list http://www.spout.com/ Recent community activity around Righteous Kill 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/Righteous_Kill/331624/default.aspx Title: Righteous Kill
Year: 2008
Director: Jon Avnet
Plot: Jon Avnet's thriller Righteous Kill stars Al Pacino and Robert De Niro as a pair of Big Apple police officers investigating a series of murders committed by a serial killer. Carla Gugino co-stars as a crime-scene investigator that has romantic ties to De Niro. 50 Cent, Donnie Wahlberg, Brian Dennehy and John Leguizamo co-star. ~ Perry Seibert, All Movie Guide
Times Tagged: 5
Number of Lists: 7
Number of blog posts: 6
Number of discussion threads: 5
SpoutRating: 3
]]>Sun, 26 Jul 2009 17:15:18 GMTRighteous Kill2008Jon Avnet<a href="/players/P____80260/default.aspx" style='text-decoration:underline'>Jon Avnet</a>'s thriller Righteous Kill stars <a href="/players/P____54596/default.aspx" style='text-decoration:underline'>Al Pacino</a> and <a href="/players/P____17593/default.aspx" style='text-decoration:underline'>Robert De Niro</a> as a pair of Big Apple police officers investigating a series of murders committed by a serial killer. <a href="/players/P____29147/default.aspx" style='text-decoration:underline'>Carla Gugino</a> co-stars as a crime-scene investigator that has romantic ties to De Niro. <a href="/players/P___359225/default.aspx" style='text-decoration:underline'>50 Cent</a>, <a href="/players/P___216357/default.aspx" style='text-decoration:underline'>Donnie Wahlberg</a>, <a href="/players/P____18601/default.aspx" style='text-decoration:underline'>Brian Dennehy</a> and <a href="/players/P____41614/default.aspx" style='text-decoration:underline'>John Leguizamo</a> co-star. ~ Perry Seibert, All Movie Guide5Slightly Tagged (1-5)7653http://www.spout.com/ProductImages/s331624.jpghttp://www.spout.com/films/Righteous_Kill/331624/default.aspxFilm http://www.spout.com/groups/Coming_Soon/Week_of_2_20_fashion_cheerleaders_prison_an/216/40484/1/ShowPost.aspx Post By: spout
Post To: Coming Soon
Post Date: 2/16/2009 3:10:31 PM
Body: NEW TO THEATRES 2/20 1. Madea Goes to Jail - Watch the trailer. Until today, I thought Tyler Perry's Madea was like a kooky update of Jim Varney's Ernest P. Worrell. (Considering Ernest Goes to Jail, can you blame me?) Then I started looking into Tyler Perry, and even though I don't think his movies are for me, he seems like a really interesting guy. Two quotes from him on Wikipedia really caught my eye: 1) "I know my audience, and they're not people that the studios know anything about." 2) "Did you know you can't say 'Jesus' in a sitcom? They told me that and I was like, You gotta be kiddin' me...God has been too good to me to go and try to sell out to get some money." I was impressed to learn that Tyler Perry's been writing plays since he was 18, and according to Wikipedia, by 2005 his plays earned $75 million in ticket sales! Who knew? Madea Goes to Jail itself was a stage play in 2006, and a filmed version has already appeared on DVD. Has anyone seen that? 2. Fired Up - Watch the trailer. Teen comedy, whooooooo! Two randy football players avoid summer football camp by becoming cheerleaders. 3. Eleven Minutes (limited) - Watch the trailer. A documentary about fashion designer Jay McCarroll trying to set up an independently-produced runway show. NEW TO DVD - 2/17 1. Quarantine - Watch the trailer. This one looked pretty thrilling to me. An inner city apartment building is subjected to a government quarantine, but what's infecting the victims? 2. Body of Lies - Watch the trailer. Kevin Buist from FilmCouch saw this and didn't love it. Here's his review. 3. Choke - Watch the trailer. Kevin Buist wasn't crazy about this one either, so maybe he's just a big fuddy-duddy. Listen to his review. 4. Changeling - Watch the trailer. This was getting a lot of Oscars buzz until everyone actually saw it. Oh well, Clint Eastwood made a winner with Gran Torino. 5. High School Musical 3 - Watch the trailer. Well, I'm sure that whatever this movie's supposed to do, it does it well. Does anyone else think 'Corbin Bleu' sounds like a gourmet meal? 6. Righteous Kill - Watch the trailer. Al Pacino and Robert DeNiro are in the same movie for only the third time. Since the first two movies were Godfather Pt. II and Heat, this third time is most definitely not 'a charm.' 7. Midnight Meat Train - Watch the trailer. Here's another dose of Bradley Cooper for everyone who's crushing (or man-crushing) on him from He's Just Not That Into You. Myself, I have a bit of a man-crush on the villain, who's played by tough-as-nails Vinnie Jones. 8. How to Lose Friends and Alienate People - Watch the trailer. Simon Pegg starts working for a pompous fashion magazine. Also stars Kirsten Dunst, Megan Fox, Jeff Bridges and Danny Huston -- all people I like. The movie didn't get very good reviews, though... I'm looking forward to Simon Pegg teaming up with Edgar Wright (Hot Fuzz) again, and I'm glad he's playing Scotty in the new Star Trek movie.
]]>Mon, 16 Feb 2009 20:10:31 GMTspoutComing Soon2/16/2009 3:10:31 PMNEW TO THEATRES 2/20 1. Madea Goes to Jail - Watch the trailer. Until today, I thought Tyler Perry's Madea was like a kooky update of Jim Varney's Ernest P. Worrell. (Considering Ernest Goes to Jail, can you blame me?) Then I started looking into Tyler Perry, and even though I don't think his movies are for me, he seems like a really interesting guy. Two quotes from him on Wikipedia really caught my eye: 1) "I know my audience, and they're not people that the studios know anything about." 2) "Did you know you can't say 'Jesus' in a sitcom? They told me that and I was like, You gotta be kiddin' me...God has been too good to me to go and try to sell out to get some money." I was impressed to learn that Tyler Perry's been writing plays since he was 18, and according to Wikipedia, by 2005 his plays earned $75 million in ticket sales! Who knew? Madea Goes to Jail itself was a stage play in 2006, and a filmed version has already appeared on DVD. Has anyone seen that? 2. Fired Up - Watch the trailer. Teen comedy, whooooooo! Two randy football players avoid summer football camp by becoming cheerleaders. 3. Eleven Minutes (limited) - Watch the trailer. A documentary about fashion designer Jay McCarroll trying to set up an independently-produced runway show. NEW TO DVD - 2/17 1. Quarantine - Watch the trailer. This one looked pretty thrilling to me. An inner city apartment building is subjected to a government quarantine, but what's infecting the victims? 2. Body of Lies - Watch the trailer. Kevin Buist from FilmCouch saw this and didn't love it. Here's his review. 3. Choke - Watch the trailer. Kevin Buist wasn't crazy about this one either, so maybe he's just a big fuddy-duddy. Listen to his review. 4. Changeling - Watch the trailer. This was getting a lot of Oscars buzz until everyone actually saw it. Oh well, Clint Eastwood made a winner with Gran Torino. 5. High School Musical 3 - Watch the trailer. Well, I'm sure that whatever this movie's supposed to do, it does it well. Does anyone else think 'Corbin Bleu' sounds like a gourmet meal? 6. Righteous Kill - Watch the trailer. Al Pacino and Robert DeNiro are in the same movie for only the third time. Since the first two movies were Godfather Pt. II and Heat, this third time is most definitely not 'a charm.' 7. Midnight Meat Train - Watch the trailer. Here's another dose of Bradley Cooper for everyone who's crushing (or man-crushing) on him from He's Just Not That Into You. Myself, I have a bit of a man-crush on the villain, who's played by tough-as-nails Vinnie Jones. 8. How to Lose Friends and Alienate People - Watch the trailer. Simon Pegg starts working for a pompous fashion magazine. Also stars Kirsten Dunst, Megan Fox, Jeff Bridges and Danny Huston -- all people I like. The movie didn't get very good reviews, though... I'm looking forward to Simon Pegg teaming up with Edgar Wright (Hot Fuzz) again, and I'm glad he's playing Scotty in the new Star Trek movie. http://www.spout.com/groups/Worst_Movie_Ever/Re_The_Worst_of_2008/104/39585/1/ShowPost.aspx Post By: ThomasJeffersonGeronimo
Post To: Worst Movie Ever
Post Date: 1/16/2009 5:41:20 AM
Body: So without quoting every post in the thread, let me join the Speed Racer lovers. If you didn't like the looks of the trailers, you weren't going to like the movie. If you just sit back and let it go on it's terms, it's pretty dazzling. You can see where it's huge budget went; I think it might be too densely plotted and visually busy for kids and too off the wall for grownups. I'm also going to defend I Know Who Killed Me. I actually liked the look; sure the plot was kind of hogwash, but I have seen far less entertaining films, even if I wouldn't actually describe it as good. I may go easy on it because Art Bell cameos must be savored, but I think it came out at the height of the LiLo-bashing trend, when it could have been freaking superb and still have been dumped on like it was. Worst of '08? Mark Wahlberg had a pretty rough year; The Happening's hilarity has been well documented, and Max Payne was worse; it was boring. Have I missed Righteous Kill being mentioned? DeNiro and Pacino have both been in such a slump the last few years their collaboration meant little to me; Righteous fit right in with the subpar policiers they've both taken to. While there were probably many "worse" movies to come down the pike, were there many that were more dull or depressing?
