list http://www.spout.com/ Recent community activity around Drillbit Taylor on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Drillbit_Taylor/294705/default.aspx Title: Drillbit Taylor
Year: 2008
Director: Steven Brill
Plot: When two high-school freshmen hire a man whom they believe to be low-rent soldier of fortune to protect them from the most sadistic bully in school, they soon find out just how deceptive appearances can be in this comedy based on a story by John Hughes, and featuring a script by Seth Rogen and Kristofor Brown. Owen Wilson stars as the presumed mercenary in a film produced by Judd Apatow. ~ Jason Buchanan, All Movie Guide
Times Tagged: 21
Number of Lists: 7
Number of blog posts: 6
SpoutRating: 2
]]>Mon, 23 Feb 2009 08:54:50 GMTDrillbit Taylor2008Steven BrillWhen two high-school freshmen hire a man whom they believe to be low-rent soldier of fortune to protect them from the most sadistic bully in school, they soon find out just how deceptive appearances can be in this comedy based on a story by <a href="http://www.spout.com/players/P____95115/default.aspx" style='text-decoration:underline'>John Hughes</a>, and featuring a script by <a href="http://www.spout.com/players/P___297862/default.aspx" style='text-decoration:underline'>Seth Rogen</a> and Kristofor Brown. <a href="http://www.spout.com/players/P___200996/default.aspx" style='text-decoration:underline'>Owen Wilson</a> stars as the presumed mercenary in a film produced by <a href="http://www.spout.com/players/P___188203/default.aspx" style='text-decoration:underline'>Judd Apatow</a>. ~ Jason Buchanan, All Movie Guide21Tag Target (>10)762http://www.spout.com/ProductImages/s294705.jpghttp://www.spout.com/films/Drillbit_Taylor/294705/default.aspxFilm http://www.spout.com/blogs/tenenbaums/archive/2008/10/8/36031.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 10/8/2008 12:09:05 PM
Body: I've recently watched a string of bad movies.They're not bad as in they never should have been made. It's more disappointing than that. They're bad because a good idea and often talent was wasted on poor execution.I should have known better than to throw away my time on them. They were all released in the dumping ground casually referred to as the Spring Season. Few decent U.S. films debut during this time. It's home for stupid family fare featuring Martin Lawrence (College Road Trip and Wild Hogs) and now random offerings from this year's unexpected double-dipper, Dennis Quaid. 2007 was a rare exception to the rule with Zodiac, Grindhouse, and the widely liked but personally loathed 300. Typically, it's an overall mess.The films that I ignored post-Oscar rush and pre-Summer Blockbuster are now on DVD and at the library. Since now I don't have to pay to see them, the slightest bit of interest that I suppressed in March and April by staying home now looks at me every day at work and has, in several cases, followed me home.The results have not been pretty.Smart People looked like another potential Wonder Boys. It was not. Thomas Hayden Church's performance was the only bright spot, but Quaid, Sarah Jessica Parker, and Ellen Page were wasted. The trailer for Vantage Point looked great. The actual thing was far from it. The movie makes you wonder what kind of dirt the director had on Sigourney Weaver, William Hurt, Forrest Whitaker, Matthew Fox, and, yes, Quaid.Then there's Stop-Loss, which holds a special place in my heart. It's the first movie that I've watched alone and couldn't get through.