list http://www.spout.com/ Recent community activity around Sex and the City 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/Sex_and_the_City/365172/default.aspx Title: Sex and the City
Year: 2008
Director: Michael Patrick King
Plot: The hit cable series Sex and the City catwalks its way onto the big screen in this feature-film continuation that fans all over have been clamoring for. Sarah Jessica Parker returns once again as Carrie Bradshaw, the style-maven journalist whose romantic exploits were the key focus of the show. Also reprising their roles are Kim Cattrall, Kristin Davis, and Cynthia Nixon, with the series' executive producer Michael Patrick King taking on writing and directing duties. Dreamgirls' Jennifer Hudson co-stars as Carrie's assistant. ~ Jeremy Wheeler, All Movie Guide
Times Tagged: 25
Number of Lists: 11
Number of blog posts: 35
Number of discussion threads: 2
SpoutRating: 3
]]>Mon, 25 May 2009 16:02:49 GMTSex and the City2008Michael Patrick KingThe hit cable series Sex and the City catwalks its way onto the big screen in this feature-film continuation that fans all over have been clamoring for. <a href="http://www.spout.com/players/P____55134/default.aspx" style='text-decoration:underline'>Sarah Jessica Parker</a> returns once again as Carrie Bradshaw, the style-maven journalist whose romantic exploits were the key focus of the show. Also reprising their roles are <a href="http://www.spout.com/players/P____11829/default.aspx" style='text-decoration:underline'>Kim Cattrall</a>, <a href="http://www.spout.com/players/P___238934/default.aspx" style='text-decoration:underline'>Kristin Davis</a>, and <a href="http://www.spout.com/players/P____52802/default.aspx" style='text-decoration:underline'>Cynthia Nixon</a>, with the series' executive producer Michael Patrick King taking on writing and directing duties. <a href="http://www.spout.com/films/262766/detail.aspx" style='text-decoration:underline'>Dreamgirls</a>' <a href="http://www.spout.com/players/P___454405/default.aspx" style='text-decoration:underline'>Jennifer Hudson</a> co-stars as Carrie's assistant. ~ Jeremy Wheeler, All Movie Guide25Tag Target (>10)113523http://www.spout.com/ProductImages/s365172.jpghttp://www.spout.com/films/Sex_and_the_City/365172/default.aspxFilm http://www.spout.com/blogs/usesoap/archive/2008/12/27/38883.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 12/27/2008 8:34:11 PM
Body: Make no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer “event movies” (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL·E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008.
]]>Sun, 28 Dec 2008 01:34:11 GMTusesoapusesoap Blog12/27/2008 8:34:11 PMMake no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy. At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer &ldquo;event movies&rdquo; (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office. In 2008: Twilight was the highest-grossing film opening by a female director (at $70 million); It received the second-largest advanced ticket sales, trailing only The Dark Knight; Sex and the City was the best opening ever for an R-rated comedy; The SATC gals also debuted as the fifth best R-rated film of all time; The film also bested Mission Impossible as the best debut of a film based on a TV show. Now, perhaps next year we can do the same with good movies. Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it. Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas. BESTThe Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.WALL&middot;E: A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.The Curious Case of Benjamin Button: Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.Burn After Reading: After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations. Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence. Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.Quantum of Solace: Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known. Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys. Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction. WORST The Happening: When wind is your chief villain, it's time to rethink the script. The Love Guru: Mike Myers steps in Deepak doo-doo.Sex and the City: Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.88Minutes/Righteous Kill: Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.X-Files: I Want to Believe: But now I no longer do.Seven Pounds: Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat. An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.Meet the Spartans/Disaster Movie: Cinematic parody: Born 1923, Died 2008. http://www.spout.com/groups/Coming_Soon/Superheroes_and_Sex_in_the_City_new_DVDs_12_9/216/38087/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/8/2008 4:47:20 PM
Body: New DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You
]]>Mon, 08 Dec 2008 21:47:20 GMTSkyPilotComing Soon12/8/2008 4:47:20 PMNew DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:15 PM
Body: Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:15 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:15 PMCatherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/7/31/33332.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/31/2008 11:01:20 AM
