list http://www.spout.com/ Recent community activity around Rambo 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/Rambo/322845/default.aspx Title: Rambo
Year: 2008
Director: Sylvester Stallone
Plot: When a group of missionary aid workers in Myanmar disappear into the vast green inferno, vigilante Vietnam War veteran John Rambo (Sylvester Stallone) leaves his job as a Salween River boatman behind to accompany a group of mercenaries on a daring rescue mission. It's been 20 years since Rambo helped mujahedeen rebels fend off Soviet invaders in Afghanistan, and these days the former soldier lives a simple life in northern Thailand. Meanwhile, the world's longest-running civil war rages into its 60th year on the nearby Thai-Burma border. One day, human rights missionaries Sarah Miller (Julie Benz) and Michael Burnett (Paul Schulze) show up asking Rambo to guide them up the Salween so they can get some much-needed food and medical supplies to the desperate Karen tribe. According to Sarah and Michael, the Burmese military has planted land mines all along the roads leading into the tribe's village, making it virtually impossible to reach the tribe via land. Two weeks after Rambo drops the group off in dangerous territory, pastor Arthur Marsh (Ken Howard) arrives with a chilling message: the aid workers never returned from their mission into the jungle, and the embassies refuse to help Marsh and his fellow missionaries find their missing friends. Now, despite the fact that Rambo has long since sworn off all forms of violence, the knowledge that innocent missionaries are being used as pawns in a brutal war leaves him with no other choice than to venture behind enemy lines on his most dangerous mission to date. ~ Jason Buchanan, All Movie Guide
Times Tagged: 9
Number of Lists: 7
Number of blog posts: 13
Number of discussion threads: 5
SpoutRating: 3
]]>Fri, 06 Feb 2009 14:30:00 GMTRambo2008Sylvester StalloneWhen a group of missionary aid workers in Myanmar disappear into the vast green inferno, vigilante Vietnam War veteran John Rambo (<a href="http://www.spout.com/players/P___112464/default.aspx" style='text-decoration:underline'>Sylvester Stallone</a>) leaves his job as a Salween River boatman behind to accompany a group of mercenaries on a daring rescue mission. It's been 20 years since Rambo helped mujahedeen rebels fend off Soviet invaders in Afghanistan, and these days the former soldier lives a simple life in northern Thailand. Meanwhile, the world's longest-running civil war rages into its 60th year on the nearby Thai-Burma border. One day, human rights missionaries Sarah Miller (<a href="http://www.spout.com/players/P_____5529/default.aspx" style='text-decoration:underline'>Julie Benz</a>) and Michael Burnett (Paul Schulze) show up asking Rambo to guide them up the Salween so they can get some much-needed food and medical supplies to the desperate Karen tribe. According to Sarah and Michael, the Burmese military has planted land mines all along the roads leading into the tribe's village, making it virtually impossible to reach the tribe via land. Two weeks after Rambo drops the group off in dangerous territory, pastor Arthur Marsh (<a href="http://www.spout.com/players/P____94977/default.aspx" style='text-decoration:underline'>Ken Howard</a>) arrives with a chilling message: the aid workers never returned from their mission into the jungle, and the embassies refuse to help Marsh and his fellow missionaries find their missing friends. Now, despite the fact that Rambo has long since sworn off all forms of violence, the knowledge that innocent missionaries are being used as pawns in a brutal war leaves him with no other choice than to venture behind enemy lines on his most dangerous mission to date. ~ Jason Buchanan, All Movie Guide9Taggedy Taggged (6-10)71353http://www.spout.com/ProductImages/s322845.jpghttp://www.spout.com/films/Rambo/322845/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/2/39050.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/2/2009 5:00:51 PM
Body: It is a crime in this day and age not to occasionally check in on Jeffrey Wells’ Hollywood Elsewhere, with topics ranging from billboard photos, blind item brunches and oddly angry political rants against apathetic teenagers. Wells is a classic mix of online reactionary and keen insight, peppered with various “what the fuck” moments and the occasional non sequitur involving Paris Hilton and Al-Qaeda. To ring in the New Year, let’s take a quick look back at our favorite blogged remarks from the man who confused Mike D’Angelo with Ed Gonzales, and whose random photos of restaurants and lawns oddly resemble–for lack of a better term–art. Also, any use of bold is for emphasis and my own editorial comments are in italics. Happy New Year, Elephants On New Year’s Eve, it sounds like Jeff was staying at a raucous party house in one of the Boroughs (Manhattan, Brooklyn? Who can tell these days.) Conditions were so bad that he was sadly driven to bar-hopping due to his neighbors: I live below a family of animals — Hispanic party elephants — who stomp around and play music so loud that the building throbs and the plaster cracks. It’s a fairly safe bet they’re going to lose their minds tonight so I may as well just huddle down in the city and bounce around from bar to bar. Follow-up in the comments from Wells: People with a little class and breeding and a college degree don’t tend to be as noisy or boisterous or loutish as the commoners, cretins, galumphs, bad dressers, etc. The lower end of the gene pool. T’was ever thus. Wells on Sundance: Dagnabbit Kids Be Knockin’ Boots! One of the subjects dearest and most familiar to Wells is Sundance. His dispatches? Legendary. His mocking of “road to Sundance” articles? Acidic. But the real fun starts when he complains about never getting laid at this supposedly hedonistic festival: For journalists, Sundance is pretty much synonymous with tight accomodations[sic] and shared bathrooms. O give me a bunk and a shower and a table and a chair and some good wifi, and it’s all cool. Not only do serious festivalgoers make do without outdoor hot tubs or crackling fireplaces or nouveau riche Deer Valley chateaus with 22-foot-high ceilings or those bullshit Utah buckaroo king-size bed frames. It’s kind of against the mindset (the religion, if you will) to stay in a lavish place. Pricey McMansion digs are for the dilletantes[sic] and lookie-lous and — the absolute dregs of Sundance Film Festival visitors — skiiers[sic]. I’m a loyal fan of Carol Rixey’s Star Hotel [Remember this name], easily the warmest and homiest place in town. And it has great wifi, and an excellent living room with soft easy chairs and fat sofas, and a dining room with nice long table to have a nice warm breakfast in. (Comes with the room.) … I can tell you something — it’s the volunteers and the assistants sleeping in those Cider House beds who get all the nookie. In the mid ’90s I asked an assortment of festival veterans if they’d ever gotten lucky during Sundance, and all but one said “nope.” The exception was Usual Suspects and Valkyrie screenwriter Chris McQuarrie, who said yes, good things have personally happened to him in Park City but “only with an import.” Wells on Sundance, pt 2: Fear and Loathing in Park City It’s a post that could have simply consisted of, “I have arrived at Sundance. Huh. Time to go to bed. Actually, I don’t need to post this.” In Wells’ hands, it’s a literary masterwork: Nobody’s here. That I recognize. Empty streets, idle merchants, half-filled restaurants…the last quiet that Park City will know for 10 or 11 days. It all cranks up starting tomorrow. I shared a $34 dollar airport shuttle into town with Hollywood Reporter guy Gregg Goldstein — that’s the single most noteworthy thing that’s happened over the last eight or nine hours. It’s now about 3 or 4 degrees outside. Ice crystals in my nostrils. A big storm is coming on Sunday, the shuttle driver said. Challenge:Link Shitty CGI-Monster Movie to a Katrina documentary Ask yourself: how would you link Cloverfield to Trouble the Water? One’s an over-hyped J.J. Abrams joint, the other an award-winning documentary about surviving Hurricane Katrina. But if you’re Wells, comparing the two is easier than snapping a cell phone shot of your dinner: I’ve almost never felt queasy from jiggly, hand-held photography (I eat films like Dancer in the Dark for breakfast), although I’ll admit that Cloverfield has more than its share. Yesterday, however, I saw the King Kong of hand-held nausea jiggle movies — Tia Lessin and Carl Deal’s Trouble The Water, a doc about the Katrina disaster. Half of it was shot by Lessin and Deal in the usual fashion and is no big challenge, but the other half is shakycam footage of Katrina’s devastation shot by one of the film’s main subjects, Kimberly Rivers. (The other is her husband Scott.) The footage is so scattered and whip-panny that I was starting to think about bolting less than ten minutes in. Show Trouble The Water to those Cloverfield sufferers in Pheonix[sic] and they’d spew in their seat. In Which Glenn Kenny Becomes a Platform for Obama Originally a blind item from Glenn Kenny, Wells added his own spin to it: mainly, the names of all parties involved—including the NY PR guy. (Spoiler: Alex Rivera got harassed by a racist swag shop chick accompanying two actors from his film, Sleep Dealer.) Note: Kenny doesn’t identify the players by name in his piece. I was given the lowdown last night after a showing of Patti Smith: Dream of Life. Followup: In a world of my own devising an organized demonstration would be held outside the photo shoot/swag sometime late this afternoon. The chant could be something along the lines of “Hey hey, ho ho, swag racists have to go!” An all-media advisory would be sent out this morning. The usual pitchforks and torches would be handed out of the back of a pickup truck on Swede Alley 30 minutes prior to the start of the demonstration. Flyers with a photo of swag girl who uttered the racist remark would be wild-posted all over town alongside a slogan that reads, “Who are we? Does Barack Obama have reason to be concerned?” YAAAAAAAAAWWWWWWWWWWWWWWW Rambo came out earlier this year. It was supposed to be…well, we’re still not sure what. But Wells was excited about it. How excited? Howard Dean Death Yell excited. Every time a head got sliced or blown off, I laughed or let go with a big “yawww!” So did the mostly-male audience which applauded at the end. Everyone had a great time. I felt relaxed with these guys…bonded. … This is the second best Rambo film after First Blood, and although it’s obviously not meant to be “funny,” it is at times, wildly so. I laughed out loud on a good five or six occasions. Quentin Tarantino and Robert Rodriguez are going to love this thing. You could even make a case for Rambo being an instant porno-violent classic in the vein of Ron Ormond’s The Monster and the Stripper, Alejandro Jodorowsky’s Santa Sangre, Herschel Gordon Lewis’s Blood Feast…that line of country. Kicker for a Jack Matthews Tribute or Obscure Reference to Self-Masturbation: You Decide. Ok, this was the kicker to a post honoring Jack Matthews, formerly of the New York Post. But take it out of context, and it may cause you to question what the hell is being honored here. I will never stop banging it out. One is either busy being born or busy dying. I know where I stand. Die at your desk. Honest Injun Gayness Remember that “Full Retard” line from Tropic Thunder? Well, this is like that, but praising an actor for being “Full Gay” and “Full Dick.” Honest Injun. I felt a genuine gayness from Sean Penn, who plays the title role of the late San Francisco supervisor Harvey Milk, that I didn’t think he had in him. … And Frank Langella’s performance as Richard Nixon is naturally and necessarily more toned down than it was on-stage, and that, Honest Injun, makes it a fascinating, moving (as in genuinely sad), award-level effort. No. Fucking. Idea. This is supposed to be a either joke or an insidery snark attack against film catch-phrases. To be quite honest, I’m still convinced this is a secret code to…something. Do I look like I’m negotiating, friendo? I’m already pregnant so what kind of