list http://www.spout.com/ Recent community activity around The Bank Job 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_Bank_Job/320399/default.aspx Title: The Bank Job
Year: 2008
Director: Roger Donaldson
Plot: Jason Statham and Saffron Burrows star in director Roger Donaldson's cinematic account of the true-life 1971 London bank robbery that baffled the authorities and fascinated the public. Terry (Statham) was a small time car dealer who was trying to leave his shady past behind and start a family. Though he'd never been involved in any major crimes, he wasn't exactly on the straight and narrow his whole life either. Martine (Burrows) is a beautiful model from Terry's old neighborhood who knows that her former neighbor is no angel. When Martine proposes a foolproof plan to rob a Baker Street bank, Terry recognizes the danger but realizes this may be the opportunity of a lifetime. As the operation gets underway, the resourceful band of thieves burrow their way into a safety deposit vault at the Lloyds Bank in Marylebone, quickly hitting a literal treasure trove of cash and priceless gems. But while the crew did know that the safety deposit boxes contained millions in riches, they didn't realize that they also contained secrets that implicated everyone from London's most notorious underworld gangsters to powerful government figures and even the Royal Family. Though the crime would make headlines all across Britain for several days after the fact, a government gag order eventually brought all reporting on the case to an immediate halt. Could it be that the most notorious bank robbers in recent memory were actually the most innocent people involved in this scandalous crime? ~ Jason Buchanan, All Movie Guide
Times Tagged: 11
Number of Lists: 17
Number of blog posts: 8
Number of discussion threads: 6
SpoutRating: 3
]]>Fri, 20 Feb 2009 16:50:22 GMTThe Bank Job2008Roger Donaldson<a href="http://www.spout.com/players/P___242471/default.aspx" style='text-decoration:underline'>Jason Statham</a> and <a href="http://www.spout.com/players/P___207342/default.aspx" style='text-decoration:underline'>Saffron Burrows</a> star in director <a href="http://www.spout.com/players/P____88014/default.aspx" style='text-decoration:underline'>Roger Donaldson</a>'s cinematic account of the true-life 1971 London bank robbery that baffled the authorities and fascinated the public. Terry (Statham) was a small time car dealer who was trying to leave his shady past behind and start a family. Though he'd never been involved in any major crimes, he wasn't exactly on the straight and narrow his whole life either. Martine (Burrows) is a beautiful model from Terry's old neighborhood who knows that her former neighbor is no angel. When Martine proposes a foolproof plan to rob a Baker Street bank, Terry recognizes the danger but realizes this may be the opportunity of a lifetime. As the operation gets underway, the resourceful band of thieves burrow their way into a safety deposit vault at the Lloyds Bank in Marylebone, quickly hitting a literal treasure trove of cash and priceless gems. But while the crew did know that the safety deposit boxes contained millions in riches, they didn't realize that they also contained secrets that implicated everyone from London's most notorious underworld gangsters to powerful government figures and even the Royal Family. Though the crime would make headlines all across Britain for several days after the fact, a government gag order eventually brought all reporting on the case to an immediate halt. Could it be that the most notorious bank robbers in recent memory were actually the most innocent people involved in this scandalous crime? ~ Jason Buchanan, All Movie Guide11Tag Target (>10)17863http://www.spout.com/ProductImages/s320399.jpghttp://www.spout.com/films/The_Bank_Job/320399/default.aspxFilm http://www.spout.com/groups/FilmCouch/FC_102_Listeners_Top_5_Analysis/302/39107/1/ShowPost.aspx Post By: mciocco
Post To: FilmCouch
Post Date: 1/5/2009 2:34:25 PM
Body: At the end of FC #102, you requested that listeners send you their top 5 and then you'd attempt to figure out their biography from said list. That sounds like fun! So here's my tentative list (still want to see a few before finalizing my top 10, but I think I have the top 4 at least ironed out) in roughly descending order (starting with the best): 1.The Dark Knight 2.The Counterfeiters 3. Timecrimes 4. Let the Right One In 5.The Bank Job (after #4, things sort of even out for me, so #5 could probably be interchanged with my next several films - I chose The Bank Job for this list because I'm probably the only one in the world that would put it in a top 10 list, so I figured it would be more interesting to include it here, even though I suspect that it will eventually be a bit lower on the top 10 when I get around to compiling it. Also, I tried to go by when the movie was released in the US, so a movie like The Counterfeiters still counts as 2008, even though it won the 2007 oscar). The biggest movie I still want to see before finalizing my list would be The Wrestler, which I plan on seeing this weekend. So there. I'm not sure what kind of biographical info you can glean from that, but I'm interested to see what you come up with:) FYI, if you want to cheat a bit and see what other movies I liked from last year, I did create this list on spout
