list http://www.spout.com/ Recent community activity around Unforgiven 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/Unforgiven/36502/default.aspx Title: Unforgiven
Year: 1992
Director: Clint Eastwood
Plot: Dedicated to his mentors Sergio Leone and Don Siegel, Clint Eastwood's 1992 Oscar-winner examines the mythic violence of the Western, taking on the ghosts of his own star past. Disgusted by Sheriff "Little Bill" Daggett's decree that several ponies make up for a cowhand's slashing a whore's face, Big Whiskey prostitutes, led by fierce Strawberry Alice (Frances Fisher), take justice into their own hands and put a $1000 bounty on the lives of the perpetrators. Notorious outlaw-turned-hog farmer William Munny (Eastwood) is sought out by neophyte gunslinger the Schofield Kid (Jaimz Woolvett) to go with him to Big Whiskey and collect the bounty. While Munny insists, "I ain't like that no more," he needs the bounty money for his children, and the two men convince Munny's clean-living comrade Ned Logan (Morgan Freeman) to join them in righting a wrong done to a woman. Little Bill (Oscar-winner Gene Hackman), however, has no intention of letting any bounty hunters impinge on his iron-clad authority. When pompous gunman English Bob (Richard Harris) arrives in Big Whiskey with pulp biographer W.W. Beauchamp (Saul Rubinek) in tow, Little Bill beats Bob senseless and promises to tell Beauchamp the real story about violent frontier life and justice. But when Munny, the true unwritten legend, comes to town, everyone soon learns a harsh lesson about the price of vindictive bloodshed and the malleability of ideas like "justice." "I don't deserve this," pleads Little Bill. "Deserve's got nothin' to do with it," growls Munny, simultaneously summing up the insanity of western violence and the legacy of Eastwood's Man With No Name. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 10
Number of Lists: 59
Number of blog posts: 11
Number of discussion threads: 9
SpoutRating: 4
]]>Tue, 12 May 2009 13:25:56 GMTUnforgiven1992Clint EastwoodDedicated to his mentors <a href="/players/P____99378/default.aspx" style='text-decoration:underline'>Sergio Leone</a> and <a href="/players/P___111406/default.aspx" style='text-decoration:underline'>Don Siegel</a>, <a href="/players/P____88601/default.aspx" style='text-decoration:underline'>Clint Eastwood</a>'s 1992 Oscar-winner examines the mythic violence of the Western, taking on the ghosts of his own star past. Disgusted by Sheriff "Little Bill" Daggett's decree that several ponies make up for a cowhand's slashing a whore's face, Big Whiskey prostitutes, led by fierce Strawberry Alice (<a href="/players/P____23637/default.aspx" style='text-decoration:underline'>Frances Fisher</a>), take justice into their own hands and put a $1000 bounty on the lives of the perpetrators. Notorious outlaw-turned-hog farmer William Munny (Eastwood) is sought out by neophyte gunslinger the Schofield Kid (Jaimz Woolvett) to go with him to Big Whiskey and collect the bounty. While Munny insists, "I ain't like that no more," he needs the bounty money for his children, and the two men convince Munny's clean-living comrade Ned Logan (<a href="/players/P____90514/default.aspx" style='text-decoration:underline'>Morgan Freeman</a>) to join them in righting a wrong done to a woman. Little Bill (Oscar-winner <a href="/players/P____29486/default.aspx" style='text-decoration:underline'>Gene Hackman</a>), however, has no intention of letting any bounty hunters impinge on his iron-clad authority. When pompous gunman English Bob (<a href="/players/P____93538/default.aspx" style='text-decoration:underline'>Richard Harris</a>) arrives in Big Whiskey with pulp biographer W.W. Beauchamp (<a href="/players/P____61987/default.aspx" style='text-decoration:underline'>Saul Rubinek</a>) in tow, Little Bill beats Bob senseless and promises to tell Beauchamp the real story about violent frontier life and justice. But when Munny, the true unwritten legend, comes to town, everyone soon learns a harsh lesson about the price of vindictive bloodshed and the malleability of ideas like "justice." "I don't deserve this," pleads Little Bill. "Deserve's got nothin' to do with it," growls Munny, simultaneously summing up the insanity of western violence and the legacy of Eastwood's Man With No Name. ~ Lucia Bozzola, All Movie Guide10Taggedy Taggged (6-10)591194http://www.spout.com/ProductImages/u51600j1jhb.jpghttp://www.spout.com/films/Unforgiven/36502/default.aspxFilm http://www.spout.com/blogs/usesoap/archive/2008/12/17/38509.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/17/2008 7:25:55 PM
