list http://www.spout.com/ Recent community activity around Underdog 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/Underdog/268657/default.aspx Title: Underdog
Year: 2007
Director: Frederick Du Chau
Plot: Bestowed with superpowers when a lab experiment goes unexpectedly awry, an average beagle becomes the savior of Capitol City as everyone's favorite canine do-gooder embarks on his first-ever live-action adventure. The maniacal Dr. Simon Barsinister (Peter Dinklage) was on the verge of a revolutionary discovery when a sudden mishap gave birth to Underdog (voice of Jason Lee). Not only can this remarkable mutt now leap tall buildings in a single bound, be he can let his "best friend" know precisely what's on his mind in no uncertain terms as well. When Dr. Barsinister and his overgrown crony Cad (Patrick Warburton) threaten to destroy Capitol City, Underdog must leap into action in order to protect the frightened citizens and ensure that no harm comes to pretty Polly Purebread (voice of Amy Adams). ~ Jason Buchanan, All Movie Guide
Times Tagged: 6
Number of Lists: 4
Number of blog posts: 4
SpoutRating: 2
]]>Fri, 09 Jan 2009 09:37:08 GMTUnderdog2007Frederick Du ChauBestowed with superpowers when a lab experiment goes unexpectedly awry, an average beagle becomes the savior of Capitol City as everyone's favorite canine do-gooder embarks on his first-ever live-action adventure. The maniacal Dr. Simon Barsinister (<a href="/players/P___195742/default.aspx" style='text-decoration:underline'>Peter Dinklage</a>) was on the verge of a revolutionary discovery when a sudden mishap gave birth to Underdog (voice of <a href="/players/P___215686/default.aspx" style='text-decoration:underline'>Jason Lee</a>). Not only can this remarkable mutt now leap tall buildings in a single bound, be he can let his "best friend" know precisely what's on his mind in no uncertain terms as well. When Dr. Barsinister and his overgrown crony Cad (<a href="/players/P____74594/default.aspx" style='text-decoration:underline'>Patrick Warburton</a>) threaten to destroy Capitol City, Underdog must leap into action in order to protect the frightened citizens and ensure that no harm comes to pretty Polly Purebread (voice of <a href="/players/P___273224/default.aspx" style='text-decoration:underline'>Amy Adams</a>). ~ Jason Buchanan, All Movie Guide6Taggedy Taggged (6-10)442http://www.spout.com/ProductImages/s268657.jpghttp://www.spout.com/films/Underdog/268657/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/6/11/31116.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/11/2008 2:00:51 PM
Body: I don’t know what is the worse idea, an all-CGI 3-D Smurfs movie, as Paramount had planned, or a CGI/live-action mix, as Sony Animation is now planning for our beloved blue communists friends. I guess if we only think back to Alvin and the Chipmunks and Underdog, it’s easy to think Sony’s new plan for The Smurfs is a terrible idea. But I think the second Scooby-Doo movie worked pretty well as far as cartoon adaptations go, and there’s a chance Hollywood could do a good job again, despite the majority (including Garfield: The Movie, The Adventures of Rocky and Bullwinkle, the first Scooby-Doo) being on the bad side. That said, I’m still no fan of the trend. However, if it must continue, I think it would be interesting to see any of the following 15 animated series, all of which feature the necessary mix of talking animals (or inanimate objects) and humans, turned into live-action movies with CGI characters: The Yogi Bear Show - I feel it’s inevitable that we’ll be seeing this one soon enough. And if Hollywood is feeling lazy enough, the plot can be a remake of the animated feature Hey There, It’s Yogi Bear! Steve Carell will play Ranger Smith, of course. Help!…It’s the Hair Bear Bunch! - Few people remember this Yogi Bear-like series starring three hippie bears, one of whom had a straggly afro. The movie would involve the usual plot in which the bears escape from the zoo and are chased by the human zoo-keeper and his fat assistant. I’d love to see the sweet production design that goes into the bear’s bachelor pad cave. And aside from the fact that CGI bears would make the invisible motorcycle easier to work with, live-action bears have been proven to be a much worse idea (see The Country Bears). The Great Grape Ape Show - This would be kinda like Peter Jackson’s King Kong, only without the intention of making the CGI look realistic. I’m not sure what the plot would be, but going with the King Kong idea, they could probably just have Grape Ape and Beagle Beagle visit New York (or another city) to allow for plenty of accidental destruction (isn’t that the only reason Transformers‘ last act was in a city?). Captain Caveman and the Teen Angels - It’s like Scooby-Doo but with a caveman instead of a talking dog. They could probably just have a guy dressed up in a very hairy costume for the prehistoric superhero, but as long as CGI characters are bringing Hollywood so much dough, they might as well render him on a computer, too. Speed Buggy - It’s like Scooby-Doo but with a talking car instead