list http://www.spout.com/ Recent community activity around The Nines on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Nines/313997/default.aspx Title: The Nines
Year: 2007
Director: John August
Plot: Writer/director John August ponders the metaphysical aspects of life and art in an episodic allegory that follows three artists as they embark on a soul searching journey of fate versus free will. When a troubled actor is placed under house arrest in "The Prisoner," his imagination begins to run wild due to the fact that his spirited publicist and cynical neighbor provide his only link to the outside world. Later, after the planes of reality fold in on themselves during the production of a Project Greenlight-style show which documents the filming of a popular sitcom in "Reality Television," "Knowing" follows a successful video game designer and his family as they become stranded in the middle of nowhere due to automotive issues. Ryan Reynolds, Hope Davis, and Melissa McCarthy star in a drama that peels back the layers of reality to ask whether or not mankind really has any control over his ultimate fate. ~ Jason Buchanan, All Movie Guide
Times Tagged: 17
Number of Lists: 13
Number of blog posts: 5
Number of discussion threads: 1
SpoutRating: 3
]]>Tue, 21 Jul 2009 20:56:03 GMTThe Nines2007John AugustWriter/director John August ponders the metaphysical aspects of life and art in an episodic allegory that follows three artists as they embark on a soul searching journey of fate versus free will. When a troubled actor is placed under house arrest in "The Prisoner," his imagination begins to run wild due to the fact that his spirited publicist and cynical neighbor provide his only link to the outside world. Later, after the planes of reality fold in on themselves during the production of a <a href=/films/265755/default.aspx style='text-decoration:underline'>Project Greenlight</a>-style show which documents the filming of a popular sitcom in "Reality Television," "Knowing" follows a successful video game designer and his family as they become stranded in the middle of nowhere due to automotive issues. <a href="/players/P___232927/default.aspx" style='text-decoration:underline'>Ryan Reynolds</a>, <a href="/players/P____17353/default.aspx" style='text-decoration:underline'>Hope Davis</a>, and <a href="/players/P___302725/default.aspx" style='text-decoration:underline'>Melissa McCarthy</a> star in a drama that peels back the layers of reality to ask whether or not mankind really has any control over his ultimate fate. ~ Jason Buchanan, All Movie Guide17Tag Target (>10)13513http://www.spout.com/ProductImages/s313997.jpghttp://www.spout.com/films/The_Nines/313997/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_20_Television/625/43216/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/21/2009 4:56:03 PM
Body: A great movie that doesn't get a lot of attention in Series 7: The Contenders. It came out during the height of reality shows like Survivor and was about a faux new television show in which seven unsuspecting people are picked by a lottery and only the last one standing gets their freedom. At the time, it seemed like an Americanized version of Battle Royale, but Series 7 focused more on the television aspect and just how ridiculous it was becoming. I know it's mushy and preachy, but I still love Pleasantville. Watching modern day kids trying to survive in a black white Leave It To Beaver like town; and it was when Reese Witherspoon was still in her slutty bad ass girl Freeway stage which is always hilarious to watch. Bolt fits the theme. A dog raised believing it is a super enhanced cyber puppy on a television show gets lost and must learn to live in the real world was decent enough. Hairspray was about a bunch of kids vying for a coveted spot on a local tv dance show. Halloween III: Season of the Witch revolved around kids putting on cursed masks and watching a television commercial that would kill them. Fun times. Galaxy Quest was about a group of washed up Strek Trek like actors that find themselves transported to a real intergalactic war and must try and imitate their faux television personas to survive. I'll have to watch it a dozen more times, but I'm fairly kinda sorta maybe almost certain that Inland Empire had something to do with television. Natural Born Killers was more or less an indictment of the horrors of television on our society. I didn't really care for The Nines because I thought it was a little too too; it was trying to convey something about losing ourselves in the false reality of television. Or maybe not, I don't know. Bamboozled is one of my favorite Spike Lee movies about a television executive that tries to get fired by programming a horrifically racist minstrel show but is shocked to learn that it becomes a sensational hit. Soapdish was a stupid fun look at all the ridiculous bitching and backstabbing that goes on behind the scenes of a daytime soap opera series. Edtv came out right after The Truman Show and was pretty much trying to say the same thing. The Cable Guy. Doesn't get the credit it deserves and is probably one of Jim Carrey's best performances. American Dreamz was just __________. I don't watch American Idol so maybe I wasn't cool enough to enjoy it. Stay Tuned was one of those movies from my childhood where most of the comedy went straight over my head. Something about a family getting sucked into a sadistic television and must survive all the twisted versions of popular shows at the time. Need to watch it again.