Body: During Spout’s coverage of Comic-Con last week, my ears perked up during the Entertainment Weekly: Visionaries panel when Watchmen director Zack Snyder started railing about the disconnect between video games and Hollywood. It’s nice to know that the director of next year’s mega-tentpole hopeful doesn’t want the marketing department at Warner Bros. to rush something craptacular to the waiting masses. Just like Steven Spielberg did in 1983. Snyder’s best quote to the gaming world was this: “A dialogue needs to be established between filmmakers and game producers. It’s not marketing; it can’t be an afterthought.” It’s doubtful he was remembering the E.T. / Atari debacle of 1983, but he definitely lived through it, as did I. In fact, I still remember Christmas morning that year, tearing open the paper on a brand new E.T. video game and slapping the cartridge into the 2600. It might be 25 years later, but I can still recall how bad it was. Quick to jump on the huge success of E.T. at the theater, Atari (who was owned by Warner Communications) offered Spielberg and Universal Pictures between 20 and 25 million dollars to license the video game rights. That’s about 50 million bucks when adjusted for inflation. So much time was wasted negotiating this deal, however, that once the developers started working they had six weeks to put a game together. Six weeks! I think I had longer to work on my science project in 5th grade. As you’d expect, the game came out and to use the word “sucked” would be an understatement. 5 million game cartridges were rushed into stores for the holiday season in 1983, and according to Atari’s CEO and president at the time, Ray Kassar, “nearly all of them came back.” Hardly surprising. What is surprising though, is that this game, along with Atari’s lackluster Pac-Man game cart for the 2600, caused the downfall of Atari, and started what some people call the “video game crash of 1983.” One of the strangest side effects of the E.T. game disaster was the rise of the urban legend that most of these returned games were shipped to the desert and buried in the sand. Not to give future generations something to puzzle over, but so that people wouldn’t “loot them.” You think people are going to loot the five million games that wouldn’t sell? It turned out that this story was actually true, and the “digital Roswell” of buried Atari cartridges actually exists. The video at the top of this post by the Wintergreen is the most musically succinct way of summing up what happened with the E.T. game. Unfortunately, this hasn’t made Hollywood any smarter when developing games, although it also hasn’t kept Spielberg away from the toybox –– the Boom Blox casual game the he developed for the Wii at Electronic Arts was just released a couple of months ago. So why is there still such an enormous gap between these two worlds? I’m not here to answer the question, because if I could, I’d be working in game development and raking in the dough from my Sex and the City game for the Wii. Rather, I’m just trying to point out some of the many misses and the few hits of these attempts. It’s heartening that Zack Snyder sees this canyon and is interested in traversing it, especially since he saw the script for the Watchmen game that Warner Bros. was proposing and said “They sent me a script for it. This was the dorkiest thing I’d ever seen in my life, and it’s not cool at all. And it had nothing to do with Watchmen. We tried to rewrite it.” So clearly, marketing departments and studios wanting to have a nice shiny “Watchmen: The Video Game” shrink-wrapped package on store shelves when the movie comes out still haven’t been paying attention. At least one person can illustrate the gap between games and movies fairly well: Howard Scott Warshaw, who designed both the Raiders of the Lost Ark (which, hey –– I loved playing) and E.T. video games: “While at Atari I did a lot of work, had a lot of fun, met some fascinating people, made a lot of money, did a pretty fair amount of drugs, got to fly on private jets, negotiate behind closed doors, dabble in corporate adventures, eat in executive dining rooms (although no time was spent in their washrooms) and I even got to work with Steven Spielberg (who is a very cool guy that thinks like a director and sees like a child).” Clearly, he felt like a little kid getting to play with the adults. But now that gaming is pulling in almost double the money of Hollywood, it’s time for things to start changing. Originally posted on:SpoutBlog
]]>Thu, 31 Jul 2008 15:01:20 GMTSpoutBlogSpoutBlog on spout.com7/31/2008 11:01:20 AM During Spout’s coverage of Comic-Con last week, my ears perked up during the Entertainment Weekly: Visionaries panel when Watchmen director Zack Snyder started railing about the disconnect between video games and Hollywood. It’s nice to know that the director of next year’s mega-tentpole hopeful doesn’t want the marketing department at Warner Bros. to rush something craptacular to the waiting masses. Just like Steven Spielberg did in 1983. Snyder’s best quote to the gaming world was this: “A dialogue needs to be established between filmmakers and game producers. It’s not marketing; it can’t be an afterthought.” It’s doubtful he was remembering the E.T. / Atari debacle of 1983, but he definitely lived through it, as did I. In fact, I still remember Christmas morning that year, tearing open the paper on a brand new E.T. video game and slapping the cartridge into the 2600. It might be 25 years later, but I can still recall how bad it was. Quick to jump on the huge success of E.T. at the theater, Atari (who was owned by Warner Communications) offered Spielberg and Universal Pictures between 20 and 25 million dollars to license the video game rights. That’s about 50 million bucks when adjusted for inflation. So much time was wasted negotiating this deal, however, that once the developers started working they had six weeks to put a game together. Six weeks! I think I had longer to work on my science project in 5th grade. As you’d expect, the game came out and to use the word “sucked” would be an understatement. 