list http://www.spout.com/ Recent community activity around The Departed on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Departed/249035/default.aspx Title: The Departed
Year: 2006
Director: Martin Scorsese
Plot: Legendary director Martin Scorsese takes the helm for this tale of questionable loyalties and blurring identities set in the South Boston organized crime scene and inspired by the wildly popular 2002 Hong Kong crime film Infernal Affairs. As the police force attempts to reign in the increasingly powerful Irish mafia, authorities are faced with the prospect of sending in an undercover agent or seeing their already frail grip on the criminal underworld slip even further. Billy Costigan (Leonardo DiCaprio) is a young cop looking to make a name for himself in the world of law enforcement. Collin Sullivan (Matt Damon) is a street-smart criminal who has successfully infiltrated the police department with the sole intention of reporting their every move to ruthless syndicate head Frank Costello (Jack Nicholson). When Costigan is assigned the task of working his way into Costello's tightly guarded inner circle, Sullivan is faced with the responsibility of rooting out the informer before things get out of hand. With the stakes constantly rising and time quickly running out for the undercover cop and his criminal counterpart, each man must work feverishly to reveal his counterpart before his identity is exposed by the other. Martin Sheen, Alec Baldwin, and Ray Winstone co-star, and writer William Monahan adapts a screenplay originally penned by Alan Mak and Felix Chong. ~ Jason Buchanan, All Movie Guide
Times Tagged: 144
Number of Lists: 124
Number of blog posts: 48
Number of discussion threads: 11
SpoutRating: 4
]]>Mon, 03 Aug 2009 18:36:56 GMTThe Departed2006Martin ScorseseLegendary director <a href="/players/P___110533/default.aspx" style='text-decoration:underline'>Martin Scorsese</a> takes the helm for this tale of questionable loyalties and blurring identities set in the South Boston organized crime scene and inspired by the wildly popular 2002 Hong Kong crime film <a href=/films/223898/default.aspx style='text-decoration:underline'>Infernal Affairs</a>. As the police force attempts to reign in the increasingly powerful Irish mafia, authorities are faced with the prospect of sending in an undercover agent or seeing their already frail grip on the criminal underworld slip even further. Billy Costigan (<a href="/players/P____18926/default.aspx" style='text-decoration:underline'>Leonardo DiCaprio</a>) is a young cop looking to make a name for himself in the world of law enforcement. Collin Sullivan (<a href="/players/P____16762/default.aspx" style='text-decoration:underline'>Matt Damon</a>) is a street-smart criminal who has successfully infiltrated the police department with the sole intention of reporting their every move to ruthless syndicate head Frank Costello (<a href="/players/P___104455/default.aspx" style='text-decoration:underline'>Jack Nicholson</a>). When Costigan is assigned the task of working his way into Costello's tightly guarded inner circle, Sullivan is faced with the responsibility of rooting out the informer before things get out of hand. With the stakes constantly rising and time quickly running out for the undercover cop and his criminal counterpart, each man must work feverishly to reveal his counterpart before his identity is exposed by the other. <a href="/players/P___111083/default.aspx" style='text-decoration:underline'>Martin Sheen</a>, <a href="/players/P_____3515/default.aspx" style='text-decoration:underline'>Alec Baldwin</a>, and <a href="/players/P___233161/default.aspx" style='text-decoration:underline'>Ray Winstone</a> co-star, and writer <a href="/players/P___371443/default.aspx" style='text-decoration:underline'>William Monahan</a> adapts a screenplay originally penned by Alan Mak and Felix Chong. ~ Jason Buchanan, All Movie Guide144Tag Target (>10)12448114http://www.spout.com/ProductImages/u51439uza59.jpghttp://www.spout.com/films/The_Departed/249035/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_6_The_Song/625/42986/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 7/10/2009 1:37:48 PM
Body: [quote user="leeroy711"] [quote user="mercurial"] I’m Shipping Up to Boston - Dropkick Murphys The Departed I’m certain Scorsese won the Oscar purely for putting this song in the film. [/quote] Really!! I didn't really think The Academy was down with Dropkick.. [/quote] I remember there was a cool use of one or a couple Clash songs in Scorsese's Bringing Out the Dead. And I think Casino used that great Devo cover of "I Can't Get No Satisfaction"
]]>Fri, 10 Jul 2009 17:37:48 GMTRisseladaWeekly Theme7/10/2009 1:37:48 PM[quote user="leeroy711"] [quote user="mercurial"] I&rsquo;m Shipping Up to Boston - Dropkick Murphys The Departed I&rsquo;m certain Scorsese won the Oscar purely for putting this song in the film. [/quote] Really!! I didn't really think The Academy was down with Dropkick.. [/quote] I remember there was a cool use of one or a couple Clash songs in Scorsese's Bringing Out the Dead. And I think Casino used that great Devo cover of "I Can't Get No Satisfaction" http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_6_The_Song/625/42954/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 7/8/2009 12:28:43 PM
Body: [quote user="mercurial"] I’m Shipping Up to Boston - Dropkick Murphys The Departed I’m certain Scorsese won the Oscar purely for putting this song in the film. [/quote] Really!! I didn't really think The Academy was down with Dropkick..
