list http://www.spout.com/ Recent community activity around 88 Minutes 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/88_Minutes/245883/default.aspx Title: 88 Minutes
Year: 2008
Director: Jon Avnet
Plot: Jon Avnet directs Al Pacino in the thriller 88 Minutes. Pacino plays a university professor who occasionally assists the FBI in matters of forensic psychiatry. As the film opens, the professor learns that someone plans to kill him in 88 minutes. As with the like-minded thriller D.O.A. (both the original and the remake), the protagonist must use his skills in order to track down who has hatched this evil plot and hopefully prevent his own demise. ~ Perry Seibert, All Movie Guide
Times Tagged: 2
Number of Lists: 6
Number of blog posts: 7
Number of discussion threads: 3
SpoutRating: 2
]]>Mon, 23 Feb 2009 22:01:58 GMT88 Minutes2008Jon Avnet<a href="http://www.spout.com/players/P____80260/default.aspx" style='text-decoration:underline'>Jon Avnet</a> directs <a href="http://www.spout.com/players/P____54596/default.aspx" style='text-decoration:underline'>Al Pacino</a> in the thriller 88 Minutes. Pacino plays a university professor who occasionally assists the FBI in matters of forensic psychiatry. As the film opens, the professor learns that someone plans to kill him in 88 minutes. As with the like-minded thriller D.O.A. (both the original and the remake), the protagonist must use his skills in order to track down who has hatched this evil plot and hopefully prevent his own demise. ~ Perry Seibert, All Movie Guide2Slightly Tagged (1-5)6732http://www.spout.com/ProductImages/s245883.jpghttp://www.spout.com/films/88_Minutes/245883/default.aspxFilm http://www.spout.com/groups/Coming_Soon/2_27_Harrison_Ford_is_STILL_THROUGH_messing_arou/216/40602/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 2/23/2009 5:01:58 PM
Body: NEW TO THEATERS 2/27 The video game movie you never expected -- Street Fighter: The Legend of Chun-Li Watch the trailer. What do you think? After the film, will we look like this: Or this: Harrison Ford is STILL through messing around! -- Crossing Over (limited) Starring Sean Penn, Ashley Judd, and Harrison Ford. The trailer makes it look like Crash, only all the stories are focused on immigration. And it looks like Ford's performance is another in his line of "I'm through messing around!" performance. Hey, he's sure good at this stuff, though... Harrison Ford's Top 3 "I'm Through Messing Around" Movies 1. The Fugitive 2. Clear and Present Danger 3. Air Force One 3-D Jonases, watchable at will! -- Jonas Brothers 3-D Experience Love 'em or hate 'em, you just can't deny that those Jonas Brothers made a concert movie. Want proof? Watch the trailer. Great concert films What's the best concert films you've ever seen? I highly recommend the Rolling Stones film Gimme Shelter (watch the trailer). Every time I see it, I'm chilled by the real violence that the Maysles captured with their cameras. As you may know, this was the concert where the Hell's Angels provided the Stones' "security." I also really enjoyed the Talking Heads' Stop Making Sense. Jonathan Demme is credited as the director, but I've heard that the film's style is very much a brainchild of David Byrne. _______________________________________________ NEW TO DVD 2/23 -- WARNING! THERE IS POTTY HUMOR! City of Ember -- Watch the trailer. The guys on FilmCouch liked this one. Listen to the FilmCouch review. Wooo, Bill Murray! Read the SpoutBlog review. What Just Happened -- Watch the trailer. This Hollywood-based comedy didn't get good reviews, but it stars Robert Deniro, Sean Penn, John Turturro, and Bruce Willis. How can it not be good, right? Huh, I guess everybody poops once in a while. Extreme Movie -- This parody of teen sex comedies stars Michael Cera and was partly written by SNL's Will Forte and Adam Samberg. I can't remember it ever even playing in theaters...but everyone poops, am I right, people? 88 Minutes -- Watch the trailer. Starring Al Pacino. Who poops. Splinter -- Watch the trailer. A virus infects people with an insatiable thirst for human blood. This could be good; but isn't there a rule of thumb that whenever an effects guru directs a movie, you should run for the hills? I'd be happy if Splinter proves me wrong.