milkshake-slurping could I get into? Except for ruining the love life of my older sister and her lower-class boyfriend by bearing false witness? I am Sheba, the reincarnation of Shirley Booth! [No, really. That's the entire post.] No Fatties, But… Apparently one of Wells’ great fears is to sit near fat people in a confined space. He shares this with us, followed by the strangest blog update I’ve ever seen. And trust me, I’ve read Hollywood Elsewhere. Before every flight, I cross myself and ask God Almighty not to seat me next to a morbidly obese person. There are at least two whales in line right now, and I’m feeling a very slight apprehension about this. There are thousands of people in Paris who look well-fed or stocky or fat, but I’ve seen no Jabbas. You might expect otherwise in a foodie city like Paris, but nope. Update: No fatties but Doug Liman is on my plane. Live-Blogging is like Swimming After Eating, We Guess Eric Kohn live-blogged Indiana Jones and the Kingdom of the Crystal Skulll for IndieWire. Many were not amused by this. Mainly because they’re twits–something about “herp derp critic integrity!” Mainly because Eric scooped them and wasn’t doing anything that off from the rest of the Cannes crowd. Devin Faraci–a frequent HE commenter, natch–took offense with this. And of course, Jeff agreed. Sort of. I agree totally — it’s doggerel. Lame. Kohn and Indiewire were simply looking to be first to provide the very first commentary on the film anywhere in the world — except it wasn’t commentary but rudimentary (i.e., quite crude) descriptions of scenes as they happened. There’s an internet audience for this kind of stenography, of course, but to what end? A movie deserves a little thought before before commented on. I tapped out an instant hand-held judgment after Indy 4 ended, but at least I’d thought it through for an hour or two. Remember that Hotel in Park City? Fun fact: if you leave a piece of clothing somewhere, that’s as good as a down payment, credit card or loan. From now on, I’ll be paying my bar tabs with socks. [Jeffrey Wells] to Star Hotel proprietor: “I found a place in Park City but I can’t move in until Friday the 16th. Would you let me crash on the living-room couch for the first two nights (1.14 and 1.15)? Which I’ll pay you for, of course. It would be greatly appreciated if you could grant me this small favor, as you left me in the lurch this year. I thought I’d made it clear as a bell that I intended to return, having stayed in your wonderful abode the last two years and leaving my cowboy hat there and telling you I’d wear it when I returned in ‘09 and so on. Anyway, can ya do me this one?” When pressed to explain, Wells continues in the Comments: Yes, yes…if I’d left a cash deposit or a credit-card number then the room would have been assured. I’m not an idiot. But leaving the cowboy hat and plainly stating to the proprietor that I’d come back and wear it the following year (especially after having stayed at the Star in ‘07 and ‘08 and been part of the family there, in a sense) was a very emotionally vivid and pronounced way of stating my intentions. It was a message that is recognized by everyone all over the world. It’s even recognized in the animal kingdom (i.e., leaving your scent on a piece of turf). If you go out with a girl and she comes home with you and stays the night and she leaves her underwear or bra or socks in your bedroom after she leaves the next morning, we all know that’s a universal message that says, “I want to come back and get to know you better and probably have sex with you again.” Everyone knows that. Leaving an article of clothing, something with your scent and paw-prints and sweat residue on it, means that you intend to come back and spray your scent around some more. If you were to see a 1930s Gary Cooper western and hotel manager Frances Farmer, giving him the old twinkle-eye, asked him if he was coming back after taking his cattle to market, and if he faintly grinned at her and took off his cowboy hat and left it hanging on the wall as he walks out the door, everybody watching the film in any country in the world would know exactly what that means. It would be crystal clear. So don’t tell me. Credit cards are well and good, but to say left-behind cowboy hats and such mean nothing is to be way too “dollars and cents” about this matter. Sadly, it looks like the hotel gave his cowboy hat to the police–Jeff then posts the phone call as an audio file. So Jeffrey, we wish you a happy new year and can’t wait to see what sort of insanity you give out this year. If you’ve got your own favorite Wells-ian moments, leave them in the comments. Originally posted on:SpoutBlog
]]>Fri, 02 Jan 2009 22:00:51 GMTSpoutBlogSpoutBlog on spout.com1/2/2009 5:00:51 PM It is a crime in this day and age not to occasionally check in on Jeffrey Wells’ Hollywood Elsewhere, with topics ranging from billboard photos, blind item brunches and oddly angry political rants against apathetic teenagers. Wells is a classic mix of online reactionary and keen insight, peppered with various “what the fuck” moments and the occasional non sequitur involving Paris Hilton and Al-Qaeda. To ring in the New Year, let’s take a quick look back at our favorite blogged remarks from the man who confused Mike D’Angelo with Ed Gonzales, and whose random photos of restaurants and lawns oddly resemble–for lack of a better term–art. Also, any use of bold is for emphasis and my own editorial comments are in italics. Happy New Year, Elephants On New Year’s Eve, it sounds like Jeff was staying at a raucous party house in one of the Boroughs (Manhattan, Brooklyn? Who can tell these days.) Conditions were so bad that he was sadly driven to bar-hopping due to his neighbors: I live below a family of animals — Hispanic party elephants — who stomp around and play music so loud that the building throbs and the plaster cracks. It’s a fairly safe bet they’re going to lose their minds tonight so I may as well just huddle down in the city and bounce around from bar to bar. Follow-up in the comments from Wells: People with a little class and breeding and a college degree don’t tend to be as noisy or boisterous or loutish as the commoners, cretins, galumphs, bad dressers, etc. The lower end of the gene pool. T’was ever thus. Wells on Sundance: Dagnabbit Kids Be Knockin’ Boots! One of the subjects dearest and most familiar to Wells is Sundance. His dispatches? Legendary. His mocking of “road to Sundance” articles? Acidic. But the real fun starts when he complains about never getting laid at this supposedly hedonistic festival: For journalists, Sundance is pretty much synonymous with tight accomodations[sic] and shared bathrooms. O give me a bunk and a shower and a table and a chair and some good wifi, and it’s all cool. Not only do serious festivalgoers make do without outdoor hot tubs or crackling fireplaces or nouveau riche Deer Valley chateaus with 22-foot-high ceilings or those bullshit Utah buckaroo king-size bed frames. It’s kind of against the mindset (the religion, if you will) to stay in a lavish place. Pricey McMansion digs are for the dilletantes[sic] and lookie-lous and — the absolute dregs of Sundance Film Festival visitors — skiiers[sic]. I’m a loyal fan of Carol Rixey’s Star Hotel [Remember this name], easily the warmest and homiest place in town. And it has great wifi, and an excellent living room with soft easy chairs and fat sofas, and a dining room with nice long table to have a nice warm breakfast in. (Comes with the room.) … I can tell you something — it’s the volunteers and the assistants sleeping in those Cider House beds who get all the nookie. In the mid ’90s I asked an assortment of festival veterans if they’d ever gotten lucky during Sundance, and all but one said “nope.” The exception was Usual Suspects and Valkyrie screenwriter Chris McQuarrie, who said yes, good things have personally happened to him in Park City but “only with an import.” Wells on Sundance, pt 2: Fear and Loathing in Park City It’s a post that could have simply consisted of, “I have arrived at Sundance. Huh. Time to go to bed. Actually, I don’t need to post this.” In Wells’ hands, it’s a literary masterwork: Nobody’s here. That I recognize. Empty streets, idle merchants, half-filled restaurants…the last quiet that Park City will know for 10 or 11 days. It all cranks up starting tomorrow. I shared a $34 dollar airport shuttle into town with Hollywood Reporter guy Gregg Goldstein — that’s the single most noteworthy thing that’s happened over the last eight or nine hours. It’s now about 3 or 4 degrees outside. Ice crystals in my nostrils. A big storm is coming on Sunday, the shuttle driver said. Challenge:Link Shitty CGI-Monster Movie to a Katrina documentary Ask yourself: how would you link Cloverfield to Trouble the Water? One’s an over-hyped J.J. Abrams joint, the other an award-winning documentary about surviving Hurricane Katrina. But if you’re Wells, comparing the two is easier than snapping a cell phone shot of your dinner: I’ve almost never felt queasy from jiggly, hand-held photography (I eat films like Dancer in the Dark for breakfast), although I’ll admit that Cloverfield has more than its share. Yesterday, however, I saw the King Kong of hand-held nausea jiggle movies — Tia Lessin and Carl Deal’s Trouble The Water, a doc about the Katrina disaster. Half of it was shot by Lessin and Deal in the usual fashion and is no big challenge, but the other half is shakycam footage of Katrina’s devastation shot by one of the film’s main subjects, Kimberly Rivers. (The other is her husband Scott.) The footage is so scattered and whip-panny that I was starting to think about bolting less than ten minutes in. Show Trouble The Water to those Cloverfield sufferers in Pheonix[sic] and they’d spew in their seat. In Which Glenn Kenny Becomes a Platform for Obama Originally a blind item from Glenn Kenny, Wells added his own spin to it: mainly, the names of all parties involved—including the NY PR guy. (Spoiler: Alex Rivera got harassed by a racist swag shop chick accompanying two actors from his film, Sleep Dealer.) Note: Kenny doesn’t identify the players by name in his piece. I was given the lowdown last night after a showing of Patti Smith: Dream of Life. Followup: In a world of my own devising an organized demonstration would be held outside the photo shoot/swag sometime late this afternoon. The chant could be something along the lines of “Hey hey, ho ho, swag racists have to go!” An all-media advisory would be sent out this morning. The usual pitchforks and torches would be handed out of the back of a pickup truck on Swede Alley 30 minutes prior to the start of the demonstration. Flyers with a photo of swag girl who uttered the racist remark would be wild-posted all over town alongside a slogan that reads, “Who are we? Does Barack Obama have reason to be concerned?” YAAAAAAAAAWWWWWWWWWWWWWWW Rambo came out earlier this year. It was supposed to be…well, we’re still not sure what. But Wells was excited about it. How excited? Howard Dean Death Yell excited. Every time a head got sliced or blown off, I laughed or let go with a big “yawww!” So did the mostly-male audience which applauded at the end. Everyone had a great time. I felt relaxed with these guys…bonded. … This is the second best Rambo film after First Blood, and although it’s obviously not meant to be “funny,” it is at times, wildly so. I laughed out loud on a good five or six occasions. Quentin Tarantino and Robert Rodriguez are going to love this thing. You could even make a case for Rambo being an instant porno-violent classic in the vein of Ron Ormond’s The Monster and the Stripper, Alejandro Jodorowsky’s Santa Sangre, Herschel Gordon Lewis’s Blood Feast…that line of country. Kicker for a Jack Matthews Tribute or Obscure Reference to Self-Masturbation: You Decide. Ok, this was the kicker to a post honoring Jack Matthews, formerly of the New York Post. But take it out of context, and it may cause you to question what the hell is being honored here. I will never stop banging it out. One is either busy being born or busy dying. I know where I stand. Die at your desk. Honest Injun Gayness Remember that “Full Retard” line from Tropic Thunder? Well, this