]]>Wed, 08 Jul 2009 16:28:43 GMTleeroy711Weekly Theme7/8/2009 12:28:43 PM[quote user="mercurial"] I&rsquo;m Shipping Up to Boston - Dropkick Murphys The Departed I&rsquo;m certain Scorsese won the Oscar purely for putting this song in the film. [/quote] Really!! I didn't really think The Academy was down with Dropkick.. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_6_The_Song/625/42947/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/7/2009 9:04:03 PM
Body: The Pink Room - David Lynch Twin Peaks: Fire Walk With Me Probably one of my favorite scenes from a movie, The Pink Room is the name of the song that is playing in the back room of the seedy bar that Laura Palmer goes to to unwind. It just one of those songs that I can listen to on repeat and completely zone out to. Daybreak - Barry ManilowSerial Mom I had never heard any before and haven’t had the desire to listen to any after, but whenever I hear Barry Manilow’s Daybreak I will forever think of Kathleen Turner going psycho in Serial Mom. Hold Tight - Beaky, Dave Dee, Dozy, Mitch & TichGrindhouse A group of gorgeous ladies rocking out to this song before the unthinkably gruesome happens. Has become a staple in my iPod. My Sharona - The KnackReality Bites The gas station food mart with the whole gang dancing crazily to this song. Young Americans - David BowieManderlay Played during the closing credits, the placement of this song in the film was pretty much a big “Fuck You!” from Lars von Trier to America. I still like the guy though. Baby Did A Bad Bad Thing - Chris IsaakEyes Wide Shut The use of the song in the trailer and film was just perfect. Perfect! I’m Shipping Up to Boston - Dropkick Murphys The Departed I’m certain Scorsese won the Oscar purely for putting this song in the film. Where Is My Mind? - The PixiesFight Club Played during the crescendo of the film’s conclusion, I still get goosebumps when I hear this song. My Beloved Monster - EelsShrek Probably one of the only semi-upbeat songs sung by the Eels and it fit perfectly in the film. Needle in the Hay - Elliott SmithThe Royal Tenenbaums Sadly, Luke Wilson’s attempted suicide to this song was mirrored by Smith’s own suicide a few years later. Tiny Dancer - Elton JohnAlmost Famous I always see Kate Hudson twirling in an empty auditorium when I hear this song. To Be Continued . . .
]]>Wed, 08 Jul 2009 01:04:03 GMTmercurialWeekly Theme7/7/2009 9:04:03 PM The Pink Room - David Lynch Twin Peaks: Fire Walk With Me Probably one of my favorite scenes from a movie, The Pink Room is the name of the song that is playing in the back room of the seedy bar that Laura Palmer goes to to unwind. It just one of those songs that I can listen to on repeat and completely zone out to. Daybreak - Barry ManilowSerial Mom I had never heard any before and haven&rsquo;t had the desire to listen to any after, but whenever I hear Barry Manilow&rsquo;s Daybreak I will forever think of Kathleen Turner going psycho in Serial Mom. Hold Tight - Beaky, Dave Dee, Dozy, Mitch &amp; TichGrindhouse A group of gorgeous ladies rocking out to this song before the unthinkably gruesome happens. Has become a staple in my iPod. My Sharona - The KnackReality Bites The gas station food mart with the whole gang dancing crazily to this song. Young Americans - David BowieManderlay Played during the closing credits, the placement of this song in the film was pretty much a big &ldquo;Fuck You!&rdquo; from Lars von Trier to America. I still like the guy though. Baby Did A Bad Bad Thing - Chris IsaakEyes Wide Shut The use of the song in the trailer and film was just perfect. Perfect! I&rsquo;m Shipping Up to Boston - Dropkick Murphys The Departed I&rsquo;m certain Scorsese won the Oscar purely for putting this song in the film. Where Is My Mind? - The PixiesFight Club Played during the crescendo of the film&rsquo;s conclusion, I still get goosebumps when I hear this song. My Beloved Monster - EelsShrek Probably one of the only semi-upbeat songs sung by the Eels and it fit perfectly in the film. Needle in the Hay - Elliott SmithThe Royal Tenenbaums Sadly, Luke Wilson&rsquo;s attempted suicide to this song was mirrored by Smith&rsquo;s own suicide a few years later. Tiny Dancer - Elton JohnAlmost Famous I always see Kate Hudson twirling in an empty auditorium when I hear this song. To Be Continued . . . http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_June_8_Undercover/625/42574/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 6/8/2009 4:57:45 PM
Body: Well as far as I know The Departed is a remake of elements of all three movies in the Infernal Affairs trilogy. That might be why The Departed is longer and has more elements than what you saw in just the first of the Infernal Affairs movies.
