The Road's Recent Activity - Spout

Film:The Road

Fri, 16 Jan 2009 07:33:02 GMT

Title: The Road
Year: 2009
Director: John Hillcoat
Plot: A father (Viggo Mortensen) and son make their way across a post-apocalyptic United States in hopes of finding civilization amongst the nomadic cannibal tribes in 2929 Productions' adaptation of Cormac McCarthy's thrilling Pulitzer Prize-winning novel The Road. John Hillcoat (The Proposition) directs from a screenplay provided by Joe Penhall. Charlize Theron co-stars in the Dimension Films release. ~ Jeremy Wheeler, All Movie Guide
Times Tagged: 2
Number of Lists: 5
Number of blog posts: 3
Number of discussion threads: 3

Spout Post: My TFF 2009 screenings...

Tue, 15 Sep 2009 04:04:32 GMT

Post By: tadiv
Post To: Telluride Film Festival 2008
Post Date: 9/15/2009 12:04:32 AM
Body: Even though SPOUT was not in Telluride, I was and had a great time (as usual). College football cut into a little viewing time, but I still managed to see 14 feature films and 5 short films. Here's the rundown. First up Friday at "The Backlot" was 14-18, the Noise and the Fury (2009). This was an effective film on the horrors of war. Next, also at the Backlot was Disco and Atomic War (2009). Disco... was well done and a great show on the effects of mass media. After the feed, we headed to the Sheridan Opera House for the tribute to Margarethe von Trotta and her new film, Vision (2009) - it was quite good. Next, still at the Opera House was Gigante (2009). It was not among my favorites from the weekend. Saturday started off with the powerful and graphic A Prophet (2009). Next up was one of Alexander Payne's selections for revival, The Breaking Point (1950). Mr. Payne explained how he came to originally see the end of this classic and how he managed to work it into another screening opportunity where he saw the entire film for the first time. Following the classic, we moved on to the well-made Australian film, Samson & Delilah (2009). I wrapped up Saturday at "The Chuck" and a screening of Todd Solondz's new film (which was a real hoot!) titled Life During Wartime (2009). Sunday started with one of Werner Herzog's two new films, Bad Lieutenant: Port of Call New Orleans (2009). This film was fun, not too serious, but not totally a joke either. It was also fun because I sat next to Margarethe von Trotta and had the opportunity to talk about her film Vision and where it was filmed and the like. Next up was An Education (2009). this very well-made film had a serious story to tell and it told it well. After learning a lesson in love, we moved off to the tribute to Viggo Mortensen and John Hillcoat's new film The Road (2009). I really enjoyed this film. It was dark and yet hopeful; very well-done. Monday, after attending the Labor Day Picnic, we saw Veit Harlan: In the Shadow of Jud Süss (2009). This doc was a bit difficult to follow, but it was an interesting look at how the descendants of Harlan deal with the truth about their ancestor. Next we saw the very well-made film by Michael Hoffman, The Last Station (2009). Can you say "Oscar Bait"? The final feature of the weekend was Henri-Georges Clouzot's Inferno (2009). This was a collection of clips and reenactments (based upon script notes) from the failed Inferno project from the early 1960's. My impression of the film was that Clouzt was in over his head and did not know what film he was trying to make - and it seems that it almost killed him. The short films I saw, all preceding features, were: Hulahoop Soundings (2008), The Kinda Sutra (2008), Photographs of Jesus (2008), Scoring (2008), and VEM (I Know) (2008). It was another really good Labor Day Weekend! Tom