*I won't see just any movie. Pass the Grey Poupon. Since there are so many new releases in addition to the monstrous back-log of DVDs and videos, I can only see so many and the ones I choose to see must meet a certain criteria to even be considered. So, if I'm watching a film, it's certifiably special.Of the films I see, I like 95% of them. Of the sour 5%, I'll watch them to their completion because, up until now, my hope in them has been rewarded by enough imagination and intrigue on their part to keep me away from the Eject button. When the credits roll, I may not have liked what I've seen overall (see above titles), but, as was expected when the film became personally desirable, it had its moments. I wouldn't recommend these films, but they're not total disasters.Stop-Loss, however, is a class-5 hurricane hitting Cape Cod. It's hard to imagine a more heavy-handed approach to the Iraq war, and that's saying a lot. Give credit to co-writer/director Kimberly Peirce (who guided Hilary Swank to her first Oscar in Boys Don't Cry) for bluntly stating the opinions of returning (and subsequently departing) soldiers that aren't always voiced. These thoughts are genuine and I agree with them. They are also the same thing that Mr. Bullhorn is spouting in front of the White House.The ridiculously wooden dialogue and Ryan Phillippe at his unexpected worst (did they tape him when he was working out his Texas accent in rehearsals?) combined with a hokey plot to ruin a great concept. The hardships of this generation of soldiers' home lives had yet to be explored in a major film, but Stop-Loss does no justice to our military. The film adds to the pile of recent failed attempts to translate the current conflict to the screen, and had me skipping scenes by the half-hour mark. Unfortunately (or fortunately for my free time), the beginning of each new DVD chapter began with the same dumb talk or events that plagued the film's start. When the credits showed up, I was glad to be done. It's doubly disappointing that I was forced to skim through the rest because the opening Iraq combat scenes were done so well. Peirce does a fantastic job of depicting the mammoth tension of Baghdad roadblocks and of putting the audience amidst the squad as they fall under attack. She should have stayed in the Middle East and taken most of the Spring releases with her.But it's not all a pile of poo.Drillbit Taylor was awful on most fronts, but there was enough charm and general Owen-Wilsonness to elicit a positive feeling. Most surprising was In Bruges, a.k.a. Colin Farrell's Coming Out Party. Witty dialogue: check. Great acting: check. Expert direction and cinematography: check, check. Everything I could want from a film is found in this sleepy Belgium town. Plus, Mr. Consistency (Ralph Fiennes) is there in a role that rivals his Voldemort, Tooth Fairy (Red Dragon), and Amon Goeth (Schindler's List) for Most Menacing. The guy can play bad and play it very well.But these two bright spots (one, really) don't excuse the regularity of stinkers during this time of the year. Spring should be left for Oscar-nominated films that were given little or no release to be screened at the national level. Often, excellent foreign films will trickle in during this time, and they're welcome, too. Studios are cheating audiences and themselves by putting out sub-par material Spring after Spring. Filmgoers deserve more. Spring is an opportunity for catching up on the under-appreciated foreign, indie, documentary, and short films. We should continually be celebrating the best, not being fed soggy leftovers. Anything less is not good enough.Are you with me?*My fiancee Sarah embraces the attitude that you don't have to finish a book if you don't like it or don't want to. I agree with that, but since I read about 1/10 as many titles as she does in a year, the books I choose meet an even harder criteria than the films I see. If you look at my GoodReads ratings, you won't find anything I read outside of school that I didn't at least like (and, more than likely, loved). She also, according to the frequency in which she conks out on the sofa, believes that you don't have to finish a film. With Stop-Loss, despite my rigorous initial screening process, perhaps I've come to agree with that, too. It's not that I didn't believe you could drop a film; I'd just never been pushed to the point of losing faith in a film ever getting better. Still, since I continue to keep up my guard, I don't expect to repeat the Stop-Loss massacre very often.