Body: Clint Eastwood directs two different types of films, both with a steady, sturdy hand and pinpoint focus. And while they may not all be million-dollar babies, they are reliable and marked with a love of the craft. Occasionally he'll swing for the fences, such as with his epic, both-sides-of-the-coin World War II-fer, Flags of Our Father and Letters From Iwo Jima, and the sweeping Unforgiven. Other times, he seems to just want to get things off his chest, such as in Gran Torino, his second release in as many months. For those who long for his Dirty Harry days, you've got it, punk. In Torino, he's Dirty Walt (Mr. Kowalski, as he likes to be addressed), a hardened veteran whose world is becoming increasingly smaller — squelched by his alienated sons, who connect with him only in times of need, and his neighborhood, with its increasing foreign population and gang violence. Walt is first introduced to us at the funeral of his wife. Filled with pain and anger, Walt takes every opportunity to unleash his racist, bigoted aggression on anyone within earshot. In church, he growls "Jesus," which seems more of a swear than a prayer. He's like Archie Bunker without the laugh track. His new neighbors, a Hmong family with two young adult children, are easy targets for his ire. The youngest, Thao (played by newcomer Bee Vang) runs afoul with some gangbangers who force him to steal Walt's prized titular vehicle. It results in Thao eyeing the losing end of Walt's rifle and the menacing thugs fleeing in frustrated failure. (Wily Walt, unwilling to pronounce his name, calls the boy 'Toad,' which is actually one of the more kind nicknames he bestows.) Thao's precocious older sister, Su (played with natural effervescence by Ahney Her), unfazed by Walt's forked tongue, wedges herself, Thao, and their family into Walt's life. There is nary a moment in Torino when viewers would be surprised at what transpires, but the film rests on Eastwood's directorial foundation, which is as granite solid as his glare, and it's easy to invest in his character's plight, even if it is mostly self-induced. And even though this film hasn't a fraction of its scope, it does share Unforgiven's vision of an America that is slipping into a new era and one man's resistance to going quietly. It is anchored by Eastwood the performer, who playfully tweaks his big screen tough guy persona without mocking it, like DeNiro and Brando did in their latter years. At 78, Eastwood still looks as though he could take down a small flock of thugs, but he also shows the folly of his character's eye-for-an-eye mentality. Like Walt's Torino, the film is polished and purring. It motors along with muscle, but just as the Ford Torino was never quite as symbolic as, say, the Mustang, the film is modest and dependable, not a flashy award-worthy affair. In fact, were it not for Eastwood's involvement, it's hard not to think that this film would barely make it to the screen, most certainly not with the splash it's currently receiving. But it is two more hours we get to spend on screen with an icon who, unlike the beleaguered American auto industry for which his character once worked, is still going strong.
]]>Thu, 18 Dec 2008 00:25:55 GMTusesoapusesoap Blog12/17/2008 7:25:55 PMClint Eastwood directs two different types of films, both with a steady, sturdy hand and pinpoint focus. And while they may not all be million-dollar babies, they are reliable and marked with a love of the craft. Occasionally he'll swing for the fences, such as with his epic, both-sides-of-the-coin World War II-fer, Flags of Our Father and Letters From Iwo Jima, and the sweeping Unforgiven. Other times, he seems to just want to get things off his chest, such as in Gran Torino, his second release in as many months. For those who long for his Dirty Harry days, you've got it, punk. In Torino, he's Dirty Walt (Mr. Kowalski, as he likes to be addressed), a hardened veteran whose world is becoming increasingly smaller &mdash; squelched by his alienated sons, who connect with him only in times of need, and his neighborhood, with its increasing foreign population and gang violence. Walt is first introduced to us at the funeral of his wife. Filled with pain and anger, Walt takes every opportunity to unleash his racist, bigoted aggression on anyone within earshot. In church, he growls "Jesus," which seems more of a swear than a prayer. He's like Archie Bunker without the laugh track. His