list http://www.spout.com/ Recent community activity around Point Break 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/Point_Break/26966/default.aspx Title: Point Break
Year: 1991
Director: Kathryn Bigelow
Plot: Kathryn Bigelow's fourth action film follows FBI agent Johnny Utah (Keanu Reeves) as he goes undercover to infiltrate a cache of Southern California surfers suspected of robbing banks. Utah, a former football player, is assigned to Los Angeles. There, four bank robbers, who wear rubber masks and call themselves "Ex-Presidents," have executed a series of successful robberies which embarrassingly have the FBI stumped. Utah, and his partner Pappas (Gary Busey) suspect that the robbers are surfers and hatch a plan for catching them. ~ Linda Rasmussen, All Movie Guide
Times Tagged: 51
Number of Lists: 49
Number of blog posts: 7
Number of discussion threads: 9
SpoutRating: 3
]]>Mon, 17 Aug 2009 02:23:21 GMTPoint Break1991Kathryn Bigelow<a href="/players/P____81836/default.aspx" style='text-decoration:underline'>Kathryn Bigelow</a>'s fourth action film follows FBI agent Johnny Utah (<a href="/players/P____59355/default.aspx" style='text-decoration:underline'>Keanu Reeves</a>) as he goes undercover to infiltrate a cache of Southern California surfers suspected of robbing banks. Utah, a former football player, is assigned to Los Angeles. There, four bank robbers, who wear rubber masks and call themselves "Ex-Presidents," have executed a series of successful robberies which embarrassingly have the FBI stumped. Utah, and his partner Pappas (<a href="/players/P_____9844/default.aspx" style='text-decoration:underline'>Gary Busey</a>) suspect that the robbers are surfers and hatch a plan for catching them. ~ Linda Rasmussen, All Movie Guide51Tag Target (>10)49793http://www.spout.com/ProductImages/t84108w6o7n.jpghttp://www.spout.com/films/Point_Break/26966/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/8/8/43455.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 8/8/2009 5:11:30 PM
Body: Rookie FBI agent, "Johnny Utah" (Keanu Reeves) has been assigned to the Los Angeles in to the Bank Robbery Division fresh out of training. He is a bit gung-ho, and is partnered up with a veteran (Gary Busey) who is fairly similar to him."Agent Angelo Pappas" (Busey) has been hunting a gang of professional bank robbers, each wearing a mask in the resemblance of former US Presidents which caused the authorities to nickname them "The Ex-Presidents.""Pappas" has a theory that the bank robbers are, in fact, surfers financing their travels in search of the best wave. However, not even the head of the division believes his theory, which is based on evidence.The two, with "Utah" going undercover, go to the local beaches to find possible suspects, as the robberies continue.Now, the two go in search of the bank robbers to bring them to justice.Let me say first, this is not the best movie I've seen as of late. There are more problems with this movie than entertainment.First of all, the acting is uneven. Although certain people have chemistry when together, their performances as a whole lack. I did not like the chemistry between Reeves and Lori Petty, who potrayed "Utah's" love intrest while undercover. The biggest problem with their on-screen relationship is that Petty is not on screen enough. You feel nothing when something happens to her which gives a predictable twist in the plot. You couldn't even feel the emotion from Reeves.Reeves is easily one of the worst performances. His delivery of his lines was very uneven, especially near the start of the film. If you listen carefully, he brings back his "Bill and Ted" voice in a brief moment in one scene which, if you notice it, gives the audience a chuckle. On the other hand, Swayze, who plays the lead robber, had a better performance. However, if you ask me, Swayze was not really into the script, and his performance showed that.As for the script itself. It's not very good at all. I was not impressed with the dialogue, nor a good chunk of the scenes. There were some good action scenes, with one fantastic foot chase through the streets, and at least one private residence, that had some real good editing, which was also uneven.Then there are the surf scenes. These were horribly produced. None of them were exciting or edited in a way that made you want to watch the scenes. I wasn't even impressed with the music laid over these shots.The soundtrack was completely forgettable. I can't even name one song that was in this movie. In fact, if I happen to hear the soundtrack in passing, I wouldn't recognize it as this movie's soundtrack.The director did a horrible job putting this movie together. Poor script, uneven performances, big plot holes. I can only recommend that, if there is nothing better to do, check this movie out on HBO.
]]>Sat, 08 Aug 2009 21:11:30 GMTThe_MOWThe_MOW Blog8/8/2009 5:11:30 PMRookie FBI agent, "Johnny Utah" (Keanu Reeves) has been assigned to the Los Angeles in to the Bank Robbery Division fresh out of training. He is a bit gung-ho, and is partnered up with a veteran (Gary Busey) who is fairly similar to him."Agent Angelo Pappas" (Busey) has been hunting a gang of professional bank robbers, each wearing a mask in the resemblance of former US Presidents which caused the authorities to nickname them "The Ex-Presidents.""Pappas" has a theory that the bank robbers are, in fact, surfers financing their travels in search of the best wave. However, not even the head of the division believes his theory, which is based on evidence.The two, with "Utah" going undercover, go to the local beaches to find possible suspects, as the robberies continue.Now, the two go in search of the bank robbers to bring them to justice.Let me say first, this is not the best movie I've seen as of late. There are more problems with this movie than entertainment.First of all, the acting is uneven. Although certain people have chemistry when together, their performances as a whole lack. I did not like the chemistry between Reeves and Lori Petty, who potrayed "Utah's" love intrest while undercover. The biggest problem with their on-screen relationship is that Petty is not on screen enough. You feel nothing when something happens to her which gives a predictable twist in the plot. You couldn't even feel the emotion from Reeves.Reeves is easily one of the worst performances. His delivery of his lines was very uneven, especially near the start of the film. If you listen carefully, he brings back his "Bill and Ted" voice in a brief moment in one scene which, if you notice it, gives the audience a chuckle. On the other hand, Swayze, who plays the lead robber, had a better performance. However, if you ask me, Swayze was not really into the script, and his performance showed that.As for the script itself. It's not very good at all. I was not impressed with the dialogue, nor a good chunk of the scenes. There were some good action scenes, with one fantastic foot chase through the streets, and at least one private residence, that had some real good editing, which was also uneven.Then there are the surf scenes. These were horribly produced. None of them were exciting or edited in a way that made you want to watch the scenes. I wasn't even impressed with the music laid over these shots.The soundtrack was completely forgettable. I can't even name one song that was in this movie. In fact, if I happen to hear the soundtrack in passing, I wouldn't recognize it as this movie's soundtrack.The director did a horrible job putting this movie together. Poor script, uneven performances, big plot holes. I can only recommend that, if there is nothing better to do, check this movie out on HBO. http://www.spout.com/groups/Movie_Polls/Which_of_these_movies_with_a_US_State_name_in_its/657/43243/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 7/23/2009 2:34:37 PM