is like that, but praising an actor for being “Full Gay” and “Full Dick.” Honest Injun. I felt a genuine gayness from Sean Penn, who plays the title role of the late San Francisco supervisor Harvey Milk, that I didn’t think he had in him. … And Frank Langella’s performance as Richard Nixon is naturally and necessarily more toned down than it was on-stage, and that, Honest Injun, makes it a fascinating, moving (as in genuinely sad), award-level effort. No. Fucking. Idea. This is supposed to be a either joke or an insidery snark attack against film catch-phrases. To be quite honest, I’m still convinced this is a secret code to…something. Do I look like I’m negotiating, friendo? I’m already pregnant so what kind of milkshake-slurping could I get into? Except for ruining the love life of my older sister and her lower-class boyfriend by bearing false witness? I am Sheba, the reincarnation of Shirley Booth! [No, really. That's the entire post.] No Fatties, But… Apparently one of Wells’ great fears is to sit near fat people in a confined space. He shares this with us, followed by the strangest blog update I’ve ever seen. And trust me, I’ve read Hollywood Elsewhere. Before every flight, I cross myself and ask God Almighty not to seat me next to a morbidly obese person. There are at least two whales in line right now, and I’m feeling a very slight apprehension about this. There are thousands of people in Paris who look well-fed or stocky or fat, but I’ve seen no Jabbas. You might expect otherwise in a foodie city like Paris, but nope. Update: No fatties but Doug Liman is on my plane. Live-Blogging is like Swimming After Eating, We Guess Eric Kohn live-blogged Indiana Jones and the Kingdom of the Crystal Skulll for IndieWire. Many were not amused by this. Mainly because they’re twits–something about “herp derp critic integrity!” Mainly because Eric scooped them and wasn’t doing anything that off from the rest of the Cannes crowd. Devin Faraci–a frequent HE commenter, natch–took offense with this. And of course, Jeff agreed. Sort of. I agree totally — it’s doggerel. Lame. Kohn and Indiewire were simply looking to be first to provide the very first commentary on the film anywhere in the world — except it wasn’t commentary but rudimentary (i.e., quite crude) descriptions of scenes as they happened. There’s an internet audience for this kind of stenography, of course, but to what end? A movie deserves a little thought before before commented on. I tapped out an instant hand-held judgment after Indy 4 ended, but at least I’d thought it through for an hour or two. Remember that Hotel in Park City? Fun fact: if you leave a piece of clothing somewhere, that’s as good as a down payment, credit card or loan. From now on, I’ll be paying my bar tabs with socks. [Jeffrey Wells] to Star Hotel proprietor: “I found a place in Park City but I can’t move in until Friday the 16th. Would you let me crash on the living-room couch for the first two nights (1.14 and 1.15)? Which I’ll pay you for, of course. It would be greatly appreciated if you could grant me this small favor, as you left me in the lurch this year. I thought I’d made it clear as a bell that I intended to return, having stayed in your wonderful abode the last two years and leaving my cowboy hat there and telling you I’d wear it when I returned in ‘09 and so on. Anyway, can ya do me this one?” When pressed to explain, Wells continues in the Comments: Yes, yes…if I’d left a cash deposit or a credit-card number then the room would have been assured. I’m not an idiot. But leaving the cowboy hat and plainly stating to the proprietor that I’d come back and wear it the following year (especially after having stayed at the Star in ‘07 and ‘08 and been part of the family there, in a sense) was a very emotionally vivid and pronounced way of stating my intentions. It was a message that is recognized by everyone all over the world. It’s even recognized in the animal kingdom (i.e., leaving your scent on a piece of turf). If you go out with a girl and she comes home with you and stays the night and she leaves her underwear or bra or socks in your bedroom after she leaves the next morning, we all know that’s a universal message that says, “I want to come back and get to know you better and probably have sex with you again.” Everyone knows that. Leaving an article of clothing, something with your scent and paw-prints and sweat residue on it, means that you intend to come back and spray your scent around some more. If you were to see a 1930s Gary Cooper western and hotel manager Frances Farmer, giving him the old twinkle-eye, asked him if he was coming back after taking his cattle to market, and if he faintly grinned at her and took off his cowboy hat and left it hanging on the wall as he walks out the door, everybody watching the film in any country in the world would know exactly what that means. It would be crystal clear. So don’t tell me. Credit cards are well and good, but to say left-behind cowboy hats and such mean nothing is to be way too “dollars and cents” about this matter. Sadly, it looks like the hotel gave his cowboy hat to the police–Jeff then posts the phone call as an audio file. So Jeffrey, we wish you a happy new year and can’t wait to see what sort of insanity you give out this year. If you’ve got your own favorite Wells-ian moments, leave them in the comments. Originally posted on:SpoutBlog http://www.spout.com/blogs/dj4our/archive/2008/10/19/36495.aspx Post By: dj4our
Post To: dj4our Blog
Post Date: 10/19/2008 3:29:57 AM
Body: RAMBO (2008) *** rated R (for strong graphic bloody violence, sexual assaults, grisly images and language) 1 hr. 33 min. written by: Art Monterastelli & Sylvester Stallone (from source material by David Morrell) produced by: Avi Lerner & Kevin King directed by: Sylvester Stallone Let's get this outta the way right from the start. I like the Rambo films. It's not a guilty pleasure either or cuz I particularly like violent films. I like them solely because it's one man taking on injustice and the violent atrocities of man. I'll admit, the character of Rambo become more and more out-of-control as the sequels were released. He became more and more buff, put in impossibly outnumbered combat situations and escaped certain death countless times. The icon of Rambo became crazy with all the political mumbo-jumbo of the Reagan surrounding the second sequel, "First Blood: Rambo Part II", not to mention all the merchandise like action figures and cartoons. Ugh! Everything about the character got out-of-hand. No wonder everyone made fun of Stallone for his muscle-bound, seemingly muscle-headed role. Still, "First Blood", the first Rambo move was awesome! I was a lil over 10 years-old when I finally saw that 1982 film (unbeknownst to my mother) and it certainly left an impression on me. It was the action but soon after I realized Rambo's sensitive backstory. Yes, I included sensitive and Rambo in the same sentence. Here was a decorated Vietnam veteran, whose war buddies were all dead and found no place or function in society. He was trained by his country to be the ultimate weapon, the perfect warrior, but came to realize he had no place in his country anymore. It was one of the first movies where you saw a veteran at war with his own country. That still is a cool concept for me. Unfortunately, what began as a franchise of high adventure and sympathy for the underdog and the veteran protagonist became a feral cartoon. Now, 20 years later, "Rambo" comes full circle finding its rightful home in utter bloody chaos. We find John J. Rambo (Sylvester Stallone) in Thailand where he was at the start "Rambo III" working as a boatman and snake wrangler. He's away from America, away from any politics and trying to lead a life of solitude while evading his demons. A group of Christian missionaries find the battle-scarred loner and ask him to drive them up the river to the heart of the Burmese civil war in order for them to deliver some hope to the villagers there. Rambo know better, he knows without weapons the war zone up north will not change despite anyone's good intentions and actions. Rambo knows this and director Stallone shows us in the beginning previous scenes the atrocities of the Burmese military committed onto their own people. Villagers are mutilated and beheaded while a truckload of villagers are forced to walk in a swampy mindfield while the Burmese soldiers place bets on who might survive. When the movie title appears in blood red, we know that these oppressed people will have their rescuer and the dead will be avenged. But right now Rambo's not budging. He turned down the request of missionary leader Michael (Paul Schulze) which gives his spirited girlfriend (the only gal in the group) a chance to persuade the hulking loner. Either something she says stirs him or he just hasn't seen a cute blonde like Sarah (Julie Benz) in quite a while cuz we next a reluctant Rambo steering the group up the river. On their way, the group witness how dangerous both the river is and their quite guide, as they see how Rambo deals with pirates. This doesn't sit well with Michael and once they arrive he lets Rambo know he won't be needed on the way back as they plan on returning by land. Returning home alone, a conflicted Rambo thinks about what Sarah told him about making a difference in people's lives while wrestling with what he is, a warrior. When he's visited by a Colorado church pastor (Ken Howard) he knows the missionaries are in trouble. He asks Rambo to lead a group of mercenaries he's hired (wuh?) to the village to rescue them cuz communication has been cut off and we know why. We were shown the vicious Burmese military obliterate the village where the missionaries are, cutting an unbelievable path of genocide. Woman are beaten and raped, limbs are cut off, children are stabbed or shot at point blank and thrown into a fire if their not old enough to join the military. Bodies explode near the missionaries as the try to evade death or capture. Amid the carnage, Sarah and Michael and another missionary are captured and taken away. This leaves Rambo in a position to turn his back or assume his psychologically tattered solider mentality and launch into battle once again. Of course, it's obvious what he does. He does what he does best and he doesn't allow a band of mouth mercs get in his way. These mercenaries don't know what to make of Rambo until they actually see him in action and then they follow his lead. Yes, once Rambo turns on his military mojo the film goes crazy! It explodes with a hurricane of aggression aimed directly at those clueless Burmese soldiers. Wave after wave of bloody fury assault us as Rambo turns predator in a very dynamic manner that explodes across the screen with all the horror and fist-pumping that is expecting in franchise. Stallone serves up an insane amount of gore in the film's finale (amplified with rickety CGI), and I gotta say I commend him for the the fearlessness of the realism of it all. Sure, it's uneasy to look at, it's assaulting after all. But Stallone has built up the enemies despicable actions enough where you just hold on in your seat and go along with him. This is probably the first Rambo movie where you really feel what it would be like in the heat of battle. There's no shirtless, slo-mo shots (thank you!) with Rambo jumping over a gorge with a blasting M60. Stallone is going for the heart of darkness here, exhibiting this decades long civil war that most don't know about on very realistic terms, stunning viewers with real depictions of death and carnage. He's said in interviews that if he were to do another Rambo film, it would have to be socially relevant to some existing injustice. This film doesn't recoil from any of it, displaying a gruesome rain of death and unspeakable acts of violation. It's a bleak perspective and Stallone perhaps distances himself from the mindless body count craziness of the two earlier films by coming closer to authenticity. It still may seem overboard to some, but putting the viewer in the middle of pure hell really drives home a vivid theme about the futility of peace and war. Fighting slaughter with slaughter is exhilarating, but Stallone shows us there's an unavoidable price to pay. Unlike Stallone's return to his other iconic character in 2006's "Rocky Balboa", this film isn't about healing any old wounds nor is it necessarily a return to the melodrama underneath the first Rambo film. It's not the superficial action romp that most have come to associate with the character either. It seems Stallone is hungry to prove a point this time around, and he unleashes a torrent of violence in a manner that's just plain berserk. It cannot be stressed enough: "Rambo" is a monumentally vicious film. Is it odd to see a hulking Stallone in his 60's run through the jungle like a runaway rhino? Nope. I like the idea of him not being the lean machine he once was and I find that time away from the character can bring an added dimension to the role. There's a lotta talk about how absurd it is for actors at this age returning to such physical roles but this is nothing new in cinema. John Wayne did it, so did Lee Marvin and James Coburn, why not Sly? After all, coming back to what became such a cartoon character at this age brings about a needed maturity. It seems that during this considerable downtime, Stallone has reassessed his work as John Rambo and his iconic screen history, and is comfortable raging again in this ruthless exclamation point on a surreal series of films. The film concludes Rambo's mournful journey well enough for me although it was way too short. Still, I'd be fine with it finally ending here. Then again, studio head Harvey Weinstein is quoted as liking the opening weekend numbers, so he might be pushing Stallone for another one. That'd be a mistake but a part of me would be curious. Stallone is far from my favorite actor but I do like the guy. He's funny, intelligent, self-deprecating and humble. I know....you're stunned.