Spout Post: [REVIEW] The Road

Wed, 09 Sep 2009 23:36:33 GMT

Post By: tadiv
Post To: tadiv Blog
Post Date: 9/9/2009 7:36:33 PM
Body: Dimension Films, The Weinstein Company, and 2929 Productions present The Road, a film by John Hillcoat. Based upon the acclaimed novel of the same name by Cormac McCarthy and adapted by Joe Penhall, The Road stars Viggo Mortensen and Kodi Smit-McPhee with notable names in supporting performances given by Robert Duvall, Guy Pearce, and Charlize Theron. This picture was filmed by Javier Aguirresarobe. The Road runs 119 minutes and has been rated “R” by the MPAA. A father and his son travel south during the onset of the Apocalyptic Winter. Tied together by love like a nearly unbreakable rope and the commitment to remain “good guys” and to “carry the flame” of humanity, they face danger and fight to survive with each new approaching moment. The man and boy love each other as would be expected by father and son. It is a strong bond that can only be broken by death. It is a bond that guides both in their determination and behavior. Each influences the other to keep the moral high ground. It is difficult to describe how very bleak this film presents the world in the near-future. The sky is gray and lifeless as if covered by an old dirty and musty bed sheet. The landscape seems as lifeless – the trees are all dead and there seems to be no other plant life. The earth shakes and trembles like some old animal dying of a terrible, terminal illness. Most of the people encountered have lost their humanity, giving it up for a singular desire to survive another day. Others, while not willing to do anything bad, have given up their dignity. And it seems more than not have just given up and committed suicide to avoid the inevitable – they chose their death instead of allowing it to come to them in an unknown and likely violent form. It is also difficult to describe how well the boy was played by Kodi Smit-McPhee. At first, one tires of his character saying “Papa” all the time. Then, as the two characters pull you in, you realize that each “Papa” is different just as in paint samples, so too is the tone of each “Papa” different and appropriate for the situation. The tones ring of naive questioning, panic, fear, disapproval, joy, begging for compassion, and many others. Much is said with the tone of voice or just a look on his face and he is very successful in this communication to the audience. Viggo Mortensen was strong as the man. Dedicated to the safety and survival of his family and its humanity, he was willing to do whatever was needed to ensure that maintained a moral compass while surviving the gauntlet of dangers at every turn. He was not going to quit. He was not going to set a bad example for his son to see. He was determined to do the right thing in impossible scenarios. Often there were times when the love and compassion he gave to his son was reflected back to steady his course. A look at the supporting roles can only start one place. Robert Duvall delivers his character in glowing fashion. It is stunning how good he is in the short role he plays as the old man. Guy Pearce does a very nice job with his role as well, quickly convincing the audience that he is a stranger who may be trusted. That leaves us with Charlize Theron. Her role was greatly over cast. Many a lesser talented actress could have done as well with the role. There was just not enough to the role for her talents to really shine. The picture is filmed very effectively, delivering the gloom and impending danger as well as the glimmering of hope for the future. Sets and locations and scenes deliver the reality that draws one into the story, making you believe the reality of the situation. The Road is a very good film and we should all sit in a theater and take it in - it tells what the future may hold, both the bad and the good.

Spout Post: Re:Disaster Most Likely to End the World

Wed, 07 Jan 2009 14:42:50 GMT

Post By: csprague
Post To: DOOMSDAY
Post Date: 1/7/2009 9:42:50 AM
Body: [quote user="benthams_head"] I'll cheat a bit here and throw out the forthcoming movie adaptation of Cormac McCarthy's "The Road". I've only read the book, obviously, but it had me reaching for an extra dose of Wellbutrin every 50 pages or so. I expect the film to be every bit as bleak and realistic under John Hillcoat's direction. It may even beat out "Mall Cop" as the most depressing film of 2009. [/quote] Sounds...awesome? Well, something to look forward to in the midst of a rather meager 2009 line up. Ditto on Mall Cop.

