list http://www.spout.com/ Recent community activity around Miller's Crossing 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/Miller_s_Crossing/22726/default.aspx Title: Miller's Crossing
Year: 1990
Director: Joel Coen
Plot: Joel and Ethan Coen's third collaboration, the gangster film Miller's Crossing, stars Gabriel Byrne as Tom Reagan, the right-hand man of big-city Irish mob boss Leo (Albert Finney). The film opens with Italian mobster Johnny Caspar (Jon Polito) and his second in command Eddie Dane (J.E. Freeman) informing Leo and Tom that they are going to kill bookie Bernie Bernbaum (John Turturro) because he has been revealing Caspar's fixed fights to other gamblers. Leo informs Caspar that Bernie pays for protection and is not to be touched. After the Italians leave in a huff, Tom informs Leo that he should give up Bernie. Tom and Leo are both involved with Verna (Marcia Gay Harden), Bernie's sister. After a failed hit on Leo starts a full-scale mob war, Tom reveals to Leo the truth about his relationship with Verna. This leads to a falling-out between the pair. Tom goes to work for Caspar, but in truth, he is still loyal to Leo. Tom figures out how to manipulate all of the situations so that Leo survives, but this may cost Tom his relationship with Verna. ~ Perry Seibert, All Movie Guide
Times Tagged: 32
Number of Lists: 43
Number of blog posts: 8
Number of discussion threads: 9
SpoutRating: 4
]]>Mon, 27 Jul 2009 18:57:43 GMTMiller's Crossing1990Joel CoenJoel and <a href="/players/P____85372/default.aspx" style='text-decoration:underline'>Ethan Coen</a>'s third collaboration, the gangster film Miller's Crossing, stars <a href="/players/P____10031/default.aspx" style='text-decoration:underline'>Gabriel Byrne</a> as Tom Reagan, the right-hand man of big-city Irish mob boss Leo (<a href="/players/P____23545/default.aspx" style='text-decoration:underline'>Albert Finney</a>). The film opens with Italian mobster Johnny Caspar (<a href="/players/P____57215/default.aspx" style='text-decoration:underline'>Jon Polito</a>) and his second in command Eddie Dane (J.E. Freeman) informing Leo and Tom that they are going to kill bookie Bernie Bernbaum (<a href="/players/P___114771/default.aspx" style='text-decoration:underline'>John Turturro</a>) because he has been revealing Caspar's fixed fights to other gamblers. Leo informs Caspar that Bernie pays for protection and is not to be touched. After the Italians leave in a huff, Tom informs Leo that he should give up Bernie. Tom and Leo are both involved with Verna (<a href="/players/P____30312/default.aspx" style='text-decoration:underline'>Marcia Gay Harden</a>), Bernie's sister. After a failed hit on Leo starts a full-scale mob war, Tom reveals to Leo the truth about his relationship with Verna. This leads to a falling-out between the pair. Tom goes to work for Caspar, but in truth, he is still loyal to Leo. Tom figures out how to manipulate all of the situations so that Leo survives, but this may cost Tom his relationship with Verna. ~ Perry Seibert, All Movie Guide32Tag Target (>10)43894http://www.spout.com/ProductImages/t30037fmq5r.jpghttp://www.spout.com/films/Miller_s_Crossing/22726/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Re_Which_of_these_films_from_Kevin_Jackson_s_list/657/42597/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 6/10/2009 11:45:30 AM
Body: Here are some more if anyone cares: 8. Stanley Kubricks's 'Napoleon' Riding high on the critical success of 2001: A Space Odyssey (1968), Kubrick believed that he had MGM in the palm of his hand, and was finally in a position to make 'the one film I've always wanted to make, the life of Napoleon'. He was almost right: Napoleon came so close to being shot that some filmographies - such as that in Joseph Gelmis's The Film Director as Superstar (1970) - actually list it as a completed work. Cynics were not slow to point out the reasons why Kubrick might have found the Corsican such an appealing subject, but their quips were blunted by the director's own willingness to confess how much he identified with Bonaparte, even down to copying the undiscriminating manner in which Napoleon wolfed his food. Kubrick planned to start shooting in the winter of 1969 - three months on location, four in studio - using as many as 40,000 infantrymen and 10,000 cavalry. Jack Nicholson, still a hungry young actor, was the unconventional choice for the title role. By August 1969, however, corporate changes at MGM meant that Kubrick no longer had approval for his grandiose scheme, and he went on to develop the much more modestly budgeted A Clockwork Orange, from the novella by Anthony Burgess. One of the few concrete survivals from this busy period is Burgess's novel Napoleon Symphony, dedicated to Kubrick. 7. Bernardo Bertolucci's 'Red Harvest' Ever since the late 1960s Bernardo Bertolucci had been telling people that one of his dream projects would be a film based on Dashiell Hammett's 1929 novel. He came closest to achieving the dream in the early 1980s, when Jack Nicholson and Debra Winger were both attached to the project. It soon fell through, partly because of a complication concerning rights to the book. But perhaps it would have been a rather redundant project anyway, since the essential plot of Red Harvest has turned up, only lightly disguised, in everything from Kurosawa's Yojimbo (a samurai version) to A Fistful of Dollars to Mad Max Beyond Thunderdome to Miller's Crossing to Last Man Standing...