]]>Wed, 08 Oct 2008 16:09:05 GMTTenenbaumsTenenbaums Blog10/8/2008 12:09:05 PMI've recently watched a string of bad movies.They're not bad as in they never should have been made. It's more disappointing than that. They're bad because a good idea and often talent was wasted on poor execution.I should have known better than to throw away my time on them. They were all released in the dumping ground casually referred to as the Spring Season. Few decent U.S. films debut during this time. It's home for stupid family fare featuring Martin Lawrence (College Road Trip and Wild Hogs) and now random offerings from this year's unexpected double-dipper, Dennis Quaid. 2007 was a rare exception to the rule with Zodiac, Grindhouse, and the widely liked but personally loathed 300. Typically, it's an overall mess.The films that I ignored post-Oscar rush and pre-Summer Blockbuster are now on DVD and at the library. Since now I don't have to pay to see them, the slightest bit of interest that I suppressed in March and April by staying home now looks at me every day at work and has, in several cases, followed me home.The results have not been pretty.Smart People looked like another potential Wonder Boys. It was not. Thomas Hayden Church's performance was the only bright spot, but Quaid, Sarah Jessica Parker, and Ellen Page were wasted. The trailer for Vantage Point looked great. The actual thing was far from it. The movie makes you wonder what kind of dirt the director had on Sigourney Weaver, William Hurt, Forrest Whitaker, Matthew Fox, and, yes, Quaid.Then there's Stop-Loss, which holds a special place in my heart. It's the first movie that I've watched alone and couldn't get through.*I won't see just any movie. Pass the Grey Poupon. Since there are so many new releases in addition to the monstrous back-log of DVDs and videos, I can only see so many and the ones I choose to see must meet a certain criteria to even be considered. So, if I'm watching a film, it's certifiably special.Of the films I see, I like 95% of them. Of the sour 5%, I'll watch them to their completion because, up until now, my hope in them has been rewarded by enough imagination and intrigue on their part to keep me away from the Eject button. When the credits roll, I may not have liked what I've seen overall (see above titles), but, as was expected when the film became personally desirable, it had its moments. I wouldn't recommend these films, but they're not total disasters.Stop-Loss, however, is a class-5 hurricane hitting Cape Cod. It's hard to imagine a more heavy-handed approach to the Iraq war, and that's saying a lot. Give credit to co-writer/director Kimberly Peirce (who guided Hilary Swank to her first Oscar in Boys Don't Cry) for bluntly stating the opinions of returning (and subsequently departing) soldiers that aren't always voiced. These thoughts are genuine and I agree with them. They are also the same thing that Mr. Bullhorn is spouting in front of the White House.The ridiculously wooden dialogue and Ryan Phillippe at his unexpected worst (did they tape him when he was working out his Texas accent in rehearsals?) combined with a hokey plot to ruin a great concept. The hardships of this generation of soldiers' home lives had yet to be explored in a major film, but Stop-Loss does no justice to our military. The film adds to the pile of recent failed attempts to translate the current conflict to the screen, and had me skipping scenes by the half-hour mark. Unfortunately (or fortunately for my free time), the beginning of each new DVD chapter began with the same dumb talk or events that plagued the film's start. When the credits showed up, I was glad to be done. It's doubly disappointing that I was forced to skim through the rest because the opening Iraq combat scenes were done so well. Peirce does a fantastic job of depicting the mammoth tension of Baghdad roadblocks and of putting the audience amidst the squad as they fall under attack. She should have stayed in the Middle East and taken most of the Spring releases with her.But it's not all a pile of poo.Drillbit Taylor was awful on most fronts, but there was enough charm and general Owen-Wilsonness to elicit a positive feeling. Most surprising was In Bruges, a.k.a. Colin Farrell's Coming Out Party. Witty dialogue: check. Great acting: check. Expert direction and cinematography: check, check. Everything I could want from a film is found in this sleepy Belgium town. Plus, Mr. Consistency (Ralph Fiennes) is there in a role that rivals his Voldemort, Tooth Fairy (Red Dragon), and Amon Goeth (Schindler's List) for Most Menacing. The guy can play bad and play it very well.But these two bright spots (one, really) don't excuse the regularity of stinkers during this time of the year. Spring should be left for Oscar-nominated films that were given little or no release to be screened at the national level. Often, excellent foreign films will trickle in during this time, and they're welcome, too. Studios are cheating audiences and themselves by putting out sub-par material Spring after Spring. Filmgoers deserve more. Spring is an opportunity for catching up on the under-appreciated foreign, indie, documentary, and short films. We should continually be celebrating the best, not being fed soggy leftovers. Anything less is not good enough.Are you with me?