In the Valley of Elah's Recent Activity

list In the Valley of Elah's Recent Activity - Spout http://www.spout.com/ Recent community activity around In the Valley of Elah on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg In the Valley of Elah's Recent Activity - Spout http://www.spout.com/ 136 30 Film:In the Valley of Elah http://www.spout.com/films/In_the_Valley_of_Elah/293737/default.aspx

Title: In the Valley of Elah
Year: 2007
Director: Paul Haggis
Plot: When a model soldier who recently returned to the U.S. from the front lines of Iraq goes AWOL, his veteran father enlists the aid of a dedicated police detective in seeking out the true fate of his son in director/screenwriter Paul Haggis's eagerly anticipated follow up to the Oscar-winning 2004 indie-hit Crash. Inspired by a Playboy Magazine article written by Mark Boal, Haggis' fictionalized version of the actual events stars Tommy Lee Jones as the concerned father, Susan Sarandon as his wife, and Charlize Theron as the detective who vows to uncover the truth behind the Iraq War veteran's strange disappearance. ~ Jason Buchanan, All Movie Guide
Times Tagged: 25
Number of Lists: 13
Number of blog posts: 9
Number of discussion threads: 1
SpoutRating: 3
]]>Thu, 16 Oct 2008 21:51:42 GMTIn the Valley of Elah2007Paul HaggisWhen a model soldier who recently returned to the U.S. from the front lines of Iraq goes AWOL, his veteran father enlists the aid of a dedicated police detective in seeking out the true fate of his son in director/screenwriter <a href="/players/P___274585/default.aspx" style='text-decoration:underline'>Paul Haggis</a>'s eagerly anticipated follow up to the Oscar-winning 2004 indie-hit <a href=/films/239971/default.aspx style='text-decoration:underline'>Crash</a>. Inspired by a Playboy Magazine article written by Mark Boal, Haggis' fictionalized version of the actual events stars <a href="/players/P____36238/default.aspx" style='text-decoration:underline'>Tommy Lee Jones</a> as the concerned father, <a href="/players/P____63158/default.aspx" style='text-decoration:underline'>Susan Sarandon</a> as his wife, and <a href="/players/P___216257/default.aspx" style='text-decoration:underline'>Charlize Theron</a> as the detective who vows to uncover the truth behind the Iraq War veteran's strange disappearance. ~ Jason Buchanan, All Movie Guide25Tag Target (>10)13913http://www.spout.com/ProductImages/s293737.jpghttp://www.spout.com/films/In_the_Valley_of_Elah/293737/default.aspxFilm Spout Post: A Cracking good Film http://www.spout.com/blogs/edwa8698/archive/2008/10/16/36413.aspx

Post By: edwa8698
Post To: edwa8698 Blog
Post Date: 10/16/2008 5:51:42 PM
Body: Tommy Lee Jones has been in some cracking good films lately, and this is one of them. Paul Haggis is a truly gifted writer/director and he really knows how to emotionally grip an audience. With Crash in 2005 he took the notion that racism is still alive and rampant in America and turned it into a poignant morality tale, he does the same with In the Valley Of Elah only replacing racism with crime in the military. This is a controversial theme especially within the last few years as the war on terror keeps escalating. The performances are perfect and I was especially surprised by some of the cameos included ( James Franco, Josh Brolin, and Jason Patrick) are just a few I noticed. Any way I can't really talk about the film if I don't want to spoil it and I don't all I can say is this is a must see that will leave a powerful impact on the viewer.
]]>Thu, 16 Oct 2008 21:51:42 GMTedwa8698edwa8698 Blog10/16/2008 5:51:42 PMTommy Lee Jones has been in some cracking good films lately, and this is one of them. Paul Haggis is a truly gifted writer/director and he really knows how to emotionally grip an audience. With Crash in 2005 he took the notion that racism is still alive and rampant in America and turned it into a poignant morality tale, he does the same with In the Valley Of Elah only replacing racism with crime in the military. This is a controversial theme especially within the last few years as the war on terror keeps escalating. The performances are perfect and I was especially surprised by some of the cameos included ( James Franco, Josh Brolin, and Jason Patrick) are just a few I noticed. Any way I can't really talk about the film if I don't want to spoil it and I don't all I can say is this is a must see that will leave a powerful impact on the viewer. Spout Post: In The Valley of Elah (2007) http://www.spout.com/blogs/warmovieblog/archive/2008/6/17/31324.aspx

Post By: WarMovieBlog
Post To: WarMovieBlog Blog
Post Date: 6/17/2008 1:01:22 PM
Body: In The Valley of Elah (2007) IMDB As we learn in the film, in the Biblical parlance, the Valley of Elah is where the infamous battle between David and Goliath took place. I'm not exactly sure what the relevance of that to the movie, In The Valley of Elah is, except maybe in reference to the main character, Hank Deerfield (Tommy Lee Jones)But maybe I'm getting ahead of myself here. Elah follows Deerfield as he searches for his son, Mike Deerfield, who has gone AWOL after returning from a tour in Iraq. The search turns into a murder mystery, as we discover his horribly mutilated remains in a field. Helping with the investigation is the mediocre rural detective Emily Sanders (Charlize Theron.) War Movie? No. Classify this under murder/detective mystery more than anything. However, I think that the folks who made the movie intended for this to be some kind of statement. That little effort, in my not so humble opinion, falls flat on its face. Seen purely in that light, it goes from one extreme to the other and then back again. From 'honor our troops!' to 'the US is wrong' to 'war is hell' to 'our soldiers are animals' and then falls somewhere in the "unfavorable" light as we end the film with Deerfield hanging the flag his son sent him upside down as a signal of distress. Whether that's supposed to be Deerfield's or all of us collectively I'm not sure.It's also unclear to me how the now deceased Deerfield's unfortunate events ultimately play into his death, and the plot in general. Not to spoil it, but he accidentally does something that he can't live with, and it just doesn't line up with the manner or circumstances of his death. Is the moral of the story "shit happens?" I really don't know.Anyway. If you take all of that aside, go ahead, toss it out the window... You really end up with a good movie. A good detective story anyway. And as far as detective stories go it is pretty predictable.The final thing which makes Elah what it is is Tommy Lee Jones' performance, and how we witness his character go from straight-laced, (and still "living the life" so-to-speak) into a dark world of chaos. He starts off parking his polished shoes by his neatly tucked-and-folded bed, to a sloppy, sleeping til noon mess as he unravels the mystery of what happened to his son. Really, that's whats at the core of the story. I'll throw in a big nod to Susan Sarandon playing the would-be-stoic army wife and mother. Her brief yet powerful performance is equally moving as Jones'. But, if Theron's goal was to play a not-so-bright but dedicated cop with no personality, then I think she nailed it dead on.So, take all the proposed rhetoric about Iraq out of In The Valley of Elah, and its a really solid piece. But to put it all in there is just confusing and at best a plot device that we just didn't need. The entire stream of 'decoded' cell phone videos just serve to muddle the picture, providing few clues really except to finally show that Mike's buddies were a bunch of sadistic animals. I just don't get the motive there. In The Valley of Elah (2007) on Spout.com Originally posted on:War Movie Reviews and News
]]>Tue, 17 Jun 2008 17:01:22 GMTWarMovieBlogWarMovieBlog Blog6/17/2008 1:01:22 PMIn The Valley of Elah (2007) IMDB As we learn in the film, in the Biblical parlance, the Valley of Elah is where the infamous battle between David and Goliath took place. I'm not exactly sure what the relevance of that to the movie, In The Valley of Elah is, except maybe in reference to the main character, Hank Deerfield (Tommy Lee Jones)But maybe I'm getting ahead of myself here. Elah follows Deerfield as he searches for his son, Mike Deerfield, who has gone AWOL after returning from a tour in Iraq. The search turns into a murder mystery, as we discover his horribly mutilated remains in a field. Helping with the investigation is the mediocre rural detective Emily Sanders (Charlize Theron.) War Movie? No. Classify this under murder/detective mystery more than anything. However, I think that the folks who made the movie intended for this to be some kind of statement. That little effort, in my not so humble opinion, falls flat on its face. Seen purely in that light, it goes from one extreme to the other and then back again. From 'honor our troops!' to 'the US is wrong' to 'war is hell' to 'our soldiers are animals' and then falls somewhere in the "unfavorable" light as we end the film with Deerfield hanging the flag his son sent him upside down as a signal of distress. Whether that's supposed to be Deerfield's or all of us collectively I'm not sure.It's also unclear to me how the now deceased Deerfield's unfortunate events ultimately play into his death, and the plot in general. Not to spoil it, but he accidentally does something that he can't live with, and it just doesn't line up with the manner or circumstances of his death. Is the moral of the story "shit happens?" I really don't know.Anyway. If you take all of that aside, go ahead, toss it out the window... You really end up with a good movie. A good detective story anyway. And as far as detective stories go it is pretty predictable.The final thing which makes Elah what it is is Tommy Lee Jones' performance, and how we witness his character go from straight-laced, (and still "living the life" so-to-speak) into a dark world of chaos. He starts off parking his polished shoes by his neatly tucked-and-folded bed, to a sloppy, sleeping til noon mess as he unravels the mystery of what happened to his son. Really, that's whats at the core of the story. I'll throw in a big nod to Susan Sarandon playing the would-be-stoic army wife and mother. Her brief yet powerful performance is equally moving as Jones'. But, if Theron's goal was to play a not-so-bright but dedicated cop with no personality, then I think she nailed it dead on.So, take all the proposed rhetoric about Iraq out of In The Valley of Elah, and its a really solid piece. But to put it all in there is just confusing and at best a plot device that we just didn't need. The entire stream of 'decoded' cell phone videos just serve to muddle the picture, providing few clues really except to finally show that Mike's buddies were a bunch of sadistic animals. I just don't get the motive there. In The Valley of Elah (2007) on Spout.com Originally posted on:War Movie Reviews and News Spout Post: In the Valley of Elah (2007) http://www.spout.com/blogs/jj79/archive/2008/6/6/30750.aspx

Post By: JJ79
Post To: JJ79 Blog
Post Date: 6/6/2008 4:12:25 PM
