list http://www.spout.com/ Recent community activity around The Squid and the Whale 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_Squid_and_the_Whale/256194/default.aspx Title: The Squid and the Whale
Year: 2005
Director: Noah Baumbach
Plot: Two boys learn the hard way about how a marriage falls apart in this independent comedy drama. Bernard (Jeff Daniels) is a novelist whose career has gone into a slow decline as he spends more time teaching and less time writing. His wife, Joan (Laura Linney), meanwhile, has recently begun publishing her own work to widespread acclaim, which only increases the growing tension between them. One day, Bernard and Joan's two sons -- 16-year-old Walt (Jesse Eisenberg) and 12-year-old Frank (Owen Kline) -- are told that their parents are separating, with Bernard renting a house on the other side of their Park Slope, Brooklyn, neighborhood. As the parents set up a schedule for spending time with their children, Walt and Jesse can hardly imagine that things could get more combative between their folks, but they do, as Joan begins dating Ivan (William Baldwin), Frank's tennis instructor, and Bernard starts sharing the house with Lili (Anna Paquin), one of his students. Meanwhile, the two boys begin taking sides in the battle between their parents, with Walt taking after his father and Frank siding with his mom. Based on writer/director Noah Baumbach's own childhood experiences with his parents' divorce, The Squid and the Whale won prizes for writing and direction at the 2005 Sundance Film Festival. ~ Mark Deming, All Movie Guide
Times Tagged: 154
Number of Lists: 54
Number of blog posts: 17
Number of discussion threads: 7
SpoutRating: 3
]]>Thu, 15 Jan 2009 15:01:24 GMTThe Squid and the Whale2005Noah BaumbachTwo boys learn the hard way about how a marriage falls apart in this independent comedy drama. Bernard (<a href="/players/P____16881/default.aspx" style='text-decoration:underline'>Jeff Daniels</a>) is a novelist whose career has gone into a slow decline as he spends more time teaching and less time writing. His wife, Joan (<a href="/players/P____42589/default.aspx" style='text-decoration:underline'>Laura Linney</a>), meanwhile, has recently begun publishing her own work to widespread acclaim, which only increases the growing tension between them. One day, Bernard and Joan's two sons -- 16-year-old Walt (<a href="/players/P___311020/default.aspx" style='text-decoration:underline'>Jesse Eisenberg</a>) and 12-year-old Frank (Owen Kline) -- are told that their parents are separating, with Bernard renting a house on the other side of their Park Slope, Brooklyn, neighborhood. As the parents set up a schedule for spending time with their children, Walt and Jesse can hardly imagine that things could get more combative between their folks, but they do, as Joan begins dating Ivan (<a href="/players/P_____3536/default.aspx" style='text-decoration:underline'>William Baldwin</a>), Frank's tennis instructor, and Bernard starts sharing the house with Lili (<a href="/players/P___198605/default.aspx" style='text-decoration:underline'>Anna Paquin</a>), one of his students. Meanwhile, the two boys begin taking sides in the battle between their parents, with Walt taking after his father and Frank siding with his mom. Based on writer/director <a href="/players/P___199728/default.aspx" style='text-decoration:underline'>Noah Baumbach</a>'s own childhood experiences with his parents' divorce, The Squid and the Whale won prizes for writing and direction at the 2005 Sundance Film Festival. ~ Mark Deming, All Movie Guide154Tag Target (>10)541773http://www.spout.com/ProductImages/t73586uj7wb.jpghttp://www.spout.com/films/The_Squid_and_the_Whale/256194/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/1/15/39556.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/15/2009 10:01:24 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 15 Jan 2009 15:01:24 GMTKarinaKarina on SpoutBlog1/15/2009 10:01:24 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39555.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 10:01:12 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 15:01:12 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 10:01:12 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Depressing_holidays_dysfunctional_families_fo/190/37212/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 11/11/2008 12:52:55 PM
Body: [quote user="indieabby88"] Top dysfunctional families (in no particular order) The Tenenbaums from The Royal Tenenbaums The Buckmans from Rachel Getting Married The Berkmans (coincidence?) from The Squid and the Whale The Burnhams from American Beauty The Burnses from Pieces of April The Burroughses/the Finches from Running with Scissors The family from Death at a Funeral (no last names were given) Carrie and her mother from Carrie The Torrances from the Shining Weird bit of trivia: Peter Hedges, who wrote and directed "Pieces of April" also wrote and directed "Dan in Real Life," another movie about a dysfunctional family with the last name of Burns. [/quote] Wow all of the family names start with B or T. Strange.