Spout Post: Thanksgiving Movie Marathon: 10 Cannibal Movies

Tue, 25 Nov 2008 19:01:13 GMT

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 2:01:13 PM
Body: When you gather with your loved ones this week, be sure to give extra thanks for that turkey or soy-based equivalent on which you’re about to dine. Times are hard, but for most of us, we’re still able to eat. Nevertheless, we need to prepare for the even tougher times that inevitably lay ahead. As countless movies attest, desperate times call for desperate measures at the dinner table. Like cannibalism. The circumstances under which “eat or be eaten” becomes the rule vary widely. Plenty of films have taken on this ancient taboo; in fact, a search for the tag “cannibal” on Spout.com yields eleven pages of results. For your holiday viewing pleasure, I’ve narrowed the list down to ten. Alive Often the best cannibalism stories are the true ones. The tale of the Uruguayan rugby team that crash-landed in the Andes and eventually resorted to eating the dead is one that filmmakers can’t get enough of. Not only was it the source for 1993’s Alive, starring Ethan Hawke, the story was also told in a documentary that same year, Alive: 20 Years Later. Recently, there have been two more documentaries: an episode of the National Geographic show Trapped, and Stranded: I Have Come from a Plane That Crashed on the Mountains (2008). I wonder what’s harder, surviving 72 days in the mountains with no food, or repeatedly being asked, “So, when did you decide to eat you friends?” Soylent Green Sure, putting this on the list is a spoiler. But if this movie hasn’t been ruined yet by The Simpsons or one of the many other references to soylent green’s mysterious ingredient, you’ve been living under a rock. While there are plenty of sci-fi movies that depict a future where desperation leads to cannibalism, Soylent Green is notable because the taboo is the act of a corporation, rather than a savage choice by an individual. Eating Raoul (This clip is NSFW) A gold standard for black comedies, this 1982 film follows the story of Paul and Mary, a married couple hard up for cash. While fending off a would-be rapist, they realize they can make a decent living killing unsuspecting swingers and taking their money. Raoul, a locksmith/burglar, finds out about their scheme, and wants in on the action. He helps them dispose of bodies, until his desire for Mary complicates the arrangement. If you want to know how it ends, um… read the title again. Zombie Movies It’s impossible to pick just one, when there are so many great flicks about brain-hungry walking dead. George Romero, godfather of all things zombie, must be mentioned. His first film, Night of the Living Dead, was the first zombie movie where the creatures wanted to eat the flesh of the living. Romero continues his Dead series of zombie apocalypse movies, along with countless imitators. BRAAAAAINS!!! The Silence of the Lambs Know what we need more of? Academy Award winning cannibal movies. There aren’t enough of them. This is a total classic. Anthony Hopkins holds two records: one, the shortest amount of screen time to ever win a best actor Oscar (16 minutes). And two, being the creepiest human being on the planet. 301/302 This Korean horror film is notable because it is centered only on female characters. Two women, neighbors in an apartment building, have very different ways of dealing with the travails of life. Their differences come to a head in a final scene that you should probably skip if you have a weak stomach. You’ve been warned. C.H.U.D. Another staple of obscure Simpsons references, the 1984 cult classic C.H.U.D. tells the story of “Cannibalistic Humanoid Underground Dwellers” who are eating the homeless in New York City. The C.H.U.D.’s, once homeless people themselves, were mutated by improper storage of nuclear waste, turning them into flesh-hungry beasts. Delicatessen Before Jean-Pierre Jeunet made Amelie, he made some dark and freaky movies. His first was Delicatessen. It’s a darkly comic post-apocalyptic tale about a small apartment building with a butcher shop on the ground floor. Meat is becoming scarce, and you know what that means. This film is actually a great companion piece to Amelie, because it shares the playful quality and fun cast of character with the later film. And people get eaten. Keep The River On Your Right: A Modern Cannibal Tale As a young man, Tobias Schneebaum lived with the Harakambut people of Peru and the Asmat people of Indonesia, both cannibalistic tribes. In true “going native” style, he not only joined them in their wars against other tribes, he also partook or their unsavory meals. He returned in 1999 with a documentary crew, was reunited with his former lover, and confronted the scars of war and fear. Interesting bit of info: the Asmat tribe are suspected of killing and eating Michael Rockefeller, son of New York Governor Nelson Aldrich Rockefeller, but there is no proof. This was before Schneebaum arrived. But it would be pretty crazy if Schneebaum, a native New Yorker, ate one of his city’s elite. Hopefully a fictionalized version will come to the screen that’s not afraid to take some artistic license in this matter. [minor spoiler alert] The Road This adaptation of the award-winning Cormac McCarthy novel of the same name was once my most highly anticipated 2008 release. Sigh. It is now my most highly anticipated 2009 release. The film version will star Viggo Mortensen as the father of a young boy, the two of whom struggle to traverse a burned, post-apocalyptic landscape. I understand that simply putting it on this list could be seen as a minor spoiler, so I won’t say anything else about it. We’ll have to wait a little while, but The Road offers hope that The Silence of the Lambs will no longer be alone as an Oscar-snagging tale dealing with the most taboo of food choices. Originally posted on:SpoutBlog

Spout Post: Australia’s Oscar Chances: Does Oprah’s Endorsement Matter?