]]>Tue, 21 Jul 2009 20:56:03 GMTmercurialWeekly Theme7/21/2009 4:56:03 PMA great movie that doesn't get a lot of attention in Series 7: The Contenders. It came out during the height of reality shows like Survivor and was about a faux new television show in which seven unsuspecting people are picked by a lottery and only the last one standing gets their freedom. At the time, it seemed like an Americanized version of Battle Royale, but Series 7 focused more on the television aspect and just how ridiculous it was becoming. I know it's mushy and preachy, but I still love Pleasantville. Watching modern day kids trying to survive in a black white Leave It To Beaver like town; and it was when Reese Witherspoon was still in her slutty bad ass girl Freeway stage which is always hilarious to watch. Bolt fits the theme. A dog raised believing it is a super enhanced cyber puppy on a television show gets lost and must learn to live in the real world was decent enough. Hairspray was about a bunch of kids vying for a coveted spot on a local tv dance show. Halloween III: Season of the Witch revolved around kids putting on cursed masks and watching a television commercial that would kill them. Fun times. Galaxy Quest was about a group of washed up Strek Trek like actors that find themselves transported to a real intergalactic war and must try and imitate their faux television personas to survive. I'll have to watch it a dozen more times, but I'm fairly kinda sorta maybe almost certain that Inland Empire had something to do with television. Natural Born Killers was more or less an indictment of the horrors of television on our society. I didn't really care for The Nines because I thought it was a little too too; it was trying to convey something about losing ourselves in the false reality of television. Or maybe not, I don't know. Bamboozled is one of my favorite Spike Lee movies about a television executive that tries to get fired by programming a horrifically racist minstrel show but is shocked to learn that it becomes a sensational hit. Soapdish was a stupid fun look at all the ridiculous bitching and backstabbing that goes on behind the scenes of a daytime soap opera series. Edtv came out right after The Truman Show and was pretty much trying to say the same thing. The Cable Guy. Doesn't get the credit it deserves and is probably one of Jim Carrey's best performances. American Dreamz was just __________. I don't watch American Idol so maybe I wasn't cool enough to enjoy it. Stay Tuned was one of those movies from my childhood where most of the comedy went straight over my head. Something about a family getting sucked into a sadistic television and must survive all the twisted versions of popular shows at the time. Need to watch it again. http://www.spout.com/blogs/mconrad3/archive/2009/1/18/39655.aspx Post By: mconrad3
Post To: mconrad3 Blog
Post Date: 1/18/2009 11:56:08 PM
Body: The Nines was a flick I saw the trailer for back about two years ago when it was doing its runs at the festivals. I didn't know what to make of it, but something about it intrigued me. It seemed part sci-fi, part surrealist, part triller. Then I forgot about it completely for two years and didn't even think about it until I heard someone talking about it in their podcast. I knew going into it that it was going to be one of those films where I had to actively think about what was going on, and I was okay with that; and being able to sit there and think about the movie made it that much more enjoyable. The overall story takes place over three different parts with three different characters played by the same people. There are similarities between the roles and settings, but you find out in the end how each one is "truly" connected. John August, the writer/director, has made a film that can serve as an allegory for many things. The two I'm taking out of this is the absurdist/chaotic answer to the question "why are we here?" and the way us writers can get lost in the worlds we create. The story is very thought provoking and makes you think a lot about your man-upstairs-belief or lack thereof and for writers, it specifically connects with your process of trying to make your dreams a reality. The Nines' focus on story would make you think it takes away from the visual side, but it doesn't really. It isn't constantly throwing brilliant shot after brilliant shot after you, but every so often the cinematography or editing jumps up enough to catch your attention and make you remember the moment. The music is what you'd probably expect from the more esoteric genre of film, but accents the narrative well. If I can get my hands on the soundtrack anywhere, I think I will, but someone who's looking for some huge dramatic score or cyberpunk rock is gonna be disappointed. One note that I usually miss when I'm reviewing a film is the acting. Considering the cast, I thought it was worth mentioning. Ryan Reynolds, who is best known for his comedy roles gets to show his range and that he as the ability to transcend his home turf. Elle Fanning once again does a good job at playing the creepy little girl, but makes a convincing average daughter too. Melissa McCarthy, who plays three different characters opposite Reynolds, does an exceptional job with each one. My favorite, though, is the sarcastic but witty publicist in the first part. This film makes you examine your belief system as you consider a what if? scenario playing before you. As a writer, I very much connected with the overall theme of getting lost in your creation, and as an agnostic myself I found the creation theory portrayed in this film was intriguing if not funny in a gallow's humor type way. (Once again, the sarcasm and dark humor helped me enjoy it that much more.) If you're not overly religious and you enjoy the occassional mind-boggling suspense film, you'll dig The Nines.
