list http://www.spout.com/ Recent community activity around The Lord of the Rings: The Return of the King 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/The_Lord_of_the_Rings_The_Return_of_the_King/220058/default.aspx Title: The Lord of the Rings: The Return of the King
Year: 2003
Director: Peter Jackson
Plot: The Lord of the Rings: The Return of the King brings Peter Jackson's mammoth adaptation of J.R.R. Tolkien's classic to a close in suitably epic fashion. Instead of starting just where the previous film left off, however, it goes far back in time to the moment the tormented creature Gollum first came to possess the One Ring. In this flashback, actor Andy Serkis (who voiced Gollum and performed his movements onset prior to the final CGI effects) finally gets to appear onscreen, portraying Gollum's former self, Sméagol. This disturbing scene serves as a potent reminder that the Ring seeks to corrupt even the well-intentioned Frodo (Elijah Wood), who is increasingly struggling with the dark power of the Ring himself. Thus, the film returns to the present, following Frodo, Sam (Sean Astin), and Gollum as they journey ever closer to the foreboding land of Mordor. They pass by the terrifying dark city of Minas Morgul, watching as the dreadful army of the Witch King sets out for the human strongholds in Gondor, and move on to the rocky stairs to Cirith Ungol, where an even darker enemy lies in wait. Meanwhile, the rest of the Fellowship reunites in Rohan, having defeated the wizard Saruman on two different fronts, at Helm's Deep and Isengard. They are not together for long, though, since the hobbit Pippin (Billy Boyd) gets into trouble, making it necessary for him and Gandalf (Ian McKellen) to hastily depart for Minas Tirith, capital of Gondor. Once there, they find the steward of Gondor, Denethor (John Noble), in an unstable mental state and the city preparing for battle against the amassing forces of Sauron. Denethor unwisely sends his only remaining son, Faramir (David Wenham), back into bloody battle to prove himself. He returns nearly dead, sending Denethor over the edge of sanity. In another realm, elf Arwen (Liv Tyler) begins her journey to immortal life in the Grey Havens, on her way to leave Middle-earth -- and Aragorn (Viggo Mortensen) -- forever, but has a vision that causes her to once again reconsider her decision. Back in Rohan, the men are preparing to ride to Gondor's aide. Éowyn (Miranda Otto) desperately wants to join the men in battle, but her uncle, King Théoden (Bernard Hill), orders her to stay and defend Rohan if necessary. The hobbit Merry (Dominic Monaghan) also desires to ride with the men, but is denied due to his small size and inexperience. Aragorn is met there by the elf Elrond (Hugo Weaving), who brings him the re-forged Sword that was Broken (in the ancient battle with Sauron) and urges him to take a different route to Gondor. Heeding Elrond's advice, Aragorn, along with elf Legolas (Orlando Bloom) and dwarf Gimli (John Rhys-Davies), takes a cavernous path through the mountains, where they meet ghoulish ghosts who betrayed Aragorn's ancestors and are doomed to eternal unrest unless they fulfill their br
Times Tagged: 68
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]]>Mon, 03 Aug 2009 18:18:45 GMTThe Lord of the Rings: The Return of the King2003Peter JacksonThe Lord of the Rings: The Return of the King brings <a href="/players/P____95689/default.aspx" style='text-decoration:underline'>Peter Jackson</a>'s mammoth adaptation of J.R.R. Tolkien's classic to a close in suitably epic fashion. Instead of starting just where the previous film left off, however, it goes far back in time to the moment the tormented creature Gollum first came to possess the One Ring. In this flashback, actor <a href="/players/P___216153/default.aspx" style='text-decoration:underline'>Andy Serkis</a> (who voiced Gollum and performed his movements onset prior to the final CGI effects) finally gets to appear onscreen, portraying Gollum's former self, Sméagol. This disturbing scene serves as a potent reminder that the Ring seeks to corrupt even the well-intentioned Frodo (<a href="/players/P____77309/default.aspx" style='text-decoration:underline'>Elijah Wood</a>), who is increasingly struggling with the dark power of the Ring himself. Thus, the film returns to the present, following Frodo, Sam (<a href="/players/P_____2649/default.aspx" style='text-decoration:underline'>Sean Astin</a>), and Gollum as they journey ever closer to the foreboding land of Mordor. They pass by the terrifying dark city of Minas Morgul, watching as the dreadful army of the Witch King sets out for the human strongholds in Gondor, and move on to the rocky stairs to Cirith Ungol, where an even darker enemy lies in wait. Meanwhile, the rest of the Fellowship reunites in Rohan, having defeated the wizard Saruman on two different fronts, at Helm's Deep and Isengard. They are not together for long, though, since the hobbit Pippin (<a href="/players/P___263293/default.aspx" style='text-decoration:underline'>Billy Boyd</a>) gets into trouble, making it necessary for him and Gandalf (<a href="/players/P____47684/default.aspx" style='text-decoration:underline'>Ian McKellen</a>) to hastily depart for Minas Tirith, capital of Gondor. Once there, they find the steward of Gondor, Denethor (John Noble), in an unstable mental state and the city preparing for battle against the amassing forces of Sauron. Denethor unwisely sends his only remaining son, Faramir (<a href="/players/P___235700/default.aspx" style='text-decoration:underline'>David Wenham</a>), back into bloody battle to prove himself. He returns nearly dead, sending Denethor over the edge of sanity. In another realm, elf Arwen (<a href="/players/P___198152/default.aspx" style='text-decoration:underline'>Liv Tyler</a>) begins her journey to immortal life in the Grey Havens, on her way to leave Middle-earth -- and Aragorn (<a href="/players/P____50903/default.aspx" style='text-decoration:underline'>Viggo Mortensen</a>) -- forever, but has a vision that causes her to once again reconsider her decision. Back in Rohan, the men are preparing to ride to Gondor's aide. Éowyn (<a href="/players/P____54440/default.aspx" style='text-decoration:underline'>Miranda Otto</a>) desperately wants to join the men in battle, but her uncle, King Théoden (<a href="/players/P____32290/default.aspx" style='text-decoration:underline'>Bernard Hill</a>), orders her to stay and defend Rohan if necessary. The hobbit Merry (<a href="/players/P___294728/default.aspx" style='text-decoration:underline'>Dominic Monaghan</a>) also desires to ride with the men, but is denied due to his small size and inexperience. Aragorn is met there by the elf Elrond (<a href="/players/P____75146/default.aspx" style='text-decoration:underline'>Hugo Weaving</a>), who brings him the re-forged Sword that was Broken (in the ancient battle with Sauron) and urges him to take a different route to Gondor. Heeding Elrond's advice, Aragorn, along with elf Legolas (<a href="/players/P___301907/default.aspx" style='text-decoration:underline'>Orlando Bloom</a>) and dwarf Gimli (<a href="/players/P____17257/default.aspx" style='text-decoration:underline'>John Rhys-Davies</a>), takes a cavernous path through the mountains, where they meet ghoulish ghosts who betrayed Aragorn's ancestors and are doomed to eternal unrest unless they fulfill their br68Tag Target (>10)168744http://www.spout.com/ProductImages/s220058.jpghttp://www.spout.com/films/The_Lord_of_the_Rings_The_Return_of_the_King/220058/default.aspxFilm http://www.spout.com/blogs/laurenbailey63/archive/2009/9/23/43997.aspx Post By: laurenbailey63