Body: Please reference this thread for the rules of this group. I know this may seem like a silly poll since none of these films have much in common other than this facet regarding their title. And titles are often pretty arbitrary things. And also, there are so many movies out there with states in their title that I had to arbitrarily select which films to have in this poll since I didn't want to list too many to make it too unwieldy. But I still thought it would be interesting. Another interesting thing I discovered. Keanu Reeves has been in three films with states in the title: The Prince of Pennsylvania, My Own Private Idaho, and Feeling Minnesota. Also the original title for the film Point Break was "Johnny Utah", the name of his character. Please vote only once in each poll. Movies referenced in this poll:Arizona DreamChristmas in ConnecticutLouisiana StoryMississippi BurningMy Own Private IdahoNorth to AlaskaOklahoma!Sweet Home AlabamaThe Texas Chain Saw MassacreVernon, FloridaWisconsin Death Trip
]]>Thu, 23 Jul 2009 18:34:37 GMTRisseladaMovie Polls7/23/2009 2:34:37 PMPlease reference this thread for the rules of this group. I know this may seem like a silly poll since none of these films have much in common other than this facet regarding their title. And titles are often pretty arbitrary things. And also, there are so many movies out there with states in their title that I had to arbitrarily select which films to have in this poll since I didn't want to list too many to make it too unwieldy. But I still thought it would be interesting. Another interesting thing I discovered. Keanu Reeves has been in three films with states in the title: The Prince of Pennsylvania, My Own Private Idaho, and Feeling Minnesota. Also the original title for the film Point Break was "Johnny Utah", the name of his character. Please vote only once in each poll. Movies referenced in this poll:Arizona DreamChristmas in ConnecticutLouisiana StoryMississippi BurningMy Own Private IdahoNorth to AlaskaOklahoma!Sweet Home AlabamaThe Texas Chain Saw MassacreVernon, FloridaWisconsin Death Trip http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40680.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:01:20 PM
Body: While Karina (and indieWIRE) sits off to the side celebrating the recent indie box office record-breaker, most of the interweb is talking about the weekend’s mainstream achievements. Well, actually people are mostly focusing on just the shocking success of Friday the 13th, which I believe broke records for its franchise, its genre, its rating and for President’s Day weekend (though not for the month of February). As for the other monumental marker, Paul Blart: Mall Cop, I’ve seen maybe two bloggers comment on how it’s just passed $100 million. How is this a remarkable feat? Well, not only does this make Paul Blart the highest grossing January opener ever, but the oft-derided comedy is also the first film to debut in January to reach the $100 million point (not counting the special edition re-release of Star Wars, that is). As this is a holiday and most of the web cinephiles are celebrating appropriately by watching North by Northwest or Point Break, there isn’t much else being written about, so here are some noteworthy quotes and links regarding the stunning box office figures: Let’s begin with a comment from horror expert Scott Weinberg (of Cinematical and elsewhere), from whose Twitter I learned of the F13 tally: “Wow, $42m for “Friday the 13th”? Get ready for a bunch of dumb articles about how horror is “back!”" And not even just from the mainstream media, Scott! As one of the very excited F13 fans at Bloody-Disgusting.com writes: “2009 is going to put horror back on the map! Could we see a repeat of the 80’s? As one person said, MBV 3D got 50 million and this is predicted 100 million. Back that up with the earnings that New Line will rake in with Final Destination 4 plus Vincenzo Natali making a return with Splice and niche horror titles coming to DVD such as Hush, Shortcut, Triangle and God knows universal will get returns on The Grudge 3. THAT is something we can cram down peoples throats and say, “Yeah, mock our genre now, bitches!” HORROR RULES!!!!!!!!!!! THIS YEAR WE WILL CHECKMATE THE FILM INDUSTRY AND TAKE THE BOX OFFICE BY STORM!!!!” In what seems to be an analogy relating Jason Voorhees to Richard Nixon, Stu at Defamer writes, “Fittingly or not, the biggest President’s Day weekend in box-office history was led by a bloodthirsty, unlikable and unkillable man who’s spent the last 30 years strategically decimating his opponents. Jason Voorhees’s landslide triumph reaffirmed his supremacy and mandate for years to come, or at least until David Frost corners him to ask why he didn’t burn the tapes and if he would like to apologize to the American people for anything in particular. Actually, Frost/Jason doesn’t sound half-bad.” It might sound better if Frost/Nixon wasn’t considered the opposite of Friday the 13th in terms of box office success. In yet another analysis of yet another weekend in which “the Oscar bump” was nowhere to be seen despite the otherwise stellar box office numbers, Patrick Goldstein at The Big Picture notes, “It’s time for filmmakers to grasp the new reality: The Oscars have become a hollow brass ring. They may be the ultimate status symbol to everyone inside the industry, but outside–in the real world, where Oscar ratings have been steadily dropping–the awards have less and less impact.” Minute details about the box office numbers are worth paying specific attention to, by the way. While Nikki Finke ponders the following, “I don’t know which is worse: that moviegoers flocked to horrific Friday The 13th 2009 from New Line/Warner Bros because it’s Friday the 13th. Or that they also saw a machete-wielding psycho killer with a loved one on Valentines Day.” Radar points out, “That’s impressive, though the signs for continued success aren’t so good: nearly half that total was netted on Friday, meaning that the die-hards went to see it and didn’t necessarily recommend it to their friends. And — okay. Maybe it wasn’t the best date movie in the