list http://www.spout.com/ Recent community activity around Drag Me to Hell 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/Drag_Me_to_Hell/359481/default.aspx Title: Drag Me to Hell
Year: 2009
Director: Sam Raimi
Plot: Horror's prodigal son returns with Drag Me to Hell, Sam Raimi's first directing gig within the genre in over 15-years. The picture is based on a script written by Sam and his brother Ivan and concerns a curse that wrecks havoc on it beneficiary. Ghost House Films produces the film, with longtime collaborator Rob Tapert handling the producing duties. ~ Jeremy Wheeler, All Movie Guide
Times Tagged: 40
Number of Lists: 5
Number of blog posts: 4
SpoutRating: 3
]]>Sat, 22 Aug 2009 10:17:07 GMTDrag Me to Hell2009Sam RaimiHorror's prodigal son returns with Drag Me to Hell, <a href="http://www.spout.com/players/P___107427/default.aspx" style='text-decoration:underline'>Sam Raimi</a>'s first directing gig within the genre in over 15-years. The picture is based on a script written by Sam and his brother Ivan and concerns a curse that wrecks havoc on it beneficiary. Ghost House Films produces the film, with longtime collaborator Rob Tapert handling the producing duties. ~ Jeremy Wheeler, All Movie Guide40Tag Target (>10)543http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Drag_Me_to_Hell/359481/default.aspxFilm http://www.spout.com/blogs/hautecritique/archive/2009/8/7/43444.aspxPost By: hautecritique
Post To: The Haute Critique on Spout
Post Date: 8/7/2009 4:01:06 AM
Body: Drag Me To Hell was AWESOME. It was the Three Stooges meeting the Excorcist on a train through Awesometown. Sam Raimi has proven with Drag Me To Hell that he could direct Evil Dead 4 without it sucking. Hold on.  Let me start at the beginning. Earlier in the day, my ladyfriend and I decided to go see Drag Me To Hell.  I had been under the impression that DMtH would be a straight horror movie.  I have a passing familiarity with Sam Raimi’s previous “horror” movies, but not until opening day of DMtH did I see it described as “slapstick horror”, and when I did see this description I started to get excited.  I love… no, *love*… wait, LOVE the Evil Dead movies.  I like horror movies well enough for the most part, but the comedy/action/horror of San Raimi’s older films tickles me deeply.  I was a huge Three Stooges fan as a kid and Raimi manages to recreate that sort of mood mixed with his own gory, mystery goo-splattered flavor packet, and a dash of Dobbsian Discordianism.  Overall, Sam Raimi is one of my favorite directors, I have just now decided. So, after a quick hufflepuff of the ol’ quiddich pitch, we moseyed up, grabbed our tix from the automated kiosk and made for the gloom of the theater.  What followed was not mind expansion, or sensory satisfaction, but total hilarity.  As things get rolling, It seems like a regular movie, and kind of a cheesy one.  The characters wear their motivations on their sleeves.  It’s like a cartoon really.  The characters don’t have much depth, but they couldn’t be allowed any depth.  Could you enjoy a person’s comedic torture if you had any deep insights into their character?  And they are tortured most exquisitely.  I don’t mean the Eli Roth type of torture porn that has infected the horror genre of late.  I mean old fashioned cartoonish, slapstick violence It’s almost Zennish in it’s purity. Alison Lohman is the plucky heroine.  Easy to root for at first, but becoming easy to leave to her comeuppance by the end.  Justin Long overcame the stigma of his Mac ads.  Ted Raimi popped up appropriately. The only bad thing about Drag Me to Hell was that it wasn’t Evil Dead 4.  Deep down in my fanboy heart, I kept hoping that in a particularly dire and hopeless moment a chainsaw would come tearing throught the fabric of reality and that Bruce Campbell’s Ash would step out of the portal, utter a pithy line and start stomping demon-ass.  Alas, Bruce Campbell was not to be had.  What was to be had was a movie with the same spirit.  I enjoyed it completely. Drag Me to Hell on IMDB: http://www.imdb.com/title/tt1127180/ No related posts. Originally posted on:The Haute Critique