5 million game cartridges were rushed into stores for the holiday season in 1983, and according to Atari’s CEO and president at the time, Ray Kassar, “nearly all of them came back.” Hardly surprising. What is surprising though, is that this game, along with Atari’s lackluster Pac-Man game cart for the 2600, caused the downfall of Atari, and started what some people call the “video game crash of 1983.” One of the strangest side effects of the E.T. game disaster was the rise of the urban legend that most of these returned games were shipped to the desert and buried in the sand. Not to give future generations something to puzzle over, but so that people wouldn’t “loot them.” You think people are going to loot the five million games that wouldn’t sell? It turned out that this story was actually true, and the “digital Roswell” of buried Atari cartridges actually exists. The video at the top of this post by the Wintergreen is the most musically succinct way of summing up what happened with the E.T. game. Unfortunately, this hasn’t made Hollywood any smarter when developing games, although it also hasn’t kept Spielberg away from the toybox –– the Boom Blox casual game the he developed for the Wii at Electronic Arts was just released a couple of months ago. So why is there still such an enormous gap between these two worlds? I’m not here to answer the question, because if I could, I’d be working in game development and raking in the dough from my Sex and the City game for the Wii. Rather, I’m just trying to point out some of the many misses and the few hits of these attempts. It’s heartening that Zack Snyder sees this canyon and is interested in traversing it, especially since he saw the script for the Watchmen game that Warner Bros. was proposing and said “They sent me a script for it. This was the dorkiest thing I’d ever seen in my life, and it’s not cool at all. And it had nothing to do with Watchmen. We tried to rewrite it.” So clearly, marketing departments and studios wanting to have a nice shiny “Watchmen: The Video Game” shrink-wrapped package on store shelves when the movie comes out still haven’t been paying attention. At least one person can illustrate the gap between games and movies fairly well: Howard Scott Warshaw, who designed both the Raiders of the Lost Ark (which, hey –– I loved playing) and E.T. video games: “While at Atari I did a lot of work, had a lot of fun, met some fascinating people, made a lot of money, did a pretty fair amount of drugs, got to fly on private jets, negotiate behind closed doors, dabble in corporate adventures, eat in executive dining rooms (although no time was spent in their washrooms) and I even got to work with Steven Spielberg (who is a very cool guy that thinks like a director and sees like a child).” Clearly, he felt like a little kid getting to play with the adults. But now that gaming is pulling in almost double the money of Hollywood, it’s time for things to start changing. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/7/24/33020.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/24/2008 11:01:19 AM
Body: Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue similarly thinking it’s too late for another X-Files movie. And even if I’m proven wrong and the masses get out to theaters this weekend in search of the truth, I’ll keep on believing that X-Files: I Want to Believe is way past its time. To celebrate Mulder and Scully’s tardiness, here are 10 other movies that came out too late: The Godfather Part III (Released in: 1990; Should have been released in: 1976) - Never mind the fact that had this third installment been made years earlier, Sofia Coppola wouldn’t have been cast and therefore wouldn’t have given her terribly infamous performance. The more important matter is that sequels arriving more than a decade after the previous installment are almost always doomed. The longer the wait, the higher the expectations, and the greater the disappointment. Of course, not everyone agrees that it was also too late for Indiana Jones and the Kingdom of the Crystal Skull, Live Free or Die Hard, Rambo, Star Wars: Episode I - The Phantom Menace, etc. Snakes on a Plane (Released in: 2006; Should have been released in: 2005) - By the time it finally hit theaters, there was already a major backlash to the hype behind SoaP, and that backlash was apparently well-deserved when audiences saw just how lame the movie ended up being. It was an early indicator that a lot of internet buzz and popular viral marketing does not necessarily equal a lot of money at the box office. More than a year later, though, fears of another SoaP-like disappointment came with the hype behind Cloverfield, yet the monster movie fared much better. Of course, no movie seemed to be more ridiculous a web sensation than The Dark Knight, the record-breaking success of which could still prompt more SoaP-type disasters in the future. Home on the Range (Released in: 2004; Should have been released in: 1994) - When you Google the words “ill-timed” “release” and “film”, this is the first thing that comes up, probably because it’s legendary for marking the (temporary) end of 2-D Disney animation. It actually came out almost a decade after the first Pixar feature signaled the doomed future of these kinds of films, and a number of 2-D animations were actually quite successful in that ten years. But Home on the Range is notable for both having begun preproduction before the release of the first Toy Story and for having been announced as the last traditionally animated Disney feature. Now, of course, the studio has changed its mind, so we’ll just have to see if Home on the Range was indeed too late or simply too bad. Infamous (Released in: 2006; Should have been released in: 2005) - One of many unfortunate movies to come out on the heels of another film dealing with the same subject. Similarly late, similarly redundant efforts include Deep Impact, Mars Attacks!, Volcano, The Forbidden Dance, Red Planet, Wyatt Earp and Valmont. But Infamous seemed more the loser of its race because of Phillip Seymour Hoffman’s Oscar win for Capote. The