Body: The following review contains spoilers for "In the Valley of Elah." In Biblical terms, the valley of Elah was the place where young upstart David took down the fearsome Goliath. The story of these two figures is told by Hank Deerfield (Tommy Lee Jones), a small town gravel hauler and a retired sergeant, as he tries to figure out what happened to his son, an army specialist whose remains have been found burned after he and his squad returned from Iraq. David and Goliath can be compared to any struggle in which a person of lesser strength takes on-and bloodies the nose of-a more formidable opponent. In this case, the United States is Goliath, Iraqi insurgents in the Middle East represent David. As the tale goes, Goliath challenged every soldier in the opposing army in the valley of Elah. No one dared take on the giant, until David simply requested armor to battle Goliath. Then, just as the two are about to collide, David took aim with his slingshot, planting a stone between Goliath´s eyes. With his skull broken, Goliath retreated. That tale is imperative to understanding writer/director Paul Haggis´ "In the Valley of Elah." Throughout the film, Jones´s Deerfield is shown to be a patriot, believing in the American flag, the American ideal and anything else American. Even when the news of his son Jonathan going AWOL upon returning to the states, he still remains committed to the cause. But as more information about Jonathan comes to light-what the deployment in Iraq did to him and his squad…and presumably every other man and woman there-he begins to see things in a different light. This is really the story of two people: Hank Deerfield and Emily Sanders (Charlize Theron, nearly unrecognizable in a good way here). Both are devoted to their own causes: Hank to Jonathan and Emily to helping the underdog. In her introduction, Emily is seen trying to help a woman whose husband killed the family dog in front of their child after coming home from active duty. She´s mocked by her colleagues-she also apparently slept with her chief-because of her empathy. It´s that empathy, though, which allows her to understand Hank needs to know something is going on, to give him the benefit of the doubt when he wants to see where Jonathan´s body has been found. What unfurls like a flag in the wind is a tangled web of lies and deceit coming at Hank and Emily from every conceivable angle. The army ran a shoddy investigation; local police drove over a crime scene; squad members lie on multiple occasions about Jonathan´s last day; Hank wanting to keep his wife Joan (Susan Sarandon) at arms length through the process. The mechanics aren´t important: who was involved in drugs, the video on a recovered cell phone, why any of it really happened. What is important is that the faith in the system and the mission is shaken to its roots for a man who willingly gave parts of his own life in the service. For a man who believes in things like duty, honor and country, the history he reconstructs from the information available chips away at his foundation little by little. This clearly isn´t the military he remembers, he loves. It´s something new, with young recruits all with their own issues. Jones plays Hank with little outward emotion, even at the sight of his burned son´s dismembered body. His voice barely raises above a whisper, but it´s the fire, sadness, love, despair in his eyes which tells the tale. He´s a strong man early on; by the end, he´s all but broken. At times he comes off as sanctimonious, as if he knows how to do everyone else´s job better than they can do it. The way he talks to witnesses, the method in which he interacts with Joan. He´s arrogant nearly to a fault, causing all the audience´s sympathy to be placed with Joan, a character who gets entirely too little screen time. She´s not part of the story, just an accessory because Jonathan had to have a mother. The dynamic between Emily and Hank would have fundamentally changed if both Deerfield´s had been investigating. Plus, a level head was needed to get through the situation rationally. As much as Hank looks like a bastard for not showing much emotion, Joan is the polar opposite: presumably throwing furniture upon the news of what has happened, for instance. I´ll admit I was on the fence about "In the Valley of Elah" for the majority of its running time. I admired the calm tone Haggis took with the script and direction, choosing to tell a story instead of bashing the audience over the head with a message (like in "Crash"). But make no mistake: there is a message here. It doesn´t come through until the final scene of the film, in which Hank gives a tattered American flag to a local school. Before he leaves for Jonathan´s base, he tells the janitor what an upside down flag means: help, we´re in way over our heads, SOS. When the final symbol of freedom is raised, the stripes ripped like 13 smaller flags, upside down, we get it. And we know Hank gets it. This conflict, this situation, this war which has made people commit the most heinous of acts is wrong. Not on a political level or a military level, but on a personal one. For a man who is red, white and blue to the bone admitting to that is the message. Nothing is worth the lives and minds and futures of people in the line of fire. It´s the rationale of the film: the collateral cost of military actions. "In the Valley of Elah" will be heavy handed for some, offend others political beliefs and come to the wrong conclusion for others. It is, however, the type of low key, unexplosive, personal story of the Iraq War that needs to be told. "United 93" and "World Trade Center" showed us the stories of the people involved in the September 11th attacks; "A Mighty Heart" detailed an innocent being caught in the crossfire. This film is the human military tragedy. It rates a somber 7.5 out of 10, easily one of the best of the year.
]]>Fri, 06 Jun 2008 20:12:25 GMTJJ79JJ79 Blog6/6/2008 4:12:25 PMThe following review contains spoilers for "In the Valley of Elah." In Biblical terms, the valley of Elah was the place where young upstart David took down the fearsome Goliath. The story of these two figures is told by Hank Deerfield (Tommy Lee Jones), a small town gravel hauler and a retired sergeant, as he tries to figure out what happened to his son, an army specialist whose remains have been found burned after he and his squad returned from Iraq. David and Goliath can be compared to any struggle in which a person of lesser strength takes on-and bloodies the nose of-a more formidable opponent. In this case, the United States is Goliath, Iraqi insurgents in the Middle East represent David. As the tale goes, Goliath challenged every soldier in the opposing army in the valley of Elah. No one dared take on the giant, until David simply requested armor to battle Goliath. Then, just as the two are about to collide, David took aim with his slingshot, planting a stone between Goliath´s eyes. With his skull broken, Goliath retreated. That tale is imperative to understanding writer/director Paul Haggis´ "In the Valley of Elah." Throughout the film, Jones´s Deerfield is shown to be a patriot, believing in the American flag, the American ideal and anything else American. Even when the news of his son Jonathan going AWOL upon returning to the states, he still remains committed to the cause. But as more information about Jonathan comes to light-what the deployment in Iraq did to him and his squad…and presumably every other man and woman there-he begins to see things in a different light. This is really the story of two people: Hank Deerfield and Emily Sanders (Charlize Theron, nearly unrecognizable in a good way here). Both are devoted to their own causes: Hank to Jonathan and Emily to helping the underdog. In her introduction, Emily is seen trying to help a woman whose husband killed the family dog in front of their child after coming home from active duty. She´s mocked by her colleagues-she also apparently slept with her chief-because of her empathy. It´s that empathy, though, which allows her to understand Hank needs to know something is going on, to give him the benefit of the doubt when he wants to see where Jonathan´s body has been found. What unfurls like a flag in the wind is a tangled web of lies and deceit coming at Hank and Emily from every conceivable angle. The army ran a shoddy investigation; local police drove over a crime scene; squad members lie on multiple occasions about Jonathan´s last day; Hank wanting to keep his wife Joan (Susan Sarandon) at arms length through the process. The mechanics aren´t important: who was involved in drugs, the video on a recovered cell phone, why any of it really happened. What is important is that the faith in the system and the mission is shaken to its roots for a man who willingly gave parts of his own life in the service. For a man who believes in things like duty, honor and country, the history he reconstructs from the information available chips away at his foundation little by little. This clearly isn´t the military he remembers, he loves. It´s something new, with young recruits all with their own issues. Jones plays Hank with little outward emotion, even at the sight of his burned son´s dismembered body. His voice barely raises above a whisper, but it´s the fire, sadness, love, despair in his eyes which tells the tale. He´s a strong man early on; by the end, he´s all but broken. At times he comes off as sanctimonious, as if he knows how to do everyone else´s job better than they can do it. The way he talks to witnesses, the method in which he interacts with Joan. He´s arrogant nearly to a fault, causing all the audience´s sympathy to be placed with Joan, a character who gets entirely too little screen time. She´s not part of the story, just an accessory because Jonathan had to have a mother. The dynamic between Emily and Hank would have fundamentally changed if both Deerfield´s had been investigating. Plus, a level head was needed to get through the situation rationally. As much as Hank looks like a bastard for not showing much emotion, Joan is the polar opposite: presumably throwing furniture upon the news of what has happened, for instance. I´ll admit I was on the fence about "In the Valley of Elah" for the majority of its running time. I admired the calm tone Haggis took with the script and direction, choosing to tell a story instead of bashing the audience over the head with a message (like in "Crash"). But make no mistake: there is a message here. It doesn´t come through until the final scene of the film, in which Hank gives a tattered American flag to a local school. Before he leaves for Jonathan´s base, he tells the janitor what an upside down flag means: help, we´re in way over our heads, SOS. When the final symbol of freedom is raised, the stripes ripped like 13 smaller flags, upside down, we get it. And we know Hank gets it. This conflict, this situation, this war which has made people commit the most heinous of acts is wrong. Not on a political level or a military level, but on a personal one. For a man who is red, white and blue to the bone admitting to that is the message. Nothing is worth the lives and minds and futures of people in the line of fire. It´s the rationale of the film: the collateral cost of military actions. "In the Valley of Elah" will be heavy handed for some, offend others political beliefs and come to the wrong conclusion for others. It is, however, the type of low key, unexplosive, personal story of the Iraq War that needs to be told. "United 93" and "World Trade Center" showed us the stories of the people involved in the September 11th attacks; "A Mighty Heart" detailed an innocent being caught in the crossfire. This film is the human military tragedy. It rates a somber 7.5 out of 10, easily one of the best of the year. Spout Post: Winter Light in the Valley of Elah sends Jesse James Into the Wild http://www.spout.com/blogs/dibot/archive/2008/3/15/26251.aspx

Post By: dibot
Post To: dibot Blog
Post Date: 3/15/2008 6:11:41 PM
Body: Always, always behind I am. The weekend before the Oscars, I made a desperate attempt to catch up on the nominated films. I quite enjoyed The Assassination of Jesse James by the Coward Robert Ford, even though the film was almost as long as its name. Casey Affleck ("Gone Baby Gone")once again shows he's the real actor in the family. Gorgeous cinematography, the ever glorious Sam Rockwell ("Snow Angels"), and an interesting look at how a man can chose to betray his idol complete the package. In the Valley of Elah wore on my patience almost from the first scene. Of course, Tommy Lee Jones ("No Country for Old Men") and Susan Sarandon ("Enchanted") were awesome, but Charlize Theron ("Aeon Flux") is as drab as the scenery. The story should have been interesting, if not tense. A soldier disappears from base after returning from Iraq and his father goes to look for him. And it sort of tries for a message. But I blame Paul Haggis ("Crash"). Just because. Into the Wild made me equally crazy. First, I just can't relate. I don't understand abandoning everything and going to live in the wilderness. Especially not even prepared with some boots. And then some random editing that did not bring the story together. Add in some horrible, pretentious voice over from Jena Malone ("The Go-Getter"), who I cannot stand, and you've got a giant, annoying mess. Eddie Vedder does some excellent songs, and Hal Holbrook ("Shade") almost broke my heart. But those two things alone do not a good film make. And not related to the Oscars... Winter Light continues the slowest marathon ever. And by slow, I don't mean the films (though sometimes they are), I mean me. In this masterpiece, director Ingmar Bergman ("Saraband") totally depressed me with an examination of a village priest who seems to have lost his faith. The emotions are real, painful and cold. The shadows and close-ups glorious. But I felt a sadness all day.