]]>Wed, 10 Jun 2009 15:45:30 GMTRisseladaMovie Polls6/10/2009 11:45:30 AMHere are some more if anyone cares: 8. Stanley Kubricks's 'Napoleon' Riding high on the critical success of 2001: A Space Odyssey (1968), Kubrick believed that he had MGM in the palm of his hand, and was finally in a position to make 'the one film I've always wanted to make, the life of Napoleon'. He was almost right: Napoleon came so close to being shot that some filmographies - such as that in Joseph Gelmis's The Film Director as Superstar (1970) - actually list it as a completed work. Cynics were not slow to point out the reasons why Kubrick might have found the Corsican such an appealing subject, but their quips were blunted by the director's own willingness to confess how much he identified with Bonaparte, even down to copying the undiscriminating manner in which Napoleon wolfed his food. Kubrick planned to start shooting in the winter of 1969 - three months on location, four in studio - using as many as 40,000 infantrymen and 10,000 cavalry. Jack Nicholson, still a hungry young actor, was the unconventional choice for the title role. By August 1969, however, corporate changes at MGM meant that Kubrick no longer had approval for his grandiose scheme, and he went on to develop the much more modestly budgeted A Clockwork Orange, from the novella by Anthony Burgess. One of the few concrete survivals from this busy period is Burgess's novel Napoleon Symphony, dedicated to Kubrick. 7. Bernardo Bertolucci's 'Red Harvest' Ever since the late 1960s Bernardo Bertolucci had been telling people that one of his dream projects would be a film based on Dashiell Hammett's 1929 novel. He came closest to achieving the dream in the early 1980s, when Jack Nicholson and Debra Winger were both attached to the project. It soon fell through, partly because of a complication concerning rights to the book. But perhaps it would have been a rather redundant project anyway, since the essential plot of Red Harvest has turned up, only lightly disguised, in everything from Kurosawa's Yojimbo (a samurai version) to A Fistful of Dollars to Mad Max Beyond Thunderdome to Miller's Crossing to Last Man Standing... http://www.spout.com/blogs/captainryannn/archive/2008/12/4/37956.aspx Post By: CaptainRyannn
Post To: CaptainRyannn Blog
Post Date: 12/4/2008 4:41:49 PM
Body: Well, let me start off by saying that I originally saw this two weeks ago and loved it. So I decided to go back and see it again. The Coen Brothers seem to have formed a pattern that has worked for them over the years. After putting out a serious film, the switch gears to a comedy one. Blood Simple brought Raising Arizona. Miller’s Crossing brought The Hudsucker Proxy. Fargro brought The Big Lebowski. The Man Who Wasn’t There brought Intolerable Cruelty and The Ladykillers (both of which kind of sucked.). Now, it is fitting that after their most acclaimed film, they up the ante for their newest comedy, Burn After Reading. With the zoom-in effect used to open the film, we are given the impression that something important is happening. Well, it is important in the sense that without it, we would not have a film. But it’s so trivial because of it’s cause. CIA agent Osbourne Cox (John Malkovich) gets demoted for too much drinking. We immediately get a glimpse into his hilarious character that is somewhat of an elitist. He gets to come home to his bitch-of-a-wife, Katie (Tilda Swinton) and decides to write some memoirs, or as Osbourne likes to call them, “mem-wah’s”. Well his darling Katie happens to be cheating on him with Harry Pfarrer (George Clooney) who is not only cheating on his wife (Patricia Clarkson) with Katie, but also the kind-hearted Linda Litzke (Frances McDomand). Confusing, I know. Well, in an attempt to ‘prepare’ for the divorce, Katie copies Cox’s financial as well as his memoirs. Through a couple of plain-forgetful actions, the disc containing these items is found on the floor of Hard Bodies, a gym that is run by Linda, Chad Feldheimer (Brad Pitt), and the well-mannered sensitive man, Ted (Richard Jenkins). Chad and Linda end up thinking that they really have something important and demand a ransom from Cox. Chaos and hilarity ensues as the term ‘making a mountain out of an anthill’ comes to life. But in this case, the anthill has actually become a mountain forged out of stupidity, infidelity, and murder.