]]>Mon, 08 Jun 2009 20:57:45 GMTRisseladaWeekly Theme6/8/2009 4:57:45 PMWell as far as I know The Departed is a remake of elements of all three movies in the Infernal Affairs trilogy. That might be why The Departed is longer and has more elements than what you saw in just the first of the Infernal Affairs movies. http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_June_8_Undercover/625/42572/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 6/8/2009 3:34:45 PM
Body: Well, hello again from the Weekly Theme. Last week I finally watched Infernal Affairs. You know, that movie Hong Kong film Scorsese remade for the gold. I have to say, I thought the original was far better than the remake and I was actually pretty surprised at how close Marty stuck with all the original plot points. He just seemed to elongate the entire thing and add one more key character. But I digress, I want to talk this week about all those great undercover films. I also recently watched a great private eye film by one of my favorite directors, Seijun Suzuki. It was Detective Bureau 2-3: Go to Hell Bastards!!! This film was such a good time, but with a title like that it kinda had to be. State of Grace is another good undercover cop film. I remember watching this. I remember liking it quite a bit when I was younger and I've been wanting to re-watch it lately to see if it still holds up. Well, that's all I got for right now. So, what's you favorite undercover film?
]]>Mon, 08 Jun 2009 19:34:45 GMTleeroy711Weekly Theme6/8/2009 3:34:45 PMWell, hello again from the Weekly Theme. Last week I finally watched Infernal Affairs. You know, that movie Hong Kong film Scorsese remade for the gold. I have to say, I thought the original was far better than the remake and I was actually pretty surprised at how close Marty stuck with all the original plot points. He just seemed to elongate the entire thing and add one more key character. But I digress, I want to talk this week about all those great undercover films. I also recently watched a great private eye film by one of my favorite directors, Seijun Suzuki. It was Detective Bureau 2-3: Go to Hell Bastards!!! This film was such a good time, but with a title like that it kinda had to be. State of Grace is another good undercover cop film. I remember watching this. I remember liking it quite a bit when I was younger and I've been wanting to re-watch it lately to see if it still holds up. Well, that's all I got for right now. So, what's you favorite undercover film? http://www.spout.com/groups/Re_Make/Infernal_Affairs_2002_VS_The_Departed_2006/674/39996/1/ShowPost.aspx Post By: mercurial
Post To: Re-Make
Post Date: 1/27/2009 6:49:54 PM
Body: Not too many people realized The Departed was a remake until it was nominated for a number of Oscars and Infernal Affairs was eventually brought into the light. Did Martin Scorsese put his signature on the film or was it just another Americanization of an already great Chinese film? Does a noted director and some A-List actors make up the requirements to make a remake good? Let us know!