]]>Mon, 19 Jan 2009 04:56:08 GMTmconrad3mconrad3 Blog1/18/2009 11:56:08 PMThe Nines was a flick I saw the trailer for back about two years ago when it was doing its runs at the festivals. I didn't know what to make of it, but something about it intrigued me. It seemed part sci-fi, part surrealist, part triller. Then I forgot about it completely for two years and didn't even think about it until I heard someone talking about it in their podcast. I knew going into it that it was going to be one of those films where I had to actively think about what was going on, and I was okay with that; and being able to sit there and think about the movie made it that much more enjoyable. The overall story takes place over three different parts with three different characters played by the same people. There are similarities between the roles and settings, but you find out in the end how each one is "truly" connected. John August, the writer/director, has made a film that can serve as an allegory for many things. The two I'm taking out of this is the absurdist/chaotic answer to the question "why are we here?" and the way us writers can get lost in the worlds we create. The story is very thought provoking and makes you think a lot about your man-upstairs-belief or lack thereof and for writers, it specifically connects with your process of trying to make your dreams a reality. The Nines' focus on story would make you think it takes away from the visual side, but it doesn't really. It isn't constantly throwing brilliant shot after brilliant shot after you, but every so often the cinematography or editing jumps up enough to catch your attention and make you remember the moment. The music is what you'd probably expect from the more esoteric genre of film, but accents the narrative well. If I can get my hands on the soundtrack anywhere, I think I will, but someone who's looking for some huge dramatic score or cyberpunk rock is gonna be disappointed. One note that I usually miss when I'm reviewing a film is the acting. Considering the cast, I thought it was worth mentioning. Ryan Reynolds, who is best known for his comedy roles gets to show his range and that he as the ability to transcend his home turf. Elle Fanning once again does a good job at playing the creepy little girl, but makes a convincing average daughter too. Melissa McCarthy, who plays three different characters opposite Reynolds, does an exceptional job with each one. My favorite, though, is the sarcastic but witty publicist in the first part. This film makes you examine your belief system as you consider a what if? scenario playing before you. As a writer, I very much connected with the overall theme of getting lost in your creation, and as an agnostic myself I found the creation theory portrayed in this film was intriguing if not funny in a gallow's humor type way. (Once again, the sarcasm and dark humor helped me enjoy it that much more.) If you're not overly religious and you enjoy the occassional mind-boggling suspense film, you'll dig The Nines. http://www.spout.com/blogs/karina/archive/2008/7/8/32297.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 7/8/2008 4:01:48 PM
Body: Since the conversation about internet and day-and-date distribution really started to heat up in 1995, the alternatives to theatrical distribution have seemed to only multiply and evolve, while the general perception of public exhibition has remained about the same: filmmakers like it, but in terms of bottom line, it’s only useful as an extended commercial for ancillaries such as DVD. But is that perception changing? Two related quotes of note popped up in the feeds this morning. First, Jamie Stuart at Stream: More and more independent producers and distributors with years of experience are trying to convince indie filmmakers that theatrical distribution isn’t that important…Unfortunately, the thing that most filmmakers understand — and this has nothing to do with advocating the communal experience — is that by going theatrical, the movie is given a credibility that it would otherwise not have… …does anybody believe that if the IFC Center hadn’t screened its mumblecore series in 2007, the “movement” and its filmmakers would’ve attained the same level of credibility? The three best-known voices from that scene — Andrew Bujalski, Joe Swanberg and the Duplass Brothers — have all received some level of theatrical distribution, whether it’s micro or day-and-date. Are these three great filmmakers? I think the jury’s still out on that. But, by going theatrical, they’ve legitimized the whole handheld DV film festival movement — a movement that until recently, had critics, journalists and distributors constantly complaining about the amateurish production values of the movies flooding fests. Theatrical alters people’s perception. Theatrical makes it a real movie. And then, screenwriter John August [via The Circuit] whose directorial debut The Nines attracted “buzz” at Sundance in 2007, but failed to make much noise when it was released