]]>Sat, 15 Mar 2008 22:11:41 GMTdibotdibot Blog3/15/2008 6:11:41 PMAlways, always behind I am. The weekend before the Oscars, I made a desperate attempt to catch up on the nominated films. I quite enjoyed The Assassination of Jesse James by the Coward Robert Ford, even though the film was almost as long as its name. Casey Affleck ("Gone Baby Gone")once again shows he's the real actor in the family. Gorgeous cinematography, the ever glorious Sam Rockwell ("Snow Angels"), and an interesting look at how a man can chose to betray his idol complete the package. In the Valley of Elah wore on my patience almost from the first scene. Of course, Tommy Lee Jones ("No Country for Old Men") and Susan Sarandon ("Enchanted") were awesome, but Charlize Theron ("Aeon Flux") is as drab as the scenery. The story should have been interesting, if not tense. A soldier disappears from base after returning from Iraq and his father goes to look for him. And it sort of tries for a message. But I blame Paul Haggis ("Crash"). Just because. Into the Wild made me equally crazy. First, I just can't relate. I don't understand abandoning everything and going to live in the wilderness. Especially not even prepared with some boots. And then some random editing that did not bring the story together. Add in some horrible, pretentious voice over from Jena Malone ("The Go-Getter"), who I cannot stand, and you've got a giant, annoying mess. Eddie Vedder does some excellent songs, and Hal Holbrook ("Shade") almost broke my heart. But those two things alone do not a good film make. And not related to the Oscars... Winter Light continues the slowest marathon ever. And by slow, I don't mean the films (though sometimes they are), I mean me. In this masterpiece, director Ingmar Bergman ("Saraband") totally depressed me with an examination of a village priest who seems to have lost his faith. The emotions are real, painful and cold. The shadows and close-ups glorious. But I felt a sadness all day. Spout Post: Less Haggis, More Jones! http://www.spout.com/blogs/dj4our/archive/2008/2/21/25414.aspx

Post By: dj4our
Post To: dj4our Blog
Post Date: 2/21/2008 10:37:02 AM
Body: IN THE VALLEY OF ELAH****R for violent and disturbing content, language and some sexuality/nudity.2 hrs. written by: Paul Haggis (screenplay) & Mark Boal (from article: Death and Dishonor)produced by: Larry Becsey, Paul Haggis, Darlene Caamano Loquest, Steve Samuels & Patrick Wachsbergerdirected by: Paul HaggisRecently, I attended a free screening of a movie that will resonate with me for some time and I'm sure will be the cause of controversy for some viewers once it's released. That's no surprise considering writer/director Paul Haggis is best known for his 2005 Best Picture winner "Crash" which was a controversial film and win. I liked that movie and felt it deserved the win but I know that some critics and moviegoers felt that Haggis' themes were a lil ham-handed or forced upon them. I can understand all that and I was okay with those claims cuz overall the film's performances ascended any of my gripes. This film has less gripe and more praise from yours truly. Retired career military police officer Hank Deerfield (Tommy Lee Jones), receives a call in his Tennessee home from Fort Rudd in New Mexico. He sits on his bed, tired yet attentive to the information he's given: his son Mike has gone AWOL. At first, Hank cannot understand this seeing as his son is still in Iraq serving in the army. He's told Mike has been back from Iraq but has recently turned up missing. Hank knows he's gonna have to look into this on his own as he leaves a message on Mike's cell asking him to call. His wife Joan (Susan Sarandon) quietly observes as he packs a suitcase for his trip along with a picture of Mike in military dress. She asks Hank if there's anything she should know about with that demeanor of a mother/wife who has seen all the men in her family serve their country. He tells her not to worry and that it'd be best if he look into this first but assures her that he will find their son.On the way outta town, Hank parks his pick-up truck at a nearby school where he sees an alarming site. The U.S. flag is flying upside down on the school's flagpole. He assists the school's groundskeeper in both setting the flag right-side up and educating him on what an upside down flag represents. It's quiet scenes like this that develop the character of Hank as well as the overall tone throughout the film. Upon arriving at the base, Hank is shown around by Sgt. Carnelli (James Franco) and introduced to Mike's army buddies, all polite yet none of which have any idea where their fellow soldier is. Since the military police seem to be preoccupied, he takes his missing person report to the local police where Det. Sanders (Charlize Theron) automatically refers him back to the military base. Unfortunately, the often seen stereotypical "take care of their own" mentality comes to play between the police and the military. Hank starts his own investigation, using the combined concern of a father paired with his investigative intuition from the service. He manages to swipe his son's camera phone from his quarters and finds a local street hacker, who decodes all calls as well as the picture and video files and sends them along, one by one. Hank sits alone in his motel room and watches the choppy, shakey replays of Mike's missions in Iraq and we study each frame with him hoping to learn the truth of what went on, and how, if at all, it might explain what has happen to Mike (Jonathan Tucker). He reports to his wife each night as he checks various restaurants and nightclubs frequented by local soldiers. All the while, Hank remembers a desperate call he received from his son in Iraq, asking to come home.These scenes are told with such precision by cinematographer Roger Deakons and lamenting strings if composer Mark Isham. There's nothing overstated about this movie let alone over-acted. All the acting is excellent with Tommy Lee Jones giving what I consider one of his best performances in quite a while. Some of his best work here is how he conveys such emotion without expressing it. He's always had quite a distinctive face what with his rather large ears and nose as well as those squinty, baggy eyes of his but in this role he uses it all to the benefit of the character and the story. The few scenes that Sarandon has with and without Jones are pretty powerful. She really takes some emotional scenes and knocks then outta the park. Theron holds her own quite well and a lot of it has to do with the well-written material she's been given. Jason Patric also has somewhat of a complicated small role as a reluctant, by-the-book lieutenant overseeing the investigation. I could go into the rest of the movie's plot but I'm gonna choose not to as I feel the trailer tells enough already. I'm not gonna go into the details of why Det. Sanders decides to investigate and help Hank get to the truth of his missing son's whereabouts or what her own motives could be. Soon all that will be revealed in various interviews, articles and reviews. The controversy of the film will be over the last hour of the film and that's unfortunate. Instead of watching the layers of an investigation slowly unpeel, some viewers may take offense at how soldiers who have returned home are portrayed. That's too bad because movies about combat PTSD (Post Traumatic Stress Disorder) have been around since Vietnam. There's no getting around it, if a young man or woman is living such a high-adrenalized life for months (for some years) 24/7 they are going to be effected once they return back home. Movies like "Coming Home" and "The Deer Hunter" have captured elements of this and as long as there's war there will be stories like these to tell. I dunno if the movie can be an "anti-war" movie as it will most likely be labeled. That's mostly due to Hank's tight demeanor of a patriot who is not in any way questioning ''the troops'', in fact, he doesn't even have it in him to do so. I think he has a hard enough time learning some hard truths about who his and what kind of relationship he had with him. As he proceeds with his investigation, he can't help but to ask himself ask: What is what we're doing in Iraq doing to us? Sure, there is one final scene that is a blatant message and statement of the current war but it's not like it's necessarily outta character. I could've done without it, in fact I woulda given the film three and a half stars because of it but the performances here warranted I bump it up a notch to four. Still, I understand why Haggis put it in there and it may even have been needed. I really hope this message can be taken for what it is and leave it open for discussion."In the Valley of Elah" is Haggis' follow up as writer/director and it's another well-told story about relevant themes. I can only hope that this incredibly moving film can be taken just for what it is. Still, I see some critics are already skeptic as soon as they see who directed this and that's a shame. For those who are passionate about stories based on actual events, this is a film for you. The story is based on an article written by Mark Boal, a contributing writer for Rolling Stone and Playboy magazines. I don't know if that article had the same title as this film or how close this film follows that article but regardless it's essential a harrowing look at the psychological state of the young soldiers returning from Iraq....hence the controversy. Anything involving the current war can be a hot topic, sure to be scrutinized, but there is more going on here besides any critique of politics and the war. It's just simply a father trying to find out what happened to his son.The Q&A was alright but I woulda preferred to hear and speak to someone who had been involved in the filmmaking process, even if it was just as a source or reference. Still, it was interesting to hear what is being done and what is needed for those in need of treatment for combat PTSD. One question and answer that kinda stuck with me was when a guy asked one of the nurses if there were ever cases where a soldier came back from war without any need for treatment. Her reply was that's like kinda like saying someone who experiences something as horrific as being raped doesn't need help. Seemed like somewhat of an extreme answer but she got her point across.
