West, “Love Lockdown” Directed by Simon Henwood Kanye certainly was no slouch in the music video department this year, issuing no less than six clips, each with their own distinctive look. “Flashing Lights” got a ton of attention on the blogosphere (SpoutBlog not excluded), but the Takashi Murakami-helmed “Good Morning,” Hype Williams’ “Heartless” and especially the exultant “Good Life,” by Jonas & Francois with animation by So Me, are exquisite in their own right. But sufficient praise has not been lavished on the first video off the 808s and Heartbreak album. “Love Lockdown” is a perfect harmony of tension between elegance and rawness, the futuristic and the primitive, virtual fantasy and real pain. In many ways it’s an apotheosis of what the best of Kanye is about: a searching scrutiny of his best friend and worst enemy, his ego. Its lustful striving to realize its wildest fantasies renders him a prisoner within his own desire, unable to privilege anything or anyone else, redeemed only by its honesty in facing this state. It’s Synecdoche, New York, only told with a refreshing lack of self-pity and a ton more cinematic in setting psychic demons to space and time. I’ll probably get laughed out of the room for comparing this to the brooding masterpieces of Andrei Tarkovsky, but this video deserves comparison with Solaris: not for the suggestively symbolic telescope prominently placed in his crib, but for the stream of illusory objects of desire that demonize the mind, floating within the stark isolation of a sterile utopia. Zoom in on: The guy leaping out of the 16:9 frame at 1:02 is one of those moments that has you wondering why no one had ever thought of doing that before. But 2:35 is the moment that gets me, with Kanye cornered by his primal counterpart, his internal, eternal entourage. Compare to: Kanye West, “Flashing Lights” Yeasayer - New Music - More Music Videos 2. Yeasayer, “Wait for the Summer” Directed by Mixtape Club Another video involving dirt and decay, video animation trio Mixtape Club takes Yeasayer’s thematic variation on The Byrds’ “Turn! Turn! Turn! (To Everything There Is a Season)” to set in motion one of the most morbidly beautiful meditations on nature you’re bound to find anywhere. It’s 60s rock psychedelia done with 21st century CGI, flowing in a free-associational ballet dancing along the ABCs of life: apples, beetles, crabs, death, earth. And if you’ve ever wondered if the universe is rotten to the core, the last image might serve the answer. Zoom in on: It’s hard not to give props to those hovering Jedi Knight beetles at 0:56, but an iPod commercial can only dream of using silhouettes as majestically as what you see at 2:42. Compare to: Goldfrapp, “A&E” More Videos 1. MGMT, “Time to Pretend” Directed by Ray Tintori An OC beach party-meets–Lord of the Flies-meets-Lord of the Rings-meets-Second Life-meets-God knows what else. MGMT and Tintori took the song’s campus org t-shirt lyric “We’ve got the vision; now let’s have some fun” and used it as a rallying cry to dive headfirst into a maelstrom of ill-advised pagan hipster imagery executed with cheeseball CGI. The result is not something as simple as laughably endearing kitsch, but something brave and audacious. Ostensibly it lampoons any number of expensive, computerized blockbuster fantasy sagas, but gradually it suggests a realm that is infinitely more exciting than Middle Earth or Narnia, where crab monsters explode into dolphins and bare-chested warriors ride tabby cats to victory. (And with the final glimpse of Andrew VanWyngarden surfing through a cresting wave of shark’s teeth, we might have found the year’s quintessential image for the independent artist.) A vision emerges of Hollywood collapsing under its own market-tested, terminally safe weight, only to have its cindered ruins paved over by a horde of low-budget, low-tech pastiches along the lines of this one. Maybe it amounts to another kind of hell, but at least it has prettier colors. Zoom in on: 2:34. This was the moment that I was convinced that what I was watching wasn’t something merely clever, goofy, self-deprecating, but could achieve original lyric beauty, and had just done so. Compare to: Vampire Weekend: “Oxford Comma” Originally posted on:SpoutBlog