]]>Mon, 05 Jan 2009 19:34:25 GMTmcioccoFilmCouch1/5/2009 2:34:25 PMAt the end of FC #102, you requested that listeners send you their top 5 and then you'd attempt to figure out their biography from said list. That sounds like fun! So here's my tentative list (still want to see a few before finalizing my top 10, but I think I have the top 4 at least ironed out) in roughly descending order (starting with the best): 1.The Dark Knight 2.The Counterfeiters 3. Timecrimes 4. Let the Right One In 5.The Bank Job (after #4, things sort of even out for me, so #5 could probably be interchanged with my next several films - I chose The Bank Job for this list because I'm probably the only one in the world that would put it in a top 10 list, so I figured it would be more interesting to include it here, even though I suspect that it will eventually be a bit lower on the top 10 when I get around to compiling it. Also, I tried to go by when the movie was released in the US, so a movie like The Counterfeiters still counts as 2008, even though it won the 2007 oscar). The biggest movie I still want to see before finalizing my list would be The Wrestler, which I plan on seeing this weekend. So there. I'm not sure what kind of biographical info you can glean from that, but I'm interested to see what you come up with:) FYI, if you want to cheat a bit and see what other movies I liked from last year, I did create this list on spout http://www.spout.com/groups/Filmgaming/Re_DVD_Box_Set_Giveaway/563/38744/1/ShowPost.aspx Post By: mciocco
Post To: Filmgaming
Post Date: 12/22/2008 9:37:32 PM
Body: Well I still haven't finalized my list, but here's 5 films I loved and what my mom would say: 1. The Dark Knight - "I didn't understand it." 2. Timecrimes - "I didn't understand it." 3. Let the Right One In - "I didn't understand it." 4. The Bank Job- "I didn't understand it." 5. Teeth - "I didn't know we could do that!" She's not much of a movie person.
]]>Tue, 23 Dec 2008 02:37:32 GMTmcioccoFilmgaming12/22/2008 9:37:32 PMWell I still haven't finalized my list, but here's 5 films I loved and what my mom would say: 1. The Dark Knight - "I didn't understand it." 2. Timecrimes - "I didn't understand it." 3. Let the Right One In - "I didn't understand it." 4. The Bank Job- "I didn't understand it." 5. Teeth - "I didn't know we could do that!" She's not much of a movie person. http://www.spout.com/groups/Community_Recommendations/Re_Collaboration_Best_Films_of_2008/643/38281/1/ShowPost.aspx Post By: mciocco
Post To: Community Recommendations
Post Date: 12/11/2008 9:43:37 PM
Body: A couple years ago, I started putting together top 10 lists. I had no problem in 2006... indeed, several of my honorable mentions could easily have made the list. 2007 was more difficult, but there were some great late year entries and discoveries that made the list easier. 2008 has been difficult so far, but I'm still holding out hope. I only have two definites for this year's list: The Dark Knight Timecrimes As far as some other films I enjoyed and am considering for the list: Forgetting Sarah Marshall The Bank Job Teeth Burn After Reading Let the Right One In And some movies I want to see before finalizing my list: The Counterfeiters Slumdog Millionaire Miss Pettigrew Lives for a Day Doubt The Brothers Bloom Kung-Fu Panda (got the DVD this week!) Frost/Nixon Man on Wire The Curious Case of Benjamin Button The Wrestler And probably 15 others:p I think I'll be able to put together 10 that I consider worthy... ~Mark
]]>Fri, 12 Dec 2008 02:43:37 GMTmcioccoCommunity Recommendations12/11/2008 9:43:37 PMA couple years ago, I started putting together top 10 lists. I had no problem in 2006... indeed, several of my honorable mentions could easily have made the list. 2007 was more difficult, but there were some great late year entries and discoveries that made the list easier. 2008 has been difficult so far, but I'm still holding out hope. I only have two definites for this year's list: The Dark Knight Timecrimes As far as some other films I enjoyed and am considering for the list: Forgetting Sarah Marshall The Bank Job Teeth Burn After Reading Let the Right One In And some movies I want to see before finalizing my list: The Counterfeiters Slumdog Millionaire Miss Pettigrew Lives for a Day Doubt The Brothers Bloom Kung-Fu Panda (got the DVD this week!) Frost/Nixon Man on Wire The Curious Case of Benjamin Button The Wrestler And probably 15 others:p I think I'll be able to put together 10 that I consider worthy... ~Mark http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:15 PM
Body: Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:15 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:15 PMCatherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog http://www.spout.com/blogs/jimbell/archive/2008/9/24/35520.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 9/24/2008 11:13:07 PM
Body: The Bank Job(2007) may be just another heist movie, but it distinguishes itself by creating, with a few deft strokes, approachable and human characters. Unfortunately, because it IS just another heist movie, it is also easy to forget, even though you enjoyed watching it.
