list http://www.spout.com/ Recent community activity around Gran Torino 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/Gran_Torino/367198/default.aspx Title: Gran Torino
Year: 2008
Director: Clint Eastwood
Plot: A racist Korean War veteran living in a crime-ridden Detroit neighborhood is forced to confront his own lingering prejudice when a troubled Hmong teen from his neighborhood attempts to steal his prized Gran Torino. Decades after the Korean War has ended, ageing veteran Walt Kowalski (Clint Eastwood) is still haunted by the horrors he witnessed on the battlefield. The two objects that matter most to Kowalski in life are the classic Gran Torino that represents his happier days working in a Ford assembly plant, and the M-1 rifle that saved his life countless times during combat. When Kowalski's teenage neighbor (Bee Vang) attempts to steal his Gran Torino as part of a gang initiation rite, the old man manages to catch the aspiring thief at the business end of his well-maintained semi-automatic rifle. Later, due to the pride of the Asian group, the boy is forced to return to Kowalski's house and perform an act of penance. Despite the fact that Kowalski wants nothing to do with the young troublemaker, he realizes that the quickest way out of the situation is to simply cooperate. In an effort to set the teen on the right path in life and toughen him up, the reluctant vet sets him up with an old crony who now works in construction. In the process, Kowalski discovers that the only way to lay his many painful memories to rest is to finally face his own blinding prejudice head-on. ~ Jason Buchanan, All Movie Guide
Times Tagged: 80
Number of Lists: 12
Number of blog posts: 19
Number of discussion threads: 9
SpoutRating: 4
]]>Sun, 16 Aug 2009 18:31:03 GMTGran Torino2008Clint EastwoodA racist Korean War veteran living in a crime-ridden Detroit neighborhood is forced to confront his own lingering prejudice when a troubled Hmong teen from his neighborhood attempts to steal his prized Gran Torino. Decades after the Korean War has ended, ageing veteran Walt Kowalski (<a href="http://www.spout.com/players/P____88601/default.aspx" style='text-decoration:underline'>Clint Eastwood</a>) is still haunted by the horrors he witnessed on the battlefield. The two objects that matter most to Kowalski in life are the classic Gran Torino that represents his happier days working in a Ford assembly plant, and the M-1 rifle that saved his life countless times during combat. When Kowalski's teenage neighbor (<a href="http://www.spout.com/players/P___606663/default.aspx" style='text-decoration:underline'>Bee Vang</a>) attempts to steal his Gran Torino as part of a gang initiation rite, the old man manages to catch the aspiring thief at the business end of his well-maintained semi-automatic rifle. Later, due to the pride of the Asian group, the boy is forced to return to Kowalski's house and perform an act of penance. Despite the fact that Kowalski wants nothing to do with the young troublemaker, he realizes that the quickest way out of the situation is to simply cooperate. In an effort to set the teen on the right path in life and toughen him up, the reluctant vet sets him up with an old crony who now works in construction. In the process, Kowalski discovers that the only way to lay his many painful memories to rest is to finally face his own blinding prejudice head-on. ~ Jason Buchanan, All Movie Guide80Tag Target (>10)121994http://www.spout.com/ProductImages/s367198.jpghttp://www.spout.com/films/Gran_Torino/367198/default.aspxFilm http://www.spout.com/blogs/dvd_dweeb/archive/2009/7/21/43213.aspx Post By: DVD_dweeb
Post To: DVD_dweeb Blog
Post Date: 7/21/2009 3:46:13 PM
Body: Read the entire post here Its the end of an era, not just for the main character in this film, but for its star and director as well. Clint Eastwood’s latest project to come to DVD, Gran Torino is about the twilight of a man’s life and his inability to deal with the changes that time brings. The same holds true for Hollywood perpetual fixture Clint Eastwood, as this is the last time we will purportedly see him in front of the camera, and this film is his final bow as an actor. Somehow me thinks we’ll see him in a smaller role somewhere to fulfill some itch down the road. The body of work Eastwood has been producing this decade is of mixed results, from the awful Bloodwork to the Oscar winning Million Dollar Baby, this drama is the perfect sendoff for Clint. Much of his work is typically heavy hitting drama, Gran Torino is no exception to that but there’s plenty of funny stuff to keep things light. I hate to say it, but Eastwood has become an old codger, and what a better role for him than to play an old codger. Think of it as Dirty Harry retires and moves to Detroit, because beating up gangbangers is a fun way to pass the time. I found it quite enjoyable and charming to watch, even though the subject matter is dark.