]]>Sun, 19 Oct 2008 07:29:57 GMTdj4ourdj4our Blog10/19/2008 3:29:57 AMRAMBO (2008) *** rated R (for strong graphic bloody violence, sexual assaults, grisly images and language) 1 hr. 33 min. written by: Art Monterastelli &amp; Sylvester Stallone (from source material by David Morrell) produced by: Avi Lerner &amp; Kevin King directed by: Sylvester Stallone Let's get this outta the way right from the start. I like the Rambo films. It's not a guilty pleasure either or cuz I particularly like violent films. I like them solely because it's one man taking on injustice and the violent atrocities of man. I'll admit, the character of Rambo become more and more out-of-control as the sequels were released. He became more and more buff, put in impossibly outnumbered combat situations and escaped certain death countless times. The icon of Rambo became crazy with all the political mumbo-jumbo of the Reagan surrounding the second sequel, "First Blood: Rambo Part II", not to mention all the merchandise like action figures and cartoons. Ugh! Everything about the character got out-of-hand. No wonder everyone made fun of Stallone for his muscle-bound, seemingly muscle-headed role. Still, "First Blood", the first Rambo move was awesome! I was a lil over 10 years-old when I finally saw that 1982 film (unbeknownst to my mother) and it certainly left an impression on me. It was the action but soon after I realized Rambo's sensitive backstory. Yes, I included sensitive and Rambo in the same sentence. Here was a decorated Vietnam veteran, whose war buddies were all dead and found no place or function in society. He was trained by his country to be the ultimate weapon, the perfect warrior, but came to realize he had no place in his country anymore. It was one of the first movies where you saw a veteran at war with his own country. That still is a cool concept for me. Unfortunately, what began as a franchise of high adventure and sympathy for the underdog and the veteran protagonist became a feral cartoon. Now, 20 years later, "Rambo" comes full circle finding its rightful home in utter bloody chaos. We find John J. Rambo (Sylvester Stallone) in Thailand where he was at the start "Rambo III" working as a boatman and snake wrangler. He's away from America, away from any politics and trying to lead a life of solitude while evading his demons. A group of Christian missionaries find the battle-scarred loner and ask him to drive them up the river to the heart of the Burmese civil war in order for them to deliver some hope to the villagers there. Rambo know better, he knows without weapons the war zone up north will not change despite anyone's good intentions and actions. Rambo knows this and director Stallone shows us in the beginning previous scenes the atrocities of the Burmese military committed onto their own people. Villagers are mutilated and beheaded while a truckload of villagers are forced to walk in a swampy mindfield while the Burmese soldiers place bets on who might survive. When the movie title appears in blood red, we know that these oppressed people will have their rescuer and the dead will be avenged. But right now Rambo's not budging. He turned down the request of missionary leader Michael (Paul Schulze) which gives his spirited girlfriend (the only gal in the group) a chance to persuade the hulking loner. Either something she says stirs him or he just hasn't seen a cute blonde like Sarah (Julie Benz) in quite a while cuz we next a reluctant Rambo steering the group up the river. On their way, the group witness how dangerous both the river is and their quite guide, as they see how Rambo deals with pirates. This doesn't sit well with Michael and once they arrive he lets Rambo know he won't be needed on the way back as they plan on returning by land. Returning home alone, a conflicted Rambo thinks about what Sarah told him about making a difference in people's lives while wrestling with what he is, a warrior. When he's visited by a Colorado church pastor (Ken Howard) he knows the missionaries are in trouble. He asks Rambo to lead a group of mercenaries he's hired (wuh?) to the village to rescue them cuz communication has been cut off and we know why. We were shown the vicious Burmese military obliterate the village where the missionaries are, cutting an unbelievable path of genocide. Woman are beaten and raped, limbs are cut off, children are stabbed or shot at point blank and thrown into a fire if their not old enough to join the military. Bodies explode near the missionaries as the try to evade death or capture. Amid the carnage, Sarah and Michael and another missionary are captured and taken away. This leaves Rambo in a position to turn his back or assume his psychologically tattered solider mentality and launch into battle once again. Of course, it's obvious what he does. He does what he does best and he doesn't allow a band of mouth mercs get in his way. These mercenaries don't know what to make of Rambo until they actually see him in action and then they follow his lead. Yes, once Rambo turns on his military mojo the film goes crazy! It explodes with a hurricane of aggression aimed directly at those clueless Burmese soldiers. Wave after wave of bloody fury assault us as Rambo turns predator in a very dynamic manner that explodes across the screen with all the horror and fist-pumping that is expecting in franchise. Stallone serves up an insane amount of gore in the film's finale (amplified with rickety CGI), and I gotta say I commend him for the the fearlessness of the realism of it all. Sure, it's uneasy to look at, it's assaulting after all. But Stallone has built up the enemies despicable actions enough where you just hold on in your seat and go along with him. This is probably the first Rambo movie where you really feel what it would be like in the heat of battle. There's no shirtless, slo-mo shots (thank you!) with Rambo jumping over a gorge with a blasting M60. Stallone is going for the heart of darkness here, exhibiting this decades long civil war that most don't know about on very realistic terms, stunning viewers with real depictions of death and carnage. He's said in interviews that if he were to do another Rambo film, it would have to be socially relevant to some existing injustice. This film doesn't recoil from any of it, displaying a gruesome rain of death and unspeakable acts of violation. It's a bleak perspective and Stallone perhaps distances himself from the mindless body count craziness of the two earlier films by coming closer to authenticity. It still may seem overboard to some, but putting the viewer in the middle of pure hell really drives home a vivid theme about the futility of peace and war. Fighting slaughter with slaughter is exhilarating, but Stallone shows us there's an unavoidable price to pay. Unlike Stallone's return to his other iconic character in 2006's "Rocky Balboa", this film isn't about healing any old wounds nor is it necessarily a return to the melodrama underneath the first Rambo film. It's not the superficial action romp that most have come to associate with the character either. It seems Stallone is hungry to prove a point this time around, and he unleashes a torrent of violence in a manner that's just plain berserk. It cannot be stressed enough: "Rambo" is a monumentally vicious film. Is it odd to see a hulking Stallone in his 60's run through the jungle like a runaway rhino? Nope. I like the idea of him not being the lean machine he once was and I find that time away from the character can bring an added dimension to the role. There's a lotta talk about how absurd it is for actors at this age returning to such physical roles but this is nothing new in cinema. John Wayne did it, so did Lee Marvin and James Coburn, why not Sly? After all, coming back to what became such a cartoon character at this age brings about a needed maturity. It seems that during this considerable downtime, Stallone has reassessed his work as John Rambo and his iconic screen history, and is comfortable raging again in this ruthless exclamation point on a surreal series of films. The film concludes Rambo's mournful journey well enough for me although it was way too short. Still, I'd be fine with it finally ending here. Then again, studio head Harvey Weinstein is quoted as liking the opening weekend numbers, so he might be pushing Stallone for another one. That'd be a mistake but a part of me would be curious. Stallone is far from my favorite actor but I do like the guy. He's funny, intelligent, self-deprecating and humble. I know....you're stunned. http://www.spout.com/blogs/joem18b/archive/2008/9/28/35654.aspx Post By: joem18b
Post To: joem18b Blog
Post Date: 9/28/2008 1:47:56 AM