of a talking dog. And I bet audiences will be more comfortable with a CGI talking car than with a CGI talking dog. Dynomutt, Dog Wonder - It’s like Scooby-Doo but with superheroes. Hey, I hear superheroes are big at the box office this century. Actually, I’m really, really surprised we haven’t heard about this one yet. Jabberjaw - It’s like Scooby-Doo but with…. wait, I’m starting to see that most of these Hanna Barbera cartoons are a lot alike. But even more than Scooby-Doo, this would be like the live-action Josie and the Pussycats, except with the benefit of having a CGI shark who plays drums for the group. Because most of the action would take place under the sea, there’s a good chance this would be too expensive to produce. Fangface - It’s like Scooby-Doo but not made by Hanna Barbera (however, it was produced by Joe Ruby and Ken Spears, who also created Captain Caveman, Jabberjaw, Dynomutt and others on this list). Instead of a talking dog, here one of the mystery-solving teens is a werewolf. And despite everyone’s love for Lon Chaney Jr. and the Teen Wolf movies, Hollywood can rarely make a werewolf these days without CGI. It’s Punky Brewster - They could always just base a movie off the original sitcom (though I doubt they ever would), but wouldn’t it be much cuter if there was a CGI character? Fortunately the cartoon series had that leprechaun-gopher thing named “Glomer.” Snorks - I guess there were no humans in this cartoon, but knowing Hollywood’s ability to mess with things, some could surely be added. Either the Snorks somehow venture out of the sea or a friendly scuba diving kid finds them. Though for the latter, the budget could be too high. I wonder if the Snorks could survive out of water… Ghostbusters - Would be allowed for there to be a feature film version of Filmation’s Ghostbusters — you know, the one that wasn’t based on the REAL Ghostbusters? The one that was actually based on a TV series that came before the movie Ghostbusters? Hmm. I guess this one should really go in the list of live-action series calling for CGI/live-action treatment (like ALF…) The Archie Show - Obviously this one could be completely live-action. But that’s no fun. And that TV movie from 1990 was extremely disappointing. Solution: CGI Jughead! Rainbow Brite - Hey, I really liked Rainbow Brite when I was a kid. Is that OK to admit yet? I may have even wanted a plush toy of Twink. Or maybe I did have a plush toy of Twink. Either way, I’d be the first heterosexual male in line at the theater for this one. Rugrats - This one will only be kinda CGI. It can star real kids with CGI mouths, like what they do with animals in the Babe and Dr. Dolittle movies. Oh yeah, and what they do with babies in the Baby Geniuses movies. Of course, the animated Rugrats movies each made significantly more money than the Baby Geniuses movies, so anyone who’d actually take on this idea is an idiot. The Herculoids - I really don’t care if they make it all CGI, mixed CGI/live-action, all 2D animation, or what; all I care about is that I get to see Tundro on the big screen one day before I die. Back when I saw Jurassic Park for the first time, I thought the triceratops was really lame. But it wasn’t because it was obviously animatronic. It was because it couldn’t shoot rocks out of its horn like Tundro. The rest of the Herculoids, especially Igoo and Gloop & Gleep, would also be awesome to see in a movie. In fact, to be honest, I mostly just made this list in order to profess my desire for a Herculoids movie. Originally posted on:SpoutBlog
]]>Wed, 11 Jun 2008 18:00:51 GMTSpoutBlogSpoutBlog on spout.com6/11/2008 2:00:51 PMI don’t know what is the worse idea, an all-CGI 3-D Smurfs movie, as Paramount had planned, or a CGI/live-action mix, as Sony Animation is now planning for our beloved blue communists friends. I guess if we only think back to Alvin and the Chipmunks and Underdog, it’s easy to think Sony’s new plan for The Smurfs is a terrible idea. But I think the second Scooby-Doo movie worked pretty well as far as cartoon adaptations go, and there’s a chance Hollywood could do a good job again, despite the majority (including Garfield: The Movie, The Adventures of Rocky and Bullwinkle, the first Scooby-Doo) being on the bad side. That said, I’m still no fan of the trend. However, if it must continue, I think it would be interesting to see any of the following 15 animated series, all of which feature the necessary mix of talking animals (or inanimate objects) and humans, turned into live-action movies with CGI characters: The Yogi Bear Show - I feel it’s inevitable that we’ll be seeing this one soon enough. And if Hollywood is feeling lazy enough, the plot can be a remake of the animated feature Hey There, It’s Yogi Bear! Steve Carell will play Ranger Smith, of course. Help!