list http://www.spout.com/ Recent community activity around Man on Wire 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/Man_on_Wire/358670/default.aspx Title: Man on Wire
Year: 2008
Director: James Marsh
Plot: On August 7, 1974, a 24-year-old French high-wire artist named Philippe Petit committed one of the most astonishing performance stunts of the late 20th century: he strung a thin cable in between the two towers of the World Trade Center and not only walked across, from one building to another, but did a nerve-wracking series of knee-bends and acrobatic movements on the cable, some 1,350 feet above the ground, before turning himself in. This occurred to the consternation and chagrin of Port Authority policemen, who immediately arrested Petit for the act -- prompting many to dub Petit's stunt "the artistic crime of the century." James Marsh's documentary Man on Wire revisits and recounts this chain of events some 34 years after they occurred. ~ Nathan Southern, All Movie Guide
Times Tagged: 46
Number of Lists: 34
Number of blog posts: 27
Number of discussion threads: 4
SpoutRating: 4
]]>Sat, 16 May 2009 19:06:28 GMTMan on Wire2008James MarshOn August 7, 1974, a 24-year-old French high-wire artist named Philippe Petit committed one of the most astonishing performance stunts of the late 20th century: he strung a thin cable in between the two towers of the World Trade Center and not only walked across, from one building to another, but did a nerve-wracking series of knee-bends and acrobatic movements on the cable, some 1,350 feet above the ground, before turning himself in. This occurred to the consternation and chagrin of Port Authority policemen, who immediately arrested Petit for the act -- prompting many to dub Petit's stunt "the artistic crime of the century." James Marsh's documentary Man on Wire revisits and recounts this chain of events some 34 years after they occurred. ~ Nathan Southern, All Movie Guide46Tag Target (>10)342744http://www.spout.com/ProductImages/s358670.jpghttp://www.spout.com/films/Man_on_Wire/358670/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/2/27/40731.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/27/2009 6:02:34 PM
Body: “It often seems that when there isn’t an obvious, populist pick in the Academy’s documentary feature category (such as Bowling for Columbine, March of the Penguins or An Inconvenient Truth), the field is rife for an upset,” points out Kris Tapley. This may, he suggests, be evidence enough that James Marsh’s Man on Wire, the presumed frontrunner in the Oscar Best Documentary category, is vulnerable to an upset. That makes sense. Slightly more aggravating: the substance behind Tapley’s suggestion that Wire doesn’t deserve to win. “Having finally viewed all of the nominees, I can’t deny how impactful each of the other contenders is,” Tapley writes. “Furthermore, James Marsh’s film is largely composed of talking head interviews and pre-existing footage, not to mention dubious reenactments. Each of the other contenders, meanwhile, are the result of original filmmaking.” I agree that Encounters at the End of the World and The Betrayal are qualitatively more interesting films (I haven’t seen The Garden). My questions: what is it about Trouble the Water’s handicam verite that qualifies as the more “original filmmaking”, and what qualifies the reenactments in Wire –– which I thought were subtle, artful, and necessary –– as “dubious”? “Dubious” is a word that Tapley uses a lot. Remembering that he used it to describe my review of Dear Zachary, I did a search for “dubious” on his site, and saw that the phrase “dubious reenactments” also popped up in his review of the Oscar shortlisted film Blessed is the Match. So now I’m wondering if that word means what I think it means. In any case, I’ve lost my share of Oscar pools thanks to surprises in the Best Documentary category, so I’m on board with the concept that Man on Wire may not be a safe bet. And as much respect as that film deserves, I’d rather see Werner Herzog win, not just for the brilliance of Encounters, but for his entire nonfiction filmmaking career. Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 27 Feb 2009 23:02:34 GMTKarinaKarina on SpoutBlog2/27/2009 6:02:34 PM“It often seems that when there isn’t an obvious, populist pick in the Academy’s documentary feature category (such as Bowling for Columbine, March of the Penguins or An Inconvenient Truth), the field is rife for an upset,” points out Kris Tapley. This may, he suggests, be evidence enough that James Marsh’s Man on Wire, the presumed frontrunner in the Oscar Best Documentary category, is vulnerable to an upset. That makes sense. Slightly more aggravating: the substance behind Tapley’s suggestion that Wire doesn’t deserve to win. “Having finally viewed all of the nominees, I can’t deny how impactful each of the other contenders is,” Tapley writes. “Furthermore, James Marsh’s film is largely composed of talking head interviews and pre-existing footage, not to mention dubious reenactments. Each of the other contenders, meanwhile, are the result of original filmmaking.” I agree that Encounters at the End of the World and The Betrayal are qualitatively more interesting films (I haven’t seen The Garden). My questions: what is it about Trouble the Water’s handicam verite that qualifies as the more “original filmmaking”, and what qualifies the reenactments in Wire –– which I thought were subtle, artful, and necessary –– as “dubious”? “Dubious” is a word that Tapley uses a lot. Remembering that he used it to describe my review of Dear Zachary, I did a search for “dubious” on his site, and saw that the phrase “dubious reenactments” also popped up in his review of the Oscar shortlisted film Blessed is the Match. So now I’m wondering if that word means what I think it means. In any case, I’ve lost my share of Oscar pools thanks to surprises in the Best Documentary category, so I’m on board with the concept that Man on Wire may not be a safe bet. And as much respect as that film deserves, I’d rather see Werner Herzog win, not just for the brilliance of Encounters, but for his entire nonfiction filmmaking career. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40699.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:01:44 PM
Body: Two more days until we find out who wins this year’s Academy Awards! Okay, so the exclamation point is more than forced. It’s been quite awhile since we’ve had even an ounce of excitement about the Oscars. But we mustn’t let predictability get us down. Sure, even the still-uncertain races (Penn vs. Rourke; Winslet vs. Streep; Man on Wire vs. Trouble the Water) are anything but interesting, because the everyman of 2009 couldn’t care less about who gave the year’s better performance and would probably be fine shrugging his shoulders at the TV screen in the event of a tie (or, better yet, irresolution). However, there’s one thing people keep forgetting about the Academy: they’re full of surprises. So, rather than just go with the easy, “predictable” predictions, we attempted to guess who and what will Crash the Oscars this year with a surprise victory — preferably the kind that adds an “ing” to “upset.” And once again, we’d like to extend the forecasting fun to you. What surprises do you expect and/or hope for? Or, if you’re down with the boring route, what “certain” winners do you truly believe in? And why? The most accurate comments will be reprinted in our final Oscar column on Monday. Best Picture: The Curious Case of Benjamin Button If the Academy didn’t continually cause controversial commotion with Best Picture picks like Shakespeare in Love and Crash, we wouldn’t have very much to talk about the morning after, or years later. So, in a way it’s exciting and somewhat necessary to have the occasional baffling or infuriating upsets in the top category. The one film that would piss off more people this year than any