]]>Tue, 21 Jul 2009 19:46:13 GMTDVD_dweebDVD_dweeb Blog7/21/2009 3:46:13 PMRead the entire post here Its the end of an era, not just for the main character in this film, but for its star and director as well. Clint Eastwood&rsquo;s latest project to come to DVD, Gran Torino is about the twilight of a man&rsquo;s life and his inability to deal with the changes that time brings. The same holds true for Hollywood perpetual fixture Clint Eastwood, as this is the last time we will purportedly see him in front of the camera, and this film is his final bow as an actor. Somehow me thinks we&rsquo;ll see him in a smaller role somewhere to fulfill some itch down the road. The body of work Eastwood has been producing this decade is of mixed results, from the awful Bloodwork to the Oscar winning Million Dollar Baby, this drama is the perfect sendoff for Clint. Much of his work is typically heavy hitting drama, Gran Torino is no exception to that but there&rsquo;s plenty of funny stuff to keep things light. I hate to say it, but Eastwood has become an old codger, and what a better role for him than to play an old codger. Think of it as Dirty Harry retires and moves to Detroit, because beating up gangbangers is a fun way to pass the time. I found it quite enjoyable and charming to watch, even though the subject matter is dark. http://www.spout.com/blogs/karina/archive/2009/6/9/42583.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/9/2009 10:02:04 AM
Body: This review was originally published during Gran Torino’s theatrical run. The movie comes out on DVD today. Of Clint Eastwood’s two 2008 directorial efforts, Gran Torino is by far the “better” film, in that it’s the picture that’s vastly more entertaining and much less clumsy in execution . Up against the monumentally ill-conceived Changeling, that’s not saying much, but it is worth saying that the things about this end-of-year entry that are appealing are extremely appealing. In drawing the conflict in a broke-down Midwestern suburb between the white ethnic stragglers who originally gentrified it, and the non-white ethnic groups who have more recently moved in and made it their own, Nick Schenk’s script is gleefully unafraid to go to extremes. Eastwood’s starring performance, which requires him to be on-screen, often alone, for a good 90% of the picture, has been lauded as a career high, but this might stem from a kind of “Whoops –– if not now, when?” collective guilt; the fact is; the man is clearly running out of runway to be honored on. Again, what’s interesting about what Eastwood does on camera it is not nuance or technique, but the willingness to go balls out, to turn every casually racist wisecrack up to 11 and to crank out every unnecessarily externalized shard of internal monologue with the subtlety of burlesque. Gran Torino is thus most fun when it’s working on the level of performance art, and much of the time, it resembles an art school take on an insult comic’s one-man show. A good third of this film consists of Clint, as Polish-American embittered widower and haunted Korean War veteran Walt, sitting on the porch of his modest Michigan home, slugging one PBR after another and seething out loud to no one in particular about the “fish eyes” and “zipperheads” who have moved in next door. When said “gooks” (actually Hmong immigrants displaced by the Vietnam war, thus connecting this film in liminal political/historical interest to Ellen Kuras’ far superior doc, The Betrayal) are threatened by a gang including at least one member of their family, the fight spills onto Walt’s yard, and the crazy old racist responds in the only way he knows how: he pulls out a shotgun and growls, “Get off my lawn.” Whether Walt likes it or not (and, predictably, at first he doesn’t like it and then he kind of does and then he really does), the 20-ish Hmong kids he accidentally saved see the aggro Mr. Wilson act as something heroic, and soon a line is drawn in the sand: the good gooks who just want to get their slice of the American dream without having to do much assimilation learn from Walt the old school tricks of getting along while maintaining a fierce opposition to melting pot political correctness, while simultaneously fending off the aggressions and provocations of the new school immigrant class, for whom prison is a finishing school and “I don’t want to join your gang, thanks,” isn’t a satisfactory answer. All that is fine, as far as it goes, and if Eastwood and Schenk had stopped there, with a character study riding the fine line between self-parody and exaggerated truth, it would be a lot easier to take Gran Torino seriously. But instead, drunk on its own excess, the film plunges into pure fantasy in a third act that’s impossible to analyze without using spoilers to describe. Suffice it to say, the crazy old racist teaches the fish people a little something about life … and death. In the end, the only thing that’s shocking about Gran Torino is that it seems that no one in this community bothered to learn anything