]]>Thu, 21 Feb 2008 15:37:02 GMTdj4ourdj4our Blog2/21/2008 10:37:02 AMIN THE VALLEY OF ELAH****R for violent and disturbing content, language and some sexuality/nudity.2 hrs. written by: Paul Haggis (screenplay) & Mark Boal (from article: Death and Dishonor)produced by: Larry Becsey, Paul Haggis, Darlene Caamano Loquest, Steve Samuels & Patrick Wachsbergerdirected by: Paul HaggisRecently, I attended a free screening of a movie that will resonate with me for some time and I'm sure will be the cause of controversy for some viewers once it's released. That's no surprise considering writer/director Paul Haggis is best known for his 2005 Best Picture winner "Crash" which was a controversial film and win. I liked that movie and felt it deserved the win but I know that some critics and moviegoers felt that Haggis' themes were a lil ham-handed or forced upon them. I can understand all that and I was okay with those claims cuz overall the film's performances ascended any of my gripes. This film has less gripe and more praise from yours truly. Retired career military police officer Hank Deerfield (Tommy Lee Jones), receives a call in his Tennessee home from Fort Rudd in New Mexico. He sits on his bed, tired yet attentive to the information he's given: his son Mike has gone AWOL. At first, Hank cannot understand this seeing as his son is still in Iraq serving in the army. He's told Mike has been back from Iraq but has recently turned up missing. Hank knows he's gonna have to look into this on his own as he leaves a message on Mike's cell asking him to call. His wife Joan (Susan Sarandon) quietly observes as he packs a suitcase for his trip along with a picture of Mike in military dress. She asks Hank if there's anything she should know about with that demeanor of a mother/wife who has seen all the men in her family serve their country. He tells her not to worry and that it'd be best if he look into this first but assures her that he will find their son.On the way outta town, Hank parks his pick-up truck at a nearby school where he sees an alarming site. The U.S. flag is flying upside down on the school's flagpole. He assists the school's groundskeeper in both setting the flag right-side up and educating him on what an upside down flag represents. It's quiet scenes like this that develop the character of Hank as well as the overall tone throughout the film. Upon arriving at the base, Hank is shown around by Sgt. Carnelli (James Franco) and introduced to Mike's army buddies, all polite yet none of which have any idea where their fellow soldier is. Since the military police seem to be preoccupied, he takes his missing person report to the local police where Det. Sanders (Charlize Theron) automatically refers him back to the military base. Unfortunately, the often seen stereotypical "take care of their own" mentality comes to play between the police and the military. Hank starts his own investigation, using the combined concern of a father paired with his investigative intuition from the service. He manages to swipe his son's camera phone from his quarters and finds a local street hacker, who decodes all calls as well as the picture and video files and sends them along, one by one. Hank sits alone in his motel room and watches the choppy, shakey replays of Mike's missions in Iraq and we study each frame with him hoping to learn the truth of what went on, and how, if at all, it might explain what has happen to Mike (Jonathan Tucker). He reports to his wife each night as he checks various restaurants and nightclubs frequented by local soldiers. All the while, Hank remembers a desperate call he received from his son in Iraq, asking to come home.These scenes are told with such precision by cinematographer Roger Deakons and lamenting strings if composer Mark Isham. There's nothing overstated about this movie let alone over-acted. All the acting is excellent with Tommy Lee Jones giving what I consider one of his best performances in quite a while. Some of his best work here is how he conveys such emotion without expressing it. He's always had quite a distinctive face what with his rather large ears and nose as well as those squinty, baggy eyes of his but in this role he uses it all to the benefit of the character and the story. The few scenes that Sarandon has with and without Jones are pretty powerful. She really takes some emotional scenes and knocks then outta the park. Theron holds her own quite well and a lot of it has to do with the well-written material she's been given. Jason Patric also has somewhat of a complicated small role as a reluctant, by-the-book lieutenant overseeing the investigation. I could go into the rest of the movie's plot but I'm gonna choose not to as I feel the trailer tells enough already. I'm not gonna go into the details of why Det. Sanders decides to investigate and help Hank get to the truth of his missing son's whereabouts or what her own motives could be. Soon all that will be revealed in various interviews, articles and reviews. The controversy of the film will be over the last hour of the film and that's unfortunate. Instead of watching the layers of an investigation slowly unpeel, some viewers may take offense at how soldiers who have returned home are portrayed. That's too bad because movies about combat PTSD (Post Traumatic Stress Disorder) have been around since Vietnam. There's no getting around it, if a young man or woman is living such a high-adrenalized life for months (for some years) 24/7 they are going to be effected once they return back home. Movies like "Coming Home" and "The Deer Hunter" have captured elements of this and as long as there's war there will be stories like these to tell. I dunno if the movie can be an "anti-war" movie as it will most likely be labeled. That's mostly due to Hank's tight demeanor of a patriot who is not in any way questioning ''the troops'', in fact, he doesn't even have it in him to do so. I think he has a hard enough time learning some hard truths about who his and what kind of relationship he had with him. As he proceeds with his investigation, he can't help but to ask himself ask: What is what we're doing in Iraq doing to us? Sure, there is one final scene that is a blatant message and statement of the current war but it's not like it's necessarily outta character. I could've done without it, in fact I woulda given the film three and a half stars because of it but the performances here warranted I bump it up a notch to four. Still, I understand why Haggis put it in there and it may even have been needed. I really hope this message can be taken for what it is and leave it open for discussion."In the Valley of Elah" is Haggis' follow up as writer/director and it's another well-told story about relevant themes. I can only hope that this incredibly moving film can be taken just for what it is. Still, I see some critics are already skeptic as soon as they see who directed this and that's a shame. For those who are passionate about stories based on actual events, this is a film for you. The story is based on an article written by Mark Boal, a contributing writer for Rolling Stone and Playboy magazines. I don't know if that article had the same title as this film or how close this film follows that article but regardless it's essential a harrowing look at the psychological state of the young soldiers returning from Iraq....hence the controversy. Anything involving the current war can be a hot topic, sure to be scrutinized, but there is more going on here besides any critique of politics and the war. It's just simply a father trying to find out what happened to his son.The Q&A was alright but I woulda preferred to hear and speak to someone who had been involved in the filmmaking process, even if it was just as a source or reference. Still, it was interesting to hear what is being done and what is needed for those in need of treatment for combat PTSD. One question and answer that kinda stuck with me was when a guy asked one of the nurses if there were ever cases where a soldier came back from war without any need for treatment. Her reply was that's like kinda like saying someone who experiences something as horrific as being raped doesn't need help. Seemed like somewhat of an extreme answer but she got her point across. Spout Post: Come drink my milkshake: This year's Oscar picks http://www.spout.com/blogs/usesoap/archive/2008/2/10/24944.aspx

Post By: usesoap
Post To: usesoap Blog
Post Date: 2/10/2008 9:20:58 PM
Body: Even though the writers have apparently settled on a deal to end the strike, there is still a great deal to fear on the Oscar broadcast set for Feb. 24, that can be summed up in three simple words (two if you hyphenate correctly):Oscar-winner 'Norbit'.That's right. While many wrestle with the fact that their favorite films have been left off the nominee list (I understand, though don't agree with, the love-fest called Juno, but even my friends who are the most ardent supporters of the film agree that it has no place in the Best Picture and Best Director category) a film that was universally loathed like 'Norbit' has a shot at earning the most coveted trophies in the biz.Here to give you an edge on the office ballots, I have opted to fill this column with a handy guide to this year's nominees, chock-full of winner predictions. (Plus, you can check out some of the shorts on your computer, links provided, free of charge. You're welcome!)Best picture“Atonement”“Juno”“Michael Clayton”“No Country for Old Men”“There Will Be Blood”Winner: “No Country for Old Men. A sweeping 86 wins from various awards programs, coupled with the Academy's love for the Coens, means the “Old Men” should have a lot of life in them on Oscar night. Best Director“The Diving Bell and the Butterfly” Julian Schnabel“Juno” Jason Reitman“Michael Clayton” Tony Gilroy“No Country for Old Men” Joel Coen and Ethan Coen“There Will Be Blood” Paul Thomas AndersonWinner: The Coens again will be awarded, not only for this film, but for their decades of impressive contributions to cinema, whereas the runner-up, Anderson, seems to be just beginning his remarkable run.Best ActorGeorge Clooney in “Michael Clayton”Daniel Day-Lewis in “There Will Be Blood”Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street”Tommy Lee Jones in “In the Valley of Elah”Viggo Mortensen in “Eastern Promises”Winner: Daniel Day Lewis. Of the film's 45 award wins, the majority have gone to Lewis, whose Daniel Plainview could have easily been the embodiment of evil, were it not for the actor who shades the character with the tiniest sliver of humanity. Best ActressCate Blanchett in “Elizabeth: The Golden Age”Julie Christie in “Away from Her”Marion Cotillard in “La Vie en Rose”Laura Linney in “The Savages”Ellen Page in “Juno”Winner: Christie. Winning nods from coast (New York, D.C.) to coast (San Francisco, San Diego), to all parts in between (Arizona, Houston, Phoenix), as well as a BAFTA from overseas, Christie is a lock. Best Supporting ActorCasey Affleck in “The Assassination of Jesse James by the Coward Robert Ford”Javier Bardem in “No Country for Old Men”Philip Seymour Hoffman in “Charlie Wilson’s War”Hal Holbrook in “Into the Wild”Tom Wilkinson in “Michael Clayton”Winner: Bardem. Who knew a bowl-cut could be so bad-ass? Bardem's emotionless killing machine is the embodiment of evil in “No Country.” Best Supporting ActressCate Blanchett in “I’m Not There”Ruby Dee in “American Gangster”Saoirse Ronan in “Atonement”Amy Ryan in “Gone Baby Gone”Tilda Swinton in “Michael Clayton”Winner: Blanchett. Unless her two nominations this year cancel each other out, Blanchett is the best thing in an otherwise decent, but rather convoluted movie. Best animated feature“Persepolis”“Ratatouille”“Surf's Up”Winner: “Ratatoille.” Unless the Academy chooses to show its indie credibility with selecting “Persepolis,” the little guy should go to Pixar's latest masterpiece, and one of its most technically lavish and emotionally mature works in its canon. Best documentary feature“No End in Sight”“Operation Homecoming: Writing the Wartime Experience”“Sicko”“Taxi to the Dark Side”“War/Dance”Winner: “No End in Sight.” My only hope is that an Oscar win will bolster this film's chances of being seen, since it is far and away one of the most insightful documentaries concerning the war in Iraq out there. Art direction“American Gangster”“Atonement”“The Golden Compass”“Sweeney Todd The