…It’s the Hair Bear Bunch! - Few people remember this Yogi Bear-like series starring three hippie bears, one of whom had a straggly afro. The movie would involve the usual plot in which the bears escape from the zoo and are chased by the human zoo-keeper and his fat assistant. I’d love to see the sweet production design that goes into the bear’s bachelor pad cave. And aside from the fact that CGI bears would make the invisible motorcycle easier to work with, live-action bears have been proven to be a much worse idea (see The Country Bears). The Great Grape Ape Show - This would be kinda like Peter Jackson’s King Kong, only without the intention of making the CGI look realistic. I’m not sure what the plot would be, but going with the King Kong idea, they could probably just have Grape Ape and Beagle Beagle visit New York (or another city) to allow for plenty of accidental destruction (isn’t that the only reason Transformers‘ last act was in a city?). Captain Caveman and the Teen Angels - It’s like Scooby-Doo but with a caveman instead of a talking dog. They could probably just have a guy dressed up in a very hairy costume for the prehistoric superhero, but as long as CGI characters are bringing Hollywood so much dough, they might as well render him on a computer, too. Speed Buggy - It’s like Scooby-Doo but with a talking car instead of a talking dog. And I bet audiences will be more comfortable with a CGI talking car than with a CGI talking dog. Dynomutt, Dog Wonder - It’s like Scooby-Doo but with superheroes. Hey, I hear superheroes are big at the box office this century. Actually, I’m really, really surprised we haven’t heard about this one yet. Jabberjaw - It’s like Scooby-Doo but with…. wait, I’m starting to see that most of these Hanna Barbera cartoons are a lot alike. But even more than Scooby-Doo, this would be like the live-action Josie and the Pussycats, except with the benefit of having a CGI shark who plays drums for the group. Because most of the action would take place under the sea, there’s a good chance this would be too expensive to produce. Fangface - It’s like Scooby-Doo but not made by Hanna Barbera (however, it was produced by Joe Ruby and Ken Spears, who also created Captain Caveman, Jabberjaw, Dynomutt and others on this list). Instead of a talking dog, here one of the mystery-solving teens is a werewolf. And despite everyone’s love for Lon Chaney Jr. and the Teen Wolf movies, Hollywood can rarely make a werewolf these days without CGI. It’s Punky Brewster - They could always just base a movie off the original sitcom (though I doubt they ever would), but wouldn’t it be much cuter if there was a CGI character? Fortunately the cartoon series had that leprechaun-gopher thing named “Glomer.” Snorks - I guess there were no humans in this cartoon, but knowing Hollywood’s ability to mess with things, some could surely be added. Either the Snorks somehow venture out of the sea or a friendly scuba diving kid finds them. Though for the latter, the budget could be too high. I wonder if the Snorks could survive out of water… Ghostbusters - Would be allowed for there to be a feature film version of Filmation’s Ghostbusters — you know, the one that wasn’t based on the REAL Ghostbusters? The one that was actually based on a TV series that came before the movie Ghostbusters? Hmm. I guess this one should really go in the list of live-action series calling for CGI/live-action treatment (like ALF…) The Archie Show - Obviously this one could be completely live-action. But that’s no fun. And that TV movie from 1990 was extremely disappointing. Solution: CGI Jughead! Rainbow Brite - Hey, I really liked Rainbow Brite when I was a kid. Is that OK to admit yet? I may have even wanted a plush toy of Twink. Or maybe I did have a plush toy of Twink. Either way, I’d be the first heterosexual male in line at the theater for this one. Rugrats - This one will only be kinda CGI. It can star real kids with CGI mouths, like what they do with animals in the Babe and Dr. Dolittle movies. Oh yeah, and what they do with babies in the Baby Geniuses movies. Of course, the animated Rugrats movies each made significantly more money than the Baby Geniuses movies, so anyone who’d actually take on this idea is an idiot. The Herculoids - I really don’t care if they make it all CGI, mixed CGI/live-action, all 2D animation, or what; all I care about is that I get to see Tundro on the big screen one day before I die. Back when I saw Jurassic Park for the first time, I thought the triceratops was really lame. But it wasn’t because it was obviously animatronic. It was because it couldn’t shoot rocks out of its horn like Tundro. The rest of the Herculoids, especially Igoo and Gloop & Gleep, would also be awesome to see in a movie. In fact, to be honest, I mostly just made this list in order to profess my desire for a Herculoids movie. Originally posted on:SpoutBlog http://www.spout.com/blogs/bigjefflebowski/archive/2008/1/6/23553.aspx Post By: BigJeffLebowski
Post To: BigJeffLebowski Blog
Post Date: 1/6/2008 9:34:43 AM