other, even more than The Reader, is Benjamin Button, especially since it pretty much already had the (dis)honor of being an undeserving Best Picture winner 15 years ago. Best Director: Stephen Daldry (The Reader) If Benjamin Button is to win Best Picture, then Danny Boyle should probably still win Best Director, because often in the years of controversial Best Picture upsets the director’s prize still goes to the (critical) favorite. Think of Steven Spielberg in ’99 and Ang Lee in ’06. But just to prove the Oscars are completely out of touch, we have to go with the Academy favorites of Daldry and the Holocaust. Both Fincher and Boyle are Oscar newbies and may have their turn with some future, more lackluster effort. Best Actress: Anne Hathaway (Rachel Getting Married) For this category, we’re looking to the 2008 presidential election. Let’s consider Meryl Streep to be the older, more experienced, and typically well-respected candidate, who will lose to the young novice in her very first bid. Where that puts thought-to-be-a-lock Kate Winslet in the analogy is not important. As long as people keep mentioning Obama in their reasoning for why Slumdog Millionaire will win Best Picture, it’s just as fair to recognize Hathaway as the most Obama-like choice for Best Actress. Best Actor: undetermined As much as a tie in this category would be a surprising and slightly satisfying turn of events (even though it would be more appropriate in the Best Actress race, since Streep will forever be compared to Katherine Hepburn, who tied with Barbara Streisand 30 years ago), we’re looking to another political race of last year for the Best Actor decision. All we’ll know Sunday night is that it’s still down to Sean Penn and Mickey Rourke. But don’t worry, we’ll find out who actually wins in a few months. Best Supporting Actress: Marisa Tomei (The Wrestler) Just as Judy Davis probably deserved the Supporting Actress Oscar more for her performance in a Woody Allen film 16 years ago, Penelope Cruz probably deserves it more this year, also for a Woody Allen film. But Tomei is the champion of Oscar surprises, and we could very well see a repeat of 1993. At least this time she’s a little more worthy. Best Supporting Actor: Heath Ledger (The Dark Knight) Okay, there’s no chance of a surprise here. Because if the Oscar goes to anyone but Ledger, a crazed fan will likely blow up the Kodak. And the Academy must presume that Tommy ‘Tiny’ Lister won’t conveniently have access to the detonator this time. Best Adapted Screenplay:  Eric Roth and Robin Swicord (The Curious Case of Benjamin Button) Never mind the tremendous amount of work Roth put into expanding a very short story into a very, very long film. His and Swicord’s true triumph is in how they were able to rewrite Forrest Gump and repackage it well enough to fool $242 million-worth of moviegoers. Hollywood is surely obligated to reward the duo for pulling off such a double-tiered adaptation and such a well-played moneymaking scheme. Best Original Screenplay: Andrew Stanton, Jim Reardon and Pete Docter (WALL-E) Yes, a lot of people are predicting this to win the Oscar, and so it won’t be quite as much a surprise as a win for Frozen River would be. But the real shocker is going to be when Kung Fu Panda wins Best Animated Feature, a repeat of its glory at the Annies, and Academy logic once again goes completely out the window. Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:01:44 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:01:44 PMTwo more days until we find out who wins this year’s Academy Awards! Okay, so the exclamation point is more than forced. It’s been quite awhile since we’ve had even an ounce of excitement about the Oscars. But we mustn’t let predictability get us down. Sure, even the still-uncertain races (Penn vs. Rourke; Winslet vs. Streep; Man on Wire vs. Trouble the Water) are anything but interesting, because the everyman of 2009 couldn’t care less about who gave the year’s better performance and would probably be fine shrugging his shoulders at the TV screen in the event of a tie (or, better yet, irresolution). However, there’s one thing people keep forgetting about the Academy: they’re full of surprises. So, rather than just go with the easy, “predictable” predictions, we attempted to guess who and what will Crash the Oscars this year with a surprise victory — preferably the kind that adds an “ing” to “upset.” And once again, we’d like to extend the forecasting fun to you. What surprises do you expect and/or hope for? Or, if you’re down with the boring route, what “certain” winners do you truly believe in? And why? The most accurate comments will be reprinted in our final Oscar column on Monday. Best Picture: The Curious Case of Benjamin Button If the Academy didn’t continually cause controversial commotion with Best Picture picks like Shakespeare in Love and Crash, we wouldn’t have very much to talk about the morning after, or years later. So, in a way it’s exciting and somewhat necessary to have the occasional baffling or infuriating upsets in the top category. The one film that would piss off more people this year than any other, even more than The Reader, is Benjamin Button, especially since it pretty much already had the (dis)honor of being an undeserving Best Picture winner 15 years ago. Best Director: Stephen Daldry (The Reader) If Benjamin Button is to win Best Picture, then Danny Boyle should probably still win Best Director, because often in the years of controversial Best Picture upsets the director’s prize still goes to the (critical) favorite. Think of Steven Spielberg in ’99 and Ang Lee in ’06. But just to prove the Oscars are completely out of touch, we have to go with the Academy favorites of Daldry and the Holocaust. Both Fincher and Boyle are Oscar newbies and may have their turn with some future, more lackluster effort. Best Actress: Anne Hathaway (Rachel Getting Married) For this category, we’re looking to the 2008 presidential election. Let’s consider Meryl Streep to be the older, more experienced, and typically well-respected candidate, who will lose to the young novice in her very first bid. Where that puts thought-to-be-a-lock Kate Winslet in the analogy is not important. As long as people keep mentioning Obama in their reasoning for why Slumdog Millionaire will win Best Picture, it’s just as fair to recognize Hathaway as the most Obama-like choice for Best Actress. Best Actor: undetermined As much as a tie in this category would be a surprising and slightly satisfying turn of events (even though it would be more appropriate in the Best Actress race, since Streep will forever be compared to Katherine Hepburn, who tied with Barbara Streisand 30 years ago), we’re looking to another political race of last year for the Best Actor decision. All we’ll know Sunday night is that it’s still down to Sean Penn and Mickey Rourke. But don’t worry, we’ll find out who actually wins in a few months. Best Supporting Actress: Marisa Tomei (The Wrestler) Just as Judy Davis probably deserved the Supporting Actress Oscar more for her performance in a Woody Allen film 16 years ago, Penelope Cruz probably deserves it more this year, also for a Woody Allen film. But Tomei is the champion of Oscar surprises, and we could very well see a repeat of 1993. At least this time she’s a little more worthy. Best Supporting Actor: Heath Ledger (The Dark Knight) Okay, there’s no chance of a surprise here. Because if the Oscar goes to anyone but Ledger, a crazed fan will likely blow up the Kodak. And the Academy must presume that Tommy ‘Tiny’ Lister won’t conveniently have access to the detonator this time. Best Adapted Screenplay:  Eric Roth and Robin Swicord (The Curious Case of Benjamin Button) Never mind the tremendous amount of work Roth put into expanding a very short story into a very, very long film. His and Swicord’s true triumph is in how they were able to rewrite Forrest Gump and repackage it well enough to fool $242 million-worth of moviegoers. Hollywood is surely obligated to reward the duo for pulling off such a double-tiered adaptation and such a well-played moneymaking scheme. Best Original Screenplay: Andrew Stanton, Jim Reardon and Pete Docter (WALL-E) Yes, a lot of people are predicting this to win the Oscar, and so it won’t be quite as much a surprise as a win for Frozen River would be. But the real shocker is going to be when Kung Fu Panda wins Best Animated Feature, a repeat of its glory at the Annies, and Academy logic once again goes completely out the window. Originally posted on:SpoutBlog http://www.spout.com/blogs/scswngr/archive/2009/2/22/40589.aspx Post By: scswngr