Demon Barber of Fleet Street”“There Will Be Blood”Winner: “There Will be Blood.” Only because “No Country for Old Men” didn't make it, the Academy will toss “Blood” a bone here. Cinematography “The Assassination of Jesse James by the Coward Robert Ford” Roger Deakins“Atonement” Seamus McGarvey“The Diving Bell and the Butterfly” Janusz Kaminski“No Country for Old Men” Roger Deakins“There Will Be Blood” Robert ElswitWinner: “There Will Be Blood.” For true cinema geeks, this is the most exciting category of the evening. Deakins, whose work in “Jesse James” is nothing short of poetic, adequately captures the harsh dust bowls in “No Country.” But in “Blood,” there are entire stretches of time where not a word is uttered and we can drink in the sumptuous images captured by Elswit. Costume design“Across the Universe” Albert Wolsky“Atonement” Jacqueline Durran“Elizabeth: The Golden Age” Alexandra Byrne“La Vie en Rose” Marit Allen“Sweeney Todd The Demon Barber of Fleet Street” Colleen AtwoodWinner: “Atonement.” After sweeping up at the BAFTA awards last weekend, the period piece that is perhaps more notable for its costume over its content. In particular, Kiera Knightly's green dress in act one may cinch the prize alone.Best documentary short subject“Freeheld”“La Corona (The Crown)”“Salim Baba”“Sari’s Mother”Winner: “Sari's Mother.” Look for director James Longley's tale of a mother in Iraq trying to get health care for her young AIDS-afflicted son to take the prize. It helps that he's earned such prior praise with his doc “Iraq in Fragments.' Editing“The Bourne Ultimatum” Christopher Rouse“The Diving Bell and the Butterfly” Juliette Welfling“Into the Wild” Jay Cassidy“No Country for Old Men” Roderick Jaynes“There Will Be Blood” Dylan TichenorWinner: “No Country for Old Men.” Perhaps more than any other technical category, “No Country” earns its stripes for its near-perfect slicing. Foreign language film“Beaufort” Israel“The Counterfeiters” Austria“Katyń” Poland“Mongol” Kazakhstan“12” RussiaWinner: “Beaufort.” In a rather weak field, “Beaufort” is the only film that seems to be making any critical waves. And if Borat had done enough to sully the name of Kazakhstan, “Mongol” has been doing a bang-up job on its own. Makeup“La Vie en Rose”“Norbit”“Pirates of the Caribbean: At World’s End”Winner: “Pirates.” So help me, Rick Baker has been a pioneer in real-life visual effects, but if he walks with one for transforming Eddie Murphy into a gargantuan shrew, I'm out, man. Game over. Original score“Atonement”“The Kite Runner” Distributed by Paramount Classics) Alberto Iglesias“Michael Clayton”“Ratatouille”“3:10 to Yuma”Winner: “Michael Clayton.” Where the hell was Jonny Greenwood's eclectic, haunting orchestration for “There Will Be Blood”? Because of some lame technicality, it was left off. None of the other candidates here are even in the same league, but Clayton's is the only score that I can still recall after seeing the film, so it gets my vote. Original song“Falling Slowly” from “Once”“Happy Working Song” from “Enchanted”“Raise It Up” from “August Rush”“So Close” from “Enchanted”“That’s How You Know” from “Enchanted”Winner: “Falling Slowly.” Sure, there's overwhelming odds that “Enchanted” could pick it up here, and it deserves some love, but more for a nomination for its lead Amy Adams, not in its cheeky, but slight, soundtrack. Best animated short film“I Met the Walrus” (trailer)“Madame Tutli-Putli” (full film)“Même les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)” ( full film)“My Love (Moya Lyubov) for Natalie” (Channel One Russia) (full film, part 2's link is provided after film)“Peter & the Wolf” (BreakThru Films)Winner: My Love. Like a Renoir painting come to life, this is one of the most lavish 2-D animated films in quite some time.Best live action short film“At Night” (clip)“Il Supplente (The Substitute)” (full film)“Le Mozart des Pickpockets (The Mozart of Pickpockets)” (full film)“Tanghi Argentini”“The Tonto Woman” (trailer)Winner: “Il Supplente.” Comic gold and a great punchline.Sound editing“The Bourne Ultimatum”“No Country for Old Men”“Ratatouille”“There Will Be Blood”“Transformers”Winner: “No Country for Old Men.” It could be a toss up with “There Will Be Blood,” but I have a feeling that the cold thud of Javier Bardem's pneumatic air gun gives it a slight edge. Sound mixing“The Bourne Ultimatum”“No Country for Old Men”“Ratatouille”“3:10 to Yuma”“Transformers”Winner: Transformers. Kevin O'Connell and Greg P. Russell have a combined 32 nominations in their career. It's time Oscar paid them for their labor for their work literally making heavy metal. Visual effects “The Golden Compass”“Pirates of the Caribbean: At World’s End”“Transformers”Winner: Transformers. Was there a part of this film that was not a visual effect? “Compas” flopped, “Pirates” sailed off with the trophy last year, plus, wouldn't it be cool to have a statue that morphed into a robot that would blow up screenwriter Diablo Cody's prize?Adapted screenplay“Atonement” Christopher Hampton“Away from Her” Sarah Polley“The Diving Bell and the Butterfly” Ronald Harwood“No Country for Old Men” Joel and Ethan Coen“There Will Be Blood” Paul Thomas AndersonWinner: “No Country for Old Men.” This one will be swept up in the Coen fever that will take hold on Oscar night, though I think “Blood” will have a longer shelf life with repeated viewings. Original screenplay“Juno” Diablo Cody“Lars and the Real Girl” Nancy Oliver“Michael Clayton” Tony Gilroy“Ratatouille” Brad Bird“The Savages” Tamara JenkinsWinner: Diablo Cody for Juno. I think the Academy members have a stake in the merchandising of the T-shirts, since the entire script seems ready to be ironed on to the front of clothing, line by agonizing line.
]]>Mon, 11 Feb 2008 02:20:58 GMTusesoapusesoap Blog2/10/2008 9:20:58 PMEven though the writers have apparently settled on a deal to end the strike, there is still a great deal to fear on the Oscar broadcast set for Feb. 24, that can be summed up in three simple words (two if you hyphenate correctly):Oscar-winner 'Norbit'.That's right. While many wrestle with the fact that their favorite films have been left off the nominee list (I understand, though don't agree with, the love-fest called Juno, but even my friends who are the most ardent supporters of the film agree that it has no place in the Best Picture and Best Director category) a film that was universally loathed like 'Norbit' has a shot at earning the most coveted trophies in the biz.Here to give you an edge on the office ballots, I have opted to fill this column with a handy guide to this year's nominees, chock-full of winner predictions. (Plus, you can check out some of the shorts on your computer, links provided, free of charge. You're welcome!)Best picture“Atonement”“Juno”“Michael Clayton”“No Country for Old Men”“There Will Be Blood”Winner: “No Country for Old Men. A sweeping 86 wins from various awards programs, coupled with the Academy's love for the Coens, means the “Old Men” should have a lot of life in them on Oscar night. Best Director“The Diving Bell and the Butterfly” Julian Schnabel“Juno” Jason Reitman“Michael Clayton” Tony Gilroy“No Country for Old Men” Joel Coen and Ethan Coen“There Will Be Blood” Paul Thomas AndersonWinner: The Coens again will be awarded, not only for this film, but for their decades of impressive contributions to cinema, whereas the runner-up, Anderson, seems to be just beginning his remarkable run.Best ActorGeorge Clooney in “Michael Clayton”Daniel Day-Lewis in “There Will Be Blood”Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street”Tommy Lee Jones in “In the Valley of Elah”Viggo Mortensen in “Eastern Promises”Winner: Daniel Day Lewis. Of the film's 45 award wins, the majority have gone to Lewis, whose Daniel Plainview could have easily been the embodiment of evil, were it not for the actor who shades the character with the tiniest sliver of humanity. Best ActressCate Blanchett in “Elizabeth: The Golden Age”Julie Christie in “Away from Her”Marion Cotillard in “La Vie en Rose”Laura Linney in “The Savages”Ellen Page in “Juno”Winner: Christie. Winning nods from coast (New York, D.C.) to coast (San Francisco, San Diego), to all parts in between (Arizona, Houston, Phoenix), as well as a BAFTA from overseas, Christie is a lock. Best Supporting ActorCasey Affleck in “The Assassination of Jesse James by the Coward Robert Ford”Javier Bardem in “No Country for Old Men”Philip Seymour Hoffman in “Charlie Wilson’s War”Hal Holbrook in “Into the Wild”Tom Wilkinson in “Michael Clayton”Winner: Bardem. Who knew a bowl-cut could be so bad-ass? Bardem's emotionless killing machine is the embodiment of evil in “No Country.” Best Supporting ActressCate Blanchett in “I’m Not There”Ruby Dee in “American Gangster”Saoirse Ronan in “Atonement”Amy Ryan in “Gone Baby Gone”Tilda Swinton in “Michael Clayton”Winner: Blanchett. Unless her two nominations this year cancel each other out, Blanchett is the best thing in an otherwise decent, but rather convoluted movie. Best animated feature“Persepolis”“Ratatouille”“Surf's Up”Winner: “Ratatoille.” Unless the Academy chooses to show its indie credibility with selecting “Persepolis,” the little guy should go to Pixar's latest masterpiece, and one of its most technically lavish and emotionally mature works in its canon. Best documentary feature“No End in Sight”“Operation Homecoming: Writing the Wartime Experience”“Sicko”“Taxi to the Dark Side”“War/Dance”Winner: “No End in Sight.” My only hope is that an Oscar win will bolster this film's chances of being seen, since it is far and away one of the most insightful documentaries concerning the war in Iraq out there. Art direction“American Gangster”“Atonement”“The Golden Compass”“Sweeney Todd The Demon Barber of Fleet Street”“There Will Be Blood”Winner: “There Will be Blood.” Only because “No Country for Old Men” didn't make it, the Academy will toss “Blood” a bone here. Cinematography “The Assassination of Jesse James by the Coward Robert Ford” Roger Deakins“Atonement” Seamus McGarvey“The Diving Bell and the Butterfly” Janusz Kaminski“No Country for Old Men” Roger Deakins“There Will Be Blood” Robert ElswitWinner: “There Will Be Blood.” For true cinema geeks, this is the most exciting category of the evening. Deakins, whose work in “Jesse James” is nothing short of poetic, adequately captures the harsh dust bowls in “No Country.” But in “Blood,” there are entire stretches of time where not a word is uttered and we can drink in the sumptuous images captured by Elswit. Costume design“Across the Universe” Albert Wolsky“Atonement” Jacqueline Durran“Elizabeth: The Golden Age” Alexandra Byrne“La Vie en Rose” Marit Allen“Sweeney Todd The Demon Barber of Fleet Street” Colleen AtwoodWinner: “Atonement.” After sweeping up at the BAFTA awards last weekend, the period piece that is perhaps more notable for its costume over its content. In particular, Kiera Knightly's green dress in act one may cinch the prize alone.Best documentary short subject“Freeheld”“La Corona (The Crown)”“Salim Baba”“Sari’s Mother”Winner: “Sari's Mother.” Look for director James Longley's tale of a mother in Iraq trying to get health care for her young AIDS-afflicted son to take the prize. It helps that he's earned such prior praise with his doc “Iraq in Fragments.' Editing“The Bourne Ultimatum” Christopher Rouse“The Diving Bell and the Butterfly” Juliette Welfling“Into the Wild” Jay Cassidy“No Country for Old Men” Roderick Jaynes“There Will Be Blood” Dylan TichenorWinner: “No Country for Old Men.” Perhaps more than any other technical category, “No Country” earns its stripes for its near-perfect slicing. Foreign language film“Beaufort” Israel“The Counterfeiters” Austria“Katyń” Poland“Mongol” Kazakhstan“12” RussiaWinner: “Beaufort.” In a rather weak field, “Beaufort” is the only film that seems to be making any critical waves. And if Borat had done enough to sully the name of Kazakhstan, “Mongol” has been doing a bang-up job on its own. Makeup“La Vie en Rose”“Norbit”“Pirates of the Caribbean: At World’s End”Winner: “Pirates.” So help me, Rick Baker has been a pioneer in real-life visual effects, but if he walks with one for transforming Eddie Murphy into a gargantuan shrew, I'm out, man. Game over. Original score“Atonement”“The Kite Runner” Distributed by Paramount Classics) Alberto Iglesias“Michael Clayton”“Ratatouille”“3:10 to Yuma”Winner: “Michael Clayton.” Where the