]]>Mon, 23 Feb 2009 22:01:58 GMTSkyPilotComing Soon2/23/2009 5:01:58 PMNEW TO THEATERS 2/27 The video game movie you never expected -- Street Fighter: The Legend of Chun-Li Watch the trailer. What do you think? After the film, will we look like this: Or this: Harrison Ford is STILL through messing around! -- Crossing Over (limited) Starring Sean Penn, Ashley Judd, and Harrison Ford. The trailer makes it look like Crash, only all the stories are focused on immigration. And it looks like Ford's performance is another in his line of "I'm through messing around!" performance. Hey, he's sure good at this stuff, though... Harrison Ford's Top 3 "I'm Through Messing Around" Movies 1. The Fugitive 2. Clear and Present Danger 3. Air Force One 3-D Jonases, watchable at will! -- Jonas Brothers 3-D Experience Love 'em or hate 'em, you just can't deny that those Jonas Brothers made a concert movie. Want proof? Watch the trailer. Great concert films What's the best concert films you've ever seen? I highly recommend the Rolling Stones film Gimme Shelter (watch the trailer). Every time I see it, I'm chilled by the real violence that the Maysles captured with their cameras. As you may know, this was the concert where the Hell's Angels provided the Stones' "security." I also really enjoyed the Talking Heads' Stop Making Sense. Jonathan Demme is credited as the director, but I've heard that the film's style is very much a brainchild of David Byrne. _______________________________________________ NEW TO DVD 2/23 -- WARNING! THERE IS POTTY HUMOR! City of Ember -- Watch the trailer. The guys on FilmCouch liked this one. Listen to the FilmCouch review. Wooo, Bill Murray! Read the SpoutBlog review. What Just Happened -- Watch the trailer. This Hollywood-based comedy didn't get good reviews, but it stars Robert Deniro, Sean Penn, John Turturro, and Bruce Willis. How can it not be good, right? Huh, I guess everybody poops once in a while. Extreme Movie -- This parody of teen sex comedies stars Michael Cera and was partly written by SNL's Will Forte and Adam Samberg. I can't remember it ever even playing in theaters...but everyone poops, am I right, people? 88 Minutes -- Watch the trailer. Starring Al Pacino. Who poops. Splinter -- Watch the trailer. A virus infects people with an insatiable thirst for human blood. This could be good; but isn't there a rule of thumb that whenever an effects guru directs a movie, you should run for the hills? I'd be happy if Splinter proves me wrong. http://www.spout.com/blogs/usesoap/archive/2008/12/27/38883.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/27/2008 8:34:11 PM
Body: Make no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer “event movies” (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL·E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008.
]]>Sun, 28 Dec 2008 01:34:11 GMTusesoapusesoap Blog12/27/2008 8:34:11 PMMake no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer &ldquo;event movies&rdquo; (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL&middot;E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008. http://www.spout.com/blogs/usesoap/archive/2008/9/14/35132.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 9/14/2008 8:42:49 PM
Body: “What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?” posits a character of the new cop thriller “Righteous Kill.” Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, “Righteous Kill,” arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in “The Untouchables” with the definitive mismatched-buddy film “Midnight Run.” and Pacino was burning up the screen with Ellen Barkin in “Sea of Love” and about to chew on mouthfuls of scenery in “Dick Tracy.” Had “Kill” been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's “88 Minutes” or cheapening their legacy as DeNiro repeated has in both “Analyze This” and “Meet the Parents” and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in “Rocky Balboa.” “Righteous Kill” in not that movie. In fact, the title of Pacino's previous film, “Two for the Money,” seems more fitting. It's an adequate enough vehicle -- stable, drives well – but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament “ones that got away” -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute “gotcha” and so “Kill” plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing – and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's “88 Minutes,” in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up “Die Tryin'” to be an actor, because he certainly isn't going to “Get Rich” from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in “Heat” than any scene in “Righteous Kill.” Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (“Hide and Seek,” “Godsend,” “Showtime”), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted “Law and Order” episode with two very special guest stars.