]]>Tue, 11 Nov 2008 17:52:55 GMTRisseladaTop 511/11/2008 12:52:55 PM[quote user="indieabby88"] Top dysfunctional families (in no particular order) The Tenenbaums from The Royal Tenenbaums The Buckmans from Rachel Getting Married The Berkmans (coincidence?) from The Squid and the Whale The Burnhams from American Beauty The Burnses from Pieces of April The Burroughses/the Finches from Running with Scissors The family from Death at a Funeral (no last names were given) Carrie and her mother from Carrie The Torrances from the Shining Weird bit of trivia: Peter Hedges, who wrote and directed "Pieces of April" also wrote and directed "Dan in Real Life," another movie about a dysfunctional family with the last name of Burns. [/quote] Wow all of the family names start with B or T. Strange. http://www.spout.com/groups/Top_5/Re_Depressing_holidays_dysfunctional_families_fo/190/37172/1/ShowPost.aspx Post By: indieabby88
Post To: Top 5
Post Date: 11/10/2008 8:12:07 PM
Body: Top dysfunctional families (in no particular order) The Tenenbaums from The Royal Tenenbaums The Buckmans from Rachel Getting Married The Berkmans (coincidence?) from The Squid and the Whale The Burnhams from American Beauty The Burnses from Pieces of April The Burroughses/the Finches from Running with Scissors The family from Death at a Funeral (no last names were given) Carrie and her mother from Carrie The Torrances from the Shining Weird bit of trivia: Peter Hedges, who wrote and directed "Pieces of April" also wrote and directed "Dan in Real Life," another movie about a dysfunctional family with the last name of Burns.
]]>Tue, 11 Nov 2008 01:12:07 GMTindieabby88Top 511/10/2008 8:12:07 PMTop dysfunctional families (in no particular order) The Tenenbaums from The Royal Tenenbaums The Buckmans from Rachel Getting Married The Berkmans (coincidence?) from The Squid and the Whale The Burnhams from American Beauty The Burnses from Pieces of April The Burroughses/the Finches from Running with Scissors The family from Death at a Funeral (no last names were given) Carrie and her mother from Carrie The Torrances from the Shining Weird bit of trivia: Peter Hedges, who wrote and directed "Pieces of April" also wrote and directed "Dan in Real Life," another movie about a dysfunctional family with the last name of Burns. 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/spoutblog/archive/2008/8/1/33404.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/1/2008 2:01:40 PM
Body: Andrew Sarris may be one of the most influential American film critics, but here’s a claim, located within his recent review of In Search of a Midnight Kiss, that may not hold up to some of his better-remembered theories: “Even when we confront 40-year-old virgins of either gender, movies refuse to show them compensating for the lack of a sexual partner. There is lasting shame involved in this spectacle.” Not to ever, ever profess superiority over Sarris, but I’ve nonetheless compiled today’s list as a way of proving the man wrong. There are actually tons and tons of masturbation scenes found in non-porn movies, from the low brow to the high brow, from as indirect as the boy wizard playing with his wand under the covers in Harry Potter and the Prisoner of Azkaban to as direct as the non-simulated masturbation in Michael Winterbottom’s 9 Songs and John Cameron Mitchell’s Shortbus (which would probably feature my #1 pick, from the sound of it, if I ever bothered to see it). The following 10 films are some of the most memorable masturbation scenes, excluding any movies that might be considered examples of, in Sarris’ words, “the fringe exploitation genres” (I’ve even gone so far as to leave out mainstream horror like The Exorcist, considering it’s crucifix masturbation is far from the self-pleasuring moments Sarris is clearly interested in). Oh, and I’ve attempted to chart these films artistically from lowbrow to high. 10. Fast Times at Ridgemont High - Everybody remembers this scene because of the fantasy: Phoebe Cates emerges from a swimming pool in slow motion and removes her bikini top. And then Cates’ character walks in on the fantasizer, Judge Reinhold, for one of the most awkward moments in the history of awkward comedy. There’s been plenty of uncomfortable scenes of guys being caught in the act, including those moments in Eternal Sunshine of the Spotless Mind, Little Children and the most obvious masturbation movie, American Pie. 9. Léolo - Speaking of masturbating with food, not even pie-fucking beats the scene in this French-Canadian gem in which our young titular hero decides that his real father is a man who jerked off with a tomato, which later impregnated Léolo’s mother when she fell onto it. There are other less memorable masturbation scenes involving liver and chicken, too. Yum! 8. Spanking the Monkey - I always found the masturbation scenes in this movie so interesting because of how clean a “job” Ray Aibelli (Jeremy Davies) does with his personal business. I guess when you’re probably fantasizing about your mother, your mind is dirty enough, and so (seemingly) uncomfortably jacking off while sitting on a toilet is the best way to go. But couldn’t he just do it in the shower, like Kevin Spacey in American Beauty? I’m surprised that Sarris forgot about this one, since the title alone refers to the act. 7. The Squid and the Whale - If I have to select one movie involving a little kid masturbating (and writing this sentence has already got me feeling immensely ashamed), I pick this one over Todd Solondz’ Happiness (”I came!”), because while both scenes in question are quite disturbing, the one featuring the real-life son of Kevin Kline and Phoebe Cates jerking off in a library and then wiping his hands off on some books is at least a little amusing. A lot amusing if you take into account his mother’s appearance in movie #10 above. And if you need another little kid masturbating movie to choose from (I’m not judging), Babel has one too. 6. But I’m a Cheerleader - That Natasha Lyonne sure loves to masturbate! is a quick response to the realization that she pleasures herself in both this film and the earlier Slums of Beverly Hills. The reason that this movie is the more significant of the two is because the masturbation scene is very tastefully done, and yet in its original form, it controversially garnered the film an NC-17 rating, only because, as argued in the documentary This Film is Not Yet Rated, it deals with both homosexual desire and female sexuality. The main evidence: American Pie was released in the same year with an R rating. 