]]>Fri, 07 Aug 2009 08:01:06 GMThautecritiqueThe Haute Critique on Spout8/7/2009 4:01:06 AMDrag Me To Hell was AWESOME. It was the Three Stooges meeting the Excorcist on a train through Awesometown. Sam Raimi has proven with Drag Me To Hell that he could direct Evil Dead 4 without it sucking. Hold on.  Let me start at the beginning. Earlier in the day, my ladyfriend and I decided to go see Drag Me To Hell.  I had been under the impression that DMtH would be a straight horror movie.  I have a passing familiarity with Sam Raimi’s previous “horror” movies, but not until opening day of DMtH did I see it described as “slapstick horror”, and when I did see this description I started to get excited.  I love… no, *love*… wait, LOVE the Evil Dead movies.  I like horror movies well enough for the most part, but the comedy/action/horror of San Raimi’s older films tickles me deeply.  I was a huge Three Stooges fan as a kid and Raimi manages to recreate that sort of mood mixed with his own gory, mystery goo-splattered flavor packet, and a dash of Dobbsian Discordianism.  Overall, Sam Raimi is one of my favorite directors, I have just now decided. So, after a quick hufflepuff of the ol’ quiddich pitch, we moseyed up, grabbed our tix from the automated kiosk and made for the gloom of the theater.  What followed was not mind expansion, or sensory satisfaction, but total hilarity.  As things get rolling, It seems like a regular movie, and kind of a cheesy one.  The characters wear their motivations on their sleeves.  It’s like a cartoon really.  The characters don’t have much depth, but they couldn’t be allowed any depth.  Could you enjoy a person’s comedic torture if you had any deep insights into their character?  And they are tortured most exquisitely.  I don’t mean the Eli Roth type of torture porn that has infected the horror genre of late.  I mean old fashioned cartoonish, slapstick violence It’s almost Zennish in it’s purity. Alison Lohman is the plucky heroine.  Easy to root for at first, but becoming easy to leave to her comeuppance by the end.  Justin Long overcame the stigma of his Mac ads.  Ted Raimi popped up appropriately. The only bad thing about Drag Me to Hell was that it wasn’t Evil Dead 4.  Deep down in my fanboy heart, I kept hoping that in a particularly dire and hopeless moment a chainsaw would come tearing throught the fabric of reality and that Bruce Campbell’s Ash would step out of the portal, utter a pithy line and start stomping demon-ass.  Alas, Bruce Campbell was not to be had.  What was to be had was a movie with the same spirit.  I enjoyed it completely. Drag Me to Hell on IMDB: http://www.imdb.com/title/tt1127180/ No related posts. Originally posted on:The Haute Critique http://www.spout.com/blogs/kevynknox/archive/2009/6/29/42857.aspxPost By: KevynKnox
Post To: KevynKnox Blog
Post Date: 6/29/2009 6:33:29 PM
Body: With tongue firmly in cheek, and then bitten down on, Sam Raimi, whose career has careened from low budget schlock to mega budget summer blockbusters, heads back to his original bread'n'butter with Drag Me To Hell. After a decade or so on the A-List superhero gravy train, Raimi gets back to his rootiest of roots with this gutsy spit-on-your-grave brouhaha of a motion picture. Just think, the best American film of the year so far and it is a silly retro horror flick full of demonic spirits, maggot-riddled vomit and that Goddamn MAC guy from TV. Of course this is exactly what Drag Me To Hell should be and wants to be. Giving out a giddy gross-out good ole time that one should come to expect from a well done horror movie, but that unfortunately one usually no longer gets, Drag Me To Hell is a throwback to the days of James Whale, Mario Bava, early Corman & Romero and to the slick bloody glee that was Dario Argento in his prime - even to Raimi's own early oeuvre of Evil Deads. In essence, Drag Me To Hell is just what a horror movie should be, and all those other horror wannabes out there darkening up the cinematic landscapes with their wrongly-directed attempts at "reality terror" - and you know who you are you - should take note to see just how it should be done. The story, about a young loan officer who after "shaming" a wretched old gypsy crone with a penchant for spitting up radioactive looking green phlegm, has a curse put on her where she will be, as the title clearly promises, dragged to Hell, may be quite ridiculous at times (a scene involving a precariously dangling anvil and another involving a talking sacrificial goat are uppermost on that same ridiculous scale) but it is in this very ridiculousness that Drag Me To Hell gets its winning personality. A low brow idea with a high brow artistic vision, Raimi's film is a melange of both art and fancy and of thematic vulgarity and visual audacity. The film stars the business-casual Allison Lohman as the perky young loan officer with a doozy of a curse on her head and corporate MAC shill Justin Long as her passive-aggressive psych prof boyfriend (and yes there is a prominently displayed Apple on his office desk). Girl-next-door Lohman has stated in interviews that working with Raimi on Drag Me To Hell was like being in a race toward the end of the movie, and that is just what we get while watching the film. Quickly paced, but never feeling rushed, the film is