]]>Mon, 15 Sep 2008 00:42:49 GMTusesoapusesoap Blog9/14/2008 8:42:49 PM &ldquo;What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?&rdquo; posits a character of the new cop thriller &ldquo;Righteous Kill.&rdquo; Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, &ldquo;Righteous Kill,&rdquo; arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in &ldquo;The Untouchables&rdquo; with the definitive mismatched-buddy film &ldquo;Midnight Run.&rdquo; and Pacino was burning up the screen with Ellen Barkin in &ldquo;Sea of Love&rdquo; and about to chew on mouthfuls of scenery in &ldquo;Dick Tracy.&rdquo; Had &ldquo;Kill&rdquo; been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's &ldquo;88 Minutes&rdquo; or cheapening their legacy as DeNiro repeated has in both &ldquo;Analyze This&rdquo; and &ldquo;Meet the Parents&rdquo; and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in &ldquo;Rocky Balboa.&rdquo; &ldquo;Righteous Kill&rdquo; in not that movie. In fact, the title of Pacino's previous film, &ldquo;Two for the Money,&rdquo; seems more fitting. It's an adequate enough vehicle -- stable, drives well &ndash; but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament &ldquo;ones that got away&rdquo; -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute &ldquo;gotcha&rdquo; and so &ldquo;Kill&rdquo; plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing &ndash; and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's &ldquo;88 Minutes,&rdquo; in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up &ldquo;Die Tryin'&rdquo; to be an actor, because he certainly isn't going to &ldquo;Get Rich&rdquo; from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in &ldquo;Heat&rdquo; than any scene in &ldquo;Righteous Kill.&rdquo; Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (&ldquo;Hide and Seek,&rdquo; &ldquo;Godsend,&rdquo; &ldquo;Showtime&rdquo;), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted &ldquo;Law and Order&rdquo; episode with two very special guest stars. 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/Coming_Soon/Upcoming_Movies_Week_of_9_12/216/34885/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 9/8/2008 12:14:02 PM
Body: Waa-hooo! This Friday we are officially delivered from the movie release Dead Zone! Let Oscar-bait season begin!FEATURES1. Burn After Reading -- New Coen bros. movie this Friday! Does the trailer for this dark spy comedy remind anyone else of the dark stoner/detective comedy The Big Lebowski?Brad Pitt and John Malkovich are both interviewed about the film on SpoutBlog.And there's a Recast The Big Lebowski contest you're all welcome to join in the Filmgaming group. The swag we're giving away would go great with a bathrobe.2. Righteous Kill -- Robert Deniro and Al Pacino do the bad cop/bad cop routine.This could be...(a) a supremely awesome, double-espresso shot of testosterone, a la Michael Mann's Heat. Or this could be ...(b) a blown opportunity on the level of The Score (remember that extremely forgettable movie with Deniro, Marlon Brando, and Ed Norton?) Unfortunately I'm expecting Righteous Kill to be closer to option (b). Director Jon Avnet is no Michael Mann. His most recent film 88 Minutes starred Al Pacino, was in theaters for about half an hour, and barely got a kind word spoken about it. There's some hope for Avnet, though -- the first film he directed was Fried Green Tomatoes.3. Tyler Perry's The Family That Preys -- Of all Tyler Perry films, this one looks most interesting to me. Kathy Bates and Alfre Woodard are long-time friends and the matriarchs of two seemingly different families: Bates' family is wealthy and WASPy, while Woodard's family is working class African American. The families experience similar crises, including extramarital affairs and unethical business practices.I haven't seen any Tyler Perry movies. Any fans out there that could recommend a film to start with?4. Christmas on Mars: A Fantastical Film Freakout Featuring the Flaming Lips -- (limited release) This sci-fi flick is the directorial debut of Flaming Lips frontman Wayne Coyne. The story: it's Christmastime on Mars. When the community's life support system begins to malfunction, one man on the repair team begins to hallucinate about the birth of a baby. The Lips provide the music and each band member plays a role.I'm far from a die-hard Lips fan, but this sounds incredible! The film sounds like a natural (but inspired) progression from creating rock operas like Yoshimi Battles the Pink Robots. I'd enjoy seeing more rock opera movies. Are there any films you guys would recommend? I was disappointed by Tommy, and I haven't seen Pink Floyd: The Wall (I only like about half of the music on The Wall). If you guys haven't watched The Wizard of Oz while listening to Dark Side of the Moon, I highly recommend it.Here's the trailer for Christmas on Mars: 5. The Women -- This contemporary remake of feminist comedy drama The Women (1939) stars Annette Bening, Candice Bergen, Jada Pinkett Smith, Meg Ryan, Eva Mendes, and Debra Messing. The story begins when the most-envied of the women discovers her husband is having an affair with a shopgirl. With smaller roles played by Bette Midler, Cloris Leachman, and Carrie Fisher, this movie has as many stars as The Thin Red Line.Has anyone seen the original The Women? The remake is being called gossipy and bitchy-wisecracking; do you have any other bitchy-wisecracking favorites?DOCUMENTARIES6. Flow: For Love of Water -- (limited release) Presents how corporate privatization of water is adversely affecting many around the world. 7. Moving Midway -- (limited release) When Raleigh, NC man Charlie Cheshire decides to relocate the historic buildings of the Midway plantation, white Raleigh residents are outraged at the idea of moving their beloved symbol of the Old South. This is contrasted by the perspective of another branch of the Chesire family--the descendants of the slaves who were owned by the white Cheshires. The two branches of the Cheshire family meet on camera, which would be very interesting to see. Here's the trailer:
]]>Mon, 08 Sep 2008 16:14:02 GMTSkyPilotComing Soon9/8/2008 12:14:02 PMWaa-hooo! This Friday we are officially delivered from the movie release Dead Zone! Let Oscar-bait season begin!FEATURES1. Burn After Reading -- New Coen bros. movie this Friday! Does the trailer for this dark spy comedy remind anyone else of the dark stoner/detective comedy The Big Lebowski?Brad Pitt and John Malkovich are both interviewed about the film on SpoutBlog.And there's a Recast The Big Lebowski contest you're all welcome to join in the Filmgaming group. The swag we're giving away would go great with a bathrobe.2. Righteous Kill -- Robert Deniro and Al Pacino do the bad cop/bad cop routine.This could be...(a) a supremely awesome, double-espresso shot of testosterone, a la Michael Mann's Heat. Or this could be ...(b) a blown opportunity on the level of The Score (remember that extremely forgettable movie with Deniro, Marlon Brando, and Ed Norton?) Unfortunately I'm expecting Righteous Kill to be closer to option (b). Director Jon Avnet is no Michael Mann. His most recent film 88 Minutes starred Al Pacino, was in theaters for about half an hour, and barely got a kind word spoken about it. There's some hope for Avnet, though -- the first film he directed was Fried Green Tomatoes.3. Tyler Perry's The Family That Preys -- Of all Tyler Perry films, this one looks most interesting to me. Kathy Bates and Alfre Woodard are long-time friends and the matriarchs of two seemingly different families: Bates' family is wealthy and WASPy, while Woodard's family is working class African American. The families experience similar crises, including extramarital affairs and unethical business practices.I haven't seen any Tyler Perry movies. Any fans out there that could recommend a film to start with?4. Christmas on Mars: A Fantastical Film Freakout Featuring the Flaming Lips -- (limited release) This sci-fi flick is the directorial debut of Flaming Lips frontman Wayne Coyne. The story: it's Christmastime on Mars. When the community's life support system begins to malfunction, one man on the repair team begins to hallucinate about the birth of a baby. The Lips provide the music and each band member plays a role.I'm far from a die-hard Lips fan, but this sounds incredible! The film sounds like a natural (but inspired) progression from creating rock operas like Yoshimi Battles the Pink Robots. I'd enjoy seeing more rock opera movies. Are there any films you guys would recommend? I was disappointed by Tommy, and I haven't seen Pink Floyd: The Wall (I only like about half of the music on The Wall). If you guys haven't watched The Wizard of Oz while listening to Dark Side of the Moon, I highly recommend it.Here's the trailer for Christmas on Mars: 5. The Women -- This contemporary remake of feminist comedy drama The Women (1939) stars Annette Bening, Candice Bergen, Jada Pinkett Smith, Meg Ryan, Eva Mendes, and Debra Messing. The story begins when the most-envied of the women discovers her husband is having an affair with a shopgirl. With smaller roles played by Bette Midler, Cloris Leachman, and Carrie Fisher, this movie has as many stars as The Thin Red Line.Has anyone seen the original The Women? The remake is being called gossipy and bitchy-wisecracking; do you have any other bitchy-wisecracking favorites?DOCUMENTARIES6. Flow: For Love of Water -- (limited release) Presents how corporate privatization of water is adversely affecting many around the world. 7. Moving Midway -- (limited release) When Raleigh, NC man Charlie Cheshire decides to relocate the historic buildings of the Midway plantation, white Raleigh residents are outraged at the idea of moving their beloved symbol of the Old South. This is contrasted by the perspective of another branch of the Chesire family--the descendants of the slaves who were owned by the white Cheshires. The two branches of the Cheshire family meet on camera, which would be very interesting to see. Here's the trailer: http://www.spout.com/groups/Coming_Soon/Upcoming_Movies_Week_of_8_29/216/34334/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 8/25/2008 12:46:07 PM