Body: Watching Kabluey the other night, I was delighted to see that Lisa Kudrow is letting the camera record her age (45), at least in this movie. Her part required her to look haggard and beaten down, but not necessarily mid-forties; in this business, it takes some guts to show your age, especially if you're female. Helen Hunt, born the same year, looks 45 in Then She Found Me, which is good, except that as the director, she cast herself as a 39-year-old trying to conceive. Does this mean that she thinks that she still looks 39 onscreen? I like Helen Hunt, so I hope that she isn't deluding herself. A while back I found I Could Never Be Your Woman unwatchable because Michelle Pfeiffer has had so much work done that I feel creepy looking at her. See, everybody should be in charge of their own body and if someone wants to get a little plastic surgery done, fine. Their perogative. But as a movie-goer, it's my perogative to choose not to go to films that creep me out. Sorry, Michelle. In the movie she's the October in a May/October relationship, which is good, but that face. Whew.And as soon as I say that, here comes Aging Gracefully with Michelle Pfeiffer.The common trope on women is: "Except for occasional supporting roles as mothers (who are never germane to the plot), Hollywood actresses disappear from the screen at about age 35 or certainly by 40. After of few years of exile, they turn up as has-been semi-celebrities on reality shows then disappear again until they age into grande dames like Helen Mirren, Judi Dench and Maggie Smith." (Ronni Bennett) Somehow I've been thinking that there are more women of middle age in the movies now than there used to be. True or false? Women who never stoped working, like Geneviève Bujold and Charlotte Rampling. Hmm. In their forties or older: Nicole Kidman, Lucy Liu, Laura Linney, Demi Moore, Julia Roberts, Holly Hunter, Meg Ryan, Mary-Louise Parker, Elizabeth Perkins, Mary McConnell, Felicity Huffman, Teri Hatcher, Alfre Woodward, Geena Davis, Stockard Channing, Frances Conroy, Glenn Close, Bette Midler, Susan Sarandon, Goldie Hawn. I keep thinking of more. Angelica Houston. Lily Tomlin. Sarah Palin. Debra Winger. Catherine Deneuve. Got to stop. Signorney Weaver, Isabella Rossallini, Juliette Binoche, Isabelle Adjani, Lili Taylor, Jane Curtain. Got... to... let... it... go. Janeane Garofalo. Julie Delpy. Sharon Stone. And by the way, Helen Mirren was never out of work, nor was Maggie Smith, nor was Dame Dench.I remember how pleased I was when Pacino let his age show, in movies like... hmm... when did he start looking ravaged? Heat? Scent of a Woman?. Not like Cary Grant in North By Northwest or Gable in Teacher's Pet - geezers romancing younger women. I like Grant and Gable but having them nuzzling young dishes in their late 50s... Ugh. To me, Gable and Doris Day in a clinch has not aged well. Meanwhile, my hat is off to Clint Eastwood for making Laura Linney his daughter instead of his squeeze in Absolute Power. He was pushing it with Streep in Madison County (she's 19 years younger than he is). And Redford and Deniro just throw their aging mugs up there onscreen without feathers. So too Woody Allen, but thank God he's finally stopping pairing himself with young women.Btw, Paul Newman. RIP. There was a guy who looked great all the way through.Burt Reynolds, once, just once, take off the rug. In Leatherheads, Renee Zellweger, 39, claims to be 29; does she mean it or was that just a character lying about her age? Stallone, ok, he's had so much work done that he's entered the realm of the weird but for some reason that doesn't bother me at all. There he is in the latest Rambo, totally unwrinkled and supposedly a guy living as a snake-catcher out in the bushes and that totally works for me. On the other hand, what is it with Mathew Broderick? I kept staring at him in Then She Found Me, trying to figure out what's strange about his face. He looks like a recovered burn victim. I googled his name along with "work done" and all I got were hits about his wife's plastic surgery (Sarah Jessica Parker's, that is).Bottom line: skip the lift. P.S.: Parker Posey, Maggie Cheung, Michelle Yeoh, Mary Kay Place, Dianne Weist.
]]>Sun, 28 Sep 2008 05:47:56 GMTjoem18bjoem18b Blog9/28/2008 1:47:56 AMWatching Kabluey the other night, I was delighted to see that Lisa Kudrow is letting the camera record her age (45), at least in this movie. Her part required her to look haggard and beaten down, but not necessarily mid-forties; in this business, it takes some guts to show your age, especially if you're female. Helen Hunt, born the same year, looks 45 in Then She Found Me, which is good, except that as the director, she cast herself as a 39-year-old trying to conceive. Does this mean that she thinks that she still looks 39 onscreen? I like Helen Hunt, so I hope that she isn't deluding herself. A while back I found I Could Never Be Your Woman unwatchable because Michelle Pfeiffer has had so much work done that I feel creepy looking at her. See, everybody should be in charge of their own body and if someone wants to get a little plastic surgery done, fine. Their perogative. But as a movie-goer, it's my perogative to choose not to go to films that creep me out. Sorry, Michelle. In the movie she's the October in a May/October relationship, which is good, but that face. Whew.And as soon as I say that, here comes Aging Gracefully with Michelle Pfeiffer.The common trope on women is: "Except for occasional supporting roles as mothers (who are never germane to the plot), Hollywood actresses disappear from the screen at about age 35 or certainly by 40. After of few years of exile, they turn up as has-been semi-celebrities on reality shows then disappear again until they age into grande dames like Helen Mirren, Judi Dench and Maggie Smith." (Ronni Bennett) Somehow I've been thinking that there are more women of middle age in the movies now than there used to be. True or false? Women who never stoped working, like Genevi&egrave;ve Bujold and Charlotte Rampling. Hmm. In their forties or older: Nicole Kidman, Lucy Liu, Laura Linney, Demi Moore, Julia Roberts, Holly Hunter, Meg Ryan, Mary-Louise Parker, Elizabeth Perkins, Mary McConnell, Felicity Huffman, Teri Hatcher, Alfre Woodward, Geena Davis, Stockard Channing, Frances Conroy, Glenn Close, Bette Midler, Susan Sarandon, Goldie Hawn. I keep thinking of more. Angelica Houston. Lily Tomlin. Sarah Palin. Debra Winger. Catherine Deneuve. Got to stop. Signorney Weaver, Isabella Rossallini, Juliette Binoche, Isabelle Adjani, Lili Taylor, Jane Curtain. Got... to... let... it... go. Janeane Garofalo. Julie Delpy. Sharon Stone. And by the way, Helen Mirren was never out of work, nor was Maggie Smith, nor was Dame Dench.I remember how pleased I was when Pacino let his age show, in movies like... hmm... when did he start looking ravaged? Heat? Scent of a Woman?. Not like Cary Grant in North By Northwest or Gable in Teacher's Pet - geezers romancing younger women. I like Grant and Gable but having them nuzzling young dishes in their late 50s... Ugh. To me, Gable and Doris Day in a clinch has not aged well. Meanwhile, my hat is off to Clint Eastwood for making Laura Linney his daughter instead of his squeeze in Absolute Power. He was pushing it with Streep in Madison County (she's 19 years younger than he is). And Redford and Deniro just throw their aging mugs up there onscreen without feathers. So too Woody Allen, but thank God he's finally stopping pairing himself with young women.Btw, Paul Newman. RIP. There was a guy who looked great all the way through.Burt Reynolds, once, just once, take off the rug. In Leatherheads, Renee Zellweger, 39, claims to be 29; does she mean it or was that just a character lying about her age? Stallone, ok, he's had so much work done that he's entered the realm of the weird but for some reason that doesn't bother me at all. There he is in the latest Rambo, totally unwrinkled and supposedly a guy living as a snake-catcher out in the bushes and that totally works for me. On the other hand, what is it with Mathew Broderick? I kept staring at him in Then She Found Me, trying to figure out what's strange about his face. He looks like a recovered burn victim. I googled his name along with "work done" and all I got were hits about his wife's plastic surgery (Sarah Jessica Parker's, that is).Bottom line: skip the lift. P.S.: Parker Posey, Maggie Cheung, Michelle Yeoh, Mary Kay Place, Dianne Weist. http://www.spout.com/groups/B_Movies/Re_B_is_the_new_B_Modern_B_Movies_Remakes/588/34273/1/ShowPost.aspx Post By: SkyPilot
Post To: B Movies
Post Date: 8/22/2008 2:46:50 PM
Body: Speaking of Sly's B Movies, here's a table from slashfilms that corvine alerted me to. I'd consider First Blood and Rambo 4 to be the only B movies in the series. And I have one correction: there isn't a 'traditional' sex scene in Rambo 4, but there is a disturbing part where Rambo witnesses a villain undress a young boy. Creepy.
]]>Fri, 22 Aug 2008 18:46:50 GMTSkyPilotB Movies8/22/2008 2:46:50 PMSpeaking of Sly's B Movies, here's a table from slashfilms that corvine alerted me to. I'd consider First Blood and Rambo 4 to be the only B movies in the series. And I have one correction: there isn't a 'traditional' sex scene in Rambo 4, but there is a disturbing part where Rambo witnesses a villain undress a young boy. Creepy. http://www.spout.com/blogs/spoutblog/archive/2008/7/24/33020.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/24/2008 11:01:19 AM
Body: Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue similarly thinking it’s too late for another X-Files movie. And even if I’m proven wrong and the masses get out to theaters this weekend in search of the truth, I’ll keep on believing that X-Files: I Want to Believe is way past its time. To celebrate Mulder and Scully’s tardiness, here are 10 other movies that came out too late: The Godfather Part III (Released in: 1990; Should have been released in: 1976) - Never mind the fact that had this third installment been made years earlier, Sofia Coppola wouldn’t have been cast and therefore wouldn’t have given her terribly infamous performance. The more important matter is that sequels arriving more than a decade after the previous installment are almost always doomed. The longer the wait, the higher the expectations, and the greater the disappointment. Of course, not everyone agrees that it was also too late for Indiana Jones and the Kingdom of the Crystal Skull, Live Free or Die Hard, Rambo, Star Wars: Episode I - The Phantom Menace, etc. Snakes on a Plane (Released in: 2006; Should have been released in: 2005) - By the time it finally hit theaters, there was already a major backlash to the hype behind SoaP, and that backlash was apparently well-deserved when audiences saw just how lame the movie ended up being. It was an early indicator that a lot of internet buzz and popular viral marketing does not necessarily equal a lot of money at the box office. More than a year later, though, fears of another SoaP-like disappointment came with the hype behind Cloverfield, yet the monster movie fared much better. Of course, no movie seemed to be more ridiculous a web sensation than The Dark Knight, the record-breaking success of which could still prompt more SoaP-type disasters in the future. Home on the Range (Released in: 2004; Should have been released in: 1994) - When you Google the words “ill-timed” “release” and “film”, this is the first thing that comes up, probably because it’s legendary for marking the (temporary) end of 2-D Disney animation. It actually came out almost a decade after the first Pixar feature signaled the doomed future of these kinds of films, and a number of 2-D animations were actually quite successful in that ten years. But Home on the Range is notable for both having begun preproduction before the release of the first Toy Story and for having been announced as the last traditionally animated Disney feature. Now, of course, the studio has changed its mind, so we’ll just have to see if Home on the Range was indeed too late or simply too bad. Infamous (Released in: 2006; Should have been released in: 2005) - One of many unfortunate movies to come out on the heels of another film dealing with the same subject. Similarly late, similarly redundant efforts include Deep Impact, Mars Attacks!, Volcano, The Forbidden Dance, Red Planet, Wyatt Earp and Valmont. But Infamous seemed more the loser of its race because of Phillip Seymour Hoffman’s Oscar win for Capote. The Simpsons Movie (Released in: 2007; Should have been released in: 1997) - It may be funny enough, but this movie still suffered a bit from being past the TV series’ prime. A lot more people would have been a lot more excited about the spin-off if it had come out ten years earlier. The Onion Movie (Released in 2008; Should have been released in: 2003) - Should this not be included because it actually never came out in theaters in the U.S.? Whatever. I’m still accepting it as one of the worst examples of shelving a film for way too long. From the unbearable bits I attempted to watch, the jokes were quite dated, though I have to admit they might not have been all that funny when (mostly) filmed five years ago. As an alternate, in case you don’t accept this title: The Adventures of Pluto Nash, which was also shelved for a few years, but which was probably made too late anyway. Get Smart (Released in 2008; Should have been released in: 1978) - When it opened earlier this summer, I wrote a list about how this movie was obsolete before it was even made. Check out those 10 reasons here. Eyes Wide Shut (Released in: 1999; Should have been released in: 1998) - It may still have been received as poorly, but if this film had been able to be finished and to come out before Stanley Kubrick’s death, it might have at least been a stronger work. Angela’s Ashes (Released in: 1999; Should have been released in: 1995) - How long is too late for a film adaptation of a best-selling book? Considering there are still successful movies based on works such as “The Iliad” and “Beowulf”, there’s apparently no limit. But for some reason this cinematic version of Frank McCourt’s wildly popular memoir bombed at the box office. I guess compared to those early works, “Angela’s Ashes” had been read by everyone in America by the time the movie arrived, and few of its fans needed to go through the depressing events a second time. Glitter (Released in: 2001; Should have been released in: 1991) - Maybe if it had opened before 9/11, as it was supposed to, instead of directly following the tragedy. Or, better yet, maybe if it had opened in the mid ’90s before people stopped giving a damn about Mariah, it wouldn’t have bombed so horribly. Actually, because Mariah eventually became popular again, and thanks to VH1, so did the 1980s, Glitter may also be considered a movie that was too early. Perhaps one day it can find success as a Broadway show, a la Xanadu. Originally posted on:SpoutBlog