]]>Wed, 17 Dec 2008 15:00:43 GMTSpoutBlogSpoutBlog on spout.com12/17/2008 10:00:43 AMBeyonce’s video for “Single Ladies (Put a Ring On It)” may have already garnered nearly 20 million views on YouTube, but it’s not the best of the many great music videos of 2008. Here are five that are better –– and none of them rip off Bob Fosse. You can see my picks for the 5th through 10th best videos of 2008 (yes, including Beyonce) at my blog, alsolikelife.com/shooting. 5. Killer Mike featuring Ice Cube, “Pressure” Directed by Giovanni Hidalgo One can only imagine how many hours director Hidalgo spent ripping and mixing clips off the internet, cable news, and who knows where else, but watching the result is like a long night’s cram session for a Black liberation theory class in the space of a song. The sheer breadth of footage is breathtaking, flashing everything from archival newsreel to Hollywood clips to graphic crime videos. The shock-and-awe montage makes it hard to arrive at a coherent thesis for grappling with the laundry list of social ills laid out by both the lyrics and visuals, full of jarring juxtapositions that radically recontextualize familiar images and figures into an alternative universe of hip-hop resistance. Even Barack Obama doesn’t come away unscathed: his “Yes We Can” iconography is eventually followed by a clip of him dancing with Ellen Degeneres that’s as ingratiating as Stepin Fetchit. The lasting effect is a purposeful distancing from the daily stream of images that spoon-feed us into complacency, something that viewers of any race or background can take to heart. As Ice Cube says, “I’m here to deprogram you.” A machine gun spray of media-fueled dissonance, “Pressure” accomplishes in six minutes what took Oliver Stone’s JFK three hours. Zoom in on: 2:46. The juxtaposition of Saddam Hussein and O.J. Simpson at their respective trails exemplifies the mad method of this video: a knee-jerk provocation, an inspired association, or both. Compare to: Terry Lynn, ”The System” O’Death - New Music - More Music Videos 4. O’Death, “Lowtide” Directed by Benh Zeitlin The perfect marriage of Jean Cocteau and hillbilly folk rock, the video for “Lowtide” starts on the most polluted shoreline imaginable, littered with thousands of bottles, from which a redneck Orpheus plucks one bottle cast from the other end of the world. The message of despair contained within propels him to bore deep into the earth to find his own Eurydice of the Orient. This live action equivalent of a claymation video literally spills over with dirt in its headlong rush towards love and resurrection. It’s a stunningly lo-fi vision of a journey to the center of the earth whose inventiveness is worth a thousand Brendan Fraser paychecks. Zoom in on: 0:28. Ask not how they did that (though really, how?) but how they captured that feeling of giddy love at first sight that suspends you in air. Compare to: Passion Pit: “Sleepyhead” Kanye West - New Music - More Music Videos 3. Kanye West, “Love Lockdown” Directed by Simon Henwood Kanye certainly was no slouch in the music video department this year, issuing no less than six clips, each with their own distinctive look. “Flashing Lights” got a ton of attention on the blogosphere (SpoutBlog not excluded), but the Takashi Murakami-helmed “Good Morning,” Hype Williams’ “Heartless” and especially the exultant “Good Life,” by Jonas & Francois with animation by So Me, are exquisite in their own right. But sufficient praise has not been lavished on the first video off the 808s and Heartbreak album. “Love Lockdown” is a perfect harmony of tension between elegance and rawness, the futuristic and the primitive, virtual fantasy and real pain. In many ways it’s an apotheosis of what the best of Kanye is about: a searching scrutiny of his best friend and worst enemy, his ego. Its lustful striving to realize its wildest fantasies renders him a prisoner within his own desire, unable to privilege anything or anyone else, redeemed only by its honesty in facing this state. It’s Synecdoche, New York, only told with a refreshing lack of self-pity and a ton more cinematic in setting psychic demons to space and time. I’ll probably get laughed out of the room for comparing this to the brooding masterpieces of Andrei Tarkovsky, but this video deserves comparison with Solaris: not for the suggestively symbolic telescope prominently placed in his crib, but for the stream of illusory objects of desire that demonize the mind, floating within the stark isolation of a sterile utopia. Zoom in on: The guy leaping out of the 16:9 frame at 1:02 is one of those moments that has you wondering why no one had ever thought of doing that before. But 2:35 is the moment that gets me, with Kanye cornered by his primal counterpart, his internal, eternal entourage. Compare to: Kanye West, “Flashing Lights” Yeasayer - New Music - More Music Videos 2. Yeasayer, “Wait for the Summer” Directed by Mixtape Club Another video involving dirt and decay, video animation trio Mixtape Club takes Yeasayer’s thematic variation on The Byrds’ “Turn! Turn! Turn! (To Everything There Is a Season)” to set in motion one of the most morbidly beautiful meditations on nature you’re bound to find anywhere. It’s 60s rock psychedelia done with 21st century CGI, flowing in a free-associational ballet dancing along the ABCs of life: apples, beetles, crabs, death, earth. And if you’ve ever