list http://www.spout.com/ Recent community activity around Brokeback Mountain 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/Brokeback_Mountain/240509/default.aspx Title: Brokeback Mountain
Year: 2005
Director: Ang Lee
Plot: Ang Lee's adaptation of E. Annie Proulx's story Brokeback Mountain stars Jake Gyllenhaal and Heath Ledger as young cowboys named Jack Twist and Ennis Del Mar. Each of them is hired to corral sheep on the title location and they soon bond very closely. Their platonic relationship explodes into a physical one, but eventually the two are separated when their job comes to an end. Although the two follow different life paths -- one becoming a father of two and the other marrying into a successful business -- they have a reunion years later. Each is affected profoundly by the rekindling of their old feelings for each other. Those feelings lead each to consider what continuing their hidden relationship would cost them. The screenplay was written by Pulitzer Prize-winning author Larry McMurtry and Diana Ossana. ~ Perry Seibert, All Movie Guide
Times Tagged: 175
Number of Lists: 106
Number of blog posts: 25
Number of discussion threads: 10
SpoutRating: 3
]]>Fri, 17 Jul 2009 14:30:46 GMTBrokeback Mountain2005Ang Lee<a href="/players/P___166472/default.aspx" style='text-decoration:underline'>Ang Lee</a>'s adaptation of E. Annie Proulx's story Brokeback Mountain stars <a href="/players/P____29408/default.aspx" style='text-decoration:underline'>Jake Gyllenhaal</a> and <a href="/players/P___268296/default.aspx" style='text-decoration:underline'>Heath Ledger</a> as young cowboys named Jack Twist and Ennis Del Mar. Each of them is hired to corral sheep on the title location and they soon bond very closely. Their platonic relationship explodes into a physical one, but eventually the two are separated when their job comes to an end. Although the two follow different life paths -- one becoming a father of two and the other marrying into a successful business -- they have a reunion years later. Each is affected profoundly by the rekindling of their old feelings for each other. Those feelings lead each to consider what continuing their hidden relationship would cost them. The screenplay was written by Pulitzer Prize-winning author Larry McMurtry and Diana Ossana. ~ Perry Seibert, All Movie Guide175Tag Target (>10)10625103http://www.spout.com/ProductImages/t91102mhajw.jpghttp://www.spout.com/films/Brokeback_Mountain/240509/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/7/17/43089.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 7/17/2009 10:30:46 AM
Body: "Jack Twist" (Jake Gyllenhaal) and "Ennis Del Mar" (Heath Ledger) are two cowboys in the 1960's who love each other. However, they must keep their relationship a secret because of the times. They live the lives generally accepted. Both marry and have children. Yet, they can't live without one another. So, over the years, they get together on "Brokeback Mountain," where they first met on work as sheep herders. The first thing I suggest is that you get the wide-screen version of the film. Even though the cinematography is fantastic in full-screen format, it would be even better in wide-screen. The scenery on "Brokeback Mountian" is beautiful, with amazing shots of the mountains. There are other great camera angles in this movie. If you ask me, this is one of the best shot movies I've seen in a long time. One thing that you will notice is that the movie moves slowly. In some of the film, it works. While in other scenes, the movie is just slow and boring. One thing I didn't realize, until about 80 minutes into the film, was when this movie was set. I just didn't feel like I was watching the 1960's to 1970's at all. I also didn't feel as if they did a good job to "age" Gyllenhaal and Ledger. The only way I could tell that any time passed was when they used older actors to play "Jack's" children. The music is pretty good. There are some classic tunes, and some instrumentals. Nothing really memorable though. You won't even remember the songs played over the closing credits. There are some good performances. Ledger and Gyllenhaal worked well, but not fantastic, on screen. They had some fair chemistry, but it wasn't great. As for the supporting cast, they didn't really do much for the story. I felt like the supporting cast was not really developed well compared to "Jack" and "Ennis", and they weren't used well to advance the plot. I can't say that any performance stood out more than others, but Heath and Gyllenhaal are the best performances in the entire cast. If you are looking for action, then pass over this one. Except for a few short fist fights, there is little action. This, in fact, is mostly a drama. There is some real dramatic moments in fact. One of the most dramatic, and easily the most unexpected moment in the entire film, is a shocking plot twist that is not touched upon in any of the trailers for the movie. You will not expect it, and it helps make a dramatic turn in the film. Also, because of the subject matter, this might not be suitable for a younger audience. In fact, this movie is rated R by the Motion Picture Association of America, and is probably suited better for people in their late teens and adults. The subject is dealt with nicely though, and doesn't present it in a vulgar matter. If you ask me, I would not put this on your "Must See" List. I probably would have to put this one fairly low on your "To See" List.
]]>Fri, 17 Jul 2009 14:30:46 GMTThe_MOWThe_MOW Blog7/17/2009 10:30:46 AM"Jack Twist" (Jake Gyllenhaal) and "Ennis Del Mar" (Heath Ledger) are two cowboys in the 1960's who love each other. However, they must keep their relationship a secret because of the times. They live the lives generally accepted. Both marry and have children. Yet, they can't live without one another. So, over the years, they get together on "Brokeback Mountain," where they first met on work as sheep herders. The first thing I suggest is that you get the wide-screen version of the film. Even though the cinematography is fantastic in full-screen format, it would be even better in wide-screen. The scenery on "Brokeback Mountian" is beautiful, with amazing shots of the mountains. There are other great camera angles in this movie. If you ask me, this is one of the best shot movies I've seen in a long time. One thing that you will notice is that the movie moves slowly. In some of the film, it works. While in other scenes, the movie is just slow and boring. One thing I didn't realize, until about 80 minutes into the film, was when this movie was set. I just didn't feel like I was watching the 1960's to 1970's at all. I also didn't feel as if they did a good job to "age" Gyllenhaal and Ledger. The only way I could tell that any time passed was when they used older actors to play "Jack's" children. The music is pretty good. There are some classic tunes, and some instrumentals. Nothing really memorable though. You won't even remember the songs played over the closing credits. There are some good performances. Ledger and Gyllenhaal worked well, but not fantastic, on screen. They had some fair chemistry, but it wasn't great. As for the supporting cast, they didn't really do much for the story. I felt like the supporting cast was not really developed well compared to "Jack" and "Ennis", and they weren't used well to advance the plot. I can't say that any performance stood out more than others, but Heath and Gyllenhaal are the best performances in the entire cast. If you are looking for action, then pass over this one. Except for a few short fist fights, there is little action. This, in fact, is mostly a drama. There is some real dramatic moments in fact. One of the most dramatic, and easily the most unexpected moment in the entire film, is a shocking plot twist that is not touched upon in any of the trailers for the movie. You will not expect it, and it helps make a dramatic turn in the film. Also, because of the subject matter, this might not be suitable for a younger audience. In fact, this movie is rated R by the Motion Picture Association of America, and is probably suited better for people in their late teens and adults. The subject is dealt with nicely though, and doesn't present it in a vulgar matter. If you ask me, I would not put this on your "Must See" List. I probably would have to put this one fairly low on your "To See" List. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_June_15_That_s_So_Gay/625/42722/1/ShowPost.aspx Post By: dakidhasdough
Post To: Weekly Theme
Post Date: 6/19/2009 1:27:40 PM