]]>Fri, 16 Jan 2009 10:41:20 GMTThomasJeffersonGeronimoWorst Movie Ever1/16/2009 5:41:20 AMSo without quoting every post in the thread, let me join the Speed Racer lovers. If you didn't like the looks of the trailers, you weren't going to like the movie. If you just sit back and let it go on it's terms, it's pretty dazzling. You can see where it's huge budget went; I think it might be too densely plotted and visually busy for kids and too off the wall for grownups. I'm also going to defend I Know Who Killed Me. I actually liked the look; sure the plot was kind of hogwash, but I have seen far less entertaining films, even if I wouldn't actually describe it as good. I may go easy on it because Art Bell cameos must be savored, but I think it came out at the height of the LiLo-bashing trend, when it could have been freaking superb and still have been dumped on like it was. Worst of '08? Mark Wahlberg had a pretty rough year; The Happening's hilarity has been well documented, and Max Payne was worse; it was boring. Have I missed Righteous Kill being mentioned? DeNiro and Pacino have both been in such a slump the last few years their collaboration meant little to me; Righteous fit right in with the subpar policiers they've both taken to. While there were probably many "worse" movies to come down the pike, were there many that were more dull or depressing? http://www.spout.com/groups/Coming_Soon/re_New_movies_12_9_Bride_wars_and_exorcisms/216/39109/1/ShowPost.aspx Post By: spout
Post To: Coming Soon
Post Date: 1/5/2009 3:26:06 PM
Body: New to DVD 12/6 1. Pineapple Express -- Watch the trailer. Oh man, this was entertaining! We're giving away some Pineapple Express DVDs in Filmgaming. 2. The Wackness -- Watch the trailer. Read the review. Ben Kingsley is a therapist whose teenage pot dealer starts dating his daughter. Wackness ensues. 3. NetherBest Incorporated -- Watch the trailer. Darrell Hammond and Dave Foley star in this vampire comedy that looks better than Dracula: Dead and Loving It. 4. The Orphanage (El Orfanato) -- Watch the trailer. This extraordinary Spanish horror film is the closest I've ever come to screaming in the theater. It's been released on DVD once before, but I like it so much I had to mention it again. 5. Righteous Kill -- Watch the trailer. Al Pacino and Robert DeNiro together again, but I hear this is no Heat. 6. Eden Lake -- Watch the trailer. A couple's romantic getaway becomes a fight for survival when they're targeted by a group of malicious young men. 7. And something for the Blu-ray fans: Criterion Collection's The Last Emperor (Blu-ray). Watch the trailer.
]]>Mon, 05 Jan 2009 20:26:06 GMTspoutComing Soon1/5/2009 3:26:06 PMNew to DVD 12/6 1. Pineapple Express -- Watch the trailer. Oh man, this was entertaining! We're giving away some Pineapple Express DVDs in Filmgaming. 2. The Wackness -- Watch the trailer. Read the review. Ben Kingsley is a therapist whose teenage pot dealer starts dating his daughter. Wackness ensues. 3. NetherBest Incorporated -- Watch the trailer. Darrell Hammond and Dave Foley star in this vampire comedy that looks better than Dracula: Dead and Loving It. 4. The Orphanage (El Orfanato) -- Watch the trailer. This extraordinary Spanish horror film is the closest I've ever come to screaming in the theater. It's been released on DVD once before, but I like it so much I had to mention it again. 5. Righteous Kill -- Watch the trailer. Al Pacino and Robert DeNiro together again, but I hear this is no Heat. 6. Eden Lake -- Watch the trailer. A couple's romantic getaway becomes a fight for survival when they're targeted by a group of malicious young men. 7. And something for the Blu-ray fans: Criterion Collection's The Last Emperor (Blu-ray). Watch the trailer. http://www.spout.com/blogs/usesoap/archive/2008/12/27/38883.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/27/2008 8:34:11 PM
Body: Make no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer “event movies” (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL·E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008.
]]>Sun, 28 Dec 2008 01:34:11 GMTusesoapusesoap Blog12/27/2008 8:34:11 PMMake no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer &ldquo;event movies&rdquo; (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL&middot;E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008. http://www.spout.com/blogs/dibot/archive/2008/10/2/35832.aspx Post By: dibot
Post To: dibot Blog
Post Date: 10/2/2008 1:30:21 PM
Body: Righteous Kill reunites two acting greats, Al Pacino ("Ocean's Thirteen") and Robert De Niro ("Stardust"). I was intrigued enough to get to the theater, but really the film is just a glorified made-for-TV cop drama. It's very predictable. Neither De Niro or Pacino really bring anything new to their roles of cops tracking a serial killer who is probably one of their own. I did enjoy seeing De Niro play the more angry role. Just wait for this to come on cable.With funnywomen Tina Fey ("30 Rock") and Amy Poehler ("Saturday Night Live") in the leads, Baby Mama should have been a big basket of funny. But, alas, it was not. Fey wants a baby, but is unable to conceive, so she hires Poehler to be her surrogate. Poehler is white-trash. Fey is upscale business. I guess writer/director Michael McCullers ("Thunderbirds," Baby Mama is his directorial debut) thought hijinks would ensue. However, the only funny bits were Poehler peeing in the sink and everything involving the doorman, Romany Malco ("The Love Guru"), who I couldn't get enough of. Also, Fey and love interest Greg Kinnear ("Ghost Town") have zero chemistry. Just skip it.The Getaway stars the ever cool Steve McQueen ("The Hunter") as a thief just released from jail. His wife, Ali MacGraw ("Glam"), has to do some shady stuff to get him an early release, and McQueen must pull off a heist for the corrupt warden once he's on the outside. The film is directed by Sam Peckinpah ("The Osterman Weekend") so there's loads of violence, slow motion and female issues. It also takes it's time getting where it's going. But McQueen is awesome, the shots are amazing. It's worth the time.Jules and Jim is a famous French movie from director Francios Truffaut ("Confidentially Yours"). Jules and Jim are great friends who fall for the same woman. Then there's lots of voiceover and ridiculous philosophizing. The girl will do anything to get attention and the men will put up with her shenanigans. I didn't really care for it. I couldn't get behind any of the characters. In fact, most of the time they made me really mad. And this distracted me from any other goodness the film may hold. Maybe I was in the wrong mood, but I didn't get why this is so great.Usually, with my love of bad horror movies, I can find something good to say about them, but I'm at a loss with Return to House on Haunted Hill. Even the ghosts weren't very creepy. Someone was drawn and quartered, so that was kind of neat. But bad acting, dialogue and plot just wiped that all out.