Body: Ah, the back to school season. College students across the nation are so occupied with drinking, packing, traveling, and vomiting that they can't get a movie in edgewise. So with the possibility of a big opening weekend thrown out the window, the studios are unveiling some movies I'd like to throw out a window. These movies made me think of some good films to talk about, though.Babylon A.D. (8-29) -- I've met a few enthusiastic members of the Pitch Black cult, but still haven't seen that or Chronicles of Riddick. Any fans of these movies who are looking forward to Babylon A.D.? I would see this movie more for Michelle Yeoh, who could definitely kick Vin Diesel's ass. Traitor (8-29) -- Is it just me, or does this movie look as generic as those cereals that come in plastic bags? It could surprise me though, starring reliables like Don Cheadle, Guy Pearce, and Jeff Daniels. Still, if I'm going to see a thriller about treason I'll watch The Hunt for Red October again. I found the recent Breach (Ryan Philippe, Chris Cooper) only passable, though the ever-excellent Cooper succeeded at making me feel as sordid as his character. Any treason thrillers you guys recommend?If you like the actors in Traitor, get a load of Cheadle in Devil in a Blue Dress, Guy Pearce in The Proposition, and Jeff Daniels in The Squid and the Whale.Disaster Movie (8-29) -- Even the two-minute trailer to this comedy feels an hour too long. College (8-29) -- (sigh) If you were stuck on a deserted island with only Disaster Movie or College, which one would you pick?Maria Bethania: Music is Perfume (8-29, limited release) -- Huge in Brazil, I haven't heard of the singer until now. Turns out she's released over thirty albums in forty-some years. "Samba is sadness dancing," she says, so if this documentary is as thoughtful and articulate as Maria, fans of Latin and world music might enjoy it. I've realized that the music docs I prefer all include mad men: Dig! follows the feud between The Dandy Warhols and The Brian Jonestown Massacre; You're Gonna Miss Me shows psych-rock innovator Roky Erickson's sad but winning battle with schizophrenia; and Townes Van Zandt is quietly crazy in the heartbreakingly beautiful Be Here to Love Me. We just have to hang in there until September 12 for the new Coen Brothers movie Burn After Reading. Brad Pitt, George Clooney, Frances McDormand and John Malkovich in a dark spy-comedy--how could this film go wrong? Though I'm a little worried about Righteous Kill (also Sept. 12). Robert Deniro and Al Pacino doing a bad cop/bad cop routine looks like some supremely macho entertainment, and I'm fine with that. The chemistry between these actors in Heat was tremendous, but I wonder how much of that had to do with director Michael Mann? I'm wary that Righteous Kill director Jon Avnet might blow it, because if his recent team-up with Al Pacino, 88 Minutes, is any indication of how righteous Righteous Kill will be...we're doomed.
]]>Mon, 25 Aug 2008 16:46:07 GMTSkyPilotComing Soon8/25/2008 12:46:07 PMAh, the back to school season. College students across the nation are so occupied with drinking, packing, traveling, and vomiting that they can't get a movie in edgewise. So with the possibility of a big opening weekend thrown out the window, the studios are unveiling some movies I'd like to throw out a window. These movies made me think of some good films to talk about, though.Babylon A.D. (8-29) -- I've met a few enthusiastic members of the Pitch Black cult, but still haven't seen that or Chronicles of Riddick. Any fans of these movies who are looking forward to Babylon A.D.? I would see this movie more for Michelle Yeoh, who could definitely kick Vin Diesel's ass. Traitor (8-29) -- Is it just me, or does this movie look as generic as those cereals that come in plastic bags? It could surprise me though, starring reliables like Don Cheadle, Guy Pearce, and Jeff Daniels. Still, if I'm going to see a thriller about treason I'll watch The Hunt for Red October again. I found the recent Breach (Ryan Philippe, Chris Cooper) only passable, though the ever-excellent Cooper succeeded at making me feel as sordid as his character. Any treason thrillers you guys recommend?If you like the actors in Traitor, get a load of Cheadle in Devil in a Blue Dress, Guy Pearce in The Proposition, and Jeff Daniels in The Squid and the Whale.Disaster Movie (8-29) -- Even the two-minute trailer to this comedy feels an hour too long. College (8-29) -- (sigh) If you were stuck on a deserted island with only Disaster Movie or College, which one would you pick?Maria Bethania: Music is Perfume (8-29, limited release) -- Huge in Brazil, I haven't heard of the singer until now. Turns out she's released over thirty albums in forty-some years. "Samba is sadness dancing," she says, so if this documentary is as thoughtful and articulate as Maria, fans of Latin and world music might enjoy it. I've realized that the music docs I prefer all include mad men: Dig! follows the feud between The Dandy Warhols and The Brian Jonestown Massacre; You're Gonna Miss Me shows psych-rock innovator Roky Erickson's sad but winning battle with schizophrenia; and Townes Van Zandt is quietly crazy in the heartbreakingly beautiful Be Here to Love Me. We just have to hang in there until September 12 for the new Coen Brothers movie Burn After Reading. Brad Pitt, George Clooney, Frances McDormand and John Malkovich in a dark spy-comedy--how could this film go wrong? Though I'm a little worried about Righteous Kill (also Sept. 12). Robert Deniro and Al Pacino doing a bad cop/bad cop routine looks like some supremely macho entertainment, and I'm fine with that. The chemistry between these actors in Heat was tremendous, but I wonder how much of that had to do with director Michael Mann? I'm wary that Righteous Kill director Jon Avnet might blow it, because if his recent team-up with Al Pacino, 88 Minutes, is any indication of how righteous Righteous Kill will be...we're doomed. http://www.spout.com/blogs/usesoap/archive/2008/4/16/27345.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 4/16/2008 10:04:35 AM