about anyone else until the day Eastwood’s camera started rolling. Not only does Walt not know how to pronounce the specific breed of “Chinamen” who have taken over his once-Polish block, but his own kids bumble around him, attempt to appeal to a common consumerist generoisty which he clearly doesn’t possess, and recoil at his crudeness, as if expecting something else entirely. This seems like not so much of an accident on the part of Eastwood and Schenk, but their deliberate play at pitching Gran Torino above their predicted critique. If you create a world in which none of your characters seem to really know one another –– to the extent where even an old man’s grown children seem surprised by his every gruff rumble and emotional deficiency — then you essentially buy yourself the luxury of having no one within the film space to call bullshit. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 09 Jun 2009 14:02:04 GMTKarinaKarina on SpoutBlog6/9/2009 10:02:04 AM This review was originally published during Gran Torino’s theatrical run. The movie comes out on DVD today. Of Clint Eastwood’s two 2008 directorial efforts, Gran Torino is by far the “better” film, in that it’s the picture that’s vastly more entertaining and much less clumsy in execution . Up against the monumentally ill-conceived Changeling, that’s not saying much, but it is worth saying that the things about this end-of-year entry that are appealing are extremely appealing. In drawing the conflict in a broke-down Midwestern suburb between the white ethnic stragglers who originally gentrified it, and the non-white ethnic groups who have more recently moved in and made it their own, Nick Schenk’s script is gleefully unafraid to go to extremes. Eastwood’s starring performance, which requires him to be on-screen, often alone, for a good 90% of the picture, has been lauded as a career high, but this might stem from a kind of “Whoops –– if not now, when?” collective guilt; the fact is; the man is clearly running out of runway to be honored on. Again, what’s interesting about what Eastwood does on camera it is not nuance or technique, but the willingness to go balls out, to turn every casually racist wisecrack up to 11 and to crank out every unnecessarily externalized shard of internal monologue with the subtlety of burlesque. Gran Torino is thus most fun when it’s working on the level of performance art, and much of the time, it resembles an art school take on an insult comic’s one-man show. A good third of this film consists of Clint, as Polish-American embittered widower and haunted Korean War veteran Walt, sitting on the porch of his modest Michigan home, slugging one PBR after another and seething out loud to no one in particular about the “fish eyes” and “zipperheads” who have moved in next door. When said “gooks” (actually Hmong immigrants displaced by the Vietnam war, thus connecting this film in liminal political/historical interest to Ellen Kuras’ far superior doc, The Betrayal) are threatened by a gang including at least one member of their family, the fight spills onto Walt’s yard, and the crazy old racist responds in the only way he knows how: he pulls out a shotgun and growls, “Get off my lawn.” Whether Walt likes it or not (and, predictably, at first he doesn’t like it and then he kind of does and then he really does), the 20-ish Hmong kids he accidentally saved see the aggro Mr. Wilson act as something heroic, and soon a line is drawn in the sand: the good gooks who just want to get their slice of the American dream without having to do much assimilation learn from Walt the old school tricks of getting along while maintaining a fierce opposition to melting pot political correctness, while simultaneously fending off the aggressions and provocations of the new school immigrant class, for whom prison is a finishing school and “I don’t want to join your gang, thanks,” isn’t a satisfactory answer. All that is fine, as far as it goes, and if Eastwood and Schenk had stopped there, with a character study riding the fine line between self-parody and exaggerated truth, it would be a lot easier to take Gran Torino seriously. But instead, drunk on its own excess, the film plunges into pure fantasy in a third act that’s impossible to analyze without using spoilers to describe. Suffice it to say, the crazy old racist teaches the fish people a little something about life … and death. In the end, the only thing that’s shocking about Gran Torino is that it seems that no one in this community bothered to learn anything about anyone else until the day Eastwood’s camera started rolling. Not only does Walt not know how to pronounce the specific breed of “Chinamen” who have taken over his once-Polish block, but his own kids bumble around him, attempt to appeal to a common consumerist generoisty which he clearly doesn’t possess, and recoil at his crudeness, as if expecting something else entirely. This seems like not so much of an accident on the part of Eastwood and Schenk, but their deliberate play at pitching Gran Torino above their predicted critique. If you create a world in which none of your characters seem to really know one another –– to the extent where even an old man’s grown children seem surprised by his every gruff rumble and emotional deficiency — then you essentially buy yourself the luxury of having no one within the film space to call bullshit. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/6/9/42582.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/9/2009 10:01:51 AM