Post To: Film Obsessed
Post Date: 2/22/2009 6:39:44 PM
Body: As I scramble to catch the last couple of films that will complete my Oscar Watch List, I am prematurely making my picks for the statuettes tomorrow night. I will save judgement on the Foreign Language and Documentary Short categories, neither of which I have had the opportunity to get into since I live in a town where you can see 4 screens of Rambo, but you're lucky to get to see an independent or foreign film only months after it comes out on DVD at the local film club. That being said, I have also not had the chance to see 3 of the Documentary Features, but am confident in my decision in that category nonetheless. Otherwise, by tomorrow night's Academy Awards ceremony I will have seen every single movie nominated in every other category.So, onto my picks: Screenplay, OriginalShould Win: MilkWill Win: MilkMissing: The WrestlerScreenplay, AdaptedShould Win: Doubt or The ReaderWill Win: Slumdog MillionaireVisual EffectsShould Win: Iron ManWill Win: The Curious Case of Benjamin ButtonMissing: Speed RacerSound MixingShould Win: WALL-EWill Win: The Dark KnightSound EditingShould Win: The Dark KnightWill Win: The Dark KnightShort Film, Live ActionShould Win: Grisen (The Pig)Will Win: Spielzeugland (Toyland)Short Film, AnimatedShould Win: PrestoWill Win: PrestoOriginal SongShould Win: "Jai Ho" from Slumdog MillionaireWill Win: "Jai Ho" from Slumdog MillionaireMissing: "The Wrestler" by Bruce Springsteen from The WrestlerOriginal ScoreShould Win: Slumdog MillionaireWill Win: Slumdog MillionaireMakeupShould Win: Hellboy IIWill Win: The Curious Case of Benjamin ButtonFilm EditingShould Win: Slumdog MillionaireWill Win: Slumdog MillionaireDocumentary FeatureShould Win: Man on WireWill Win: Man on WireCostume DesignShould Win: The DuchessWill Win: The DuchessCinematographyShould Win: The Curious Case of Benjamin ButtonWill Win: Slumdog MillionaireMissing: Brideshead RevisitedArt DirectionShould Win: The Curious Case of Benjamin ButtonWill Win: The Curious Case of Benjamin ButtonAnimated FeatureShould Win: WALL-EWill Win: WALL-EDirectingShould Win: David Fincher for The Curious Case of Benjamin ButtonWill Win: Danny Boyle for Slumdog MillionaireMissing: Darren Aronofsky for The Wrestler Actress, SupportingShould Win: Penelope Cruz in Vicky Cristina BarcelonaWill Win: Viola Davis in DoubtActor, SupportingShould Win: Heath Ledger in The Dark KnightWill Win: Heath Ledger in The Dark KnightActor, LeadingShould Win: Mickey Rourke in The WrestlerWill Win: Sean Penn in MilkMissing: Leonardo Dicaprio in Revolutionary RoadActress, LeadingShould Win: Anne Hathaway in Rachel Getting Married or Meryl Streep in DoubtWill Win: Kate Winslet in The ReaderMissing: Kate Winslet in Revolutionary RoadBest PictureShould Win: MilkWill Win: Slumdog MillionaireMissing: The Wrestler, Doubt, and The Dark Knight
]]>Sun, 22 Feb 2009 23:39:44 GMTscswngrFilm Obsessed2/22/2009 6:39:44 PMAs I scramble to catch the last couple of films that will complete my Oscar Watch List, I am prematurely making my picks for the statuettes tomorrow night. I will save judgement on the Foreign Language and Documentary Short categories, neither of which I have had the opportunity to get into since I live in a town where you can see 4 screens of Rambo, but you're lucky to get to see an independent or foreign film only months after it comes out on DVD at the local film club. That being said, I have also not had the chance to see 3 of the Documentary Features, but am confident in my decision in that category nonetheless. Otherwise, by tomorrow night's Academy Awards ceremony I will have seen every single movie nominated in every other category.So, onto my picks: Screenplay, OriginalShould Win: MilkWill Win: MilkMissing: The WrestlerScreenplay, AdaptedShould Win: Doubt or The ReaderWill Win: Slumdog MillionaireVisual EffectsShould Win: Iron ManWill Win: The Curious Case of Benjamin ButtonMissing: Speed RacerSound MixingShould Win: WALL-EWill Win: The Dark KnightSound EditingShould Win: The Dark KnightWill Win: The Dark KnightShort Film, Live ActionShould Win: Grisen (The Pig)Will Win: Spielzeugland (Toyland)Short Film, AnimatedShould Win: PrestoWill Win: PrestoOriginal SongShould Win: "Jai Ho" from Slumdog MillionaireWill Win: "Jai Ho" from Slumdog MillionaireMissing: "The Wrestler" by Bruce Springsteen from The WrestlerOriginal ScoreShould Win: Slumdog MillionaireWill Win: Slumdog MillionaireMakeupShould Win: Hellboy IIWill Win: The Curious Case of Benjamin ButtonFilm EditingShould Win: Slumdog MillionaireWill Win: Slumdog MillionaireDocumentary FeatureShould Win: Man on WireWill Win: Man on WireCostume DesignShould Win: The DuchessWill Win: The DuchessCinematographyShould Win: The Curious Case of Benjamin ButtonWill Win: Slumdog MillionaireMissing: Brideshead RevisitedArt DirectionShould Win: The Curious Case of Benjamin ButtonWill Win: The Curious Case of Benjamin ButtonAnimated FeatureShould Win: WALL-EWill Win: WALL-EDirectingShould Win: David Fincher for The Curious Case of Benjamin ButtonWill Win: Danny Boyle for Slumdog MillionaireMissing: Darren Aronofsky for The Wrestler Actress, SupportingShould Win: Penelope Cruz in Vicky Cristina BarcelonaWill Win: Viola Davis in DoubtActor, SupportingShould Win: Heath Ledger in The Dark KnightWill Win: Heath Ledger in The Dark KnightActor, LeadingShould Win: Mickey Rourke in The WrestlerWill Win: Sean Penn in MilkMissing: Leonardo Dicaprio in Revolutionary RoadActress, LeadingShould Win: Anne Hathaway in Rachel Getting Married or Meryl Streep in DoubtWill Win: Kate Winslet in The ReaderMissing: Kate Winslet in Revolutionary RoadBest PictureShould Win: MilkWill Win: Slumdog MillionaireMissing: The Wrestler, Doubt, and The Dark Knight http://www.spout.com/blogs/jimbell/archive/2009/2/7/40331.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 2/7/2009 2:42:58 AM
Body: Man on Wire (2008) is probably the most highly regarded documentary of 2008. So you do not need me to tell you that it is good. So, while you watch Phillipe Petit prepare to walk between the World Trade Center towers on August 7, 1974, you might want to consider a few questions: What is the most powerful moment in the movie? (I’d say: It’s not when he is on the wire; it’s when his friend and right-hand man says something “snapped” in their friendship.) What do you think of the way Phillipe treats his girl friend? (I’d say: Shabby. As with so many driven people, Phillipe leaves people strewn in his wake.) Could anyone else but the French have done this? (I’d say: I still call those little potato sticks French fries, not Liberty fries.) Could a similar stunt have been pulled today? (I’d say: It was a kinder and gentler time, and it is good to be kinder, really, and it is good to gentler, really. I see—how many?—fighter planes strafing him off the wire in the name of—what is it?—national security.) Would this documentary be as popular if it were not about the World Trade Center? (Nope.) Is the theme of the movie right for you—the theme being that we must always dream big, follow that dream, and live on the edge to achieve it? (Not for me—but that doesn’t stop me appreciating an excellent story well told.)