world on Saturday for Valentine’s Day.” Gabe Toro at The Playlist still sees continued success: “Though the dropoff was steep after a nearly $20 million Friday (I guess couples didn’t want to spend Valentine’s Day watching people hacked and slashed to death?), don’t be surprised to see the franchise suddenly have new legs after this becomes by far the most successful of the series. The awful, reductive, embarassingly simplistic series.” Screen Daily comments on the triumph for the R rating: “That the number one launch was R-rated compared to [former horror top-grosser] The Grudge’s less problematic PG-13 certification is all the more impressive and vindicates Warner Bros’ decision to release this latest New Line bequest over Valentine’s Day weekend.” Of course, it’s worth reporting that The Grudge still sold more tickets. At Film Threat, Scott Mendelson has some quick thoughts on another remake: “I guess the $50 million 4-day Friday the 13th opening means the feared Nightmare on Elm Street remake is about to get fast tracked, right quick (when are we going to see that Martin Campbell remake of The Birds?). For the record, the movie could actually use a remake. The original still holds up as a creepy and surreal horror film, but all of the kid actors are pretty mediocre (yes, even Johnny Depp). And good on Platinum Dunes for getting a hungry, artistically talented rookie to direct the thing.  Better a hungry music video vet with something to prove than a theoretical auteur just in it for the glory (think Rob Zombie).” And finally, for no other reason than it has to do with the other record-breaker, a trailer mash-up of Paul Blart and the similar yet darker upcoming comedy Observe and Report (via Best Week Ever): Seth Rogen in Paul Blart Mall Cop Trailer @ Yahoo! Video Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:01:20 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:01:20 PMWhile Karina (and indieWIRE) sits off to the side celebrating the recent indie box office record-breaker, most of the interweb is talking about the weekend’s mainstream achievements. Well, actually people are mostly focusing on just the shocking success of Friday the 13th, which I believe broke records for its franchise, its genre, its rating and for President’s Day weekend (though not for the month of February). As for the other monumental marker, Paul Blart: Mall Cop, I’ve seen maybe two bloggers comment on how it’s just passed $100 million. How is this a remarkable feat? Well, not only does this make Paul Blart the highest grossing January opener ever, but the oft-derided comedy is also the first film to debut in January to reach the $100 million point (not counting the special edition re-release of Star Wars, that is). As this is a holiday and most of the web cinephiles are celebrating appropriately by watching North by Northwest or Point Break, there isn’t much else being written about, so here are some noteworthy quotes and links regarding the stunning box office figures: Let’s begin with a comment from horror expert Scott Weinberg (of Cinematical and elsewhere), from whose Twitter I learned of the F13 tally: “Wow, $42m for “Friday the 13th”? Get ready for a bunch of dumb articles about how horror is “back!”" And not even just from the mainstream media, Scott! As one of the very excited F13 fans at Bloody-Disgusting.com writes: “2009 is going to put horror back on the map! Could we see a repeat of the 80’s? As one person said, MBV 3D got 50 million and this is predicted 100 million. Back that up with the earnings that New Line will rake in with Final Destination 4 plus Vincenzo Natali making a return with Splice and niche horror titles coming to DVD such as Hush, Shortcut, Triangle and God knows universal will get returns on The Grudge 3. THAT is something we can cram down peoples throats and say, “Yeah, mock our genre now, bitches!” HORROR RULES!!!!!!!!!!! THIS YEAR WE WILL CHECKMATE THE FILM INDUSTRY AND TAKE THE BOX OFFICE BY STORM!!!!” In what seems to be an analogy relating Jason Voorhees to Richard Nixon, Stu at Defamer writes, “Fittingly or not, the biggest President’s Day weekend in box-office history was led by a bloodthirsty, unlikable and unkillable man who’s spent the last 30 years strategically decimating his opponents. Jason Voorhees’s landslide triumph reaffirmed his supremacy and mandate for years to come, or at least until David Frost corners him to ask why he didn’t burn the tapes and if he would like to apologize to the American people for anything in particular. Actually, Frost/Jason doesn’t sound half-bad.” It might sound better if Frost/Nixon wasn’t considered the opposite of Friday the 13th in terms of box office success. In yet another analysis of yet another weekend in which “the Oscar bump” was nowhere to be seen despite the otherwise stellar box office numbers, Patrick Goldstein at The Big Picture notes, “It’s time for filmmakers to grasp the new reality: The Oscars have become a hollow brass ring. They may be the ultimate status symbol to everyone inside the industry, but outside–in the real world, where Oscar ratings have been steadily dropping–the awards have less and less impact.” Minute details about the box office numbers are worth paying specific attention to, by the way. While Nikki Finke ponders the following, “I don’t know which is worse: that moviegoers flocked to horrific Friday The 13th 2009 from New Line/Warner Bros because it’s Friday the 13th. Or that they also saw a machete-wielding psycho killer with a loved one on Valentines Day.” Radar points out, “That’s impressive, though the signs for continued success aren’t so good: nearly half that total was netted on Friday, meaning that the die-hards went to see it and didn’t necessarily recommend it to their friends. And — okay. Maybe it wasn’t the best date movie in the world on Saturday for Valentine’s Day.” Gabe Toro at The Playlist still sees continued success: “Though the dropoff was steep after a nearly $20 million Friday (I guess couples didn’t want to spend Valentine’s Day watching people hacked and slashed to death?), don’t be surprised to see the franchise suddenly have new legs after this becomes by far the most successful of the series. The awful, reductive, embarassingly simplistic series.” Screen Daily comments on the triumph for the R rating: “That the number one launch was R-rated compared to [former horror top-grosser] The Grudge’s less problematic PG-13 certification is all the more impressive and vindicates Warner Bros’ decision to release this latest New Line bequest over Valentine’s Day weekend.” Of course, it’s worth reporting that The Grudge still sold more tickets. At Film Threat, Scott Mendelson has some quick thoughts on another remake: “I guess the $50 million 4-day Friday the 13th opening means the feared Nightmare on Elm Street remake is about to get fast tracked, right quick (when are we going to see that Martin Campbell remake of The Birds?). For the record, the movie could actually use a remake. The original still holds up as a creepy and surreal horror film, but all of the kid actors are pretty mediocre (yes, even Johnny Depp). And good on Platinum Dunes for getting a hungry, artistically talented rookie to direct the thing.  Better a hungry music video vet with something to prove than a theoretical auteur just in it for the glory (think Rob Zombie).” And finally, for no other reason than it has to do with the other record-breaker, a trailer mash-up of Paul Blart and the similar yet darker upcoming comedy Observe and Report (via Best Week Ever): Seth Rogen in Paul Blart Mall Cop Trailer @ Yahoo! Video Originally posted on:SpoutBlog http://www.spout.com/blogs/risselada/archive/2008/12/25/38844.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 12/25/2008 6:31:01 PM