wondered if the universe is rotten to the core, the last image might serve the answer. Zoom in on: It’s hard not to give props to those hovering Jedi Knight beetles at 0:56, but an iPod commercial can only dream of using silhouettes as majestically as what you see at 2:42. Compare to: Goldfrapp, “A&E” More Videos 1. MGMT, “Time to Pretend” Directed by Ray Tintori An OC beach party-meets–Lord of the Flies-meets-Lord of the Rings-meets-Second Life-meets-God knows what else. MGMT and Tintori took the song’s campus org t-shirt lyric “We’ve got the vision; now let’s have some fun” and used it as a rallying cry to dive headfirst into a maelstrom of ill-advised pagan hipster imagery executed with cheeseball CGI. The result is not something as simple as laughably endearing kitsch, but something brave and audacious. Ostensibly it lampoons any number of expensive, computerized blockbuster fantasy sagas, but gradually it suggests a realm that is infinitely more exciting than Middle Earth or Narnia, where crab monsters explode into dolphins and bare-chested warriors ride tabby cats to victory. (And with the final glimpse of Andrew VanWyngarden surfing through a cresting wave of shark’s teeth, we might have found the year’s quintessential image for the independent artist.) A vision emerges of Hollywood collapsing under its own market-tested, terminally safe weight, only to have its cindered ruins paved over by a horde of low-budget, low-tech pastiches along the lines of this one. Maybe it amounts to another kind of hell, but at least it has prettier colors. Zoom in on: 2:34. This was the moment that I was convinced that what I was watching wasn’t something merely clever, goofy, self-deprecating, but could achieve original lyric beauty, and had just done so. Compare to: Vampire Weekend: “Oxford Comma” Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/27/34465.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/27/2008 4:01:05 PM
Body: Twitter, the popular micro-blogging service, has turned into a powerful tool in the hands of not only consumers but marketers of all stripes as well. Comcast, Paramount Pictures and a handful of others have all latched on to it as a way to communicate with customers, acting not only as a distribution platform but a conversation hub and customer service hub as well. Some of the biggest names in the social media marketing world are spending serious time brainstorming how to use Twitter for marketing, debating its usefulness and otherwise hashing out a series of best practices for utilizing the service. Media outlets have also turned to Twitter for many of the same reasons. TV Guide, Fox News and even Spout have a presence there to, again, promote their content and, in some cases, even engage in a back-and-forth with readers. But did you know that Darth Vader is twittering? How about Cobra Commander? In one of the most widely-discussed instances of fictional characters with Twitter accounts, the staff of Sterling Cooper - the ad agency in the hit AMC series Mad Men - have all been posting 140 charcter status updates. Initially thought to be an official effort by the cable channel, it was later found that no, these were fan efforts that almost fell victim from what was later construed as “miscommunication“, but which at first apparently looked like a take-down notice filed under the Digital Millennium Copyright Act. With all these movie and TV characters expressing themselves, we thought it would be fun to see who our followers on Twitter thought should make their thoughts known in 140-characters or less. Here’s what we got back. Characters played by Val Kilmer appeared twice in the feedback. @treobenny put in his vote for Doc Holiday from Tombstone and Ryan Budke nominated Gay Perry from Kiss Kiss, Bang Bang. @sabine24 put forth a bunch of names, including Frank N. Furter, Stanley Kowalski and Jack Sparrow. The Big Lebowski’s The Dude got the nod from @povertyjetset and @champura went deep into the well to bring out Daniel Plainview from There Will Be Blood. @tigershungry went even further for Pistachio Disguisey, Dana Carvey’s character from 2002’s Master of Disguise. Finally, @ryananderson will be taken out back and horse-whipped for suggesting Jar Jar Binks. In addition to this worthy list of nominations, here’s who we’d like to see on Twitter: The Guru Pitka (The Love Guru): Yes, the movie might have bombed and forced Mike Myers back into re-evaluating Austin Powers 4, but the pithy Pitka’s bumper-sticker life lessons are made for the format. Carl Dehham (King Kong): “Rough day. Locals speak of something we think translates to ‘big angry monkey.’ But filming continues. Ann seems wary, tho.” Capt. Jeffrey T. Spaulding (Animal Crackers): Come on. I’m a little ashamed of everyone - and myself - that a Groucho Marx character wasn’t among the first ones I thought of. I’m going with Spaulding simply because I think he gets off some better one-liners than my other choice, Duck Soup’s Rufus T. Firefly. Wolverine (X-Men): “Stabbed guy with claws. Had beer.” (repeat time and time again.) Gypsy (Mystery Science Theater 3000): The robot in charge of the Satellite of Love’s operations would be the ideal candidate to report on how Joel, Crow and Servo are holding up, as well as throw the occassional “@drforrester: You suck.” Master Control Program (Tron): Every post would conclude with “end of line.” Plus, he could brag about how easy it is to crack into Windows servers. Isaac Davis (Manhattan): Imagine the possibilities of Woody Allen’s character obsessing over the minutia of his relationships as well as sending missive after missive about his love of New York City and Ingmar Bergman film to all his followers. (Side note: Mariel Hemingway’s character Tracy would, on the other hand, have a Tumblr blog.) Peter Gibbons (Office Space): Maybe it’s a cop-out to think of Gibbons venting on his frustrations with his boss on Twitter (likely under a pseudonym to protect his shaky job) but it would still be pretty funny. Matt Hooper (Jaws): “Got call from some hick sheriff with what’s probably just an over-active imagination. At least he’s paying for the trip.” Chris Kelvin (Solaris): Just because every other post would be “Did I just see my dead wife? WTF!!!”" So who do you think would make a good presence on Twitter? Originally posted on:SpoutBlog
]]>Wed, 27 Aug 2008 20:01:05 GMTSpoutBlogSpoutBlog on spout.com8/27/2008 4:01:05 PMTwitter, the popular micro-blogging service, has turned into a powerful tool in the hands of not only consumers but marketers of all stripes as well. Comcast, Paramount Pictures and a handful of others have all latched on to it as a way to communicate with customers, acting not only as a distribution platform but a conversation hub and customer service hub as well. Some of the biggest names in the social media marketing world are spending serious time brainstorming how to use Twitter for marketing, debating its usefulness and otherwise hashing out a series of best practices for utilizing the service. Media outlets have also turned to Twitter for many of the same reasons. TV Guide, Fox News and even Spout have a presence there to, again, promote their content and, in some cases, even engage in a back-and-forth with readers. But did you know that Darth Vader is twittering? How about Cobra Commander? In one of the most widely-discussed instances of fictional characters with Twitter accounts, the staff of Sterling Cooper - the ad agency in the hit AMC series Mad Men - have all been posting 140 charcter status updates. Initially thought to be an official effort by the cable channel, it was later found that no, these were fan efforts that almost fell victim from what was later construed as “miscommunication“, but which at first apparently looked like a take-down notice filed under the Digital Millennium Copyright Act. With all these movie and TV characters expressing themselves, we thought it would be fun to see who our followers on Twitter thought should make their thoughts known in 140-characters or less. Here’s what we got back. Characters played by Val Kilmer appeared twice in the feedback. @treobenny put in his vote for Doc Holiday from Tombstone and Ryan Budke nominated Gay Perry from Kiss Kiss, Bang Bang. @sabine24 put forth a bunch of names, including Frank N. Furter, Stanley Kowalski and Jack Sparrow. The Big Lebowski’s The Dude got the nod from @povertyjetset and @champura went deep into the well to bring out Daniel Plainview from There Will Be Blood. @tigershungry went even further for Pistachio Disguisey, Dana Carvey’s character from 2002’s Master of Disguise. Finally, @ryananderson will be taken out back and horse-whipped for suggesting Jar Jar Binks. In addition to this worthy list of nominations, here’s who we’d like to see on Twitter: The Guru Pitka (The Love Guru): Yes, the movie might have bombed and forced Mike Myers back into re-evaluating Austin Powers 4, but the pithy Pitka’s bumper-sticker life lessons are made for the format. Carl Dehham (King Kong): “Rough day. Locals speak of something we think translates to ‘big angry monkey.’ But filming continues. Ann seems wary, tho.” Capt. Jeffrey T. Spaulding (Animal Crackers): Come on. I’m a little ashamed of everyone - and myself - that a Groucho Marx character wasn’t among the first ones I thought of. I’m going with Spaulding simply because I think he gets off some better one-liners than my other choice, Duck Soup’s Rufus T. Firefly. Wolverine (X-Men): “Stabbed guy with claws. Had beer.” (repeat time and time again.) Gypsy (Mystery Science Theater 3000): The robot in charge of the Satellite of Love’s operations would be the ideal candidate to report on how Joel, Crow and Servo are holding up, as well as throw the occassional “@drforrester: You suck.” Master Control Program (Tron): Every post would conclude with “end of line.” Plus, he could brag about how easy it is to crack into Windows servers. Isaac Davis (Manhattan): Imagine the possibilities of Woody Allen’s character obsessing over the minutia of his relationships as well as sending missive after missive about his love of New York City and Ingmar Bergman film to all his followers. (Side note: Mariel Hemingway’s character Tracy would, on the other hand, have a Tumblr blog.) Peter Gibbons (Office Space): Maybe it’s a cop-out to think of Gibbons venting on his frustrations with his boss on Twitter (likely under a pseudonym to protect his shaky job) but it would still be pretty funny. Matt Hooper (Jaws): “Got call from some hick sheriff with what’s probably just an over-active imagination. At least he’s paying for the trip.” Chris Kelvin (Solaris): Just because every other post would be “Did I just see my dead wife? WTF!!!”" So who do you think would make a good presence on Twitter? Originally posted on:SpoutBlog http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28651.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 1:25:22 PM
Body: Few movies are more inappropriate candidates for a remake than Andrei Tarkovsky's greatest achievement, one of the few truly great science fiction films the cinema has produced. Tarkovsky's masterpiece managed to be slow paced and atmospheric without descending into the boredom and pretentiousness that many of his other works succumbed to. The one-of-a-kind nature of Tarkovsky's Solaris would seem that it would be difficult for any other director to follow in his footsteps. Perhaps to avoid the inevitable comparison, Steven Soderbergh's version goes out of its way to market itself as another adaption of the Stanislaw Lem novel (which I have not read) on which both films are based as a opposed to a remake, but the Tarkovsky influence is clarly there. Soderbergh has followed his predecessor's lead with the scenes of empty passion played out in a sterile environment. Both films follow the same basic story, following a standard sci-fi theme- a place where your thoughts take on a physical reality. Psychologist Kris Kelvin (Donota Batonis in the original, George Clooney here) is drafted to visiting the space station in orbit of the planet Solaris, where the crew has begun acting very strangely. Upon arrival, he finds two crew members dead and the others stressed or out of it, and then begins to meet his former lover (Natascha McElhone) again. The main difference between the two movies is the main flaw. Tarkovsky's film was not so much about Kris as it was about the idea of him. The whole film was detached in away that allowed us to be drawn into the atmosphere and Tarkovksy's ideas. Soderbergh tries to build the film around a seemingly doomed romance between Kelvin and his ex-girlfriend, but the relationship has no passion at all, and unfortanley Clooney and McElhone have zero chemistry. Although there is some impressive art direction, the movie isn't as beautiful either, and I really missed the long, pastoral opening sequences in the Russian countryside of the original. However, I do appreciate the fact that Soderbergh left out the long five minute drive through Japan that was completely unnecessary and slowed the original way down. The production design of this film is impressive, and like the original, 2001 and the Star Trek series, it is one of the few sci-fi films that really give the impression of being in space Too bad nothing very interesting happens there. Solaris (2002)
]]>Mon, 12 May 2008 17:25:22 GMTCinemaRianCinemaRian Blog5/12/2008 1:25:22 PMFew movies are more inappropriate candidates for a remake than Andrei Tarkovsky's greatest achievement, one of the few truly great science fiction films the cinema has produced. Tarkovsky's masterpiece managed to be slow paced and atmospheric without descending into the boredom and pretentiousness that many of his other works succumbed to. The one-of-a-kind nature of Tarkovsky's Solaris would seem that it would be difficult for any other director to follow in his footsteps. Perhaps to avoid the inevitable comparison, Steven Soderbergh's version goes out of its way to market itself as another adaption of the Stanislaw Lem novel (which I have not read) on which both films are based as a opposed to a remake, but the Tarkovsky influence is clarly there. Soderbergh has followed his predecessor's lead with the scenes of empty passion played out in a sterile environment. Both films follow the same basic story, following a standard sci-fi theme- a place where your thoughts take on a physical reality. Psychologist Kris Kelvin (Donota Batonis in the original, George Clooney