*My fiancee Sarah embraces the attitude that you don't have to finish a book if you don't like it or don't want to. I agree with that, but since I read about 1/10 as many titles as she does in a year, the books I choose meet an even harder criteria than the films I see. If you look at my GoodReads ratings, you won't find anything I read outside of school that I didn't at least like (and, more than likely, loved). She also, according to the frequency in which she conks out on the sofa, believes that you don't have to finish a film. With Stop-Loss, despite my rigorous initial screening process, perhaps I've come to agree with that, too. It's not that I didn't believe you could drop a film; I'd just never been pushed to the point of losing faith in a film ever getting better. Still, since I continue to keep up my guard, I don't expect to repeat the Stop-Loss massacre very often. http://www.spout.com/blogs/spoutblog/archive/2008/5/21/29673.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/21/2008 4:01:18 PM
Body: Paramount may soon be under investigation by the MPAA for allegedly marketing inappropriate content to children. Specific TV ads for Iron Man and Drillbit Taylor have been highlighted by the Better Business Bureau as being targeted to kids aged 12 and under. Apparently this isn’t kosher since both movies are rated PG-13. Of course, anyone who has been to or worked at a movie theater knows, there’s no stopping kids under the age of 13 from buying tickets to such movies. But that doesn’t mean it’s suitable for PG-13-rated fare to be directly marketed to the younger audience. Both movies have been advertised during Nickelodeon shows Zoey 101 and Drake & Josh, which are primarily viewed by preteens and other youths. Stephanie Sanchez at IESB.net, reporting on this story, adds that the MPAA should also address Paramount’s marketing of Strange Wilderness, which she saw advertised during Spongebob Squarepants and Drake & Josh while watching the programs with her kids, aged 4 and 6. Considering that comedy is Rated R, it would seem obvious that it shouldn’t be targeted to the Nick crowd, but perhaps Paramount has trouble differentiating demographics when advertising through sister media (Paramount and Nickelodeon are both owned by Viacom). I know people who think Iron Man is too violent for little kids, but violence has never been an issue for the MPAA when rating movies, especially those as significant to Hollywood income as Iron Man. But if the ratings board deems a movie OK to be seen by children (never mind the parental guidance nonsense, kids will see what kids can see) shouldn’t it then be OK to be advertised to them? Or is there a double standard there? Fortunately Paramount is not distributing The Wackness. There’s not much likelihood that Sony will attempt to advertise the film on Nickelodeon. Though it would be little funny if they could market to the Drake & Josh fans with the tagline, “now you can finally see Josh’s naked butt.” Originally posted on:SpoutBlog
]]>Wed, 21 May 2008 20:01:18 GMTSpoutBlogSpoutBlog on spout.com5/21/2008 4:01:18 PM Paramount may soon be under investigation by the MPAA for allegedly marketing inappropriate content to children. Specific TV ads for Iron Man and Drillbit Taylor have been highlighted by the Better Business Bureau as being targeted to kids aged 12 and under. Apparently this isn’t kosher since both movies are rated PG-13. Of course, anyone who has been to or worked at a movie theater knows, there’s no stopping kids under the age of 13 from buying tickets to such movies. But that doesn’t mean it’s suitable for PG-13-rated fare to be directly marketed to the younger audience. Both movies have been advertised during Nickelodeon shows Zoey 101 and Drake & Josh, which are primarily viewed by preteens and other youths. Stephanie Sanchez at IESB.net, reporting on this story, adds that the MPAA should also address Paramount’s marketing of Strange Wilderness, which she saw advertised during Spongebob Squarepants and Drake & Josh while watching the programs with her kids, aged 4 and 6. Considering that comedy is Rated R, it would seem obvious that it shouldn’t be targeted to the Nick crowd, but perhaps Paramount has trouble differentiating demographics when advertising through sister media (Paramount and Nickelodeon are both owned by Viacom). I know people who think Iron Man is too violent for little kids, but violence has never been an issue for the MPAA when rating movies, especially those as significant to Hollywood income as Iron Man. But if the ratings board deems a movie OK to be seen by children (never mind the parental guidance nonsense, kids will see what kids can see) shouldn’t it then be OK to be advertised to them? Or is there a double standard there? Fortunately Paramount is not distributing The Wackness. There’s not much likelihood that Sony will attempt to advertise the film on Nickelodeon. Though it would be little funny if they could market to the Drake & Josh fans with the tagline, “now you can finally see Josh’s naked butt.” Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/3/25/26587.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 3/25/2008 1:28:31 PM