Post To: laurenbailey63 Blog
Post Date: 9/23/2009 6:44:19 PM
Body: it was the bom it was so cool i loved it so much i whatched it 3 times in a row you have to see this film it is the best in the world.=)=)
]]>Wed, 23 Sep 2009 22:44:19 GMTlaurenbailey63laurenbailey63 Blog9/23/2009 6:44:19 PMit was the bom it was so cool i loved it so much i whatched it 3 times in a row you have to see this film it is the best in the world.=)=) http://www.spout.com/groups/Coming_Soon/Re_1_30_TAKEN_shaken_and_stirred_by_new_movie/216/39936/1/ShowPost.aspx Post By: Risselada
Post To: Coming Soon
Post Date: 1/26/2009 7:09:57 PM
Body: [quote user="spout"] 2. The Bourne Trilogy -- A couple weeks ago, I was asking a friend if he thought Underworld 3 would be the best of the series, and he said, "When was the last time any part three was the best?" I suggest to you: The Bourne Ultimatum. [/quote] I'm not sure, but I think overall people liked Lord of the Rings: The Return of the King the best, but that may just have been because it was finally over! I think that Red is the final and most celebrated of Krzysztof Kieslowski's three colors series. It's mostly a thematic series, but there is some slight narrative overlap I believe. Christmas Vacation was my favorite of the Vacation movies (even though I've only seen parts of European Vacation) There that's what I got.
]]>Tue, 27 Jan 2009 00:09:57 GMTRisseladaComing Soon1/26/2009 7:09:57 PM[quote user="spout"] 2. The Bourne Trilogy -- A couple weeks ago, I was asking a friend if he thought Underworld 3 would be the best of the series, and he said, "When was the last time any part three was the best?" I suggest to you: The Bourne Ultimatum. [/quote] I'm not sure, but I think overall people liked Lord of the Rings: The Return of the King the best, but that may just have been because it was finally over! I think that Red is the final and most celebrated of Krzysztof Kieslowski's three colors series. It's mostly a thematic series, but there is some slight narrative overlap I believe. Christmas Vacation was my favorite of the Vacation movies (even though I've only seen parts of European Vacation) There that's what I got. http://www.spout.com/blogs/spoutblog/archive/2008/12/11/38235.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/11/2008 11:01:42 AM
Body: The fanboys are so serious about The Dark Knight being the best film of 2008 that if the Academy snubs the comic-book adaptation for a Best Picture nomination, they’re liable to storm the Kodak Theatre on February 22 in protest. But why should anyone be worried that it won’t get the nomination? It wouldn’t be much of a coup for the year’s top-grossing blockbuster to be named one of the five Best Picture candidates. In fact, since the very first Academy Awards, the top award has often been handed out to films that were #1 at the box office in their respective year. And the last time it happened was as recent as 2003, with The Lord of the Rings: The Return of the King. Thanks to popular and talented filmmakers like D.W. Griffith, Walt Disney, David Lean and Steven Spielberg, it’s hardly uncommon for films to make money and earn critical respect. But this isn’t an opportunity to spotlight overrated top-grossing Best Pictures like Titanic, Rain Man and Rocky, which were decidedly not their year’s best films. Rather, this is a chance to ease the minds of fanboys just in case The Dark Knight doesn’t get the nod. Some of these blockbusters were indeed nominated for Best Picture, and a few even won the award, but some of them were both their year’s biggest moneymaker (in the U.S.) and best film (from the U.S.) without gaining proper Academy recognition. 1937: Snow White and the Seven Dwarfs Domestic Gross: $66,596,803 It’s certainly not the best feature-length animated film from Disney. That would be the box office disappointment Pinocchio, which came out a few years later and revealed the true breadth of Uncle Walt’s magic. But this was the first, and it’s enchanting enough that it towers over even the best live-action films of its year, including The Awful Truth, The Life of Emile Zola and The Good Earth. 1946: The Best Years of Our Lives Domestic Gross: $11,300,000 If a film like this came out today, it would probably be ignored at the box office, just as most movies responding to the Iraq War and its effects have been box office poison. Yet The Best Years of Our Lives was a huge hit with moviegoers, and it was named Best Picture, too. If you haven’t seen it, you might think that its success had to do with the idea that movies were far more patriotic in tone then. But in reality, this film is more critical of post-wartime America and more supportive and revealing of veteran’s struggles than much of what Hollywood attempts now. 1957: The Bridge on the River Kwai Domestic Gross: $17,195,000 If you only knew the successes of Snow White and this film, you might think the best way to both box office and Oscar gold is to feature a song involving whistling. Unlike “Whistle While You Work,” however, the catchy tune in this film was a hit from decades earlier, and certain circumstances allowed it to add subtext, one of many elements that makes David Lean’s POW epic so rich and wonderful. Of course, it’s that widescreen mise-en-scene that really makes this film just barely edge out 12 Angry Men and Sweet Smell of Success to be considered the year’s finest Hollywood release. 1962: Lawrence of Arabia Domestic Gross: $20,310,000 Nothing against Christopher Nolan and his interest in making truly big-screen-appropriate blockbusters, but even if he does want to completely shoot his next movie for the IMAX format, he’ll never be as fit for 70mm as David Lean was. We all remember that famous shot of the rider in the distance who eventually approaches the foreground, but despite what’s written above for the River Kwai’s entry on this list, Lean wasn’t just good for widescreen spectacle. He could actually direct action pretty well, too, for starters. If only he’d lived long enough to have been forced to deliver his own superhero flick. 1965: Doctor Zhivago Domestic Gross: $60,954,000 Enough with the David Lean, right? This isn’t even that great a film, but the mid-60s weren’t a particularly good time in terms of Hollywood output. If you prefer, some sources place The Sound of Music as the year’s box office champ (its listed domestic take includes rerelease income), and there’s plenty who think that Best Picture-winner was the best film of 1965 instead (hi, Mom). 