Mon, 17 Nov 2008 22:00:58 GMT

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/17/2008 5:00:58 PM
Body: Oprah Winfrey can certainly create a best seller when it comes to books, and her pick of the presidential candidates is on his way to the White House. But can she get behind a movie and contribute to its success? 20th Century Fox seems to hope so, because the studio apparently allowed the talk show host to screen an unfinished cut of Australia in preparation for her November 10 show, which featured the film’s stars, Nicole Kidman and Hugh Jackman, as well as a live-via-Skype call-in from filmmaker Baz Luhrman. Fortunately for Fox, Oprah raved about the film, and now the media has latched on to the endorsement, creating some much-needed positive buzz for the Oscar-hopeful. Yet there’s a big problem with all the excitement: Oprah’s film recommendations have hardly been sure-fire champs in the past. Case in point: the first title I came upon while searching for Oprah-select cinema was something called Christmas in the Clouds, a 2005 indie that she chose as her “must see holiday movie,” in O magazine a few years back. The film barely grossed a quarter-million dollars in theaters, but even if her endorsement didn’t occur until its DVD release in November 2006, there’s still no proof of popularity from the rental charts of the time, and two years later fewer than 250 people have rated it on IMDb (not the best for determining how many people have seen it, sure, but such a small number of votes is still somewhat revealing). As for awards recognition, well, it received the Audience Award at the 2001 Austin Film Festival, and it was named the best Native American-themed film the same year at the Santa Fe Film Festival, but the majority of Academy voters probably never even heard of it. Okay, so that is an extreme example of a film that had not even one percent of the marketing budget of Australia. So, let’s take a look at some of the bigger releases that Oprah has recommended more recently. Well, there is Michael Moore’s Sicko, which she labeled “the one movie you must see this summer,” a few weeks prior to its barely wide release in June 2007. Considering its theater count and its genre, the documentary’s final domestic gross of $24.5 million was quite an achievement, especially since only two other docs have grossed more (including Moore’s Fahrenheit 9/11, which will stay on top for quite awhile with its $119.1 million). Oh, and yes, Sicko earned an Oscar nomination, too. But did Oprah’s statement really have that much impact on Sicko’s success? What about all the other titles with Oprah connections that haven’t performed so well? Films based on her book club selections, from her inaugural title, The Deep End of the Ocean, to the recent adaptation of Love in the Time of Cholera, have rarely been blockbusters, and the three Academy nominations for House of Sand and Fog are hardly thanks to her love for and endorsement of that novel. Of course, film adaptations are not necessarily ever pegged to the praises of their source material, which is why Oprah’s name has not been linked to the expected Oscar contenders The Reader and The Road. Then there are the films she’s been directly involved with. Beloved, which she produced and starred in, earned a middling gross of $22.9 million. Its sole Oscar nomination was for costume design. Her more recent production, The Great Debaters, did a little better money-wise with $30.2 million, but it failed to garner the Academy’s attention. Ignoring the animated films she’s lent her voice to, you have to go back 23 years, long before she had the powers of influence she’s currently known for, to find something as big as Fox would like Australia to be. It was then that The Color Purple earned nearly $100 million and 11 Oscar nominations (none of which it won). As for films that Oprah simply promotes and recommends on her show, there is no clear certainty that she can influence either box office or the Oscars. She’s featured the casts from Crash and Brokeback Mountain, yet she’s also given time to publicize films like Alexander and Things We Lost in the Fire. Last week, after calling Australia “the film we needed to see,” she also helped to sell Marley & Me, a movie that might benefit slightly in increased ticket sales thanks to the appearances by Jennifer Aniston, yet there are no news reports mentioning anything but Aniston’s comments about her ex-husband. There’s likewise little media attention given to the fact that Oprah also apparently saw Seven Pounds, the Will Smith movie that, like Australia, has so far received no reviews. Was there no soundbite from Smith’s appearance earlier this month? Seven Pounds is also a mysterious Oscar contender with some needed positive buzz, though maybe Sony Pictures didn’t think to feed the press anything regarding Oprah’s connection to that film the way Fox has pushed them on the Australia endorsement. And what of Oprah’s praise anyway? She said, “I have not been this excited about a movie since I don’t know when.” How excited? And be more specific. Since forty years ago? Since Titanic? Since Christmas in the Clouds? Is this really the best movie of the year? Other than turning the expectations up a little higher following the recent negativity surrounding Australia, Oprah hasn’t really offered us anything except hope. So, a word to Fox: it’s about time you let the real critics see this alleged masterpiece so we can actually find out if this film has some real chances at an Oscar. Originally posted on:SpoutBlog

Spout Post: Preparing for Global Financial Apocalypse: Seven Lessons from the Movies