]]>Thu, 24 Jul 2008 15:01:19 GMTSpoutBlogSpoutBlog on spout.com7/24/2008 11:01:19 AM Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue similarly thinking it’s too late for another X-Files movie. And even if I’m proven wrong and the masses get out to theaters this weekend in search of the truth, I’ll keep on believing that X-Files: I Want to Believe is way past its time. To celebrate Mulder and Scully’s tardiness, here are 10 other movies that came out too late: The Godfather Part III (Released in: 1990; Should have been released in: 1976) - Never mind the fact that had this third installment been made years earlier, Sofia Coppola wouldn’t have been cast and therefore wouldn’t have given her terribly infamous performance. The more important matter is that sequels arriving more than a decade after the previous installment are almost always doomed. The longer the wait, the higher the expectations, and the greater the disappointment. Of course, not everyone agrees that it was also too late for Indiana Jones and the Kingdom of the Crystal Skull, Live Free or Die Hard, Rambo, Star Wars: Episode I - The Phantom Menace, etc. Snakes on a Plane (Released in: 2006; Should have been released in: 2005) - By the time it finally hit theaters, there was already a major backlash to the hype behind SoaP, and that backlash was apparently well-deserved when audiences saw just how lame the movie ended up being. It was an early indicator that a lot of internet buzz and popular viral marketing does not necessarily equal a lot of money at the box office. More than a year later, though, fears of another SoaP-like disappointment came with the hype behind Cloverfield, yet the monster movie fared much better. Of course, no movie seemed to be more ridiculous a web sensation than The Dark Knight, the record-breaking success of which could still prompt more SoaP-type disasters in the future. Home on the Range (Released in: 2004; Should have been released in: 1994) - When you Google the words “ill-timed” “release” and “film”, this is the first thing that comes up, probably because it’s legendary for marking the (temporary) end of 2-D Disney animation. It actually came out almost a decade after the first Pixar feature signaled the doomed future of these kinds of films, and a number of 2-D animations were actually quite successful in that ten years. But Home on the Range is notable for both having begun preproduction before the release of the first Toy Story and for having been announced as the last traditionally animated Disney feature. Now, of course, the studio has changed its mind, so we’ll just have to see if Home on the Range was indeed too late or simply too bad. Infamous (Released in: 2006; Should have been released in: 2005) - One of many unfortunate movies to come out on the heels of another film dealing with the same subject. Similarly late, similarly redundant efforts include Deep Impact, Mars Attacks!, Volcano, The Forbidden Dance, Red Planet, Wyatt Earp and Valmont. But Infamous seemed more the loser of its race because of Phillip Seymour Hoffman’s Oscar win for Capote. The Simpsons Movie (Released in: 2007; Should have been released in: 1997) - It may be funny enough, but this movie still suffered a bit from being past the TV series’ prime. A lot more people would have been a lot more excited about the spin-off if it had come out ten years earlier. The Onion Movie (Released in 2008; Should have been released in: 2003) - Should this not be included because it actually never came out in theaters in the U.S.? Whatever. I’m still accepting it as one of the worst examples of shelving a film for way too long. From the unbearable bits I attempted to watch, the jokes were quite dated, though I have to admit they might not have been all that funny when (mostly) filmed five years ago. As an alternate, in case you don’t accept this title: The Adventures of Pluto Nash, which was also shelved for a few years, but which was probably made too late anyway. Get Smart (Released in 2008; Should have been released in: 1978) - When it opened earlier this summer, I wrote a list about how this movie was obsolete before it was even made. Check out those 10 reasons here. Eyes Wide Shut (Released in: 1999; Should have been released in: 1998) - It may still have been received as poorly, but if this film had been able to be finished and to come out before Stanley Kubrick’s death, it might have at least been a stronger work. Angela’s Ashes (Released in: 1999; Should have been released in: 1995) - How long is too late for a film adaptation of a best-selling book? Considering there are still successful movies based on works such as “The Iliad” and “Beowulf”, there’s apparently no limit. But for some reason this cinematic version of Frank McCourt’s wildly popular memoir bombed at the box office. I guess compared to those early works, “Angela’s Ashes” had been read by everyone in America by the time the movie arrived, and few of its fans needed to go through the depressing events a second time. Glitter (Released in: 2001; Should have been released in: 1991) - Maybe if it had opened before 9/11, as it was supposed to, instead of directly following the tragedy. Or, better yet, maybe if it had opened in the mid ’90s before people stopped giving a damn about Mariah, it wouldn’t have bombed so horribly. Actually, because Mariah eventually became popular again, and thanks to VH1, so did the 1980s, Glitter may also be considered a movie that was too early. Perhaps one day it can find success as a Broadway show, a la Xanadu. Originally posted on:SpoutBlog http://www.spout.com/blogs/jbecher/archive/2008/7/14/32557.aspx Post By: Jbecher
Post To: Jbecher Blog
Post Date: 7/14/2008 10:40:34 PM
Body: Did rambo 3 really come out in 1988? Here we are 20 years later and for some crazy reason I like these movies. Bad acting, same action plot, not too many stunts, and a lot of rain. At least this movie has some... well wait, it really does not have much of anything more from the other Rambo movies, other than 20 years later. I still did enjoy the movie just would not watch it again. I'll give it 2 stars for the fact you can have the same type of movie 20 years later and I'll watch it.
]]>Tue, 15 Jul 2008 02:40:34 GMTJbecherJbecher Blog7/14/2008 10:40:34 PMDid rambo 3 really come out in 1988? Here we are 20 years later and for some crazy reason I like these movies. Bad acting, same action plot, not too many stunts, and a lot of rain. At least this movie has some... well wait, it really does not have much of anything more from the other Rambo movies, other than 20 years later. I still did enjoy the movie just would not watch it again. I'll give it 2 stars for the fact you can have the same type of movie 20 years later and I'll watch it. http://www.spout.com/blogs/skypilot/archive/2008/6/27/31797.aspx Post By: SkyPilot
Post To: SkyPilot Blog
Post Date: 6/27/2008 2:29:37 PM
Body: One of the most enjoyable movies I've seen recently is a bizarre but cookin' action movie called Doomsday. It's Neil Marshall's (Dog Soldiers, The Descent) latest horror/sci-fi movie. Doomsday is like Escape From New York meets The Stand. It's post-apocalyptic filmmaking at its most enjoyable. And I've got to talk about how regarding violence, this movie has its cake and eats it too. This is a graphic film; for short burts it's as graphic as Passion of the Christ or the new Rambo, which both disturbed me quite a bit. What's strange is that while I found the intense violence in Passion or Rambo to be much more sickening than entertaining, the violence of Doomsday really appealed to me as entertainment. What is even stranger is that one of the themes of Doomsday is the futile and selfish nature of cruelty... so it somehow manages to be really fun-violent while trying to unmask actual fun-violence as an abomination! And it's got killer car chases and fight scenes, too. WTF? This is surely a strange kind of great movie! Anyone know of a big-studio production that's as complex and fun as this? My contention is that the studios largely don't know how to pull this kind of thing off. I recommend this to all sci-fi and horror fans, anyone interested in violence in films, and anybody who likes wild rides. You'll be shaken and stirred by this movie, and you'll be smiling woozily when the ride gets over. PS--For those interested in the setup: when a deadly virus breaks out in Scotland, the UK quarantines the entire nation. A giant wall is constructed, and the virus is successfully contained. The world tries to forget about how they left Scotland to rot.Twenty years on, it looks like the same virus has suddenly appeared in downtown London. An elite military team is briefed that there is evidence of survivors in Glasgow, Scotland. The team has twenty-four hours to find these survivors--if in fact they really exist--and find out how they survived the epidemic. The viewer's joy ensues.
]]>Fri, 27 Jun 2008 18:29:37 GMTSkyPilotSkyPilot Blog6/27/2008 2:29:37 PMOne of the most enjoyable movies I've seen recently is a bizarre but cookin' action movie called Doomsday. It's Neil Marshall's (Dog Soldiers, The Descent) latest horror/sci-fi movie. Doomsday is like Escape From New York meets The Stand. It's post-apocalyptic filmmaking at its most enjoyable. And I've got to talk about how regarding violence, this movie has its cake and eats it too. This is a graphic film; for short burts it's as graphic as Passion of the Christ or the new Rambo, which both disturbed me quite a bit. What's strange is that while I found the intense violence in Passion or Rambo to be much more sickening than entertaining, the violence of Doomsday really appealed to me as entertainment. What is even stranger is that one of the themes of Doomsday is the futile and selfish nature of cruelty... so it somehow manages to be really fun-violent while trying to unmask actual fun-violence as an abomination! And it's got killer car chases and fight scenes, too. WTF? This is surely a strange kind of great movie! Anyone know of a big-studio production that's as complex and fun as this? My contention is that the studios largely don't know how to pull this kind of thing off. I recommend this to all sci-fi and horror fans, anyone interested in violence in films, and anybody who likes wild rides. You'll be shaken and stirred by this movie, and you'll be smiling woozily when the ride gets over. PS--For those interested in the setup: when a deadly virus breaks out in Scotland, the UK quarantines the entire nation. A giant wall is constructed, and the virus is successfully contained. The world tries to forget about how they left Scotland to rot.Twenty years on, it looks like the same virus has suddenly appeared in downtown London. An elite military team is briefed that there is evidence of survivors in Glasgow, Scotland. The team has twenty-four hours to find these survivors--if in fact they really exist--and find out how they survived the epidemic. The viewer's joy ensues. http://www.spout.com/groups/B_Movies/B_is_the_new_B_Modern_B_Movies/588/31796/1/ShowPost.aspx Post By: SkyPilot
Post To: B Movies
Post Date: 6/27/2008 2:28:20 PM