]]>Thu, 25 Sep 2008 03:13:07 GMTJimBellJimBell Blog9/24/2008 11:13:07 PM The Bank Job(2007) may be just another heist movie, but it distinguishes itself by creating, with a few deft strokes, approachable and human characters. Unfortunately, because it IS just another heist movie, it is also easy to forget, even though you enjoyed watching it. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_8_The_Heist/625/34976/1/ShowPost.aspx Post By: SkyPilot
Post To: Weekly Theme
Post Date: 9/10/2008 9:38:20 AM
Body: Ocean's 13 is a heist movie with a social conscience, and that makes it my favorite. Favorite heist scene? Gotta be The Dark Knight, seeing the Joker ensure he's the only surviving robber. Heat has two really gripping heist scenes (the money truck and the bank). The bank heist explodes into one of the most intense & realistic action sequences I've ever seen. I didn't like Before the Devil Knows You're Dead very much, but it includes a heart-wrenching scene of a heist gone wrong. I don't recommend The Bank Job. SpoutBlog writer Stephen Boone watched it with ex-cons in a halfway house. Their perspective is pretty interesting.
]]>Wed, 10 Sep 2008 13:38:20 GMTSkyPilotWeekly Theme9/10/2008 9:38:20 AMOcean's 13 is a heist movie with a social conscience, and that makes it my favorite. Favorite heist scene? Gotta be The Dark Knight, seeing the Joker ensure he's the only surviving robber. Heat has two really gripping heist scenes (the money truck and the bank). The bank heist explodes into one of the most intense &amp; realistic action sequences I've ever seen. I didn't like Before the Devil Knows You're Dead very much, but it includes a heart-wrenching scene of a heist gone wrong. I don't recommend The Bank Job. SpoutBlog writer Stephen Boone watched it with ex-cons in a halfway house. Their perspective is pretty interesting. http://www.spout.com/groups/Filmgaming/Re_Cast_BATMAN_3/563/33491/1/ShowPost.aspx Post By: forticus
Post To: Filmgaming
Post Date: 8/3/2008 7:38:52 PM
Body: Dear Mr. Nolan or To whom it may concern, The Dark Knight Returns. While a man hunt is issued for Batman’s capture his crusade for Gotham continues. I want to begin by keeping the realistic, post 911 world that Christopher Nolan has created in Begins and Dark Knight, by continuing to instill paranoia and chaos, the Joker created, thru new characters introduced in Batman 3 (The Dark Knight Returns). It's open season! In my version of Batman 3, I would introduce my spin of the Holiday Killer (son of Carmine Falcone). The Holiday Killer (Joaquin Phoenix) is a mysterious serial killer that begins murdering the helpless citizens of Gotham at random . The HK remains a mystery for most of the comic book stories, but his method is always the same. The HK's weapon is a .22 caliber pistol (using a rubber baby bottle nipple as the silencer) with the handle taped and the serial number filed off. Also, every crime takes place on a holiday and a small trinket representing each holiday is left behind at the crime scene. Beginning on Halloween and continuing for a full year until the next Halloween. There are red herrings that appear to deepen the mystery of the HK making it almost impossible for Gotham's finest to figure out who he is, pushing Gotham's Dark detective (Batman) to further evolve his detective skills that Nolan established in Dark Knight. Edward Enigma (Guy Pearce) , a paranoid, OCD employed by Wayne Enterprises becomes fixated on solving the mystery of the Holiday Killer. He deduces who the Holiday Killer is but every one ignores him. The longer the HK is left free the more Enigmas’ paranoia of becoming a victim grows. Enigma’s investigation of the HK Leads him to the underbelly of Gotham City where he witnesses a masked vigilante who shoots and kills a petty criminal. Enigma thinks the HK is Batman; he also thinks that Batman has seen his face. Enigma creates a disguise to protect his identity and vows to make Gotham citizens safe from the big bad bat once again. A lover of games he starts leaving Gordon riddles to help capture Batman. Gordon discards the riddles knowing Batman is not the Holiday Killer. Edward learns of this and forms the notion that there are two HKs working together and that they are Gordon and Batman . After the capture of the real Holiday Killer Batman's image is restored in the public eye. Edward believes that everything is a farce and that the American people have been lied to and demands justice on a grand scale. Edward vows once again to capture Batman and make him tell the truth. Let the games begin. Gregorian Falstaf ( Michael Keaton) is a reclusive billionaire and business rival of Bruce Wayne who time and again tries to put Wayne Enterprises out of business. I love the speculation of Philip Seymour Hoffman being approached for the role of a British Arms dealer AKA the Penguin ,since he would be perfect for the role.This makes sense because in Christopher Nolan’s Dark Knight, Batman dealt with the mob now let’s take care of the guns the criminals use. The chain smoking ,social elite Penguin, would make a cameo role in Batman 3 when Batman goes over seas to Europe. Doing this would open up a number of areas, it would allow Batman his James’s Bond moment like he had in Hong Kong (Dark Knight), it would introduce the Penguin for a future role, and it would further establish Gotham City as a real city and part of "our" world. I can imagine them calling him the Penguin because of his savvy