5. Mulholland Drive - A less beautiful yet no less exploitive depiction of female masturbation occurs in David Lynch’s enigmatic film. Despite the fact that guys tend to enjoy watching a girl pleasure herself, only the most sadistic of men could be turned on by Naomi Watts crying and painfully attempting to get off. 4. Bad Lieutenant - When I first heard about the scene in which Harvey Keitel’s corrupt cop masturbates in front of two teens in a car he pulls over, I thought it had to be the most debauched scene in film history. Of course, I was only 15 when it came out and wasn’t yet familiar with a lot of cinema. By the time I actually bothered to watch the scene many years later, it was less shocking than I expected. Still, as far as depraved things a character can do in a movie — at least in theory — it’s up there, and it’s certainly one of the first scenes that comes to mind when I think of movie masturbation. 3. Amarcord - Oh, right, here’s another movie with little kids masturbating. But it’s a Fellini movie, so obviously it’s incomparable to the three referenced earlier. Although an amusing scene, featuring a bunch of kids masturbating in unison in a car, it’s much less disturbing, as it simply displays the act as a part of growing up. 2. Being There - “I like to watch.” Hopefully you’ve seen this wonderful film, and that’s all I need to say. But just in case you’re not familiar, here’s the scene: Eve Rand (Shirley MacLaine) attempts to seduce the rather simple Chauncey Gardner (Peter Sellers), who responds by saying, “I like to watch.” Of course, he means the television, but Eve takes the statement to mean he wants to watch her pleasure herself. And so she proceeds to humiliate herself on the floor while Chauncey hilariously takes enjoys an exercise show on the TV. 1. Adaptation - Really, the whole movie is one big masturbation scene. There is a literal masturbation scene, though, in which Charlie (Nicolas Cage) fantasizes about Susan Orlean (Meryl Streep), and it’s pretty good on its own. But it takes the top spot for affirming that screenwriter Charlie Kauffman created the literary equivalent of beating off. Originally posted on:SpoutBlog
]]>Fri, 01 Aug 2008 18:01:40 GMTSpoutBlogSpoutBlog on spout.com8/1/2008 2:01:40 PM Andrew Sarris may be one of the most influential American film critics, but here’s a claim, located within his recent review of In Search of a Midnight Kiss, that may not hold up to some of his better-remembered theories: “Even when we confront 40-year-old virgins of either gender, movies refuse to show them compensating for the lack of a sexual partner. There is lasting shame involved in this spectacle.” Not to ever, ever profess superiority over Sarris, but I’ve nonetheless compiled today’s list as a way of proving the man wrong. There are actually tons and tons of masturbation scenes found in non-porn movies, from the low brow to the high brow, from as indirect as the boy wizard playing with his wand under the covers in Harry Potter and the Prisoner of Azkaban to as direct as the non-simulated masturbation in Michael Winterbottom’s 9 Songs and John Cameron Mitchell’s Shortbus (which would probably feature my #1 pick, from the sound of it, if I ever bothered to see it). The following 10 films are some of the most memorable masturbation scenes, excluding any movies that might be considered examples of, in Sarris’ words, “the fringe exploitation genres” (I’ve even gone so far as to leave out mainstream horror like The Exorcist, considering it’s crucifix masturbation is far from the self-pleasuring moments Sarris is clearly interested in). Oh, and I’ve attempted to chart these films artistically from lowbrow to high. 10. Fast Times at Ridgemont High - Everybody remembers this scene because of the fantasy: Phoebe Cates emerges from a swimming pool in slow motion and removes her bikini top. And then Cates’ character walks in on the fantasizer, Judge Reinhold, for one of the most awkward moments in the history of awkward comedy. There’s been plenty of uncomfortable scenes of guys being caught in the act, including those moments in Eternal Sunshine of the Spotless Mind, Little Children and the most obvious masturbation movie, American Pie. 9. Léolo - Speaking of masturbating with food, not even pie-fucking beats the scene in this French-Canadian gem in which our young titular hero decides that his real father is a man who jerked off with a tomato, which later impregnated Léolo’s mother when she fell onto it. There are other less memorable masturbation scenes involving liver and chicken, too. Yum! 8. Spanking the Monkey - I always found the masturbation scenes in this movie so interesting because of how clean a “job” Ray Aibelli (Jeremy Davies) does with his personal business. I guess when you’re probably fantasizing about your mother, your mind is dirty enough, and so (seemingly) uncomfortably jacking off while sitting on a toilet is the best way to go. But couldn’t he just do it in the shower, like Kevin Spacey in American Beauty? I’m surprised that Sarris forgot about this one, since the title alone refers to the act. 7. The Squid and the Whale - If I have to select one movie involving a little kid masturbating (and writing this sentence has already got me feeling immensely ashamed), I pick this one over Todd Solondz’ Happiness (”I came!”), because while both scenes in question are quite disturbing, the one featuring the real-life son of Kevin Kline and Phoebe Cates jerking off in a library and then wiping his hands off on some books is at least a little amusing. A lot amusing if you take into account his mother’s appearance in movie #10 above. And if you need another little kid masturbating movie to choose from (I’m not judging), Babel has one too. 6. But I’m a Cheerleader - That Natasha Lyonne sure loves to masturbate! is a quick response to the realization that she pleasures herself in both this film and the earlier Slums of Beverly Hills. The reason that this movie is the more significant of the two is because the masturbation scene is very tastefully done, and yet in its original form, it controversially garnered the film an NC-17 rating, only because, as argued in the documentary This Film is Not Yet Rated, it deals with both homosexual desire and female sexuality. The main evidence: American Pie was released in the same year with an R rating. 