last year. He’s written a long list post about his experience, in response to Mark Gill’s “the sky is falling” speech. Theatrical release is kinda bullshit…Even while I was making The Nines, I knew that the vast majority of viewers would ultimately see it on the small screen…It didn’t feel like it at the time, but the theatrical release was really a token, contractually-obligated gesture. We were getting our hand stamped before the DVD…New York and Los Angeles gave enough national exposure to drive the DVD release, which was where they hoped to make their money. [But] the DVD should have come out much sooner, maybe simultaneously. Because of Ryan’s relative star power, we were able to generate a ton of national publicity. He went on TRL and Conan and every other New York outlet you can think of. But making a college student in Iowa aware of a movie that will never play Des Moines is useless. He’ll forget about it in a week. So the smart thing would have been keeping our New York and Los Angeles dates but having the DVD come out immediately. I know that invokes the stigma of straight-to-DVD, but if it means that potential viewers nationwide can actually see the movie, hooray. The shortening DVD windows are a legitimate concern for mainstream Hollywood movies, but for indies, I don’t think it’s even worth serious objection. Despite August’s use of the word “bullshit”, he doesn’t seem to be seriously suggesting that his film would have done better on DVD *without* a theatrical release. But then, an “indie” starring Scarlett Johansson’s fiancee, with a budget for national promotions an access to shill spots like TRL is in a very different boat than The Puffy Chair, let alone an even smaller film like Finally Lillian and Dan, which is able, through its loose association with mumblecore “hits” to take at least one or two steps out of total obscurity. Thoughts? Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 08 Jul 2008 20:01:48 GMTKarinaKarina on SpoutBlog7/8/2008 4:01:48 PMSince the conversation about internet and day-and-date distribution really started to heat up in 1995, the alternatives to theatrical distribution have seemed to only multiply and evolve, while the general perception of public exhibition has remained about the same: filmmakers like it, but in terms of bottom line, it’s only useful as an extended commercial for ancillaries such as DVD. But is that perception changing? Two related quotes of note popped up in the feeds this morning. First, Jamie Stuart at Stream: More and more independent producers and distributors with years of experience are trying to convince indie filmmakers that theatrical distribution isn’t that important…Unfortunately, the thing that most filmmakers understand — and this has nothing to do with advocating the communal experience — is that by going theatrical, the movie is given a credibility that it would otherwise not have… …does anybody believe that if the IFC Center hadn’t screened its mumblecore series in 2007, the “movement” and its filmmakers would’ve attained the same level of credibility? The three best-known voices from that scene — Andrew Bujalski, Joe Swanberg and the Duplass Brothers — have all received some level of theatrical distribution, whether it’s micro or day-and-date. Are these three great filmmakers? I think the jury’s still out on that. But, by going theatrical, they’ve legitimized the whole handheld DV film festival movement — a movement that until recently, had critics, journalists and distributors constantly complaining about the amateurish production values of the movies flooding fests. Theatrical alters people’s perception. Theatrical makes it a real movie. And then, screenwriter John August [via The Circuit] whose directorial debut The Nines attracted “buzz” at Sundance in 2007, but failed to make much noise when it was released last year. He’s written a long list post about his experience, in response to Mark Gill’s “the sky is falling” speech. Theatrical release is kinda bullshit…Even while I was making The Nines, I knew that the vast majority of viewers would ultimately see it on the small screen…It didn’t feel like it at the time, but the theatrical release was really a token, contractually-obligated gesture. We were getting our hand stamped before the DVD…New York and Los Angeles gave enough national exposure to drive the DVD release, which was where they hoped to make their money. [But] the DVD should have come out much sooner, maybe simultaneously. Because of Ryan’s relative star power, we were able to generate a ton of national publicity. He went on TRL and Conan and every other New York outlet you can think of. But making a college student in Iowa aware of a movie that will never play Des Moines is useless. He’ll forget about it in a week. So the smart thing would have been keeping our New York and Los Angeles dates but having the DVD come out immediately. I know that invokes the stigma of straight-to-DVD, but if it means that potential viewers nationwide can actually see the movie, hooray. The shortening DVD windows are a legitimate concern for mainstream Hollywood movies, but for indies, I don’t think it’s even worth serious objection. Despite August’s use of the word “bullshit”, he doesn’t seem to be seriously suggesting that his film would have done better on DVD *without* a theatrical release. But then, an “indie” starring Scarlett Johansson’s fiancee, with a budget for national promotions an access to shill spots like TRL is in a very different boat than The Puffy Chair, let alone an even smaller film like Finally Lillian and Dan, which is able, through its loose association with mumblecore “hits” to take at least one or two steps out of total obscurity. Thoughts? Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/7/8/32296.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/8/2008 4:01:05 PM
Body: Since the conversation about internet and day-and-date distribution really started to heat up in 1995, the alternatives to theatrical distribution have seemed to only multiply and evolve, while the general perception of public exhibition has remained about the same: filmmakers like it, but in terms of bottom line, it’s only useful as an extended commercial for ancillaries such as DVD. But is that perception changing? Two related quotes of note popped up in the feeds this morning. First, Jamie Stuart at Stream: More and more independent producers and distributors with years of experience are trying to convince indie filmmakers that theatrical distribution isn’t that important…Unfortunately, the thing that most filmmakers understand — and this has nothing to do with advocating the communal experience — is that by going theatrical, the movie is given a credibility that it would otherwise not have… …does anybody believe that if the IFC Center hadn’t screened its mumblecore series in 2007, the “movement” and its filmmakers would’ve attained the same level of credibility? The three best-known voices from that scene — Andrew Bujalski, Joe Swanberg and the Duplass Brothers — have all received some level of theatrical distribution, whether it’s micro or day-and-date. Are these three great filmmakers? I think the jury’s still out on that. But, by going theatrical, they’ve legitimized the whole handheld DV film festival movement — a movement that until recently, had critics, journalists and distributors constantly complaining about the amateurish production values of the movies flooding fests. Theatrical alters people’s perception. Theatrical makes it a real movie. And then, screenwriter John August [via The Circuit] whose directorial debut The Nines attracted “buzz” at Sundance in 2007, but failed to make much noise when it was released last year. He’s written a long list post about his experience, in response to Mark Gill’s “the sky is falling” speech. Theatrical release is kinda bullshit…Even while I was making The Nines, I knew that the vast majority of viewers would ultimately see it on the small screen…It didn’t feel like it at the time, but the theatrical release was really a token, contractually-obligated gesture. We were getting our hand stamped before the DVD…New York and Los Angeles gave enough national exposure to drive the DVD release, which was where they hoped to make their money. [But] the DVD should have come out much sooner, maybe simultaneously. Because of Ryan’s relative star power, we were able to generate a ton of national publicity. He went on TRL and Conan and every other New York outlet you can think of. But making a college student in Iowa aware of a movie that will never play Des Moines is useless. He’ll forget about it in a week. So the smart thing would have been keeping our New York and Los Angeles dates but having the DVD come out immediately. I know that invokes the stigma of straight-to-DVD, but if it means that potential viewers nationwide can actually see the movie, hooray. The shortening DVD windows are a legitimate concern for mainstream Hollywood movies, but for indies, I don’t think it’s even worth serious objection. Despite August’s use of the word “bullshit”, he doesn’t seem to be seriously suggesting that his film would have done better on DVD *without* a theatrical release. But then, an “indie” starring Scarlett Johansson’s fiancee, with a budget for national promotions an access to shill spots like TRL is in a very different boat than The Puffy Chair, let alone an even smaller film like Finally Lillian and Dan, which is able, through its loose association with mumblecore “hits” to take at least one or two steps out of total obscurity. Thoughts? Originally posted on:SpoutBlog