Body: [quote user="mercurial"] Through out the years I have seen more and more movies embrace the culture and lifestyle and try to bring it's content more to the mainstream.. Would you consider films like PULP FICTION or even AMERICAN ME to be in that catagory since those movies did have acts of same sex featured in them? With all the brouhaha over that American Idol guy coming out and the onslaught of pride parades going on coast to coast this month, this week's theme is all about the gays. Mostly relinquished to flamboyant best friends and eccentric beauticians, the United States hasn't had a large influx of films that focus on LGBT (Lesbian, Gay, Bisexual & Transgendered) characters like those that are more commonplace in European cinema. Aside from the media frenzy that surrounded Brokeback Mountain a number of years back, most American's have shied away from the genre almost entirely. That being said, there are a number of great films with LGBT characters that we can hopefully talk about here. Gregg Araki is probably my favorite gay director whose oeuvre has focused primarily on LGBT characters and the struggles facing them today. Nowhere, The Living End and The Doom Generation all have that Los Angeles, 1990's, chaotic life set to a raucous soundtrack of heavy metal, ethereal trip hop and post punk indie rock. Including incredible ensemble casts including Heather Graham, Ryan Phillippe, Rose McGowan, Christina Applegate, Guillermo Diaz, Johnathon Schaech, Parker Posey, Nicky Katt, etc, the films are a barrage of hopelessness, depression and a heavy hand of rebellion. Adam & Steve was a fun gay romantic comedy with hilarious supporting characters Parker Posey and Chris Kattan. I've recently discovered that Al Pacino has played a number of gay characters over the course of his career. He was a cop willing to do ANYTHING to become a detective and went undercover into the gay BDSM subculture of New York in Cruising. He was trying to get money for his boyfriend's operation to become a female in Dog Day Afternoon. And he played a closeted lawyer in Angels In America. Milk almost got the people talking as much as Brokeback with the Oscar buzz around it and Sean Penn and James Francos performances. The film borrowed significantly from The Times of Harvey Milk which won an Oscar for best documentary. The Love Songs was a perfect example of how Europeans have a more laid back sense of sexuality and how certain people defy the stringent labels of gay straight or whatnot. [/quote]
]]>Fri, 19 Jun 2009 17:27:40 GMTdakidhasdoughWeekly Theme6/19/2009 1:27:40 PM[quote user="mercurial"] Through out the years I have seen more and more movies embrace the culture and lifestyle and try to bring it's content more to the mainstream.. Would you consider films like PULP FICTION or even AMERICAN ME to be in that catagory since those movies did have acts of same sex featured in them? With all the brouhaha over that American Idol guy coming out and the onslaught of pride parades going on coast to coast this month, this week's theme is all about the gays. Mostly relinquished to flamboyant best friends and eccentric beauticians, the United States hasn't had a large influx of films that focus on LGBT (Lesbian, Gay, Bisexual &amp; Transgendered) characters like those that are more commonplace in European cinema. Aside from the media frenzy that surrounded Brokeback Mountain a number of years back, most American's have shied away from the genre almost entirely. That being said, there are a number of great films with LGBT characters that we can hopefully talk about here. Gregg Araki is probably my favorite gay director whose oeuvre has focused primarily on LGBT characters and the struggles facing them today. Nowhere, The Living End and The Doom Generation all have that Los Angeles, 1990's, chaotic life set to a raucous soundtrack of heavy metal, ethereal trip hop and post punk indie rock. Including incredible ensemble casts including Heather Graham, Ryan Phillippe, Rose McGowan, Christina Applegate, Guillermo Diaz, Johnathon Schaech, Parker Posey, Nicky Katt, etc, the films are a barrage of hopelessness, depression and a heavy hand of rebellion. Adam &amp; Steve was a fun gay romantic comedy with hilarious supporting characters Parker Posey and Chris Kattan. I've recently discovered that Al Pacino has played a number of gay characters over the course of his career. He was a cop willing to do ANYTHING to become a detective and went undercover into the gay BDSM subculture of New York in Cruising. He was trying to get money for his boyfriend's operation to become a female in Dog Day Afternoon. And he played a closeted lawyer in Angels In America. Milk almost got the people talking as much as Brokeback with the Oscar buzz around it and Sean Penn and James Francos performances. The film borrowed significantly from The Times of Harvey Milk which won an Oscar for best documentary. The Love Songs was a perfect example of how Europeans have a more laid back sense of sexuality and how certain people defy the stringent labels of gay straight or whatnot. [/quote] http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_June_15_That_s_So_Gay/625/42653/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 6/15/2009 4:16:17 PM
Body: With all the brouhaha over that American Idol guy coming out and the onslaught of pride parades going on coast to coast this month, this week's theme is all about the gays. Mostly relinquished to flamboyant best friends and eccentric beauticians, the United States hasn't had a large influx of films that focus on LGBT (Lesbian, Gay, Bisexual & Transgendered) characters like those that are more commonplace in European cinema. Aside from the media frenzy that surrounded Brokeback Mountain a number of years back, most American's have shied away from the genre almost entirely. That being said, there are a number of great films with LGBT characters that we can hopefully talk about here. Gregg Araki is probably my favorite gay director whose oeuvre has focused primarily on LGBT characters and the struggles facing them today. Nowhere, The Living End and The Doom Generation all have that Los Angeles, 1990's, chaotic life set to a raucous soundtrack of heavy metal, ethereal trip hop and post punk indie rock. Including incredible ensemble casts including Heather Graham, Ryan Phillippe, Rose McGowan, Christina Applegate, Guillermo Diaz, Johnathon Schaech, Parker Posey, Nicky Katt, etc, the films are a barrage of hopelessness, depression and a heavy hand of rebellion. Adam & Steve was a fun gay romantic comedy with hilarious supporting characters Parker Posey and Chris Kattan. I've recently discovered that Al Pacino has played a number of gay characters over the course of his career. He was a cop willing to do ANYTHING to become a detective and went undercover into the gay BDSM subculture of New York in Cruising. He was trying to get money for his boyfriend's operation to become a female in Dog Day Afternoon. And he played a closeted lawyer in Angels In America. Milk almost got the people talking as much as Brokeback with the Oscar buzz around it and Sean Penn and James Francos performances. The film borrowed significantly from The Times of Harvey Milk which won an Oscar for best documentary. The Love Songs was a perfect example of how Europeans have a more laid back sense of sexuality and how certain people defy the stringent labels of gay straight or whatnot.
]]>Mon, 15 Jun 2009 20:16:17 GMTmercurialWeekly Theme6/15/2009 4:16:17 PMWith all the brouhaha over that American Idol guy coming out and the onslaught of pride parades going on coast to coast this month, this week's theme is all about the gays. Mostly relinquished to flamboyant best friends and eccentric beauticians, the United States hasn't had a large influx of films that focus on LGBT (Lesbian, Gay, Bisexual &amp; Transgendered) characters like those that are more commonplace in European cinema. Aside from the media frenzy that surrounded Brokeback Mountain a number of years back, most American's have shied away from the genre almost entirely. That being said, there are a number of great films with LGBT characters that we can hopefully talk about here. Gregg Araki is probably my favorite gay director whose oeuvre has focused primarily on LGBT characters and the struggles facing them today. Nowhere, The Living End and The Doom Generation all have that Los Angeles, 1990's, chaotic life set to a raucous soundtrack of heavy metal, ethereal trip hop and post punk indie rock. Including incredible ensemble casts including Heather Graham, Ryan Phillippe, Rose McGowan, Christina Applegate, Guillermo Diaz, Johnathon Schaech, Parker Posey, Nicky Katt, etc, the films are a barrage of hopelessness, depression and a heavy hand of rebellion. Adam &amp; Steve was a fun gay romantic comedy with hilarious supporting characters Parker Posey and Chris Kattan. I've recently discovered that Al Pacino has played a number of gay characters over the course of his career. He was a cop willing to do ANYTHING to become a detective and went undercover into the gay BDSM subculture of New York in Cruising. He was trying to get money for his boyfriend's operation to become a female in Dog Day Afternoon. And he played a closeted lawyer in Angels In America. Milk almost got the people talking as much as Brokeback with the Oscar buzz around it and Sean Penn and James Francos performances. The film borrowed significantly from The Times of Harvey Milk which won an Oscar for best documentary. The Love Songs was a perfect example of how Europeans have a more laid back sense of sexuality and how certain people defy the stringent labels of gay straight or whatnot. http://www.spout.com/blogs/aimeex/archive/2009/4/6/41471.aspx Post By: aimeex
Post To: aimeex Blog
Post Date: 4/6/2009 1:07:43 PM
Body: I absoulutley loved this film. It isn't a "gay cowboy movie", its a love story of how to men find themselves falling in love. I cried at the end, but i cry at most emotional films.:) I would reccomend it for anyone who loves a romantic epic.