new neighbors, a Hmong family with two young adult children, are easy targets for his ire. The youngest, Thao (played by newcomer Bee Vang) runs afoul with some gangbangers who force him to steal Walt's prized titular vehicle. It results in Thao eyeing the losing end of Walt's rifle and the menacing thugs fleeing in frustrated failure. (Wily Walt, unwilling to pronounce his name, calls the boy 'Toad,' which is actually one of the more kind nicknames he bestows.) Thao's precocious older sister, Su (played with natural effervescence by Ahney Her), unfazed by Walt's forked tongue, wedges herself, Thao, and their family into Walt's life. There is nary a moment in Torino when viewers would be surprised at what transpires, but the film rests on Eastwood's directorial foundation, which is as granite solid as his glare, and it's easy to invest in his character's plight, even if it is mostly self-induced. And even though this film hasn't a fraction of its scope, it does share Unforgiven's vision of an America that is slipping into a new era and one man's resistance to going quietly. It is anchored by Eastwood the performer, who playfully tweaks his big screen tough guy persona without mocking it, like DeNiro and Brando did in their latter years. At 78, Eastwood still looks as though he could take down a small flock of thugs, but he also shows the folly of his character's eye-for-an-eye mentality. Like Walt's Torino, the film is polished and purring. It motors along with muscle, but just as the Ford Torino was never quite as symbolic as, say, the Mustang, the film is modest and dependable, not a flashy award-worthy affair. In fact, were it not for Eastwood's involvement, it's hard not to think that this film would barely make it to the screen, most certainly not with the splash it's currently receiving. But it is two more hours we get to spend on screen with an icon who, unlike the beleaguered American auto industry for which his character once worked, is still going strong. http://www.spout.com/groups/Coming_Soon/Holiday_movies_Cartoon_mice_Jim_Carrey_s_face_a/216/38422/1/ShowPost.aspx Post By: spout
Post To: Coming Soon
Post Date: 12/15/2008 7:02:54 PM
Body: WEDNESDAY 12/17 The Wrestler -- Watch the trailer. Read the review. Looks like this is a sports movie with guts. I love Mickey Rourke, and I can't think of anyone who knows more about being called a "beat-up piece of meat." Hey, that makes me think of a list... Art Imitates Life: When Actors Barely Have to Act 5. Reservoir Dogs -- Mr. Blue is played by ex-convict and heist veteran Edward Bunker. 4. Pirates of the Caribbean 3 -- Keith Richards, the pirate of rock, is the perfect choice to play Jack Sparrow's dad. 3. A Scanner Darkly -- Tie for third place: Robert Downey, Jr. and Woody Harrelson, who lend this "drug movie" loads of authenticity. 2. The Wrestler -- I wanted to put it at #1, but I haven't seen it yet. 1. Unforgiven -- Clint's portrayal of a reformed murderer gives me goosebumps. When characters talk about how bad he used to be, I think of the Dollars trilogy, and how different they could've been if he was an outright villain. Another Documentary About an Eccentric Artist, but this one looks worthwhile. Scott Walker: 30 Century Man -- Watch the trailer. I'm a music nut, but I hadn't heard of Scott Walker until today. Considering the musicians he's influenced (David Bowie, Brian Eno, The Smiths, Radiohead), I don't know how he's escaped my attention. He looks intense. "I have a very nightmarish imagination. I've had very bad dreams all my life, so everything in my music is very big." -- S. Walker in Scott Walker: 30 Century Man. FRIDAY 12/19 Nothing But the Truth -- Read the review. Inspired by the Valerie Plame/Scooter Libby CIA leak, Karina said this was the most fun she had at the Toronto Film Festival 2008. Starring Vera Farmiga and featuring Matt Dillon, Alan Alda, Kate Beckinsale, and...(are you ready for this?) David Schwimmer. The Tale of Despereaux -- Watch the trailer. This looks good, but it's getting chilly reviews. I don't know, the mouse is pretty cute... Yes Man -- Watch the trailer. Looks a lot like Liar Liar, but it could be fun. I do have to say though, these days I have a pretty low tolerance for Jim Carrey's facial shenanigans. Seven Pounds -- Watch the trailer. Will Smith is an IRS agent who mysteriously assumes the identity of his younger brother and tries to change the lives of seven strangers. Also starring Rosario Dawson and Woody Harrelson, and from the director of Pursuit of Happyness.