]]>Tue, 08 Jul 2008 20:01:05 GMTSpoutBlogSpoutBlog on spout.com7/8/2008 4:01:05 PMSince the conversation about internet and day-and-date distribution really started to heat up in 1995, the alternatives to theatrical distribution have seemed to only multiply and evolve, while the general perception of public exhibition has remained about the same: filmmakers like it, but in terms of bottom line, it’s only useful as an extended commercial for ancillaries such as DVD. But is that perception changing? Two related quotes of note popped up in the feeds this morning. First, Jamie Stuart at Stream: More and more independent producers and distributors with years of experience are trying to convince indie filmmakers that theatrical distribution isn’t that important…Unfortunately, the thing that most filmmakers understand — and this has nothing to do with advocating the communal experience — is that by going theatrical, the movie is given a credibility that it would otherwise not have… …does anybody believe that if the IFC Center hadn’t screened its mumblecore series in 2007, the “movement” and its filmmakers would’ve attained the same level of credibility? The three best-known voices from that scene — Andrew Bujalski, Joe Swanberg and the Duplass Brothers — have all received some level of theatrical distribution, whether it’s micro or day-and-date. Are these three great filmmakers? I think the jury’s still out on that. But, by going theatrical, they’ve legitimized the whole handheld DV film festival movement — a movement that until recently, had critics, journalists and distributors constantly complaining about the amateurish production values of the movies flooding fests. Theatrical alters people’s perception. Theatrical makes it a real movie. And then, screenwriter John August [via The Circuit] whose directorial debut The Nines attracted “buzz” at Sundance in 2007, but failed to make much noise when it was released last year. He’s written a long list post about his experience, in response to Mark Gill’s “the sky is falling” speech. Theatrical release is kinda bullshit…Even while I was making The Nines, I knew that the vast majority of viewers would ultimately see it on the small screen…It didn’t feel like it at the time, but the theatrical release was really a token, contractually-obligated gesture. We were getting our hand stamped before the DVD…New York and Los Angeles gave enough national exposure to drive the DVD release, which was where they hoped to make their money. [But] the DVD should have come out much sooner, maybe simultaneously. Because of Ryan’s relative star power, we were able to generate a ton of national publicity. He went on TRL and Conan and every other New York outlet you can think of. But making a college student in Iowa aware of a movie that will never play Des Moines is useless. He’ll forget about it in a week. So the smart thing would have been keeping our New York and Los Angeles dates but having the DVD come out immediately. I know that invokes the stigma of straight-to-DVD, but if it means that potential viewers nationwide can actually see the movie, hooray. The shortening DVD windows are a legitimate concern for mainstream Hollywood movies, but for indies, I don’t think it’s even worth serious objection. Despite August’s use of the word “bullshit”, he doesn’t seem to be seriously suggesting that his film would have done better on DVD *without* a theatrical release. But then, an “indie” starring Scarlett Johansson’s fiancee, with a budget for national promotions an access to shill spots like TRL is in a very different boat than The Puffy Chair, let alone an even smaller film like Finally Lillian and Dan, which is able, through its loose association with mumblecore “hits” to take at least one or two steps out of total obscurity. Thoughts? Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/2/14/25150.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 2/14/2008 4:09:59 PM
Body: A brief, deliberately vague review of 'The Nines' I have always been interested in this philosophical concept, as well as Plato's 'Cave Parable, 'which has been worked into some of my most re-watched cinematic outings of the past few years (The Matrix, Fight Club, Old School -- OK, maybe not that last one).As a writer, I love the kind of Charlie Kauffman-lite vibe this film has going for it, much like 'Stranger Than Fiction,' but I think much more complex. Ryan Reynolds, who I know many are hot-and-cold over, really displays some heretofore untapped range in three separate roles. Hope Davis is always a welcome addition to any film, but --wow -- where did Melissa McCarthy come from? Have not seen an episode of Gilmore Girls, I suppose I am late to the game, but she is amazing in situations that must seem heart-breakingly true to life for her.John August, who previously wrote Go and is a frequent Tim Burton collaborator (Big Fish, Charlie and the Chocolate Factory, Corpse Bride), makes his debut as director and shows a real flair, working with three distinctly different styles, tones, film stock, etc. I have been purposefully vague about the plot, for I think that should be left for discussion. The best part of the film for me was not really knowing much about it going in. I have since discovered a few helpful theories behind things that I would be willing to share for those who found it as intriguing as I did, but was also hungry to dig deeper into the meaning of it.