Tue, 16 Sep 2008 16:01:20 GMT

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/16/2008 12:01:20 PM
Body: (Image: Hisaharu Motoda’s “Neo-Ruins” via Pink Tentacle) The latest news from Wall Street seems to indicate that a complete financial meltdown is only a few weeks away. Before you violently horde every morsel of food from your local supermarket or begin a hostile take-over of your corner gas station, there are several movies you should watch in order to prepare for life after the downfall of Western civilization. There have been plenty of films in which the world we know is nothing but a burned out shell of its former glory. Nuclear holocaust and virulent plagues are common Earth-clearing disasters, but there’s no reason to think that a global economic collapse would be any less destructive. Let’s not forget that one of history’s most common causes for war is a desperate grab for resources during tough times. So without further ado, seven lessons from the movies, essential for surviving our impending doom: 1. Hoard gasoline! Plenty of people are already getting a jump on this one, apparently upping demand to the point where falling oil prices are not translating to the pump. If you think waiting 15 minutes in line to buy gas at $4.50 a gallon is bad, watch The Road Warrior again. From the opening sequence where Mel Gibson gingerly harvests every precious ounce of fuel from an abandoned vehicle to the final deadly battle over a tanker truck, it’s clear that in a post-apocalyptic world, gas is gold. Sure, we’re working on becoming less dependent on the stuff, but what good is a Chevy Volt going to do you if the power grid is in shambles? 2. Learn a trade that’s useful regardless of available technology! Farmers, builders, doctors, these people will always be useful, even if your society’s currency consists only of the teeth of your enemies. If your skill set is of a less practical variety, don’t worry, people will still need entertainment. One good model is Kevin Costner’s character in The Postman. Before he takes on the titular role as a letter carrier, he makes his way from town to town as a traveling minstrel. The Pony Express-style mailman gig he eventually gets is a good job as well, but it tends to be quite dangerous. 3. Do not take a job at a butcher shop! I can’t stress this one enough. History has unfortunately proven that when times get extremely tough, people will eat one another, it’s a natural consequence of human depravity. If you see an ad in the paper for a general labor position with a high turn-over rate at a deli specializing in fresh meat, don’t be foolish like Dominique Pinon’s character in Delicatessen. The dark comedy, from Amélie director Jean-Pierre Jeunet, tells the story of a former circus performer who lands a job at a butcher shop with a less than wholesome supply chain. If McDonalds is still open when New York’s financial district is nothing more than a smoking ruin used to house gladiatorial death matches, be suspicious. 4. If you are fertile, be careful with your precious seed! The human race is notoriously tenacious, so don’t think the collapse of society means the end of our fair race––we’ll survive, somehow. But when things get really crazy, potential candidates for the new Adam and Eve need to be on guard. Alfonso Cuarón’s Children of Men is an excellent example of how post-apocalyptic citizens can go baby crazy. There are also a number of examples of post-apocalyptic fiction where a fertile man is a highly sought-after commodity in a female-dominated dystopia. A Boy and His Dog and Hell Comes to Frogtown both feature walking sperm banks charged with saving womankind (played by Don Johnson and Rowdy Roddy Piper, respectively). Also, SciFi Wire reported yesterday that Eagle Eye director D.J. Caruso’s next film will be an adaptation of Brian K. Vaughan’s amazing graphic novel Y the Last Man. The film will (presumably) star Shia LaBeouf as Vic, who is, you guessed it, the last human male on earth. 5. For God’s sake, save the library! This tip doesn’t concern personal survivability so much as a general service to humanity. When I was in school I was forced to watch the 1960 film adaptation of H.G. Wells’ The Time Machine for some reason. I loved it. But I was also terrified by its vision of the future. My most vivid memory of the film is when our hero finds that future generations have not maintained the library, letting the entire record of human history literally turn to dust. It’s a good thing that people like Wired magazine founding editor Kevin Kelly are doing cool things like The Long Now Project, because digital storage of information is almost comically transient. Also, if you don’t think things this important can really be lost, watch the 2007 Iraq war documentary No End in Sight. The part about the looting of the National Museum and the burning of the Iraqi National Archives made me cry. 6. If you live in a temperate climate, head South! This one is simple enough, and it’s the premise of Cormac McCarthy’s 2006 Pulitzer Prize winning novel The Road, the film adaptation of which will be in theaters this November, starring Viggo Mortensen. The story dispenses with the typical global catastrophe story line common to most post-apocalyptic tales, and focused instead on a man and his son attempting to avoid danger as they head South for the winter through a blighted landscape. This is the film I most look forward to this fall; it takes the genre in a very serious direction, so don’t expect any Mad Max-like car chases. For our purposes here, The Road really teaches two valuable lessons: one, even something seemingly simple, like heading South, can be potentially deadly; and two, it gives some great tips on scavenging through buildings that have already been picked over by looters. 7. If given the opportunity to travel back in time to thwart the collapse of civilization, do not fall in love! If you are the one chosen to save humanity via time travel, it’s important to avoid the retro sex appeal possessed by the single people of the past. This is no time for love! Two films illustrate this, one is a remake of the other. The 1962 French short film La Jetée uses a montage of stunningly beautiful black and white stills to tell the story of a time traveler distracted from his mission by romance. It’s one part French New Wave, one part killer sci-fi, and an absolute classic. Terry Gilliam expanded the story with his 1995 adaptation, 12 Monkeys. If you’ve seen either film you know that the missions to the past are not exactly successful, although it’s debatable whether or not romance is to blame. Nevertheless, if the future of humanity is in your hands, stay on task! Originally posted on:SpoutBlog