Body: This review was originally published during Gran Torino’s theatrical run. The movie comes out on DVD today. Of Clint Eastwood’s two 2008 directorial efforts, Gran Torino is by far the “better” film, in that it’s the picture that’s vastly more entertaining and much less clumsy in execution . Up against the monumentally ill-conceived Changeling, that’s not saying much, but it is worth saying that the things about this end-of-year entry that are appealing are extremely appealing. In drawing the conflict in a broke-down Midwestern suburb between the white ethnic stragglers who originally gentrified it, and the non-white ethnic groups who have more recently moved in and made it their own, Nick Schenk’s script is gleefully unafraid to go to extremes. Eastwood’s starring performance, which requires him to be on-screen, often alone, for a good 90% of the picture, has been lauded as a career high, but this might stem from a kind of “Whoops –– if not now, when?” collective guilt; the fact is; the man is clearly running out of runway to be honored on. Again, what’s interesting about what Eastwood does on camera it is not nuance or technique, but the willingness to go balls out, to turn every casually racist wisecrack up to 11 and to crank out every unnecessarily externalized shard of internal monologue with the subtlety of burlesque. Gran Torino is thus most fun when it’s working on the level of performance art, and much of the time, it resembles an art school take on an insult comic’s one-man show. A good third of this film consists of Clint, as Polish-American embittered widower and haunted Korean War veteran Walt, sitting on the porch of his modest Michigan home, slugging one PBR after another and seething out loud to no one in particular about the “fish eyes” and “zipperheads” who have moved in next door. When said “gooks” (actually Hmong immigrants displaced by the Vietnam war, thus connecting this film in liminal political/historical interest to Ellen Kuras’ far superior doc, The Betrayal) are threatened by a gang including at least one member of their family, the fight spills onto Walt’s yard, and the crazy old racist responds in the only way he knows how: he pulls out a shotgun and growls, “Get off my lawn.” Whether Walt likes it or not (and, predictably, at first he doesn’t like it and then he kind of does and then he really does), the 20-ish Hmong kids he accidentally saved see the aggro Mr. Wilson act as something heroic, and soon a line is drawn in the sand: the good gooks who just want to get their slice of the American dream without having to do much assimilation learn from Walt the old school tricks of getting along while maintaining a fierce opposition to melting pot political correctness, while simultaneously fending off the aggressions and provocations of the new school immigrant class, for whom prison is a finishing school and “I don’t want to join your gang, thanks,” isn’t a satisfactory answer. All that is fine, as far as it goes, and if Eastwood and Schenk had stopped there, with a character study riding the fine line between self-parody and exaggerated truth, it would be a lot easier to take Gran Torino seriously. But instead, drunk on its own excess, the film plunges into pure fantasy in a third act that’s impossible to analyze without using spoilers to describe. Suffice it to say, the crazy old racist teaches the fish people a little something about life … and death. In the end, the only thing that’s shocking about Gran Torino is that it seems that no one in this community bothered to learn anything about anyone else until the day Eastwood’s camera started rolling. Not only does Walt not know how to pronounce the specific breed of “Chinamen” who have taken over his once-Polish block, but his own kids bumble around him, attempt to appeal to a common consumerist generoisty which he clearly doesn’t possess, and recoil at his crudeness, as if expecting something else entirely. This seems like not so much of an accident on the part of Eastwood and Schenk, but their deliberate play at pitching Gran Torino above their predicted critique. If you create a world in which none of your characters seem to really know one another –– to the extent where even an old man’s grown children seem surprised by his every gruff rumble and emotional deficiency — then you essentially buy yourself the luxury of having no one within the film space to call bullshit. Originally posted on:SpoutBlog