5. Mulholland Drive - A less beautiful yet no less exploitive depiction of female masturbation occurs in David Lynch’s enigmatic film. Despite the fact that guys tend to enjoy watching a girl pleasure herself, only the most sadistic of men could be turned on by Naomi Watts crying and painfully attempting to get off. 4. Bad Lieutenant - When I first heard about the scene in which Harvey Keitel’s corrupt cop masturbates in front of two teens in a car he pulls over, I thought it had to be the most debauched scene in film history. Of course, I was only 15 when it came out and wasn’t yet familiar with a lot of cinema. By the time I actually bothered to watch the scene many years later, it was less shocking than I expected. Still, as far as depraved things a character can do in a movie — at least in theory — it’s up there, and it’s certainly one of the first scenes that comes to mind when I think of movie masturbation. 3. Amarcord - Oh, right, here’s another movie with little kids masturbating. But it’s a Fellini movie, so obviously it’s incomparable to the three referenced earlier. Although an amusing scene, featuring a bunch of kids masturbating in unison in a car, it’s much less disturbing, as it simply displays the act as a part of growing up. 2. Being There - “I like to watch.” Hopefully you’ve seen this wonderful film, and that’s all I need to say. But just in case you’re not familiar, here’s the scene: Eve Rand (Shirley MacLaine) attempts to seduce the rather simple Chauncey Gardner (Peter Sellers), who responds by saying, “I like to watch.” Of course, he means the television, but Eve takes the statement to mean he wants to watch her pleasure herself. And so she proceeds to humiliate herself on the floor while Chauncey hilariously takes enjoys an exercise show on the TV. 1. Adaptation - Really, the whole movie is one big masturbation scene. There is a literal masturbation scene, though, in which Charlie (Nicolas Cage) fantasizes about Susan Orlean (Meryl Streep), and it’s pretty good on its own. But it takes the top spot for affirming that screenwriter Charlie Kauffman created the literary equivalent of beating off. Originally posted on:SpoutBlog http://www.spout.com/blogs/pippin06/archive/2008/7/28/33199.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 7/28/2008 8:51:22 PM
Body: Returning to the string of indie flicks I've been immersed in these last few weeks, Netflix sent me The Squid and the Whale this week. As much as I love film, and even indies, I know so little about these films because they tend to fly under the radar (unless your radar is honed in on them, and mine typically is not). Apparently, this film had some buzz surrounding it at the time of its release, but I didn't hear any of it. I was simply interested in the story, and, thusly, I rented it. And I enjoyed it. It wasn't a perfect film, but it was a very good film in many of my estimations. In Brooklyn, in 1986, Bernard (Jeff Daniels) and Joan (Laura Linney) are two writers in a rapidly failing marriage. Bernard's career as a novelist has taken a turn south, while Joan's career is blossoming. In addition, there have been some indiscretions on both parts, including a string of affairs undertaken by Joan. Caught in the crossfire are their two sons, Walt (Jesse Eisenberg) and Frank (Owen Kline), who deal with the divorce in different ways. Walt, who is 16 years old and idolizes his father, sides unflinchingly with Bernard, regardless of any skewed perspective he might be fed, and to the detriment of his relationship with his mother. Frank, who is 12 years old, sides with his mom but acts out his disturbed reaction to the news of the divorce with public self-gratification and underage drinking. Complicating matters are Joan's budding relationship with Frank's nouveau hippie tennis instructor Ivan (William Baldwin) and Bernard's dalliance with one of his writing students, Lili (Anna Paquin). The film centers on the boys' experience dealing with the normal woes of adolescence while simultaneously attempting to navigate the emotional minefield of their parents' divorce. The film was directed by Noel Baumbach and is a semi-autobiographical account of his own experience dealing with the divorce of his parents. I have never seen a Baumbach picture before, to my knowledge, so I have nothing to compare this film to or to consider other than what I saw. For me, this was a worthwhile story that danced among many different and interwoven themes. On one hand, it was a straightforward story of the effects of divorce on a family, including the emotional blackmail and overcompensation that often accompanies joint custody situations. On the other hand, it's an examination of deeply flawed characters who form this family unit and somehow have to manage to tolerate each other for the sake of each other. The film also offers a biting examination of the types of writers who think of themselves as more than they are (both Bernard and Walt, for example, seem fond of snap judgments about literature they've never read). The whole film is told with a sardonic undercurrent that lightens what would otherwise be tragic in terms of the failed marriage and the degrading relationships between parents and children. The emotions and reactions explored are visceral and uncompromised. The performances were very good, especially the amazingly mature performance by Owen Kline (who is Kevin Kline and Phoebe Cates' son, so he's got some genetic predisposition for acting greatness). Also, the soundtrack is amazing, intermixing 80s pop hits with some more contemporary, alternative singer-songwriter tracks and prominent, effective, and hilarious use of Pink Floyd's "Hey You." Also, the art direction and costuming was very good; it felt like the 80s again watching