]]>Tue, 16 Dec 2008 00:02:54 GMTspoutComing Soon12/15/2008 7:02:54 PMWEDNESDAY 12/17 The Wrestler -- Watch the trailer. Read the review. Looks like this is a sports movie with guts. I love Mickey Rourke, and I can't think of anyone who knows more about being called a "beat-up piece of meat." Hey, that makes me think of a list... Art Imitates Life: When Actors Barely Have to Act 5. Reservoir Dogs -- Mr. Blue is played by ex-convict and heist veteran Edward Bunker. 4. Pirates of the Caribbean 3 -- Keith Richards, the pirate of rock, is the perfect choice to play Jack Sparrow's dad. 3. A Scanner Darkly -- Tie for third place: Robert Downey, Jr. and Woody Harrelson, who lend this "drug movie" loads of authenticity. 2. The Wrestler -- I wanted to put it at #1, but I haven't seen it yet. 1. Unforgiven -- Clint's portrayal of a reformed murderer gives me goosebumps. When characters talk about how bad he used to be, I think of the Dollars trilogy, and how different they could've been if he was an outright villain. Another Documentary About an Eccentric Artist, but this one looks worthwhile. Scott Walker: 30 Century Man -- Watch the trailer. I'm a music nut, but I hadn't heard of Scott Walker until today. Considering the musicians he's influenced (David Bowie, Brian Eno, The Smiths, Radiohead), I don't know how he's escaped my attention. He looks intense. "I have a very nightmarish imagination. I've had very bad dreams all my life, so everything in my music is very big." -- S. Walker in Scott Walker: 30 Century Man. FRIDAY 12/19 Nothing But the Truth -- Read the review. Inspired by the Valerie Plame/Scooter Libby CIA leak, Karina said this was the most fun she had at the Toronto Film Festival 2008. Starring Vera Farmiga and featuring Matt Dillon, Alan Alda, Kate Beckinsale, and...(are you ready for this?) David Schwimmer. The Tale of Despereaux -- Watch the trailer. This looks good, but it's getting chilly reviews. I don't know, the mouse is pretty cute... Yes Man -- Watch the trailer. Looks a lot like Liar Liar, but it could be fun. I do have to say though, these days I have a pretty low tolerance for Jim Carrey's facial shenanigans. Seven Pounds -- Watch the trailer. Will Smith is an IRS agent who mysteriously assumes the identity of his younger brother and tries to change the lives of seven strangers. Also starring Rosario Dawson and Woody Harrelson, and from the director of Pursuit of Happyness. http://www.spout.com/blogs/smithco/archive/2008/10/5/35900.aspx Post By: smithco
Post To: My Ponderings on Cinema
Post Date: 10/5/2008 2:58:43 AM
Body: Appaloosa is a really great western. The plot was a bit predictable, the direction was not particularly creative, and the music was a bit pedantic, but the actors filled the scenes with a gripping presence. Much like other westerns such as Unforgiven (1992) and The Magnificent Seven (1960), the greatness comes from the actors. The whole film is filled with Ed Harris and Viggo Mortensen being as big as the set would hold, with the quiet, cool manner of all the great western heroic actors. And Jeremy Irons, despite his inability to do an American accent, was a well-played foil to the heroes.
]]>Sun, 05 Oct 2008 06:58:43 GMTsmithcoMy Ponderings on Cinema10/5/2008 2:58:43 AMAppaloosa is a really great western. The plot was a bit predictable, the direction was not particularly creative, and the music was a bit pedantic, but the actors filled the scenes with a gripping presence. Much like other westerns such as Unforgiven (1992) and The Magnificent Seven (1960), the greatness comes from the actors. The whole film is filled with Ed Harris and Viggo Mortensen being as big as the set would hold, with the quiet, cool manner of all the great western heroic actors. And Jeremy Irons, despite his inability to do an American accent, was a well-played foil to the heroes. http://www.spout.com/blogs/bigjefflebowski/archive/2008/7/18/32734.aspx Post By: BigJeffLebowski
Post To: BigJeffLebowski Blog
Post Date: 7/18/2008 2:44:08 PM
Body: The Dark Knight, the most anticipated picture of the year for myself and innumerable others, has finally arrived following a trail of hype that would crush almost any film. But miraculously, just as Moses wielded his stone tablets, Christopher Nolan has handed us a true gift from the cinematic gods. His second Batman is so visceral, so propulsive, so maddeningly perfect in its execution that it should come with a warning; you do not simply watch The Dark Knight, you surrender your pulse to Christopher Nolan. And even if an intended triptych has been tragically cut short (as Mel Brooks might contend those aforementioned commandments were) what remains is wholly qualified to stand on its own not as a great Batman film, not as a great superhero film, and not as a great action film, but as one of the most distiguished pieces of filmmaking of its generation. This decade, more so than any other, has seen comic-to-film adaptations mature from vacuous thrills to serious art. Sam Raimi gave them their candy colored coming-of-age angst with his Spider-Man series; Jon Favreau gave them their sociopolitical meta-narrative with his first Iron Man; and Bryan Singer has alternately given them their conflicts of appearance/intention and