like a roller coaster that is simultaneously click-clacking its way toward the mile high acme and careening down the other side in a high pitch screech toward the titular Hell that Lohman describes as her inevitable finish line. An interesting side note of sorts is the portrayal of villainy in the film. I'm not talking about the demons and ghouls and nasty old gypsies that should be a given in such a film. I am talking about the bankers. The bankers and loan officers in this film make up a sort of secondary ring of bad guys. Not evil per se but still quite ruthless and repugnant. The 80's had the big bad Russians, the 90's, the drug-runners of Central America and this passing decade has/had the Islamic jihadists born from the ashes of 9/11. Perhaps the cinematic uber villains of the next generation will be the bankers and loan officers of the corporate world. Here, perhaps even indicting himself a bit out of possible unfounded guilt over his late spidery success, Raimi has put the kibosh on the banking community. Here they get no remorse. No reprieve. Here they get no bail-outs. The one slight downfall of the film though, is the rather surprising no-show of Raimi stalwart Bruce Campbell going chin-first into a nice juicy cameo somewhere in this quite Hellish story. Be that as it may, Drag Me To Hell is as fun a romp as any horror film has the right to be, and the slam-bang finale, not to give anything away, is right up there with the best of 'em.
]]>Mon, 29 Jun 2009 22:33:29 GMTKevynKnoxKevynKnox Blog6/29/2009 6:33:29 PMWith tongue firmly in cheek, and then bitten down on, Sam Raimi, whose career has careened from low budget schlock to mega budget summer blockbusters, heads back to his original bread'n'butter with Drag Me To Hell. After a decade or so on the A-List superhero gravy train, Raimi gets back to his rootiest of roots with this gutsy spit-on-your-grave brouhaha of a motion picture. Just think, the best American film of the year so far and it is a silly retro horror flick full of demonic spirits, maggot-riddled vomit and that Goddamn MAC guy from TV. Of course this is exactly what Drag Me To Hell should be and wants to be. Giving out a giddy gross-out good ole time that one should come to expect from a well done horror movie, but that unfortunately one usually no longer gets, Drag Me To Hell is a throwback to the days of James Whale, Mario Bava, early Corman &amp; Romero and to the slick bloody glee that was Dario Argento in his prime - even to Raimi's own early oeuvre of Evil Deads. In essence, Drag Me To Hell is just what a horror movie should be, and all those other horror wannabes out there darkening up the cinematic landscapes with their wrongly-directed attempts at "reality terror" - and you know who you are you - should take note to see just how it should be done. The story, about a young loan officer who after "shaming" a wretched old gypsy crone with a penchant for spitting up radioactive looking green phlegm, has a curse put on her where she will be, as the title clearly promises, dragged to Hell, may be quite ridiculous at times (a scene involving a precariously dangling anvil and another involving a talking sacrificial goat are uppermost on that same ridiculous scale) but it is in this very ridiculousness that Drag Me To Hell gets its winning personality. A low brow idea with a high brow artistic vision, Raimi's film is a melange of both art and fancy and of thematic vulgarity and visual audacity. The film stars the business-casual Allison Lohman as the perky young loan officer with a doozy of a curse on her head and corporate MAC shill Justin Long as her passive-aggressive psych prof boyfriend (and yes there is a prominently displayed Apple on his office desk). Girl-next-door Lohman has stated in interviews that working with Raimi on Drag Me To Hell was like being in a race toward the end of the movie, and that is just what we get while watching the film. Quickly paced, but never feeling rushed, the film is like a roller coaster that is simultaneously click-clacking its way toward the mile high acme and careening down the other side in a high pitch screech toward the titular Hell that Lohman describes as her inevitable finish line. An interesting side note of sorts is the portrayal of villainy in the film. I'm not talking about the demons and ghouls and nasty old gypsies that should be a given in such a film. I am talking about the bankers. The bankers and loan officers in this film make up a sort of secondary ring of bad guys. Not evil per se but still quite ruthless and repugnant. The 80's had the big bad Russians, the 90's, the drug-runners of Central America and this passing decade has/had the Islamic jihadists born from the ashes of 