Simpsons Movie (Released in: 2007; Should have been released in: 1997) - It may be funny enough, but this movie still suffered a bit from being past the TV series’ prime. A lot more people would have been a lot more excited about the spin-off if it had come out ten years earlier. The Onion Movie (Released in 2008; Should have been released in: 2003) - Should this not be included because it actually never came out in theaters in the U.S.? Whatever. I’m still accepting it as one of the worst examples of shelving a film for way too long. From the unbearable bits I attempted to watch, the jokes were quite dated, though I have to admit they might not have been all that funny when (mostly) filmed five years ago. As an alternate, in case you don’t accept this title: The Adventures of Pluto Nash, which was also shelved for a few years, but which was probably made too late anyway. Get Smart (Released in 2008; Should have been released in: 1978) - When it opened earlier this summer, I wrote a list about how this movie was obsolete before it was even made. Check out those 10 reasons here. Eyes Wide Shut (Released in: 1999; Should have been released in: 1998) - It may still have been received as poorly, but if this film had been able to be finished and to come out before Stanley Kubrick’s death, it might have at least been a stronger work. Angela’s Ashes (Released in: 1999; Should have been released in: 1995) - How long is too late for a film adaptation of a best-selling book? Considering there are still successful movies based on works such as “The Iliad” and “Beowulf”, there’s apparently no limit. But for some reason this cinematic version of Frank McCourt’s wildly popular memoir bombed at the box office. I guess compared to those early works, “Angela’s Ashes” had been read by everyone in America by the time the movie arrived, and few of its fans needed to go through the depressing events a second time. Glitter (Released in: 2001; Should have been released in: 1991) - Maybe if it had opened before 9/11, as it was supposed to, instead of directly following the tragedy. Or, better yet, maybe if it had opened in the mid ’90s before people stopped giving a damn about Mariah, it wouldn’t have bombed so horribly. Actually, because Mariah eventually became popular again, and thanks to VH1, so did the 1980s, Glitter may also be considered a movie that was too early. Perhaps one day it can find success as a Broadway show, a la Xanadu. Originally posted on:SpoutBlog
]]>Thu, 24 Jul 2008 15:01:19 GMTSpoutBlogSpoutBlog on spout.com7/24/2008 11:01:19 AM Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue similarly thinking it’s too late for another X-Files movie. And even if I’m proven wrong and the masses get out to theaters this weekend in search of the truth, I’ll keep on believing that X-Files: I Want to Believe is way past its time. To celebrate Mulder and Scully’s tardiness, here are 10 other movies that came out too late: The Godfather Part III (Released in: 1990; Should have been released in: 1976) - Never mind the fact that had this third installment been made years earlier, Sofia Coppola wouldn’t have been cast and therefore wouldn’t have given her terribly infamous performance. The more important matter is that sequels arriving more than a decade after the previous installment are almost always doomed. The longer the wait, the higher the expectations, and the greater the disappointment. Of course, not everyone agrees that it was also too late for Indiana Jones and the Kingdom of the Crystal Skull, Live Free or Die Hard, Rambo, Star Wars: Episode I - The Phantom Menace, etc. Snakes on a Plane (Released in: 2006; Should have been released in: 2005) - By the time it finally hit theaters, there was already a major backlash to the hype behind SoaP, and that backlash was apparently well-deserved when audiences saw just how lame the movie ended up being. It was an early indicator that a lot of internet buzz and popular viral marketing does not necessarily equal a lot of money at the box office. More than a year later, though, fears of another SoaP-like disappointment came with the hype behind Cloverfield, yet the monster movie fared much better. Of course, no movie seemed to be more ridiculous a web sensation than The Dark Knight, the record-breaking success of which could still prompt more SoaP-type disasters in the future. Home on the Range (Released in: 2004; Should have been released in: 1994) - When you Google the words “ill-timed” “release” and “film”, this is the first thing that comes up, probably because it’s legendary for marking the (temporary) end of 2-D Disney animation. It actually came out almost a decade after the first Pixar feature signaled the doomed future of these kinds of films, and a number of 2-D animations were actually quite successful in that ten years. But Home on the Range is notable for both having begun preproduction before the release of the first Toy Story and for having been announced as the last traditionally animated Disney feature. Now, of course, the studio has changed its mind, so we’ll just have to see if Home on the Range was indeed too late or simply too bad. Infamous (Released in: 2006; Should have been released in: 2005) - One of many unfortunate movies to come out on the heels of another film dealing with the same subject. Similarly late, similarly redundant efforts include Deep Impact, Mars Attacks!, Volcano, The Forbidden Dance, Red Planet, Wyatt Earp and Valmont. But Infamous seemed more the loser of its race because of Phillip Seymour Hoffman’s Oscar win for Capote. The Simpsons Movie (Released in: 2007; Should have been released in: 1997) - It may be funny enough, but this movie still suffered a bit from being past the TV series’ prime. A lot more people would have been a lot more excited about the spin-off if it had