assimilation/assertion (X-men, X2) and their visual and tonal poetry (Superman Returns). But by taking one of the most psychologically rich and practically feasible comic book heroes and stripping him of all remaining contrivance and camp, Nolan has arguably bested them all by instilling his Gotham -- and its inhabitants -- with a gritty realism that absolutely demands as much emotional and technical veracity as an escapist action-adventure will allow. Perhaps Nolan's greatest asset as a filmmaker is his unwavering dedication to making his characters' actions and emotions utterly believable within the constricts of his chosen narrative. One needn't look any farther than Nolan's breakthrough sophomore film, Memento, to see that what sets him apart from almost every other filmmaker working today is his complete command of both the internal and external machinations of his characters. Rarely, if ever, do you see a writer-director working in Nolan's genres with such an assured and astute grasp on human emotion and interaction. His application of binary opposition in both plot and theme is unmatched in today's cinema. There is a constant tug of war in Nolan's films, a philosophical debate between chance and fate, between reason and impulse, between light and dark, etc. Any screenwriter can set up archetypes and let them stand in contrast to one another, but the beauty of a Nolan script is that the true conflict lies inside the characters. Nolan understands that the line between friends and enemies is moveable, based more on circumstance than on the people themselves. And what people they are. Christian Bale's Batman has become beautifully economic in both word and action. Gary Oldman's Lieutenant Gordon is an even stronger edifice of morality and decency. Maggie Gyllenhaal's Rachel Dawes is a noteworthy trade-up from the first film, with composure, confidence, and sexuality in equal measure. Michael Caine's Alfred is humane, silently compassionate, and so much more than the stuffy butler to which he is all too often reduced. But Heath Ledger's Joker. I'm really not sure what I can add to the innumerable accolades already heaped upon this utterly unnerving, raw, feral, fearless, unshakeable performance. Nothing is done out of vanity, nothing for cheap thrills. True, I feel the talk of Oscar gold is both premature and hyperbolic, but I would be surprised to not see Ledger on the list of nominees. The Dark Knight is that rare genre film that changes the vocabulary of its genre -- no small feat given the leaps and bounds comic book films have already taken over the past few years. That The Godfather, Heat, A Clockwork Orange, and Unforgiven have all been cited as influences on the film is no surprise; what all of these exceptional pictures share in common with one another is an intellectual maturity that nonetheless refuses to compromise entertainment for intelligence. Whether or not the few muffled criticisms that the film is too long, too packed with characters and information, too frenetic, or too climactic are valid is up to the viewer to decide on an individual basis. While I will agree that the film is denser and more earnest than its peers, I refuse to accept that this is to its detriment. Nolan has taken a lofty gamble, and we have all walked away from the table with more chips than we can carry.
]]>Fri, 18 Jul 2008 18:44:08 GMTBigJeffLebowskiBigJeffLebowski Blog7/18/2008 2:44:08 PMThe Dark Knight, the most anticipated picture of the year for myself and innumerable others, has finally arrived following a trail of hype that would crush almost any film. But miraculously, just as Moses wielded his stone tablets, Christopher Nolan has handed us a true gift from the cinematic gods. His second Batman is so visceral, so propulsive, so maddeningly perfect in its execution that it should come with a warning; you do not simply watch The Dark Knight, you surrender your pulse to Christopher Nolan. And even if an intended triptych has been tragically cut short (as Mel Brooks might contend those aforementioned commandments were) what remains is wholly qualified to stand on its own not as a great Batman film, not as a great superhero film, and not as a great action film, but as one of the most distiguished pieces of filmmaking of its generation. This decade, more so than any other, has seen comic-to-film adaptations mature from vacuous thrills to serious art. Sam Raimi gave them their candy colored coming-of-age angst with his Spider-Man series; Jon Favreau gave them their sociopolitical meta-narrative with his first Iron Man; and Bryan Singer has alternately given them their conflicts of appearance/intention and assimilation/assertion (X-men, X2) and their visual and tonal poetry (Superman Returns). But by taking one of the most psychologically rich and practically feasible comic book heroes and stripping him of all remaining contrivance and camp, Nolan has arguably bested them all by instilling his Gotham -- and its inhabitants -- with a gritty realism that absolutely demands as much emotional and technical veracity as an escapist action-adventure will allow. Perhaps Nolan's greatest asset as a filmmaker is his unwavering dedication to making his characters' actions and emotions