Body: Perhaps it’s a certain soft spot for the navigator of my awkward adolescent journey, John Hughes; maybe it’s the affable charisma of lead Owen Wilson (who, even off his game as he is here, is just someone with whom you want to share a beer); or it could be the overall throwback tone of the film’s less-ironic, less-cynical high school setting.Whatever the reason, I quite enjoyed “Drillbit Taylor.Hughes, the arbiter of public school angst, originally scribbled the screenplay for the new comedy and allowed it to languish for the better part of two decades before it was dusted off by reigning comedic king Judd Apatow (“Knocked Up,” “40-Year-Old Virgin”) and his faithful scribes Seth Rogan (“Superbad”) and Kristofer Brown (TVs “Undeclared”). Hughes’ name is not found on any of the credits (acknowledgment is given to his frequent nom de plume of Edmond Dantes), but his style can be felt throughout. With great nerd love, Hughes always tapped into the anxieties, hopes, fears, and, dare it be dreamed, love of those squares living outside the popular circles in high school. He affected and defined a generation with six films in just four years. Think about that number. The list of his film could hyperventilate many a Gen-X –er prone to spouting off many a memorable movie line : “Sixteen Candles,” “The Breakfast Club,” “Weird Science,” “Pretty in Pink,” “Ferris Bueller’s Day Off,” and “Some Kind of Wonderful.And while “Drillbit Taylor” will not gain access to the coveted coliseum of memorable Hughes characters (Bueller, Duckie, Long Duk Dong, Farmer Ted, Chet, Cameron, etc.), it is a good-natured return to perhaps the most anxiety-prone places of repressed memory, and where some of Hughes’ richest comedies were set – high school.Wilson stars as a homeless Iraq vet genially slumming the California streets in search of spare change. Now this is hardly the stuff of comedy gold, and while the subtle social commentary is an awkward fit, Wilson’s laissez-faire demeanor pitches the proper balance between snickers and sympathy.Drillbit notices an online ad from a trio of geeks searching for protection from their psychotic high school harrier. The outcasts could easily be renamed “Superbad: The Early Years,” as they consist of the fat, sarcastic one (Tony Gentile), the skinny introspective one (Nate Harley), and the screeching uber-dork (David Dorfman). The actors themselves offer relatively little to the whole affair, but, then again, no one ever praised Andrew McCarthy for his range, Judd Nelson for his Method approach, or Molly Ringwald for her intensity.Drillbit sees the young suburbanites as three little ATM machines who can help finance his ticket to Canada to start life anew. He pilfers a few valuable knick-knacks from their homes while haphazardly helping them overcome their daily high school hell. Conscience gets the better of Drillbit, and soon he infiltrates the school as a substitute teacher to further aid the kids’ daily humiliations.At this point in the review, you may be thinking: “Hmm, faint praise, hackneyed plot… I think I’ll pass.” But “Taylor” works despite all these things. It works in all those “in-between” moments of the film. Throwaway lines delivered by former “Daily Show” correspondent Beth Littleford (someone please give this woman a smart lead role!), comedian Matt Walsh, and Danny McBride (soon to be seen in Apatow’s “Pineapple Express” and Ben Stiller’s “Tropic Thunder”).They, along with the leads, deliver casual, off-the-cuff zingers that validate “Taylor’s” existence, When training his young charges, Drillbit casually tosses off such lines as: “Now it isn’t all Oriental martial arts, Sometimes you give a little Mexican judo. As in you don’t know who you messin’ with, homes.” And at its core is an oversized Hugh-sian heart, one that was absent from the flick of Wilson’s frequent co-star Will Ferrell in “Semi-Pro.”It’s also an element that is sadly lacking in film designed for the high school crowd, which is more willing to highlight the misanthropic myopia and would-be sexual exploits than exalt in the more inconsequential aspects of freshman life, such as just existing without getting the snot clocked out of you. Perhaps his pen is a wee out of touch with today’s school experience, but his talent for mining the primal emotional dread is spot on.And if he decides to infrequently revisit that world every decade or so, I’ll slap on a pair of parachute pants, load up the Trapper Keeper, slip a cassette of Sigue Sigue Sputnik in the Walkman, and be first in line to watch.