come out ten years earlier. The Onion Movie (Released in 2008; Should have been released in: 2003) - Should this not be included because it actually never came out in theaters in the U.S.? Whatever. I’m still accepting it as one of the worst examples of shelving a film for way too long. From the unbearable bits I attempted to watch, the jokes were quite dated, though I have to admit they might not have been all that funny when (mostly) filmed five years ago. As an alternate, in case you don’t accept this title: The Adventures of Pluto Nash, which was also shelved for a few years, but which was probably made too late anyway. Get Smart (Released in 2008; Should have been released in: 1978) - When it opened earlier this summer, I wrote a list about how this movie was obsolete before it was even made. Check out those 10 reasons here. Eyes Wide Shut (Released in: 1999; Should have been released in: 1998) - It may still have been received as poorly, but if this film had been able to be finished and to come out before Stanley Kubrick’s death, it might have at least been a stronger work. Angela’s Ashes (Released in: 1999; Should have been released in: 1995) - How long is too late for a film adaptation of a best-selling book? Considering there are still successful movies based on works such as “The Iliad” and “Beowulf”, there’s apparently no limit. But for some reason this cinematic version of Frank McCourt’s wildly popular memoir bombed at the box office. I guess compared to those early works, “Angela’s Ashes” had been read by everyone in America by the time the movie arrived, and few of its fans needed to go through the depressing events a second time. Glitter (Released in: 2001; Should have been released in: 1991) - Maybe if it had opened before 9/11, as it was supposed to, instead of directly following the tragedy. Or, better yet, maybe if it had opened in the mid ’90s before people stopped giving a damn about Mariah, it wouldn’t have bombed so horribly. Actually, because Mariah eventually became popular again, and thanks to VH1, so did the 1980s, Glitter may also be considered a movie that was too early. Perhaps one day it can find success as a Broadway show, a la Xanadu. Originally posted on:SpoutBlog http://www.spout.com/blogs/mnoo/archive/2008/7/12/32473.aspx Post By: mnoo
Post To: mnoo Blog
Post Date: 7/12/2008 6:31:50 PM
Body: I remember when I saw the first episode of Sex and the City (and I just can’t believe it was 10 years ago!). A Finnish cable channel was showing the first season, before the show hit mainstream TV, and the title (ha ha) somehow caught my eye. I was hooked from the first minutes. I imagine there are a lot of people (majority of whom are probably men) who don’t really get what’s so great about the show. But for me, it just has everything a girl needs. Candid conversation, great clothes, fabulous shoes, real issues that are not usually portrayed in such an honest manner and an all-round comfortable, even cozy, atmosphere that makes you feel like you’re spending time with your friends. And even though Carrie as a character is someone we feel we should envy, if not only for her job and her wardrobe, her problems are real and universal and there’s something exceedingly comforting about the thought that despite the circumstances all women ultimately have to deal with the same issues.It was a sad day when SATC came to an end as a series. It was truly like losing a friend. That’s why more than anything the prospect of seeing SATC: The Movie felt like a reunion, like finally catching up with the friends you haven’t seen for ages because all of you have been too busy with your lives to organize a get-together.And the movie certainly didn’t disappoint. I was hesitant to begin with about how the half an hour, one-issue-per-episode, format would convert into a full-length movie. The way they dealt with it was to have a wider subtext, i.e. love, on which you can easily build a whole movie on, while dealing with multiple issues and not making the film feel like it was just an overly stretched episode. Obviously with a underlining subject like that, yes, it was sugary, yes it was soppy at times, but in the end everything was just in the right proportion. There were a lot of laughs, there were moments that made your eyes water, there were moments that made you relate. And there were lots and lots of fabulous clothes and lots and lots of to-die-for shoes. There were also some great performances. I was especially moved by Kristin Davis’s Charlotte. The length of the movie gave her the chance to show off her range, which covered everything from superbly funny to some fiercely raw emotions. Charlotte was never my favourite character in the series, but I have to say that she just might have been my favourite in the movie. And she certainly delivered the biggest laughs of the film in a scene, which should have been the lowest form of humour, but got elevated to something more complexly funny just because of the fact that it was Charlotte. All in all, I think the movie was a success. The same atmosphere was there, but at the same time it managed to elevate some of the elements to a higher level. Most of all, it left me feeling comforted. Safe in the knowledge that life goes on and that it’s forever evolving and that even after the happy endings there’s work to do and issues to deal with. It also made me feel like picking up the phone and getting in touch with the real life friends that I haven’t seen in a while. Oh yeah, and it also left me with this unexplainable urge to go shoe shopping…