Body: How to put this mildly? When Al Pacino gets a call from an anonymous antagonist in the new thriller “88 Minutes” and tells him he has 88 minutes to live, my first thought after looking at Pacino was “Is it his physician? His cardiologist?”Haggard and crinkly as a wadded-up Kleenex, Pacino looks far out of a role that requires him to be a hard-partying, libidinous professor whose musk seems to attract all female students a quarter his age.The film’s opening scene, in which he’s getting jiggy with a roomful of models/students (seriously, are there no ugly kids taking forensics classes in this town?), is far more frightening than anything that follows in this sub-standard serial killer thriller directed by Jon Avnet.Pacino plays Dr. Jack Gramm, a forensic psychiatrist whose professional prowess lands him a sweet gig with the local FBI, a spot on staff at a Seattle university, and an endless receiving line of beautiful young students ready to personally collect samples of his DNA.As the character is drawn, Gramm is a Freudian dream come true – narcissistic, skirt-chasing and driver of a luxury little sports car (is that the new Porsche Phallus?). Gee, Gramm. Compensate much?Gramm’s under scrutiny as his perhaps questionable testimony has slapped a man with the “Seattle Slayer” moniker, resulting in a death sentence for a number of murders in the rainy city.“88 Minutes” is the type of picture that, when Gramm’s taunted with his cellphone by an unknown assailant, the camera slowly lingers on every face on campus as each one shoots ominously accusatory glances. It’s the type of film where said tormentor possesses omnipotent powers as he/she anticipates Gramm’s every move and plants threatening messages informing him exactly how many minutes he has left to live. It’s the type of film that introduces us to shadowy characters with names like Guy LaForge (I am guessing there was licensing problems with Sammy St. Snufalufogus). And, like it’s clock-ticking televised cousin “24,” “88 Minutes” is the type of picture in which all of the events seem to happen within mere feet of where Gramm is standing, as he’s able to skip across the state with little regard to laws of speed and sound.Suspects include his pretty student teacher (played by Alicia Witt, who, it should be noted, is studying forensics, yet screams hysterically when seeing a dead body), his pretty co-worker (played by Amy Brennaman), his pretty dean (played by Debra Kara Unger) and his pretty students (played by Leelee Sobieski and Ben McKenzie).Any above picture’s faults do not end there. It goes to such great lengths to make every single minor character a candidate, it becomes utterly pointless to try to play along (that said, the perpetrator can be deduced by audience members with 73 minutes to spare). For example, when a school building is evacuated after a bomb threat, a fire engine barrels onto the scene, causing random citizens to dive out of its way, including Gramm. Yup, got to love those emergency workers who’d mow down a street-full of citizens in order to save others.Pacino does what is required of him, which is weak by the actor’s standards, but still light years ahead of the rest of the cast. The term “cash-grab” immediately comes to mind and the film feels similar to the type of production fellow acting legend Robert DeNiro has been slumming in of recent years (“15 Minutes, Showtime, Hide and Seek). Pacino will soon share the screen again with DeNiro in yet another film about cops and serial killers and it, too, is directed by Avnet. While it will be a treat to have them both share screen time, one can only hope that it’s not as literally by-the-numbers as “88 Minutes.”
]]>Wed, 16 Apr 2008 14:04:35 GMTusesoapusesoap Blog4/16/2008 10:04:35 AMHow to put this mildly? When Al Pacino gets a call from an anonymous antagonist in the new thriller &ldquo;88 Minutes&rdquo; and tells him he has 88 minutes to live, my first thought after looking at Pacino was &ldquo;Is it his physician? His cardiologist?&rdquo;Haggard and crinkly as a wadded-up Kleenex, Pacino looks far out of a role that requires him to be a hard-partying, libidinous professor whose musk seems to attract all female students a quarter his age.The film&rsquo;s opening scene, in which he&rsquo;s getting jiggy with a roomful of models/students (seriously, are there no ugly kids taking forensics classes in this town?), is far more frightening than anything that follows in this sub-standard serial killer thriller directed by Jon Avnet.Pacino plays Dr. Jack Gramm, a forensic psychiatrist whose professional prowess lands him a sweet gig with the local FBI, a spot on staff at a Seattle university, and an endless receiving line of beautiful young students ready to personally collect samples of his DNA.As the character is drawn, Gramm is a Freudian dream come true &ndash; narcissistic, skirt-chasing and driver of a luxury little sports car (is that the new Porsche Phallus?). Gee, Gramm. Compensate much?Gramm&rsquo;s under scrutiny as his perhaps questionable testimony has slapped a man with the &ldquo;Seattle Slayer&rdquo; moniker, resulting in a death sentence for a number of murders in the rainy city.