this film. One particular prop I noticed was Burger King glasses such as the kind that would have been sold separately with a Whopper and a Coke, which I thought was a nice touch. Also, Mr. Baumbach and his photographers and cinematographer used the camera well in capturing the essence not only of the time period but of the flavor of New York City. Brooklyn and its neighborhoods were as much a character in the story as any one person. My only complaint about this movie stems from the abrupt ending (vaguely spoilery ahead) that found no resolution for the characters and no sense even of the direction the characters might be headed, at least apart from Walt, the film version of Mr. Baumbach's younger self. I would have felt entirely more satisfied if I saw that one of these four flawed family members took something away from their vicious cycle of pain and strife or had an inkling about where that character might be headed given what was past. It didn't have to be a happy ending - just one that implied some conclusion to the painful leg of life's journey depicted by this picture. Maybe what was there was supposed to do that, but I simply felt incomplete when the final credits rolled, as if I missed the point. The imagery of the title sea creatures was effective - but the story was as much about the characters individually as it was about how they related to one another. I felt that there was something of a cop out at the end, relying on a contrived trauma to, at least temporarily, end the bickering and force serious self-examination, at least for Walt, without showing some of the results of that self-examination. Perhaps, the imperfect ending is meant to be a larger symbol of the imperfection of these realistically flawed human characters. I don't know. All I know is, I was into the film and then said aloud, "That's it?" The Squid and the Whale was on the right track but seemed to stop short of becoming something truly profound. In any case, I still enjoyed it because it was an admirable and enjoyable attempt at painting a true portrait of human nature and reaction in an all-too-common occurrence in today's society. For that reason, I feel this film warrants an 8 for being very good but with minor flaws - or, perhaps, one major flaw in terms of the abrupt ending that, at least, left me unsatisfied. As good as the film is, I don't think it passes the test of purchase. Truthfully, and happily, I don't actually relate to the subject matter all that much - my parents are still married, and though I know these writer types, and the caricatures here made me chuckle, it wasn't enough to want to watch the film repeatedly. The Squid and the Whale is recommendable, though, because, at the very least, it's a mature and poignant examination of the internal and external conflicts that frequently motivate our actions - whether those actions are mature and/or poignant or not.
]]>Tue, 29 Jul 2008 00:51:22 GMTpippin06Reel Thoughts7/28/2008 8:51:22 PMReturning to the string of indie flicks I've been immersed in these last few weeks, Netflix sent me The Squid and the Whale this week. As much as I love film, and even indies, I know so little about these films because they tend to fly under the radar (unless your radar is honed in on them, and mine typically is not). Apparently, this film had some buzz surrounding it at the time of its release, but I didn't hear any of it. I was simply interested in the story, and, thusly, I rented it. And I enjoyed it. It wasn't a perfect film, but it was a very good film in many of my estimations. In Brooklyn, in 1986, Bernard (Jeff Daniels) and Joan (Laura Linney) are two writers in a rapidly failing marriage. Bernard's career as a novelist has taken a turn south, while Joan's career is blossoming. In addition, there have been some indiscretions on both parts, including a string of affairs undertaken by Joan. Caught in the crossfire are their two sons, Walt (Jesse Eisenberg) and Frank (Owen Kline), who deal with the divorce in different ways. Walt, who is 16 years old and idolizes his father, sides unflinchingly with Bernard, regardless of any skewed perspective he might be fed, and to the detriment of his relationship with his mother. Frank, who is 12 years old, sides with his mom but acts out his disturbed reaction to the news of the divorce with public self-gratification and underage drinking. Complicating matters are Joan's budding relationship with Frank's nouveau hippie tennis instructor Ivan (William Baldwin) and Bernard's dalliance with one of his writing students, Lili (Anna Paquin). The film centers on the boys' experience dealing with the normal woes of adolescence while simultaneously attempting to navigate the emotional minefield of their parents' divorce. The film was directed by Noel Baumbach and is a semi-autobiographical account of his own experience dealing with the divorce of his parents. I have never seen a Baumbach picture before, to my knowledge, so I have nothing to compare this film to or to consider other than what I saw. For me, this was a worthwhile story that danced among many different and interwoven themes. On one hand, it was a straightforward story of the effects of divorce on a family, including the emotional blackmail and overcompensation that often accompanies joint custody situations. On the other hand, it's an examination of deeply flawed characters who form this family unit and somehow have to manage to tolerate each other for the sake of each other. The film also offers a biting examination of the types of writers who think of themselves as more than they are (both Bernard and Walt, for example, seem fond of snap judgments about literature they've never read). The whole film is told with a sardonic undercurrent that lightens what would otherwise be tragic in terms of the failed marriage and the degrading relationships between parents and children. The emotions and reactions explored are visceral and uncompromised. The performances were very good, especially the amazingly mature performance by Owen Kline (who is Kevin Kline and Phoebe Cates' son, so he's got some genetic predisposition for acting greatness). Also, the soundtrack is amazing, intermixing 80s pop hits with some more