Body: In the January 14th issue of Time, film critic Richard Corliss eschews reviewing the week's releases (it is January, after all) to instead pontificate on the state of the Oscars ("How to Save the Awards Shows"). As many are wont to do, Corliss offers his suggestion on how to improve the Oscars. He throws out the notions usually bandied about in bids for cheap audience thrills, and suggests something that he considers self-evidently simple: give the awards to popular movies.Now, with all respect to Mr. Corliss, I agree that the Oscars don't have the finest track record for nominations, let alone for awards. But if I may be granted my say, the problem with the list is that it usually slants too commercial. Does anyone really think The Departed was the best picture of 2006? Or Crash the best picture of 2005? Or Million Dollar Baby the best picture of 2004? Or... well, you get the idea.Granted, these are not bad films. (Okay, Crash is a bad film.) But they are populist films. And whether or not they make as much money as unsophisticated comedies or franchises or sickeningly saccharine schmaltz is regardless. These are films with big names both in front of and behind the camera, with money to spare on production and promotion. By now, they even have a subgenre of their own: Oscar-bait.Corliss points out that "In the old days, the Best Picture prize went to box-office hits like Casablanca, The Bridge on the River Kwai, The Sound of Music." Is anyone really going to debate that Casablanca and The Bridge on the River Kwai are classics in all senses of the word? (Let's not debate The Sound of Music; as far as I'm concerned, that's one of the most erroneous awards the Academy has ever given. But I digress.) There's a difference between saying Gladiator is in the spirit of Spartacus and saying that Gladiator is as good as Spartacus. There's an intelligence, a tastefulness, and an artistic merit in a Spartacus that is lacking in favor of the bombast and the superficial showmanship of a Gladiator.I am of the opinion that Little Miss Sunshine, though brilliant, was overpraised. I do not feel it was the best original screenplay of the year, nor do I believe that it was among the five best pictures of the year. But let's put that aside and consider not the film itself, but what it meant within the context of its fellow nominees. Little Miss Sunshine was "the little indie that could," a film that could have gone straight to DVD and had a small devout following, but because of early critical praise and festival buzz, worked its way up to the Oscars. How precious. No one seemed to notice that Steve Carrell is one of our most bankable stars at the moment, not to mention the presence of other big name players such as Alan Arkin, Toni Collette, and Greg Kinear. No one that would necessarily pull a record breaking opening based on their name alone, but this isn't an indie in the Jim Jarmusch sense of the word. (Or -- excuse me, I forgot I was on Spout for a moment -- the Joe Swanberg sense of the word.)I would love to see Juno nominated for Best Picture and Best Original Screenplay, and Ellen Page nominated for Best Actress. To my delight, if the pre-Oscar buzz is to be trusted, there's a strong possibility of this coming to pass. But, as Karina has so eloquently pointed out on her blog, Juno is, like Little Miss Sunshine before it, not an indie. But if/when it gets nominated this year, it's going to be this year's "little indie that could." There will be those who champion it for it's decidedly outsider aesthetics and subversive attack on the general public; there will be those who lash out against it, saying it was only nominated to fill a quota. Both of these camps are wrong, and I find each one equally disheartening.Until the Academy is required to sit down and watch every film that comes out over the course of a year -- Oscar bait or not -- their awards are always going to be slanted and biased. Now, I'll admit that I don't think it would hurt if someone lost their copy of, say, Underdog, but once again, this is a slippery slope.I think back to my halcyon days of working video retail, when a precocious teen could stand behind the register, content and safe in his sense of cinematic superiority. I had a phrase, a credo if you will, for why I would never let a customer blindly refuse a letterbox edition of a film. "Educate, don't placate," I would say, as I took out a piece of (approximately) 2.35:1 paper and demonstrated, "This is how a movie is shot, but this is all you're getting to see," while ripping the paper in half. (I also had diagrams I would draw, but that would take too long to explain.)I would like to instruct the Academy to do the same thing: don't simply placate the masses who want validation that the films they paid to see are good. Chances are, they're not. No offense. Educate them on some of the better films they may have missed or not bothered to see. The film critic is always going to be hated by the populace, who routinely declare "I always disagree with reviews." There's no reason for intelligent, discerning people to sacrifice their integrity and pander to a constituency that isn't going to listen to them either way. EDIT: A very truncated version of this rant was printed in the Letters to the Editor section of the January 28 issue of Time magazine, several pages away from an interview with Woody Allen. I plan to gloat that Woody Allen and I were both published in the same issue of Time for many years to come.