]]>Mon, 06 Apr 2009 17:07:43 GMTaimeexaimeex Blog4/6/2009 1:07:43 PMI absoulutley loved this film. It isn't a "gay cowboy movie", its a love story of how to men find themselves falling in love. I cried at the end, but i cry at most emotional films.:) I would reccomend it for anyone who loves a romantic epic. http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_Independent_Spirit_Awards_Be/657/41216/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 3/24/2009 1:16:32 PM
Body: Please reference this thread for the rules of this group. I received a few polls suggestions from group member tadiv. This is one of them. Thanks Tom! If anyone else has any suggestions, you can always send me a message. Please vote only once in each poll. Movies referenced in this poll:Brokeback MountainFar From HeavenJunoLittle Miss SunshineLost in TranslationMementoSidewaysThe Wrestler
]]>Tue, 24 Mar 2009 17:16:32 GMTRisseladaMovie Polls3/24/2009 1:16:32 PMPlease reference this thread for the rules of this group. I received a few polls suggestions from group member tadiv. This is one of them. Thanks Tom! If anyone else has any suggestions, you can always send me a message. Please vote only once in each poll. Movies referenced in this poll:Brokeback MountainFar From HeavenJunoLittle Miss SunshineLost in TranslationMementoSidewaysThe Wrestler http://www.spout.com/blogs/spoutblog/archive/2009/2/2/40168.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/2/2009 5:01:22 PM
Body: With Danny Boyle’s DGA win over the weekend, Slumdog Millionaire achieved a near-impossible feat; it became even more favored to win the Oscar for Best Picture. Once thought to be an underdog, Slumdog has been pretty much unstoppable throughout the awards season, even picking up the undeserved top honor at the SAG Awards, and has never fallen from its position of frontrunner since it took the lead months ago. Yet last week, the internet was populated by talk of a Slumdog backlash, and for the first time in weeks, other Best Picture candidates were seriously being discussed as slightly plausible victors. The two titles considered most likely to be a threat to Boyle’s film are The Curious Case of Benjamin Button and Milk, with little concern for either Frost/Nixon or The Reader. However, while the former candidate is probably a sure thing to lose, the latter film should not yet be dismissed. Before the Academy Award nominations were announced last month, The Reader wasn’t even thought to be a contender for any major category except Best Supporting Actress. Now, among its five nominations, it’s up for three higher-tiered Oscars, including Best Picture. So, we can’t rightly continue underestimating its potential. This isn’t to say that we are predicting The Reader to win Best Picture; Slumdog is still the safest bet for the top prize. But odds for The Reader do need to be adjusted, as its chances are a lot closer to, if not better than, secondary favorites Benjamin Button and Milk. Of course, as the it stands now, the film should be an appealing choice for any gamblers out there, because a surprise Best Picture win for The Reader would pay out big time. So, our immediate apologies to betters if the following seven factors have any influence on professional oddsmakers out there. The Cancel-Out Factor Let’s begin with the simplest argument, which has also been used recently as evidence that Milk’s chances for the top award have gone up: Whether due to a backlash or not, Slumdog’s lead may be shortening, and Benjamin Button may be gaining. So, the two films could cancel each other out and The Reader, not Milk, could sneak forward. Or, to give Milk the same credit as others are giving it, the three favorites cancel each other out and The Reader makes an even greater leap forward. The Stephen Daldry Factor Now for the weakest, but not completely implausible argument: It’s clear the Academy loves Stephen Daldry, as they’ve nominated him for Best Director every time he’s made a movie. Unfortunately for him, there’s no way he’ll win his category this year, because no director has ever won the Oscar without at least being nominated for the DGA award. So, Boyle remains a lock for Best Director, but Daldry’s fans could try and make a serious push for the film to win Best Picture. It would be a somewhat ironic win, since Daldry’s first nomination came for a film that wasn’t even nominated for the top award (Billy Elliot). The Posthumous Oscars Factor (aka the Sydney Pollack and Anthony Minghella Factor) Thanks to a special exception the Academy made for The Reader, there are now three posthumous Oscar nominees. Heath Ledger is most definitely going to win Best Supporting Actor for his role in The Dark Knight, but what about Sydney Pollack and Anthony Minghella? The two are among The Reader’s four producers named to receive trophies if the film wins Best Picture. Academy members could consider this a year to pay special honor to the artists they’ve lost, and that would mean voting for two of their favorite filmmaking talents. On the other hand, though, with Pollack having previously won two Oscars (out of six nominations) and Minghella having previously won one (out of three nominations), it’s not as if the voters will feel as much of an obligation as they would if neither had been honored before. Still, never underestimate the power of the celebrity death cult. The Harvey Weinstein Factor It’s been awhile since Harvey’s heyday at the Oscars. While heading Miramax, he managed a couple surprise victories in the Best Picture category, and at the 2003 awards, Harvey actually had a connection to four of the five Best Picture nominees. He used to be known as someone not to be reckoned with when it came to his desire for Academy Awards. But it’s taken years for The Weinstein Co. to see one of its films in contention for the top prize. So, will Harvey once again show great influence over the Academy? According to Entertainment Weekly’s Dave Karger, Harvey’s been advised not to go crazy with the Oscar campaigning this year, partly for economic reasons and partly because his chances are considered low. But Karger thinks he’s still going to “go whole hog,” because “otherwise he wouldn’t be Harvey Weinstein.” And when Harvey goes whole hog, things like Shakespeare in Love beating Saving Private Ryan happen. Seriously, there are already those who believe the whole Slumdog backlash thing was started by a certain “truth-and ethically challenged mogul” who would benefit from such a smear campaign. The Schindler’s List Factor As much as we all like to joke about the Academy’s Holocaust fetish, no Holocaust movie is a sure thing for Best Picture (especially if such a film is the one non-Harvey Weinstein-related nominee). But one Holocaust film in particular is the Academy’s pride and joy: Schindler’s List. If Slumdog Millionaire continues its awards season sweep, garnering top kudos from the WGA, the BAFTAs and finally the Oscars, it will actually become a more-honored film than Schindler’s List, which holds the current record for awards season domination. Unfortunately for Spielberg’s film, as noted by In Contention’s Kristopher Tapley, there were no BFCA or SAG ensemble awards back then. So, due to more opportunities, Slumdog could break the record rather unfairly. For Schindler’s List-loving members of the Academy, that might be an incentive to vote for The Reader, a fellow Holocaust film, instead of for Slumdog, which nobody could reasonably argue is better than the 1994 Best Picture-winner. The Tolerance Factor One of the major arguments in favor of Milk’s chances are that a Best Picture win for that film would make up for the Brokeback Mountain loss three years ago. And the Academy might vote for Milk in order to prove it is tolerant. But in a way, honoring Crash over Brokeback Mountain was a display of tolerance, only one that focused on race rather than sexual orientation. The Reader could be this year’s Crash, and not just because it’s one of the most critically hated Best Picture candidates in years. An argument against the aforementioned Schindler’s List Factor is that The Reader is almost like an anti-Holocaust film, because it attempts to make the audience sympathize with a concentration camp guard who slaughtered many Jewish prisoners. If the Academy should really feel the need to again prove its members are tolerant, honoring The Reader, which allegorically deals with Germany’s struggle to come to terms with its Nazi past, would be an even stronger display of this than would honoring a film focusing on gay rights. The again, the latter action may potentially be easier for some voters. The Surprise Factor Okay, this is actually the simplest argument: the Oscars are full of surprises. From Marisa Tomei’s out-numbered defeat of the British (and Australian) in 1992 to the shocking 1936 win by write-in candidate Hal Mohr to the unexpected Best Picture wins by non-frontrunners Chariots of Fire, Shakespeare in Love, Chicago and Crash (among others), the Academy should never be underestimated when it comes to their aim with monkey wrenches. So, the best reason not to dismiss The Reader in the Best Picture race is that all Oscars races are anyone’s game up until the envelopes are opened and the winners are named. Originally posted on:SpoutBlog