]]>Sat, 12 Jul 2008 22:31:50 GMTmnoomnoo Blog7/12/2008 6:31:50 PMI remember when I saw the first episode of Sex and the City (and I just can&rsquo;t believe it was 10 years ago!). A Finnish cable channel was showing the first season, before the show hit mainstream TV, and the title (ha ha) somehow caught my eye. I was hooked from the first minutes. I imagine there are a lot of people (majority of whom are probably men) who don&rsquo;t really get what&rsquo;s so great about the show. But for me, it just has everything a girl needs. Candid conversation, great clothes, fabulous shoes, real issues that are not usually portrayed in such an honest manner and an all-round comfortable, even cozy, atmosphere that makes you feel like you&rsquo;re spending time with your friends. And even though Carrie as a character is someone we feel we should envy, if not only for her job and her wardrobe, her problems are real and universal and there&rsquo;s something exceedingly comforting about the thought that despite the circumstances all women ultimately have to deal with the same issues.It was a sad day when SATC came to an end as a series. It was truly like losing a friend. That&rsquo;s why more than anything the prospect of seeing SATC: The Movie felt like a reunion, like finally catching up with the friends you haven&rsquo;t seen for ages because all of you have been too busy with your lives to organize a get-together.And the movie certainly didn&rsquo;t disappoint. I was hesitant to begin with about how the half an hour, one-issue-per-episode, format would convert into a full-length movie. The way they dealt with it was to have a wider subtext, i.e. love, on which you can easily build a whole movie on, while dealing with multiple issues and not making the film feel like it was just an overly stretched episode. Obviously with a underlining subject like that, yes, it was sugary, yes it was soppy at times, but in the end everything was just in the right proportion. There were a lot of laughs, there were moments that made your eyes water, there were moments that made you relate. And there were lots and lots of fabulous clothes and lots and lots of to-die-for shoes. There were also some great performances. I was especially moved by Kristin Davis&rsquo;s Charlotte. The length of the movie gave her the chance to show off her range, which covered everything from superbly funny to some fiercely raw emotions. Charlotte was never my favourite character in the series, but I have to say that she just might have been my favourite in the movie. And she certainly delivered the biggest laughs of the film in a scene, which should have been the lowest form of humour, but got elevated to something more complexly funny just because of the fact that it was Charlotte. All in all, I think the movie was a success. The same atmosphere was there, but at the same time it managed to elevate some of the elements to a higher level. Most of all, it left me feeling comforted. Safe in the knowledge that life goes on and that it&rsquo;s forever evolving and that even after the happy endings there&rsquo;s work to do and issues to deal with. It also made me feel like picking up the phone and getting in touch with the real life friends that I haven&rsquo;t seen in a while. Oh yeah, and it also left me with this unexplainable urge to go shoe shopping&hellip; http://www.spout.com/blogs/karina/archive/2008/6/30/31924.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/30/2008 5:01:44 PM
Body: Two quotes just popped out of my feed reader and clubbed me over the head; when I came to, I recalled a couple of other soundbites from my week in LAFF that sort of seem related. First, from David Poland’s eye-roll at “Tom & Jerry On Crack cartoon” Wanted: Wanted is more like the last of big budget porn, throwing around endless style along with massive fake boobs and enough smoke to choke a Scott. Guys still get off on it - guys can get off on anything that tells them it wants to get them off - but one simply has to wonder, “Doesn’t anyone just f*** anymore?” We’ll get back to that. First, a digression… When I was at LAFF, I met an famous gay filmmaker at a party, and he started cattily joking about how a certain extremely famous married actor and actress are always going on shows like Letterman and bragging about how they “love to have heterosexual sex.” The filmmaker said this couple had to be covering for one another’s secret gay life, because no one who is actually having heterosexual sex uses the phrase “heterosexual sex” to talk about it. The actress in question is, totally coincidentally, a costar in Diane English’s much-feared remake of The Women, for which Nikki Finke says she singlehandedly convinced Warner Brothers to quadruple their marketing budget. Her reasoning as to why an extra $20 million or so of ads is going to pay off: Forget about the merits of the movie: there’s potential for box office moolah stirred up by some savvy Sex-exploiting, Even if the movie is no good, it could reach SATC’s two-quadrant audience with ad slogans like: “If you loved Sex And The City, then you need to see The Women who started it all.” … I bet women eager for another pic about female friendships and upscale lifestyles and urban sex will open The Women for a $20+M weekend. Ah, the old “bad sex is better than no sex at all,” argument. Might be more feasible if English herself hadn’t, just days before at LAFF, a) implicated herself as Finke’s top informant, and b) announced that her back-up plan for the film involves the sloppy math-dependent invention of a “fifth quadrant” for gay men. So the boys get their porn, the girls get theirs, and if they decide they’ve already had enough this summer, gay men will be graciously offered the scraps. Everywhere you look, Hollywood’s asking us to shout our heterosexual impulses from the rooftops––or at least, funnel them into the box office, “even if the movie is no good.” To answer David Poland’s question: no, I don’t think they do. Related: the TCM newsletter that just arrived in my inbox informs that the original The Women will be airing on the cable channel at 10pm EST tomorrow night. Preview it above. Originally posted on:SpoutBlog » Karina Longworth