]]>Tue, 09 Jun 2009 14:01:51 GMTSpoutBlogSpoutBlog on spout.com6/9/2009 10:01:51 AM This review was originally published during Gran Torino’s theatrical run. The movie comes out on DVD today. Of Clint Eastwood’s two 2008 directorial efforts, Gran Torino is by far the “better” film, in that it’s the picture that’s vastly more entertaining and much less clumsy in execution . Up against the monumentally ill-conceived Changeling, that’s not saying much, but it is worth saying that the things about this end-of-year entry that are appealing are extremely appealing. In drawing the conflict in a broke-down Midwestern suburb between the white ethnic stragglers who originally gentrified it, and the non-white ethnic groups who have more recently moved in and made it their own, Nick Schenk’s script is gleefully unafraid to go to extremes. Eastwood’s starring performance, which requires him to be on-screen, often alone, for a good 90% of the picture, has been lauded as a career high, but this might stem from a kind of “Whoops –– if not now, when?” collective guilt; the fact is; the man is clearly running out of runway to be honored on. Again, what’s interesting about what Eastwood does on camera it is not nuance or technique, but the willingness to go balls out, to turn every casually racist wisecrack up to 11 and to crank out every unnecessarily externalized shard of internal monologue with the subtlety of burlesque. Gran Torino is thus most fun when it’s working on the level of performance art, and much of the time, it resembles an art school take on an insult comic’s one-man show. A good third of this film consists of Clint, as Polish-American embittered widower and haunted Korean War veteran Walt, sitting on the porch of his modest Michigan home, slugging one PBR after another and seething out loud to no one in particular about the “fish eyes” and “zipperheads” who have moved in next door. When said “gooks” (actually Hmong immigrants displaced by the Vietnam war, thus connecting this film in liminal political/historical interest to Ellen Kuras’ far superior doc, The Betrayal) are threatened by a gang including at least one member of their family, the fight spills onto Walt’s yard, and the crazy old racist responds in the only way he knows how: he pulls out a shotgun and growls, “Get off my lawn.” Whether Walt likes it or not (and, predictably, at first he doesn’t like it and then he kind of does and then he really does), the 20-ish Hmong kids he accidentally saved see the aggro Mr. Wilson act as something heroic, and soon a line is drawn in the sand: the good gooks who just want to get their slice of the American dream without having to do much assimilation learn from Walt the old school tricks of getting along while maintaining a fierce opposition to melting pot political correctness, while simultaneously fending off the aggressions and provocations of the new school immigrant class, for whom prison is a finishing school and “I don’t want to join your gang, thanks,” isn’t a satisfactory answer. All that is fine, as far as it goes, and if Eastwood and Schenk had stopped there, with a character study riding the fine line between self-parody and exaggerated truth, it would be a lot easier to take Gran Torino seriously. But instead, drunk on its own excess, the film plunges into pure fantasy in a third act that’s impossible to analyze without using spoilers to describe. Suffice it to say, the crazy old racist teaches the fish people a little something about life … and death. In the end, the only thing that’s shocking about Gran Torino is that it seems that no one in this community bothered to learn anything about anyone else until the day Eastwood’s camera started rolling. Not only does Walt not know how to pronounce the specific breed of “Chinamen” who have taken over his once-Polish block, but his own kids bumble around him, attempt to appeal to a common consumerist generoisty which he clearly doesn’t possess, and recoil at his crudeness, as if expecting something else entirely. This seems like not so much of an accident on the part of Eastwood and Schenk, but their deliberate play at pitching Gran Torino above their predicted critique. If you create a world in which none of your characters seem to really know one another –– to the extent where even an old man’s grown children seem surprised by his every gruff rumble and emotional deficiency — then you essentially buy yourself the luxury of having no one within the film space to call bullshit. Originally posted on:SpoutBlog http://www.spout.com/blogs/gerosimov/archive/2009/3/2/40774.aspx Post By: Gerosimov
Post To: Gerosimov Blog
Post Date: 3/2/2009 3:45:08 PM
Body: The story is great and it is very well constructed. Unfortunately there is some bad acting hear and there, but that can be forgiven, because it is still a great movie and very well directed. Nice and simple. But the thing that really makes this film special is Clint Eastwood himself. He gives an amazing performance as a grumpy old Vietman vet, who is much more than first meets the eye. One of my favorites of the year hand down!