Body: Hot Fuzz Yes, it's Christmas and I'm writing a movie review. Why not. My friend Noah came to visit me for a while and brought a couple films with him, including Hot Fuzz. I liked it about as much as Shaun of the Dead made by the same group of filmmakers. Which is to say, it was enjoyable enough but otherwise fairly forgettable. These guys are praised for having seen so many movies that they know all the cliches and are able to make a good parody / homage. I guess I enjoy the parody part, but it's apparent the filmmakers actually have respect for movies like Point Break or even *shudder* Bad Boys II, both of which are blatantly referenced several times by characters in the film. [POSSIBLE SPOILER] One interesting coincidence is that in the same weekend that we watched this movie, we also watched The Wicker Man which this movie is obviously referencing with it's primary plot points and main plot twist. Rating: 6/10
]]>Thu, 25 Dec 2008 23:31:01 GMTRisseladaRisselada Blog12/25/2008 6:31:01 PMHot Fuzz Yes, it's Christmas and I'm writing a movie review. Why not. My friend Noah came to visit me for a while and brought a couple films with him, including Hot Fuzz. I liked it about as much as Shaun of the Dead made by the same group of filmmakers. Which is to say, it was enjoyable enough but otherwise fairly forgettable. These guys are praised for having seen so many movies that they know all the cliches and are able to make a good parody / homage. I guess I enjoy the parody part, but it's apparent the filmmakers actually have respect for movies like Point Break or even *shudder* Bad Boys II, both of which are blatantly referenced several times by characters in the film. [POSSIBLE SPOILER] One interesting coincidence is that in the same weekend that we watched this movie, we also watched The Wicker Man which this movie is obviously referencing with it's primary plot points and main plot twist. Rating: 6/10 http://www.spout.com/groups/Coming_Soon/Time_Travel_Aliens_and_Biopics_New_movies_12/216/38083/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/8/2008 4:30:05 PM
Body: TIME TRAVEL: A BASIC HUMAN RIGHT Bad Guys Will Always Have Time Travel, so Good Guys Should Have It Too -- 5 Movies That Prove This Argument 1. Timecrimes (NEW) -- Watch the trailer. Read the review, listen to the interview. 2. Time Bandits (1981) -- Watch the trailer. My good friend Kevin (porcupine) loves this flick. That's good, because his parents named him after one of the characters. Would it be less cool if he were named after Kevin McAlister from Home Alone? Something to ponder. 3. Time Cop (1994) -- Watch the trailer. I remember this Jean-Claude Van Damme vehicle was pretty violent and included some gratuitous nudity; I was only 13 when I saw it in '95, and that's all I remember. Are there fans who've seen it more recently? 4. Back to the Future Part II (1989) -- Watch the trailer. Remember how future Biff went back in time to give the gambling results book to 50's Biff, then 50's Biff became rich by never losing a bet at the horseraces? Who besides me wished they could do that? 5. And of course, there's the mo-fo'ing Terminator series. Man, I can't wait for Terminator: Salvation. Read the notes from the Comic-Con press conference. WHOA: KEANU REEVES, ROCKIN' IT 3. The Day the Earth Stood Still (NEW) -- Read about the press conference with Keanu and Jennifer Connelly. I won't lie, I'm excited for this one! Not only am I nuts about Jennifer Connelly, I also think Keanu could be fantastic at playing a non-human. (Just like how Swarzenegger was always best at playing a robot.) Recast the original, you might win a t-shirt. 2. A Scanner Darkly (2006) -- Really good movie from Richard Linklater. It's rotoscoped like Waking Life, but it has a story! It's funny and sad and paranoid (it's about narcs and drug addiction). The trio of Keanu, Woody Harrelson and Robert Downey Jr. make it a buddy tragi-comedy. 1. Point Break (1991) -- Watch the trailer. Time to watch it again. When Hot Fuzz came out, I'm so glad they paid homage to this lovable turkey. CHE & OUR FAVORITE BIOPICS Che (NEW) -- Read Karina's review and the Steven Soderberg press conference. This is not one of Karina's favorite biopics. Find out why Karina's review pissed off older bloggers. What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: 6. Gandhi -- Watch the trailer. I dig that Ben Kingsley. I haven't seen this though, what do you guys think of it? 5. Into the Wild -- Watch the trailer. Haven't seen this one either. 4. Evita -- The musical with Madonna. I don't know if I could handle it. 3. A Beautiful Mind -- Watch the trailer. Haven't seen it. 2. I'm Not There -- Watch the trailer. Careful with this one, because if you don't know a lot about Bob Dylan's life, the film will just be confusing and frustrating. If you do know your Dylan, this is beautiful and a real heart-breaker. 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. GOOD MOVIES THAT COME FROM PLAYS 3. Doubt (NEW) -- Watch the trailer. Great cast, with Philip Seymour Hoffman, Meryl Streep and Amy Adams. 2. My favorite Shakespeare movies: for the comedies, Love's Labour's Lost and The Merchant of Venice. For the tragedies, I really like Titus and Roman Polanski's Macbeth. How about you guys? 1. Rope (1948) -- Jimmy Stewart is great in this thriller from Alfred Hitchcock. It all takes place in one apartment. WEIRD-ASS LOOKIN' ANIMATED MOVIE Delgo (NEW) -- Watch the weird-ass trailer. OTHER NEW MOVIES You know something juicy about these? Hit us with it!What Doesn't Kill You -- ..."makes you ugly." That's the saying, right? Stars Ethan Hawke and Mark Ruffalo, who play old friends trying to dodge gangs and a detective (Mark Wahlberg) in South Boston.Nothing Like the Holidays -- Watch the trailer. Alfred Molina! Where God Left His Shoes -- Stars John Leguizamo, who's trying to find an apartment for his family on Christmas Eve, after they've lived in a homeless shelter for a few months. Dark Streets -- Watch the trailer. I love that guy Elias Koteas. While She Was Out -- Kim Basinger's a housewife fighting for her life out in the woods (looks like some young men are trying to get her).$9.99 -- Stop-motion animation, starring Geoffrey Rush.