]]>Thu, 02 Oct 2008 17:30:21 GMTdibotdibot Blog10/2/2008 1:30:21 PMRighteous Kill reunites two acting greats, Al Pacino ("Ocean's Thirteen") and Robert De Niro ("Stardust"). I was intrigued enough to get to the theater, but really the film is just a glorified made-for-TV cop drama. It's very predictable. Neither De Niro or Pacino really bring anything new to their roles of cops tracking a serial killer who is probably one of their own. I did enjoy seeing De Niro play the more angry role. Just wait for this to come on cable.With funnywomen Tina Fey ("30 Rock") and Amy Poehler ("Saturday Night Live") in the leads, Baby Mama should have been a big basket of funny. But, alas, it was not. Fey wants a baby, but is unable to conceive, so she hires Poehler to be her surrogate. Poehler is white-trash. Fey is upscale business. I guess writer/director Michael McCullers ("Thunderbirds," Baby Mama is his directorial debut) thought hijinks would ensue. However, the only funny bits were Poehler peeing in the sink and everything involving the doorman, Romany Malco ("The Love Guru"), who I couldn't get enough of. Also, Fey and love interest Greg Kinnear ("Ghost Town") have zero chemistry. Just skip it.The Getaway stars the ever cool Steve McQueen ("The Hunter") as a thief just released from jail. His wife, Ali MacGraw ("Glam"), has to do some shady stuff to get him an early release, and McQueen must pull off a heist for the corrupt warden once he's on the outside. The film is directed by Sam Peckinpah ("The Osterman Weekend") so there's loads of violence, slow motion and female issues. It also takes it's time getting where it's going. But McQueen is awesome, the shots are amazing. It's worth the time.Jules and Jim is a famous French movie from director Francios Truffaut ("Confidentially Yours"). Jules and Jim are great friends who fall for the same woman. Then there's lots of voiceover and ridiculous philosophizing. The girl will do anything to get attention and the men will put up with her shenanigans. I didn't really care for it. I couldn't get behind any of the characters. In fact, most of the time they made me really mad. And this distracted me from any other goodness the film may hold. Maybe I was in the wrong mood, but I didn't get why this is so great.Usually, with my love of bad horror movies, I can find something good to say about them, but I'm at a loss with Return to House on Haunted Hill. Even the ghosts weren't very creepy. Someone was drawn and quartered, so that was kind of neat. But bad acting, dialogue and plot just wiped that all out. http://www.spout.com/blogs/jj79/archive/2008/9/21/35345.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 9/21/2008 9:36:20 AM
Body: I can see the pitch meeting for "Righteous Kill" now. "Pacino and De Niro are cops and one of them kills criminals who are let off the hook." And really, that simple logline is exactly what the film is about. De Niro is Turk and Pacino is Rooster, two detectives who have been partners and friends for entirely too long. They find themselves in the middle of a case where both of them are prime suspects. It seems as though generic bad guys who skirt the law in one way or another are being murdered at close range (suggesting a level of trust between the deceased and the killer). Two younger cops (John Leguizamo and Donnie Wahlberg) collaborate on the case…and they think they know whodunit. There are some actors who scream quality. Marlon Brando (before his epic fall), Morgan Freeman, Helen Mirren…these are the ones who don´t accept any role just to work. It feels as though they want to be involved in the most stimulating film possible, no matter the role. Al Pacino and Robert De Niro, as of late, have seen their respective star´s tarnish with outings like "88 Minutes" or "Gigli" (for Pacino) and "City by the Sea" and "Hide and Seek" (for De Niro). Maybe, though, they just enjoy working together so much the project is secondary to their personal feelings. That would explain "Righteous Kill." Right off the bat, Turk tells us he has killed fourteen people, following by a recounting of the last couple. Storytime takes the majority of the screentime, to be frank, and lacks any truly compelling storyline to bring the viewers in. When a free rapist is killed, who cares? We don´t know the guy. A molesting priest? An easy target. The narrative doesn´t seem to know what to do with itself until the end. A major character (at least by the time "Righteous Kill" comes to a close) disappears for a good hour of screen time, only to reappear when the story demands it. Perez and Riley (Leguizamo and Wahlberg) don´t do much actual police work; instead, they may be two of the luckiest-and worst-cops we´ve seen in a while. We bounce back and forth between present (in the form of Turk´s video "confession") and the past, where we see the events leading to that video. It´s much ado about nothing, to be frank, with the only reason to watch the events on screen being the actors. Because nothing we´re watching matters in the long run-we supposedly know Turk is confessing-it´s hard to become emotionally involved in the storyline. Neither man has a life we´re privy to; Perez and Riley are just as one dimensional as Turk and Rooster. And the obligatory female detective (Carla Gugino)is hopelessly out of her league, not because of the actress, but because the character is stuck in a movie that doesn´t know which way to go. Most of the blame has to go to writer Russell Gerwitz ("Inside Man"). His screenplay is focused on the end game, it never stops to smell the roses, figuratively speaking. Why is it whoever is killing these bad men is labeled a murderer and a menace when vigilantes like Batman and other superheroes do basically the same thing and are celebrated? It´s a question the screenplay doesn´t bother with either because it doesn´t think of it or doesn´t much care. That´s the interesting story here, not what we´re given. And I point to the video structure, which runs throughout the film, as the leading culprit. It´s almost insulting to the audience, if you want to know the truth. Why is Turk telling us (and the investigators) about his killings? It sounds too easy, doesn´t it, for Turk to be the bad guy here, especially when he´s confessing the entire time. So something else is up. Anyone foolish enough to think the bad guy is not one of the main characters is an idiot, to be frank; is it the woman, the man confessing, the other lead cop, the lieutenant or the other younger cops who are thrown into the film for no good reason? Hmm…let´s think… Somehow, every time I think of "Righteous Kill," I come right back to the ending, not to mention how stupefying obvious the "twist" turns out to be. So much so that, when it actually happens, we´re left with jaws agape not because of what we´re seeing, but because the screenplay is so cavalier and happy with its finale. (For the sake of argument, where exactly do Perez and Riley go after they leave Turk and Rooster alone? Do they not see the video on the camera? And even if the confession is too quick for them to come back for, the gunshots and broken glass don´t give them a clue? Should I even mention the world´s most resilient detective who gets beat up, but is able to run around town…nah, never mind.) To say the finished product is bad would be wrong. It´s not bad, per se; it´s just not as good as we were all hoping it would be. The only reason to actually see "Righteous Kill" is for the interaction between Pacino and De Niro. They have fun together, like old friends who shoot the shit over a drink or two. There are moments Pacino tries too hard to be carefree-not to mention that hair!-while De Niro is equally hard at work to present a tough guy image to counteract Captain Shakespeare from last year´s "Stardust." "Righteous Kill" rates a very mediocre 5 out of 10. Somebody needed to take the existing product and send it back through the editing process to remove the video confession scenes and add more sequences showing the two leads engaging in their own lives. And maybe-just maybe-make the other cops a bit quicker on the uptake. There´s no reason for them to look like idiots.