1972: The Godfather Domestic Gross: $86,691,000 It won the box office, it won the Academy Awards and it still has the utmost respect of film critics and fans today. Few people could honestly say there was a better film in 1972. Even the silly voters who allowed Bob Fosse to win Best Director for Cabaret that year probably wish they could go back and change their minds. 1980: The Empire Strikes Back Domestic Gross: $209,398,025 Argue all you want that 1977 deserves to be on this list, too, but both Close Encounters of the Third Kind and Annie Hall are better films. Besides, anytime critics include the first Star Wars as one of the best films of all time, they actually depreciate the quality of its sequel. Putting that film in the same league with The Empire Strikes Back is like putting the 1966 Batman movie on equal standing with The Dark Knight. Okay, that’s overdoing it. Maybe like putting Batman Begins on the same level, then. 1981: Raiders of the Lost Ark Domestic Gross: $209,562,121 It’s terrible to have to include two George Lucas productions on this list, mainly because by 1999 he was putting out films that were their year’s top earners and top turkeys. Plus, thanks to the latest Indiana Jones movie, it’s a little tough to watch Raiders without thinking of how the protagonist will one day fly through the air in a nuked fridge. But it’s still a damn good action-adventure flick, arguably the greatest of all time. 1985: Back to the Future Domestic Gross: $210,609,762 Robert Zemeckis gets more credit for the double success of Forrest Gump because that film won Best Picture in addition to topping the box office in 1994. Yet it’s this top-grossing film that deserves more esteem. It may not have been nominated for Best Picture, but it captured the mid-80s’ hunger for science fiction and nostalgia perfectly, turning it into one of the most memorable films of the decade, and of all time. With all respect to Sydney Pollack and John Huston, does anyone even think of Out of Africa or Prizzi’s Honor much today? 1995: Toy Story Domestic Gross: $191,796,233 Compared to WALL-E, this film seems technically crude. It’s perhaps analogous to, in 1995, comparing Toy Story to Snow White. That’s how far it seems the wizards at Pixar have come in 13 years. But just as Disney’s first animated feature enchants us still to this day, Toy Story, far from being dated, has aged better than most of Hollywood’s films from the same year. If ever there was a year for a Pixar movie to be nominated for Best Picture, 1995 was the year. It was better than Braveheart, let alone Babe, then, and it’s better than those films now. That said, it would be just as interesting to see Braveheart 3-D next year along with the 3-D rerelease of Toy Story. Originally posted on:SpoutBlog
]]>Thu, 11 Dec 2008 16:01:42 GMTSpoutBlogSpoutBlog on spout.com12/11/2008 11:01:42 AMThe fanboys are so serious about The Dark Knight being the best film of 2008 that if the Academy snubs the comic-book adaptation for a Best Picture nomination, they’re liable to storm the Kodak Theatre on February 22 in protest. But why should anyone be worried that it won’t get the nomination? It wouldn’t be much of a coup for the year’s top-grossing blockbuster to be named one of the five Best Picture candidates. In fact, since the very first Academy Awards, the top award has often been handed out to films that were #1 at the box office in their respective year. And the last time it happened was as recent as 2003, with The Lord of the Rings: The Return of the King. Thanks to popular and talented filmmakers like D.W. Griffith, Walt Disney, David Lean and Steven Spielberg, it’s hardly uncommon for films to make money and earn critical respect. But this isn’t an opportunity to spotlight overrated top-grossing Best Pictures like Titanic, Rain Man and Rocky, which were decidedly not their year’s best films. Rather, this is a chance to ease the minds of fanboys just in case The Dark Knight doesn’t get the nod. Some of these blockbusters were indeed nominated for Best Picture, and a few even won the award, but some of them were both their year’s biggest moneymaker (in the U.S.) and best film (from the U.S.) without gaining proper Academy recognition. 1937: Snow White and the Seven Dwarfs Domestic Gross: $66,596,803 It’s certainly not the best feature-length animated film from Disney. That would be the box office disappointment Pinocchio, which came out a few years later and revealed the true breadth of Uncle Walt’s magic. But this was the first, and it’s enchanting enough that it towers over even the best live-action films of its year, including The Awful Truth, The Life of Emile Zola and The Good Earth. 1946: The Best Years of Our Lives Domestic Gross: $11,300,000 If a film like this came out today, it would probably be ignored at the box office, just as most movies responding to the Iraq War and its effects have been box office poison. Yet The Best Years of Our Lives was a huge hit with moviegoers, and it was named Best Picture, too. If you haven’t seen it, you might think that its success had to do with the idea that movies were far more patriotic in tone then. But in reality, this film is more critical of post-wartime America and more supportive and revealing of veteran’s struggles than much of what Hollywood attempts now. 1957: The Bridge on the River Kwai Domestic Gross: $17,195,000 If you only knew the successes of Snow White and this film, you might think the best way to both box office and Oscar gold is to feature a song involving whistling. Unlike “Whistle While You Work,” however, the catchy tune in this film was a hit from decades earlier, and certain circumstances allowed it to add subtext, one of many elements that makes David Lean’s POW epic so rich and wonderful. Of course, it’s that widescreen mise-en-scene that really makes this film just barely edge out 12 Angry Men and Sweet Smell of Success to be considered the year’s finest Hollywood release. 1962: Lawrence of Arabia Domestic Gross: $20,310,000 Nothing against Christopher Nolan and his interest in making truly big-screen-appropriate blockbusters, but even if he does want to completely shoot his next movie for the IMAX format, he’ll never be as fit for 70mm as David Lean was. We all remember that famous shot of the rider in the distance who eventually approaches the foreground, but despite what’s written above for the River Kwai’s entry on this list, Lean wasn’t just good for widescreen spectacle. He could actually direct action pretty well, too, for starters. If only he’d lived long enough to have been forced to deliver his own superhero flick. 