]]>Mon, 02 Mar 2009 20:45:08 GMTGerosimovGerosimov Blog3/2/2009 3:45:08 PMThe story is great and it is very well constructed. Unfortunately there is some bad acting hear and there, but that can be forgiven, because it is still a great movie and very well directed. Nice and simple. But the thing that really makes this film special is Clint Eastwood himself. He gives an amazing performance as a grumpy old Vietman vet, who is much more than first meets the eye. One of my favorites of the year hand down! http://www.spout.com/groups/Coming_Soon/Week_of_2_20_fashion_cheerleaders_prison_an/216/40484/1/ShowPost.aspx Post By: spout
Post To: Coming Soon
Post Date: 2/16/2009 3:10:31 PM
Body: NEW TO THEATRES 2/20 1. Madea Goes to Jail - Watch the trailer. Until today, I thought Tyler Perry's Madea was like a kooky update of Jim Varney's Ernest P. Worrell. (Considering Ernest Goes to Jail, can you blame me?) Then I started looking into Tyler Perry, and even though I don't think his movies are for me, he seems like a really interesting guy. Two quotes from him on Wikipedia really caught my eye: 1) "I know my audience, and they're not people that the studios know anything about." 2) "Did you know you can't say 'Jesus' in a sitcom? They told me that and I was like, You gotta be kiddin' me...God has been too good to me to go and try to sell out to get some money." I was impressed to learn that Tyler Perry's been writing plays since he was 18, and according to Wikipedia, by 2005 his plays earned $75 million in ticket sales! Who knew? Madea Goes to Jail itself was a stage play in 2006, and a filmed version has already appeared on DVD. Has anyone seen that? 2. Fired Up - Watch the trailer. Teen comedy, whooooooo! Two randy football players avoid summer football camp by becoming cheerleaders. 3. Eleven Minutes (limited) - Watch the trailer. A documentary about fashion designer Jay McCarroll trying to set up an independently-produced runway show. NEW TO DVD - 2/17 1. Quarantine - Watch the trailer. This one looked pretty thrilling to me. An inner city apartment building is subjected to a government quarantine, but what's infecting the victims? 2. Body of Lies - Watch the trailer. Kevin Buist from FilmCouch saw this and didn't love it. Here's his review. 3. Choke - Watch the trailer. Kevin Buist wasn't crazy about this one either, so maybe he's just a big fuddy-duddy. Listen to his review. 4. Changeling - Watch the trailer. This was getting a lot of Oscars buzz until everyone actually saw it. Oh well, Clint Eastwood made a winner with Gran Torino. 5. High School Musical 3 - Watch the trailer. Well, I'm sure that whatever this movie's supposed to do, it does it well. Does anyone else think 'Corbin Bleu' sounds like a gourmet meal? 6. Righteous Kill - Watch the trailer. Al Pacino and Robert DeNiro are in the same movie for only the third time. Since the first two movies were Godfather Pt. II and Heat, this third time is most definitely not 'a charm.' 7. Midnight Meat Train - Watch the trailer. Here's another dose of Bradley Cooper for everyone who's crushing (or man-crushing) on him from He's Just Not That Into You. Myself, I have a bit of a man-crush on the villain, who's played by tough-as-nails Vinnie Jones. 8. How to Lose Friends and Alienate People - Watch the trailer. Simon Pegg starts working for a pompous fashion magazine. Also stars Kirsten Dunst, Megan Fox, Jeff Bridges and Danny Huston -- all people I like. The movie didn't get very good reviews, though... I'm looking forward to Simon Pegg teaming up with Edgar Wright (Hot Fuzz) again, and I'm glad he's playing Scotty in the new Star Trek movie.