]]>Sun, 21 Sep 2008 13:36:20 GMTJJ79JJ79 Blog9/21/2008 9:36:20 AMI can see the pitch meeting for "Righteous Kill" now. "Pacino and De Niro are cops and one of them kills criminals who are let off the hook." And really, that simple logline is exactly what the film is about. De Niro is Turk and Pacino is Rooster, two detectives who have been partners and friends for entirely too long. They find themselves in the middle of a case where both of them are prime suspects. It seems as though generic bad guys who skirt the law in one way or another are being murdered at close range (suggesting a level of trust between the deceased and the killer). Two younger cops (John Leguizamo and Donnie Wahlberg) collaborate on the case&hellip;and they think they know whodunit. There are some actors who scream quality. Marlon Brando (before his epic fall), Morgan Freeman, Helen Mirren&hellip;these are the ones who don&acute;t accept any role just to work. It feels as though they want to be involved in the most stimulating film possible, no matter the role. Al Pacino and Robert De Niro, as of late, have seen their respective star&acute;s tarnish with outings like "88 Minutes" or "Gigli" (for Pacino) and "City by the Sea" and "Hide and Seek" (for De Niro). Maybe, though, they just enjoy working together so much the project is secondary to their personal feelings. That would explain "Righteous Kill." Right off the bat, Turk tells us he has killed fourteen people, following by a recounting of the last couple. Storytime takes the majority of the screentime, to be frank, and lacks any truly compelling storyline to bring the viewers in. When a free rapist is killed, who cares? We don&acute;t know the guy. A molesting priest? An easy target. The narrative doesn&acute;t seem to know what to do with itself until the end. A major character (at least by the time "Righteous Kill" comes to a close) disappears for a good hour of screen time, only to reappear when the story demands it. Perez and Riley (Leguizamo and Wahlberg) don&acute;t do much actual police work; instead, they may be two of the luckiest-and worst-cops we&acute;ve seen in a while. We bounce back and forth between present (in the form of Turk&acute;s video "confession") and the past, where we see the events leading to that video. It&acute;s much ado about nothing, to be frank, with the only reason to watch the events on screen being the actors. Because nothing we&acute;re watching matters in the long run-we supposedly know Turk is confessing-it&acute;s hard to become emotionally involved in the storyline. Neither man has a life we&acute;re privy to; Perez and Riley are just as one dimensional as Turk and Rooster. And the obligatory female detective (Carla Gugino)is hopelessly out of her league, not because of the actress, but because the character is stuck in a movie that doesn&acute;t know which way to go. Most of the blame has to go to writer Russell Gerwitz ("Inside Man"). His screenplay is focused on the end game, it never stops to smell the roses, figuratively speaking. Why is it whoever is killing these bad men is labeled a murderer and a menace when vigilantes like Batman and other superheroes do basically the same thing and are celebrated? It&acute;s a question the screenplay doesn&acute;t bother with either because it doesn&acute;t think of it or doesn&acute;t much care. That&acute;s the interesting story here, not what we&acute;re given. And I point to the video structure, which runs throughout the film, as the leading culprit. It&acute;s almost insulting to the audience, if you want to know the truth. Why is Turk telling us (and the investigators) about his killings? It sounds too easy, doesn&acute;t it, for Turk to be the bad guy here, especially when he&acute;s confessing the entire time. So something else is up. Anyone foolish enough to think the bad guy is not one of the main characters is an idiot, to be frank; is it the woman, the man confessing, the other lead cop, the lieutenant or the other younger cops who are thrown into the film for no good reason? Hmm&hellip;let&acute;s think&hellip; Somehow, every time I think of "Righteous Kill," I come right back to the ending, not to mention how stupefying obvious the "twist" turns out to be. So much so that, when it actually happens, we&acute;re left with jaws agape not because of what we&acute;re seeing, but because the screenplay is so cavalier and happy with its finale. (For the sake of argument, where exactly do Perez and Riley go after they leave Turk and Rooster alone? Do they not see the video on the camera? And even if the confession is too quick for them to come back for, the gunshots and broken glass don&acute;t give them a clue? Should I even mention the world&acute;s most resilient detective who gets beat up, but is able to run around town&hellip;nah, never mind.) To say the finished product is bad would be wrong. It&acute;s not bad, per se; it&acute;s just not as good as we were all hoping it would be. The only reason to actually see "Righteous Kill" is for the interaction between Pacino and De Niro. They have fun together, like old friends who shoot the shit over a drink or two. There are moments Pacino tries too hard to be carefree-not to mention that hair!-while De Niro is equally hard at work to present a tough guy image to counteract Captain Shakespeare from last year&acute;s "Stardust." "Righteous Kill" rates a very mediocre 5 out of 10. Somebody needed to take the existing product and send it back through the editing process to remove the video confession scenes and add more sequences showing the two leads engaging in their own lives. And maybe-just maybe-make the other cops a bit quicker on the uptake. There&acute;s no reason for them to look like idiots. http://www.spout.com/blogs/unclefestering/archive/2008/9/15/35170.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 9/15/2008 4:22:46 PM
Body: Righteous Kill could never live up to all the hype that the studio is throwing at this movie. So I was disappointed, but I was surprised at what disappointed me. I have gotten used to Al Pacino cruising through movies; doing weird imitations of himself. The last movie that I remember him actually making an effort in was Glengarry Glenn Ross. So, I was surprised that he wasn’t the weak link in this by the numbers not-so-thriller. Instead he gives a restrained performance. It was De Niro who gave one of his stiffest and most self-conscious performances. It was strange to watch him doing so much to make me care so little. The plot is standard cop drama. A serial killer is on the loose and is killing bad guys. The twist is that the killer is a cop. The twist depends on you not paying attention to the details of this movie and who could blame anyone for that. Jon Avnet seems determined to suck out any tension by giving the viewers the same shots they have seen over and over again in other, better movies. John Leguizamo and Donnie Wahlberg put in at least a little effort into their by the number roles.