here) is drafted to visiting the space station in orbit of the planet Solaris, where the crew has begun acting very strangely. Upon arrival, he finds two crew members dead and the others stressed or out of it, and then begins to meet his former lover (Natascha McElhone) again. The main difference between the two movies is the main flaw. Tarkovsky's film was not so much about Kris as it was about the idea of him. The whole film was detached in away that allowed us to be drawn into the atmosphere and Tarkovksy's ideas. Soderbergh tries to build the film around a seemingly doomed romance between Kelvin and his ex-girlfriend, but the relationship has no passion at all, and unfortanley Clooney and McElhone have zero chemistry. Although there is some impressive art direction, the movie isn't as beautiful either, and I really missed the long, pastoral opening sequences in the Russian countryside of the original. However, I do appreciate the fact that Soderbergh left out the long five minute drive through Japan that was completely unnecessary and slowed the original way down. The production design of this film is impressive, and like the original, 2001 and the Star Trek series, it is one of the few sci-fi films that really give the impression of being in space Too bad nothing very interesting happens there. Solaris (2002) http://www.spout.com/blogs/kristen/archive/2008/3/24/26547.aspx Post By: kristen
Post To: kristen Blog
Post Date: 3/24/2008 12:21:35 AM
Body: The essence of this movie is captured in a comparison to a cologne commercial: it leaves a sweet fragrance but does not have much substance. Cut through the generic science fiction babble and you have a love story about second (or infinite) chances. The movie falls prey to some typical science fiction ideas that do not receive adequate exposition. For example, Solaris briefly touches on the concept of reality (are people just puppets?), has surface level discussions about God ("God exists because humans are conscious" "No he doesnt. We're a product of mathematics and time"), and worries about threats to humanity (Gordon tries to preserve humanity even above morality). The acting tends to be melodramatic and misses the mark. George Clooney gives a good performance, though, and for the most part and carries the other awful acting. The secondary characters, specifically the spaced out, confused dream instantiation named Snow, stumble through the same motions. Snow talks a lot but never says anything. This grows old and takes away from the movie. Solaris has high productions values: the sets are believable and that makes for an enjoyable watch. Also, cologne does have some weight, no matter how minuscule. The love story is interesting. It develops are real bond of love that must meet in a world beyond either ones comprehension. When Clooney returns to love he finds like foreign without love. Overall, love continues through all impossibilities and transcends time, space, even death. This science fiction film is more romantic than its counterparts like Sphere, but I would look to films like Gattaca for a better relationship. Overall, Solaris is fun, and that is about it.
]]>Mon, 24 Mar 2008 04:21:35 GMTkristenkristen Blog3/24/2008 12:21:35 AMThe essence of this movie is captured in a comparison to a cologne commercial: it leaves a sweet fragrance but does not have much substance. Cut through the generic science fiction babble and you have a love story about second (or infinite) chances. The movie falls prey to some typical science fiction ideas that do not receive adequate exposition. For example, Solaris briefly touches on the concept of reality (are people just puppets?), has surface level discussions about God (&quot;God exists because humans are conscious&quot; &quot;No he doesnt. We&#39;re a product of mathematics and time&quot;), and worries about threats to humanity (Gordon tries to preserve humanity even above morality). The acting tends to be melodramatic and misses the mark. George Clooney gives a good performance, though, and for the most part and carries the other awful acting. The secondary characters, specifically the spaced out, confused dream instantiation named Snow, stumble through the same motions. Snow talks a lot but never says anything. This grows old and takes away from the movie. Solaris has high productions values: the sets are believable and that makes for an enjoyable watch. Also, cologne does have some weight, no matter how minuscule. The love story is interesting. It develops are real bond of love that must meet in a world beyond either ones comprehension. When Clooney returns to love he finds like foreign without love. Overall, love continues through all impossibilities and transcends time, space, even death. This science fiction film is more romantic than its counterparts like Sphere, but I would look to films like Gattaca for a better relationship. Overall, Solaris is fun, and that is about it. http://www.spout.com/blogs/tobenson/archive/2007/11/28/22266.aspx Post By: tobenson