tux, because of the way he walks and the black shiny gloves he wears to cover the disfigured shape of his hands both a result of a gun deal gone bad compliments of Batman. A further connection between the Penguin and Gotham City could be established by the viral marketing done for the Dark Knight. The marketing included a Gotham Times Newspaper Ad for the Iceberg Lounge, one of the Penguin's many establishments. You could provide the idea of Penguin owning the night club in which Batman confronted Maroni (Eric Roberts) in the Dark Knight. Penguin has established the club as a legitimate business front for his real operation of gun running for the criminals of Gotham. With the loss of Rachel Dawes, you would need to fill the role of the love interest, a character that not only Bruce Wayne desires but Batman can relate to. A woman that has her own dark secrets. Up curtain on Selena Kyle (Amy Adams), an ex-patient of Arkum Asylum. Selena is one of the many escapees at the end of Batman Begins. Selena already a head case was further traumatized during the escape when she was shot and left for dead in the alleys of the Narrows by frantic police officers. (lending to her dislike of guns) Selena is awed by the power and attention the masked bat commands from Gotham City‘s criminals. Selena becomes inspired by Batman to create a persona of her own with a taste for the theatrical. No respecter of person, Selena prowls through the night streets as a cat burglar terrorizing the police and stealing from the rich in order to feed her addiction to the Fear-toxin based drug Scarecrow was selling to the Russians at the beginning of Dark Knight. By day Selena poses as Vicki Vale a Psychiatrist at Arkum. Sickened with herself and the inadequate capture of her fellow inmates, Selena takes justice into her own hands and becomes the self proclaimed doctor of the “sick” prescribing her own version of medicine. Thus Cat woman is born. Scarecrow can still remain as a lesser villain confined in the walls of the newly established Arkum Asylum (for now). The character of Harvey Dent AKA Two-face will remain pending for future installments. (or are there two Holiday Killers?) Not enough praise can be given to Heath Ledger for the role he portrayed as Joker in Dark Knight. The essence of Heath Ledger’s Joker could never be created the same. With that in mind, the Joker character would not be re-invented or used for this movie. The greatest trick the devil ever played, was convincing the world he didn't exist. A scene at the end between Gordon and Batman would tie up any loose ends concerning the Joker. A prison break? Something like, With the help of a crooked cop (Harley Quinn) Joker escaped and vanished with out a trace except for leaving behind a harlequin jester card pinned to the cell wall by one of his knives. It's too soon to have a "new" joker like character. This leaves open the option of Harley Quinn being used in a 4th Batman movie as a copycat joker.Do you wanna know how she got those scars? Go filmspotting! New Roles played by: Holiday Killer…Joaquin Phoenix Edward Enigma…Guy Pearce Penguin…Philip Seymour Hoffman Cat woman…Amy Adams Gregorian Falstaf...Michael Keaton Honorable Mentions Holiday Killer...Jason Stratham ...Elias Koteas Edward Enigma...David Tennant ...Sam Rockwell Penguin...Albert Finney ...Stephen Graham Catwoman...Angelina Jolie...Sienna Miller Gregorian Falstaf...Tim Curry ...Chris Sarandon Sincerely, Brad Hawkins
]]>Sun, 03 Aug 2008 23:38:52 GMTforticusFilmgaming8/3/2008 7:38:52 PM Dear Mr. Nolan or To whom it may concern, The Dark Knight Returns. While a man hunt is issued for Batman&rsquo;s capture his crusade for Gotham continues. I want to begin by keeping the realistic, post 911 world that Christopher Nolan has created in Begins and Dark Knight, by continuing to instill paranoia and chaos, the Joker created, thru new characters introduced in Batman 3 (The Dark Knight Returns). It's open season! In my version of Batman 3, I would introduce my spin of the Holiday Killer (son of Carmine Falcone). The Holiday Killer (Joaquin Phoenix) is a mysterious serial killer that begins murdering the helpless citizens of Gotham at random . The HK remains a mystery for most of the comic book stories, but his method is always the same. The HK's weapon is a .22 caliber pistol (using a rubber baby bottle nipple as the silencer) with the handle taped and the serial number filed off. Also, every crime takes place on a holiday and a small trinket representing each holiday is left behind at the crime scene. Beginning on Halloween and continuing for a full year until the next Halloween. There are red herrings that appear to deepen the mystery of the HK making it almost impossible for Gotham's finest to figure out who he is, pushing Gotham's Dark detective (Batman) to further evolve his detective skills that Nolan established in Dark Knight. Edward Enigma (Guy Pearce) , a paranoid, OCD employed by Wayne Enterprises becomes fixated on solving the mystery of the Holiday Killer. He deduces who the Holiday Killer is but every one ignores him. The longer the HK is left free the more Enigmas&rsquo; paranoia of becoming a victim grows. Enigma&rsquo;s investigation of the HK Leads him to the underbelly of Gotham City where he witnesses a masked vigilante who shoots and kills a petty criminal. Enigma thinks the HK is Batman; he also thinks that Batman has seen his face. Enigma creates a disguise to protect his identity