]]>Thu, 04 Dec 2008 21:41:49 GMTCaptainRyannnCaptainRyannn Blog12/4/2008 4:41:49 PMWell, let me start off by saying that I originally saw this two weeks ago and loved it. So I decided to go back and see it again. The Coen Brothers seem to have formed a pattern that has worked for them over the years. After putting out a serious film, the switch gears to a comedy one. Blood Simple brought Raising Arizona. Miller&rsquo;s Crossing brought The Hudsucker Proxy. Fargro brought The Big Lebowski. The Man Who Wasn&rsquo;t There brought Intolerable Cruelty and The Ladykillers (both of which kind of sucked.). Now, it is fitting that after their most acclaimed film, they up the ante for their newest comedy, Burn After Reading. With the zoom-in effect used to open the film, we are given the impression that something important is happening. Well, it is important in the sense that without it, we would not have a film. But it&rsquo;s so trivial because of it&rsquo;s cause. CIA agent Osbourne Cox (John Malkovich) gets demoted for too much drinking. We immediately get a glimpse into his hilarious character that is somewhat of an elitist. He gets to come home to his bitch-of-a-wife, Katie (Tilda Swinton) and decides to write some memoirs, or as Osbourne likes to call them, &ldquo;mem-wah&rsquo;s&rdquo;. Well his darling Katie happens to be cheating on him with Harry Pfarrer (George Clooney) who is not only cheating on his wife (Patricia Clarkson) with Katie, but also the kind-hearted Linda Litzke (Frances McDomand). Confusing, I know. Well, in an attempt to &lsquo;prepare&rsquo; for the divorce, Katie copies Cox&rsquo;s financial as well as his memoirs. Through a couple of plain-forgetful actions, the disc containing these items is found on the floor of Hard Bodies, a gym that is run by Linda, Chad Feldheimer (Brad Pitt), and the well-mannered sensitive man, Ted (Richard Jenkins). Chad and Linda end up thinking that they really have something important and demand a ransom from Cox. Chaos and hilarity ensues as the term &lsquo;making a mountain out of an anthill&rsquo; comes to life. But in this case, the anthill has actually become a mountain forged out of stupidity, infidelity, and murder. http://www.spout.com/blogs/rjsprague/archive/2008/11/12/37268.aspx Post By: rjsprague
Post To: Grog and Blog
Post Date: 11/12/2008 8:39:12 PM
Body: This film was definitely worth watching. I won't bother to put qualifiers on that. There have been few mobster flicks that had as little killing as this one, but that offered such an interesting set of characters, and plot twists. I thoroughly enjoyed it from the beginning to the end.
]]>Thu, 13 Nov 2008 01:39:12 GMTrjspragueGrog and Blog11/12/2008 8:39:12 PMThis film was definitely worth watching. I won't bother to put qualifiers on that. There have been few mobster flicks that had as little killing as this one, but that offered such an interesting set of characters, and plot twists. I thoroughly enjoyed it from the beginning to the end. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_3_The_Movies_in_the/625/36914/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 11/3/2008 5:03:06 PM
Body: I also remember being surprised by this one. In Ocean's Twelve, Brad Pitt and George Clooney have a discussion in which they talk about a scene in one of my all time favorites, Miller's Crossing. I think that's something I kinda like to see: when a mainstream movie makes reference to a film less well known. It's kind of like a shout out to the filmmaker's influences.