contemporary, alternative singer-songwriter tracks and prominent, effective, and hilarious use of Pink Floyd's "Hey You." Also, the art direction and costuming was very good; it felt like the 80s again watching this film. One particular prop I noticed was Burger King glasses such as the kind that would have been sold separately with a Whopper and a Coke, which I thought was a nice touch. Also, Mr. Baumbach and his photographers and cinematographer used the camera well in capturing the essence not only of the time period but of the flavor of New York City. Brooklyn and its neighborhoods were as much a character in the story as any one person. My only complaint about this movie stems from the abrupt ending (vaguely spoilery ahead) that found no resolution for the characters and no sense even of the direction the characters might be headed, at least apart from Walt, the film version of Mr. Baumbach's younger self. I would have felt entirely more satisfied if I saw that one of these four flawed family members took something away from their vicious cycle of pain and strife or had an inkling about where that character might be headed given what was past. It didn't have to be a happy ending - just one that implied some conclusion to the painful leg of life's journey depicted by this picture. Maybe what was there was supposed to do that, but I simply felt incomplete when the final credits rolled, as if I missed the point. The imagery of the title sea creatures was effective - but the story was as much about the characters individually as it was about how they related to one another. I felt that there was something of a cop out at the end, relying on a contrived trauma to, at least temporarily, end the bickering and force serious self-examination, at least for Walt, without showing some of the results of that self-examination. Perhaps, the imperfect ending is meant to be a larger symbol of the imperfection of these realistically flawed human characters. I don't know. All I know is, I was into the film and then said aloud, "That's it?" The Squid and the Whale was on the right track but seemed to stop short of becoming something truly profound. In any case, I still enjoyed it because it was an admirable and enjoyable attempt at painting a true portrait of human nature and reaction in an all-too-common occurrence in today's society. For that reason, I feel this film warrants an 8 for being very good but with minor flaws - or, perhaps, one major flaw in terms of the abrupt ending that, at least, left me unsatisfied. As good as the film is, I don't think it passes the test of purchase. Truthfully, and happily, I don't actually relate to the subject matter all that much - my parents are still married, and though I know these writer types, and the caricatures here made me chuckle, it wasn't enough to want to watch the film repeatedly. The Squid and the Whale is recommendable, though, because, at the very least, it's a mature and poignant examination of the internal and external conflicts that frequently motivate our actions - whether those actions are mature and/or poignant or not. http://www.spout.com/blogs/tenenbaums/archive/2008/6/27/31768.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 6/27/2008 9:49:15 AM
Body: Far from the painful experience that I envisioned, Margot at the Wedding is not a film that I would recommend, but it pretty much worked for me. After writer/director Noah Baumbach's The Squid and the Whale got me all hyped up (Wes Anderson production! Co-writer of The Life Aquatic! Great cast! Funny trailer!) and then fed me an overdose of unnecessarily uncomfortable preteen sexual moments, my shields were raised to maximum levels for his follow-up feature. But, as I did with the strong parts of Squid, I laughed a good bit at Margot's strong start. And then the laughs and engaging moments kept coming. That's not to say there is a lack of the squeamish. An early scene during Margot's (Nicole Kidman) first night at her sister's (Jennifer Jason Leigh) house ranks right up with Frank's forays into beer and self-stimulation in Squid. Fortunately, that's as far as Baumbach ventures this time, though it seems that Malcolm's (Jack Black) breakdown is intended to elicit the same discomfort and raw emotion. Instead, Black, who should receive the bulk of the credit for driving the film with his winning sophomoric brand of humor, similarly makes these scenes tolerable for the very reason that he is incapable of delivering true cringe-worthy emotion. Instead, there is Black, ever much 1/2 of Tenacious D, doing his version of sorrow, and it's just the right balance of sketch comedy and actual pain to get us through unscathed. However, Baumbach again leaves us with a stinker of an ending. Disney-esque conclusion is not a necessity for his films, but there is no need for a big (proportionately) finale intended to raise emotions to a climax after a string of subdued quirky moments. His friend Wes Anderson is able to close his pictures with perfectly suitable conclusions that indeed are conclusions, yet flow with the rest of the film and leave the characters ready for their next occurrence. Anderson understands the importance of a parting shot and has mastered it in his own brand of storytelling. So far, this crucial component has eluded Baumbach and it unfortunately is the reason why his films leave audiences with a slightly, if not entirely, negative feeling. While Larry David mines the outright humor in the socially unacceptable on "Curb Your Enthusiasm," Baumbach seeks to likewise expose the unspeakable yet ultimately relevant nuances of humanity for good and for ill. His goal is not comedy (even though laughter is a major player) but realism, though it's the kind of realism that few of my acquaintances experience and is certainly not something that we would choose to film or watch. Perhaps that will be Baumbach's contribution to cinema when his body of work is more fully shaped: telling the truths about society that no one wants to hear, yet which may be the roots of our problems. With his 80-90 minute glimpses into the unlit regions of the soul, there is hope that, though presently painful and sometimes unwatchable, his films will be overall cathartic and healing.