and vows to make Gotham citizens safe from the big bad bat once again. A lover of games he starts leaving Gordon riddles to help capture Batman. Gordon discards the riddles knowing Batman is not the Holiday Killer. Edward learns of this and forms the notion that there are two HKs working together and that they are Gordon and Batman . After the capture of the real Holiday Killer Batman's image is restored in the public eye. Edward believes that everything is a farce and that the American people have been lied to and demands justice on a grand scale. Edward vows once again to capture Batman and make him tell the truth. Let the games begin. Gregorian Falstaf ( Michael Keaton) is a reclusive billionaire and business rival of Bruce Wayne who time and again tries to put Wayne Enterprises out of business. I love the speculation of Philip Seymour Hoffman being approached for the role of a British Arms dealer AKA the Penguin ,since he would be perfect for the role.This makes sense because in Christopher Nolan&rsquo;s Dark Knight, Batman dealt with the mob now let&rsquo;s take care of the guns the criminals use. The chain smoking ,social elite Penguin, would make a cameo role in Batman 3 when Batman goes over seas to Europe. Doing this would open up a number of areas, it would allow Batman his James&rsquo;s Bond moment like he had in Hong Kong (Dark Knight), it would introduce the Penguin for a future role, and it would further establish Gotham City as a real city and part of "our" world. I can imagine them calling him the Penguin because of his savvy tux, because of the way he walks and the black shiny gloves he wears to cover the disfigured shape of his hands both a result of a gun deal gone bad compliments of Batman. A further connection between the Penguin and Gotham City could be established by the viral marketing done for the Dark Knight. The marketing included a Gotham Times Newspaper Ad for the Iceberg Lounge, one of the Penguin's many establishments. You could provide the idea of Penguin owning the night club in which Batman confronted Maroni (Eric Roberts) in the Dark Knight. Penguin has established the club as a legitimate business front for his real operation of gun running for the criminals of Gotham. With the loss of Rachel Dawes, you would need to fill the role of the love interest, a character that not only Bruce Wayne desires but Batman can relate to. A woman that has her own dark secrets. Up curtain on Selena Kyle (Amy Adams), an ex-patient of Arkum Asylum. Selena is one of the many escapees at the end of Batman Begins. Selena already a head case was further traumatized during the escape when she was shot and left for dead in the alleys of the Narrows by frantic police officers. (lending to her dislike of guns) Selena is awed by the power and attention the masked bat commands from Gotham City&lsquo;s criminals. Selena becomes inspired by Batman to create a persona of her own with a taste for the theatrical. No respecter of person, Selena prowls through the night streets as a cat burglar terrorizing the police and stealing from the rich in order to feed her addiction to the Fear-toxin based drug Scarecrow was selling to the Russians at the beginning of Dark Knight. By day Selena poses as Vicki Vale a Psychiatrist at Arkum. Sickened with herself and the inadequate capture of her fellow inmates, Selena takes justice into her own hands and becomes the self proclaimed doctor of the &ldquo;sick&rdquo; prescribing her own version of medicine. Thus Cat woman is born. Scarecrow can still remain as a lesser villain confined in the walls of the newly established Arkum Asylum (for now). The character of Harvey Dent AKA Two-face will remain pending for future installments. (or are there two Holiday Killers?) Not enough praise can be given to Heath Ledger for the role he portrayed as Joker in Dark Knight. The essence of Heath Ledger&rsquo;s Joker could never be created the same. With that in mind, the Joker character would not be re-invented or used for this movie. The greatest trick the devil ever played, was convincing the world he didn't exist. A scene at the end between Gordon and Batman would tie up any loose ends concerning the Joker. A prison break? Something like, With the help of a crooked cop (Harley Quinn) Joker escaped and vanished with out a trace except for leaving behind a harlequin jester card pinned to the cell wall by one of his knives. It's too soon to have a "new" joker like character. This leaves open the option of Harley Quinn being used in a 4th Batman movie as a copycat joker.Do you wanna know how she got those scars? Go filmspotting! New Roles played by: Holiday Killer&hellip;Joaquin Phoenix Edward Enigma&hellip;Guy Pearce Penguin&hellip;Philip Seymour Hoffman Cat woman&hellip;Amy Adams Gregorian Falstaf...Michael Keaton Honorable Mentions Holiday Killer...Jason Stratham ...Elias Koteas Edward Enigma...David Tennant ...Sam Rockwell Penguin...Albert Finney ...Stephen Graham Catwoman...Angelina Jolie...Sienna Miller Gregorian Falstaf...Tim Curry ...Chris Sarandon Sincerely, Brad Hawkins http://www.spout.com/blogs/spoutblog/archive/2008/5/16/29280.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/16/2008 11:01:01 AM