]]>Sat, 07 Feb 2009 07:42:58 GMTJimBellJimBell Blog2/7/2009 2:42:58 AMMan on Wire (2008) is probably the most highly regarded documentary of 2008. So you do not need me to tell you that it is good. So, while you watch Phillipe Petit prepare to walk between the World Trade Center towers on August 7, 1974, you might want to consider a few questions: What is the most powerful moment in the movie? (I’d say: It’s not when he is on the wire; it’s when his friend and right-hand man says something “snapped” in their friendship.) What do you think of the way Phillipe treats his girl friend? (I’d say: Shabby. As with so many driven people, Phillipe leaves people strewn in his wake.) Could anyone else but the French have done this? (I’d say: I still call those little potato sticks French fries, not Liberty fries.) Could a similar stunt have been pulled today? (I’d say: It was a kinder and gentler time, and it is good to be kinder, really, and it is good to gentler, really. I see—how many?—fighter planes strafing him off the wire in the name of—what is it?—national security.) Would this documentary be as popular if it were not about the World Trade Center? (Nope.) Is the theme of the movie right for you—the theme being that we must always dream big, follow that dream, and live on the edge to achieve it? (Not for me—but that doesn’t stop me appreciating an excellent story well told.) http://www.spout.com/blogs/wonga/archive/2009/2/2/40140.aspx Post By: wonga
Post To: wonga's filmblog
Post Date: 2/2/2009 10:12:18 AM
Body: favorite 10 movies seen in the theater (2008) Man On Wire In Bruges Kabluey I've Loved You So Long Young@Heart Song Sung Blue Snow Angels Tell No One Behind The Glass (2008)* The Dark Knight *Croatian movie from the Denver Film Festival. original title is "Iza Stakla" and director is Zrinko Ogresta. honorable mention (alphabetical) Burn After Reading Caramel The Damnation Of Faust (Metropolitan Opera broadcast) Happy-Go-Lucky Iron Man The Last Command (1928) Mongol Nick And Nora's Infinite Playlist Son Of Rambow Towelhead
]]>Mon, 02 Feb 2009 15:12:18 GMTwongawonga's filmblog2/2/2009 10:12:18 AMfavorite 10 movies seen in the theater (2008) Man On Wire In Bruges Kabluey I've Loved You So Long Young@Heart Song Sung Blue Snow Angels Tell No One Behind The Glass (2008)* The Dark Knight *Croatian movie from the Denver Film Festival. original title is "Iza Stakla" and director is Zrinko Ogresta. honorable mention (alphabetical) Burn After Reading Caramel The Damnation Of Faust (Metropolitan Opera broadcast) Happy-Go-Lucky Iron Man The Last Command (1928) Mongol Nick And Nora's Infinite Playlist Son Of Rambow Towelhead http://www.spout.com/blogs/docpotato/archive/2009/1/20/39723.aspx Post By: docpotato
Post To: One Movie a Week
Post Date: 1/20/2009 7:01:26 PM
Body: Man on Wire is as fitting a eulogy for the World Trade Center towers as one can imagine. It documents Philippe Petit's 1974 tightrope walk between the two buildings through a combination of talking head interviews, archival footage and photographs, and subtly made recreations of the events leading up to his performance. In telling the tale of how Petit and his crew managed to sneak into both towers and pull of the stunt, it mirrors something of a bank-heist story or even (ahem) a depiction of the preparations for a terrorist attack. Because the group is engaged in an illegal activity, they must case the buildings, create scale-model replications of the rooftops to craft their plans, and rehearse the act in the safety of a rural hideout before enacting it. Director James Marsh wisely structures the film to this familiar paradigm, introducing his cast of characters in intimidating, shadowy ways and bestowing upon them archetypal nicknames like, "The Australian," and, "The Inside Man." It's easy to get swept away by the film's heightened reality (led in no small part by the interviews with the charismatic, impassioned Petit) and, as such, Man on Wire pulls off the always appealing feat of generating a tremendous amount of suspense about events whose outcome is known to the viewer.A great deal of this feat is accomplished through the film's wondrous editing. This is an expertly paced film, moving effortlessly through time as the conspirators recall their individual parts in the deed and concurrently recount their personal histories that led them to participate in this insane stunt. Like any heist crew, their motivations and personalities are varied, each coming to the project for their own purposes, and the film reveals just enough to satisfy for each of them. (I'm struggling not to use the words "balance" or "juggle" here.) But where the film shines is in the amount of space it provides for the tightrope walk itself. Here, Man on Wire changes from the tightly constructed narrative template of a heist film to something more akin to the religious sensation of the mothership landing in Close Encounters. After racing to this moment, the film stops in its tracks, staring slack-jawed at the scene. The reverence is certainly appropriate. As we can see from the archival footage and photographs, Petit, at times, appears to be walking on thin air. It's gorgeous. The film is powerful enough on its own terms that it would be a crackling yarn of youthful exuberance and showmanship absent any other events, but knowing the eventual fate of the World Trade Center towers provides an additional weight to the film. To my memory, the film never even brings up 9/11, but it's hard to miss the the parallels between Petit and the men who eventually destroyed these buildings. Both see the buildings as a symbol of something larger than themselves and have a selfish, personal desire to conquer the structure. And they all used devious, illegal acts to impose their personal narratives upon the towers, used the majesty of the buildings to shape the world to their own ends. Even the reaction from the American people is similar; after pulling off his tightrope walk, Petit is bombarded with demands to know why he's done what he's done. And yet, the difference between the two groups is stark. Where the terrorists sought to destroy, Petit is an artist. Selfish as he may be, he is always looking to create something. And what he does create is a magnificent spectacle, something that even the police who apprehend him can't help but be moved by. It is by emphasizing this parallel through its heist-movie structure that Man on Wire brings about feelings of closure, at least with regard to the New York city skyline. It is comforting and hopeful to remember a time when the buildings stood for a sense of wonder and achievement rather than tragedy, a time when people conspired to walk on the air between the buildings rather than cause others to fall from them. Originally posted on:One Movie a Day/Week