]]>Mon, 02 Feb 2009 22:01:22 GMTSpoutBlogSpoutBlog on spout.com2/2/2009 5:01:22 PMWith Danny Boyle’s DGA win over the weekend, Slumdog Millionaire achieved a near-impossible feat; it became even more favored to win the Oscar for Best Picture. Once thought to be an underdog, Slumdog has been pretty much unstoppable throughout the awards season, even picking up the undeserved top honor at the SAG Awards, and has never fallen from its position of frontrunner since it took the lead months ago. Yet last week, the internet was populated by talk of a Slumdog backlash, and for the first time in weeks, other Best Picture candidates were seriously being discussed as slightly plausible victors. The two titles considered most likely to be a threat to Boyle’s film are The Curious Case of Benjamin Button and Milk, with little concern for either Frost/Nixon or The Reader. However, while the former candidate is probably a sure thing to lose, the latter film should not yet be dismissed. Before the Academy Award nominations were announced last month, The Reader wasn’t even thought to be a contender for any major category except Best Supporting Actress. Now, among its five nominations, it’s up for three higher-tiered Oscars, including Best Picture. So, we can’t rightly continue underestimating its potential. This isn’t to say that we are predicting The Reader to win Best Picture; Slumdog is still the safest bet for the top prize. But odds for The Reader do need to be adjusted, as its chances are a lot closer to, if not better than, secondary favorites Benjamin Button and Milk. Of course, as the it stands now, the film should be an appealing choice for any gamblers out there, because a surprise Best Picture win for The Reader would pay out big time. So, our immediate apologies to betters if the following seven factors have any influence on professional oddsmakers out there. The Cancel-Out Factor Let’s begin with the simplest argument, which has also been used recently as evidence that Milk’s chances for the top award have gone up: Whether due to a backlash or not, Slumdog’s lead may be shortening, and Benjamin Button may be gaining. So, the two films could cancel each other out and The Reader, not Milk, could sneak forward. Or, to give Milk the same credit as others are giving it, the three favorites cancel each other out and The Reader makes an even greater leap forward. The Stephen Daldry Factor Now for the weakest, but not completely implausible argument: It’s clear the Academy loves Stephen Daldry, as they’ve nominated him for Best Director every time he’s made a movie. Unfortunately for him, there’s no way he’ll win his category this year, because no director has ever won the Oscar without at least being nominated for the DGA award. So, Boyle remains a lock for Best Director, but Daldry’s fans could try and make a serious push for the film to win Best Picture. It would be a somewhat ironic win, since Daldry’s first nomination came for a film that wasn’t even nominated for the top award (Billy Elliot). The Posthumous Oscars Factor (aka the Sydney Pollack and Anthony Minghella Factor) Thanks to a special exception the Academy made for The Reader, there are now three posthumous Oscar nominees. Heath Ledger is most definitely going to win Best Supporting Actor for his role in The Dark Knight, but what about Sydney Pollack and Anthony Minghella? The two are among The Reader’s four producers named to receive trophies if the film wins Best Picture. Academy members could consider this a year to pay special honor to the artists they’ve lost, and that would mean voting for two of their favorite filmmaking talents. On the other hand, though, with Pollack having previously won two Oscars (out of six nominations) and Minghella having previously won one (out of three nominations), it’s not as if the voters will feel as much of an obligation as they would if neither had been honored before. Still, never underestimate the power of the celebrity death cult. The Harvey Weinstein Factor It’s been awhile since Harvey’s heyday at the Oscars. While heading Miramax, he managed a couple surprise victories in the Best Picture category, and at the 2003 awards, Harvey actually had a connection to four of the five Best Picture nominees. He used to be known as someone not to be reckoned with when it came to his desire for Academy Awards. But it’s taken years for The Weinstein Co. to see one of its films in contention for the top prize. So, will Harvey once again show great influence over the Academy? According to Entertainment Weekly’s Dave Karger, Harvey’s been advised not to go crazy with the Oscar campaigning this year, partly for economic reasons and partly because his chances are considered low. But Karger thinks he’s still going to “go whole hog,” because “otherwise he wouldn’t be Harvey Weinstein.” And when Harvey goes whole hog, things like Shakespeare in Love beating Saving Private Ryan happen. Seriously, there are already those who believe the whole Slumdog backlash thing was started by a certain “truth-and ethically challenged mogul” who would benefit from such a smear campaign. The Schindler’s List Factor As much as we all like to joke about the Academy’s Holocaust fetish, no Holocaust movie is a sure thing for Best Picture (especially if such a film is the one non-Harvey Weinstein-related nominee). But one Holocaust film in particular is the Academy’s pride and joy: Schindler’s List. If Slumdog Millionaire continues its awards season sweep, garnering top kudos from the WGA, the BAFTAs and finally the Oscars, it will actually become a more-honored film than Schindler’s List, which holds the current record for awards season domination. Unfortunately for Spielberg’s film, as noted by In Contention’s Kristopher Tapley, there were no BFCA or SAG ensemble awards back then. So, due to more opportunities, Slumdog could break the record rather unfairly. For Schindler’s List-loving members of the Academy, that might be an incentive to vote for The Reader, a fellow Holocaust film, instead of for Slumdog, which nobody could reasonably argue is better than the 1994 Best Picture-winner. The Tolerance Factor One of the major arguments in favor of Milk’s chances are that a Best Picture win for that film would make up for the Brokeback Mountain loss three years ago. And the Academy might vote for Milk in order to prove it is tolerant. But in a way, honoring Crash over Brokeback Mountain was a display of tolerance, only one that focused on race rather than sexual orientation. The Reader could be this year’s Crash, and not just because it’s one of the most critically hated Best Picture candidates in years. An argument against the aforementioned Schindler’s List Factor is that The Reader is almost like an anti-Holocaust film, because it attempts to make the audience sympathize with a concentration camp guard who slaughtered many Jewish prisoners. If the Academy should really feel the need to again prove its members are tolerant, honoring The Reader, which allegorically deals with Germany’s struggle to come to terms with its Nazi past, would be an even stronger display of this than would honoring a film focusing on gay rights. The again, the latter action may potentially be easier for some voters. The Surprise Factor Okay, this is actually the simplest argument: the Oscars are full of surprises. From Marisa Tomei’s out-numbered defeat of the British (and Australian) in 1992 to the shocking 1936 win by write-in candidate Hal Mohr to the unexpected Best Picture wins by non-frontrunners Chariots of Fire, Shakespeare in Love, Chicago and Crash (among others), the Academy should never be underestimated when it comes to their aim with monkey wrenches. So, the best reason not to dismiss The Reader in the Best Picture race is that all Oscars races are anyone’s game up until the envelopes are opened and the winners are named. Originally posted on:SpoutBlog http://www.spout.com/blogs/smooth_j/archive/2009/1/17/39619.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 1/17/2009 12:18:18 PM
Body: Over the past decade or so, the film community has watched a surge of independent directors make outstanding films that get absolutely no awards recognition except perhaps on the festival circuit. Some of these directors include David Fincher, Darren Aronofsky, Christopher Nolan, and Danny Boyle. Their movies prior to this year's releases expressed their talent significantly, and yet have been largely ignored by most "major" organizations, most notably the Academy and the Golden Globes--however, they have received awards or nominations from several of the other prestigious associations: aside from various critics awards, Christopher Nolan has a DGA nomination under his belt for Memento; Danny Boyle has been praised and awarded multiple times in the UK, most notably the BAFTA awards; David Fincher, apart from critics awards, has won a DGA for commercials (of all things); and Darren Aronofsky has tragically been shut out of all major awards circles. And then there's this year. Christopher Nolan has another DGA nomination for The Dark Knight, and that along with the multitudes of accolades that the film's receiving, with the exception of the lack of love the Globes showed (cue self-indulgent and inevitable reference to Heath Ledger's Joker...); David Fincher now has a BAFTA nomination to brag about as well as two more DGA nominations (one for commercials), a Golden Globe nomination, and an NBR win--all for The Curious Case of Benjamin Button; Darren Aronofsky has directed one of the most acclaimed performances of the year in one of the most acclaimed films of the year (The Wrestler), although he has been mostly shut-out of recognition (his most well-known appearance has been flipping off Rourke); and Danny Boyle, a director no longer to be ignored, has been raking in endless attention, from a Golden Globe win, to a DGA nomination, to another BAFTA nomination, and all the way to what is shaping up to be a definite Oscar nomination, and if all goes well, a win. And now to the movie that is the catalyst of his exaltations: Slumdog Millionaire, a film about an Indian "slumdog" who is chosen to be a contestant on India's version of Who Wants to Be a Millionaire? However, most people know almost everything there is to know about this movie already, so I won't continue to bombard you with the same synopsis and review. It's a terrific movie. It's interminably entertaining, with great performances and a love-story that can only be described by the film's overlying theme: destiny. The love between the two leads is not necessarily fully developed, but that's the point. Jamal knows he loves Latika, and would go to the end of the earth to be with her, but the viewer never receives much explanation. Because of this, the film is mystical; it's a seemingly doomed romance, pushing onwards against all odds, with nothing but fate to tie it together. Latika at first seems confused at Jamal's passion, as is the audience, but she is soon enveloped in it, realizing with maturity beyond her age that it will never work. But Jamal sticks with his belief in love and destiny, and that is what brings him to the final round of the show, and an ultimate reunion with his love, and a tragic sacrifice by his brother. Kevin