1965: Doctor Zhivago Domestic Gross: $60,954,000 Enough with the David Lean, right? This isn’t even that great a film, but the mid-60s weren’t a particularly good time in terms of Hollywood output. If you prefer, some sources place The Sound of Music as the year’s box office champ (its listed domestic take includes rerelease income), and there’s plenty who think that Best Picture-winner was the best film of 1965 instead (hi, Mom). 1972: The Godfather Domestic Gross: $86,691,000 It won the box office, it won the Academy Awards and it still has the utmost respect of film critics and fans today. Few people could honestly say there was a better film in 1972. Even the silly voters who allowed Bob Fosse to win Best Director for Cabaret that year probably wish they could go back and change their minds. 1980: The Empire Strikes Back Domestic Gross: $209,398,025 Argue all you want that 1977 deserves to be on this list, too, but both Close Encounters of the Third Kind and Annie Hall are better films. Besides, anytime critics include the first Star Wars as one of the best films of all time, they actually depreciate the quality of its sequel. Putting that film in the same league with The Empire Strikes Back is like putting the 1966 Batman movie on equal standing with The Dark Knight. Okay, that’s overdoing it. Maybe like putting Batman Begins on the same level, then. 1981: Raiders of the Lost Ark Domestic Gross: $209,562,121 It’s terrible to have to include two George Lucas productions on this list, mainly because by 1999 he was putting out films that were their year’s top earners and top turkeys. Plus, thanks to the latest Indiana Jones movie, it’s a little tough to watch Raiders without thinking of how the protagonist will one day fly through the air in a nuked fridge. But it’s still a damn good action-adventure flick, arguably the greatest of all time. 1985: Back to the Future Domestic Gross: $210,609,762 Robert Zemeckis gets more credit for the double success of Forrest Gump because that film won Best Picture in addition to topping the box office in 1994. Yet it’s this top-grossing film that deserves more esteem. It may not have been nominated for Best Picture, but it captured the mid-80s’ hunger for science fiction and nostalgia perfectly, turning it into one of the most memorable films of the decade, and of all time. With all respect to Sydney Pollack and John Huston, does anyone even think of Out of Africa or Prizzi’s Honor much today? 1995: Toy Story Domestic Gross: $191,796,233 Compared to WALL-E, this film seems technically crude. It’s perhaps analogous to, in 1995, comparing Toy Story to Snow White. That’s how far it seems the wizards at Pixar have come in 13 years. But just as Disney’s first animated feature enchants us still to this day, Toy Story, far from being dated, has aged better than most of Hollywood’s films from the same year. If ever there was a year for a Pixar movie to be nominated for Best Picture, 1995 was the year. It was better than Braveheart, let alone Babe, then, and it’s better than those films now. That said, it would be just as interesting to see Braveheart 3-D next year along with the 3-D rerelease of Toy Story. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/6/26/31749.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/26/2008 5:00:43 PM
Body: Over the weekend, Wanted had a 100% fresh rating on Rotten Tomatoes.com. It’s since gone down to 81% (at the time of this writing — and with top critics it’s down to 67%), though that’s still pretty good for a movie that initially looked like just another Matrix knockoff. But will the good reviews make for great box office? Last night, while viewing the latest trailer in a theater with some friends, I mentioned that Wanted was receiving great reviews. Nobody believed me at first, and then they didn’t care; they still thought it looked terrible. Good reviews rarely help an action movie, and bad reviews rarely deter audiences from seeing them. However, if we look at the top 5 most critically acclaimed action movies, it’s clear that people do often prefer a good action film to a bad one. The next 5, on the other hand… The Lord of the Rings: Return of the King (2003) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 98%) All Time Domestic Box Office Rank: #9 ($377 million) Sample Critic Quote: “The film event of the millennium.” (Richard Corliss, Time) My Analysis: In terms of both reviews and gross, it is possible that, yes, this final LOTR film was the film event of the millennium only three years in. It even won the Oscar for Best Picture, as well as ten other Academy Awards. However, we do have a few hundred years left, and Corliss’ assessment is likely to be challenged one of these centuries. Casino Royale (2006) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 95%) All Time Domestic Box Office Rank: #133 ($167.5 million) Sample Critic Quote: “This is the best James Bond film in at least 17 years, and Daniel Craig might be the best 007 … ever.” (Eric D. Snider, EricDSnider.com) My Analysis: Most critics and audiences agreed that this was one of the best 007 films ever and that Craig was at least the best Bond since Connery. Still, it only grossed a mere $7 million more than Die Another Day, which was certified rotten by RT. The Bourne Ultimatum (2007) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 97%) All Time Domestic Box Office Rank: #62 ($227.5 million) Sample Critic Quote: “It is probably the best action films to date that doesn’t involved so much special effects.” (Wilson Morales, BlackFilm.com) My Analysis: I agree that it’s the best of the series and one of the best action movies in years, maybe even best to date not involving special effects, as Morales says. But really the only reason that Ultimatum is higher up on the b.o. charts than The Bourne Identity and The Bourne Supremacy is because people took awhile to get into the series, with many of Ultimatum’s audience having seen the previous two for the first time on DVD. Still, along with both Return of the King and Indiana Jones and the Kingdom of the Crystal Skull, it’s one of the rare threequels that earned the highest gross of its series. Considering Return, that says one thing, while considering Indy, that says something else. Spider-Man 2 (2004) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 95%) All Time Domestic Box Office Rank: #10 ($373.6 million) Sample Critic Quote: “[It's sure to] join the upper echelons of action movies like Raiders of the Lost Ark, The Empire Strikes Back, and Die Hard.” (Jeffrey Overstreet, Looking Closer) My Analysis: If this sequel were switched in ranking with its predecessor (see below), it might say something more about reviews equaling revenue, but otherwise between the two installments, there is evidence that good superhero movies will perform better than bad ones. Just don’t pay any attention to Spider-Man 3, which is also pretty close on the b.o. charts, but which is pretty far below in RT ranking (62%, whole; 44%, top critics). Iron Man (2008) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 92%) All Time Domestic Box Office