]]>Sun, 06 Jan 2008 14:34:43 GMTBigJeffLebowskiBigJeffLebowski Blog1/6/2008 9:34:43 AMIn the January 14th issue of Time, film critic Richard Corliss eschews reviewing the week&#39;s releases (it is January, after all) to instead pontificate on the state of the Oscars (&quot;How to Save the Awards Shows&quot;). As many are wont to do, Corliss offers his suggestion on how to improve the Oscars. He throws out the notions usually bandied about in bids for cheap audience thrills, and suggests something that he considers self-evidently simple: give the awards to popular movies.Now, with all respect to Mr. Corliss, I agree that the Oscars don&#39;t have the finest track record for nominations, let alone for awards. But if I may be granted my say, the problem with the list is that it usually slants too commercial. Does anyone really think The Departed was the best picture of 2006? Or Crash the best picture of 2005? Or Million Dollar Baby the best picture of 2004? Or... well, you get the idea.Granted, these are not bad films. (Okay, Crash is a bad film.) But they are populist films. And whether or not they make as much money as unsophisticated comedies or franchises or sickeningly saccharine schmaltz is regardless. These are films with big names both in front of and behind the camera, with money to spare on production and promotion. By now, they even have a subgenre of their own: Oscar-bait.Corliss points out that &quot;In the old days, the Best Picture prize went to box-office hits like Casablanca, The Bridge on the River Kwai, The Sound of Music.&quot; Is anyone really going to debate that Casablanca and The Bridge on the River Kwai are classics in all senses of the word? (Let&#39;s not debate The Sound of Music; as far as I&#39;m concerned, that&#39;s one of the most erroneous awards the Academy has ever given. But I digress.) There&#39;s a difference between saying Gladiator is in the spirit of Spartacus and saying that Gladiator is as good as Spartacus. There&#39;s an intelligence, a tastefulness, and an artistic merit in a Spartacus that is lacking in favor of the bombast and the superficial showmanship of a Gladiator.I am of the opinion that Little Miss Sunshine, though brilliant, was overpraised. I do not feel it was the best original screenplay of the year, nor do I believe that it was among the five best pictures of the year. But let&#39;s put that aside and consider not the film itself, but what it meant within the context of its fellow nominees. Little Miss Sunshine was &quot;the little indie that could,&quot; a film that could have gone straight to DVD and had a small devout following, but because of early critical praise and festival buzz, worked its way up to the Oscars. How precious. No one seemed to notice that Steve Carrell is one of our most bankable stars at the moment, not to mention the presence of other big name players such as Alan Arkin, Toni Collette, and Greg Kinear. No one that would necessarily pull a record breaking opening based on their name alone, but this isn&#39;t an indie in the Jim Jarmusch sense of the word. (Or -- excuse me, I forgot I was on Spout for a moment -- the Joe Swanberg sense of the word.)I would love to see Juno nominated for Best Picture and Best Original Screenplay, and Ellen Page nominated for Best Actress. To my delight, if the pre-Oscar buzz is to be trusted, there&#39;s a strong possibility of this coming to pass. But, as Karina has so eloquently pointed out on her blog, Juno is, like Little Miss Sunshine before it, not an indie. But if/when it gets nominated this year, it&#39;s going to be this year&#39;s &quot;little indie that could.&quot; There will be those who champion it for it&#39;s decidedly outsider aesthetics and subversive attack on the general public; there will be those who lash out against it, saying it was only nominated to fill a quota. Both of these camps are wrong, and I find each one equally disheartening.Until the Academy is required to sit down and watch every film that comes out over the course of a year -- Oscar bait or not -- their awards are always going to be slanted and biased. Now, I&#39;ll admit that I don&#39;t think it would hurt if someone lost their copy of, say, Underdog, but once again, this is a slippery slope.I think back to my halcyon days of working video retail, when a precocious teen could stand behind the register, content and safe in his sense of cinematic superiority. I had a phrase, a credo if you will, for why I would never let a customer blindly refuse