Body: Steven Boone joins SpoutBlog as a columnist covering politics and social issues and how they intersect with movies. Periodically, he’ll check in–as he’s done below–with firsthand accounts of watching movies with residents of a halfway house in Brooklyn. A halfway house in East New York, Brooklyn. Spring, 2008. The male residents––ex-junkies, parolees and disability recipients––all gathered for their nightly movie ritual. Four to a room, two bunk beds, one cheapo DVD player and a 13-inch Coby TV set. Audio commentary provided by the audience of (on average) five men: two on the bunks, three hunched around the screen on milk crates. The core crew of film fanatics is Kid and Hef, two old-timer felons, each of whom could be mistaken for a black variation of Walter Brennan in Rio Bravo. It’s a strange festival. Welcome Home, Roscoe Jenkins, Hoodlum, Alfred Hitchcock’s Suspicion, The Bank Job, Why Did I Get Married?, Tsui Hark’s Vampire Hunters, and lots of TV-on-DVD: Annie Oakley, CSI, Boston Legal, ancient anime shows. No rhyme or reason in the selections, just whatever’s on hand from the $3 bootlegger or the public library. But a festival theme emerges, a word hovering in the air unspoken during each screening: justice. Michael Clayton, about a corporate attorney (George Clooney) who finds himself at war with a corrupt, murderous agrochemical business, is plainly about justice for this audience so intimate with crime and punishment. Lots of “aw shits” and “hot damns.” If Michael Clayton is the Opening Night feature, then the festival centerpiece must be the heist flick The Bank Job. In this 1971-set gloss on a true story, gorgeous Saffron Burrows hires old flame Jason Statham to tunnel into a London vault. Unbeknownst to him, the bank contains dirty official secrets and inconvenient truths. She’s orchestrating the dirty work for some truly big wigs. Statham makes the mistake of conscripting his inept friends (including a dumb-as-rocks male porn star) as accomplices. Everything goes wrong on the job, starting with a busybody CB radio enthusiast who intercepts the gang’s walkie-talkie transmissions and reports them to the bobbies (asshole). The halfway house audience is generally irritated: “Stupid fuckers,” Kid moans. “What they need radios for? Just go in there and get the motherfuckin loot!” Kid yanks off his flat-billed Yankees cap and slaps his Rocawear pants leg. (Toothless and graying, Kid otherwise looks like the boy he was whenever he went to prison: smooth-skinned and slim, eyes blazing.) What’s worse, in the midst of drilling their way to the bank vault, the robbers take a break, ostensibly to avoid rousing the neighborhood with late night drilling, but more so that Statham and femme fatale Burrows can have a romantic interlude. More frustration when the gang lollygags inside the vault, as if there’s all the time in the world. “This is some dumb shit,” says Hef, so named because of his silk robes and the house cat who sticks to him like a Playmate. The frustration eases a bit when Statham’s crew narrowly escapes the cops–only to return when the Stubbled One goes home and spills everything to his nagging wife. “I can’t believe this asshole,” says Kid. “Told the bitch everything. Why do fools always do this? She don’t need to know a thing. Let her in on that shit when you’re in the Caymans. I did jail bids for heedless motherfuckers like him.” Ultimately, The Bank Job proves satisfying because it does deliver justice: The bigwigs thought they could evade a blackmail scheme involving sex photos of a royal family member by having Burrows steal them from the blackmailer’s safe deposit box. (The blackmailers are cartoon black militants with regal accents and wild Frederick Douglas beards. There’s a Black Panther-inflected American revolutionary and his Afro-Brit counterpart. The all-black and Latino audience doesn’t have much to say about this subplot, though everybody loves the scene where the American’s stirring speech about the joys of miscegeny make a big-bottomed white woman swoon right into his bed.) The femme fatale plans to slink away with the photos, using the hunt for Statham’s robber gang as the perfect diversion. Instead, Statham gets wise to her scheme; he uses the royal gangbang pics and other state secrets uncovered in the vaults to “turn the tables on those dirty motherfuckers,” as Hef puts it. Statham also gets to display his triumph over The Man with a few of his patented martial arts moves–”that crazy Transporter shit,” says bootleg maven D, from a bottom bunk. Still, the authorities close in for the kill. In a miraculous conclusion, Statham and one of his sad sack partners sit cuffed in the back of a squad car, resignedly awaiting their fate when the masterminds of the whole plot come along to set them free. This is a criminal’s fantasy: You’re sitting there in shackles, wondering how many years of pain and isolation lie ahead, and suddenly you’re free to go. For a brief moment, the powerful elite must pardon a presumed scumbag to avoid a scandal that would, by lowering royalty to the status of ordinary human beings, destroy a powerful insurer of the social order. Oh shit. The boys keep their freedom but lose the opportunity to blow a big, terroristic hole in the British elite’s true power, their sanctimonious grip on the public imagination. Sam Fuller would smile at the pulp symmetry, the tabloid fatalism. But to Hef the film is an unambiguous triumph: “I like this movie cuz the bad guys got away.” The bruised irony in his voice on the phrase “bad guys” reflects the mood of gloomy cynicism the men have just been lifted out of. You see, earlier in the day, a judge acquitted three Queens police officers of murder after they put 19 bullets into an unarmed civilian, with the intention of leaving 50. Jason Statham has brought something like justice into the demoralized room. Steven Boone is a native New Yorker whose film criticism and articles have been published in The Star-Ledger, The Village Voice, Time Out NY, RES and Show Business Weekly. He contributes to the blogs The House Next Door, Vinyl is Heavy and his neglected but beloved pet project, Big Media Vandalism. Originally posted on:SpoutBlog