Spout Post: Re:Weekly Theme for June 30: Post Apocalyptic Funtime

Mon, 30 Jun 2008 23:28:13 GMT

Post By: mercurial
Post To: Weekly Theme
Post Date: 6/30/2008 7:28:13 PM
Body: So many fun little features to choose from, where ever shall I begin? Undeniably the best (or just the most pervasive) films about living in a post-apocalyptic society are: Battle Royale The Matrix Mad Max, The Road Warrior & Mad Max Beyond Thunderdome 12 Monkeys & La Jetee Delicatessen & The City of Lost Children Those straddling the line with extreme lovers and haters: Reign of Fire Tank Girl The Omega Man I Am Legend The Day After Tomorrow Waterworld Akira Doomsday Southland Tales The Matrix Reloaded & The Matrix Revolutions And those that have been cast into the gallows of film history: Titan A.E. Aeon Flux (the movie, not the television series) The Postman Teenage Caveman Battlefield Earth Lastly, Wall-E, which is apparently the best movie ever. I haven't had a chance to see it yet. And The Road, which has yet to come out yet, but after having read the book I am utterly certain the film will be incredible.

Spout Post: The Road

Thu, 07 Feb 2008 01:41:31 GMT

Post By: TheWorkingDead
Post To: The Film Library
Post Date: 2/6/2008 8:41:31 PM
Body: In his review of No Country For Old Men, Roger Ebert makes a really appropriate observation about Cormac McCarthy's writing style, using Anton Chigurh's name as an example: The man is named Anton Chigurh. No, I don't know how his last name is pronounced. Like many of the words McCarthy uses, particularly in his masterpiece Suttree, I think it is employed like an architectural detail: The point is not how it sounds or what it means, but the brushstroke it adds to the sentence.That seems particularly apt, because, based on my limited experience with McCarthy, he belongs to that class of author whose language matters just as much, if not sometimes more, than what he's actually writing about. Yukio Mishimi would be another such author. In The Road (currently in pre-production), Cormac McCarthy's leisurely, haunted language pulls you into the heart of the story more than any of the events themselves. It's a book that, written any other way, would have been a pointless rehash of something we've all seen before; the two pilgrims travelling through a dead, burned, post-apocalyptic America. Again, it isn't what happens, so much as it is how it's told.So, do I think McCarthy's quietly devestating, haunting novel can be adapted faithfully to the screen? Before seeing No Country For Old Men I would have said no, but now I'm not so sure. The Coen Brothers actually improved on some of McCarthy's words, and while their film may be the rarity, it is proof that it can happen. And I think, I'm hopeful, that the man who made the similarly haunting, devestating film The Proposition may be able to pull it off.

Spout Tag:adaptation

Sat, 24 Oct 2009 19:17:59 GMT

adaptation
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Spout Tag:survivor

Tue, 04 Aug 2009 13:05:14 GMT

survivor
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Spout Tag:mccarthy

Tue, 25 Nov 2008 23:30:30 GMT

mccarthy
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Spout Tag:postwar

Sat, 26 Jul 2008 01:58:52 GMT

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Spout Tag:Telluride09

Fri, 23 Oct 2009 02:28:55 GMT

Telluride09
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Spout Tag:postholocaust

Thu, 03 Jul 2008 13:02:06 GMT

postholocaust
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