Body: One of the most enjoyable movies I've seen recently is a bizarre but cookin' action movie called Doomsday. It's Neil Marshall's (Dog Soldiers, The Descent) latest horror/sci-fi movie. Doomsday is like Escape From New York meets The Stand. It's post-apocalyptic filmmaking at its most enjoyable. And I've got to talk about how regarding violence, this movie has its cake and eats it too. This is a graphic film; for short burts it's as graphic as Passion of the Christ or the new Rambo, which both disturbed me quite a bit. What's strange is that while I found the intense violence in Passion or Rambo to be much more sickening than entertaining, the violence of Doomsday really appealed to me as entertainment. What is even stranger is that one of the themes of Doomsday is the futile and selfish nature of cruelty... so it somehow manages to be really fun-violent while trying to unmask actual fun-violence as an abomination! And it's got killer car chases and fight scenes, too. WTF? This is surely a strange kind of great movie! Anyone know of a big-studio production that's as complex and fun as this? My contention is that the studios largely don't know how to pull this kind of thing off. I recommend this to all sci-fi and horror fans, anyone interested in violence in films, and anybody who likes wild rides. You'll be shaken and stirred by this movie, and you'll be smiling woozily when the ride gets over. PS--For those interested in the setup: when a deadly virus breaks out in Scotland, the UK quarantines the entire nation. A giant wall is constructed, and the virus is successfully contained. The world tries to forget about how they left Scotland to rot.Twenty years on, it looks like the same virus has suddenly appeared in downtown London. An elite military team is briefed that there is evidence of survivors in Glasgow, Scotland. The team has twenty-four hours to find these survivors--if in fact they really exist--and find out how they survived the epidemic. The viewer's joy ensues.
]]>Fri, 27 Jun 2008 18:28:20 GMTSkyPilotB Movies6/27/2008 2:28:20 PMOne of the most enjoyable movies I've seen recently is a bizarre but cookin' action movie called Doomsday. It's Neil Marshall's (Dog Soldiers, The Descent) latest horror/sci-fi movie. Doomsday is like Escape From New York meets The Stand. It's post-apocalyptic filmmaking at its most enjoyable. And I've got to talk about how regarding violence, this movie has its cake and eats it too. This is a graphic film; for short burts it's as graphic as Passion of the Christ or the new Rambo, which both disturbed me quite a bit. What's strange is that while I found the intense violence in Passion or Rambo to be much more sickening than entertaining, the violence of Doomsday really appealed to me as entertainment. What is even stranger is that one of the themes of Doomsday is the futile and selfish nature of cruelty... so it somehow manages to be really fun-violent while trying to unmask actual fun-violence as an abomination! And it's got killer car chases and fight scenes, too. WTF? This is surely a strange kind of great movie! Anyone know of a big-studio production that's as complex and fun as this? My contention is that the studios largely don't know how to pull this kind of thing off. I recommend this to all sci-fi and horror fans, anyone interested in violence in films, and anybody who likes wild rides. You'll be shaken and stirred by this movie, and you'll be smiling woozily when the ride gets over. PS--For those interested in the setup: when a deadly virus breaks out in Scotland, the UK quarantines the entire nation. A giant wall is constructed, and the virus is successfully contained. The world tries to forget about how they left Scotland to rot.Twenty years on, it looks like the same virus has suddenly appeared in downtown London. An elite military team is briefed that there is evidence of survivors in Glasgow, Scotland. The team has twenty-four hours to find these survivors--if in fact they really exist--and find out how they survived the epidemic. The viewer's joy ensues. http://www.spout.com/groups/Top_5/Re_Top_5_Completely_Over_the_Top_Films/190/31507/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 6/21/2008 4:41:26 PM
Body: [quote user="laylor"] Obviously this applies to any genre that you think is completely over the top nuts in any way, shape or form. 1. Dead Alive Peter Jackson before he dealt in sprawling, long winded epics. This is THE zombie movie to see. Hilarious acting, hilarious catch phrases (pretty much everyone is familiar with "I kick ass for the lord!" by now, right?), and tons and tons of blood. I can hardly sit still during the custard/pus scene. Must see scene: Lawnmower vs. Zombies!!! 2. Live Free or Die Hard John McClane goes from limping around barefoot and using whatever he can find as a weapon in the first Die Hard to launching a car into a helicopter and then later wrestling with a jet plane. This movie is over the top in an amazing, I can't believe this is happening kind of way. 3. Rambo The same thing goes for Rambo as Live Free or Die Hard. Except this time he goes from setting booby traps around a forest to turning around a machine gun attatched to a jeep and blasting the dude in the front seat. So breathtakingly savage I watched the whole movie smiling and slackjawed. 4. Dead or Alive Takashi Miike is one of the reigning kings of over the top. Just in the beginning of this film there is a guy doing what I will assume is the world's longest line of cocaine, a greasy stripper, an incredibly slow throat slitting that spews a geyser of blood, a guy getting shot in the stomach at a restaurant and everything he has eaten so far gets flung towards the camera, a guy jumping on top of a car in the middle of a busy street and blowing away the passenger....this is all in the first 7 minutes of the film. It just gets better and better from there. 5. The Doom Generation Loads of sex, slurping down a certain seminal fluid (twice!), decapitation, castration, arm being shot off, a stabbing in the male nether region...this film has it all. [/quote] Timur Bekmambetov. directed Night Watch, Day Watch and the new Angelina Jolie movie, Wanted. All of which would have to be described as "over the top"
]]>Sat, 21 Jun 2008 20:41:26 GMTleeroy711Top 56/21/2008 4:41:26 PM[quote user="laylor"] Obviously this applies to any genre that you think is completely over the top nuts in any way, shape or form. 1. Dead Alive Peter Jackson before he dealt in sprawling, long winded epics. This is THE zombie movie to see. Hilarious acting, hilarious catch phrases (pretty much everyone is familiar with "I kick ass for the lord!" by now, right?), and tons and tons of blood. I can hardly sit still during the custard/pus scene. Must see scene: Lawnmower vs. Zombies!!! 2. Live Free or Die Hard John McClane goes from limping around barefoot and using whatever he can find as a weapon in the first Die Hard to launching a car into a helicopter and then later wrestling with a jet plane. This movie is over the top in an amazing, I can't believe this is happening kind of way. 3. Rambo The same thing goes for Rambo as Live Free or Die Hard. Except this time he goes from setting booby traps around a forest to turning around a machine gun attatched to a jeep and blasting the dude in the front seat. So breathtakingly savage I watched the whole movie smiling and slackjawed. 4. Dead or Alive Takashi Miike is one of the reigning kings of over the top. Just in the beginning of this film there is a guy doing what I will assume is the world's longest line of cocaine, a greasy stripper, an incredibly slow throat slitting that spews a geyser of blood, a guy getting shot in the stomach at a restaurant and everything he has eaten so far gets flung towards the camera, a guy jumping on top of a car in the middle of a busy street and blowing away the passenger....this is all in the first 7 minutes of the film. It just gets better and better from there. 5. The Doom Generation Loads of sex, slurping down a certain seminal fluid (twice!), decapitation, castration, arm being shot off, a stabbing in the male nether region...this film has it all. [/quote] Timur Bekmambetov. directed Night Watch, Day Watch and the new Angelina Jolie movie, Wanted. All of which would have to be described as "over the top" http://www.spout.com/groups/Top_5/Top_5_Completely_Over_the_Top_Films/190/31493/1/ShowPost.aspx Post By: laylor
Post To: Top 5
Post Date: 6/21/2008 3:08:09 AM
Body: Obviously this applies to any film in any genre that you think is completely over the top nuts in any way, shape or form. 1. Dead Alive Peter Jackson before he dealt in sprawling, long winded epics. This is THE zombie movie to see. Hilarious acting, hilarious catch phrases (pretty much everyone is familiar with "I kick ass for the lord!" by now, right?), and tons and tons of blood. I can hardly sit still during the custard/pus scene. Must see scene: Lawnmower vs. Zombies!!! 2. Live Free or Die Hard John McClane goes from limping around barefoot and using whatever he can find as a weapon in the first Die Hard to launching a car into a helicopter and then later wrestling with a jet plane. This movie is over the top in an amazing, I can't believe this is happening kind of way. 3. Rambo The same thing goes for Rambo as Live Free or Die Hard. Except this time he goes from setting booby traps around a forest to turning around a machine gun attatched to a jeep and blasting the dude in the front seat. So breathtakingly savage I watched the whole movie smiling and slackjawed. 4. Dead or Alive Takashi Miike is one of the reigning kings of over the top. Just in the beginning of this film there is a guy doing what I will assume is the world's longest line of cocaine, a greasy stripper, an incredibly slow throat slitting that spews a geyser of blood, a guy getting shot in the stomach at a restaurant and everything he has eaten so far gets flung towards the camera, a guy jumping on top of a car in the middle of a busy street and blowing away the passenger....this is all in the first 7 minutes of the film. It just gets better and better from there. 5. The Doom Generation Loads of sex, slurping down a certain seminal fluid (twice!), decapitation, castration, arm being shot off, a stabbing in the male nether region...this film has it all.
]]>Sat, 21 Jun 2008 07:08:09 GMTlaylorTop 56/21/2008 3:08:09 AMObviously this applies to any film in any genre that you think is completely over the top nuts in any way, shape or form. 1. Dead Alive Peter Jackson before he dealt in sprawling, long winded epics. This is THE zombie movie to see. Hilarious acting, hilarious catch phrases (pretty much everyone is familiar with "I kick ass for the lord!" by now, right?), and tons and tons of blood. I can hardly sit still during the custard/pus scene. Must see scene: Lawnmower vs. Zombies!!! 2. Live Free or Die Hard John McClane goes from limping around barefoot and using whatever he can find as a weapon in the first Die Hard to launching a car into a helicopter and then later wrestling with a jet plane. This movie is over the top in an amazing, I can't believe this is happening kind of way. 3. Rambo The same thing goes for Rambo as Live Free or Die Hard. Except this time he goes from setting booby traps around a forest to turning around a machine gun attatched to a jeep and blasting the dude in the front seat. So breathtakingly savage I watched the whole movie smiling and slackjawed. 4. Dead or Alive Takashi Miike is one of the reigning kings of over the top. Just in the beginning of this film there is a guy doing what I will assume is the world's longest line of cocaine, a greasy stripper, an incredibly slow throat slitting that spews a geyser of blood, a guy getting shot in the stomach at a restaurant and everything he has eaten so far gets flung towards the camera, a guy jumping on top of a car in the middle of a busy street and blowing away the passenger....this is all in the first 7 minutes of the film. It just gets better and better from there. 5. The Doom Generation Loads of sex, slurping down a certain seminal fluid (twice!), decapitation, castration, arm being shot off, a stabbing in the male nether region...this film has it all. http://www.spout.com/members/0/tags/violent/MemberTagFilms.aspxviolent
Number of films tagged: 97