Buist on Spoutblog referred to the film as "hectic and sloppy." I did not perceive that in the least. Slumdog Millionaire definitely has a frenetic, insatiable energy--but I saw it as the allure of youthfulness, which the characters all maintain despite their encounters with situations far beyond their levels of maturity. A particularly magnificent scene occurs when there is a montage of Jamal and Salim, his brother, hustling people on a train, with MIA's Paper Planes blaring on the soundtrack. It brings what I previously knew as a stoner tune, one to blast while driving down a college avenue in a shitty SUV, a whole new level of meaning; it was music and image meshed beautifully to form a scene of childlike wonder. Danny Boyle's masterful direction, as well as miraculously timed editing and grainy, dreamlike photography, allows the film to maintain the viewer's concentration, to captivate them, up to the final shot (of the story), where the magical realism of the film is summed up in a corny, cliched, and wonderful final exchange between lovers, including lines such as "It is destiny" and "Kiss Me." Needless to say, the Bollywood dance sequence slaps a huge goofy smile on your face, no matter what your feelings about the film are--an intoxicatingly happy ending, punctuated by a final tribute to the country that the film owes its liveliness. The film is becoming the subject of slight backlash, like Little Miss Sunshine and Juno before it--however, unlike those two films, I don't feel that Slumdog is deserving of the contrarian treatment. Crash began an era of awards contention is which films undeserving of major awards speculation are pushed to the top of year-end lists and critics awards. The awards season is driven not necessarily by quality of films but by the frenzied, rabid support that they draw from the louder patrons of Hollywood; Crash may not have even been nominated had it not been for an aggressive campaign strategy and an anti-Brokeback backlash. Crash was not a good film. It was an unsubtle, in-your-face anti-racism film--in other words, nothing but white noise. Little Miss Sunshine was a cute, entertaining little film that made it to the top through the support it gained at film festivals. Juno just rode the independent film wave, effortlessly driving its way to the top of contention despite it being corny fluff piece, a crowd pleaser that hid behind a too-hip-for-its-own-good script. Juno isn't necessarily a festival film even--it seemed to pretend it was, but it's my belief that it pretended to be to give it a lovable underdog status. I don't dislike any of the films I just mentioned (except Crash--Paul Haggis sucks). However, I agree with the cynics in that all of them were undeserving of the infinite praise that they received. Slumdog Millionaire is slightly different. It really is an underslumdog (I'm sorry) film--it was made with a low budget in the actual slums of Mumbai, with an entirely Indian cast and a British/Indian film crew. The only reason it is being recognized is because it is being loved consistently by (nearly) all that see it. It is incredible entertainment, a crowd-pleaser with timeless themes of love and destiny, as well as a genuine aesthetic achievement. Something about the film works in a way that none of the aforementioned films do--it is not in the least self-important, and despite its reliance on coincidence and fate, it never once feels forced. It flows, from the chase scene through the slums to the beautiful sequence on the train to the hokey Bollywood finale. It's escapism at its best. Although some Indians are claiming the film as their own with pride, others are denouncing the film for depicting India as a slum. The movie is called SLUMdog Millionaire. It's about a kid from a slum who makes it on a gameshow. It's not claiming to represent India as a whole. It's merely depicting the struggles someone from a slum in Mumbai may face. And do people really begrudge Danny Boyle the attention he's getting? The distinguished auteur behind Trainspotting, 28 Days Later, and Sunshine is getting his due for a film that almost no one had heard about less than a year ago. That's amazing. I'm not saying the film is perfect--it has its flaws. I would not call it the best film of the year--yet. The Dark Knight was magnificent, and Christopher Nolan is overdue for some attention (although he has an Oscar nomination for writing already), as was Benjamin Button, and David Fincher is aching for a statue with such an impressive repertoire (let's just forget Panic Room). I have yet to see The Wrestler, let alone most of the other films in contention. This year is going to be a tight race for the Oscars. I'm suggesting that people not focus on the mania behind films and actually watch the movies and make their own opinions about them. It isn't fair to renounce a movie just because of the attention it's getting; see the movie, and find out for yourself if it's deserving. Seeing movies with an open mind is the key to enjoying them, and fanatical incrimination of films prevents unbiased movie-watching from happening. It's a shame, because when it's time for a movie to receive its due, its achievements are often clouded by rancid smoke, expelled from the black and unwelcoming lungs of deliriously pretentious critics.
]]>Sat, 17 Jan 2009 17:18:18 GMTSmooth_JSmooth_J Blog1/17/2009 12:18:18 PMOver the past decade or so, the film community has watched a surge of independent directors make outstanding films that get absolutely no awards recognition except perhaps on the festival circuit. Some of these directors include David Fincher, Darren Aronofsky, Christopher Nolan, and Danny Boyle. Their movies prior to this year's releases expressed their talent significantly, and yet have been largely ignored by most "major" organizations, most notably the Academy and the Golden Globes--however, they have received awards or nominations from several of the other prestigious associations: aside from various critics awards, Christopher Nolan has a DGA nomination under his belt for Memento; Danny Boyle has been praised and awarded multiple times in the UK, most notably the BAFTA awards; David Fincher, apart from critics awards, has won a DGA for commercials (of all things); and Darren Aronofsky has tragically been shut out of all major awards circles. And then there's this year. Christopher Nolan has another DGA nomination for The Dark Knight, and that along with the multitudes of accolades that the film's receiving, with the exception of the lack of love the Globes showed (cue self-indulgent and inevitable reference to Heath Ledger's Joker...); David Fincher now has a BAFTA nomination to brag about as well as two more DGA nominations (one for commercials), a Golden Globe nomination, and an NBR win--all for The Curious Case of Benjamin Button; Darren Aronofsky has directed one of the most acclaimed performances of the year in one of the most acclaimed films of the year (The Wrestler), although he has been mostly shut-out of recognition (his most well-known appearance has been flipping off Rourke); and Danny Boyle, a director no longer to be ignored, has been raking in endless attention, from a Golden Globe win, to a DGA nomination, to another BAFTA nomination, and all the way to what is shaping up to be a definite Oscar nomination, and if all goes well, a win. And now to the movie that is the catalyst of his exaltations: Slumdog Millionaire, a film about an Indian "slumdog" who is chosen to be a contestant on India's version of Who Wants to Be a Millionaire? However, most people know almost everything there is to know about this movie already, so I won't continue to bombard you with the same synopsis and review. It's a terrific movie. It's interminably entertaining, with great performances and a love-story that can only be described by the film's overlying theme: destiny. The love between the two leads is not necessarily fully developed, but that's the point. Jamal knows he loves Latika, and would go to the end of the earth to be with her, but the viewer never receives much explanation. Because of this, the film is mystical; it's a seemingly doomed romance, pushing onwards against all odds, with nothing but fate to tie it together. Latika at first seems confused at Jamal's passion, as is the audience, but she is soon enveloped in it, realizing with maturity beyond her age that it will never work. But Jamal sticks with his belief in love and destiny, and that is what brings him to the final round of the show, and an ultimate reunion with his love, and a tragic sacrifice by his brother. Kevin Buist on Spoutblog referred to the film as "hectic and sloppy." I did not perceive that in the least. Slumdog Millionaire definitely has a frenetic, insatiable energy--but I saw it as the allure of youthfulness, which the characters all maintain despite their encounters with situations far beyond their levels of maturity. A particularly magnificent scene occurs when there is a montage of Jamal and Salim, his brother, hustling people on a train, with MIA's Paper Planes blaring on the soundtrack. It brings what I previously knew as a stoner tune, one to blast while driving down a college avenue in a shitty SUV, a whole new level of meaning; it was music and image meshed beautifully to form a scene of childlike wonder. Danny Boyle's masterful direction, as well as miraculously timed editing and grainy, dreamlike photography, allows the film to maintain the viewer's concentration, to captivate them, up to the final shot (of the story), where the magical realism of the film is summed up in a corny, cliched, and wonderful final exchange between lovers, including lines such as "It is destiny" and "Kiss Me." Needless to say, the Bollywood dance sequence slaps a huge goofy smile on your face, no matter what your feelings about the film are--an intoxicatingly happy ending, punctuated by a final tribute to the country that the film owes its liveliness. The film is becoming the subject of slight backlash, like Little Miss Sunshine and Juno before it--however, unlike those two films, I don't feel that Slumdog is deserving of the contrarian treatment. Crash began an era of awards contention is which films undeserving of major awards speculation are pushed to the top of