Rank: #26 ($305.9 million and counting) Sample Critic Quote: “It’s the best movie of its kind since the second Spider-Man movie four years ago.” (Mick LaSalle, San Francisco Chronicle) My Analysis: Fitting to LaSalle’s quote that Iron Man is just behind Spider-Man 2, and with only another $70 million to go in order to be just behind it on the b.o. chart. Unfortunately, as far as ticket sales show, it’s really only the best movie of its kind since the third Spider-Man movie one year ago. Spy Kids (2001) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 96%) All Time Domestic Box Office Rank: #309 ($112.7 million) Sample Critic Quote: “To sum up, if you want your children to someday appreciate the true art of cinema, Spy Kids is a terrific movie to start with.” (Bob Strauss, Los Angeles Daily News) My Analysis: If by “true art of cinema” Strauss means the kind of action movies that receive good reviews, then he’s right. Film critics love the well-directed spy movies (see #2 and #3). As for kids, they don’t care about reviews, which explains why Alvin and the Chipmunks made almost double what Spy Kids grossed. Out of Sight (1998) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 90%) All Time Domestic Box Office Rank: #1,395 ($37.6 million) Sample Critic Quote: “In a summer filled with mega-hyped disappointments, Out of Sight proves the undeniable value of story, characterization, and — most of all — intelligence.” (Mike McGranaghan, Aisle Seat) My Analysis: The mega-hyped disappointments of that summer include Godzilla, which made about $100 million more than this film. Of course, Out of Sight isn’t really an action-packed action movie, and it only starred George Clooney, who despite being a huge movie star has never really been that big a box office draw. Meanwhile, 1998’s biggest box office winner, the more-action-packed Saving Private Ryan (which RT apparently doesn’t consider to be an action movie), was also one of the five best-reviewed films of the year. Hot Fuzz (2007) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 92%) All Time Domestic Box Office Rank: #2,029 ($23.6 million) Sample Critic Quote: “Hot Fuzz is everything an action-comedy should be. It achieves through parody what most films in the genre can’t accomplish straight.” (Nathan Rabin, The Onion A.V. Club) My Analysis: The best action buddy comedy in ten years, yet it’s gross is hardly comparable to the box office success of the Rush Hour movies, Bad Boys II, Lethal Weapon 4 and … Starsky & Hutch? Even Jimmy Fallon’s Taxi performed better domestically. Rescue Dawn (2006) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 88%) All Time Domestic Box Office Rank: #3,970 ($5.5 million) Sample Critic Quote: “A potentially commercial audience-pleaser that retains all of the characteristic Herzog complexity and nuance, Rescue Dawn is an electrifying action adventure that clamps your nerves with jaws of steel.” (Rex Reed, New York Observer) My Analysis: Too bad more moviegoers don’t read Rex Reed, because that’s a mighty good sell. Unfortunately, Rescue Dawn suffered a double blow because of who directed it. Critics certainly overpraised it, just because it’s an Herzog film; audiences likely avoided it because of the same reason (not by name, but had it opened bigger right away, audiences wouldn’t have even noticed the art house connection and might have gone to see the new action movie starring “Batman”). Spider-Man (2002) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 85%) All Time Domestic Box Office Rank: #7 ($403.7 million) Sample Critic Quote: “Let the gauntlet be thrown: Spider-Man may be the best comic adaptation of all time.” (Todd Gilchrest, FilmStew.com) My Analysis: In terms of box office receipts, it is indeed the best comic adaptation of all time. But as we see by two titles above, it’s since been beat in terms of critical acclaim, just in this decade alone (and from earlier, at least Superman: The Movie has a better RT score). Still, it would almost be evidence that critics and box office can sometimes go hand in hand if it weren’t for that certified rotten movie that ranks just above it on the box office chart: Pirates of the Caribbean: Dead Man’s Chest. Originally posted on:SpoutBlog
]]>Thu, 26 Jun 2008 21:00:43 GMTSpoutBlogSpoutBlog on spout.com6/26/2008 5:00:43 PMOver the weekend, Wanted had a 100% fresh rating on Rotten Tomatoes.com. It’s since gone down to 81% (at the time of this writing — and with top critics it’s down to 67%), though that’s still pretty good for a movie that initially looked like just another Matrix knockoff. But will the good reviews make for great box office? Last night, while viewing the latest trailer in a theater with some friends, I mentioned that Wanted was receiving great reviews. Nobody believed me at first, and then they didn’t care; they still thought it looked terrible. Good reviews rarely help an action movie, and bad reviews rarely deter audiences from seeing them. However, if we look at the top 5 most critically acclaimed action movies, it’s clear that people do often prefer a good action film to a bad one. The next 5, on the other hand… The Lord of the Rings: Return of the King (2003) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 98%) All Time Domestic Box Office Rank: #9 ($377 million) Sample Critic Quote: “The film event of the millennium.” (Richard Corliss, Time) My Analysis: In terms of both reviews and gross, it is possible that, yes, this final LOTR film was the film event of the millennium only three years in. It even won the Oscar for Best Picture, as well as ten other Academy Awards. However, we do have a few hundred years left, and Corliss’ assessment is likely to be challenged one of these centuries. Casino Royale (2006) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 95%) All Time Domestic Box Office Rank: #133 ($167.5 million) Sample Critic Quote: “This is the best James Bond film in at least 17 years, and Daniel Craig might be the best 007 … ever.” (Eric D. Snider, EricDSnider.com) My Analysis: Most critics and audiences agreed that this was one of the best 007 films ever and that Craig was at least the best Bond since Connery. Still, it only grossed a mere $7 million more than Die Another Day, which was certified rotten by RT. The Bourne Ultimatum (2007) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 97%) All Time Domestic Box Office Rank: #62 ($227.5 million) Sample Critic Quote: “It is probably the best action films to date that doesn’t involved so much special effects.” (Wilson Morales, BlackFilm.com) My Analysis: I agree that it’s the best of the series and one of the best action movies in years, maybe even best to date not involving special effects, as Morales says. But really the only reason that Ultimatum is higher up on the b.o. charts than The Bourne Identity and The Bourne Supremacy is because people took awhile to get into the series, with many of Ultimatum’s audience having seen the previous two for the