]]>Wed, 21 Jan 2009 00:01:26 GMTdocpotatoOne Movie a Week1/20/2009 7:01:26 PMMan on Wire is as fitting a eulogy for the World Trade Center towers as one can imagine. It documents Philippe Petit's 1974 tightrope walk between the two buildings through a combination of talking head interviews, archival footage and photographs, and subtly made recreations of the events leading up to his performance. In telling the tale of how Petit and his crew managed to sneak into both towers and pull of the stunt, it mirrors something of a bank-heist story or even (ahem) a depiction of the preparations for a terrorist attack. Because the group is engaged in an illegal activity, they must case the buildings, create scale-model replications of the rooftops to craft their plans, and rehearse the act in the safety of a rural hideout before enacting it. Director James Marsh wisely structures the film to this familiar paradigm, introducing his cast of characters in intimidating, shadowy ways and bestowing upon them archetypal nicknames like, "The Australian," and, "The Inside Man." It's easy to get swept away by the film's heightened reality (led in no small part by the interviews with the charismatic, impassioned Petit) and, as such, Man on Wire pulls off the always appealing feat of generating a tremendous amount of suspense about events whose outcome is known to the viewer.A great deal of this feat is accomplished through the film's wondrous editing. This is an expertly paced film, moving effortlessly through time as the conspirators recall their individual parts in the deed and concurrently recount their personal histories that led them to participate in this insane stunt. Like any heist crew, their motivations and personalities are varied, each coming to the project for their own purposes, and the film reveals just enough to satisfy for each of them. (I'm struggling not to use the words "balance" or "juggle" here.) But where the film shines is in the amount of space it provides for the tightrope walk itself. Here, Man on Wire changes from the tightly constructed narrative template of a heist film to something more akin to the religious sensation of the mothership landing in Close Encounters. After racing to this moment, the film stops in its tracks, staring slack-jawed at the scene. The reverence is certainly appropriate. As we can see from the archival footage and photographs, Petit, at times, appears to be walking on thin air. It's gorgeous. The film is powerful enough on its own terms that it would be a crackling yarn of youthful exuberance and showmanship absent any other events, but knowing the eventual fate of the World Trade Center towers provides an additional weight to the film. To my memory, the film never even brings up 9/11, but it's hard to miss the the parallels between Petit and the men who eventually destroyed these buildings. Both see the buildings as a symbol of something larger than themselves and have a selfish, personal desire to conquer the structure. And they all used devious, illegal acts to impose their personal narratives upon the towers, used the majesty of the buildings to shape the world to their own ends. Even the reaction from the American people is similar; after pulling off his tightrope walk, Petit is bombarded with demands to know why he's done what he's done. And yet, the difference between the two groups is stark. Where the terrorists sought to destroy, Petit is an artist. Selfish as he may be, he is always looking to create something. And what he does create is a magnificent spectacle, something that even the police who apprehend him can't help but be moved by. It is by emphasizing this parallel through its heist-movie structure that Man on Wire brings about feelings of closure, at least with regard to the New York city skyline. It is comforting and hopeful to remember a time when the buildings stood for a sense of wonder and achievement rather than tragedy, a time when people conspired to walk on the air between the buildings rather than cause others to fall from them. Originally posted on:One Movie a Day/Week http://www.spout.com/blogs/spoutblog/archive/2009/1/9/39313.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/9/2009 1:00:40 PM
Body: We’re less than two weeks away from receiving this year’s Oscar nominations, and though none of the major categories are completely predictable just yet, each has at least three or four certain favorites. Meanwhile, the final slots for Best Picture, Best Director and the acting and screenwriting categories may be simply a random grab from small handfuls of rotating contenders. As of now, it doesn’t appear we’ll be seeing any huge surprises come the morning of January 22nd, when the Academy announces the nominees. The Dark Knight is sure to become the first comic book film up for Best Picture, and it won’t even be a shocker if animated feature Wall-E is listed alongside it in the same category. But the ballots don’t need to be mailed out until Monday, so I’m taking one last chance to reach out to the procrastinators within the Academy membership. If you still don’t know who and what to write in, and you’re unwilling to go the safe route and nominate the expected bunch of films and talent, then consider some of these underdogs, under-appreciated and pretty much unlikely possibilities: Best Picture: Rachel Getting Married There was a time when Jonathan Demme’s “Altmanesque” family drama was thought a frontrunner for the Academy’s top prize, but now it looks like it may not even garner a much-deserved Original Screenplay nod for Jenny Lumet, let alone Best Picture. Anne Hathaway is still a good bet in the Best Actress category, though she’s perhaps the least worthy element of the film. Demme deserves his first Best Director nomination in 17 years for reinventing and revitalizing his career with such a rich ensemble piece, while editor Tim Squyres needs to be recognized for piecing together the ingredients so perfectly. I could go on and on about more individual achievements that need be honored (I’ve already spotlighted Robyn Hitchcock’s worth), so let’s just sum it all up and say Rachel Getting Married is highly worthy of being nominated for Best Picture. Best Director: Mike Leigh, Happy-Go-Lucky Like Jonathan Demme, Mike Leigh is one of the finest living directors in terms of working with actors. They both constantly get Oscar-worthy (if not Academy-recognized) performances from otherwise serviceable thespians, yet Leigh is typically more regarded for his screenwriting, for which he’s received three Oscar nominations against two directorial nominations. With Happy-Go-Lucky, it’s more his directing skill that shines through, and if the Academy can’t find room to honor either Sally Hawkins or Eddie Marsan (respectively for Best Actress and Best Supporting Actor) they might want to nominate Leigh, since neither would have been so remarkable without his leadership. Best Actress: Michelle Williams, Wendy and Lucy For the minimalist kind of films that Kelly Reichardt makes, most filmmakers would rather go with an unknown lead than with a familiar, gossip magazine-friendly actress, even one as talented as Michelle Williams. Yet the former Oscar nominee disappears into the role of Wendy in Wendy and Lucy, so much that it’s easy to forget that she’s a famous movie star. She seems as fresh and unknown as any actor in a De Sica or, more currently, a Ramin Bahrani film. The Academy will likely overlook Williams this year, not so much because the film was barely distributed, but because she doesn’t give a particularly flashy performance. Plus, although the actress appears relatively unfamiliar on screen, it isn’t the kind of “unrecognizable” transformation that Oscar prefers with beautiful young starlets. Best Supporting Actress: Bette Midler, Then She Found Me If a performance is great and nobody sees it, is it still Oscar-worthy? Of course, but it’s not likely to be nominated. I don’t foresee any Academy members scrambling to rent Helen Hunt’s terrific directorial debut, Then She Found Me, this weekend, which is too bad. Bette was back this past year and just as good as, if not better than, before. She was lively yet somewhat reserved compared to what we expect from her. The two-time Best Actress nominee will hopefully receive her due win one day, probably