]]>Fri, 16 May 2008 15:01:01 GMTSpoutBlogSpoutBlog on spout.com5/16/2008 11:01:01 AM Steven Boone joins SpoutBlog as a columnist covering politics and social issues and how they intersect with movies. Periodically, he’ll check in–as he’s done below–with firsthand accounts of watching movies with residents of a halfway house in Brooklyn. A halfway house in East New York, Brooklyn. Spring, 2008. The male residents––ex-junkies, parolees and disability recipients––all gathered for their nightly movie ritual. Four to a room, two bunk beds, one cheapo DVD player and a 13-inch Coby TV set. Audio commentary provided by the audience of (on average) five men: two on the bunks, three hunched around the screen on milk crates. The core crew of film fanatics is Kid and Hef, two old-timer felons, each of whom could be mistaken for a black variation of Walter Brennan in Rio Bravo. It’s a strange festival. Welcome Home, Roscoe Jenkins, Hoodlum, Alfred Hitchcock’s Suspicion, The Bank Job, Why Did I Get Married?, Tsui Hark’s Vampire Hunters, and lots of TV-on-DVD: Annie Oakley, CSI, Boston Legal, ancient anime shows. No rhyme or reason in the selections, just whatever’s on hand from the $3 bootlegger or the public library. But a festival theme emerges, a word hovering in the air unspoken during each screening: justice. Michael Clayton, about a corporate attorney (George Clooney) who finds himself at war with a corrupt, murderous agrochemical business, is plainly about justice for this audience so intimate with crime and punishment. Lots of “aw shits” and “hot damns.” If Michael Clayton is the Opening Night feature, then the festival centerpiece must be the heist flick The Bank Job. In this 1971-set gloss on a true story, gorgeous Saffron Burrows hires old flame Jason Statham to tunnel into a London vault. Unbeknownst to him, the bank contains dirty official secrets and inconvenient truths. She’s orchestrating the dirty work for some truly big wigs. Statham makes the mistake of conscripting his inept friends (including a dumb-as-rocks male porn star) as accomplices. Everything goes wrong on the job, starting with a busybody CB radio enthusiast who intercepts the gang’s walkie-talkie transmissions and reports them to the bobbies (asshole). The halfway house audience is generally irritated: “Stupid fuckers,” Kid moans. “What they need radios for? Just go in there and get the motherfuckin loot!” Kid yanks off his flat-billed Yankees cap and slaps his Rocawear pants leg. (Toothless and graying, Kid otherwise looks like the boy he was whenever he went to prison: smooth-skinned and slim, eyes blazing.) What’s worse, in the midst of drilling their way to the bank vault, the robbers take a break, ostensibly to avoid rousing the neighborhood with late night drilling, but more so that Statham and femme fatale Burrows can have a romantic interlude. More frustration when the gang lollygags inside the vault, as if there’s all the time in the world. “This is some dumb shit,” says Hef, so named because of his silk robes and the house cat who sticks to him like a Playmate. The frustration eases a bit when Statham’s crew narrowly escapes the cops–only to return when the Stubbled One goes home and spills everything to his nagging wife. “I can’t believe this asshole,” says Kid. “Told the bitch everything. Why do fools always do this? She don’t need to know a thing. Let her in on that shit when you’re in the Caymans. I did jail bids for heedless motherfuckers like him.” Ultimately, The Bank Job proves satisfying because it does deliver justice: The bigwigs thought they could evade a blackmail scheme involving sex photos of a royal family member by having Burrows steal them from the blackmailer’s safe deposit box. (The blackmailers are cartoon black militants with regal accents and wild Frederick Douglas beards. There’s a Black Panther-inflected American revolutionary and his Afro-Brit counterpart. The all-black and Latino audience doesn’t have much to say about this subplot, though everybody loves the scene where the American’s stirring speech about the joys of miscegeny make a big-bottomed white woman swoon right into his bed.) The femme fatale plans to slink away with the photos, using the hunt for Statham’s robber gang as the perfect diversion. Instead, Statham gets wise to her scheme; he uses the royal gangbang pics and other state secrets uncovered in the vaults to “turn the tables on those dirty motherfuckers,” as Hef puts it. Statham also gets to display his triumph over The Man with a few of his patented martial arts moves–”that crazy Transporter shit,” says bootleg maven D, from a bottom bunk. Still, the authorities close in for the kill. In a miraculous conclusion, Statham and one of his sad sack partners sit cuffed in the back of a squad car, resignedly awaiting their fate when the masterminds of the whole plot come along to set them free. This is a criminal’s fantasy: You’re sitting there in shackles, wondering how many years