]]>Tue, 27 Jan 2009 23:49:54 GMTmercurialRe-Make1/27/2009 6:49:54 PM Not too many people realized The Departed was a remake until it was nominated for a number of Oscars and Infernal Affairs was eventually brought into the light. Did Martin Scorsese put his signature on the film or was it just another Americanization of an already great Chinese film? Does a noted director and some A-List actors make up the requirements to make a remake good? Let us know! http://www.spout.com/blogs/scswngr/archive/2009/1/12/39380.aspx Post By: scswngr
Post To: Film Obsessed
Post Date: 1/12/2009 4:28:19 AM
Body: After watching the Golden Globes tonight I have an eerily similar feeling as I did in early 2006 when I watched Crash gaining undeserved steam as it rocketed toward an eventual Best Picture win at the Academy Awards. This year, I am beginning to resent multiple-Golden Globe winner Slumdog Millionaire in much the same way. Don't get me wrong, I liked the movie a lot, I just feel like its getting all the notice because its so different than the normal Hollywood award fare. Slumdog is definitely worthy of a top 10 listing this year, the same as I felt for Crash in 2006, but I truly don't believe it is the best picture of the year. Certain elements of Slumdog definitely deserve recognition, including editing, direction, and score, but I don't think they should be a lock in any of those categories either. I haven't even made my way through half of the nominees for this year's Golden Globes, and I have already seen 3 other great films in the last week alone (Milk, Brideshead Revisited, and The Wrestler), each of which I would rank above Slumdog. I just hope all this momentum doesn't translate into Slumdog winning the Academy Award for Best Picture because of its popularity with all the other voters. But then again, I often think the Academy gets it wrong, with a noted exception for Departed in 2007.
]]>Mon, 12 Jan 2009 09:28:19 GMTscswngrFilm Obsessed1/12/2009 4:28:19 AMAfter watching the Golden Globes tonight I have an eerily similar feeling as I did in early 2006 when I watched Crash gaining undeserved steam as it rocketed toward an eventual Best Picture win at the Academy Awards. This year, I am beginning to resent multiple-Golden Globe winner Slumdog Millionaire in much the same way. Don't get me wrong, I liked the movie a lot, I just feel like its getting all the notice because its so different than the normal Hollywood award fare. Slumdog is definitely worthy of a top 10 listing this year, the same as I felt for Crash in 2006, but I truly don't believe it is the best picture of the year. Certain elements of Slumdog definitely deserve recognition, including editing, direction, and score, but I don't think they should be a lock in any of those categories either. I haven't even made my way through half of the nominees for this year's Golden Globes, and I have already seen 3 other great films in the last week alone (Milk, Brideshead Revisited, and The Wrestler), each of which I would rank above Slumdog. I just hope all this momentum doesn't translate into Slumdog winning the Academy Award for Best Picture because of its popularity with all the other voters. But then again, I often think the Academy gets it wrong, with a noted exception for Departed in 2007. http://www.spout.com/blogs/spoutblog/archive/2009/1/7/39219.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/7/2009 5:00:47 PM
Body: It’s only a couple of short weeks before the 2008 Oscar nominees are announced, and the internet is abuzz with prognostications. One hotly debated topic is whether or not Wall-E can pull off a Best Picture nomination, or even a win. It would be the second animated film to be nominated in the category, after Beauty and the Beast, which got the honor before the Animated Feature prize existed. Will the stodgy old Academy seat Wall-E at the kid’s table, giving it an easy win in the animation category, or will it be allowed to play with the big boys? A best pic nomination for Wall-E would be a rare honor for animation in general, but it would also be a long over due rarity for another reason: Wall-E would only be the second best pic nominated film in the history of the Oscars to be set in the future. The only one to date is A Clockwork Orange. When you consider how many nominees are period pieces (I didn’t care to count), this represents a massive bias on the part of the Academy. It’s clear that they love the past, but they hate the future. What would the history of the Academy Awards look like if the Hollywood elite wasn’t terrified of speculative fiction? Below, seven movies about the future that should have been nominated for Best Picture: 1. Metropolis The first Academy Awards, held in 1929, gave honors to films produced in both 1928 and 1927, so this should have at least been nominated. Of course the nomination process was rather primitive back then, and American audiences probably wouldn’t have been familiar with German films such as this, but for the purpose of revisionist history, we’ll say it got snubbed. There’s something very 20th century about Art Deco skyscrapers and class conflict, but Metropolis‘ depiction of 2026 still feels relevant today. The film laid the ground work for countless sci-fi tropes, including sexy female androids (see #5). 