first time on DVD. Still, along with both Return of the King and Indiana Jones and the Kingdom of the Crystal Skull, it’s one of the rare threequels that earned the highest gross of its series. Considering Return, that says one thing, while considering Indy, that says something else. Spider-Man 2 (2004) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 95%) All Time Domestic Box Office Rank: #10 ($373.6 million) Sample Critic Quote: “[It's sure to] join the upper echelons of action movies like Raiders of the Lost Ark, The Empire Strikes Back, and Die Hard.” (Jeffrey Overstreet, Looking Closer) My Analysis: If this sequel were switched in ranking with its predecessor (see below), it might say something more about reviews equaling revenue, but otherwise between the two installments, there is evidence that good superhero movies will perform better than bad ones. Just don’t pay any attention to Spider-Man 3, which is also pretty close on the b.o. charts, but which is pretty far below in RT ranking (62%, whole; 44%, top critics). Iron Man (2008) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 92%) All Time Domestic Box Office Rank: #26 ($305.9 million and counting) Sample Critic Quote: “It’s the best movie of its kind since the second Spider-Man movie four years ago.” (Mick LaSalle, San Francisco Chronicle) My Analysis: Fitting to LaSalle’s quote that Iron Man is just behind Spider-Man 2, and with only another $70 million to go in order to be just behind it on the b.o. chart. Unfortunately, as far as ticket sales show, it’s really only the best movie of its kind since the third Spider-Man movie one year ago. Spy Kids (2001) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 96%) All Time Domestic Box Office Rank: #309 ($112.7 million) Sample Critic Quote: “To sum up, if you want your children to someday appreciate the true art of cinema, Spy Kids is a terrific movie to start with.” (Bob Strauss, Los Angeles Daily News) My Analysis: If by “true art of cinema” Strauss means the kind of action movies that receive good reviews, then he’s right. Film critics love the well-directed spy movies (see #2 and #3). As for kids, they don’t care about reviews, which explains why Alvin and the Chipmunks made almost double what Spy Kids grossed. Out of Sight (1998) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 90%) All Time Domestic Box Office Rank: #1,395 ($37.6 million) Sample Critic Quote: “In a summer filled with mega-hyped disappointments, Out of Sight proves the undeniable value of story, characterization, and — most of all — intelligence.” (Mike McGranaghan, Aisle Seat) My Analysis: The mega-hyped disappointments of that summer include Godzilla, which made about $100 million more than this film. Of course, Out of Sight isn’t really an action-packed action movie, and it only starred George Clooney, who despite being a huge movie star has never really been that big a box office draw. Meanwhile, 1998’s biggest box office winner, the more-action-packed Saving Private Ryan (which RT apparently doesn’t consider to be an action movie), was also one of the five best-reviewed films of the year. Hot Fuzz (2007) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 92%) All Time Domestic Box Office Rank: #2,029 ($23.6 million) Sample Critic Quote: “Hot Fuzz is everything an action-comedy should be. It achieves through parody what most films in the genre can’t accomplish straight.” (Nathan Rabin, The Onion A.V. Club) My Analysis: The best action buddy comedy in ten years, yet it’s gross is hardly comparable to the box office success of the Rush Hour movies, Bad Boys II, Lethal Weapon 4 and … Starsky & Hutch? Even Jimmy Fallon’s Taxi performed better domestically. Rescue Dawn (2006) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 88%) All Time Domestic Box Office Rank: #3,970 ($5.5 million) Sample Critic Quote: “A potentially commercial audience-pleaser that retains all of the characteristic Herzog complexity and nuance, Rescue Dawn is an electrifying action adventure that clamps your nerves with jaws of steel.” (Rex Reed, New York Observer) My Analysis: Too bad more moviegoers don’t read Rex Reed, because that’s a mighty good sell. Unfortunately, Rescue Dawn suffered a double blow because of who directed it. Critics certainly overpraised it, just because it’s an Herzog film; audiences likely avoided it because of the same reason (not by name, but had it opened bigger right away, audiences wouldn’t have even noticed the art house connection and might have gone to see the new action movie starring “Batman”). Spider-Man (2002) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 85%) All Time Domestic Box Office Rank: #7 ($403.7 million) Sample Critic Quote: “Let the gauntlet be thrown: Spider-Man may be the best comic adaptation of all time.” (Todd Gilchrest, FilmStew.com) My Analysis: In terms of box office receipts, it is indeed the best comic adaptation of all time. But as we see by two titles above, it’s since been beat in terms of critical acclaim, just in this decade alone (and from earlier, at least Superman: The Movie has a better RT score). Still, it would almost be evidence that critics and box office can sometimes go hand in hand if it weren’t for that certified rotten movie that ranks just above it on the box office chart: Pirates of the Caribbean: Dead Man’s Chest. Originally posted on:SpoutBlog http://www.spout.com/blogs/downwest/archive/2007/12/21/23121.aspx Post By: downwest
Post To: downwest Blog
Post Date: 12/21/2007 11:39:45 PM
Body: One of the greatest works in filmmaking comes to an inevitable and enthralling close in Return of the King. Watch all three installments in a row and you will finally get the full scope of one of the greatest epic works of fiction ever created. Here at the end of all things we find a satisfying fulfillment in everything that The Lord of the Rings is.
]]>Sat, 22 Dec 2007 04:39:45 GMTdownwestdownwest Blog12/21/2007 11:39:45 PMOne of the greatest works in filmmaking comes to an inevitable and enthralling close in Return of the King. Watch all three installments in a row and you will finally get the full scope of one of the greatest epic works of fiction ever created. Here at the end of all things we find a satisfying fulfillment in everything that The Lord of the Rings is. http://www.spout.com/blogs/jakestevens/archive/2007/10/10/20591.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 10/10/2007 3:25:56 PM
Body: ...And the journey comes to an end in a bunch of big, fat, bloated action sequences. Even though this won the Best Picture Oscar, I think the FIRST one is the best. I could watch that one over and over...this one...I only recently bought it. Too long on action scenes (and false endings!), too short on the story itself. True, the film looks beautiful, but so did the first two. True, it's a bit of a tear jerker, but so are the first two. I don't know, I just was a little let down. A slightly disappointing end to the fantasy series ever.