]]>Tue, 25 Mar 2008 17:28:31 GMTusesoapusesoap Blog3/25/2008 1:28:31 PMPerhaps it&rsquo;s a certain soft spot for the navigator of my awkward adolescent journey, John Hughes; maybe it&rsquo;s the affable charisma of lead Owen Wilson (who, even off his game as he is here, is just someone with whom you want to share a beer); or it could be the overall throwback tone of the film&rsquo;s less-ironic, less-cynical high school setting.Whatever the reason, I quite enjoyed &ldquo;Drillbit Taylor.Hughes, the arbiter of public school angst, originally scribbled the screenplay for the new comedy and allowed it to languish for the better part of two decades before it was dusted off by reigning comedic king Judd Apatow (&ldquo;Knocked Up,&rdquo; &ldquo;40-Year-Old Virgin&rdquo;) and his faithful scribes Seth Rogan (&ldquo;Superbad&rdquo;) and Kristofer Brown (TVs &ldquo;Undeclared&rdquo;). Hughes&rsquo; name is not found on any of the credits (acknowledgment is given to his frequent nom de plume of Edmond Dantes), but his style can be felt throughout. With great nerd love, Hughes always tapped into the anxieties, hopes, fears, and, dare it be dreamed, love of those squares living outside the popular circles in high school. He affected and defined a generation with six films in just four years. Think about that number. The list of his film could hyperventilate many a Gen-X &ndash;er prone to spouting off many a memorable movie line : &ldquo;Sixteen Candles,&rdquo; &ldquo;The Breakfast Club,&rdquo; &ldquo;Weird Science,&rdquo; &ldquo;Pretty in Pink,&rdquo; &ldquo;Ferris Bueller&rsquo;s Day Off,&rdquo; and &ldquo;Some Kind of Wonderful.And while &ldquo;Drillbit Taylor&rdquo; will not gain access to the coveted coliseum of memorable Hughes characters (Bueller, Duckie, Long Duk Dong, Farmer Ted, Chet, Cameron, etc.), it is a good-natured return to perhaps the most anxiety-prone places of repressed memory, and where some of Hughes&rsquo; richest comedies were set &ndash; high school.Wilson stars as a homeless Iraq vet genially slumming the California streets in search of spare change. Now this is hardly the stuff of comedy gold, and while the subtle social commentary is an awkward fit, Wilson&rsquo;s laissez-faire demeanor pitches the proper balance between snickers and sympathy.Drillbit notices an online ad from a trio of geeks searching for protection from their psychotic high school harrier. The outcasts could easily be renamed &ldquo;Superbad: The Early Years,&rdquo; as they consist of the fat, sarcastic one (Tony Gentile), the skinny introspective one (Nate Harley), and the screeching uber-dork (David Dorfman). The actors themselves offer relatively little to the whole affair, but, then again, no one ever praised Andrew McCarthy for his range, Judd Nelson for his Method approach, or Molly Ringwald for her intensity.Drillbit sees the young suburbanites as three little ATM machines who can help finance his ticket to Canada to start life anew. He pilfers a few valuable knick-knacks from their homes while haphazardly helping them overcome their daily high school hell. Conscience gets the better of Drillbit, and soon he infiltrates the school as a substitute teacher to further aid the kids&rsquo; daily humiliations.At this point in the review, you may be thinking: &ldquo;Hmm, faint praise, hackneyed plot&hellip; I think I&rsquo;ll pass.&rdquo; But &ldquo;Taylor&rdquo; works despite all these things. It works in all those &ldquo;in-between&rdquo; moments of the film. Throwaway lines delivered by former &ldquo;Daily Show&rdquo; correspondent Beth Littleford (someone please give this woman a smart lead role!), comedian Matt Walsh, and Danny McBride (soon to be seen in Apatow&rsquo;s &ldquo;Pineapple Express&rdquo; and Ben Stiller&rsquo;s &ldquo;Tropic Thunder&rdquo;).They, along with the leads, deliver casual, off-the-cuff zingers that validate &ldquo;Taylor&rsquo;s&rdquo; existence, When training his young charges, Drillbit casually tosses off such lines as: &ldquo;Now it isn&rsquo;t all Oriental martial arts, Sometimes you give a little Mexican judo. As in you don&rsquo;t know who you messin&rsquo; with, homes.&rdquo; And at its core is an oversized Hugh-sian heart, one that was absent from the flick of Wilson&rsquo;s frequent co-star Will Ferrell in &ldquo;Semi-Pro.&rdquo;It&rsquo;s also an element that is sadly lacking in film designed for the high school crowd, which is more willing to highlight the misanthropic myopia and would-be sexual exploits than exalt in the more inconsequential aspects of freshman life, such as just existing without getting the snot clocked out of you. Perhaps his pen is a wee out of touch with today&rsquo;s school experience, but his talent for mining the primal emotional dread is spot on.And if he decides to infrequently revisit that world every decade or so, I&rsquo;ll slap on a pair of parachute pants, load up the Trapper Keeper, slip a cassette of Sigue Sigue Sputnik in the Walkman, and be first in line to watch. http://www.spout.com/blogs/karina/archive/2008/3/20/26433.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/20/2008 1:00:47 PM