]]>Thu, 14 Feb 2008 21:09:59 GMTusesoapusesoap Blog2/14/2008 4:09:59 PMA brief, deliberately vague review of &#39;The Nines&#39; I have always been interested in this philosophical concept, as well as Plato&#39;s &#39;Cave Parable, &#39;which has been worked into some of my most re-watched cinematic outings of the past few years (The Matrix, Fight Club, Old School -- OK, maybe not that last one).As a writer, I love the kind of Charlie Kauffman-lite vibe this film has going for it, much like &#39;Stranger Than Fiction,&#39; but I think much more complex. Ryan Reynolds, who I know many are hot-and-cold over, really displays some heretofore untapped range in three separate roles. Hope Davis is always a welcome addition to any film, but --wow -- where did Melissa McCarthy come from? Have not seen an episode of Gilmore Girls, I suppose I am late to the game, but she is amazing in situations that must seem heart-breakingly true to life for her.John August, who previously wrote Go and is a frequent Tim Burton collaborator (Big Fish, Charlie and the Chocolate Factory, Corpse Bride), makes his debut as director and shows a real flair, working with three distinctly different styles, tones, film stock, etc. I have been purposefully vague about the plot, for I think that should be left for discussion. The best part of the film for me was not really knowing much about it going in. I have since discovered a few helpful theories behind things that I would be willing to share for those who found it as intriguing as I did, but was also hungry to dig deeper into the meaning of it. http://www.spout.com/blogs/spoutblog/archive/2008/2/8/24875.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/8/2008 2:00:26 PM
Body: There are a few things I haven’t been into for awhile: Ryan Reynolds, who keeps popping up on my television with that terrible-looking movie with Abigail Breslin (the title, which I keep forgetting, is Definitely, Maybe), and movies about obsessive compulsives. But I have been a fan of both in the past. Reynolds was really terrific (and yes, really hot) in The Amityville Horror, despite the remake’s uselessness, and he seemed to show a lot of promise. Unfortunately, I haven’t seen him deliver since (I hear he’s good in The Nines, but I haven’t seen it). OCD, meanwhile, was an interesting and funny character trait in movies until Nic Cage played the most unbelievable and annoying obsessive-compulsive ever in the otherwise decent caper Matchstick Men. But here we have a trailer for Chaos Theory, a movie starring Reynolds as an obsessive type, and it really hooked me in. Certainly it had to be the music, beginning with that wonderful Carter Burwell (arranged) composition from Raising Arizona, “Way Out There”, and continuing with Grieg’s “In the Hall of the Mountain King”, which is featured in tons of trailers but which always manages to excite me. The fact that Emily Mortimer, looking as adorable as always, appears is just an added bonus. Then, there’s the matter of Reynolds and the OCD. The former appears to be in perfect shape (and I don’t mean his abs, which are not on display here) and the latter, discarded by Reynolds’ character in favor of anarchic behavior, is pleasantly dealt with. Whenever Warner Bros. decides to finally bring this out (it was shot two years ago and still has no release date), I’ll be there. Originally posted on:SpoutBlog
]]>Fri, 08 Feb 2008 19:00:26 GMTSpoutBlogSpoutBlog on spout.com2/8/2008 2:00:26 PM There are a few things I haven’t been into for awhile: Ryan Reynolds, who keeps popping up on my television with that terrible-looking movie with Abigail Breslin (the title, which I keep forgetting, is Definitely, Maybe), and movies about obsessive compulsives. But I have been a fan of both in the past. Reynolds was really terrific (and yes, really hot) in The Amityville Horror, despite the remake’s uselessness, and he seemed to show a lot of promise. Unfortunately, I haven’t seen him deliver since (I hear he’s good in The Nines, but I haven’t seen it). OCD, meanwhile, was an interesting and funny character trait in movies until Nic Cage played the most unbelievable and annoying obsessive-compulsive ever in the otherwise decent caper Matchstick Men. But here we have a trailer for Chaos Theory, a movie starring Reynolds as an obsessive type, and it really hooked me in. Certainly it had to be the music, beginning with that wonderful Carter Burwell (arranged) composition from Raising Arizona, “Way Out There”, and continuing with Grieg’s “In the Hall of the Mountain King”, which is featured in tons of trailers but which always manages to excite me. The fact that Emily Mortimer, looking as adorable as always, appears is just an added bonus. Then, there’s the matter of Reynolds and the OCD. The former appears to be in perfect shape (and I don’t mean his abs, which are not on display here) and the latter, discarded by Reynolds’ character in favor of anarchic behavior, is pleasantly dealt with. Whenever Warner Bros. decides to finally bring this out (it was shot two years ago and still has no release date), I’ll be there. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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