]]>Wed, 10 Oct 2007 19:25:56 GMTJakeStevensJakeStevens Blog10/10/2007 3:25:56 PM...And the journey comes to an end in a bunch of big, fat, bloated action sequences. Even though this won the Best Picture Oscar, I think the FIRST one is the best. I could watch that one over and over...this one...I only recently bought it. Too long on action scenes (and false endings!), too short on the story itself. True, the film looks beautiful, but so did the first two. True, it's a bit of a tear jerker, but so are the first two. I don't know, I just was a little let down. A slightly disappointing end to the fantasy series ever. http://www.spout.com/blogs/myrdynn/archive/2007/9/6/19433.aspx Post By: myrdynn
Post To: myrdynn Blog
Post Date: 9/6/2007 8:59:00 PM
Body: Lord of the Rings: The Fellowship of the RingLord of the Rings: The Two Towers Lord of the Rings: The Return of the KingI think it is fair to say that Peter Jackson's trilogy of the Lord of the Rings is one of the best trilogies ever made. If not the best! Of course I am writing this because I spent all day yesterday watching the three movies! (regular, not extended, editions) and once again I was amazed about how big a failure Frodo turned out to be. Of all the original Fellowship I don't think you can doubt the heroic qualities of Gandalf, Aragorn, Gimli and Legolas. Even Boromir, the most flawed of the Fellowship attains redeemed hero status with his final act of sacrifice in trying to save Merry and Pippin. Speaking of which, of the four Hobbits in the Fellowship, Merry and Pippin, as well as being good comic relief, consistently showed their heroism and intestinal fortitude throughout. That only leaves Sam and Frodo. Sam, having pretty much whined his way through all three movies, still managed to exhibit his heroic qualities by almost literally dragging Frodo across MiddleEarth and up the slopes of the Mountain of Doom. It is safe to say that without Sam, Frodo would have been captured before he even left his Burrow! You might say that Frodo had the hardest task, being the Ring Bearer, and up to a point, you'd be right. However, there are a few references throughout the movies that state that he, and only he, had the qualities necessary to get the ring to the mountain. That was his job, his only job. Everyone else was there to help him reach his destination, and all he had to do was drop the ring in the fire, WHICH HE NEVER DID! The Fellowship got him so far, Sam got him further, Gollum showed him the way to Mordor and Sam dragged him to the Mountain. Granted, when Gollum attacked and he and Sam fought, Frodo got to the end himself, but, at the end, he failed. Standing on the edge, the ring dangling out over the river of fire, Frodo decides to KEEP the ring! He would have walked away with it, possibly killing Sam in the process, if Gollum hadn't jumped on him and bitten his finger off. The ONLY reason the ring is finally destroyed is because Gollum and Frodo fall off the edge whilst fighting to see who KEEPS the ring. In the end, it was destroyed by accident. Frodo may have wanted to be a hero, may have been seen as a hero, may even deserve to be called a hero for getting as far as he did, but it was Sam who got him there, Frodo could never have made it without him. Frodo becomes the Hobbit version of Sauron, and as such, for me, will always be Frodo the Failed Hero.
]]>Fri, 07 Sep 2007 00:59:00 GMTmyrdynnmyrdynn Blog9/6/2007 8:59:00 PMLord of the Rings: The Fellowship of the RingLord of the Rings: The Two Towers Lord of the Rings: The Return of the KingI think it is fair to say that Peter Jackson&#39;s trilogy of the Lord of the Rings is one of the best trilogies ever made. If not the best! Of course I am writing this because I spent all day yesterday watching the three movies! (regular, not extended, editions) and once again I was amazed about how big a failure Frodo turned out to be. Of all the original Fellowship I don&#39;t think you can doubt the heroic qualities of Gandalf, Aragorn, Gimli and Legolas. Even Boromir, the most flawed of the Fellowship attains redeemed hero status with his final act of sacrifice in trying to save Merry and Pippin. Speaking of which, of the four Hobbits in the Fellowship, Merry and Pippin, as well as being good comic relief, consistently showed their heroism and intestinal fortitude throughout. That only leaves Sam and Frodo. Sam, having pretty much whined his way through all three movies, still managed to exhibit his heroic qualities by almost literally dragging Frodo across MiddleEarth and up the slopes of the Mountain of Doom. It is safe to say that without Sam, Frodo would have been captured before he even left his Burrow! You might say that Frodo had the hardest task, being the Ring Bearer, and up to a point, you&#39;d be right. However, there are a few references throughout the movies that state that he, and only he, had the qualities necessary to get the ring to the mountain. That was his job, his only job. Everyone else was there to help him reach his destination, and all he had to do was drop the ring in the fire, WHICH HE NEVER DID! The Fellowship got him so far, Sam got him further, Gollum showed him the way to Mordor and Sam dragged him to the Mountain. Granted, when Gollum attacked and he and Sam fought, Frodo got to the end himself, but, at the end, he failed. Standing on the edge, the ring dangling out over the river of fire, Frodo decides to KEEP the ring! He would have walked away with it, possibly killing Sam in the process, if Gollum hadn&#39;t jumped on him and bitten his finger off. The ONLY reason the ring is finally destroyed is because Gollum and Frodo fall off the edge whilst fighting to see who KEEPS the ring. In the end, it was destroyed by accident. Frodo may have wanted to be a hero, may have been seen as a hero, may even deserve to be called a hero for getting as far as he did, but it was Sam who got him there, Frodo could never have made it without him. Frodo becomes the Hobbit version of Sauron, and as such, for me, will always be Frodo the Failed Hero. http://www.spout.com/groups/Top_5/Overhead_Shots_Top_5/190/11018/1/ShowPost.aspx Post By: JEllen
Post To: Top 5
Post Date: 6/13/2007 11:11:39 AM
Body: What are the five most impressive overhead shots you remember? My list is: 1.The Untouchables - The shot where Capone is getting a shave.2.Psycho - The murder on the stairs.3.Elizabeth - shots in the castle straight down which make the figures tiny.4.LOTR Return of the King - It's a tracking shot where the camera starts at Gollum's eye, and pulls straight up through the ring.5.American Beauty - shot of the suburbs.I also recall a movie, or several movies, with straight down overheads of big cities - but I can't remember the names. Maybe I'm remembering Koyaanisquatsi?
]]>Wed, 13 Jun 2007 15:11:39 GMTJEllenTop 56/13/2007 11:11:39 AMWhat are the five most impressive overhead shots you remember? My list is: 1.The Untouchables - The shot where Capone is getting a shave.2.Psycho - The murder on the stairs.3.Elizabeth - shots in the castle straight down which make the figures tiny.4.LOTR Return of the King - It&#39;s a tracking shot where the camera starts at Gollum&#39;s eye, and pulls straight up through the ring.5.American Beauty - shot of the suburbs.I also recall a movie, or several movies, with straight down overheads of big cities - but I can&#39;t remember the names. Maybe I&#39;m remembering Koyaanisquatsi? http://www.spout.com/blogs/mythman/archive/2007/6/4/10082.aspx Post By: mythman
Post To: Watch Everything and Still See ONLY What Is Good
Post Date: 6/4/2007 8:25:00 AM
Body: The Whole Ten Yards--another cheap sequel I bought at the FAMILY DOLLAR (just like Lord of the Rings: The Return of the King and--you guessed it--THE MATRIX REVOLUTIONS)--was a relation of a rather ingenious situation.Matthew Perry's character is just 'along for the ride' of Bruce Willis's hitman-character's fortune-plan.While I'm sure The Whole Nine Yards was also a good movie, you don't need to have seen it to catch enough of its 'gist' leading into the plot of The Whole Ten ... i.e. The Whole Ten might hold some sort of "completion" of The Whole Nine, but you don't need to know that there was ever Nine to enjoy the Ten (unlike REVOLUTIONS, for which you need to have seen RELOADED to "get").