]]>Fri, 27 Jun 2008 13:49:15 GMTTenenbaumsTenenbaums Blog6/27/2008 9:49:15 AMFar from the painful experience that I envisioned, Margot at the Wedding is not a film that I would recommend, but it pretty much worked for me. After writer/director Noah Baumbach's The Squid and the Whale got me all hyped up (Wes Anderson production! Co-writer of The Life Aquatic! Great cast! Funny trailer!) and then fed me an overdose of unnecessarily uncomfortable preteen sexual moments, my shields were raised to maximum levels for his follow-up feature. But, as I did with the strong parts of Squid, I laughed a good bit at Margot's strong start. And then the laughs and engaging moments kept coming. That's not to say there is a lack of the squeamish. An early scene during Margot's (Nicole Kidman) first night at her sister's (Jennifer Jason Leigh) house ranks right up with Frank's forays into beer and self-stimulation in Squid. Fortunately, that's as far as Baumbach ventures this time, though it seems that Malcolm's (Jack Black) breakdown is intended to elicit the same discomfort and raw emotion. Instead, Black, who should receive the bulk of the credit for driving the film with his winning sophomoric brand of humor, similarly makes these scenes tolerable for the very reason that he is incapable of delivering true cringe-worthy emotion. Instead, there is Black, ever much 1/2 of Tenacious D, doing his version of sorrow, and it's just the right balance of sketch comedy and actual pain to get us through unscathed. However, Baumbach again leaves us with a stinker of an ending. Disney-esque conclusion is not a necessity for his films, but there is no need for a big (proportionately) finale intended to raise emotions to a climax after a string of subdued quirky moments. His friend Wes Anderson is able to close his pictures with perfectly suitable conclusions that indeed are conclusions, yet flow with the rest of the film and leave the characters ready for their next occurrence. Anderson understands the importance of a parting shot and has mastered it in his own brand of storytelling. So far, this crucial component has eluded Baumbach and it unfortunately is the reason why his films leave audiences with a slightly, if not entirely, negative feeling. While Larry David mines the outright humor in the socially unacceptable on "Curb Your Enthusiasm," Baumbach seeks to likewise expose the unspeakable yet ultimately relevant nuances of humanity for good and for ill. His goal is not comedy (even though laughter is a major player) but realism, though it's the kind of realism that few of my acquaintances experience and is certainly not something that we would choose to film or watch. Perhaps that will be Baumbach's contribution to cinema when his body of work is more fully shaped: telling the truths about society that no one wants to hear, yet which may be the roots of our problems. With his 80-90 minute glimpses into the unlit regions of the soul, there is hope that, though presently painful and sometimes unwatchable, his films will be overall cathartic and healing. http://www.spout.com/blogs/jj79/archive/2008/6/6/30753.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 6/6/2008 4:14:01 PM
Body: Released: January 2005 (Sundance)Director: Noah Baumbach*****A great movie stars a villain you love to hate, someone who needs to be stopped at all costs. Someone to actively root against. There is a fine line between a hated villain and a character the audience truly despises. Such is the case in The Squid and the Whale. In the opening moments of the film about a divorced family, father Bernard debrates his wife Joan while playing tennis with their boys. The older one-Walt-idolizes his father, thinking the source of the family dysfunction is Joan; the younger child, Frank, sides with Mom, along with discovering alcohol and self stimulation. As their lives become more complex with live-in students and tennis coaches, they all realize things about themselves they'd rather not think about.The more Bernard acts as if he's better than everyone else, the more Joan's indiscretions don't matter to the audience-just as they should not matter to the kids. His problem is most likely a combination of a downturn in his career, Joan becoming an author as well and an overblown ego. And he's the major problem in the film, taking the audience out of sympathizing with Walt, Frank and Joan and into full blown hate for Bernard.Not just for the way he acts toward Joan, but because of how he destroys his relationship with both kids. He's so insecure he needs to show them up at every opportunity. It's especially damning for Walt, who adores him, and comes to Dad's defense at every opportunity. In fact, he is turning into his father which is even worse to watch than Bernard acting like a three year old. If this is a true story-it's purportedly based on the director's life-and not exaggerated in any way, I have to wonder what the real Bernard is thinking when he watches it. Does he see how horrible he was to his family or does he still believe he's in the right? Does he feel any remorse for making Walt into a clone of himself, so closed off and smugly superior to everyone around him he can never be happy? And how did the family fare after the events of the film? The end of the movie suggests Walt gets the point and knows he has to change but we don't know anything definitively. Bernard just takes over the film to the exclusion of everyone else in it. Maybe that's the point.