9/11. Perhaps the cinematic uber villains of the next generation will be the bankers and loan officers of the corporate world. Here, perhaps even indicting himself a bit out of possible unfounded guilt over his late spidery success, Raimi has put the kibosh on the banking community. Here they get no remorse. No reprieve. Here they get no bail-outs. The one slight downfall of the film though, is the rather surprising no-show of Raimi stalwart Bruce Campbell going chin-first into a nice juicy cameo somewhere in this quite Hellish story. Be that as it may, Drag Me To Hell is as fun a romp as any horror film has the right to be, and the slam-bang finale, not to give anything away, is right up there with the best of 'em. http://www.spout.com/blogs/spoutblog/archive/2009/3/16/41063.aspxPost By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/16/2009 11:01:03 AM
Body: There’s the SXSW of indie premieres, and then there’s the stuff the fanboys come for; the home of Ain’t It Cool News and the Alamo Drafthouse has an understandably enthusiastic place in its slate for midnight gorefests. So relax fanboys: Sam Raimi’s “work-in-progress” screening of May 29’s Drag Me To Hell (missing ambient sound and end credits, but generally looking ready to judge) showed the final product will give you what you want. There will be cartoonish gore and gleeful bad taste; yes, there will be Evil Dead shout-outs. Alison Lohman shall suffer the punishment of beautiful blonde women everywhere: she will atone for her selfishness, and she will do it in a wet t-shirt. The screening began 40 minutes late with, fittingly, an introduction from Harry Knowles himself. “I don’t know if the thought has gelled in your mind that we’re about to see the new Sam Raimi horror film,” he enthused, and the crowd whooped. Knowles indulged the old pep rally trick of not hearing the crowd and demanding louder cheers; eventually, the enthusiasm petered out, and when Knowles said once more that we would be seeing the NEW SAM RAIMI HORROR FILM, a lone voice retorted “We will.” Raimi emerged to a standing ovation, did a schticky comic routine of reading the wrong speeches, then brought out brother/co-writer Ivan and producer Grant Curtis, and then it kicked off — to another outstanding round of applause, as Raimi’s got the old-school ’70s Universal horror logo. It’s a cool gesture, but unlike Superbad and Zodiac’s similar resuscitations, it’s no real indication of what the film will actually be like. There’s nothing particularly old-school about it, unless you think Evil Dead is when movies started: still, the logo’s tenuously justified by the inevitable prologue in 1969 Pasadena, with a little boy who’s been hearing voices after stealing a gypsy’s necklace. The title is gleefully literalized; cue bravura title card, and the sound of a capacity theater losing its shit. Drag Me To Hell is more than a little lazy about the exposition no one will remember because it won’t make a good YouTube clip. Christine (Lohman) is bucking for promotion at her local bank, but she’s competing with slimy newcomer Stu Rubin (Reggie Lee), so when she needs to deny an old lady a loan to prove she can make “tough decisions,” she turns her down. Big mistake: Mrs. Ganush (Lorna Raver) is waiting in the parking lot, in her alarmingly c.-1973 car, and she’s got her talons sharpened. And sharp implements. And a big fucking brick to throw through the window. In a zippy 15 minutes, Raimi delivers his first major setpiece: a ridiculously brutal face-off, complete with all manner of unexpected fluids and impalements. But Ganush casts her gypsy curse, and then it’s all over for poor Christine, who will be tormented by a camera zooming in onto her face every five minutes and sloooooooooowly tilting diagonal before she’s attacked by sudden loud noises and Satanic flash frames. (Raimi takes great pleasure in scrupulously obeying horror-movie cliches — “conventions,” depending on your POV — then destroying them in a finale as unsurprising in its subversion as it’s supposed to be satisfying.) Drag Me played like a screening of Evil Dead II for those who already have it memorized; what I personally think seems way less relevant than reporting that people seemed pleased. I found the opening stretches mostly unconvincing: the non-genre scenes are pretty sad, the inter-office rivalries of Christine’s office job too thinly sketched to be as funny as apparently intended, and many of the big scares are of the joy-buzzer variety. As Christine’s boyfriend Clay, Justin Long sucks the air out of pretty much every scene he’s in; presumably hired to add a blatantly comic cue, he’s way too slacked-out to contribute. Lohman, as always, is gorgeous but uncharacteristically