Body: There’s an LA Times story this morning about how Paramount has promoted Apatow-com Drillbit Taylor around the fact that star Owen Wilson has done no interviews, in fear of having to answer questions about last summer’s suicide attempt. Instead of talking to reporters, Wilson taped “Drillbit-themed introductions to Fox’s Sunday-night prime-time lineup.” If there are three steps to managing a celebrity scandal––denial, confirmation, confession––the Wilson camp has chosen to remain mired in Step 1 for going on seven months, a stunning and curious feat in the era of confession as commodity. After enumerating a number of projects fatally wounded by the unsavory off-hours activity of their stars, LAT writers John Horn and Gina Piccalo note in the last paragraph that Nine Months, the Hugh Grant film that was released just two weeks after the star was caught with a prostitute, grossed $70 million––according to this chart, more than Dumb and Dumber, Bad Boys or Babe, all of which spawned sequels.  The Hugh Grant scandal seems to represent a turning point in spin: by appearing on any show that would have him the day before his movie’s premiere and talking about the hooker incident directly and self-mockingly,  Grant was able to completely deflate the issue, successfully turning confession into commercial. (more…) Originally posted on:SpoutBlog » karina
]]>Thu, 20 Mar 2008 17:00:47 GMTKarinaKarina on SpoutBlog3/20/2008 1:00:47 PMThere’s an LA Times story this morning about how Paramount has promoted Apatow-com Drillbit Taylor around the fact that star Owen Wilson has done no interviews, in fear of having to answer questions about last summer’s suicide attempt. Instead of talking to reporters, Wilson taped “Drillbit-themed introductions to Fox’s Sunday-night prime-time lineup.” If there are three steps to managing a celebrity scandal––denial, confirmation, confession––the Wilson camp has chosen to remain mired in Step 1 for going on seven months, a stunning and curious feat in the era of confession as commodity. After enumerating a number of projects fatally wounded by the unsavory off-hours activity of their stars, LAT writers John Horn and Gina Piccalo note in the last paragraph that Nine Months, the Hugh Grant film that was released just two weeks after the star was caught with a prostitute, grossed $70 million––according to this chart, more than Dumb and Dumber, Bad Boys or Babe, all of which spawned sequels.  The Hugh Grant scandal seems to represent a turning point in spin: by appearing on any show that would have him the day before his movie’s premiere and talking about the hooker incident directly and self-mockingly,  Grant was able to completely deflate the issue, successfully turning confession into commercial. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/20/26431.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/20/2008 1:00:38 PM
Body: There’s an LA Times story this morning about how Paramount has promoted Apatow-com Drillbit Taylor around the fact that star Owen Wilson has done no interviews, in fear of having to answer questions about last summer’s suicide attempt. Instead of talking to reporters, Wilson taped “Drillbit-themed introductions to Fox’s Sunday-night prime-time lineup.” If there are three steps to managing a celebrity scandal––denial, confirmation, confession––the Wilson camp has chosen to remain mired in Step 1 for going on seven months, a stunning and curious feat in the era of confession as commodity. After enumerating a number of projects fatally wounded by the unsavory off-hours activity of their stars, LAT writers John Horn and Gina Piccalo note in the last paragraph that Nine Months, the Hugh Grant film that was released just two weeks after the star was caught with a prostitute, grossed $70 million––according to this chart, more than Dumb and Dumber, Bad Boys or Babe, all of which spawned sequels.  The Hugh Grant scandal seems to represent a turning point in spin: by appearing on any show that would have him the day before his movie’s premiere and talking about the hooker incident directly and self-mockingly,  Grant was able to completely deflate the issue, successfully turning confession into commercial. (more…) Originally posted on:SpoutBlog