hell was Jonny Greenwood's eclectic, haunting orchestration for “There Will Be Blood”? Because of some lame technicality, it was left off. None of the other candidates here are even in the same league, but Clayton's is the only score that I can still recall after seeing the film, so it gets my vote. Original song“Falling Slowly” from “Once”“Happy Working Song” from “Enchanted”“Raise It Up” from “August Rush”“So Close” from “Enchanted”“That’s How You Know” from “Enchanted”Winner: “Falling Slowly.” Sure, there's overwhelming odds that “Enchanted” could pick it up here, and it deserves some love, but more for a nomination for its lead Amy Adams, not in its cheeky, but slight, soundtrack. Best animated short film“I Met the Walrus” (trailer)“Madame Tutli-Putli” (full film)“Même les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)” ( full film)“My Love (Moya Lyubov) for Natalie” (Channel One Russia) (full film, part 2's link is provided after film)“Peter & the Wolf” (BreakThru Films)Winner: My Love. Like a Renoir painting come to life, this is one of the most lavish 2-D animated films in quite some time.Best live action short film“At Night” (clip)“Il Supplente (The Substitute)” (full film)“Le Mozart des Pickpockets (The Mozart of Pickpockets)” (full film)“Tanghi Argentini”“The Tonto Woman” (trailer)Winner: “Il Supplente.” Comic gold and a great punchline.Sound editing“The Bourne Ultimatum”“No Country for Old Men”“Ratatouille”“There Will Be Blood”“Transformers”Winner: “No Country for Old Men.” It could be a toss up with “There Will Be Blood,” but I have a feeling that the cold thud of Javier Bardem's pneumatic air gun gives it a slight edge. Sound mixing“The Bourne Ultimatum”“No Country for Old Men”“Ratatouille”“3:10 to Yuma”“Transformers”Winner: Transformers. Kevin O'Connell and Greg P. Russell have a combined 32 nominations in their career. It's time Oscar paid them for their labor for their work literally making heavy metal. Visual effects “The Golden Compass”“Pirates of the Caribbean: At World’s End”“Transformers”Winner: Transformers. Was there a part of this film that was not a visual effect? “Compas” flopped, “Pirates” sailed off with the trophy last year, plus, wouldn't it be cool to have a statue that morphed into a robot that would blow up screenwriter Diablo Cody's prize?Adapted screenplay“Atonement” Christopher Hampton“Away from Her” Sarah Polley“The Diving Bell and the Butterfly” Ronald Harwood“No Country for Old Men” Joel and Ethan Coen“There Will Be Blood” Paul Thomas AndersonWinner: “No Country for Old Men.” This one will be swept up in the Coen fever that will take hold on Oscar night, though I think “Blood” will have a longer shelf life with repeated viewings. Original screenplay“Juno” Diablo Cody“Lars and the Real Girl” Nancy Oliver“Michael Clayton” Tony Gilroy“Ratatouille” Brad Bird“The Savages” Tamara JenkinsWinner: Diablo Cody for Juno. I think the Academy members have a stake in the merchandising of the T-shirts, since the entire script seems ready to be ironed on to the front of clothing, line by agonizing line. Spout Post: Re:Predictions and Commentary, 2008 http://www.spout.com/groups/It_s_a_Wonderful_Night_for_Oscar/Re_Predictions_and_Commentary_2008/46/24460/1/ShowPost.aspx

Post By: pippin06
Post To: It's a Wonderful Night for Oscar!
Post Date: 1/28/2008 3:39:10 PM
Body: Here is some commentary on surprises and snubs. A week late, but I have some time here and now.In the Best Actor category, the surprise nomination is Tommy Lee Jones for In the Valley of Elah. He has not previously been nominated for any similar awards. Surprising omission? A long shot, but better than Jones was Ryan Gosling for Lars and the Real Girl; he's received several nominations (and no wins) to date. I think prediction-wise, though, you best be looking at Daniel Day-Lewis for There Will Be Blood. He's swept them all so far.In the Supporting Actor category, there are no real surprises or snubs. (Think Javier Bardem for No Country for Old Men come the big day, though).In the Best Actress category, a surprise nomination for Laura Linney for The Savages (she's had no love up until now). There are no real snubs, though, because the win will probably without doubt go to Julie Christie for Away From Her, with the other four nominations acting sort of like wild-card "it's a thrill just to be nominated" honorees.In the Supporting Actress category, no surprises or obvious snubs, though this category is rather up in the air.For Best Director and Best Picture, I see no surprises or obvious snubs, with the clear front runners being No Country for Old Men and the Coen brothers.For foreign language film, see the above post.For the technical categories: nothing really jumps out at me. Do you see anything?I will post a complete set of predictions closer to February 24, but in the meantime, share your predictions here! Any agreements or disagreements to the above?
]]>Mon, 28 Jan 2008 20:39:10 GMTpippin06It's a Wonderful Night for Oscar!1/28/2008 3:39:10 PMHere is some commentary on surprises and snubs. A week late, but I have some time here and now.In the Best Actor category, the surprise nomination is Tommy Lee Jones for In the Valley of Elah. He has not previously been nominated for any similar awards. Surprising omission? A long shot, but better than Jones was Ryan Gosling for Lars and the Real Girl; he's received several nominations (and no wins) to date. I think prediction-wise, though, you best be looking at Daniel Day-Lewis for There Will Be Blood. He's swept them all so far.In the Supporting Actor category, there are no real surprises or snubs. (Think Javier Bardem for No Country for Old Men come the big day, though).In the Best Actress category, a surprise nomination for Laura Linney for The Savages (she's had no love up until now). There are no real snubs, though, because the win will probably without doubt go to Julie Christie for Away From Her, with the other four nominations acting sort of like wild-card "it's a thrill just to be nominated" honorees.In the Supporting Actress category, no surprises or obvious snubs, though this category is rather up in the air.For Best Director and Best Picture, I see no surprises or obvious snubs, with the clear front runners being No Country for Old Men and the Coen brothers.For foreign language film, see the above post.For the technical categories: nothing really jumps out at me. Do you see anything?I will post a complete set of predictions closer to February 24, but in the meantime, share your predictions here! Any agreements or disagreements to the above? Spout Post: As I Walk In The Valley, I Shall Not Fear http://www.spout.com/blogs/erico_77375/archive/2007/9/25/20139.aspx

Post By: erico_77375
Post To: erico_77375 Blog
Post Date: 9/25/2007 2:47:03 PM
Body: A few weeks back, my colleague Cesar Villalta and I discussed war movies on our weekly podcast FilmScope (which you can find on iTunes if you care to listen). We were discussing how each war has been portrayed in a different way with a different context. World War II was seen as a hero’s war, with most of the films prior to Saving Private Ryan being very much objective-based. Vietnam was more of a rite-of-passage war movie, like Platoon, where a character saw harsh realities and accepts the gray tint outside the black and white views of the country they are fighting for. Now we have the Iraqi occupation, a link in the chain of the “War on Terror”. What kind of films would be spawned from this conflict where soldiers are fighting an enemy that blends into the crowds, where coming home is a pit stop only to be shipped back out again, where frustration and madness blends into an alloy where morality rarely has much say when the basic need for survival comes to a head.That’s why Paul Haggis’ In The Valley Of Elah is the face of the new war movie. This is a film that takes place at home, but where the battlefield is rarely seen only out of the frame. The film stars Tommy Lee Jones as Hank Deerfield, a gravel-hauler whose son has just returned from a tour in Iraq. He has gone AWOL and Hank decides to go look for him. He used to be an MP and once back into that world again, his mannerisms come out. He makes his bed the Army way, walks a little stiffer and talks a little more authoritive. He smuggles his son’s camera phone out of his room, but the heat of Iraq has messed it up a little. He gets a local tech to pull some of the video off. He enlists a local police detective (Charlize Theron) in his search, but she’s reluctant to help. She’s not a great detective, nor are her fellow detectives who wipe their feet of a crime scene the moment someone else takes over the case. But she’s despised by her fellow detectives because of how she got her job.So when the boy’s body is found butchered and burned, Hank is determined to find out what happens. He finally convinces the detective to help when he shows her just how bad a job they did in the investigation. But they are by no means friendly to each other, but they do earn each other’s respect that leads to Hank telling her little boy the story of David and Goliath as a bedtime story. The film does solve the crime, but that’s merely a means to an end. In The Valley Of Elah is more interested in characters and mannerisms. It wants us to understand each side of the subject, even from the killers. The film does involve a military cover-up, but not for anything so nefarious. We understand if we do not agree with their assessment. The film does involve a cranky old man as our protagonist who might have pushed his son too far, but we never believe that he did so maliciously. These are flawed human beings, but we understand them. These are flawed institutions, but they are trying to do the right thing. The reason behind the killing might not make sense, nor should it. But the characters understand their motives, and that’s all we need to know.I have always respected Tommy Lee Jones as an actor, but never have I seen him do so much using so little. In fact, that’s really the reason he’s perfect for this character. This character is stoic but not heartless. He’s crass and rude at times and there are times that you don’t like him. But Jones isn’t playing him for your approval; he’s playing him as a human being who’s had a life before this movie started. That’s really refreshing after a movie like Premonition where I swore this woman was born the day the movie started. I also loved how Charlize Theron put in the same consideration with her character. She isn’t a sweet earnest policewoman like we see in other movies. She’s tired, frustrated, and angry. She is petty at times, but she has the capacity to be better. This film also has another worthy performance from Susan Sarandon as Hank’s wife. The scene where she sees the remains of her son is one of the film’s most powerful scenes. But the real power behind this drama is Paul Haggis, whose sophomore directing gig is much better than his first (the also brilliant Crash). With this film, he is more patient, allowing scenes to build. He has taken this true-crime story from an article in Playboy and quite possibly made it the definitive film concerning Iraq. When Hank is told that his son harassed a stripper, he demands, “You’re talking about the wrong boy.” The boy he knew before the war had become someone else. And his final shot of the film might be considered controversial, but he waits for the right moment to present his final comment on the events.This leads me to talk about the director of photography, Roger Deakins. His work with the Cohen brothers is legendary and has also worked on films like Jarhead. In this film, he mutes the colors in places and stresses lighting in others. This isn’t flashy like some other movies, but emphasizes the tones and moods of the story. His next film is back with the Cohens in No Country For Old Men, a film that I am excited about seeing that also stars Tommy Lee Jones.All in all, this is a film that looks at the America that watches its soldiers come home tattered and torn not only physically but emotionally as well. Haggis decides not to lay blame, though no doubt people will not see it that way. It’s still amazing to me how people are apt to slander a films intention if it doesn’t portray the military in a shining light. It is that simplicity that this film is ultimately trying to combat. And that's really what Iraq war movies are going to be about.