]]>Mon, 03 Nov 2008 22:03:06 GMTleeroy711Weekly Theme11/3/2008 5:03:06 PMI also remember being surprised by this one. In Ocean's Twelve, Brad Pitt and George Clooney have a discussion in which they talk about a scene in one of my all time favorites, Miller's Crossing. I think that's something I kinda like to see: when a mainstream movie makes reference to a film less well known. It's kind of like a shout out to the filmmaker's influences. http://www.spout.com/blogs/spoutblog/archive/2008/9/12/35065.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/12/2008 2:00:54 PM
Body: Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog
]]>Fri, 12 Sep 2008 18:00:54 GMTSpoutBlogSpoutBlog on spout.com9/12/2008 2:00:54 PM Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog http://www.spout.com/groups/Criterion_Collection/Criterion_Predictions/115/31486/1/ShowPost.aspx Post By: leeroy711
Post To: Criterion Collection
Post Date: 6/21/2008 12:42:33 AM
Body: From the Criterion FAQ page: How does Criterion decide which films receive the “Criterion Treatment”? We aim to reflect the breadth of filmed expression. We try not to be restrictive or snobby about what kinds of films are appropriate. An auteur classic, a Hollywood blockbuster, and an independent B horror film each has to be taken on its own terms. All we ask is that each film in the collection be an exemplary film of its kind. Of course we can’t just pick movies and put them out. The process of getting the rights to release a film can take years. Even if we want a film, we can’t work on it unless the film’s owners grant us the rights. Why so few films from South Asia or China?”—and we’re continually working to fill those gaps. So, we've got the discussion of which films we think should get the treatment. Are there any films you guys think will get the treatment. It also seems that Criterion releases titles that typically don't allready have a "special" or "collectors" edition released by their studios. This makes sense, I'm sure MGM or Artisan is going to much more reluctant to grant Criterion the rights to release a copy that's going to be better than the one they just released. Some I think may be seen someday. Miller's Crossing - I think there is a Coen Brother box set coming out that does not include this one. And I just think this one has a lot of potential for extra features and great artwork. Pi - This is an indy classic that doesn't really have a great release 1984 - To the best of my knowledge, there is still no dvd release availiable for this movie.
]]>Sat, 21 Jun 2008 04:42:33 GMTleeroy711Criterion Collection6/21/2008 12:42:33 AMFrom the Criterion FAQ page: How does Criterion decide which films receive the &ldquo;Criterion Treatment&rdquo;? We aim to reflect the breadth of filmed expression. We try not to be restrictive or snobby about what kinds of films are appropriate. An auteur classic, a Hollywood blockbuster, and an independent B horror film each has to be taken on its own terms. All we ask is that each film in the collection be an exemplary film of its kind. Of course we can&rsquo;t just pick movies and put them out. The process of getting the rights to release a film can take years. Even if we want a film, we can&rsquo;t work on it unless the film&rsquo;s owners grant us the rights. Why so few films from South Asia or China?&rdquo;&mdash;and we&rsquo;re continually working to fill those gaps. So, we've got the discussion of which films we think should get the treatment. Are there any films you guys think will get the treatment. It also seems that Criterion releases titles that typically don't allready have a "special" or "collectors" edition released by their studios. This makes sense, I'm sure MGM or Artisan is going to much more reluctant to grant Criterion the rights to release a copy that's going to be better than the one they just released. Some I think may be seen someday. Miller's Crossing - I think there is a Coen Brother box set coming out that does not include this one. And I just think this one has a lot of potential for extra features and great artwork. Pi - This is an indy classic that doesn't really have a great release 1984 - To the best of my knowledge, there is still no dvd release availiable for this movie. http://www.spout.com/groups/Movie_Games/Re_Desert_Island/598/30579/1/ShowPost.aspx Post By: lopezdash
Post To: Movie Games
Post Date: 6/5/2008 7:04:05 PM
Body: [quote user="leeroy711"]I think Ive got it: Miller's Crossing - I've sat through this movie soooo many times, I don't think I could go very long without watching it. Fiddler On The Roof - I have to through a musical in there, that way if the island happens to be populated with monkeys, I could train them to do some of my favorite numbers. "Matchmonkey, matchmonkey, please make me a match................." You know something like that. Apocalypse Now - I'm not sure why, this just seems like the type of movie I'd like to sit through over and over while stranded on a desert island. The funny thing is, I probably still won't watch the redux........... 3 HOURS IS LONG ENOUGH[/quote] If you're going to have a musical, it might as well be that one. Great choice!