utterly believable within the constricts of his chosen narrative. One needn't look any farther than Nolan's breakthrough sophomore film, Memento, to see that what sets him apart from almost every other filmmaker working today is his complete command of both the internal and external machinations of his characters. Rarely, if ever, do you see a writer-director working in Nolan's genres with such an assured and astute grasp on human emotion and interaction. His application of binary opposition in both plot and theme is unmatched in today's cinema. There is a constant tug of war in Nolan's films, a philosophical debate between chance and fate, between reason and impulse, between light and dark, etc. Any screenwriter can set up archetypes and let them stand in contrast to one another, but the beauty of a Nolan script is that the true conflict lies inside the characters. Nolan understands that the line between friends and enemies is moveable, based more on circumstance than on the people themselves. And what people they are. Christian Bale's Batman has become beautifully economic in both word and action. Gary Oldman's Lieutenant Gordon is an even stronger edifice of morality and decency. Maggie Gyllenhaal's Rachel Dawes is a noteworthy trade-up from the first film, with composure, confidence, and sexuality in equal measure. Michael Caine's Alfred is humane, silently compassionate, and so much more than the stuffy butler to which he is all too often reduced. But Heath Ledger's Joker. I'm really not sure what I can add to the innumerable accolades already heaped upon this utterly unnerving, raw, feral, fearless, unshakeable performance. Nothing is done out of vanity, nothing for cheap thrills. True, I feel the talk of Oscar gold is both premature and hyperbolic, but I would be surprised to not see Ledger on the list of nominees. The Dark Knight is that rare genre film that changes the vocabulary of its genre -- no small feat given the leaps and bounds comic book films have already taken over the past few years. That The Godfather, Heat, A Clockwork Orange, and Unforgiven have all been cited as influences on the film is no surprise; what all of these exceptional pictures share in common with one another is an intellectual maturity that nonetheless refuses to compromise entertainment for intelligence. Whether or not the few muffled criticisms that the film is too long, too packed with characters and information, too frenetic, or too climactic are valid is up to the viewer to decide on an individual basis. While I will agree that the film is denser and more earnest than its peers, I refuse to accept that this is to its detriment. Nolan has taken a lofty gamble, and we have all walked away from the table with more chips than we can carry. http://www.spout.com/blogs/windbreaker/archive/2008/7/6/32193.aspx Post By: Windbreaker
Post To: Windbreaker!
Post Date: 7/6/2008 3:38:40 PM
Body: Let's face it, you could do a lot worse than renting Blood Work. I know, I know... not much of an endorsement, but you know what? Blockbuster Online has spoiled me with all the free rentals exchanged in-store. After seeing the DVD case, I correctly guessed the outcome of the movie -- but that's not the point of Blood Work. It's the path to the finish line. Think Unforgiven Clint Eastwood -- still has a gun at his side, but might not have the reflexes to reach for it in time.
]]>Sun, 06 Jul 2008 19:38:40 GMTWindbreakerWindbreaker!7/6/2008 3:38:40 PMLet's face it, you could do a lot worse than renting Blood Work. I know, I know... not much of an endorsement, but you know what? Blockbuster Online has spoiled me with all the free rentals exchanged in-store. After seeing the DVD case, I correctly guessed the outcome of the movie -- but that's not the point of Blood Work. It's the path to the finish line. Think Unforgiven Clint Eastwood -- still has a gun at his side, but might not have the reflexes to reach for it in time. http://www.spout.com/groups/Top_5/Re_Top_5_movies_directed_by_an_actor_or_actress/190/26347/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 3/18/2008 11:37:13 AM
Body: [quote user="Jymkata"]I'm sure I'm missing a great one, but I have got to say I was blown away by last year's Gone Baby Gone. I am stunned that the actor that has consistently disappointed me since he became a leading man came up with such a solid film. I usually hate Clint Eastwood and Robert Redford's directed efforts and I respect their acting much more than Affleck's, but Ben Affleck may have found a true talent for directing. [quote user="leeroy711"] And no, M. Night Shamylan movies don't count. I'm looking for movies directed by people that are much better known as actors than directors.5. The War Zone (Tim Roth) 4. Dead Man Walking (Tim Robbins)3. Nil By Mouth (Gary Oldman) 2. Illuminata (John Turturro)1. Romance & Cigarettes (John Turturro)[/quote][/quote]As far as Eastwood and Redford go, I think they are both thought of first as directors and not actors. I like some of Redford, especially Quiz Show, and I loved Unforgiven but I don't really think they fit into this catagory because the y both have directed more in the past 10 or 15 years than they have acted. Mel Gibson is the next to make that transition.