]]>Tue, 25 Sep 2007 18:47:03 GMTerico_77375erico_77375 Blog9/25/2007 2:47:03 PMA few weeks back, my colleague Cesar Villalta and I discussed war movies on our weekly podcast FilmScope (which you can find on iTunes if you care to listen). We were discussing how each war has been portrayed in a different way with a different context. World War II was seen as a hero’s war, with most of the films prior to Saving Private Ryan being very much objective-based. Vietnam was more of a rite-of-passage war movie, like Platoon, where a character saw harsh realities and accepts the gray tint outside the black and white views of the country they are fighting for. Now we have the Iraqi occupation, a link in the chain of the “War on Terror”. What kind of films would be spawned from this conflict where soldiers are fighting an enemy that blends into the crowds, where coming home is a pit stop only to be shipped back out again, where frustration and madness blends into an alloy where morality rarely has much say when the basic need for survival comes to a head.That’s why Paul Haggis’ In The Valley Of Elah is the face of the new war movie. This is a film that takes place at home, but where the battlefield is rarely seen only out of the frame. The film stars Tommy Lee Jones as Hank Deerfield, a gravel-hauler whose son has just returned from a tour in Iraq. He has gone AWOL and Hank decides to go look for him. He used to be an MP and once back into that world again, his mannerisms come out. He makes his bed the Army way, walks a little stiffer and talks a little more authoritive. He smuggles his son’s camera phone out of his room, but the heat of Iraq has messed it up a little. He gets a local tech to pull some of the video off. He enlists a local police detective (Charlize Theron) in his search, but she’s reluctant to help. She’s not a great detective, nor are her fellow detectives who wipe their feet of a crime scene the moment someone else takes over the case. But she’s despised by her fellow detectives because of how she got her job.So when the boy’s body is found butchered and burned, Hank is determined to find out what happens. He finally convinces the detective to help when he shows her just how bad a job they did in the investigation. But they are by no means friendly to each other, but they do earn each other’s respect that leads to Hank telling her little boy the story of David and Goliath as a bedtime story. The film does solve the crime, but that’s merely a means to an end. In The Valley Of Elah is more interested in characters and mannerisms. It wants us to understand each side of the subject, even from the killers. The film does involve a military cover-up, but not for anything so nefarious. We understand if we do not agree with their assessment. The film does involve a cranky old man as our protagonist who might have pushed his son too far, but we never believe that he did so maliciously. These are flawed human beings, but we understand them. These are flawed institutions, but they are trying to do the right thing. The reason behind the killing might not make sense, nor should it. But the characters understand their motives, and that’s all we need to know.I have always respected Tommy Lee Jones as an actor, but never have I seen him do so much using so little. In fact, that’s really the reason he’s perfect for this character. This character is stoic but not heartless. He’s crass and rude at times and there are times that you don’t like him. But Jones isn’t playing him for your approval; he’s playing him as a human being who’s had a life before this movie started. That’s really refreshing after a movie like Premonition where I swore this woman was born the day the movie started. I also loved how Charlize Theron put in the same consideration with her character. She isn’t a sweet earnest policewoman like we see in other movies. She’s tired, frustrated, and angry. She is petty at times, but she has the capacity to be better. This film also has another worthy performance from Susan Sarandon as Hank’s wife. The scene where she sees the remains of her son is one of the film’s most powerful scenes. But the real power behind this drama is Paul Haggis, whose sophomore directing gig is much better than his first (the also brilliant Crash). With this film, he is more patient, allowing scenes to build. He has taken this true-crime story from an article in Playboy and quite possibly made it the definitive film concerning Iraq. When Hank is told that his son harassed a stripper, he demands, “You’re talking about the wrong boy.” The boy he knew before the war had become someone else. And his final shot of the film might be considered controversial, but he waits for the right moment to present his final comment on the events.This leads me to talk about the director of photography, Roger Deakins. His work with the Cohen brothers is legendary and has also worked on films like Jarhead. In this film, he mutes the colors in places and stresses lighting in others. This isn’t flashy like some other movies, but emphasizes the tones and moods of the story. His next film is back with the Cohens in No Country For Old Men, a film that I am excited about seeing that also stars Tommy Lee Jones.All in all, this is a film that looks at the America that watches its soldiers come home tattered and torn not only physically but emotionally as well. Haggis decides not to lay blame, though no doubt people will not see it that way. It’s still amazing to me how people are apt to slander a films intention if it doesn’t portray the military in a shining light. It is that simplicity that this film is ultimately trying to combat. And that's really what Iraq war movies are going to be about. Spout Post: Every so often, a movie earns the title of “Film”. In the Valley of Elah is that film. http://www.spout.com/blogs/laraemeadows/archive/2007/9/21/19989.aspx

Post By: laraemeadows
Post To: laraemeadows Blog
Post Date: 9/21/2007 2:50:39 AM
Body: Every so often, a movie earns the title of “Film”. In the Valley of Elah is that film. Powerful and touching writing, exceptional acting, particular visuals and marvelous direction make In the Valley of Elah a film of timeless quality. Retired Sergeant Hank Deerfield (Tommy Lee Jones) gets a phone call saying his son is absent without leave. Unable to accept that his son would abandon his duties as a soldier, he leaves his wife Joan (Susan Sarandon), and he drives to his son’s base to investigate his son’s disappearance. When he doesn’t get the response he wants from the military police, he sets off to contact the civilians. The civilians aren’t any more helpful. They tell him that he must contact the army police because they are in charge of their people, they wouldn’t investigate his disappearance. A jurisdictional nightmare, the only people who seem actively investigating the case is Hank Deerfield and Detective Emily Sanders (Charlize Theron), follows behind in tow. The investigation is a fight with the army, a troubling examination of willful incompetence and tragic truths. The writing in In the Valley of Elah is subtly powerful, beautiful and demands introspection. Every aspect of this movie requires a second look or further thought. Each character and event is important to the progression and resolution of the story. Even the sheets have important symbolic meaning. The acting in In the Valley of Elah is beautiful, smooth and natural. The cast; primary, secondary, and fleeting, are captivating. Hank Deerfield is rigid, molded, blindly patriotic and militaristic. He investigates the death of his son as if it were the death of a stranger; with cold, dispassionate precision. I felt bad for him because I think he is not able to feel the emotion that a parent in his situation would probably feel. Jones avoids making him one dimensional or robotic. Even though his behavior would be unnatural for most of us, Jones makes it feel natural for Hank. His personality may be wrong for civilian society but is perfectly manufactured for the service. When he starts to unravel, Jones’ cracks are so small but are profound. The only way we can tell what Hank is feeling in In the Valley of Elah are his phone calls to his wife, Joan. Joan is Hank’s emotion and what he feels we see through her. That isn’t to say Joan is an emotional disaster; she isn’t. Her emotions are incredibly restrained but not absent. Sarandon’s portrayal of a Midwestern military wife and mother is touching and had a dramatic personal affect on me. Her heartiness with rich, raw emotion and unparalleled strength made me admire and pity her. Sarandon’s character has little screen time in In the Valley of Elah but she captures every scene. Charlize Theron is exceptional as Emily Sanders. Detective Emily Sanders is a blending of Joan and Hank. She doesn’t fear her emotion but she doles out her emotional responses carefully. There is nothing confusing about how she is feeling at any one time. Theron gives Emily a soft disorder that makes her feel human and flawed. Not to be outdone by the writing or acting, the visuals of In the Valley of Elah are spectacular. Without becoming sluggish, the cinematographer, Roger Deakins, created long shots, held still in place that accentuate the brilliant acting throughout . I noticed the particular attention to the framing in the film. The smooth progression across the setting of a scene, moving from one well framed shot to another shows painstaking attention to the visuals of the film. I left In the Valley of Elah asking questions of our country, our military and myself. What happens to the people we train to kill a person without conscience when they are released into the civilian population, and what happens to the civilian population when a conscienceless killer is released? How responsible are we when we don’t give these killers the mental health attention or transition time they desperately need? Is it penny wise and dollar stupid not to get these people the help they need while in combat and when they return? I love it when movies have a take-away that opens the door of discussion about topics currently relevant but more timeless than expected. Some movies you see to escape reality and some you see to make you examine reality more clearly. In the Valley of Elah will cause you to scrutinize our country’s behavior and beliefs.