Post To: The Obenson Report
Post Date: 11/28/2007 9:15:29 AM
Body: SUNSHINE is one of those films that had me hooked for most of its length, but then during the last act almost completely lost me; although not entirely in this case, thankfully. I was slightly disappointed that Danny Boyle, the director the film (also TRAINSPOTTING and 28 DAYS LATER), went for the conventional mainstream plot devices that he threw into the last act of film. I won’t say what they were… you’ll just have to see the film, and we can talk about it afterwards if anyone wants to… but anyway… I really liked the film overall – it’s one of those apocalyptic, end of the world scenarios that we’re presented with: in a nutshell, the sun is dying, and world governments assemble a team of scientists and astronauts to go on what is essentially on a suicide mission, into space, in a ship armed with a nuclear weapon meant to be launched into the sun’s core, where it will explode and reignite the sun… a scenario which we might actually find ourselves in some time in the our future, whenever that might be. The fact that this film was made on a $30 million budget shocked me… not that $30 million isn’t a lot of money for a feature, but compared to other comparable sci-fi movies that cost 3, 4, 5 times that number, it looks damn good! Danny Boyle spent the $30 million wisely, making it look like it’s a film that cost significantly more than what it actually did cost. It’s a good looking film… there are some scenes in which I remember feeling like I could just mute the audio all together, and put on Beethoven’s moonlight sonata and immerse myself in the moment… reminiscent of films like 2001: A SPACE ODYSSEY, and SOLARIS. In 2001, there are lots of zero-gravity, ethereal scenes in which the only thing Kubrick wants us to hear is Johann Strauss’s Blue Danube… really sort of eerie, but to wonderful effect. SUNSHINE is more 2001 and SOLARIS than say, ARMAGEDDON (the Bruce Willis/Ben Afleck/Michael Bay flick), or other more action-driven fanfare… essentially all of Michael Bay’s films :o). It’s a character driven sci-fi film, with splashes of both visual and audio blasts every now and then, but more time is spent on the characters, their motivations, and their decisions... sometimes very difficult, life-altering decisions they have to make in other to evolve as the film progresses… often life/death decisions… that sort of Armed Forces nationalistic notion of putting the fate of your country, or in this case, your world, before yours, even if it means giving your life. And throughout the film, I think almost every character is faced with that decision – some answer it willingly, and others have to be forced to answer it, or the decision is made for them. For the first 80 minutes I was mostly riveted with what I saw, heard, thought and felt, but something happens in the last 20 minutes that, as I said earlier, relied on typical Hollywood dramatics – essentially introducing a character, or more like a thing, meant to sort of “spice things up,” which leads to inevitable chases through dark walkways, and subsequent screams that all just sort of annoyed me, because it all seemed so unnecessary. It takes on a different tone altogether. If that character/thing wasn’t introduced, the rest of the film would have been great just as it was, because, again, it added nothing to the film, and instead took me out of it temporarily. But I won’t let that singular misstep take away the fun I had watching the film up until that moment… because the good far outweighed the bad, and when Sunshine is released on DVD in a couple of months, I’ll be shelling out my $20, or whatever it is, to buy it. The performances are strong – Cillian Murphy and Michelle Yeoh especially – I’ve already talked about the visuals, and it moves along quite briskly at 107 minutes. And I would recommend it… again, if you liked Sci-Fi films like 2001 A SPACE ODYSSEY, and SOLARIS (both the Tarkovsky and Soderbergh versions). I think you’ll like SUNSHINE as well. Listen to my audio broadcast on cinema at www.obensonreport.com Tambay A Obensonwww.obensonreport.com