of pain and isolation lie ahead, and suddenly you’re free to go. For a brief moment, the powerful elite must pardon a presumed scumbag to avoid a scandal that would, by lowering royalty to the status of ordinary human beings, destroy a powerful insurer of the social order. Oh shit. The boys keep their freedom but lose the opportunity to blow a big, terroristic hole in the British elite’s true power, their sanctimonious grip on the public imagination. Sam Fuller would smile at the pulp symmetry, the tabloid fatalism. But to Hef the film is an unambiguous triumph: “I like this movie cuz the bad guys got away.” The bruised irony in his voice on the phrase “bad guys” reflects the mood of gloomy cynicism the men have just been lifted out of. You see, earlier in the day, a judge acquitted three Queens police officers of murder after they put 19 bullets into an unarmed civilian, with the intention of leaving 50. Jason Statham has brought something like justice into the demoralized room. Steven Boone is a native New Yorker whose film criticism and articles have been published in The Star-Ledger, The Village Voice, Time Out NY, RES and Show Business Weekly. He contributes to the blogs The House Next Door, Vinyl is Heavy and his neglected but beloved pet project, Big Media Vandalism. Originally posted on:SpoutBlog http://www.spout.com/blogs/mrbuckyk/archive/2008/4/20/27543.aspx Post By: mrbuckyk
Post To: mrbuckyk Blog
Post Date: 4/20/2008 2:10:11 AM
Body: Great lil' heist flick. I like the setting of London in the 70's. Based (loosely I think) on a true story but the government actually classified all of the details of the robbery and most of the items stolen have never been recovered. The fact that you know some of it happened actually made it a better flick. It was a nice change-up to see the crew as a bunch of screw-ups and not the tops in their field ala Ocean's 11.
]]>Sun, 20 Apr 2008 06:10:11 GMTmrbuckykmrbuckyk Blog4/20/2008 2:10:11 AMGreat lil&#39; heist flick. I like the setting of London in the 70&#39;s. Based (loosely I think) on a true story but the government actually classified all of the details of the robbery and most of the items stolen have never been recovered. The fact that you know some of it happened actually made it a better flick. It was a nice change-up to see the crew as a bunch of screw-ups and not the tops in their field ala Ocean&#39;s 11. http://www.spout.com/blogs/dunedonkey/archive/2008/3/24/26573.aspx Post By: dunedonkey
Post To: film phlegm
Post Date: 3/24/2008 6:37:17 PM
Body: My expectations were pretty low going in, but I left entertained. I think what intrigued me more about this film is that it was based on a true story. The plot was a little more complex than your average bank heist plot because it's based on the fact that by breaking into the safe deposit vault of this bank the villains (as they were often called throughout the film) opened a Pandora's Box of lies, deceit, treachery, politics-gone-bad, bad cops, porn and all the juicy details of the corrupt lifestyles of the rich and famous.Jason Statham was pretty subdued in this role thankfully. In fact, he's made it to be quite the James Bond character in this film. Charisma. Good Looks. Intelligent. Saffron Burrows was stunning. She did well. But truth be told, I think I was too taken aback by her amazing beauty.It was a well-shot film with a more complex plot. I think there were up to four parties that got incriminated and had a stake in making sure these bank robbers were killed. Technically, it gave a retro feel at points...but didn't stick as consistently close as I would've expected. Jason Statham did not look like a 70s bankrobbing villain. That said...the film does little more than provide filmmaking eye candy, with a light layer of substance on top.
]]>Mon, 24 Mar 2008 22:37:17 GMTdunedonkeyfilm phlegm3/24/2008 6:37:17 PMMy expectations were pretty low going in, but I left entertained. I think what intrigued me more about this film is that it was based on a true story. The plot was a little more complex than your average bank heist plot because it&#39;s based on the fact that by breaking into the safe deposit vault of this bank the villains (as they were often called throughout the film) opened a Pandora&#39;s Box of lies, deceit, treachery, politics-gone-bad, bad cops, porn and all the juicy details of the corrupt lifestyles of the rich and famous.Jason Statham was pretty subdued in this role thankfully. In fact, he&#39;s made it to be quite the James Bond character in this film. Charisma. Good Looks. Intelligent. Saffron Burrows was stunning. She did well. But truth be told, I think I was too taken aback by her amazing beauty.It was a well-shot film with a more complex plot. I think there were up to four parties that got incriminated and had a stake in making sure these bank robbers were killed. Technically, it gave a retro feel at points...but didn&#39;t stick as consistently close as I would&#39;ve expected. Jason Statham did not look like a 70s bankrobbing villain. That said...the film does little more than provide filmmaking eye candy, with a light layer of substance on top. http://www.spout.com/members/0/tags/remake/MemberTagFilms.aspxremake
Number of films tagged: 156

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]]>Wed, 16 Jan 2008 14:02:08 GMT300Tag http://www.spout.com/members/0/tags/sexscandal/MemberTagFilms.aspxsexscandal
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