]]>Mon, 15 Sep 2008 20:22:46 GMTunclefesteringunclefestering Blog9/15/2008 4:22:46 PMRighteous Kill could never live up to all the hype that the studio is throwing at this movie. So I was disappointed, but I was surprised at what disappointed me. I have gotten used to Al Pacino cruising through movies; doing weird imitations of himself. The last movie that I remember him actually making an effort in was Glengarry Glenn Ross. So, I was surprised that he wasn&rsquo;t the weak link in this by the numbers not-so-thriller. Instead he gives a restrained performance. It was De Niro who gave one of his stiffest and most self-conscious performances. It was strange to watch him doing so much to make me care so little. The plot is standard cop drama. A serial killer is on the loose and is killing bad guys. The twist is that the killer is a cop. The twist depends on you not paying attention to the details of this movie and who could blame anyone for that. Jon Avnet seems determined to suck out any tension by giving the viewers the same shots they have seen over and over again in other, better movies. John Leguizamo and Donnie Wahlberg put in at least a little effort into their by the number roles. http://www.spout.com/blogs/usesoap/archive/2008/9/14/35132.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 9/14/2008 8:42:49 PM
Body: “What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?” posits a character of the new cop thriller “Righteous Kill.” Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, “Righteous Kill,” arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in “The Untouchables” with the definitive mismatched-buddy film “Midnight Run.” and Pacino was burning up the screen with Ellen Barkin in “Sea of Love” and about to chew on mouthfuls of scenery in “Dick Tracy.” Had “Kill” been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's “88 Minutes” or cheapening their legacy as DeNiro repeated has in both “Analyze This” and “Meet the Parents” and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in “Rocky Balboa.” “Righteous Kill” in not that movie. In fact, the title of Pacino's previous film, “Two for the Money,” seems more fitting. It's an adequate enough vehicle -- stable, drives well – but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament “ones that got away” -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute “gotcha” and so “Kill” plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing – and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's “88 Minutes,” in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up “Die Tryin'” to be an actor, because he certainly isn't going to “Get Rich” from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in “Heat” than any scene in “Righteous Kill.” Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (“Hide and Seek,” “Godsend,” “Showtime”), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted “Law and Order” episode with two very special guest stars.
]]>Mon, 15 Sep 2008 00:42:49 GMTusesoapusesoap Blog9/14/2008 8:42:49 PM &ldquo;What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?&rdquo; posits a character of the new cop thriller &ldquo;Righteous Kill.&rdquo; Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, &ldquo;Righteous Kill,&rdquo; arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in &ldquo;The Untouchables&rdquo; with the definitive mismatched-buddy film &ldquo;Midnight Run.&rdquo; and Pacino was burning up the screen with Ellen Barkin in &ldquo;Sea of Love&rdquo; and about to chew on mouthfuls of scenery in &ldquo;Dick Tracy.&rdquo; Had &ldquo;Kill&rdquo; been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's &ldquo;88 Minutes&rdquo; or cheapening their legacy as DeNiro repeated has in both &ldquo;Analyze This&rdquo; and &ldquo;Meet the Parents&rdquo; and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in &ldquo;Rocky Balboa.&rdquo; &ldquo;Righteous Kill&rdquo; in not that movie. In fact, the title of Pacino's previous film, &ldquo;Two for the Money,&rdquo; seems more fitting. It's an adequate enough vehicle -- stable, drives well &ndash; but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament &ldquo;ones that got away&rdquo; -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute &ldquo;gotcha&rdquo; and so &ldquo;Kill&rdquo; plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing &ndash; and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's &ldquo;88 Minutes,&rdquo; in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up &ldquo;Die Tryin'&rdquo; to be an actor, because he certainly isn't going to &ldquo;Get Rich&rdquo; from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in &ldquo;Heat&rdquo; than any scene in &ldquo;Righteous Kill.&rdquo; Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (&ldquo;Hide and Seek,&rdquo; &ldquo;Godsend,&rdquo; &ldquo;Showtime&rdquo;), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted &ldquo;Law and Order&rdquo; episode with two very special guest stars. http://www.spout.com/groups/Coming_Soon/Upcoming_Movies_Week_of_9_12/216/34885/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 9/8/2008 12:14:02 PM
Body: Waa-hooo! This Friday we are officially delivered from the movie release Dead Zone! Let Oscar-bait season begin!FEATURES1. Burn After Reading -- New Coen bros. movie this Friday! Does the trailer for this dark spy comedy remind anyone else of the dark stoner/detective comedy The Big Lebowski?Brad Pitt and John Malkovich are both interviewed about the film on SpoutBlog.And there's a Recast The Big Lebowski contest you're all welcome to join in the Filmgaming group. The swag we're giving away would go great with a bathrobe.2. Righteous Kill -- Robert Deniro and Al Pacino do the bad cop/bad cop routine.This could be...(a) a supremely awesome, double-espresso shot of testosterone, a la Michael Mann's Heat. Or this could be ...(b) a blown opportunity on the level of The Score (remember that extremely forgettable movie with Deniro, Marlon Brando, and Ed Norton?) Unfortunately I'm expecting Righteous Kill to be closer to option (b). Director Jon Avnet is no Michael Mann. His most recent film 88 Minutes starred Al Pacino, was in theaters for about half an hour, and barely got a kind word spoken about it. There's some hope for Avnet, though -- the first film he directed was Fried Green Tomatoes.3. Tyler Perry's The Family That Preys -- Of all Tyler Perry films, this one looks most interesting to me. Kathy Bates and Alfre Woodard are long-time friends and the matriarchs of two seemingly different families: Bates' family is wealthy and WASPy, while Woodard's family is working class African American. The families experience similar crises, including extramarital affairs and unethical business practices.I haven't seen any Tyler Perry movies. Any fans out there that could recommend a film to start with?4. Christmas on Mars: A Fantastical Film Freakout Featuring the Flaming Lips -- (limited release) This sci-fi flick is the directorial debut of Flaming Lips frontman Wayne Coyne. The story: it's Christmastime on Mars. When the community's life support system begins to malfunction, one man on the repair team begins to hallucinate about the birth of a baby. The Lips provide the music and each band member plays a role.I'm far from a die-hard Lips fan, but this sounds incredible! The film sounds like a natural (but inspired) progression from creating rock operas like Yoshimi Battles the Pink Robots. I'd enjoy seeing more rock opera movies. Are there any films you guys would recommend? I was disappointed by Tommy, and I haven't seen Pink Floyd: The Wall (I only like about half of the music on The Wall). If you guys haven't watched The Wizard of Oz while listening to Dark Side of the Moon, I highly recommend it.Here's the trailer for Christmas on Mars: 5. The Women -- This contemporary remake of feminist comedy drama The Women (1939) stars Annette Bening, Candice Bergen, Jada Pinkett Smith, Meg Ryan, Eva Mendes, and Debra Messing. The story begins when the most-envied of the women discovers her husband is having an affair with a shopgirl. With smaller roles played by Bette Midler, Cloris Leachman, and Carrie Fisher, this movie has as many stars as The Thin Red Line.Has anyone seen the original The Women? The remake is being called gossipy and bitchy-wisecracking; do you have any other bitchy-wisecracking favorites?DOCUMENTARIES6. Flow: For Love of Water -- (limited release) Presents how corporate privatization of water is adversely affecting many around the world. 7. Moving Midway -- (limited release) When Raleigh, NC man Charlie Cheshire decides to relocate the historic buildings of the Midway plantation, white Raleigh residents are outraged at the idea of moving their beloved symbol of the Old South. This is contrasted by the perspective of another branch of the Chesire family--the descendants of the slaves who were owned by the white Cheshires. The two branches of the Cheshire family meet on camera, which would be very interesting to see. Here's the trailer:
]]>Mon, 08 Sep 2008 16:14:02 GMTSkyPilotComing Soon9/8/2008 12:14:02 PMWaa-hooo! This Friday we are officially delivered from the movie release Dead Zone! Let Oscar-bait season begin!FEATURES1. Burn After Reading -- New Coen bros. movie this Friday! Does the trailer for this dark spy comedy remind anyone else of the dark stoner/detective comedy The Big Lebowski?Brad Pitt and John Malkovich are both interviewed about the film on SpoutBlog.And there's a Recast The Big Lebowski contest you're all welcome to join in the Filmgaming group. The swag we're giving away would go great with a bathrobe.2. Righteous Kill -- Robert Deniro and Al Pacino do the bad cop/bad cop routine.This could be...(a) a supremely awesome, double-espresso shot of testosterone, a la Michael Mann's Heat. Or this could be ...(b) a blown opportunity on the level of The Score (remember that extremely forgettable movie with Deniro, Marlon Brando, and Ed Norton?) Unfortunately I'm expecting Righteous Kill to be closer to option (b). Director Jon Avnet is no Michael Mann. His most recent film 88 Minutes starred Al Pacino, was in theaters for about half an hour, and barely got a kind word spoken about it. There's some hope for Avnet, though -- the first film he directed was Fried Green Tomatoes.3. Tyler Perry's The Family That Preys -- Of all Tyler Perry films, this one looks most interesting to me. Kathy Bates and Alfre Woodard are long-time friends and the matriarchs of two seemingly different families: Bates' family is wealthy and WASPy, while Woodard's family is working class African American. The families experience similar crises, including extramarital affairs and unethical business practices.I haven't seen any Tyler Perry movies. Any fans out there that could recommend a film to start with?4. Christmas on Mars: A Fantastical Film Freakout Featuring the Flaming Lips -- (limited release) This sci-fi flick is the directorial debut of Flaming Lips frontman Wayne Coyne. The story: it's Christmastime on Mars. When the community's life support system begins to malfunction, one man on the repair team begins to hallucinate about the birth of a baby. The Lips provide the music and each band member plays a role.I'm far from a die-hard Lips fan, but this sounds incredible! The film sounds like a natural (but inspired) progression from creating rock operas like Yoshimi Battles the Pink Robots. I'd enjoy seeing more rock opera movies. Are there any films you guys would recommend? I was disappointed by Tommy, and I haven't seen Pink Floyd: The Wall (I only like about half of the music on The Wall). If you guys haven't watched The Wizard of Oz while listening to Dark Side of the Moon, I highly recommend it.Here's the trailer for Christmas on Mars: 5. The Women -- This contemporary remake of feminist comedy drama The Women (1939) stars Annette Bening, Candice Bergen, Jada Pinkett Smith, Meg Ryan, Eva Mendes, and Debra Messing. The story begins when the most-envied of the women discovers her husband is having an affair with a shopgirl. With smaller roles played by Bette Midler, Cloris Leachman, and Carrie Fisher, this movie has as many stars as The Thin Red Line.Has anyone seen the original The Women? The remake is being called gossipy and bitchy-wisecracking; do you have any other bitchy-wisecracking favorites?DOCUMENTARIES6. Flow: For Love of Water -- (limited release) Presents how corporate privatization of water is adversely affecting many around the world. 7. Moving Midway -- (limited release) When Raleigh, NC man Charlie Cheshire decides to relocate the historic buildings of the Midway plantation, white Raleigh residents are outraged at the idea of moving their beloved symbol of the Old South. This is contrasted by the perspective of another branch of the Chesire family--the descendants of the slaves who were owned by the white Cheshires. The two branches of the Cheshire family meet on camera, which would be very interesting to see. Here's the trailer: http://www.spout.com/blogs/spoutblog/archive/2008/9/5/34805.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/5/2008 4:00:30 PM
Body: September is often used as a dumping ground for movies, but this year it also appears to be a dumping ground for once-great or once-promising talents who’ve lost their way. I’ve taken note of at least 10 individuals (actors, actresses and a couple filmmakers) who have new films out this month (I’m counting the Labor Day weekend, too) who are due for a visit from the Ghost of Movies Past. More specifically, these people need to backtrack to the ‘90s, which is when most of them did their last truly great work. Perhaps they need to take a look at that earlier work and remember what it was they used to do. Or perhaps they just need to get advice from the Coen brothers, who similarly hit a slump in the new millennium, but who are now back on track with a few more Oscars in hand and a new comedy, Burn After Reading, which looks to be more in line with their ‘90s classic The Big Lebowski than their 2000s missteps Intolerable Cruelty and The Ladykillers. Nicolas Cage (guilty September 2008 release: Bangkok Dangerous) It could be argued that Cage made just as many worthless movies in the ‘90s as he has in the ‘00s. Also, considering his box office success with Ghost Rider and the National Treasure movies, plus his excellent Oscar-nominated dual role in Adaptation, it’s debatable that he’s “lost his way.” But it’s clear to me, at least, that he currently lacks any concern for the quality of his work, as evidenced by this month’s Bangkok Dangerous, which makes even Con Air look well crafted by comparison. In the ‘90s, Cage was doing much greater work for Scorsese, Lynch and even Michael Bay, and he won an Oscar for Best Actor, too. Unless he starts caring about the roles he chooses, he’s more likely to one day receive lifetime recognition by the Razzies than a lifetime achievement award from the Academy. Who he needs to work with again to get it back: the Coens; Uncle Francis (Ford Coppola); Scorsese; even Michael Bay would be good. Neil LaBute (guilty September 2008 release: Lakeview Terrace) He directed Nic Cage in the terrible 2006 remake of The Wicker Man, placing him a long way in the wrong direction from that promising playwright/filmmaker who gave us the wicked men of In the Company of Men and Your Friends and Neighbors in ’97 and ’98, respectively. With 2000’s Nurse Betty, LaBute began working from other people’s scripts, which actually wasn’t too bad considering his next fully self-authored work, the 2003 adaptation of his own play, The Shape of Things, was a one-note disappointment. This month he attempts to rise up from his 2006 disaster with Lakeview Terrace, again from material he didn’t write, and it could be decent. But despite my rejection of Shape, I’d prefer he return to the kind of mean-spirited stuff he wrote himself a decade back. If anyone else, though, I’d say he could potentially do well adapting something by Bret Easton Ellis. Who he needs to work with again to get it back: himself; Aaron Eckhart. Mathieu Kassovitz (guilty September 2008 release: Babylon A.D.) It may be hard to imagine, but the guy who helmed the critically panned new sci-fi movie Babylon A.D. was once honored as Best Director at Cannes. The year was 1995 and the film was La Haine, a powerful black-and-white French drama about three hooligans from the low-income outskirts of Paris. On Rotten Tomatoes, it is rated 100% fresh by critics; Babylon has a nearly inverse score of 7%. Kassovitz, who has also done fine work as an actor (Amelie; Munich), recently claimed that the movie is bad because of alterations made by 20th Century Fox rather than because of his work as a director. Well, fine, but the guy’s previous film, Gothika, was pretty shitty too (how it received a RT score of 73% or earned $150 million is beyond me). What he needs to work with again to get it back: French dialogue; independent distributors. Vin Diesel (guilty September 2008 release: Babylon A.D.) The star of Babylon A.D. is also in need of a ‘90s backtrack. Between Saving Private Ryan in ’98 and both Boiler Room and Pitch Black in 2000, I believed Diesel was to be this generation’s greatest action hero, one who could actually act, too (he seemed like he could then, anyway). But the guy’s been a real loser in the action and the acting departments since 2002’s xXx. Diesel made a recent try at quality work with Sidney Lumet’s Find Me Guilty, but it’s possible audiences don’t want to or simply can’t take the actor seriously enough. It’s probably too late for him, now, although he should see some increase in audience size with his return to the Fast and the Furious franchise next year. Who he needs to work with again to get it back: Spielberg. Meg Ryan (guilty September 2008 release: The Women) Can you reverse the effects of collagen implants? Ryan, who was such a cutie as a staple of ‘90s romantic comedy, now looks so creepy with all the work she’s had done on her face that it’s no wonder Picturehouse had to be so excessive with the Photoshop in the poster for The Women (though Ryan is at least slightly more recognizable than Annette Bening). To give Ryan’s doctors credit, the actress’ downturn may have actually had more to do with that misguided affair she had with Russell Crowe while making 2000’s Proof of Life, which was pretty much the beginning of her career slump. Who she needs to work with again to get it back: Tom Hanks; Nora Ephron. Jason Biggs (guilty September 2008 release: My Best Friend’s Girl) Yeah, it’s a shame that Biggs’ greatest achievement was American Pie, but that movie truly is a masterpiece compared to most of the films he’s appeared in since. However, my hope for him to backtrack to the ‘90s isn’t so he’ll recall what made him a star in a ’99 gross-out comedy; it’s to make the plea that he return to sitcoms. Before he was the pie-fucking kid, he was a semi-regular on the early ‘90s series Drexell’s Class. While I never saw the show, which only lasted 18 episodes, I do think Biggs is better suited for television, mainly because I’d rather not see his face on the big screen any longer, especially as yet another embarrassment-prone comedic sidekick, as he is in this month’s My Best Friend’s Girl. Hopefully one day he’ll get out of the cinemas and realize he’s this generation’s Jon Cryer, who eventually found his place in a lame yet popular series. Who he needs to work with to get it back: ABC; NBC; CBS. Woody Harrelson (guilty September 2008 release: Surfer, Dude) Following the signoff of Cheers in the early ‘90s, Harrelson seemed on track to be one of this generation’s most prestigious actors, on the level of Sean Penn and Russell Crowe even. Yet after wowing us in Natural Born Killers and then receiving an Oscar nomination mid-decade for The People vs. Larry Flynt, he kind of left the spotlight to appear in less-prominent films (like his other release this month, Battle in Seattle) and some less-prominent roles in major releases. He’s at least working a lot (8 releases in 2008 alone) and showing up in great movies like No Country for Old Men, but I have to wonder what he’s thinking by being in Surfer, Dude. OK, so he’s good in the occasional comedy, including this year’s Semi-Pro, but he’d far more respected if he cut back on the quantity of films and concentrated on the quality ones. Who he needs to work with again to get it back: fewer filmmakers; an agent that can get him bigger, meatier roles. Matthew McConaughey (guilty September 2008 release: Surfer, Dude) I guess it’s not surprising that McConaughey ended up in a movie called Surfer, Dude, but I still wish he’d stayed the course of films like Lone Star, A Time to Kill, Amistad and Contact instead of the sorts of romantic comedies and adventures he’s done since the turn of the century. He was even obnoxious in Tropic Thunder. Personally, I enjoyed him in 2002’s Reign of Fire, but otherwise he’s been a real disappointment this whole decade, and reuniting with his EdTV costar Woody Harrelson for a dumb surfing comedy may well be the biggest upset so far. Who/what he needs to work with again to get it back: Spielberg; Grisham novels; Jodie Foster. Cole Hauser (guilty September 2008 release: The Family That Preys) Like McConaughey, a number of fellow actors from Dazed and Confused have experienced slumps this decade, including Ben Affleck and Hauser. I honestly once believed the latter to be one of the most promising newcomers of the ‘90s. I guess it could be difficult to make a prestigious career out of only playing bad guys, but with his performances in Higher Learning and All Over Me, he seemed perfectly suited to try. Unfortunately, his villain from 2 Fast 2 Furious was a lot less than I thought him to be capable of. And he hasn’t really wowed me in anything else this decade, either. It’s possible that appearing in Tyler Perry’s attempted crossover film, The Family That Preys, will be a good career move, but I’m highly skeptical. Who he needs to work with again to get it back: Richard Linklater; Ben Affleck. Al Pacino (guilty September 2008 release: Righteous Kill) I’m picking only one of the two veteran actors united for this month’s Righteous Kill, because I’d probably be saying the same thing about each. Despite their being accepted as two of the greatest actors of the 20th century, neither has seen Oscar recognition since the early ‘90s, and neither has been very good at choosing quality roles lately. But at least Robert DeNiro has tried to do more interesting things with his career, whether it be appearing in broad comedies or returning to directing. Plus, it seems like he tried to backtrack a bit by re-teaming with his Wag the Dog director, Barry Levinson, for What Just Happened? He probably shouldn’t have just dropped out of Martin Campbell’s Edge of Darkness, but whatever. As for Pacino, he seems even more tired and passed his prime than DeNiro does, and I don’t believe he’s even tried to give a great performance in anything since 2000. The fact that he appeared in Gigli is the biggest disappointment, although it’s somewhat understandable since he was reuniting with the guy who directed him finally toward his first Oscar. His upcoming portrayal of Salvador Dali in next year’s Dali & I: The Surreal Story proves he has potential to do something unpredictable, but I’m honestly expecting another unfortunate ham effort. I’d love to see him and DeNiro paired up for an actual Scorsese movie rather than a film that’s pretending to be one (was there any other reason for the Righteous Kill trailer to feature “Sympathy for the Devil”?). Who he needs to work with again to get it back: Lumet; Coppola; DePalma. Originally posted on:SpoutBlog
]]>Fri, 05 Sep 2008 20:00:30 GMTSpoutBlogSpoutBlog on spout.com9/5/2008 4:00:30 PM September is often used as a dumping ground for movies, but this year it also appears to be a dumping ground for once-great or once-promising talents who’ve lost their way. I’ve taken note of at least 10 individuals (actors, actresses and a couple filmmakers) who have new films out this month (I’m counting the Labor Day weekend, too) who are due for a visit from the Ghost of Movies Past. More specifically, these people need to backtrack to the ‘90s, which is when most of them did their last truly great work. Perhaps they need to take a look at that earlier work and remember what it was they used to do. Or perhaps they just need to get advice from the Coen brothers, who similarly hit a slump in the new millennium, but who are now back on track with a few more Oscars in hand and a new comedy, Burn After Reading, which looks to be more in line with their ‘90s classic The Big Lebowski than their 2000s missteps Intolerable Cruelty and The Ladykillers. Nicolas Cage (guilty September 2008 release: Bangkok Dangerous) It could be argued that Cage made just as many worthless movies in the ‘90s as he has in the ‘00s. Also, considering his box office success with Ghost Rider and the National Treasure movies, plus his excellent Oscar-nominated dual role in Adaptation, it’s debatable that he’s “lost his way.” But it’s clear to me, at least, that he currently lacks any concern for the quality of his work, as evidenced by this month’s Bangkok Dangerous, which makes even Con Air look well crafted by comparison. In the ‘90s, Cage was doing much greater work for Scorsese, Lynch and even Michael Bay, and he won an Oscar for Best Actor, too. Unless he starts caring about the roles he chooses, he’s more likely to one day receive lifetime recognition by the Razzies than a lifetime achievement award from the Academy. Who he needs to work with again to get it back: the Coens; Uncle Francis (Ford Coppola); Scorsese; even Michael Bay would be good. Neil LaBute (guilty September 2008 release: Lakeview Terrace) He directed Nic Cage in the terrible 2006 remake of The Wicker Man, placing him