in the supporting category and as a career-honoring nod, but it may not be as deserving as this. Best Actor: Josh Brolin, W. I’ve already written a whole column about why Brolin should receive a Best Actor nomination for W., so I needn’t devote too much more space here. Apparently he’s gained more heat for his supporting role in Milk, though, and while that should be plenty recognition for him this year, I continue to hope for a double nomination. His two performances this year are equally amazing, and they couldn’t be more different, despite how they may both be deemed villainous roles. Best Supporting Actor: Mark Walton, Bolt Let me first acknowledge that I got this idea from Bolt’s biggest fan, Kristopher Tapley of In Contention, who called Mark Walton’s voice acting, “the closest I’ve ever come to considering a vocal performance Oscar-worthy since Ellen Degeneres in ‘Finding Nemo.’” I don’t necessarily agree with Tapley’s decision to put Bolt at #2 on his Best of 2008 list, but I would love to see a non-actor like Walton be recognized non-traditionally for vocal work, a form of acting that doesn’t garner enough consideration. Who needs big name casting in an animated film when a storyboard artist gives a more hilarious vocal performance than even Jack Black? Best Original Screenplay: Charlie Kaufman, Synecdoche, New York Kaufman may need some fine-tuning in the directorial department (though he did a pretty good job for a first-timer), but his latest screenplay, for Synecdoche, New York, is every bit as brilliant as his three Oscar-nominated scripts (one of which, Eternal Sunshine of the Spotless Mind, was a winner). There’s not much originality in the attempt to put everything into a screenplay — in fact, it’s a common mistake for narcissistic novices — but Kaufman is quite original for having been the first to be successful at it. Best Adapted Screenplay: James Marsh and Philippe Petit, Man on Wire There is no screenwriter credited for Man on Wire, but there had to have been some sort of adaptation involved, even if it was simply a single-page treatment and some notes about how to turn Petit’s unexceptional (though fairly enjoyable) book To Reach the Clouds into one of the most riveting documentaries of all time. Unfortunately, the lack of credit means that the Academy will certainly overlook this, the greatest cinematic storytelling of the year. And now, some extra-long shots in two of the non-major categories: Best Cinematography: Jeremy Lasky, Martin Rosenberg, Danielle Feinberg, Roger Deakins, Wall-E I almost chose Wall-E, which I don’t think should be given a Best Picture nod, for the Best Director slot, for Andrew Stanton. But if any animation filmmaker is going to break such ground, I’d rather first see Brad Bird recognized in that category. Besides, much of the innovative camera work in Wall-E is courtesy of new concepts in cinematographic technique for animation. Even if the Academy blew our minds and nominated Wall-E for Best Cinematography, Deakins, whom Pixar hired for some uncredited consultation, wouldn’t be named as one of the nominees. But since the guy is so deserving of an Oscar, why not just name him in some additional slots this year (a repeat of his double duty from 2007, he’s expected to receive two nods, for Doubt and Revolutionary Road)? Best Foreign Language Film: Tony Manero Pablo Larrain’s Tony Manero, which is Chile’s official submission to the foreign language category, is currently without a distributor in the U.S. How might that change? An Oscar nomination. Sure, not every Oscar nominee for Best Foreign Language film is guaranteed distribution, but it could help a film as highly praised as this one — recently it placed third on indieWIRE’s Critic’s Poll of the best undistributed films of the year. Currently, it’s a strong contender, though it may be just on the outside of the Academy’s top choices (it’s up against either Sweden’s Everlasting Moments or Germany’s The Baader Meinhof Complex for that last spot). Personally, I haven’t actually seen Tony Manero, but I’d really like to, and that is why I wish for it to be recognized. Originally posted on:SpoutBlog
]]>Fri, 09 Jan 2009 18:00:40 GMTSpoutBlogSpoutBlog on spout.com1/9/2009 1:00:40 PMWe’re less than two weeks away from receiving this year’s Oscar nominations, and though none of the major categories are completely predictable just yet, each has at least three or four certain favorites. Meanwhile, the final slots for Best Picture, Best Director and the acting and screenwriting categories may be simply a random grab from small handfuls of rotating contenders. As of now, it doesn’t appear we’ll be seeing any huge surprises come the morning of January 22nd, when the Academy announces the nominees. The Dark Knight is sure to become the first comic book film up for Best Picture, and it won’t even be a shocker if animated feature Wall-E is listed alongside it in the same category. But the ballots don’t need to be mailed out until Monday, so I’m taking one last chance to reach out to the procrastinators within the Academy membership. If you still don’t know who and what to write in, and you’re unwilling to go the safe route and nominate the expected bunch of films and talent, then consider some of these underdogs, under-appreciated and pretty much unlikely possibilities: Best Picture: Rachel Getting Married There was a time when Jonathan Demme’s “Altmanesque” family drama was thought a frontrunner for the Academy’s top prize, but now it looks like it may not even garner a much-deserved Original Screenplay nod for Jenny Lumet, let alone Best Picture. Anne Hathaway is still a good bet in the Best Actress category, though she’s perhaps the least worthy element of the film. Demme deserves his first Best Director nomination in 17 years for reinventing and revitalizing his career with such a rich ensemble piece, while editor Tim Squyres needs to be recognized for piecing together the ingredients so perfectly. I could go on and on about more individual achievements that need be honored (I’ve already spotlighted Robyn Hitchcock’s worth), so let’s just sum it all up and say Rachel Getting Married is highly worthy of being nominated for Best Picture. Best Director: Mike Leigh, Happy-Go-Lucky Like Jonathan Demme, Mike Leigh is one of the finest living directors in terms of working with actors. They both constantly get Oscar-worthy (if not Academy-recognized) performances from otherwise serviceable thespians, yet Leigh is typically more regarded for his screenwriting, for which he’s received three Oscar nominations against two directorial nominations. With Happy-Go-Lucky, it’s more his directing skill that shines through, and if the Academy can’t find room to honor either Sally Hawkins or Eddie Marsan (respectively for Best Actress and Best Supporting Actor) they might want to nominate Leigh, since neither would have been so remarkable without his leadership. Best Actress: Michelle Williams, Wendy and Lucy For the minimalist kind of films that Kelly Reichardt makes, most filmmakers would rather go with an unknown lead than with a familiar, gossip magazine-friendly actress, even one as talented as Michelle Williams. Yet the former Oscar nominee disappears into the role of Wendy in Wendy and Lucy, so much that it’s easy to forget that she’s a famous movie star. She seems as fresh and unknown as any actor in a De Sica or, more currently, a Ramin Bahrani film. The Academy will likely overlook Williams this year, not so much because the film was barely distributed, but because she doesn’t