]]>Mon, 08 Dec 2008 21:30:05 GMTSkyPilotComing Soon12/8/2008 4:30:05 PMTIME TRAVEL: A BASIC HUMAN RIGHT Bad Guys Will Always Have Time Travel, so Good Guys Should Have It Too -- 5 Movies That Prove This Argument 1. Timecrimes (NEW) -- Watch the trailer. Read the review, listen to the interview. 2. Time Bandits (1981) -- Watch the trailer. My good friend Kevin (porcupine) loves this flick. That's good, because his parents named him after one of the characters. Would it be less cool if he were named after Kevin McAlister from Home Alone? Something to ponder. 3. Time Cop (1994) -- Watch the trailer. I remember this Jean-Claude Van Damme vehicle was pretty violent and included some gratuitous nudity; I was only 13 when I saw it in '95, and that's all I remember. Are there fans who've seen it more recently? 4. Back to the Future Part II (1989) -- Watch the trailer. Remember how future Biff went back in time to give the gambling results book to 50's Biff, then 50's Biff became rich by never losing a bet at the horseraces? Who besides me wished they could do that? 5. And of course, there's the mo-fo'ing Terminator series. Man, I can't wait for Terminator: Salvation. Read the notes from the Comic-Con press conference. WHOA: KEANU REEVES, ROCKIN' IT 3. The Day the Earth Stood Still (NEW) -- Read about the press conference with Keanu and Jennifer Connelly. I won't lie, I'm excited for this one! Not only am I nuts about Jennifer Connelly, I also think Keanu could be fantastic at playing a non-human. (Just like how Swarzenegger was always best at playing a robot.) Recast the original, you might win a t-shirt. 2. A Scanner Darkly (2006) -- Really good movie from Richard Linklater. It's rotoscoped like Waking Life, but it has a story! It's funny and sad and paranoid (it's about narcs and drug addiction). The trio of Keanu, Woody Harrelson and Robert Downey Jr. make it a buddy tragi-comedy. 1. Point Break (1991) -- Watch the trailer. Time to watch it again. When Hot Fuzz came out, I'm so glad they paid homage to this lovable turkey. CHE &amp; OUR FAVORITE BIOPICS Che (NEW) -- Read Karina's review and the Steven Soderberg press conference. This is not one of Karina's favorite biopics. Find out why Karina's review pissed off older bloggers. What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: 6. Gandhi -- Watch the trailer. I dig that Ben Kingsley. I haven't seen this though, what do you guys think of it? 5. Into the Wild -- Watch the trailer. Haven't seen this one either. 4. Evita -- The musical with Madonna. I don't know if I could handle it. 3. A Beautiful Mind -- Watch the trailer. Haven't seen it. 2. I'm Not There -- Watch the trailer. Careful with this one, because if you don't know a lot about Bob Dylan's life, the film will just be confusing and frustrating. If you do know your Dylan, this is beautiful and a real heart-breaker. 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. GOOD MOVIES THAT COME FROM PLAYS 3. Doubt (NEW) -- Watch the trailer. Great cast, with Philip Seymour Hoffman, Meryl Streep and Amy Adams. 2. My favorite Shakespeare movies: for the comedies, Love's Labour's Lost and The Merchant of Venice. For the tragedies, I really like Titus and Roman Polanski's Macbeth. How about you guys? 1. Rope (1948) -- Jimmy Stewart is great in this thriller from Alfred Hitchcock. It all takes place in one apartment. WEIRD-ASS LOOKIN' ANIMATED MOVIE Delgo (NEW) -- Watch the weird-ass trailer. OTHER NEW MOVIES You know something juicy about these? Hit us with it!What Doesn't Kill You -- ..."makes you ugly." That's the saying, right? Stars Ethan Hawke and Mark Ruffalo, who play old friends trying to dodge gangs and a detective (Mark Wahlberg) in South Boston.Nothing Like the Holidays -- Watch the trailer. Alfred Molina! Where God Left His Shoes -- Stars John Leguizamo, who's trying to find an apartment for his family on Christmas Eve, after they've lived in a homeless shelter for a few months. Dark Streets -- Watch the trailer. I love that guy Elias Koteas. While She Was Out -- Kim Basinger's a housewife fighting for her life out in the woods (looks like some young men are trying to get her).$9.99 -- Stop-motion animation, starring Geoffrey Rush. http://www.spout.com/blogs/spoutblog/archive/2008/9/17/35261.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/17/2008 5:01:17 PM
Body: Kathryn Bigelow hasn’t made a feature film since 2002’s Harrison Ford starrer K19: The Widowmaker, unless you count the “blink and you’ll miss it” Mission Zero with Uma Thurman. The Hurt Locker returns her to real roots as a character-driven action director, and she gets some terrific performances out of relative unknowns Jeremy Denner and Anthony Mackie in this film about the war in Iraq. In our interview, she discusses fictionalizing real war stories, what The Hurt Locker does that other Iraq films haven’t, and the everlasting legacy of Point Break. How did this project come together? It really predominantly came from his account and his first hand observations. I worked on the shaping of the script with him but he wrote it. We kind of shepherded it together onto the screen. Were these characters amalgams of people he ran across in Iraq? Yes, composites. I mean, it’s definitely fictionalized. At what point did you read this and think “This is going to be my next movie.” Well, it was literally within days of when he came back and he told me these stories. Before he’d even started to write it. At that point I just thought it was an opportunity to be topical and relevant, and yet it’s just inherently so dramatic. Given their “day at the office” so to speak is as terrifying an experience that I could think of. What sort of military research did you do for the film? I spent some with EOD (explosive ordnance disposal) techs at Fort Irwin, since I wasn’t in Baghdad, and then I went to Kuwait and Camp Arifjan and spent time with the EOD techs there. That gave me a fair to kind of extreme understanding of what their life is like. I don’t mean to simplify it, but the idea of making life and death decisions multiple times on any given day under tremendous stress… first of all, what they look for in a young tech is the ability to work under those conditions. And to be able to keep your head and keep your cool, and not to mention the aptitude and the IQ tests that precede your being invited to this really elite group. The actors trained at Fort Irwin, Fort Hood, and in Jordan with live ordnance and EOD techs. Jeremy (Denner) was really incredibly proficient by the time we started shooting. Did you ever strap on one of those bomb suits? I didn’t myself… it’s 80 pounds and steel plated. I did lift it and was very close to it a lot. You know, it’s a pretty daunting experience. It almost becomes a character in and of itself. It’s a bit other-worldly. The piece is structured in that they are kind of at two ends of the spectrum at the beginning, in term of protocol. Sanborn, the Anthony