]]>Tue, 18 Mar 2008 15:37:13 GMTleeroy711Top 53/18/2008 11:37:13 AM[quote user="Jymkata"]I&#39;m sure I&#39;m missing a great one, but I have got to say I was blown away by last year&#39;s Gone Baby Gone. I am stunned that the actor that has consistently disappointed me since he became a leading man came up with such a solid film. I usually hate Clint Eastwood and Robert Redford&#39;s directed efforts and I respect their acting much more than Affleck&#39;s, but Ben Affleck may have found a true talent for directing. [quote user="leeroy711"] And no, M. Night Shamylan movies don&#39;t count. I&#39;m looking for movies directed by people that are much better known as actors than directors.5. The War Zone (Tim Roth) 4. Dead Man Walking (Tim Robbins)3. Nil By Mouth (Gary Oldman) 2. Illuminata (John Turturro)1. Romance &amp; Cigarettes (John Turturro)[/quote][/quote]As far as Eastwood and Redford go, I think they are both thought of first as directors and not actors. I like some of Redford, especially Quiz Show, and I loved Unforgiven but I don&#39;t really think they fit into this catagory because the y both have directed more in the past 10 or 15 years than they have acted. Mel Gibson is the next to make that transition. http://www.spout.com/blogs/leeroy711/archive/2008/2/27/25663.aspx Post By: leeroy711
Post To: leeroy711 Blog
Post Date: 2/27/2008 6:19:05 PM
Body: *** stars (out of 5) Directed By: James Mangold Starring: Russes Crowe, Christian Bale, Logan Lerman, Peter Fonda & Ben Foster Language: English Synopsis: Benjamin Wade (Crowe), the legendary and feared outlaw and his gang have just robbed a well armed stage coach carrying the payroll for The Southern Pacific Railroads. The only men left alive was Wade's mortal enemy, bounty hunter Byron McElroy (Fonda) and a poor rancher, Dan Evans (Bale) and his son (Lerman) that happened onto the scene. Wade is caught in a hotel in Bisbee, Arizona and eager to make some much needed cash, Evans volunteers to join the posse that will put him on a train to the prison in Yuma. Unfortunately for the posse, Wade's right hand man Charlie Prince (Foster) finds out about the his incarceration and wastes no time hatching up a plan to liberate the paternal gang leader. Review: This film was a bit overrated. One review said it was the "best western since "Unforgiven". That may be true but it was no where near the quality of Unforgiven. The action sequences were quite entertaining but left a little to be desired. I found the character development to be very good in the case of Evans but severely lacking with Wade. By far the best part of the film was the acting of Christian Bale and the scene stealing talents of Ben Foster (in which I was happily surprised). As much as I thought this film was overrated by other critics, I will say it is definitely worth the time. If you are in love with westerns, you will get much more out of this than most but all casual movie-goers and film buffs alike can take away a good experience.
]]>Wed, 27 Feb 2008 23:19:05 GMTleeroy711leeroy711 Blog2/27/2008 6:19:05 PM*** stars (out of 5) Directed By: James Mangold Starring: Russes Crowe, Christian Bale, Logan Lerman, Peter Fonda &amp; Ben Foster Language: English Synopsis: Benjamin Wade (Crowe), the legendary and feared outlaw and his gang have just robbed a well armed stage coach carrying the payroll for The Southern Pacific Railroads. The only men left alive was Wade&#39;s mortal enemy, bounty hunter Byron McElroy (Fonda) and a poor rancher, Dan Evans (Bale) and his son (Lerman) that happened onto the scene. Wade is caught in a hotel in Bisbee, Arizona and eager to make some much needed cash, Evans volunteers to join the posse that will put him on a train to the prison in Yuma. Unfortunately for the posse, Wade&#39;s right hand man Charlie Prince (Foster) finds out about the his incarceration and wastes no time hatching up a plan to liberate the paternal gang leader. Review: This film was a bit overrated. One review said it was the &quot;best western since &quot;Unforgiven&quot;. That may be true but it was no where near the quality of Unforgiven. The action sequences were quite entertaining but left a little to be desired. I found the character development to be very good in the case of Evans but severely lacking with Wade. By far the best part of the film was the acting of Christian Bale and the scene stealing talents of Ben Foster (in which I was happily surprised). As much as I thought this film was overrated by other critics, I will say it is definitely worth the time. If you are in love with westerns, you will get much more out of this than most but all casual movie-goers and film buffs alike can take away a good experience. http://www.spout.com/blogs/windbreaker/archive/2008/2/17/25241.aspx Post By: Windbreaker
Post To: Windbreaker!