]]>Mon, 30 Jun 2008 21:01:44 GMTKarinaKarina on SpoutBlog6/30/2008 5:01:44 PM Two quotes just popped out of my feed reader and clubbed me over the head; when I came to, I recalled a couple of other soundbites from my week in LAFF that sort of seem related. First, from David Poland’s eye-roll at “Tom & Jerry On Crack cartoon” Wanted: Wanted is more like the last of big budget porn, throwing around endless style along with massive fake boobs and enough smoke to choke a Scott. Guys still get off on it - guys can get off on anything that tells them it wants to get them off - but one simply has to wonder, “Doesn’t anyone just f*** anymore?” We’ll get back to that. First, a digression… When I was at LAFF, I met an famous gay filmmaker at a party, and he started cattily joking about how a certain extremely famous married actor and actress are always going on shows like Letterman and bragging about how they “love to have heterosexual sex.” The filmmaker said this couple had to be covering for one another’s secret gay life, because no one who is actually having heterosexual sex uses the phrase “heterosexual sex” to talk about it. The actress in question is, totally coincidentally, a costar in Diane English’s much-feared remake of The Women, for which Nikki Finke says she singlehandedly convinced Warner Brothers to quadruple their marketing budget. Her reasoning as to why an extra $20 million or so of ads is going to pay off: Forget about the merits of the movie: there’s potential for box office moolah stirred up by some savvy Sex-exploiting, Even if the movie is no good, it could reach SATC’s two-quadrant audience with ad slogans like: “If you loved Sex And The City, then you need to see The Women who started it all.” … I bet women eager for another pic about female friendships and upscale lifestyles and urban sex will open The Women for a $20+M weekend. Ah, the old “bad sex is better than no sex at all,” argument. Might be more feasible if English herself hadn’t, just days before at LAFF, a) implicated herself as Finke’s top informant, and b) announced that her back-up plan for the film involves the sloppy math-dependent invention of a “fifth quadrant” for gay men. So the boys get their porn, the girls get theirs, and if they decide they’ve already had enough this summer, gay men will be graciously offered the scraps. Everywhere you look, Hollywood’s asking us to shout our heterosexual impulses from the rooftops––or at least, funnel them into the box office, “even if the movie is no good.” To answer David Poland’s question: no, I don’t think they do. Related: the TCM newsletter that just arrived in my inbox informs that the original The Women will be airing on the cable channel at 10pm EST tomorrow night. Preview it above. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/30/31923.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/30/2008 5:01:04 PM
Body: Two quotes just popped out of my feed reader and clubbed me over the head; when I came to, I recalled a couple of other soundbites from my week in LAFF that sort of seem related. First, from David Poland’s eye-roll at “Tom & Jerry On Crack cartoon” Wanted: Wanted is more like the last of big budget porn, throwing around endless style along with massive fake boobs and enough smoke to choke a Scott. Guys still get off on it - guys can get off on anything that tells them it wants to get them off - but one simply has to wonder, “Doesn’t anyone just f*** anymore?” We’ll get back to that. First, a digression… When I was at LAFF, I met an famous gay filmmaker at a party, and he started cattily joking about how a certain extremely famous married actor and actress are always going on shows like Letterman and bragging about how they “love to have heterosexual sex.” The filmmaker said this couple had to be covering for one another’s secret gay life, because no one who is actually having heterosexual sex uses the phrase “heterosexual sex” to talk about it. The actress in question is, totally coincidentally, a costar in Diane English’s much-feared remake of The Women, for which Nikki Finke says she singlehandedly convinced Warner Brothers to quadruple their marketing budget. Her reasoning as to why an extra $20 million or so of ads is going to pay off: Forget about the merits of the movie: there’s potential for box office moolah stirred up by some savvy Sex-exploiting, Even if the movie is no good, it could reach SATC’s two-quadrant audience with ad slogans like: “If you loved Sex And The City, then you need to see The Women who started it all.” … I bet women eager for another pic about female friendships and upscale lifestyles and urban sex will open The Women for a $20+M weekend. Ah, the old “bad sex is better than no sex at all,” argument. Might be more feasible if English herself hadn’t, just days before at LAFF, a) implicated herself as Finke’s top informant, and b) announced that her back-up plan for the film involves the sloppy math-dependent invention of a “fifth quadrant” for gay men. So the boys get their porn, the girls get theirs, and if they decide they’ve already had enough this summer, gay men will be graciously offered the scraps. Everywhere you look, Hollywood’s asking us to shout our heterosexual impulses from the rooftops––or at least, funnel them into the box office, “even if the movie is no good.” To answer David Poland’s question: no, I don’t think they do. Related: the TCM newsletter that just arrived in my inbox informs that the original The Women will be airing on the cable channel at 10pm EST tomorrow night. Preview it above. Originally posted on:SpoutBlog