a long way in the wrong direction from that promising playwright/filmmaker who gave us the wicked men of In the Company of Men and Your Friends and Neighbors in ’97 and ’98, respectively. With 2000’s Nurse Betty, LaBute began working from other people’s scripts, which actually wasn’t too bad considering his next fully self-authored work, the 2003 adaptation of his own play, The Shape of Things, was a one-note disappointment. This month he attempts to rise up from his 2006 disaster with Lakeview Terrace, again from material he didn’t write, and it could be decent. But despite my rejection of Shape, I’d prefer he return to the kind of mean-spirited stuff he wrote himself a decade back. If anyone else, though, I’d say he could potentially do well adapting something by Bret Easton Ellis. Who he needs to work with again to get it back: himself; Aaron Eckhart. Mathieu Kassovitz (guilty September 2008 release: Babylon A.D.) It may be hard to imagine, but the guy who helmed the critically panned new sci-fi movie Babylon A.D. was once honored as Best Director at Cannes. The year was 1995 and the film was La Haine, a powerful black-and-white French drama about three hooligans from the low-income outskirts of Paris. On Rotten Tomatoes, it is rated 100% fresh by critics; Babylon has a nearly inverse score of 7%. Kassovitz, who has also done fine work as an actor (Amelie; Munich), recently claimed that the movie is bad because of alterations made by 20th Century Fox rather than because of his work as a director. Well, fine, but the guy’s previous film, Gothika, was pretty shitty too (how it received a RT score of 73% or earned $150 million is beyond me). What he needs to work with again to get it back: French dialogue; independent distributors. Vin Diesel (guilty September 2008 release: Babylon A.D.) The star of Babylon A.D. is also in need of a ‘90s backtrack. Between Saving Private Ryan in ’98 and both Boiler Room and Pitch Black in 2000, I believed Diesel was to be this generation’s greatest action hero, one who could actually act, too (he seemed like he could then, anyway). But the guy’s been a real loser in the action and the acting departments since 2002’s xXx. Diesel made a recent try at quality work with Sidney Lumet’s Find Me Guilty, but it’s possible audiences don’t want to or simply can’t take the actor seriously enough. It’s probably too late for him, now, although he should see some increase in audience size with his return to the Fast and the Furious franchise next year. Who he needs to work with again to get it back: Spielberg. Meg Ryan (guilty September 2008 release: The Women) Can you reverse the effects of collagen implants? Ryan, who was such a cutie as a staple of ‘90s romantic comedy, now looks so creepy with all the work she’s had done on her face that it’s no wonder Picturehouse had to be so excessive with the Photoshop in the poster for The Women (though Ryan is at least slightly more recognizable than Annette Bening). To give Ryan’s doctors credit, the actress’ downturn may have actually had more to do with that misguided affair she had with Russell Crowe while making 2000’s Proof of Life, which was pretty much the beginning of her career slump. Who she needs to work with again to get it back: Tom Hanks; Nora Ephron. Jason Biggs (guilty September 2008 release: My Best Friend’s Girl) Yeah, it’s a shame that Biggs’ greatest achievement was American Pie, but that movie truly is a masterpiece compared to most of the films he’s appeared in since. However, my hope for him to backtrack to the ‘90s isn’t so he’ll recall what made him a star in a ’99 gross-out comedy; it’s to make the plea that he return to sitcoms. Before he was the pie-fucking kid, he was a semi-regular on the early ‘90s series Drexell’s Class. While I never saw the show, which only lasted 18 episodes, I do think Biggs is better suited for television, mainly because I’d rather not see his face on the big screen any longer, especially as yet another embarrassment-prone comedic sidekick, as he is in this month’s My Best Friend’s Girl. Hopefully one day he’ll get out of the cinemas and realize he’s this generation’s Jon Cryer, who eventually found his place in a lame yet popular series. Who he needs to work with to get it back: ABC; NBC; CBS. Woody Harrelson (guilty September 2008 release: Surfer, Dude) Following the signoff of Cheers in the early ‘90s, Harrelson seemed on track to be one of this generation’s most prestigious actors, on the level of Sean Penn and Russell Crowe even. Yet after wowing us in Natural Born Killers and then receiving an Oscar nomination mid-decade for The People vs. Larry Flynt, he kind of left the spotlight to appear in less-prominent films (like his other release this month, Battle in Seattle) and some less-prominent roles in major releases. He’s at least working a lot (8 releases in 2008 alone) and showing up in great movies like No Country for Old Men, but I have to wonder what he’s thinking by being in Surfer, Dude. OK, so he’s good in the occasional comedy, including this year’s Semi-Pro, but he’d far more respected if he cut back on the quantity of films and concentrated on the quality ones. Who he needs to work with again to get it back: fewer filmmakers; an agent that can get him bigger, meatier roles. Matthew McConaughey (guilty September 2008 release: Surfer, Dude) I guess it’s not surprising that McConaughey ended up in a movie called Surfer, Dude, but I still wish he’d stayed the course of films like Lone Star, A Time to Kill, Amistad and Contact instead of the sorts of romantic comedies and adventures he’s done since the turn of the century. He was even obnoxious in Tropic Thunder. Personally, I enjoyed him in 2002’s Reign of Fire, but otherwise he’s been a real disappointment this whole decade, and reuniting with his EdTV costar Woody Harrelson for a dumb surfing comedy may well be the biggest upset so far. Who/what he needs to work with again to get it back: Spielberg; Grisham novels; Jodie Foster. Cole Hauser (guilty September 2008 release: The Family That Preys) Like McConaughey, a number of fellow actors from Dazed and Confused have experienced slumps this decade, including Ben Affleck and Hauser. I honestly once believed the latter to be one of the most promising newcomers of the ‘90s. I guess it could be difficult to make a prestigious career out of only playing bad guys, but with his performances in Higher Learning and All Over Me, he seemed perfectly suited to try. Unfortunately, his villain from 2 Fast 2 Furious was a lot less than I thought him to be capable of. And he hasn’t really wowed me in anything else this decade, either. It’s possible that appearing in Tyler Perry’s attempted crossover film, The Family That Preys, will be a good career move, but I’m highly skeptical. Who he needs to work with again to get it back: Richard Linklater; Ben Affleck. Al Pacino (guilty September 2008 release: Righteous Kill) I’m picking only one of the two veteran actors united for this month’s Righteous Kill, because I’d probably be saying the same thing about each. Despite their being accepted as two of the greatest actors of the 20th century, neither has seen Oscar recognition since the early ‘90s, and neither has been very good at choosing quality roles lately. But at least Robert DeNiro has tried to do more interesting things with his career, whether it be appearing in broad comedies or returning to directing. Plus, it seems like he tried to backtrack a bit by re-teaming with his Wag the Dog director, Barry Levinson, for What Just Happened? He probably shouldn’t have just dropped out of Martin Campbell’s Edge of Darkness, but whatever. As for Pacino, he seems even more tired and passed his prime than DeNiro does, and I don’t believe he’s even tried to give a great performance in anything since 2000. The fact that he appeared in Gigli is the biggest disappointment, although it’s somewhat understandable since he was reuniting with the guy who directed him finally toward his first Oscar. His upcoming portrayal of Salvador Dali in next year’s Dali & I: The Surreal Story proves he has potential to do something unpredictable, but I’m honestly expecting another unfortunate ham effort. I’d love to see him and DeNiro paired up for an actual Scorsese movie rather than a film that’s pretending to be one (was there any other reason for the Righteous Kill trailer to feature “Sympathy for the Devil”?). Who he needs to work with again to get it back: Lumet; Coppola; DePalma. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/serialkiller/MemberTagFilms.aspxserialkiller
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