Mackie character, being more familiar with the sort of good-natured spirit of the Guy Pearce character, and then suddenly being saddled with this individual that seems very much of of a cowboy. Then we come to realize that whatever methodology one chooses, his methodology is obviously very effective. So, by the time we reach that sniper sequence in the middle of the movie, they’ve sort of come together in a way and found an uneasy or easy alliance, based on respect and trust and survival. Films about the Iraq war haven’t really connected with audiences yet. Why do you think that is? Are we afraid to look at ourselves? Well, first of all, there hasn’t been one. I mean they’re about soldiers reintegrating into the homefront. That is somewhat unprecedented. I mean, war is inherently dramatic, look at Black Hawk Down. Also, directly referencing in-theater combat is Fahrenheit 911, and that was a hugely successful movie. So, I think that’s a misconception. The film opens with the quote “War is a Drug.” Could you take that further and say guns are a drug? Violence are a drug? Undercover cops and policemen seem to face some of the same problems as the characters in this film. You know, these are high threat professions and I think… there’s a certain type of psychological profile that is adept at those kinds of occupations. It’s not really for me to analyze, but I think it definitely a type of psychology, your survival depends on that psychology, and how you function under extreme pressure and extreme stress. There’s a price to that kind of bravery and heroism, you pay a high price to be able to survive. Although their are a lot of familiar faces in this film, your leads are very fresh faces. How did you find them? Since the threat level in that environment is so extreme, providing an actor for whom an audience has a pretty limited history then the question of whether or not that person is going to survive is what contributes to that tension in the whole film. We’re used to a certain kind of language. You know, it’s X actor, and nothing’s going to hurt him. So I think that when you realize anything is possible, then you begin to have a more accurate picture of what it might be like to be on the ground in that conflict right now. When you’re in the casting process you’ve got the characters pretty well defined in your head, and you begin to look for great talent. In this case, having gone to Kuwait and done some scouting there, I was in the mess hall and probably looking at about 800 faces of soldiers. There’s just a quality they have that is both accessible and capable and available, and having that in my head and trying to find actors… I can’t imagine better actors than these playing these roles. I think Jeremy just gives an explosive, breakout performance, as do Anthony and Brian. They have such heart and such truth in these roles. I wanted to ask you about the lasting legacy of Point Break. I’m not sure if you saw Hot Fuzz… Oh yeah, I loved it. I loved it. That was so central to the plot and there’s either a musical or a quote-along or… A play. It’s been everywhere, it’s been in New York… it’s now in San Francisco, and it was in Los Angeles. There’s even a character that plays me. It’s bizarre. Does it surprise you? I don’t know if it surprises me but… it’s very surreal. The permutations of once something has left your hands and enters the zeitgeist and how malleable it really is. It has a life of its own. Completely. I know! It’s alive! On the flipside, Strange Days and K19 didn’t really connect with audiences. I’ll leave this question to the analysts, that’s not for a filmmaker to answer. Originally posted on:SpoutBlog
]]>Wed, 17 Sep 2008 21:01:17 GMTSpoutBlogSpoutBlog on spout.com9/17/2008 5:01:17 PM Kathryn Bigelow hasn’t made a feature film since 2002’s Harrison Ford starrer K19: The Widowmaker, unless you count the “blink and you’ll miss it” Mission Zero with Uma Thurman. The Hurt Locker returns her to real roots as a character-driven action director, and she gets some terrific performances out of relative unknowns Jeremy Denner and Anthony Mackie in this film about the war in Iraq. In our interview, she discusses fictionalizing real war stories, what The Hurt Locker does that other Iraq films haven’t, and the everlasting legacy of Point Break. How did this project come together? It really predominantly came from his account and his first hand observations. I worked on the shaping of the script with him but he wrote it. We kind of shepherded it together onto the screen. Were these characters amalgams of people he ran across in Iraq? Yes, composites. I mean, it’s definitely fictionalized. At what point did you read this and think “This is going to be my next movie.” Well, it was literally within days of when he came back and he told me these stories. Before he’d even started to write it. At that point I just thought it was an opportunity to be topical and relevant, and yet it’s just inherently so dramatic. Given their “day at the office” so to speak is as terrifying an experience that I could think of. What sort of military research did you do for the film? I spent some with EOD (explosive ordnance disposal) techs at Fort Irwin, since I wasn’t in Baghdad, and then I went to Kuwait and Camp Arifjan and spent time with the EOD techs there. That gave me a fair to kind of extreme understanding of what their life is like. I don’t mean to simplify it, but the idea of making life and death decisions multiple times on any given day under tremendous stress… first of all, what they look for in a young tech is the ability to work under those conditions. And to be able to keep your head and keep your cool, and not to mention the aptitude and the IQ tests that precede your being invited to this really elite group. The actors trained at Fort Irwin, Fort Hood, and in Jordan with live ordnance and EOD techs. Jeremy (Denner) was really incredibly proficient by the time we started shooting. Did you ever strap on one of those bomb suits? I didn’t myself… it’s 80 pounds and steel plated. I did lift it and was very close to it a lot. You know, it’s a pretty daunting experience. It almost becomes a character in and of itself. It’s a bit other-worldly. The piece is structured in that they are kind of at two ends of the spectrum at the beginning, in term of protocol. Sanborn, the Anthony Mackie character, being more familiar with the sort of good-natured spirit of the Guy Pearce character, and then suddenly being saddled with this individual that seems very much of of a cowboy. Then we come to realize that whatever methodology one chooses, his methodology is obviously very effective. So, by the time we reach that sniper sequence in the middle of the movie, they’ve sort of come together in a way and found an uneasy or easy alliance, based on respect and trust and survival. Films about the Iraq war haven’t really connected with audiences yet. Why do you think that is? Are we