2. On The Beach This 1959 post-apocalyptic drama stars Gregory Peck as the captain of a US submarine stationed in Melbourne. Set in the near future of 1964, nuclear war has wiped out the rest of the planet, and it’s only a matter of months before the wind brings the deadly radioactive fallout to Australia. The film is a beautiful meditation on the inevitability of death, featuring a solid performance by Ava Gardner, and the most melancholy work by Fred Astaire I’ve ever seen (he does not sing or dance). On the Beach was nominated for both Best Score and Best Editing Oscars, and director Stanley Kramer won a BAFTA. 3. 2001: A Space Odyssey Kubrick’s masterpiece wasn’t completely snubbed; it received four Oscar nominations, with a win for Visual Effects. But the fact that it didn’t get a Best Picture nomination is criminal. The film is consistently listed on top 100 movie lists, and breaks the top ten on plenty of them. It’s clear that something went very wrong that year. Perhaps the snub can be blamed on the fact that the film was so far ahead of its time, that many people just didn’t get it. Pauline Kael said it was “a monumentally unimaginative movie.” 4. Solaris This 1972 Russian science fiction film is just as cerebral as 2001, and perhaps an even deeper plumb of the human psyche. The Palme d’Or nominated film, directed by Andrei Tarkovsky, follows the story of psychologist Chris Kelvin as he ventures to a distant space station, orbiting the water-covered planet Solaris. The station has fallen into disarray, and Kelvin soon figures out why. An apparition of his dead wife appears, apparently created by Solaris using Kelvin’s brain waves. The film is slow and introspective, and is one of those rare gems of science fiction that transcends the trappings of the genre. It should have at least been nominated for Best Foreign Language Film; instead, it wasn’t nominated for anything. 5. Blade Runner For some, saying that Blade Runner was one of the five best films of 1982 is stating the obvious. Perhaps the blending of sci-fi and noir seemed at the time to be nothing more than a cheap genre gimmick. But the enduring quality of Blade Runner makes it clear that it deserved more than the two nominations in received for Best Art Direction and Best Visual Effects. The snub of Blade Runner is perhaps the best way to prove the Academy’s bias toward the past, when you consider that Ridley Scott’s 2000 film, Gladiator was not only nominated for Best Picture, but it won! I repeat, Gladiator won Best Picture, while Blade Runner was not even nominated. Which did you think was the better movie? 6. Brazil Terry Gilliam’s dystopian black comedy might have had a shot at few Academy awards if Gilliam hadn’t burned every bridge in Hollywood as he made it. The film operates in the dystopian mold cast by 1984, with a healthy dose of dark humor and fantasy. It’s one of the most egregious examples of a studio re-cutting a film and essentially destroying it in the process. Fortunately, Gilliam’s cut is readily available on DVD now, but the director’s trustworthiness in Hollywood is still highly suspect. Gilliam is one of those filmmakers who, no matter how good a movie he makes, will never be welcomed into the inner sanctum. Still, Brazil deserved a Best Picture nomination. 7. Children of Men When the 2006 Best Picture nominees were announced, you may have heard a faint stream of cursing on the wind. That was me. I know that people tend to win Oscars when they’re “due,” which easily explains why The Departed took home the top prize, but the fact that Children of Men wasn’t even nominated is just silly. It was nominated for Best Cinematography and Best Film Editing, which is the Academy’s way of saying, “Wow, this movie is incredible, but it’s about the future, so let’s only honor that one really long take near the end.” Bullshit. Originally posted on:SpoutBlog
]]>Wed, 07 Jan 2009 22:00:47 GMTSpoutBlogSpoutBlog on spout.com1/7/2009 5:00:47 PMIt’s only a couple of short weeks before the 2008 Oscar nominees are announced, and the internet is abuzz with prognostications. One hotly debated topic is whether or not Wall-E can pull off a Best Picture nomination, or even a win. It would be the second animated film to be nominated in the category, after Beauty and the Beast, which got the honor before the Animated Feature prize existed. Will the stodgy old Academy seat Wall-E at the kid’s table, giving it an easy win in the animation category, or will it be allowed to play with the big boys? A best pic nomination for Wall-E would be a rare honor for animation in general, but it would also be a long over due rarity for another reason: Wall-E would only be the second best pic nominated film in the history of the Oscars to be set in the future. The only one to date is A Clockwork Orange. When you consider how many nominees are period pieces (I didn’t care to count), this represents a massive bias on the part of the Academy. It’s clear that they love the past, but they hate the future. What would the history of the Academy Awards look like if the Hollywood elite wasn’t terrified of speculative fiction? Below, seven movies about the future that should have been nominated for Best Picture: 1. Metropolis The first Academy Awards, held in 1929, gave honors to films produced in both 1928 and 1927, so this should have at least been nominated. Of course the nomination process was rather primitive back then, and American audiences probably wouldn’t have been familiar with German films such as this, but for the purpose of revisionist history, we’ll say it got snubbed. There’s something very 20th century about Art Deco skyscrapers and class conflict, but Metropolis‘ depiction of 2026 still feels relevant today. The film laid the ground work for countless sci-fi tropes, including sexy female androids (see #5). 