]]>Fri, 06 Jun 2008 20:14:01 GMTJJ79JJ79 Blog6/6/2008 4:14:01 PMReleased: January 2005 (Sundance)Director: Noah Baumbach*****A great movie stars a villain you love to hate, someone who needs to be stopped at all costs. Someone to actively root against. There is a fine line between a hated villain and a character the audience truly despises. Such is the case in The Squid and the Whale. In the opening moments of the film about a divorced family, father Bernard debrates his wife Joan while playing tennis with their boys. The older one-Walt-idolizes his father, thinking the source of the family dysfunction is Joan; the younger child, Frank, sides with Mom, along with discovering alcohol and self stimulation. As their lives become more complex with live-in students and tennis coaches, they all realize things about themselves they'd rather not think about.The more Bernard acts as if he's better than everyone else, the more Joan's indiscretions don't matter to the audience-just as they should not matter to the kids. His problem is most likely a combination of a downturn in his career, Joan becoming an author as well and an overblown ego. And he's the major problem in the film, taking the audience out of sympathizing with Walt, Frank and Joan and into full blown hate for Bernard.Not just for the way he acts toward Joan, but because of how he destroys his relationship with both kids. He's so insecure he needs to show them up at every opportunity. It's especially damning for Walt, who adores him, and comes to Dad's defense at every opportunity. In fact, he is turning into his father which is even worse to watch than Bernard acting like a three year old. If this is a true story-it's purportedly based on the director's life-and not exaggerated in any way, I have to wonder what the real Bernard is thinking when he watches it. Does he see how horrible he was to his family or does he still believe he's in the right? Does he feel any remorse for making Walt into a clone of himself, so closed off and smugly superior to everyone around him he can never be happy? And how did the family fare after the events of the film? The end of the movie suggests Walt gets the point and knows he has to change but we don't know anything definitively. Bernard just takes over the film to the exclusion of everyone else in it. Maybe that's the point. http://www.spout.com/blogs/smooth_j/archive/2008/2/17/25237.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 2/17/2008 7:22:05 PM
Body: I remember hearing about this movie back when it came out, and I was really curious as to what all the buzz was about. The story sounded good, and Noah Baumbach is a good friend of Wes Anderson, who I really like, and who was also a producer on the film. So, I've always meant to see it, and when I saw it on sale for 4 dollars at Blockbuster, I had to get it.All in all, The Squid and the Whale was a really good film. The performances are great, even Jeff Daniels doing an all out Bill Murray impersonation (not surprisingly, Bill Murray was previously signed on to that role before dropping out to do Broken Flowers). Laura Linney is amazing as usual, and both of the kids give extremely realistic and emotional performances. And Billy Baldwin is hilarious, as a contemporary-hippie tennis instructor.Baumbach analyzes very well the stuck-up nature of New York City writers. Jeff Daniels' character is an "intellectual" and scorns people who do not like good movies or interesting things. Laura Linney, also an intellectual, searches for companionship outside of her mind capacity, someone simple and ordinary, almost to escape from herself.While it's somewhat disturbing to watch the youngest child spiral downhill at such a young age, there is something extremely and disturbingly realistic about the way he is characterized that it is never doubted. And the older kid (who is meant to be Noah Baumbach's character, as the movie is autobiographical) is a whiny, somewhat stuck-up high-schooler. As much as I hate to say it, I could relate to this character in so many ways. It's the fact that Baumbach was writing and analyzing himself as well as the world that surrounded him as a teenager that makes the movie so understandable and so undeniably real.The divorce of the parents is characterized like a clash between two titans, subtley downplayed to great stylistic effect. Right when it seems as though the two have emotions for each other again, one of them shows a side so savage and so awful that it seems like they will never shift sympathies again. The metaphor of the squid and the whale at the museum exibit is absolutely brilliant (hence the title), making for an amazing ending to a solid film.Sometimes the movie shifts into the quirkiness of a Wes Anderson comedy, and while in some situations it works very well, in others it takes a little bit away from the film's credibility. I feel as though he should have downplayed the teen angst a little bit, just as he downplayed the clash between the parents a little bit, but I can understand why he wouldn't, considering the film is about him. And the youngest kid kind of disturbed me a little bit, though that shouldn't affect my view of a movie.All in all, a really great movie, but not quite done to perfection.
]]>Mon, 18 Feb 2008 00:22:05 GMTSmooth_JSmooth_J Blog2/17/2008 7:22:05 PMI remember hearing about this movie back when it came out, and I was really curious as to what all the buzz was about. The story sounded good, and Noah Baumbach is a good friend of Wes Anderson, who I really like, and who was also a producer on the film. So, I&#39;ve always meant to see it, and when I saw it on sale for 4 dollars at Blockbuster, I had to get it.All in all, The Squid and the Whale was a really good film. The performances are great, even Jeff Daniels doing an all out Bill Murray impersonation (not surprisingly, Bill Murray was previously signed on to that role before dropping out to do Broken Flowers). Laura Linney is amazing as usual, and both of the kids give extremely realistic and emotional performances. And Billy Baldwin is hilarious, as a contemporary-hippie tennis instructor.Baumbach analyzes very well the stuck-up nature of New York City writers. Jeff Daniels&#39; character is an &quot;intellectual&quot; and scorns people who do not like good movies or interesting things. Laura Linney, also an intellectual, searches for companionship outside of her mind capacity, someone simple and ordinary, almost to escape from herself.While it&#39;s somewhat disturbing to watch the youngest child spiral downhill at such a young age, there is something extremely and disturbingly realistic about the way he is characterized that it is never doubted. And the older kid (who is meant to be Noah Baumbach&#39;s character, as the movie is autobiographical) is a whiny, somewhat stuck-up high-schooler. As much as I hate to say it, I could relate to this character in so many ways. It&#39;s the fact that Baumbach was writing and analyzing himself as well as the world that surrounded him as a teenager that makes the movie so understandable and so undeniably real.The divorce of the parents is characterized like a clash between two titans, subtley downplayed to great stylistic effect. Right when it seems as though the two have emotions for each other again, one of them shows a side so savage and so awful that it seems like they will never shift sympathies again. The metaphor of the squid and the whale at the museum exibit is absolutely brilliant (hence the title), making for an amazing ending to a solid film.Sometimes the movie shifts into the quirkiness of a Wes Anderson comedy, and while in some situations it works very well, in others it takes a little bit away from the film&#39;s credibility. I feel as though he should have downplayed the teen angst a little bit, just as he downplayed the clash between the parents a little bit, but I can understand why he wouldn&#39;t, considering the film is about him. And the youngest kid kind of disturbed me a little bit, though that shouldn&#39;t affect my view of a movie.All in all, a really great movie, but not quite done to perfection. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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