year-end lists and critics awards. The awards season is driven not necessarily by quality of films but by the frenzied, rabid support that they draw from the louder patrons of Hollywood; Crash may not have even been nominated had it not been for an aggressive campaign strategy and an anti-Brokeback backlash. Crash was not a good film. It was an unsubtle, in-your-face anti-racism film--in other words, nothing but white noise. Little Miss Sunshine was a cute, entertaining little film that made it to the top through the support it gained at film festivals. Juno just rode the independent film wave, effortlessly driving its way to the top of contention despite it being corny fluff piece, a crowd pleaser that hid behind a too-hip-for-its-own-good script. Juno isn't necessarily a festival film even--it seemed to pretend it was, but it's my belief that it pretended to be to give it a lovable underdog status. I don't dislike any of the films I just mentioned (except Crash--Paul Haggis sucks). However, I agree with the cynics in that all of them were undeserving of the infinite praise that they received. Slumdog Millionaire is slightly different. It really is an underslumdog (I'm sorry) film--it was made with a low budget in the actual slums of Mumbai, with an entirely Indian cast and a British/Indian film crew. The only reason it is being recognized is because it is being loved consistently by (nearly) all that see it. It is incredible entertainment, a crowd-pleaser with timeless themes of love and destiny, as well as a genuine aesthetic achievement. Something about the film works in a way that none of the aforementioned films do--it is not in the least self-important, and despite its reliance on coincidence and fate, it never once feels forced. It flows, from the chase scene through the slums to the beautiful sequence on the train to the hokey Bollywood finale. It's escapism at its best. Although some Indians are claiming the film as their own with pride, others are denouncing the film for depicting India as a slum. The movie is called SLUMdog Millionaire. It's about a kid from a slum who makes it on a gameshow. It's not claiming to represent India as a whole. It's merely depicting the struggles someone from a slum in Mumbai may face. And do people really begrudge Danny Boyle the attention he's getting? The distinguished auteur behind Trainspotting, 28 Days Later, and Sunshine is getting his due for a film that almost no one had heard about less than a year ago. That's amazing. I'm not saying the film is perfect--it has its flaws. I would not call it the best film of the year--yet. The Dark Knight was magnificent, and Christopher Nolan is overdue for some attention (although he has an Oscar nomination for writing already), as was Benjamin Button, and David Fincher is aching for a statue with such an impressive repertoire (let's just forget Panic Room). I have yet to see The Wrestler, let alone most of the other films in contention. This year is going to be a tight race for the Oscars. I'm suggesting that people not focus on the mania behind films and actually watch the movies and make their own opinions about them. It isn't fair to renounce a movie just because of the attention it's getting; see the movie, and find out for yourself if it's deserving. Seeing movies with an open mind is the key to enjoying them, and fanatical incrimination of films prevents unbiased movie-watching from happening. It's a shame, because when it's time for a movie to receive its due, its achievements are often clouded by rancid smoke, expelled from the black and unwelcoming lungs of deliriously pretentious critics. http://www.spout.com/groups/Coming_Soon/New_Movies_1_9_Bride_wars_and_exorcisms/216/39103/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 1/5/2009 2:19:56 PM
Body: It looks like Hellraiser was delayed again, but don't worry -- there's another horror movie coming out called Bride Wars. 1. Bride Wars: Bridezilla vs. Mothranne (NEW) -- Watch the trailer. A monster movie starring Kate Hudson and Anne Hathaway. Not to be confused with the following movies. I wish we had the trailers! War Brides (1916) G.I. War Brides (1946) Atomic War Bride (1960) I Was a Male War Bride (1949) Hercules: The Legendary Journeys -- War Bride (1997) 2. The Unborn -- Watch the trailer. Gary Oldman stars as an exorcist, and the screenplay is from the writer of Batman Begins and Blade II. Okay, I'm interested. Not to be confused with Roger Corman's The Unborn (1991) -- Watch the trailer. The tagline: "Having a baby can be a scream." 3. Not Easily Broken -- Watch the trailer. Hard times put a marriage to the test. Not to be confused with Brokeback Mountain. Watch the trailer.
]]>Mon, 05 Jan 2009 19:19:56 GMTSkyPilotComing Soon1/5/2009 2:19:56 PMIt looks like Hellraiser was delayed again, but don't worry -- there's another horror movie coming out called Bride Wars. 1. Bride Wars: Bridezilla vs. Mothranne (NEW) -- Watch the trailer. A monster movie starring Kate Hudson and Anne Hathaway. Not to be confused with the following movies. I wish we had the trailers! War Brides (1916) G.I. War Brides (1946) Atomic War Bride (1960) I Was a Male War Bride (1949) Hercules: The Legendary Journeys -- War Bride (1997) 2. The Unborn -- Watch the trailer. Gary Oldman stars as an exorcist, and the screenplay is from the writer of Batman Begins and Blade II. Okay, I'm interested. Not to be confused with Roger Corman's The Unborn (1991) -- Watch the trailer. The tagline: "Having a baby can be a scream." 3. Not Easily Broken -- Watch the trailer. Hard times put a marriage to the test. Not to be confused with Brokeback Mountain. Watch the trailer. http://www.spout.com/blogs/usesoap/archive/2008/12/15/38373.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/15/2008 8:15:18 AM
Body: I'm not sure what is more sad: politician Harvey Milk's life being cut short by an assassin's bullett, or the recent passing of the California's reprehensible Prop 8 Bill, making it seem this man's death may have been in vain. Sean Penn inhabits the lead role in 'Milk', and through him we can see just how magnetic a man the San Francisco candidate was and how easy it must have been to warm to his cause. But Penn does not lionize the man, unafraid to show his fears, doubts and flirtation with hubris as his voice begins to reverberate across the state and the nation. To see Penn, who often appears pensive and prickly on talk shows and in public of late, return to the type of performance that is sweet, sensitive and thoroughly endearing is rewarding enough. But he is surrounded by thoughtful, passionate performers who all seemed so moved by Milk's legacy, they were determined to do him justice. Milk arrives in San Fran at the start of the swingin' 70s, frustrated and ready to start his life anew as he approaches his 40th birthday. It is there he bumps into his partner Scott Smith (played by James Franco), and they embark on their journey from small camera shop owners to activist organizers helping to reshape the cultural landscape of California. Where 'Milk' separates itself from other gay-themed mainstream films is that it presents its characters as peers. Films like 'Brokeback Mountain' and 'Jeffrey' were more about allowing the lifestyle to exist in its own little vacuum, if not truly accepting these individuals as equals in every sense of the word. It's the difference between accpeting a gay person and accepting a person who happens to be gay. Director Gus Van Sandt does this by presenting us with the leads' sexuality in the first few minutes of the film. Penn and Franco tango in an intimate encounter signifying the same electricity all relationships share in the first stage. Soon after, it settles into the same banality and common day-to-day exchanges all couples shift into, except theirs is one that faces constant tumult outside their own happy domicile - fear, anger and hate await them at every public demonstration of their affection toward one another. It's as if to say to skeptical, straight audience members, "see, this lifestyle you so fear can be just as mundane as yours, but contains no less love within it." I, personally respected 'Brokeback' as a political statement more than a film. I felt it was oftentimes dramatically inert, but I admired what it set out to accomplish. With 'Milk' and its engaging cast of underdogs, there's little downtime; in fact, there's always an underlying sense of urgency as they confront their fair share of injustices that meet their everyday existence, from indifferent police to angered citizens to downright spiteful politicians. Josh Brolin continues his streak (starting with Planet Terror and leading to last month's W.) as the tortured fellow politician Dan White, who admires Milk's appeal as much as he despises his orientation. He is one of the film's few flaws, as descends into his own hell, we wish we were afforded mere glimpses into his life. The other weak link is Milk's partner Jack Lira (played by Diego Luna) following a breakup with Scott. We understand he's a mess, but it remains unclear as to why Milk stays with this obvious basket case after repeated signs of an impending ugly meltdown. Van Sandt seamlessly blends archival news footage of the era with his own , drained of just enough color to feel era-specific. This comes in handy when he includes clips of the self-righteous Anita Bryant sermonizing about Milk's deviant behavior. Bryant looms heavily like a fog of hate and intolerance, donned in a frilly blouse and sensible pumps, and no actress is needed to shed further light on her moralistic monologues. Her damnation of gays over Proposition 6 ( which would allow the firing of teachers over sexual orientation ) is icily scary. What was equally surprising was the film's minimalist, sweeping score by Danny Elfman, which enhances the picture without once intruding and making it seem melodramatic. 'Milk' does feel as though it sometimes smooths over the politician's rougher edges, yet it never feels less than authentic, courtesy of Penn's embrace of his character. The only shame of 'Milk' is that its release is a few weeks too late to perhaps influence a recent stripping of civil rights. It would have made 'Milk's' ending more stirring and just. Now, it's just heartbreakingly sad.