2. On The Beach This 1959 post-apocalyptic drama stars Gregory Peck as the captain of a US submarine stationed in Melbourne. Set in the near future of 1964, nuclear war has wiped out the rest of the planet, and it’s only a matter of months before the wind brings the deadly radioactive fallout to Australia. The film is a beautiful meditation on the inevitability of death, featuring a solid performance by Ava Gardner, and the most melancholy work by Fred Astaire I’ve ever seen (he does not sing or dance). On the Beach was nominated for both Best Score and Best Editing Oscars, and director Stanley Kramer won a BAFTA. 3. 2001: A Space Odyssey Kubrick’s masterpiece wasn’t completely snubbed; it received four Oscar nominations, with a win for Visual Effects. But the fact that it didn’t get a Best Picture nomination is criminal. The film is consistently listed on top 100 movie lists, and breaks the top ten on plenty of them. It’s clear that something went very wrong that year. Perhaps the snub can be blamed on the fact that the film was so far ahead of its time, that many people just didn’t get it. Pauline Kael said it was “a monumentally unimaginative movie.” 4. Solaris This 1972 Russian science fiction film is just as cerebral as 2001, and perhaps an even deeper plumb of the human psyche. The Palme d’Or nominated film, directed by Andrei Tarkovsky, follows the story of psychologist Chris Kelvin as he ventures to a distant space station, orbiting the water-covered planet Solaris. The station has fallen into disarray, and Kelvin soon figures out why. An apparition of his dead wife appears, apparently created by Solaris using Kelvin’s brain waves. The film is slow and introspective, and is one of those rare gems of science fiction that transcends the trappings of the genre. It should have at least been nominated for Best Foreign Language Film; instead, it wasn’t nominated for anything. 5. Blade Runner For some, saying that Blade Runner was one of the five best films of 1982 is stating the obvious. Perhaps the blending of sci-fi and noir seemed at the time to be nothing more than a cheap genre gimmick. But the enduring quality of Blade Runner makes it clear that it deserved more than the two nominations in received for Best Art Direction and Best Visual Effects. The snub of Blade Runner is perhaps the best way to prove the Academy’s bias toward the past, when you consider that Ridley Scott’s 2000 film, Gladiator was not only nominated for Best Picture, but it won! I repeat, Gladiator won Best Picture, while Blade Runner was not even nominated. Which did you think was the better movie? 6. Brazil Terry Gilliam’s dystopian black comedy might have had a shot at few Academy awards if Gilliam hadn’t burned every bridge in Hollywood as he made it. The film operates in the dystopian mold cast by 1984, with a healthy dose of dark humor and fantasy. It’s one of the most egregious examples of a studio re-cutting a film and essentially destroying it in the process. Fortunately, Gilliam’s cut is readily available on DVD now, but the director’s trustworthiness in Hollywood is still highly suspect. Gilliam is one of those filmmakers who, no matter how good a movie he makes, will never be welcomed into the inner sanctum. Still, Brazil deserved a Best Picture nomination. 7. Children of Men When the 2006 Best Picture nominees were announced, you may have heard a faint stream of cursing on the wind. That was me. I know that people tend to win Oscars when they’re “due,” which easily explains why The Departed took home the top prize, but the fact that Children of Men wasn’t even nominated is just silly. It was nominated for Best Cinematography and Best Film Editing, which is the Academy’s way of saying, “Wow, this movie is incredible, but it’s about the future, so let’s only honor that one really long take near the end.” Bullshit. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/36935/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 11/4/2008 10:20:12 AM
Body: [quote user="SkyPilot"] Of the three Juenet films I've seen, I've liked Amelie the least. My favorite by him is Delicatessen. I'll have to see Hamburger Hill. I think part of why I like Platoon so much is that I watched it with my dad when I was 13. I wonder if love of the film is a coming-of-age, nostalgia thing for a lot of dudes? Like someone insisting Little Monsters is great, but they haven't seen it in sixteen years. [/quote] I think you're on to something there. I can definately attribute the beginning of my love affair with the Coen Bros. films to when my Dad took me to see Fargo in the theater. [quote user="SkyPilot"] Wow, Scorsese the 2nd-most overrated director ever! I agree that Goodfellas and Casino are just good gangster movies at best, and The Departed knocks the lining out of 'em both. On the other hand, even though I don't love Taxi Driver--and I don't even particularly enjoy it--when I've watched it (twice), I've had this sensation that something new was happening. Like the "You talkin' to me scene," the date with Cybil Shepherd, the meal with Jodie Foster--there's something there for me, something raw and real and scary. [/quote] All the Scorsese films I mentioned have one thing in common: I felt the pacing was way too slow and they build up to an ending that is very unsatisfying. In fact, now that I think about it, Gangs of New York was pretty much the same experience for me. If a film's going to be that long winded, it should do a better job of wowing you to complete the story in the end. I will say that The Departed was obviously his best work, and it took me about a year and a half to finally decide that I should watch it.