]]>Mon, 04 Jun 2007 12:25:00 GMTmythmanWatch Everything and Still See ONLY What Is Good6/4/2007 8:25:00 AMThe Whole Ten Yards--another cheap sequel I bought at the FAMILY DOLLAR (just like Lord of the Rings: The Return of the King and--you guessed it--THE MATRIX REVOLUTIONS)--was a relation of a rather ingenious situation.Matthew Perry&#39;s character is just &#39;along for the ride&#39; of Bruce Willis&#39;s hitman-character&#39;s fortune-plan.While I&#39;m sure The Whole Nine Yards was also a good movie, you don&#39;t need to have seen it to catch enough of its &#39;gist&#39; leading into the plot of The Whole Ten ... i.e. The Whole Ten might hold some sort of "completion" of The Whole Nine, but you don&#39;t need to know that there was ever Nine to enjoy the Ten (unlike REVOLUTIONS, for which you need to have seen RELOADED to "get"). http://www.spout.com/groups/Top_5/Re_Top_5_Tear_Jerking_Scenes/190/9727/1/ShowPost.aspx Post By: pippin06
Post To: Top 5
Post Date: 5/30/2007 11:14:00 AM
Body: Wow! All men replied to this topic so far. It's good to know boys do cry after all, hee hee.I just wanted to throw my two cents in.Movies with scenes I always cry for:Gone with the Wind: Ok. If you had been watching this movie for four hours, that teary farewell scene culminating into "Frankly my dear, I don't give a damn" would you make you cry too. You've just been through a Civil War, the death of two parents, the death of your only child, and you've pining for the wrong man this whole time not to mention all the failed tricks and schemes you masterminded, even stealing your sister's only beau, to try to win his affections. Oh wait, I mean Scarlett has. Then the stubborn woman just realizes things a little too late. Those tears are real.The Lord of the Rings: Return of the King: The first time I watched this movie, I cried for the last hour. I did see it at the midnight showing, to be fair, and I was tired and riddled with too much excitement. Now, I can make it to the part when Sam has to carry Frodo before Gollum jumps them on Mount Doom. Then, I'm good until we get to Aragorn's heartwrenching, "My friends, you bow to no one" to the four little hobbits who saved the great big Middle Earth. Then, I'm pretty much crying right on through to Annie Lennox. Hey, it happens. Oh, and it's another almost four hour long running time.E.T.: I have never once in the history of me knowing this movie not cried. I think it's psychological now. It pretty much starts about the time E.T. is on his death bed and poor little Gertie has to listen to them try to shock him back. Then, I'm good until that goodbye scene. Hey - say what you want about Spielberg, but that is probably one of the most perfect movie endings there is, because it encapsulates everything the movie is about. What really adds to it: John Williams' sweeping musical score. I'm a sucker for it.Schindler's List: I have only watched this movie twice or three times. I can't watch it more than that. I spent most of the movie being too appalled to cry. So, when it gets down to that final scene, where survivors lay stones atop his grave, that's when all of that powerful emotion just kind of catches up to you, isn't it? Plus...how long was that movie? I'm telling you, the longer ones make you cry, maybe because you sat there and you have that prickly feeling in of all of your extremeties....Legends of the Fall: Ha ha. Regardless of what you may think of this movie, I cried many tears when I saw this, at least the first time. It's a very depressing movie, and there's a lot of death. Murder, suicide, bear maulings. I can't remember one scene that really stood out. I just remember being really sad, even though I ultimately don't like the movie all that much.Those are the only ones I can think of for now...
]]>Wed, 30 May 2007 15:14:00 GMTpippin06Top 55/30/2007 11:14:00 AMWow! All men replied to this topic so far. It&#39;s good to know boys do cry after all, hee hee.I just wanted to throw my two cents in.Movies with scenes I always cry for:Gone with the Wind: Ok. If you had been watching this movie for four hours, that teary farewell scene culminating into "Frankly my dear, I don&#39;t give a damn" would you make you cry too. You&#39;ve just been through a Civil War, the death of two parents, the death of your only child, and you&#39;ve pining for the wrong man this whole time not to mention all the failed tricks and schemes you masterminded, even stealing your sister&#39;s only beau, to try to win his affections. Oh wait, I mean Scarlett has. Then the stubborn woman just realizes things a little too late. Those tears are real.The Lord of the Rings: Return of the King: The first time I watched this movie, I cried for the last hour. I did see it at the midnight showing, to be fair, and I was tired and riddled with too much excitement. Now, I can make it to the part when Sam has to carry Frodo before Gollum jumps them on Mount Doom. Then, I&#39;m good until we get to Aragorn&#39;s heartwrenching, "My friends, you bow to no one" to the four little hobbits who saved the great big Middle Earth. Then, I&#39;m pretty much crying right on through to Annie Lennox. Hey, it happens. Oh, and it&#39;s another almost four hour long running time.E.T.: I have never once in the history of me knowing this movie not cried. I think it&#39;s psychological now. It pretty much starts about the time E.T. is on his death bed and poor little Gertie has to listen to them try to shock him back. Then, I&#39;m good until that goodbye scene. Hey - say what you want about Spielberg, but that is probably one of the most perfect movie endings there is, because it encapsulates everything the movie is about. What really adds to it: John Williams&#39; sweeping musical score. I&#39;m a sucker for it.Schindler&#39;s List: I have only watched this movie twice or three times. I can&#39;t watch it more than that. I spent most of the movie being too appalled to cry. So, when it gets down to that final scene, where survivors lay stones atop his grave, that&#39;s when all of that powerful emotion just kind of catches up to you, isn&#39;t it? Plus...how long was that movie? I&#39;m telling you, the longer ones make you cry, maybe because you sat there and you have that prickly feeling in of all of your extremeties....Legends of the Fall: Ha ha. Regardless of what you may think of this movie, I cried many tears when I saw this, at least the first time. It&#39;s a very depressing movie, and there&#39;s a lot of death. Murder, suicide, bear maulings. I can&#39;t remember one scene that really stood out. I just remember being really sad, even though I ultimately don&#39;t like the movie all that much.Those are the only ones I can think of for now... http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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