]]>Wed, 28 Nov 2007 14:15:29 GMTtobensonThe Obenson Report11/28/2007 9:15:29 AMSUNSHINE is one of those films that had me hooked for most of its length, but then during the last act almost completely lost me; although not entirely in this case, thankfully. I was slightly disappointed that Danny Boyle, the director the film (also TRAINSPOTTING and 28 DAYS LATER), went for the conventional mainstream plot devices that he threw into the last act of film. I won&rsquo;t say what they were&hellip; you&rsquo;ll just have to see the film, and we can talk about it afterwards if anyone wants to&hellip; but anyway&hellip; I really liked the film overall &ndash; it&rsquo;s one of those apocalyptic, end of the world scenarios that we&rsquo;re presented with: in a nutshell, the sun is dying, and world governments assemble a team of scientists and astronauts to go on what is essentially on a suicide mission, into space, in a ship armed with a nuclear weapon meant to be launched into the sun&rsquo;s core, where it will explode and reignite the sun&hellip; a scenario which we might actually find ourselves in some time in the our future, whenever that might be. The fact that this film was made on a $30 million budget shocked me&hellip; not that $30 million isn&rsquo;t a lot of money for a feature, but compared to other comparable sci-fi movies that cost 3, 4, 5 times that number, it looks damn good! Danny Boyle spent the $30 million wisely, making it look like it&rsquo;s a film that cost significantly more than what it actually did cost. It&rsquo;s a good looking film&hellip; there are some scenes in which I remember feeling like I could just mute the audio all together, and put on Beethoven&rsquo;s moonlight sonata and immerse myself in the moment&hellip; reminiscent of films like 2001: A SPACE ODYSSEY, and SOLARIS. In 2001, there are lots of zero-gravity, ethereal scenes in which the only thing Kubrick wants us to hear is Johann Strauss&rsquo;s Blue Danube&hellip; really sort of eerie, but to wonderful effect. SUNSHINE is more 2001 and SOLARIS than say, ARMAGEDDON (the Bruce Willis/Ben Afleck/Michael Bay flick), or other more action-driven fanfare&hellip; essentially all of Michael Bay&rsquo;s films :o). It&rsquo;s a character driven sci-fi film, with splashes of both visual and audio blasts every now and then, but more time is spent on the characters, their motivations, and their decisions... sometimes very difficult, life-altering decisions they have to make in other to evolve as the film progresses&hellip; often life/death decisions&hellip; that sort of Armed Forces nationalistic notion of putting the fate of your country, or in this case, your world, before yours, even if it means giving your life. And throughout the film, I think almost every character is faced with that decision &ndash; some answer it willingly, and others have to be forced to answer it, or the decision is made for them. For the first 80 minutes I was mostly riveted with what I saw, heard, thought and felt, but something happens in the last 20 minutes that, as I said earlier, relied on typical Hollywood dramatics &ndash; essentially introducing a character, or more like a thing, meant to sort of &ldquo;spice things up,&rdquo; which leads to inevitable chases through dark walkways, and subsequent screams that all just sort of annoyed me, because it all seemed so unnecessary. It takes on a different tone altogether. If that character/thing wasn&rsquo;t introduced, the rest of the film would have been great just as it was, because, again, it added nothing to the film, and instead took me out of it temporarily. But I won&rsquo;t let that singular misstep take away the fun I had watching the film up until that moment&hellip; because the good far outweighed the bad, and when Sunshine is released on DVD in a couple of months, I&rsquo;ll be shelling out my $20, or whatever it is, to buy it. The performances are strong &ndash; Cillian Murphy and Michelle Yeoh especially &ndash; I&rsquo;ve already talked about the visuals, and it moves along quite briskly at 107 minutes. And I would recommend it&hellip; again, if you liked Sci-Fi films like 2001 A SPACE ODYSSEY, and SOLARIS (both the Tarkovsky and Soderbergh versions). I think you&rsquo;ll like SUNSHINE as well. Listen to my audio broadcast on cinema at www.obensonreport.com Tambay A Obensonwww.obensonreport.com http://www.spout.com/blogs/mattdw/archive/2007/6/12/10969.aspx Post By: mattdw
Post To: mattdw Blog
Post Date: 6/12/2007 10:03:56 PM
Body: I think this is my favourite movie ever… it's slow and thoughtful, full of deep, rich colours and an amazing ambient soundtrack. It'll leave you thinking for days afterwards, and it keeps its interest on second and third viewings.
]]>Wed, 13 Jun 2007 02:03:56 GMTmattdwmattdw Blog6/12/2007 10:03:56 PMI think this is my favourite movie ever&hellip; it&#39;s slow and thoughtful, full of deep, rich colours and an amazing ambient soundtrack. It&#39;ll leave you thinking for days afterwards, and it keeps its interest on second and third viewings. http://www.spout.com/members/0/tags/sci-fi/MemberTagFilms.aspxsci-fi
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]]>Mon, 22 Sep 2008 03:42:22 GMT111212Tag http://www.spout.com/members/0/tags/husbandandwife/MemberTagFilms.aspxhusbandandwife
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