give a particularly flashy performance. Plus, although the actress appears relatively unfamiliar on screen, it isn’t the kind of “unrecognizable” transformation that Oscar prefers with beautiful young starlets. Best Supporting Actress: Bette Midler, Then She Found Me If a performance is great and nobody sees it, is it still Oscar-worthy? Of course, but it’s not likely to be nominated. I don’t foresee any Academy members scrambling to rent Helen Hunt’s terrific directorial debut, Then She Found Me, this weekend, which is too bad. Bette was back this past year and just as good as, if not better than, before. She was lively yet somewhat reserved compared to what we expect from her. The two-time Best Actress nominee will hopefully receive her due win one day, probably in the supporting category and as a career-honoring nod, but it may not be as deserving as this. Best Actor: Josh Brolin, W. I’ve already written a whole column about why Brolin should receive a Best Actor nomination for W., so I needn’t devote too much more space here. Apparently he’s gained more heat for his supporting role in Milk, though, and while that should be plenty recognition for him this year, I continue to hope for a double nomination. His two performances this year are equally amazing, and they couldn’t be more different, despite how they may both be deemed villainous roles. Best Supporting Actor: Mark Walton, Bolt Let me first acknowledge that I got this idea from Bolt’s biggest fan, Kristopher Tapley of In Contention, who called Mark Walton’s voice acting, “the closest I’ve ever come to considering a vocal performance Oscar-worthy since Ellen Degeneres in ‘Finding Nemo.’” I don’t necessarily agree with Tapley’s decision to put Bolt at #2 on his Best of 2008 list, but I would love to see a non-actor like Walton be recognized non-traditionally for vocal work, a form of acting that doesn’t garner enough consideration. Who needs big name casting in an animated film when a storyboard artist gives a more hilarious vocal performance than even Jack Black? Best Original Screenplay: Charlie Kaufman, Synecdoche, New York Kaufman may need some fine-tuning in the directorial department (though he did a pretty good job for a first-timer), but his latest screenplay, for Synecdoche, New York, is every bit as brilliant as his three Oscar-nominated scripts (one of which, Eternal Sunshine of the Spotless Mind, was a winner). There’s not much originality in the attempt to put everything into a screenplay — in fact, it’s a common mistake for narcissistic novices — but Kaufman is quite original for having been the first to be successful at it. Best Adapted Screenplay: James Marsh and Philippe Petit, Man on Wire There is no screenwriter credited for Man on Wire, but there had to have been some sort of adaptation involved, even if it was simply a single-page treatment and some notes about how to turn Petit’s unexceptional (though fairly enjoyable) book To Reach the Clouds into one of the most riveting documentaries of all time. Unfortunately, the lack of credit means that the Academy will certainly overlook this, the greatest cinematic storytelling of the year. And now, some extra-long shots in two of the non-major categories: Best Cinematography: Jeremy Lasky, Martin Rosenberg, Danielle Feinberg, Roger Deakins, Wall-E I almost chose Wall-E, which I don’t think should be given a Best Picture nod, for the Best Director slot, for Andrew Stanton. But if any animation filmmaker is going to break such ground, I’d rather first see Brad Bird recognized in that category. Besides, much of the innovative camera work in Wall-E is courtesy of new concepts in cinematographic technique for animation. Even if the Academy blew our minds and nominated Wall-E for Best Cinematography, Deakins, whom Pixar hired for some uncredited consultation, wouldn’t be named as one of the nominees. But since the guy is so deserving of an Oscar, why not just name him in some additional slots this year (a repeat of his double duty from 2007, he’s expected to receive two nods, for Doubt and Revolutionary Road)? Best Foreign Language Film: Tony Manero Pablo Larrain’s Tony Manero, which is Chile’s official submission to the foreign language category, is currently without a distributor in the U.S. How might that change? An Oscar nomination. Sure, not every Oscar nominee for Best Foreign Language film is guaranteed distribution, but it could help a film as highly praised as this one — recently it placed third on indieWIRE’s Critic’s Poll of the best undistributed films of the year. Currently, it’s a strong contender, though it may be just on the outside of the Academy’s top choices (it’s up against either Sweden’s Everlasting Moments or Germany’s The Baader Meinhof Complex for that last spot). Personally, I haven’t actually seen Tony Manero, but I’d really like to, and that is why I wish for it to be recognized. Originally posted on:SpoutBlog http://www.spout.com/blogs/mciocco/archive/2008/12/28/38898.aspx Post By: mciocco
Post To: mciocco Blog
Post Date: 12/28/2008 8:59:23 PM
Body: In no particular order, some movies I saw during my Christmas vacation: Paranoid Park - Apparently high school is just as boring and arbitrary as I remember it, even if you've killed someone and are trying to evade the police. The Curious Case of Benjamin Button - Probably didn't need to be as long as it was, but it was far better than what the preview lead me to believe. On the other hand, it's not something I can picture myself watching over and over again like I can with some of Fincher's other films. Will probably earn a top 10 slot whenever I get around to compiling such a list for 2008. Milk - I guess I'm the only person in the world to think that it's possible that Milk doesn't do a body good. I just couldn't connect with this movie. While it's well made and Penn's performance is great, I can't get over the usual biopic lameness. I guess I just don't like biopics in general, and this one is no different. It seems to me that this subject is much more ideally suited to a documentary (which was already made 25 years ago). Valkyrie - Not nearly as bad as I thought it would be, but not particularly good either. It's a perfectly serviceable thriller and there is some tension despite the fact that everyone knows how it will turn out. However, like Milk, I think I might have rather watched a documentary on the subject. Man on Wire - Finally caught up with this documentary and wasn't disappointed. Perhaps not as great as the reviews would have you believe, but still interesting and entertaining doc about a high wire walker who did a daring show between the two towers in NY. Plays out a little like a heist film, but without the blatant theft. Also refreshing to see a movie about the WTC without having the filmmakers make some sort of tired political statement. Frost/Nixon - A bit meandering, but the whole thing builds to a climax that delivers. I kinda wish more attention was paid to the preparation and the actual mechanics of the interview, rather than constantly harping on the fact that the interview didn't have solid financial backing. I realize that the financial situation was probably foremost on Frost's mind during the interviews, but while it needs to be part of the story, I thought it took up too much time and brought down an otherwise pretty good film. It also makes the last interview session come off more as luck than anything else... but then, perhaps that's actually true... I know, perhaps a documen... alright, fine, I'll stop with that particular refrain.