&ldquo;88 Minutes&rdquo; is the type of picture that, when Gramm&rsquo;s taunted with his cellphone by an unknown assailant, the camera slowly lingers on every face on campus as each one shoots ominously accusatory glances. It&rsquo;s the type of film where said tormentor possesses omnipotent powers as he/she anticipates Gramm&rsquo;s every move and plants threatening messages informing him exactly how many minutes he has left to live. It&rsquo;s the type of film that introduces us to shadowy characters with names like Guy LaForge (I am guessing there was licensing problems with Sammy St. Snufalufogus). And, like it&rsquo;s clock-ticking televised cousin &ldquo;24,&rdquo; &ldquo;88 Minutes&rdquo; is the type of picture in which all of the events seem to happen within mere feet of where Gramm is standing, as he&rsquo;s able to skip across the state with little regard to laws of speed and sound.Suspects include his pretty student teacher (played by Alicia Witt, who, it should be noted, is studying forensics, yet screams hysterically when seeing a dead body), his pretty co-worker (played by Amy Brennaman), his pretty dean (played by Debra Kara Unger) and his pretty students (played by Leelee Sobieski and Ben McKenzie).Any above picture&rsquo;s faults do not end there. It goes to such great lengths to make every single minor character a candidate, it becomes utterly pointless to try to play along (that said, the perpetrator can be deduced by audience members with 73 minutes to spare). For example, when a school building is evacuated after a bomb threat, a fire engine barrels onto the scene, causing random citizens to dive out of its way, including Gramm. Yup, got to love those emergency workers who&rsquo;d mow down a street-full of citizens in order to save others.Pacino does what is required of him, which is weak by the actor&rsquo;s standards, but still light years ahead of the rest of the cast. The term &ldquo;cash-grab&rdquo; immediately comes to mind and the film feels similar to the type of production fellow acting legend Robert DeNiro has been slumming in of recent years (&ldquo;15 Minutes, Showtime, Hide and Seek). Pacino will soon share the screen again with DeNiro in yet another film about cops and serial killers and it, too, is directed by Avnet. While it will be a treat to have them both share screen time, one can only hope that it&rsquo;s not as literally by-the-numbers as &ldquo;88 Minutes.&rdquo; http://www.spout.com/blogs/spoutblog/archive/2008/1/29/24518.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/29/2008 4:01:21 PM
Body: I know star power isn’t what it used to be, but doesn’t it seem like we still give Al Pacino more credit than he’s worth? Despite his receiving an Oscar fifteen years ago, the guy hasn’t been a completely dependable actor in more than two decades. And yet a lot of people write about his upcoming movies as if they could maybe, possibly, hopefully be on par with the actor’s ’70s work. I’m not denying that he’s excellent in a few films of even the past ten years (particularly The Insider), but let’s not forget he was also in Gigli, so it isn’t like he’s making the same smart choices he was making as a younger man. And now here’s 88 Minutes, another movie that attempts to give us a thrilling plot in real time, a la 24. But despite such a gimmick working with old films like High Noon and 12 Angry Men, when it’s presented as a gimmick, and clearly as the only reason a movie is made (as in the cases of Nick of Time, Timecode and Phone Booth), it always comes off as forced and (obviously) gimmicky. But at least Pacino is in it, right? Eh, maybe if American moviegoers still gave a damn about marquee names. Maybe that’s why 88 Minutes was released to many foreign markets six months to a year ago; star power is still marketable in many places outside the U.S. Meanwhile, Sony is finally dropping the thing here on April 18. I can’t say that I would never see a movie just because Pacino is in it (I can’t wait to see him as Salvador Dali in Dali & I: The Surreal Story, only because the idea is half-genius, half-ludicrous), but even my nostalgia for a seemingly real time movie like Dog Day Afternoon (it’s not in real time, but it feels like it) can’t get me to see 88 Minutes just for him. And there doesn’t appear to be much else that’s appealing about the generic frame-job film either. Originally posted on:SpoutBlog