]]>Fri, 21 Sep 2007 06:50:39 GMTlaraemeadowslaraemeadows Blog9/21/2007 2:50:39 AMEvery so often, a movie earns the title of “Film”. In the Valley of Elah is that film. Powerful and touching writing, exceptional acting, particular visuals and marvelous direction make In the Valley of Elah a film of timeless quality. Retired Sergeant Hank Deerfield (Tommy Lee Jones) gets a phone call saying his son is absent without leave. Unable to accept that his son would abandon his duties as a soldier, he leaves his wife Joan (Susan Sarandon), and he drives to his son’s base to investigate his son’s disappearance. When he doesn’t get the response he wants from the military police, he sets off to contact the civilians. The civilians aren’t any more helpful. They tell him that he must contact the army police because they are in charge of their people, they wouldn’t investigate his disappearance. A jurisdictional nightmare, the only people who seem actively investigating the case is Hank Deerfield and Detective Emily Sanders (Charlize Theron), follows behind in tow. The investigation is a fight with the army, a troubling examination of willful incompetence and tragic truths. The writing in In the Valley of Elah is subtly powerful, beautiful and demands introspection. Every aspect of this movie requires a second look or further thought. Each character and event is important to the progression and resolution of the story. Even the sheets have important symbolic meaning. The acting in In the Valley of Elah is beautiful, smooth and natural. The cast; primary, secondary, and fleeting, are captivating. Hank Deerfield is rigid, molded, blindly patriotic and militaristic. He investigates the death of his son as if it were the death of a stranger; with cold, dispassionate precision. I felt bad for him because I think he is not able to feel the emotion that a parent in his situation would probably feel. Jones avoids making him one dimensional or robotic. Even though his behavior would be unnatural for most of us, Jones makes it feel natural for Hank. His personality may be wrong for civilian society but is perfectly manufactured for the service. When he starts to unravel, Jones’ cracks are so small but are profound. The only way we can tell what Hank is feeling in In the Valley of Elah are his phone calls to his wife, Joan. Joan is Hank’s emotion and what he feels we see through her. That isn’t to say Joan is an emotional disaster; she isn’t. Her emotions are incredibly restrained but not absent. Sarandon’s portrayal of a Midwestern military wife and mother is touching and had a dramatic personal affect on me. Her heartiness with rich, raw emotion and unparalleled strength made me admire and pity her. Sarandon’s character has little screen time in In the Valley of Elah but she captures every scene. Charlize Theron is exceptional as Emily Sanders. Detective Emily Sanders is a blending of Joan and Hank. She doesn’t fear her emotion but she doles out her emotional responses carefully. There is nothing confusing about how she is feeling at any one time. Theron gives Emily a soft disorder that makes her feel human and flawed. Not to be outdone by the writing or acting, the visuals of In the Valley of Elah are spectacular. Without becoming sluggish, the cinematographer, Roger Deakins, created long shots, held still in place that accentuate the brilliant acting throughout . I noticed the particular attention to the framing in the film. The smooth progression across the setting of a scene, moving from one well framed shot to another shows painstaking attention to the visuals of the film. I left In the Valley of Elah asking questions of our country, our military and myself. What happens to the people we train to kill a person without conscience when they are released into the civilian population, and what happens to the civilian population when a conscienceless killer is released? How responsible are we when we don’t give these killers the mental health attention or transition time they desperately need? Is it penny wise and dollar stupid not to get these people the help they need while in combat and when they return? I love it when movies have a take-away that opens the door of discussion about topics currently relevant but more timeless than expected. Some movies you see to escape reality and some you see to make you examine reality more clearly. In the Valley of Elah will cause you to scrutinize our country’s behavior and beliefs. Spout Post: Jeff Wells Would Die 4 Haggis — Clip of the Day http://www.spout.com/blogs/spoutblog/archive/2007/8/9/17712.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/9/2007 5:00:55 PM
Body: Powered by AOL Video God, I miss the heyday of Prince. But this is not about me: I offer you this clip of the day, from Purple Rain–in which Prince breakdances, vogues and licks his lips at his girl in the crowd, all the while lipsyncing “I Would Die 4 U” whilst wearing high-waisted leather pants and the puffiest man-blouse I’ve ever seen–in honor of Jeffrey Wells. Today on Hollywood Elsewhere, Wells challenged any critic who disagrees with him to a deathmatch. Sort of. I would like to challenge any film critic or blogger who strongly disagrees with me about the excellence of In the Valley of Elah (particularly in the snobby-ass, Paul Haggis-hating, nyah-nyah manner in which Slant’s Ed Gonzalez has recently expressed himself) to a bare-knuckles, John L. Sullivan-styled fist fight. I really and truly would be willing to bleed and get bruised and maybe knocked down over this. I know what I know and right is right, and I for one would be willing to stand up and go to the mat to defend my cinematic principles. Now, at this point, you’re thinking, “Alright! Critic on critic violence!” And then, “So why’d Karina match this blurb up with a Prince video? Has she lost it? Let’s see some shirtless Brad Pitt!!! “ Hold your horses. Check out Wells’ very next paragraph: If I wasn’t such a wuss, I mean. Saying I’d “like” to challenge an Elah hater to a fist fight doesn’t mean I’m doing that. My knuckles would get all swollen and I wouldn’t be able to type for a few days, and then where would I be? I haven’t been in a fight since the seventh grade. So obviously, he’s not really willing to go to the mat for Haggis at all. I’m not doubting Wells’ Elah love; in fact, I admire his deliberate use of masculine posturing as misdirection. It makes his puffy man-bloused statement of passion seem all the more sincere by comparison. Originally posted on:Spoutblog
]]>Thu, 09 Aug 2007 21:00:55 GMTSpoutBlogSpoutBlog on spout.com8/9/2007 5:00:55 PM Powered by AOL Video God, I miss the heyday of Prince. But this is not about me: I offer you this clip of the day, from Purple Rain–in which Prince breakdances, vogues and licks his lips at his girl in the crowd, all the while lipsyncing “I Would Die 4 U” whilst wearing high-waisted leather pants and the puffiest man-blouse I’ve ever seen–in honor of Jeffrey Wells. Today on Hollywood Elsewhere, Wells challenged any critic who disagrees with him to a deathmatch. Sort of. I would like to challenge any film critic or blogger who strongly disagrees with me about the excellence of In the Valley of Elah (particularly in the snobby-ass, Paul Haggis-hating, nyah-nyah manner in which Slant’s Ed Gonzalez has recently expressed himself) to a bare-knuckles, John L. Sullivan-styled fist fight. I really and truly would be willing to bleed and get bruised and maybe knocked down over this. I know what I know and right is right, and I for one would be willing to stand up and go to the mat to defend my cinematic principles. Now, at this point, you’re thinking, “Alright! Critic on critic violence!” And then, “So why’d Karina match this blurb up with a Prince video? Has she lost it? Let’s see some shirtless Brad Pitt!!! “ Hold your horses. Check out Wells’ very next paragraph: If I wasn’t such a wuss, I mean. Saying I’d “like” to challenge an Elah hater to a fist fight doesn’t mean I’m doing that. My knuckles would get all swollen and I wouldn’t be able to type for a few days, and then where would I be? I haven’t been in a fight since the seventh grade. So obviously, he’s not really willing to go to the mat for Haggis at all. I’m not doubting Wells’ Elah love; in fact, I admire his deliberate use of masculine posturing as misdirection. It makes his puffy man-bloused statement of passion seem all the more sincere by comparison. Originally posted on:Spoutblog Spout Tag:family http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

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]]>Sun, 20 Dec 2009 21:00:49 GMT62892271139Tag Spout Tag:war http://www.spout.com/members/0/tags/war/MemberTagFilms.aspxwar
Number of films tagged: 6177

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]]>Sun, 20 Dec 2009 01:16:35 GMT6177179608Tag Spout Tag:murder http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

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]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag Spout Tag:Boring http://www.spout.com/members/0/tags/Boring/MemberTagFilms.aspxBoring
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]]>Tue, 29 Sep 2009 23:44:27 GMT177105207Tag Spout Tag:relationships http://www.spout.com/members/0/tags/relationships/MemberTagFilms.aspxrelationships
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]]>Sat, 28 Nov 2009 14:40:59 GMT20374249Tag Spout Tag:children http://www.spout.com/members/0/tags/children/MemberTagFilms.aspxchildren
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]]>Mon, 16 Nov 2009 17:28:15 GMT21266270Tag Spout Tag:emotional http://www.spout.com/members/0/tags/emotional/MemberTagFilms.aspxemotional
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]]>Mon, 30 Nov 2009 02:02:06 GMT6645106Tag Spout Tag:truth http://www.spout.com/members/0/tags/truth/MemberTagFilms.aspxtruth
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]]>Mon, 23 Nov 2009 22:23:51 GMT3593663Tag Spout Tag:lies http://www.spout.com/members/0/tags/lies/MemberTagFilms.aspxlies
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]]>Fri, 04 Dec 2009 02:57:25 GMT1873285Tag Spout Tag:investigation http://www.spout.com/members/0/tags/investigation/MemberTagFilms.aspxinvestigation
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]]>Mon, 16 Nov 2009 17:27:28 GMT588329124Tag Spout Tag:army http://www.spout.com/members/0/tags/army/MemberTagFilms.aspxarmy
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]]>Sun, 20 Dec 2009 01:16:35 GMT8682777Tag Spout Tag:oscar http://www.spout.com/members/0/tags/oscar/MemberTagFilms.aspxoscar
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]]>Tue, 07 Jul 2009 01:03:17 GMT11024103Tag Spout Tag:parents http://www.spout.com/members/0/tags/parents/MemberTagFilms.aspxparents
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]]>Fri, 06 Nov 2009 18:49:19 GMT792180Tag Spout Tag:american http://www.spout.com/members/0/tags/american/MemberTagFilms.aspxamerican
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]]>Thu, 02 Jul 2009 03:37:21 GMT262027Tag Spout Tag:soldier http://www.spout.com/members/0/tags/soldier/MemberTagFilms.aspxsoldier
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]]>Thu, 19 Nov 2009 18:51:21 GMT17491846Tag