]]>Mon, 29 Dec 2008 01:59:23 GMTmcioccomciocco Blog12/28/2008 8:59:23 PMIn no particular order, some movies I saw during my Christmas vacation: Paranoid Park - Apparently high school is just as boring and arbitrary as I remember it, even if you've killed someone and are trying to evade the police. The Curious Case of Benjamin Button - Probably didn't need to be as long as it was, but it was far better than what the preview lead me to believe. On the other hand, it's not something I can picture myself watching over and over again like I can with some of Fincher's other films. Will probably earn a top 10 slot whenever I get around to compiling such a list for 2008. Milk - I guess I'm the only person in the world to think that it's possible that Milk doesn't do a body good. I just couldn't connect with this movie. While it's well made and Penn's performance is great, I can't get over the usual biopic lameness. I guess I just don't like biopics in general, and this one is no different. It seems to me that this subject is much more ideally suited to a documentary (which was already made 25 years ago). Valkyrie - Not nearly as bad as I thought it would be, but not particularly good either. It's a perfectly serviceable thriller and there is some tension despite the fact that everyone knows how it will turn out. However, like Milk, I think I might have rather watched a documentary on the subject. Man on Wire - Finally caught up with this documentary and wasn't disappointed. Perhaps not as great as the reviews would have you believe, but still interesting and entertaining doc about a high wire walker who did a daring show between the two towers in NY. Plays out a little like a heist film, but without the blatant theft. Also refreshing to see a movie about the WTC without having the filmmakers make some sort of tired political statement. Frost/Nixon - A bit meandering, but the whole thing builds to a climax that delivers. I kinda wish more attention was paid to the preparation and the actual mechanics of the interview, rather than constantly harping on the fact that the interview didn't have solid financial backing. I realize that the financial situation was probably foremost on Frost's mind during the interviews, but while it needs to be part of the story, I thought it took up too much time and brought down an otherwise pretty good film. It also makes the last interview session come off more as luck than anything else... but then, perhaps that's actually true... I know, perhaps a documen... alright, fine, I'll stop with that particular refrain. http://www.spout.com/blogs/risselada/archive/2008/12/26/38871.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 12/26/2008 10:30:32 PM
Body: Man on Wire It's a movie I saw with some friends in the theater. I didn't pick it and didn't know much about it, but the subject was about an intriguingevent I had never even heard about. If you have read the synopsis or remember the event (you are older than me), then you know that a Frenchman named Philippe Petit along with some accomplices strung a wire across the top of the Twin Towers of the World Trade Center. And then this crazed man did a tight-rope walk / act across them for about 45 minutes. It was called "the artistic crime of the century" The film follows the story from Petit's youth, his earlier stunts tight-rope walking high wires strung across Notre Dame in Paris, some bridge in Sydney, and the Superdome amongst others. The story is told through interviews, original film footage, and reenactments. I was surprised to hear and read discussionsof the film subsequent to viewing it in which people found Petit to be unappealing because of his vanity and obsession often to the extent of placing extreme stress and danger on many of his friends and people around him. I wasn't surprised because I didn't agree. But I did see this devious charm that the man had. This fascination at his obvious talent and outrageous obsessions. It's not hard to see how people were roped in. And maybe I was being vein myself, but I thought most viewers would also be roped in and charmed as well. Maybe they were since the film has gone on to do so well. Or maybe the movie charmed them. I guess that's what really counts when making the final evaluation of the film. One aspect of this film that is never overtly referenced (at least I sure don't remember any) but that is going to be inevitable in the thoughts of any viewer is the perspective of looking at these buildings we have lost after 9/11. Although it's never mentioned, it's impossible for this film to elicit the same mood on audiences as it would have in an alternate universe where the World Trade Center is still standing. But as this man in a way conquered these buildings decades ago. I think the movie gives some kind of hope that there will always be new challenges to conquer in the future. Does that sound corny? I had some other thoughts in my head of ways to end this review, but I'm using a computer at an old folk's home where my girlfriend's grandfather is staying and she's telling me it's time to go. So I must say adieu. Rating: 8/10
]]>Sat, 27 Dec 2008 03:30:32 GMTRisseladaRisselada Blog12/26/2008 10:30:32 PMMan on Wire It's a movie I saw with some friends in the theater. I didn't pick it and didn't know much about it, but the subject was about an intriguingevent I had never even heard about. If you have read the synopsis or remember the event (you are older than me), then you know that a Frenchman named Philippe Petit along with some accomplices strung a wire across the top of the Twin Towers of the World Trade Center. And then this crazed man did a tight-rope walk / act across them for about 45 minutes. It was called "the artistic crime of the century" The film follows the story from Petit's youth, his earlier stunts tight-rope walking high wires strung across Notre Dame in Paris, some bridge in Sydney, and the Superdome amongst others. The story is told through interviews, original film footage, and reenactments. I was surprised to hear and read discussionsof the film subsequent to viewing it in which people found Petit to be unappealing because of his vanity and obsession often to the extent of placing extreme stress and danger on many of his friends and people around him. I wasn't surprised because I didn't agree. But I did see this devious charm that the man had. This fascination at his obvious talent and outrageous obsessions. It's not hard to see how people were roped in. And maybe I was being vein myself, but I thought most viewers would also be roped in and charmed as well. Maybe they were since the film has gone on to do so well. Or maybe the movie charmed them. I guess that's what really counts when making the final evaluation of the film. One aspect of this film that is never overtly referenced (at least I sure don't remember any) but that is going to be inevitable in the thoughts of any viewer is the perspective of looking at these buildings we have lost after 9/11. Although it's never mentioned, it's impossible for this film to elicit the same mood on audiences as it would have in an alternate universe where the World Trade Center is still standing. But as this man in a way conquered these buildings decades ago. I think the movie gives some kind of hope that there will always be new challenges to conquer in the future. Does that sound corny? I had some other thoughts in my head of ways to end this review, but I'm using a computer at an old folk's home where my girlfriend's grandfather is staying and she's telling me it's time to go. So I must say adieu. Rating: 8/10 http://www.spout.com/groups/Community_Recommendations/Re_Collaboration_Best_Films_of_2008/643/38348/1/ShowPost.aspx Post By: tadiv
Post To: Community Recommendations
Post Date: 12/13/2008 4:21:45 PM
Body: [quote user="tadiv"] For me, the list is: The Dark Knight; Slumdog Millionaire; (review here) Wall-E; and Let the Right One In. There are others I want to see, but have not yet done so. Tom [/quote] Having now seen Man On Wire, I must add it here - it's fantastic! Tom
]]>Sat, 13 Dec 2008 21:21:45 GMTtadivCommunity Recommendations12/13/2008 4:21:45 PM[quote user="tadiv"] For me, the list is: The Dark Knight; Slumdog Millionaire; (review here) Wall-E; and Let the Right One In. There are others I want to see, but have not yet done so. Tom [/quote] Having now seen Man On Wire, I must add it here - it's fantastic! Tom http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
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