]]>Thu, 20 Mar 2008 17:00:38 GMTSpoutBlogSpoutBlog on spout.com3/20/2008 1:00:38 PMThere’s an LA Times story this morning about how Paramount has promoted Apatow-com Drillbit Taylor around the fact that star Owen Wilson has done no interviews, in fear of having to answer questions about last summer’s suicide attempt. Instead of talking to reporters, Wilson taped “Drillbit-themed introductions to Fox’s Sunday-night prime-time lineup.” If there are three steps to managing a celebrity scandal––denial, confirmation, confession––the Wilson camp has chosen to remain mired in Step 1 for going on seven months, a stunning and curious feat in the era of confession as commodity. After enumerating a number of projects fatally wounded by the unsavory off-hours activity of their stars, LAT writers John Horn and Gina Piccalo note in the last paragraph that Nine Months, the Hugh Grant film that was released just two weeks after the star was caught with a prostitute, grossed $70 million––according to this chart, more than Dumb and Dumber, Bad Boys or Babe, all of which spawned sequels.  The Hugh Grant scandal seems to represent a turning point in spin: by appearing on any show that would have him the day before his movie’s premiere and talking about the hooker incident directly and self-mockingly,  Grant was able to completely deflate the issue, successfully turning confession into commercial. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/3/5/25891.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/5/2008 1:01:13 PM
Body: I don’t know what I’m happier about, the fact that “Bust-Ass” from All the Real Girls has been getting a lot of supporting roles in big comedies (Hot Rod, The Heartbreak Kid, Pineapple Express, Drillbit Taylor, Tropic Thunder) or that he’s got the starring role in this little comedy, which ought to receive a decent theatrical run courtesy of Paramount Vantage. I’ll tell the truth, though; I hadn’t heard of The Foot Fist Way until I was directed [via ComingSoon.net] to the movie’s new “restricted” trailer. Apparently it was quite popular when it screened at Sundance in 2007, and it so far has a rating of 9.7 stars out of 10 on its IMDb page (though only 29 people have rated it so far). This trailer does something interesting that isn’t seen much in the world of movie marketing. It employs a sort of peer-recommendation that we’re used to seeing on book jackets. The trailer mentions the fact that it has been watched by Will Ferrell and Adam McKay at least 20 times, that it has been quoted by them and that they obsess over it. The only thing it’s missing is an actual appearance from the pair, or at least a direct statement from them. I feel like something less second-hand would be more effective. The Foot Fist Way is scheduled to open April 11. Originally posted on:SpoutBlog
]]>Wed, 05 Mar 2008 18:01:13 GMTSpoutBlogSpoutBlog on spout.com3/5/2008 1:01:13 PM I don’t know what I’m happier about, the fact that “Bust-Ass” from All the Real Girls has been getting a lot of supporting roles in big comedies (Hot Rod, The Heartbreak Kid, Pineapple Express, Drillbit Taylor, Tropic Thunder) or that he’s got the starring role in this little comedy, which ought to receive a decent theatrical run courtesy of Paramount Vantage. I’ll tell the truth, though; I hadn’t heard of The Foot Fist Way until I was directed [via ComingSoon.net] to the movie’s new “restricted” trailer. Apparently it was quite popular when it screened at Sundance in 2007, and it so far has a rating of 9.7 stars out of 10 on its IMDb page (though only 29 people have rated it so far). This trailer does something interesting that isn’t seen much in the world of movie marketing. It employs a sort of peer-recommendation that we’re used to seeing on book jackets. The trailer mentions the fact that it has been watched by Will Ferrell and Adam McKay at least 20 times, that it has been quoted by them and that they obsess over it. The only thing it’s missing is an actual appearance from the pair, or at least a direct statement from them. I feel like something less second-hand would be more effective. The Foot Fist Way is scheduled to open April 11. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/drugs/MemberTagFilms.aspxdrugs
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