generic. Raimi enjoys his goofy comic set-pieces, but a nervous meeting with Clay’s parents is mostly an exercise in oversold comic cliches about class snobbery, which would be fine but the jokes aren’t very funny; the French waiter sequence in Spider-Man 3 was more fun (no, really). But it picks up momentum and inventiveness as it goes along, most notably in an admirably deranged exorcism sequence. Drag seems a little too easy — its theoretically nervy finale seems like pretty much the only possible endgame given the target audience — but, like a competent band churning out a decent single for an album’s worth of pleasurably nostalgic filler, Raimi gives the fans what they want. Most of the scares are both exactly when you think they are yet surprisingly freaky; Raimi’s got the knack of honing in on Lohman’s face for an excruciating amount of time before letting things kick off, and he times everything to excruciating length. (He also knows how to stage a hectic climax without having it degenerate into unblinking screaming noise, which is nice.) I don’t really know why he thinks it’s so much fun to have characters spout deliberately worn-out lines like “I don’t know what I believe anymore” or what his obsession with goopy fluids is about, but it seems to resonate with the people who’ve been waiting for it longest. That’s good enough, at least for this kind of festival screening. Is this really a Raimi comeback? I don’t think so, but it’s got more than enough to resonate with the converted, if not with newcomers. Originally posted on:SpoutBlog
]]>Mon, 16 Mar 2009 15:01:03 GMTSpoutBlogSpoutBlog on spout.com3/16/2009 11:01:03 AMThere’s the SXSW of indie premieres, and then there’s the stuff the fanboys come for; the home of Ain’t It Cool News and the Alamo Drafthouse has an understandably enthusiastic place in its slate for midnight gorefests. So relax fanboys: Sam Raimi’s “work-in-progress” screening of May 29’s Drag Me To Hell (missing ambient sound and end credits, but generally looking ready to judge) showed the final product will give you what you want. There will be cartoonish gore and gleeful bad taste; yes, there will be Evil Dead shout-outs. Alison Lohman shall suffer the punishment of beautiful blonde women everywhere: she will atone for her selfishness, and she will do it in a wet t-shirt. The screening began 40 minutes late with, fittingly, an introduction from Harry Knowles himself. “I don’t know if the thought has gelled in your mind that we’re about to see the new Sam Raimi horror film,” he enthused, and the crowd whooped. Knowles indulged the old pep rally trick of not hearing the crowd and demanding louder cheers; eventually, the enthusiasm petered out, and when Knowles said once more that we would be seeing the NEW SAM RAIMI HORROR FILM, a lone voice retorted “We will.” Raimi emerged to a standing ovation, did a schticky comic routine of reading the wrong speeches, then brought out brother/co-writer Ivan and producer Grant Curtis, and then it kicked off — to another outstanding round of applause, as Raimi’s got the old-school ’70s Universal horror logo. It’s a cool gesture, but unlike Superbad and Zodiac’s similar resuscitations, it’s no real indication of what the film will actually be like. There’s nothing particularly old-school about it, unless you think Evil Dead is when movies started: still, the logo’s tenuously justified by the inevitable prologue in 1969 Pasadena, with a little boy who’s been hearing voices after stealing a gypsy’s necklace. The title is gleefully literalized; cue bravura title card, and the sound of a capacity theater losing its shit. Drag Me To Hell is more than a little lazy about the exposition no one will remember because it won’t make a good YouTube clip. Christine (Lohman) is bucking for promotion at her local bank, but she’s competing with slimy newcomer Stu Rubin (Reggie Lee), so when she needs to deny an old lady a loan to prove she can make “tough decisions,” she turns her down. Big mistake: Mrs. Ganush (Lorna Raver) is waiting in the parking lot, in her alarmingly c.