afraid to look at ourselves? Well, first of all, there hasn’t been one. I mean they’re about soldiers reintegrating into the homefront. That is somewhat unprecedented. I mean, war is inherently dramatic, look at Black Hawk Down. Also, directly referencing in-theater combat is Fahrenheit 911, and that was a hugely successful movie. So, I think that’s a misconception. The film opens with the quote “War is a Drug.” Could you take that further and say guns are a drug? Violence are a drug? Undercover cops and policemen seem to face some of the same problems as the characters in this film. You know, these are high threat professions and I think… there’s a certain type of psychological profile that is adept at those kinds of occupations. It’s not really for me to analyze, but I think it definitely a type of psychology, your survival depends on that psychology, and how you function under extreme pressure and extreme stress. There’s a price to that kind of bravery and heroism, you pay a high price to be able to survive. Although their are a lot of familiar faces in this film, your leads are very fresh faces. How did you find them? Since the threat level in that environment is so extreme, providing an actor for whom an audience has a pretty limited history then the question of whether or not that person is going to survive is what contributes to that tension in the whole film. We’re used to a certain kind of language. You know, it’s X actor, and nothing’s going to hurt him. So I think that when you realize anything is possible, then you begin to have a more accurate picture of what it might be like to be on the ground in that conflict right now. When you’re in the casting process you’ve got the characters pretty well defined in your head, and you begin to look for great talent. In this case, having gone to Kuwait and done some scouting there, I was in the mess hall and probably looking at about 800 faces of soldiers. There’s just a quality they have that is both accessible and capable and available, and having that in my head and trying to find actors… I can’t imagine better actors than these playing these roles. I think Jeremy just gives an explosive, breakout performance, as do Anthony and Brian. They have such heart and such truth in these roles. I wanted to ask you about the lasting legacy of Point Break. I’m not sure if you saw Hot Fuzz… Oh yeah, I loved it. I loved it. That was so central to the plot and there’s either a musical or a quote-along or… A play. It’s been everywhere, it’s been in New York… it’s now in San Francisco, and it was in Los Angeles. There’s even a character that plays me. It’s bizarre. Does it surprise you? I don’t know if it surprises me but… it’s very surreal. The permutations of once something has left your hands and enters the zeitgeist and how malleable it really is. It has a life of its own. Completely. I know! It’s alive! On the flipside, Strange Days and K19 didn’t really connect with audiences. I’ll leave this question to the analysts, that’s not for a filmmaker to answer. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/2/12/25048.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/12/2008 4:00:31 PM
Body: Oh, Keanu Reeves, must you continue playing cops? I’d rather you did more Shakespeare, in which you’re actually more believable. But no, after Point Break (I consider FBI agents to be cops) and Speed, you have to go and do Street Kings and try to make us accept you as one of the hardest vice detectives to ever grace the big screen. Want a cookie? Or an Oscar? Even if you do pull off the equivalent of what Ethan Hawke did in Training Day, you’re not going to get the notice of the Academy. The only thing keeping you from being the least likely actor to be taken seriously as a tough undercover officer is the existence of Paul Walker, whose performance in The Fast and the Furious makes you look like Dirty Harry. Speaking of Training Day and The Fast and the Furious, the screenwriter behind those two movies, David Ayer, is the director of Street Kings. Fortunately, he didn’t write this one. The guys who did write it are L.A. Confidential novelist James Ellroy, who also came up with the original story, Equilibrium writer-director Kurt Wimmer and an apparent newcomer named Jamie Moss. Co-starring in the film, some of whom are sure to make Reeves’ acting appear even worse, are Forest Whitaker, Hugh Laurie, Chris Evans (if you saw Sunshine, you know he’s actually a pretty good actor), Common, Jay Mohr, John Corbett, Cedric the Entertainer, The Game and Naomie Harris. OK, enough ragging on Reeves. But despite the appealing names of Ellroy and Whitaker, this still looks like a generic cops-and-gangstas movie. I’d rather just wait for Keanu as Klaatu later this year. Street Kings hits theaters April 11. Originally posted on:SpoutBlog
]]>Tue, 12 Feb 2008 21:00:31 GMTSpoutBlogSpoutBlog on spout.com2/12/2008 4:00:31 PM Oh, Keanu Reeves, must you continue playing cops? I’d rather you did more Shakespeare, in which you’re actually more believable. But no, after Point Break (I consider FBI agents to be cops) and Speed, you have to go and do Street Kings and try to make us accept you as one of the hardest vice detectives to ever grace the big screen. Want a cookie? Or an Oscar? Even if you do pull off the equivalent of what Ethan Hawke did in Training Day, you’re not going to get the notice of the Academy. The only thing keeping you from being the least likely actor to be taken seriously as a tough undercover officer is the existence of Paul Walker, whose performance in The Fast and the Furious makes you look like Dirty Harry. Speaking of Training Day and The Fast and the Furious, the screenwriter behind those two movies, David Ayer, is the director of Street Kings. Fortunately, he didn’t write this one. The guys who did write it are L.A. Confidential novelist James Ellroy, who also came up with the original story, Equilibrium writer-director Kurt Wimmer and an apparent newcomer named Jamie Moss. Co-starring in the film, some of whom are sure to make Reeves’ acting appear even worse, are Forest Whitaker, Hugh Laurie, Chris Evans (if you saw Sunshine, you know he’s actually a pretty good actor), Common, Jay Mohr, John Corbett, Cedric the Entertainer, The Game and Naomie Harris. OK, enough ragging on Reeves. But despite the appealing names of Ellroy and Whitaker, this still looks like a generic cops-and-gangstas movie. I’d rather just wait for Keanu as Klaatu later this year. Street Kings hits theaters April 11. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Best_Heist_films_and_also_the_best_heist_films/190/24823/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 2/7/2008 2:42:52 PM
Body: [quote user="Jymkata"]and Point Break ( the robbery scenes were kind of new for back then and had a nice edge - plus, that movie has one of the BEST foot chases ever)[/quote]You mean when one guy throws a large dog at another guy?! Ridiculous!