]]>Tue, 29 Jan 2008 21:01:21 GMTSpoutBlogSpoutBlog on spout.com1/29/2008 4:01:21 PM I know star power isn’t what it used to be, but doesn’t it seem like we still give Al Pacino more credit than he’s worth? Despite his receiving an Oscar fifteen years ago, the guy hasn’t been a completely dependable actor in more than two decades. And yet a lot of people write about his upcoming movies as if they could maybe, possibly, hopefully be on par with the actor’s ’70s work. I’m not denying that he’s excellent in a few films of even the past ten years (particularly The Insider), but let’s not forget he was also in Gigli, so it isn’t like he’s making the same smart choices he was making as a younger man. And now here’s 88 Minutes, another movie that attempts to give us a thrilling plot in real time, a la 24. But despite such a gimmick working with old films like High Noon and 12 Angry Men, when it’s presented as a gimmick, and clearly as the only reason a movie is made (as in the cases of Nick of Time, Timecode and Phone Booth), it always comes off as forced and (obviously) gimmicky. But at least Pacino is in it, right? Eh, maybe if American moviegoers still gave a damn about marquee names. Maybe that’s why 88 Minutes was released to many foreign markets six months to a year ago; star power is still marketable in many places outside the U.S. Meanwhile, Sony is finally dropping the thing here on April 18. I can’t say that I would never see a movie just because Pacino is in it (I can’t wait to see him as Salvador Dali in Dali & I: The Surreal Story, only because the idea is half-genius, half-ludicrous), but even my nostalgia for a seemingly real time movie like Dog Day Afternoon (it’s not in real time, but it feels like it) can’t get me to see 88 Minutes just for him. And there doesn’t appear to be much else that’s appealing about the generic frame-job film either. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/7/26/16597.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/26/2007 4:56:31 PM
Body: In late 2005, Jon Avnet (who, it should be noted, is a very successful producer who hasn’t directed a film you might have seen since Fried Green Tomatoes) directed Al Pacino in a “real-time thriller” called 88 Minutes. A trailer for that film seems to have shown up on the web around this time last summer. According to IMDb, 88 Minutes was released on DVD in Brazil this past February and in a handful of other countries theatrically over the course of the spring; the pic’s US release date has been bumped several times, and is now listed as sometime in 2008. Perhaps now we know why. In an interview with Pitchfork, indie rock guitar virtuoso Marnie Stern admitted to having recently downloaded “40 or 50 movies” while touring with Hella drummer Zach Hill. “But,” she says, “Every movie is a pile of garbage!” Stern elaborates on one recent download: Another movie I saw last night was Al Pacino in 88 Minutes, I don’t even know if it went to the goddamn theatres. He looks unbelievably terrible. Like, in the Rolling Stones category. Dyed hair, he’s over-tanned, he’s really is not looking good at all. And in the movie he’s having sex with 25 year-olds. So what do we learn from this little anecdote, beyond the fact that Al Pacino is no longer a credible love match for Alicia Witt or Leelee Sobieski? That studios might as well release dust-collecting duds, because the piracy chain is now so massive that an up-and-coming American rock star is easily able to illegally gain access to a film before any American film critic, and then ultimately tell the Wall Street Journal of hipster websites all about how ridiculous it is? Yeah, I guess that’s all kind of a big deal, but mostly, I’m just really hoping Marnie Stern starts a film blog. In the meantime, you can watch the video for her song “Every Single Line Means Something” above. Originally posted on:Spoutblog
]]>Thu, 26 Jul 2007 20:56:31 GMTSpoutBlogSpoutBlog on spout.com7/26/2007 4:56:31 PM In late 2005, Jon Avnet (who, it should be noted, is a very successful producer who hasn’t directed a film you might have seen since Fried Green Tomatoes) directed Al Pacino in a “real-time thriller” called 88 Minutes. A trailer for that film seems to have shown up on the web around this time last summer. According to IMDb, 88 Minutes was released on DVD in Brazil this past February and in a handful of other countries theatrically over the course of the spring; the pic’s US release date has been bumped several times, and is now listed as sometime in 2008. Perhaps now we know why. In an interview with Pitchfork, indie rock guitar virtuoso Marnie Stern admitted to having recently downloaded “40 or 50 movies” while touring with Hella drummer Zach Hill. “But,” she says, “Every movie is a pile of garbage!” Stern elaborates on one recent download: Another movie I saw last night was Al Pacino in 88 Minutes, I don’t even know if it went to the goddamn theatres. He looks unbelievably terrible. Like, in the Rolling Stones category. Dyed hair, he’s over-tanned, he’s really is not looking good at all. And in the movie he’s having sex with 25 year-olds. So what do we learn from this little anecdote, beyond the fact that Al Pacino is no longer a credible love match for Alicia Witt or Leelee Sobieski? That studios might as well release dust-collecting duds, because the piracy chain is now so massive that an up-and-coming American rock star is easily able to illegally gain access to a film before any American film critic, and then ultimately tell the Wall Street Journal of hipster websites all about how ridiculous it is? Yeah, I guess that’s all kind of a big deal, but mostly, I’m just really hoping Marnie Stern starts a film blog. In the meantime, you can watch the video for her song “Every Single Line Means Something” above. Originally posted on:Spoutblog http://www.spout.com/members/0/tags/investigation/MemberTagFilms.aspxinvestigation
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