a letterbox edition of a film. &quot;Educate, don&#39;t placate,&quot; I would say, as I took out a piece of (approximately) 2.35:1 paper and demonstrated, &quot;This is how a movie is shot, but this is all you&#39;re getting to see,&quot; while ripping the paper in half. (I also had diagrams I would draw, but that would take too long to explain.)I would like to instruct the Academy to do the same thing: don&#39;t simply placate the masses who want validation that the films they paid to see are good. Chances are, they&#39;re not. No offense. Educate them on some of the better films they may have missed or not bothered to see. The film critic is always going to be hated by the populace, who routinely declare &quot;I always disagree with reviews.&quot; There&#39;s no reason for intelligent, discerning people to sacrifice their integrity and pander to a constituency that isn&#39;t going to listen to them either way. EDIT: A very truncated version of this rant was printed in the Letters to the Editor section of the January 28 issue of Time magazine, several pages away from an interview with Woody Allen. I plan to gloat that Woody Allen and I were both published in the same issue of Time for many years to come. http://www.spout.com/blogs/the1theonlyjp/archive/2008/1/1/23392.aspx Post By: The1TheOnlyJP
Post To: The Paxton Log
Post Date: 1/1/2008 5:35:28 AM
Body: Hello, my name is JP Paxton and I love movies. What began in mid 2004 has since became my uncontrollable obsession that can now be considered nothing less than an incurable sickness. Seriously, I probably think of a movie or something movie-related once every ten seconds. Because of this, I am propelled to constantly see, write & talk about movies. Those of you who are my friends or at least know of me already know this. For the ones that don't, now you know. Here it is New Year's Eve which means that yet another year has passed. Of course though that also means I'm here to let you all know what films I consider the best of 2007. This year certainly had its share of disappointments including but not limited to 'Bee Movie', 'Underdog' & 'Mr. Magorium's Wonder Emporium.' I still can't recall what made me even think 'Underdog' might have possibly had a shot at being even half-decent. With the bad though there's always some good. For example 'Once'; the independent musical starring actual musical artists as the films two leads instead of actors resulting in real on-screen emotion. Also this year featured the thrilling crime-drama 'Zodiac' depicting the merciless murderers that started in the 60's by the infamous serial killer of the same name. Then there was the film that would inevitably become my favorite of 2007: 'Grindhouse.' The throwback to the gritty, low-budget exploitation double features of the 70's caused confusion among audiences nationwide due to marketing that didn't quite reveal its true nature. For those of that did understand it though we were able to appreciate it's kick-ass style and utter awesomeness. However, not one of the films I just mentioned are included in the list that follows and neither are 'Michael Clayton', 'Away From Her', 'Before the Devil Knows You're Dead' or 'Gone Baby Gone.' They all had some great qualities but just fell short in the end. With that, here they are in all their glory in no particular order, the ten films deemed by yours truly as the best of 2007.'La Vie en Rose'The passionate and troubled life of Paris singer Edith Piaf features one of if not the most captivating performances of the year. Written with her in mind by director Olivier Dahan, Marion Cotillard is flawless. I imagine she'll be a shoe-in for a nomination of best actress at this years Oscars.'Sweeney Todd: The Demon Barber of Fleet Street'Tim Burton and Johnny Depp's sixth collaboration together is a "bloody" good Gothic feast for the eyes. It's true, it is repetitious of Burton's previous works in terms of style but it's also a smooth and elegant telling of the macabre brought to life by its great music.'Juno'This was actually the final film I saw this year and how glad I am that ended up getting the chance to do so. It is an immensely funny, clever & sweet comedy starring the fantastic Ellen Page. Its greatest strength resides in the smart screenplay written by Diablo Codybest known for memoir titled "Candy Girl: A Year in The Life of an Unlikely Stripper."'The Kite Runner'One of three book adaptations featured in this best of list 'The Kite Runner' brings to the big screen Khaled