Post Date: 2/17/2008 9:57:20 PM
Body: I hate when DVD boxes say things like "best western since Unforgiven". But 3:10 To Yuma is one of the best westerns since Unforgiven.
]]>Mon, 18 Feb 2008 02:57:20 GMTWindbreakerWindbreaker!2/17/2008 9:57:20 PMI hate when DVD boxes say things like &quot;best western since Unforgiven&quot;. But 3:10 To Yuma is one of the best westerns since Unforgiven. http://www.spout.com/blogs/paul/archive/2007/12/21/23044.aspx Post By: paul
Post To: paul on spout.com
Post Date: 12/21/2007 4:15:14 PM
Body: Sympathy for the Devil: Summer blockbuster season starts today. It will rise and fall on whether or not the villains are convincing. Kevin and Paul believe it all boils down to answering one question: What makes the bad guys do mean things? Download FilmCouch #18 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Under discussion: Unforgiven The Godfather Star Wars Scarface Originally posted on:SpoutBlog » Paul
]]>Fri, 21 Dec 2007 21:15:14 GMTpaulpaul on spout.com12/21/2007 4:15:14 PMSympathy for the Devil: Summer blockbuster season starts today. It will rise and fall on whether or not the villains are convincing. Kevin and Paul believe it all boils down to answering one question: What makes the bad guys do mean things? Download FilmCouch #18 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Under discussion: Unforgiven The Godfather Star Wars Scarface Originally posted on:SpoutBlog » Paul http://www.spout.com/groups/Violence_on_film/Violence_in_movies/494/21814/1/ShowPost.aspx Post By: Dr_Gor
Post To: Violence on film
Post Date: 11/19/2007 11:15:39 PM
Body: There are certain movies that are all about the violence! (insert your favorite horror movie here) And then there are some which are more 'drama' but with at least one or two really violent scenes for an 'attention-grabber' . In other words, in some cases the violence helps to tell the story, and in other cases, the violence IS the story... here are some examples... The Good, The Bad and The Ugly and ALL of the Clint Eastwood westerns ... Up to, and including, Unforgiven ... ALL of the Bruce Lee movies and most of the Steven Segal movies and Jean Claude Van Damme and Don 'the dragon' Wilson and Jeff Speakman , etc ... No. My favorite violent movies are the ones about real warriors... THAT is what it's all about! Movies like The Warriors and The Wild Bunch and The Magnificent Seven and The 13th Warrior and 300 are excellent examples of movies which are all about the violence... not to mention the Kill Bill series and every movie ever made by John Woo as well... They ALL have one thing in common, what some would call 'excessive' violence...
]]>Tue, 20 Nov 2007 04:15:39 GMTDr_GorViolence on film11/19/2007 11:15:39 PM There are certain movies that are all about the violence! (insert your favorite horror movie here) And then there are some which are more &#39;drama&#39; but with at least one or two really violent scenes for an &#39;attention-grabber&#39; . In other words, in some cases the violence helps to tell the story, and in other cases, the violence IS the story... here are some examples... The Good, The Bad and The Ugly and ALL of the Clint Eastwood westerns ... Up to, and including, Unforgiven ... ALL of the Bruce Lee movies and most of the Steven Segal movies and Jean Claude Van Damme and Don &#39;the dragon&#39; Wilson and Jeff Speakman , etc ... No. My favorite violent movies are the ones about real warriors... THAT is what it&#39;s all about! Movies like The Warriors and The Wild Bunch and The Magnificent Seven and The 13th Warrior and 300 are excellent examples of movies which are all about the violence... not to mention the Kill Bill series and every movie ever made by John Woo as well... They ALL have one thing in common, what some would call &#39;excessive&#39; violence... http://www.spout.com/members/0/tags/corruption/MemberTagFilms.aspxcorruption
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