-1973 car, and she’s got her talons sharpened. And sharp implements. And a big fucking brick to throw through the window. In a zippy 15 minutes, Raimi delivers his first major setpiece: a ridiculously brutal face-off, complete with all manner of unexpected fluids and impalements. But Ganush casts her gypsy curse, and then it’s all over for poor Christine, who will be tormented by a camera zooming in onto her face every five minutes and sloooooooooowly tilting diagonal before she’s attacked by sudden loud noises and Satanic flash frames. (Raimi takes great pleasure in scrupulously obeying horror-movie cliches — “conventions,” depending on your POV — then destroying them in a finale as unsurprising in its subversion as it’s supposed to be satisfying.) Drag Me played like a screening of Evil Dead II for those who already have it memorized; what I personally think seems way less relevant than reporting that people seemed pleased. I found the opening stretches mostly unconvincing: the non-genre scenes are pretty sad, the inter-office rivalries of Christine’s office job too thinly sketched to be as funny as apparently intended, and many of the big scares are of the joy-buzzer variety. As Christine’s boyfriend Clay, Justin Long sucks the air out of pretty much every scene he’s in; presumably hired to add a blatantly comic cue, he’s way too slacked-out to contribute. Lohman, as always, is gorgeous but uncharacteristically generic. Raimi enjoys his goofy comic set-pieces, but a nervous meeting with Clay’s parents is mostly an exercise in oversold comic cliches about class snobbery, which would be fine but the jokes aren’t very funny; the French waiter sequence in Spider-Man 3 was more fun (no, really). But it picks up momentum and inventiveness as it goes along, most notably in an admirably deranged exorcism sequence. Drag seems a little too easy — its theoretically nervy finale seems like pretty much the only possible endgame given the target audience — but, like a competent band churning out a decent single for an album’s worth of pleasurably nostalgic filler, Raimi gives the fans what they want. Most of the scares are both exactly when you think they are yet surprisingly freaky; Raimi’s got the knack of honing in on Lohman’s face for an excruciating amount of time before letting things kick off, and he times everything to excruciating length. (He also knows how to stage a hectic climax without having it degenerate into unblinking screaming noise, which is nice.) I don’t really know why he thinks it’s so much fun to have characters spout deliberately worn-out lines like “I don’t know what I believe anymore” or what his obsession with goopy fluids is about, but it seems to resonate with the people who’ve been waiting for it longest. That’s good enough, at least for this kind of festival screening. Is this really a Raimi comeback? I don’t think so, but it’s got more than enough to resonate with the converted, if not with newcomers. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2009/3/13/41013.aspxPost By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2009 2:01:27 PM
Body: The success of Slumdog Millionaire, despite our reservations about it, has got us thinking about romance in film. We look to another Westerner’s spin on Indian romance, Nina Paley’s Sita Sings the Blues. The animated feature, which is now available for free online, weaves an ancient Indian epic with a modern day break-up story, all with a soundtrack of vintage Annette Hanshaw. Then we look at Roman Holiday. A classic romance involving royalty, where the lovers don’t live happily ever after. Karina tells us what to look out for at this year’s South by Southwest Film Festival, the indie film destination where everybody knows your name. Don’t miss Alexander The Last, Drag Me To Hell, Sorry, Thanks, It Came From Kuchar, and St. Nick. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 2:24 - Romance, from India to Rome 25:46 - Karina on SXSW filmcouch-112 Originally posted on:SpoutBlog
]]>Fri, 13 Mar 2009 18:01:27 GMTSpoutBlogSpoutBlog on spout.com3/13/2009 2:01:27 PM The success of Slumdog Millionaire, despite our reservations about it, has got us thinking about romance in film. We look to another Westerner’s spin on Indian romance, Nina Paley’s Sita Sings the Blues. The animated feature, which is now available for free online, weaves an ancient Indian epic with a modern day break-up story, all with a soundtrack of vintage Annette Hanshaw. Then we look at Roman Holiday. A classic romance involving royalty, where the lovers don’t live happily ever after. Karina tells us what to look out for at this year’s South by Southwest Film Festival, the indie film destination where everybody knows your name. Don’t miss Alexander The Last, Drag Me To Hell, Sorry, Thanks, It Came From Kuchar, and St. Nick. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 2:24 - Romance, from India to Rome 25:46 - Karina on SXSW filmcouch-112 Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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Number of people who tagged: 21

Number of times used: 36

]]>Tue, 06 Oct 2009 17:59:54 GMT302136Tag http://www.spout.com/members/0/tags/bank/MemberTagFilms.aspxbank
Number of films tagged: 505

Number of people who tagged: 20

Number of times used: 27

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