Hossenini's gripping novel of friendship and betrayal. While many will argue the exact opposite, I found it to be an amazing story that will touch your heart.'Ratatouille'Take one ambitious rat named Remy, an array of astounding visuals that could only be created by Pixar studios and then mix them with the delightful storytelling and directing skills of Brad Bird. Let it simmer for a few years and what do you get? A delicious film that reinforces the fact that even after all these years magic has yet to leave the imaginative Walt Disney Pictures.'Sicko'Oh, how patriotic Michael Moore is. He returned this year with his documentary voicing the horrors of the healthcare system in America. The surprisingly interesting and entertaining two hours and three minutes and will make you cringe and leave you in complete awe.'Atonement'The opening film at this year's Venice Film Festival and adaptation of Ian McEwan's novel brought to the table a wondrous tale of longing which featured magnificent cinematography and an equally lovely score composed by Dario Marianelli. It's such a shame it's not playing in more theaters here in the U.S.'Superbad'Written by Seth Rogan and Evan Goldberg when they were just thirteen years old 'Superbad' turned out to be super good. The Judd Apatow produced comedy is hands down one the years funniest films that offers a truthful glimpse of teenage anxiety and has a groovy soundtrack to boot including cuts from composer Lyle Workman as well as tracks from The Bar-Kays and Rick James.'I'm Not There'The bio-pic formed and executed in a way that resembled one of its subjects own songs 'I'm Not There' gave an interesting look at the life of Bob Dylan. While it wasn't quite what I had envisioned beforehand it still is probably the best put together and creative film of 2007.'No Country for Old Men'The most compelling film of the year is brought to us by The Coen brothers. It gives us a front row seat to the violent game of cat and mouse portrayed by Josh Brolin and a extraordinarily crafty Javier Bardem as Anton Chigurh from the bestseller by Cormac McCarthy. There is no doubt in my mind a best picture nomination in store for this flick.So there you have it. You may agree or disagree with my choices, it doesn't really matter to me. Just be aware that if you don't agree with me you are wrong. DEAD WRONG. Right now I'm typing this as my face sports a disturbingly angry expression... Seriously though, I wish you all a safe and happy new year. Thanks for reading.
]]>Tue, 01 Jan 2008 10:35:28 GMTThe1TheOnlyJPThe Paxton Log1/1/2008 5:35:28 AMHello, my name is JP Paxton and I love movies. What began in mid 2004 has since became my uncontrollable obsession that can now be considered nothing less than an incurable sickness. Seriously, I probably think of a movie or something movie-related once every ten seconds. Because of this, I am propelled to constantly see, write &amp; talk about movies. Those of you who are my friends or at least know of me already know this. For the ones that don&#39;t, now you know. Here it is New Year&#39;s Eve which means that yet another year has passed. Of course though that also means I&#39;m here to let you all know what films I consider the best of 2007. This year certainly had its share of disappointments including but not limited to &#39;Bee Movie&#39;, &#39;Underdog&#39; &amp; &#39;Mr. Magorium&#39;s Wonder Emporium.&#39; I still can&#39;t recall what made me even think &#39;Underdog&#39; might have possibly had a shot at being even half-decent. With the bad though there&#39;s always some good. For example &#39;Once&#39;; the independent musical starring actual musical artists as the films two leads instead of actors resulting in real on-screen emotion. Also this year featured the thrilling crime-drama &#39;Zodiac&#39; depicting the merciless murderers that started in the 60&#39;s by the infamous serial killer of the same name. Then there was the film that would inevitably become my favorite of 2007: &#39;Grindhouse.&#39; The throwback to the gritty, low-budget exploitation double features of the 70&#39;s caused confusion among audiences nationwide due to marketing that didn&#39;t quite reveal its true nature. For those of that did understand it though we were able to appreciate it&#39;s kick-ass style and utter awesomeness. However, not one of the films I just mentioned are included in the list that follows and neither are &#39;Michael Clayton&#39;, &#39;Away From Her&#39;, &#39;Before the Devil Knows You&#39;re Dead&#39; or &#39;Gone Baby Gone.