]]>Mon, 15 Dec 2008 13:15:18 GMTusesoapusesoap Blog12/15/2008 8:15:18 AMI'm not sure what is more sad: politician Harvey Milk's life being cut short by an assassin's bullett, or the recent passing of the California's reprehensible Prop 8 Bill, making it seem this man's death may have been in vain. Sean Penn inhabits the lead role in 'Milk', and through him we can see just how magnetic a man the San Francisco candidate was and how easy it must have been to warm to his cause. But Penn does not lionize the man, unafraid to show his fears, doubts and flirtation with hubris as his voice begins to reverberate across the state and the nation. To see Penn, who often appears pensive and prickly on talk shows and in public of late, return to the type of performance that is sweet, sensitive and thoroughly endearing is rewarding enough. But he is surrounded by thoughtful, passionate performers who all seemed so moved by Milk's legacy, they were determined to do him justice. Milk arrives in San Fran at the start of the swingin' 70s, frustrated and ready to start his life anew as he approaches his 40th birthday. It is there he bumps into his partner Scott Smith (played by James Franco), and they embark on their journey from small camera shop owners to activist organizers helping to reshape the cultural landscape of California. Where 'Milk' separates itself from other gay-themed mainstream films is that it presents its characters as peers. Films like 'Brokeback Mountain' and 'Jeffrey' were more about allowing the lifestyle to exist in its own little vacuum, if not truly accepting these individuals as equals in every sense of the word. It's the difference between accpeting a gay person and accepting a person who happens to be gay. Director Gus Van Sandt does this by presenting us with the leads' sexuality in the first few minutes of the film. Penn and Franco tango in an intimate encounter signifying the same electricity all relationships share in the first stage. Soon after, it settles into the same banality and common day-to-day exchanges all couples shift into, except theirs is one that faces constant tumult outside their own happy domicile - fear, anger and hate await them at every public demonstration of their affection toward one another. It's as if to say to skeptical, straight audience members, "see, this lifestyle you so fear can be just as mundane as yours, but contains no less love within it." I, personally respected 'Brokeback' as a political statement more than a film. I felt it was oftentimes dramatically inert, but I admired what it set out to accomplish. With 'Milk' and its engaging cast of underdogs, there's little downtime; in fact, there's always an underlying sense of urgency as they confront their fair share of injustices that meet their everyday existence, from indifferent police to angered citizens to downright spiteful politicians. Josh Brolin continues his streak (starting with Planet Terror and leading to last month's W.) as the tortured fellow politician Dan White, who admires Milk's appeal as much as he despises his orientation. He is one of the film's few flaws, as descends into his own hell, we wish we were afforded mere glimpses into his life. The other weak link is Milk's partner Jack Lira (played by Diego Luna) following a breakup with Scott. We understand he's a mess, but it remains unclear as to why Milk stays with this obvious basket case after repeated signs of an impending ugly meltdown. Van Sandt seamlessly blends archival news footage of the era with his own , drained of just enough color to feel era-specific. This comes in handy when he includes clips of the self-righteous Anita Bryant sermonizing about Milk's deviant behavior. Bryant looms heavily like a fog of hate and intolerance, donned in a frilly blouse and sensible pumps, and no actress is needed to shed further light on her moralistic monologues. Her damnation of gays over Proposition 6 ( which would allow the firing of teachers over sexual orientation ) is icily scary. What was equally surprising was the film's minimalist, sweeping score by Danny Elfman, which enhances the picture without once intruding and making it seem melodramatic. 'Milk' does feel as though it sometimes smooths over the politician's rougher edges, yet it never feels less than authentic, courtesy of Penn's embrace of his character. The only shame of 'Milk' is that its release is a few weeks too late to perhaps influence a recent stripping of civil rights. It would have made 'Milk's' ending more stirring and just. Now, it's just heartbreakingly sad. http://www.spout.com/blogs/spoutblog/archive/2008/12/9/38154.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/9/2008 7:02:15 PM
Body: Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.” If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages. Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies. Love & Basketball (2000) This underrated film has something for everyone: sports for the boys and romance for the girls; and sports for the girls and romance for the boys. See, it’s a love story that avoids clichés and speaks to both sexes equally. And as far as meet-cutes go, it’s hard to top Quincy’s first encounter with Monica: she beats him at basketball, he knocks her to the ground, and they instantly fall in love, at the age of 13. Plenty of recent films have done the whole love-since-childhood thing, including the contrived Love Me if You Dare and this year’s less-sexually-balanced Slumdog Millionaire. But while others treat this kind of story as fairy tale, Love & Basketball is more real, and true love is definitely more romantic than fantastical love. Punch-Drunk Love (2002) Who knew that Adam Sandler, as a modern-day Popeye, could be so romantic? Apparently Paul Thomas Anderson did, and he was able to transform the typical Sandler man-boy persona into an old-fashioned man-as-protector sort of romantic hero. A bit sexist and a little creepy, sure, but Sandler’s Barry Egan manages to fall on the right side of the fine line between stalker and sentimentally drastic admirer (kind of like a male “Amelie”). All the Real Girls (2003) The direction this film may seem too ironic and cynical to be considered truly romantic, but then think of how cynical our favorite romantic classics are. Gone With the Wind and Casablanca? Neither is as positive and hopeful as we pretend Hollywood romance to be. And while those films’ dialogue may be memorable after all these years, none of their lines are as simply and sweetly romantic as the stuff said by Paul (Paul Schneider) and Noel (Zooey Deschanel) to each other when they’re still falling in love. Cold Mountain (2003) Nicole Kidman and Jude Law may be the worst actors to play romantic leads, considering how stiff and plastic they are. But forgetting the performances and concentrating on the epic love story, this relatively modernized take on The Odyssey (set during the Civil War) is as classically romantic as it gets, right down to the tragic denouement. Surprisingly, it was not well received by either critics or audiences. The problem may have been the fault of Kidman and Law, whose characters were hardly believable as in love, although their compatibility is beside the point. The romantic quest made by Inman (Law) to get back to his barely-familiar sweetheart is powered by the concept of love more than the certainty of love. 50 First Dates (2004) Another Adam Sandler movie? That’s right, and this one is even sweeter and more thoughtfully romantic than Punch-Drunk Love. The plot, which is like a reciprocal Groundhog Day, is a tad too gimmicky to grab your heartstrings right away, but the final scene (ironically in the Arctic) could warm the center of even the most pragmatic, unemotional viewer. Eternal Sunshine of the Spotless Mind (2004) Two of the best films of 2004 were deconstructions of love. But while Jonathan Glazer’s Birth shattered romance to pieces, Eternal Sunshine of the Spotless Mind showed us what it’s made of. The film also somewhat argues that love and romance aren’t necessarily about “happily ever after,” even if the two main characters do seem destined to be together at the end, nor are these concepts limited to good times. The Notebook (2004) It doesn’t get more traditionally romantic than this: forbidden love; correspondence; longing; a World War. But how is this more beloved than either Pearl Harbor or Australia? And why is Nicholas Sparks more respected and read than most romance novelists? Well, if it were that easy to determine, Hollywood wouldn’t keep failing in its attempts to make more films like this. Or, maybe it’s just that The Notebook doesn’t seem to be trying too hard –– it just tells a genuine love story without tugging or overreaching for your presumed romantic buttons. Me and You and Everyone We Know (2005) If Amelie is the most romantic non-American film of the last ten years, and if Punch-Drunk’s Barry Egan is the male Amelie, then Miranda July’s character is simply the American Amelie. She’s a little weird, a little too forthcoming, but