Number of people who tagged: 57

Number of times used: 153

]]>Mon, 27 Jul 2009 04:28:06 GMT9757153Tag http://www.spout.com/members/0/tags/jungle/MemberTagFilms.aspxjungle
Number of films tagged: 556

Number of people who tagged: 29

Number of times used: 51

]]>Mon, 14 Sep 2009 20:34:42 GMT5562951Tag http://www.spout.com/members/0/tags/army/MemberTagFilms.aspxarmy
Number of films tagged: 867

Number of people who tagged: 27

Number of times used: 76

]]>Mon, 16 Nov 2009 17:27:13 GMT8672776Tag http://www.spout.com/members/0/tags/civilwar/MemberTagFilms.aspxcivilwar
Number of films tagged: 176

Number of people who tagged: 11

Number of times used: 20

]]>Mon, 27 Apr 2009 13:02:17 GMT1761120Tag http://www.spout.com/members/0/tags/farce/MemberTagFilms.aspxfarce
Number of films tagged: 10

Number of people who tagged: 8

Number of times used: 11

]]>Wed, 13 May 2009 16:12:09 GMT10811Tag http://www.spout.com/members/0/tags/bloodbath/MemberTagFilms.aspxbloodbath
Number of films tagged: 17

Number of people who tagged: 5

Number of times used: 18

]]>Sat, 26 Jul 2008 16:17:24 GMT17518Tag http://www.spout.com/members/0/tags/mercenary/MemberTagFilms.aspxmercenary
Number of films tagged: 319

Number of people who tagged: 4

Number of times used: 7

]]>Fri, 20 Feb 2009 20:10:19 GMT31947Tag http://www.spout.com/members/0/tags/messy/MemberTagFilms.aspxmessy
Number of films tagged: 4

Number of people who tagged: 4

Number of times used: 4

]]>Fri, 03 Jul 2009 18:36:36 GMT444Tag http://www.spout.com/members/0/tags/missionary/MemberTagFilms.aspxmissionary
Number of films tagged: 155

Number of people who tagged: 4

Number of times used: 4

]]>Mon, 09 Nov 2009 18:58:30 GMT15544Tag http://www.spout.com/members/0/tags/veteran-military/MemberTagFilms.aspxveteran-military
Number of films tagged: 655

Number of people who tagged: 4

Number of times used: 4

]]>Fri, 12 Jun 2009 13:02:35 GMT65544Tag http://www.spout.com/members/0/tags/humanrights/MemberTagFilms.aspxhumanrights
Number of films tagged: 263

Number of people who tagged: 3

Number of times used: 8

]]>Fri, 26 Jun 2009 13:02:48 GMT26338Tag http://www.spout.com/members/0/tags/burma/MemberTagFilms.aspxburma
Number of films tagged: 24

Number of people who tagged: 2

Number of times used: 3

]]>Fri, 22 May 2009 13:15:00 GMT2423Tag http://www.spout.com/members/0/tags/minister/MemberTagFilms.aspxminister
Number of films tagged: 324

Number of people who tagged: 2

Number of times used: 2

]]>Thu, 11 Jun 2009 13:02:15 GMT32422Tag http://www.spout.com/members/0/tags/overkill/MemberTagFilms.aspxoverkill
Number of films tagged: 2

Number of people who tagged: 2

Number of times used: 2

]]>Sat, 26 Jan 2008 04:34:47 GMT222Tag http://www.spout.com/members/0/tags/paycheck/MemberTagFilms.aspxpaycheck
Number of films tagged: 3

Number of people who tagged: 2

Number of times used: 3

]]>Sat, 14 Feb 2009 03:32:18 GMT323Tag