&#39; They all had some great qualities but just fell short in the end. With that, here they are in all their glory in no particular order, the ten films deemed by yours truly as the best of 2007.&#39;La Vie en Rose&#39;The passionate and troubled life of Paris singer Edith Piaf features one of if not the most captivating performances of the year. Written with her in mind by director Olivier Dahan, Marion Cotillard is flawless. I imagine she&#39;ll be a shoe-in for a nomination of best actress at this years Oscars.&#39;Sweeney Todd: The Demon Barber of Fleet Street&#39;Tim Burton and Johnny Depp&#39;s sixth collaboration together is a &quot;bloody&quot; good Gothic feast for the eyes. It&#39;s true, it is repetitious of Burton&#39;s previous works in terms of style but it&#39;s also a smooth and elegant telling of the macabre brought to life by its great music.&#39;Juno&#39;This was actually the final film I saw this year and how glad I am that ended up getting the chance to do so. It is an immensely funny, clever &amp; sweet comedy starring the fantastic Ellen Page. Its greatest strength resides in the smart screenplay written by Diablo Codybest known for memoir titled &quot;Candy Girl: A Year in The Life of an Unlikely Stripper.&quot;&#39;The Kite Runner&#39;One of three book adaptations featured in this best of list &#39;The Kite Runner&#39; brings to the big screen Khaled Hossenini&#39;s gripping novel of friendship and betrayal. While many will argue the exact opposite, I found it to be an amazing story that will touch your heart.&#39;Ratatouille&#39;Take one ambitious rat named Remy, an array of astounding visuals that could only be created by Pixar studios and then mix them with the delightful storytelling and directing skills of Brad Bird. Let it simmer for a few years and what do you get? A delicious film that reinforces the fact that even after all these years magic has yet to leave the imaginative Walt Disney Pictures.&#39;Sicko&#39;Oh, how patriotic Michael Moore is. He returned this year with his documentary voicing the horrors of the healthcare system in America. The surprisingly interesting and entertaining two hours and three minutes and will make you cringe and leave you in complete awe.&#39;Atonement&#39;The opening film at this year&#39;s Venice Film Festival and adaptation of Ian McEwan&#39;s novel brought to the table a wondrous tale of longing which featured magnificent cinematography and an equally lovely score composed by Dario Marianelli. It&#39;s such a shame it&#39;s not playing in more theaters here in the U.S.&#39;Superbad&#39;Written by Seth Rogan and Evan Goldberg when they were just thirteen years old &#39;Superbad&#39; turned out to be super good. The Judd Apatow produced comedy is hands down one the years funniest films that offers a truthful glimpse of teenage anxiety and has a groovy soundtrack to boot including cuts from composer Lyle Workman as well as tracks from The Bar-Kays and Rick James.&#39;I&#39;m Not There&#39;The bio-pic formed and executed in a way that resembled one of its subjects own songs &#39;I&#39;m Not There&#39; gave an interesting look at the life of Bob Dylan. While it wasn&#39;t quite what I had envisioned beforehand it still is probably the best put together and creative film of 2007.&#39;No Country for Old Men&#39;The most compelling film of the year is brought to us by The Coen brothers. It gives us a front row seat to the violent game of cat and mouse portrayed by Josh Brolin and a extraordinarily crafty Javier Bardem as Anton Chigurh from the bestseller by Cormac McCarthy. There is no doubt in my mind a best picture nomination in store for this flick.So there you have it. You may agree or disagree with my choices, it doesn&#39;t really matter to me. Just be aware that if you don&#39;t agree with me you are wrong. DEAD WRONG. Right now I&#39;m typing this as my face sports a disturbingly angry expression... Seriously though, I wish you all a safe and happy new year. Thanks for reading. http://www.spout.com/blogs/lilbabegirl/archive/2007/8/19/18377.aspx Post By: lilbabegirl
Post To: lilbabegirl Blog
Post Date: 8/19/2007 1:56:49 AM
Body: watch underdog pplz cuz it aint otha kind ov stupid moviez.
]]>Sun, 19 Aug 2007 05:56:49 GMTlilbabegirllilbabegirl Blog8/19/2007 1:56:49 AMwatch underdog pplz cuz it aint otha kind ov stupid moviez. http://www.spout.com/members/0/tags/dog/MemberTagFilms.aspxdog
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