she’s so sweet and creative in her pursuits that she’s not just forgivable; she’s completely lovable. Of course, lovable doesn’t exactly equal romantic, but then there are plenty of oddly romantic scenes in the film, too, such as the metaphoric first walk shared by July and John Hawkes’ characters. It’s frank, it’s harsh, but it’s also the best flirtation seen in American cinema in a long time. Brokeback Mountain (2005) It’s upsetting to think of any story involving adultery as being romantic (though Unfaithful almost made this list for other, spoilerific reasons), but the two lovers in Brokeback Mountain are given an exception because of the society they live in. The unapproved affair also makes for one of the most heartbreaking romances ever put on screen. And of all the films selected, this is easily the one that’s liable to make you lose your cynical perspective, at least for a couple of hours. WALL-E (2008) In a way, this animated film is not romantic at all for humans, who are viewed as plump slugs with no real interaction with other people (seriously, a time when we all just use video chat, even when we’re in the vicinity of one another, is not too far off). But for robots, it’s the most romantic thing to come along since the implied relationship between C-3PO and R2-D2. And it’s gender-equal (or, if you believe the characters are gender-neutral, the film is partner-equal) as far as the pursuing, the rescuing and the responsibility go regarding WALL-E and EVE’s relationship. Hopefully, this most recent film on the list will inspire future romantic films to be so progressive and so lacking in cynicism (such optimism: even two humans seem to fall in love at the end). Originally posted on:SpoutBlog
]]>Wed, 10 Dec 2008 00:02:15 GMTSpoutBlogSpoutBlog on spout.com12/9/2008 7:02:15 PMIs romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.” If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages. Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies. Love & Basketball (2000) This underrated film has something for everyone: sports for the boys and romance for the girls; and sports for the girls and romance for the boys. See, it’s a love story that avoids clichés and speaks to both sexes equally. And as far as meet-cutes go, it’s hard to top Quincy’s first encounter with Monica: she beats him at basketball, he knocks her to the ground, and they instantly fall in love, at the age of 13. Plenty of recent films have done the whole love-since-childhood thing, including the contrived Love Me if You Dare and this year’s less-sexually-balanced Slumdog Millionaire. But while others treat this kind of story as fairy tale, Love & Basketball is more real, and true love is definitely more romantic than fantastical love. Punch-Drunk Love (2002) Who knew that Adam Sandler, as a modern-day Popeye, could be so romantic? Apparently Paul Thomas Anderson did, and he was able to transform the typical Sandler man-boy persona into an old-fashioned man-as-protector sort of romantic hero. A bit sexist and a little creepy, sure, but Sandler’s Barry Egan manages to fall on the right side of the fine line between stalker and sentimentally drastic admirer (kind of like a male “Amelie”). All the Real Girls (2003) The direction this film may seem too ironic and cynical to be considered truly romantic, but then think of how cynical our favorite romantic classics are. Gone With the Wind and Casablanca? Neither is as positive and hopeful as we pretend Hollywood romance to be. And while those films’ dialogue may be memorable after all these years, none of their lines are as simply and sweetly romantic as the stuff said by Paul (Paul Schneider) and Noel (Zooey Deschanel) to each other when they’re still falling in love. Cold Mountain (2003) Nicole Kidman and Jude Law may be the worst actors to play romantic leads, considering how stiff and plastic they are. But forgetting the performances and concentrating on the epic love story, this relatively modernized take on The Odyssey (set during the Civil War) is as classically romantic as it gets, right down to the tragic denouement. Surprisingly, it was not well received by either critics or audiences. The problem may have been the fault of Kidman and Law, whose characters were hardly believable as in love, although their compatibility is beside the point. The romantic quest made by Inman (Law) to get back to his barely-familiar sweetheart is powered by the concept of love more than the certainty of love. 50 First Dates (2004) Another Adam Sandler movie? That’s right, and this one is even sweeter and more thoughtfully romantic than Punch-Drunk Love. The plot, which is like a reciprocal Groundhog Day, is a tad too gimmicky to grab your heartstrings right away, but the final scene (ironically in the Arctic) could warm the center of even the most pragmatic, unemotional viewer. Eternal Sunshine of the Spotless Mind (2004) Two of the best films of 2004 were deconstructions of love. But while Jonathan Glazer’s Birth shattered romance to pieces, Eternal Sunshine of the Spotless Mind showed us what it’s made of. The film also somewhat argues that love and romance aren’t necessarily about “happily ever after,” even if the two main characters do seem destined to be together at the end, nor are these concepts limited to good times. The Notebook (2004) It doesn’t get more traditionally romantic than this: forbidden love; correspondence; longing; a World War. But how is this more beloved than either Pearl Harbor or Australia? And why is Nicholas Sparks more respected and read than most romance novelists? Well, if it were that easy to determine, Hollywood wouldn’t keep failing in its attempts to make more films like this. Or, maybe it’s just that The Notebook doesn’t seem to be trying too hard –– it just tells a genuine love story without tugging or overreaching for your presumed romantic buttons. Me and You and Everyone We Know (2005) If Amelie is the most romantic non-American film of the last ten years, and if Punch-Drunk’s Barry Egan is the male Amelie, then Miranda July’s character is simply the American Amelie. She’s a little weird, a little too forthcoming, but she’s so sweet and creative in her pursuits that she’s not just forgivable; she’s completely lovable. Of course, lovable doesn’t exactly equal romantic, but then there are plenty of oddly romantic scenes in the film, too, such as the metaphoric first walk shared by July and John Hawkes’ characters. It’s frank, it’s harsh, but it’s also the best flirtation seen in American cinema in a long time. Brokeback Mountain (2005) It’s upsetting to think of any story involving adultery as being romantic (though Unfaithful almost made this list for other, spoilerific reasons), but the two lovers in Brokeback Mountain are given an exception because of the society they live in. The unapproved affair also makes for one of the most heartbreaking romances ever put on screen. And of all the films selected, this is easily the one that’s liable to make you lose your cynical perspective, at least for a couple of hours. WALL-E (2008) In a way, this animated film is not romantic at all for humans, who are viewed as plump slugs with no real interaction with other people (seriously, a time when we all just use video chat, even when we’re in the vicinity of one another, is not too far off). But for robots, it’s the most romantic thing to come along since the implied relationship between C-3PO and R2-D2. And it’s gender-equal (or, if you believe the characters are gender-neutral, the film is partner-equal) as far as the pursuing, the rescuing and the responsibility go regarding WALL-E and EVE’s relationship. Hopefully, this most recent film on the list will inspire future romantic films to be so progressive and so lacking in cynicism (such optimism: even two humans seem to fall in love at the end). Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Fri, 04 Dec 2009 17:11:49 GMT231202371Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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]]>Fri, 04 Dec 2009 00:50:42 GMT2414126548Tag http://www.spout.com/members/0/tags/overrated/MemberTagFilms.aspxoverrated
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]]>Fri, 20 Mar 2009 23:37:37 GMT152106240Tag http://www.spout.com/members/0/tags/moving/MemberTagFilms.aspxmoving
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]]>Tue, 24 Nov 2009 05:15:30 GMT28668160Tag http://www.spout.com/members/0/tags/lame/MemberTagFilms.aspxlame
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]]>Tue, 07 Jul 2009 01:10:30 GMT14065162Tag http://www.spout.com/members/0/tags/favorite/MemberTagFilms.aspxfavorite
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]]>Sat, 15 Aug 2009 02:22:58 GMT8562127Tag http://www.spout.com/members/0/tags/gay/MemberTagFilms.aspxgay
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]]>Thu, 12 Nov 2009 01:49:41 GMT16662191Tag http://www.spout.com/members/0/tags/epic/MemberTagFilms.aspxepic
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