]]>Mon, 16 Feb 2009 20:10:31 GMTspoutComing Soon2/16/2009 3:10:31 PMNEW TO THEATRES 2/20 1. Madea Goes to Jail - Watch the trailer. Until today, I thought Tyler Perry's Madea was like a kooky update of Jim Varney's Ernest P. Worrell. (Considering Ernest Goes to Jail, can you blame me?) Then I started looking into Tyler Perry, and even though I don't think his movies are for me, he seems like a really interesting guy. Two quotes from him on Wikipedia really caught my eye: 1) "I know my audience, and they're not people that the studios know anything about." 2) "Did you know you can't say 'Jesus' in a sitcom? They told me that and I was like, You gotta be kiddin' me...God has been too good to me to go and try to sell out to get some money." I was impressed to learn that Tyler Perry's been writing plays since he was 18, and according to Wikipedia, by 2005 his plays earned $75 million in ticket sales! Who knew? Madea Goes to Jail itself was a stage play in 2006, and a filmed version has already appeared on DVD. Has anyone seen that? 2. Fired Up - Watch the trailer. Teen comedy, whooooooo! Two randy football players avoid summer football camp by becoming cheerleaders. 3. Eleven Minutes (limited) - Watch the trailer. A documentary about fashion designer Jay McCarroll trying to set up an independently-produced runway show. NEW TO DVD - 2/17 1. Quarantine - Watch the trailer. This one looked pretty thrilling to me. An inner city apartment building is subjected to a government quarantine, but what's infecting the victims? 2. Body of Lies - Watch the trailer. Kevin Buist from FilmCouch saw this and didn't love it. Here's his review. 3. Choke - Watch the trailer. Kevin Buist wasn't crazy about this one either, so maybe he's just a big fuddy-duddy. Listen to his review. 4. Changeling - Watch the trailer. This was getting a lot of Oscars buzz until everyone actually saw it. Oh well, Clint Eastwood made a winner with Gran Torino. 5. High School Musical 3 - Watch the trailer. Well, I'm sure that whatever this movie's supposed to do, it does it well. Does anyone else think 'Corbin Bleu' sounds like a gourmet meal? 6. Righteous Kill - Watch the trailer. Al Pacino and Robert DeNiro are in the same movie for only the third time. Since the first two movies were Godfather Pt. II and Heat, this third time is most definitely not 'a charm.' 7. Midnight Meat Train - Watch the trailer. Here's another dose of Bradley Cooper for everyone who's crushing (or man-crushing) on him from He's Just Not That Into You. Myself, I have a bit of a man-crush on the villain, who's played by tough-as-nails Vinnie Jones. 8. How to Lose Friends and Alienate People - Watch the trailer. Simon Pegg starts working for a pompous fashion magazine. Also stars Kirsten Dunst, Megan Fox, Jeff Bridges and Danny Huston -- all people I like. The movie didn't get very good reviews, though... I'm looking forward to Simon Pegg teaming up with Edgar Wright (Hot Fuzz) again, and I'm glad he's playing Scotty in the new Star Trek movie. http://www.spout.com/blogs/jimbell/archive/2009/2/12/40424.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 2/12/2009 3:13:45 PM
Body: When Gran Torino (2008) ended, I knew I’d seen one of the best films of the year, and I soon began wondering why more people didn’t agree. Gradually, I realized that older folks liked it but younger folks were more critical. Gran Torino would have had a wider following if it had provided younger viewers with the background information older viewers possessed. Let’s try. Over the last half century, what year were Americans in general most happy? (Yes, we have university professors who actually study this.) There is a great temptation to pick a recent year because as believers in progress we know that things are getting better and better—the new Blackberry is just out! But Americans were most happy in 1957, prime time for the protagonist Walt Kowalski (Clint Eastwood). This does not mean that everything was great, for, as Walt said, he’d had to go to Korea and kill. There was racism, particularly of whites against blacks, but people were hopeful it would end. When Little Rock, Arkansas, schools denied blacks entrance to schools, Republican President Eisenhower called in the army to enforce the desegregation law. There was a cold war with the Russians, but Americans knew beyond a doubt that theirs was the best way of life on the planet. The Russians launched Sputnik and caused America to question the quality of its school system, but Americans were confident they knew how to make the system better, and “structure of the discipline” courses started taking over the curriculum. In 1957, Betty Freidan surveyed other women who had graduated from Smith and found that if the wives and mothers had outside interests they were generally happy