]]>Thu, 05 Jun 2008 23:04:05 GMTlopezdashMovie Games6/5/2008 7:04:05 PM[quote user="leeroy711"]I think Ive got it: Miller's Crossing - I've sat through this movie soooo many times, I don't think I could go very long without watching it. Fiddler On The Roof - I have to through a musical in there, that way if the island happens to be populated with monkeys, I could train them to do some of my favorite numbers. "Matchmonkey, matchmonkey, please make me a match................." You know something like that. Apocalypse Now - I'm not sure why, this just seems like the type of movie I'd like to sit through over and over while stranded on a desert island. The funny thing is, I probably still won't watch the redux........... 3 HOURS IS LONG ENOUGH[/quote] If you're going to have a musical, it might as well be that one. Great choice! http://www.spout.com/groups/Movie_Games/Re_Desert_Island/598/30575/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 6/5/2008 6:00:41 PM
Body: I think Ive got it: Miller's Crossing - I've sat through this movie soooo many times, I don't think I could go very long without watching it. Fiddler On The Roof - I have to through a musical in there, that way if the island happens to be populated with monkeys, I could train them to do some of my favorite numbers. "Matchmonkey, matchmonkey, please make me a match................." You know something like that. Apocalypse Now - I'm not sure why, this just seems like the type of movie I'd like to sit through over and over while stranded on a desert island. The funny thing is, I probably still won't watch the redux........... 3 HOURS IS LONG ENOUGH
]]>Thu, 05 Jun 2008 22:00:41 GMTleeroy711Movie Games6/5/2008 6:00:41 PMI think Ive got it: Miller's Crossing - I've sat through this movie soooo many times, I don't think I could go very long without watching it. Fiddler On The Roof - I have to through a musical in there, that way if the island happens to be populated with monkeys, I could train them to do some of my favorite numbers. "Matchmonkey, matchmonkey, please make me a match................." You know something like that. Apocalypse Now - I'm not sure why, this just seems like the type of movie I'd like to sit through over and over while stranded on a desert island. The funny thing is, I probably still won't watch the redux........... 3 HOURS IS LONG ENOUGH http://www.spout.com/groups/Criterion_Collection/Re_Films_that_deserve_the_Criterion_treatment/115/29919/1/ShowPost.aspx Post By: leeroy711
Post To: Criterion Collection
Post Date: 5/25/2008 8:08:36 PM
Body: Am I the only one that is wondering where the Coen Brothers releases are? I would love to have Miller's Crossing and Fargo at the very least as Criterion releases.
]]>Mon, 26 May 2008 00:08:36 GMTleeroy711Criterion Collection5/25/2008 8:08:36 PMAm I the only one that is wondering where the Coen Brothers releases are? I would love to have Miller's Crossing and Fargo at the very least as Criterion releases. http://www.spout.com/groups/Filmspotting/Re_Re_No_Country_For_Old_Men_Top_5_Coen_Bros_Sc/304/27451/1/ShowPost.aspx Post By: leeroy711
Post To: Filmspotting
Post Date: 4/18/2008 1:10:03 AM
Body: [quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I've been hearing people say good things about "The Lookout," and I'm not really sure why. When I went to see it, I was pretty disappointed. I'm trying to remember what it was about the movie I didn't like. I seem to remember the plot moving too slowly for me. Maybe I'm just impatient, and there was something going on that I just didn't get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can't get over the image of Steve Buschemi's foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn't There.-The John Goodman transformation at the end of Barton Fink
]]>Fri, 18 Apr 2008 05:10:03 GMTleeroy711Filmspotting4/18/2008 1:10:03 AM[quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I&#39;ve been hearing people say good things about "The Lookout," and I&#39;m not really sure why. When I went to see it, I was pretty disappointed. I&#39;m trying to remember what it was about the movie I didn&#39;t like. I seem to remember the plot moving too slowly for me. Maybe I&#39;m just impatient, and there was something going on that I just didn&#39;t get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can&#39;t get over the image of Steve Buschemi&#39;s foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn&#39;t There.-The John Goodman transformation at the end of Barton Fink http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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