]]>Mon, 30 Jun 2008 21:01:04 GMTSpoutBlogSpoutBlog on spout.com6/30/2008 5:01:04 PM Two quotes just popped out of my feed reader and clubbed me over the head; when I came to, I recalled a couple of other soundbites from my week in LAFF that sort of seem related. First, from David Poland’s eye-roll at “Tom & Jerry On Crack cartoon” Wanted: Wanted is more like the last of big budget porn, throwing around endless style along with massive fake boobs and enough smoke to choke a Scott. Guys still get off on it - guys can get off on anything that tells them it wants to get them off - but one simply has to wonder, “Doesn’t anyone just f*** anymore?” We’ll get back to that. First, a digression… When I was at LAFF, I met an famous gay filmmaker at a party, and he started cattily joking about how a certain extremely famous married actor and actress are always going on shows like Letterman and bragging about how they “love to have heterosexual sex.” The filmmaker said this couple had to be covering for one another’s secret gay life, because no one who is actually having heterosexual sex uses the phrase “heterosexual sex” to talk about it. The actress in question is, totally coincidentally, a costar in Diane English’s much-feared remake of The Women, for which Nikki Finke says she singlehandedly convinced Warner Brothers to quadruple their marketing budget. Her reasoning as to why an extra $20 million or so of ads is going to pay off: Forget about the merits of the movie: there’s potential for box office moolah stirred up by some savvy Sex-exploiting, Even if the movie is no good, it could reach SATC’s two-quadrant audience with ad slogans like: “If you loved Sex And The City, then you need to see The Women who started it all.” … I bet women eager for another pic about female friendships and upscale lifestyles and urban sex will open The Women for a $20+M weekend. Ah, the old “bad sex is better than no sex at all,” argument. Might be more feasible if English herself hadn’t, just days before at LAFF, a) implicated herself as Finke’s top informant, and b) announced that her back-up plan for the film involves the sloppy math-dependent invention of a “fifth quadrant” for gay men. So the boys get their porn, the girls get theirs, and if they decide they’ve already had enough this summer, gay men will be graciously offered the scraps. Everywhere you look, Hollywood’s asking us to shout our heterosexual impulses from the rooftops––or at least, funnel them into the box office, “even if the movie is no good.” To answer David Poland’s question: no, I don’t think they do. Related: the TCM newsletter that just arrived in my inbox informs that the original The Women will be airing on the cable channel at 10pm EST tomorrow night. Preview it above. Originally posted on:SpoutBlog http://www.spout.com/blogs/mooser/archive/2008/6/27/31772.aspx Post By: mooser
Post To: mooser Blog
Post Date: 6/27/2008 10:59:10 AM
Body: I FINALLY got to see Sex and the City last weekend and was almost disappointed!! I had waited so long to see it and when it seemed that Carrie and Big weren't going to get back together, I wanted to leave the theatre!!! Luckily, it ended how everyone hoped it would...
]]>Fri, 27 Jun 2008 14:59:10 GMTmoosermooser Blog6/27/2008 10:59:10 AMI FINALLY got to see Sex and the City last weekend and was almost disappointed!! I had waited so long to see it and when it seemed that Carrie and Big weren't going to get back together, I wanted to leave the theatre!!! Luckily, it ended how everyone hoped it would... http://www.spout.com/blogs/spoutblog/archive/2008/6/24/31612.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/24/2008 2:02:23 PM
Body: Last night, the trailer for Disaster Movie premiered on MySpace. You can watch it after the jump. But considering it’s completely lacking in disaster spoofage, I’ve instead reserved the top spot for Disaster! (aka Disaster the Movie!), a claymation feature from a few years back that appears to have done much better with the disaster genre parody. Plus, it co-stars Motley Crue (in clay form, that is). What does this Disaster Movie have? Apparently parodies of all this summer’s blockbusters (maybe Jason Friedberg and Aaron Seltzer should have titled this one “Summer 2008 Movie” instead?). There are jokes on Iron Man and The Incredible Hulk and Hancock (maybe Friedberg and Seltzer are upset that someone else made Superhero Movie?) as well as Sex and the City meets You Don’t Mess With the Zohan (via Juno). Oh and there are some lame Hannah Montana and Enchanted references thrown in, too. Where are the disaster movies? Who knows? Maybe the title actually refers to the fact that this movie is a disaster. Disaster Movie in HD Originally posted on:SpoutBlog
]]>Tue, 24 Jun 2008 18:02:23 GMTSpoutBlogSpoutBlog on spout.com6/24/2008 2:02:23 PM Last night, the trailer for Disaster Movie premiered on MySpace. You can watch it after the jump. But considering it’s completely lacking in disaster spoofage, I’ve instead reserved the top spot for Disaster! (aka Disaster the Movie!), a claymation feature from a few years back that appears to have done much better with the disaster genre parody. Plus, it co-stars Motley Crue (in clay form, that is). What does this Disaster Movie have? Apparently parodies of all this summer’s blockbusters (maybe Jason Friedberg and Aaron Seltzer should have titled this one “Summer 2008 Movie” instead?). There are jokes on Iron Man and The Incredible Hulk and Hancock (maybe Friedberg and Seltzer are upset that someone else made Superhero Movie?) as well as Sex and the City meets You Don’t Mess With the Zohan (via Juno). Oh and there are some lame Hannah Montana and Enchanted references thrown in, too. Where are the disaster movies? Who knows? Maybe the title actually refers to the fact that this movie is a disaster. Disaster Movie in HD Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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