]]>Thu, 07 Feb 2008 19:42:52 GMTRisseladaTop 52/7/2008 2:42:52 PM[quote user="Jymkata"]and Point Break ( the robbery scenes were kind of new for back then and had a nice edge - plus, that movie has one of the BEST foot chases ever)[/quote]You mean when one guy throws a large dog at another guy?! Ridiculous! http://www.spout.com/groups/Top_5/Re_Best_Heist_films_and_also_the_best_heist_films/190/24632/1/ShowPost.aspx Post By: Jymkata
Post To: Top 5
Post Date: 2/1/2008 11:01:51 PM
Body: There are a lot of movies that I love that have heists in them but they are usually a means to an end and the bulk of the film usually deals with the fallout of said heist. Straight up heist films I love are : Jean Pierre Melville's stylish and masterful Le Cercle Rouge and Un Flic. The Hot Rock and The Taking of Pelham One Two Three (good call, Rizzo) are two of my favorite seventies Heist movies. One Heist film I just love is The Great Train Robbery - there is one perfectly choreographed scene that involves a lanky Donald Sutherland (he was so awesome in these quirky roles) and an impossible-to-get key that is a site to behold. Just recently I saw The Brinks Job and The Day They Robbed The Bank of England on TCM and I liked them both (but i do like Peter Falk and Aldo Rey respectively so that might have something to do with it). Finally, even though it is not a heist film I love what DePalma did in Mission Impossible with Tom Cruise's famous spy scenes. DePalma always could set a scene with the best of them. All the others have already been metioned previously and I concur with Riffifi ( great movie-making and that umbrella trick is great), The Usual Suspects (but again, it seems like it more revolves around the aftermath), Heat always gets my blood stiring, and Point Break ( the robbery scenes were kind of new for back then and had a nice edge - plus, that movie has one of the BEST foot chases ever) and Inside Man was pretty stylish ( and anything that gets Denzel and Chiwetel Ejiofor onscreen together gets my vote). One of my favorite comedies that revolves around a heist is Quick Change - Bill Murray cracked me up and this exchange brings tears to my eyes when I watch the movie - classic Murray:Grimm: [sobbing] The man is an animal! Ripping out phones, urinating on desks... you see what he did to Ms. Cochran's shirt? There's a scratch here, I mean, it's not deep, but... it's there. Phyllis: It's okay. Chief Rotzinger: Did he hurt anybody else? Is the strain beginning to show on him? Grimm: "If I could sleep ten days and nights in a rice paddy, I could certainly last in this lousy bank." This is what the animal said to us! He says to Ms. Cochran here: [makes humping motions at Phyllis] Grimm: "Baby! Up your butt with a coconut!" I think he was prepared to do it! Except I saw no coconut. He, uh, he had no coconut to my knowledge.
]]>Sat, 02 Feb 2008 04:01:51 GMTJymkataTop 52/1/2008 11:01:51 PMThere are a lot of movies that I love that have heists in them but they are usually a means to an end and the bulk of the film usually deals with the fallout of said heist. Straight up heist films I love are : Jean Pierre Melville&#39;s stylish and masterful Le Cercle Rouge and Un Flic. The Hot Rock and The Taking of Pelham One Two Three (good call, Rizzo) are two of my favorite seventies Heist movies. One Heist film I just love is The Great Train Robbery - there is one perfectly choreographed scene that involves a lanky Donald Sutherland (he was so awesome in these quirky roles) and an impossible-to-get key that is a site to behold. Just recently I saw The Brinks Job and The Day They Robbed The Bank of England on TCM and I liked them both (but i do like Peter Falk and Aldo Rey respectively so that might have something to do with it). Finally, even though it is not a heist film I love what DePalma did in Mission Impossible with Tom Cruise&#39;s famous spy scenes. DePalma always could set a scene with the best of them. All the others have already been metioned previously and I concur with Riffifi ( great movie-making and that umbrella trick is great), The Usual Suspects (but again, it seems like it more revolves around the aftermath), Heat always gets my blood stiring, and Point Break ( the robbery scenes were kind of new for back then and had a nice edge - plus, that movie has one of the BEST foot chases ever) and Inside Man was pretty stylish ( and anything that gets Denzel and Chiwetel Ejiofor onscreen together gets my vote). One of my favorite comedies that revolves around a heist is Quick Change - Bill Murray cracked me up and this exchange brings tears to my eyes when I watch the movie - classic Murray:Grimm: [sobbing] The man is an animal! Ripping out phones, urinating on desks... you see what he did to Ms. Cochran&#39;s shirt? There&#39;s a scratch here, I mean, it&#39;s not deep, but... it&#39;s there. Phyllis: It&#39;s okay. Chief Rotzinger: Did he hurt anybody else? Is the strain beginning to show on him? Grimm: "If I could sleep ten days and nights in a rice paddy, I could certainly last in this lousy bank." This is what the animal said to us! He says to Ms. Cochran here: [makes humping motions at Phyllis] Grimm: "Baby! Up your butt with a coconut!" I think he was prepared to do it! Except I saw no coconut. He, uh, he had no coconut to my knowledge. http://www.spout.com/blogs/risselada/archive/2007/9/7/19476.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 9/7/2007 3:39:00 PM
Body: Point BreakTo all of you out there who have listed this movie as a guilty pleasure, you should feel guilty. Real guilty.I gave this movie a 5/10 and that probably would have been even lower if I hadn't been watching it with Adam who said this was one of his favorite "verve" movies when a kid. He used to watch it every day as a kid wanted to emulate the lead characters apparently.Ok I can see how you could get sucked up in this movie, but it just makes me feel so dirty. It's a bunch of brainless macho stupidity.Yay guns, and cops and robbers, and shirtless football! Ok, there's a small portion of me that doesn't say that sarcastically, but only a small portion.It may be a funny line in the movie, but I think this movie is for those who are young, dumb, and full of come.Ridiculous.Rating: 5/10
]]>Fri, 07 Sep 2007 19:39:00 GMTRisseladaRisselada Blog9/7/2007 3:39:00 PMPoint BreakTo all of you out there who have listed this movie as a guilty pleasure, you should feel guilty. Real guilty.I gave this movie a 5/10 and that probably would have been even lower if I hadn&#39;t been watching it with Adam who said this was one of his favorite "verve" movies when a kid. He used to watch it every day as a kid wanted to emulate the lead characters apparently.Ok I can see how you could get sucked up in this movie, but it just makes me feel so dirty. It&#39;s a bunch of brainless macho stupidity.Yay guns, and cops and robbers, and shirtless football! Ok, there&#39;s a small portion of me that doesn&#39;t say that sarcastically, but only a small portion.It may be a funny line in the movie, but I think this movie is for those who are young, dumb, and full of come.Ridiculous.Rating: 5/10 http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Mon, 27 Jul 2009 04:28:04 GMT103562154Tag http://www.spout.com/members/0/tags/heist/MemberTagFilms.aspxheist
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