]]>Tue, 04 Nov 2008 15:20:12 GMTleeroy711Top 511/4/2008 10:20:12 AM[quote user="SkyPilot"] Of the three Juenet films I've seen, I've liked Amelie the least. My favorite by him is Delicatessen. I'll have to see Hamburger Hill. I think part of why I like Platoon so much is that I watched it with my dad when I was 13. I wonder if love of the film is a coming-of-age, nostalgia thing for a lot of dudes? Like someone insisting Little Monsters is great, but they haven't seen it in sixteen years. [/quote] I think you're on to something there. I can definately attribute the beginning of my love affair with the Coen Bros. films to when my Dad took me to see Fargo in the theater. [quote user="SkyPilot"] Wow, Scorsese the 2nd-most overrated director ever! I agree that Goodfellas and Casino are just good gangster movies at best, and The Departed knocks the lining out of 'em both. On the other hand, even though I don't love Taxi Driver--and I don't even particularly enjoy it--when I've watched it (twice), I've had this sensation that something new was happening. Like the "You talkin' to me scene," the date with Cybil Shepherd, the meal with Jodie Foster--there's something there for me, something raw and real and scary. [/quote] All the Scorsese films I mentioned have one thing in common: I felt the pacing was way too slow and they build up to an ending that is very unsatisfying. In fact, now that I think about it, Gangs of New York was pretty much the same experience for me. If a film's going to be that long winded, it should do a better job of wowing you to complete the story in the end. I will say that The Departed was obviously his best work, and it took me about a year and a half to finally decide that I should watch it. http://www.spout.com/blogs/edwa8698/archive/2008/10/9/36128.aspx Post By: edwa8698
Post To: edwa8698 Blog
Post Date: 10/9/2008 10:43:30 PM
Body: Everything I love about Marty's films is depicted in his latest crime caper. All of the characters are great, even the bad guys and the plot is thick with story. From frame one I was sucked into this world and even though the film is almost three hours long I never got bored and I never stopped caring about the characters. Leo is developing into a fine performer and I was surprised by his acting in this film. I think Scorsese may have found the the new De Niro as he has already worked with Leo twice and every time they work together his performance improves. Matt Damon is also in fine form playing the all around golden boy that doesn't seem capable of the things he does on screen. As always Jack Nicholson shines as the questionalbly sane villain. The film isn't as simple as labels though as one quote from Nicholson proves "We could play cops or criminals, what I am saying to you is this when your facing a loaded gun what's the difference?" The film is fierce violent and beautiful and in my opinion one of Marty's best. I can't wait for his next one!!
]]>Fri, 10 Oct 2008 02:43:30 GMTedwa8698edwa8698 Blog10/9/2008 10:43:30 PMEverything I love about Marty's films is depicted in his latest crime caper. All of the characters are great, even the bad guys and the plot is thick with story. From frame one I was sucked into this world and even though the film is almost three hours long I never got bored and I never stopped caring about the characters. Leo is developing into a fine performer and I was surprised by his acting in this film. I think Scorsese may have found the the new De Niro as he has already worked with Leo twice and every time they work together his performance improves. Matt Damon is also in fine form playing the all around golden boy that doesn't seem capable of the things he does on screen. As always Jack Nicholson shines as the questionalbly sane villain. The film isn't as simple as labels though as one quote from Nicholson proves "We could play cops or criminals, what I am saying to you is this when your facing a loaded gun what's the difference?" The film is fierce violent and beautiful and in my opinion one of Marty's best. I can't wait for his next one!! http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
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