but if they focused relentlessly on being wives and mothers, they were disgruntled. Although Walt Kowalski’s prime was not an idyllic time, many people say it’s the best we’ve had, and we have to know something about it to appreciate its attraction and understand Walt. Walt’s transformation from angry racist pig to dedicated friend of the Hmong neighbours is quite believable for a host of reasons. One: Walt is basically a fine man. This comes out when he bares his soul in confession, and the priest says, “Is that all!?” Two: While Walt is a racist, he is not as bad as he seems. It’s his way of talking. When Walt goes for a haircut, he and barber sling outrageous insults at each other because they are sort of buddies. In our era of political correctness, we can hardly imagine such a way of speaking. Three: the death of Walt’s wife opens Walt to the possibility of big changes. It reminds me of the university professor who went to India to confer with the Dalai Lama on scientific topics. An interviewer for a Buddhist journal asked the scientist what it was about the Dalai Lama that had such a big impact on him. He replied, not much. If you take someone who has recently retired from his life’s work and whose spouse has just died (or divorced), it doesn’t take very much influence to affect a huge change, such as going in with no interest in religion and coming out a Buddhist. Four: Walt is lonely--wife dead, both son’s estranged, friends from the Ford plant long gone, and the old neighbourhood full of immigrants—so, if given half a chance, he is going to do something besides sit on the porch and drink Pabst Blue Label. Five: The opportunity presents itself when the charming teenager, Sue, from next door stands up to Walt and welcomes him, at the same time the Hmong in the neighbourhood shower Walt with gifts of flowers and food for his stand against the Hmong gang. Six: Walt slowly and reluctantly decides to mentor the Hmong boy from next door, Thao (Bee Vang). Although not a popular topic of conversation, research shows that a lot of men at or near the end of their career want to mentor someone up and coming. Walt has additional motivation because he wants badly to resurrect the old way of life. So he helps the kid get a construction job and develops the kid’s interest in mechanic’s tools—when we all know what is happening with the housing market and with the auto makers today. Seven: Because Walt’s biggest regret is the huge distance between him and his two sons, he wants to have another try at raising a young man. Walt still is not great at it, but good enough. Eight: Walt is coughing blood, needs every medical test under the sun, and is staring death in the face, so he wants to get serious, do something worthwhile, and not worry too much about the physical consequences. For me, that is enough to understand where Walt is coming from and why he changes the way he does. Gran Torino is a good movie that packs a powerful punch.
]]>Thu, 12 Feb 2009 20:13:45 GMTJimBellJimBell Blog2/12/2009 3:13:45 PMWhen Gran Torino (2008) ended, I knew I&rsquo;d seen one of the best films of the year, and I soon began wondering why more people didn&rsquo;t agree. Gradually, I realized that older folks liked it but younger folks were more critical. Gran Torino would have had a wider following if it had provided younger viewers with the background information older viewers possessed. Let&rsquo;s try. Over the last half century, what year were Americans in general most happy? (Yes, we have university professors who actually study this.) There is a great temptation to pick a recent year because as believers in progress we know that things are getting better and better&mdash;the new Blackberry is just out! But Americans were most happy in 1957, prime time for the protagonist Walt Kowalski (Clint Eastwood). This does not mean that everything was great, for, as Walt said, he&rsquo;d had to go to Korea and kill. There was racism, particularly of whites against blacks, but people were hopeful it would end. When Little Rock, Arkansas, schools denied blacks entrance to schools, Republican President Eisenhower called in the army to enforce the desegregation law. There was a cold war with the Russians, but Americans knew beyond a doubt that theirs was the best way of life on the planet. The Russians launched Sputnik and caused America to question the quality of its school system, but Americans were confident they knew how to make the system better, and &ldquo;structure of the discipline&rdquo; courses started taking over the curriculum. In 1957, Betty Freidan surveyed other women who had graduated from Smith and found that if the wives and mothers had outside interests they were generally happy but if they focused relentlessly on being wives and mothers, they were disgruntled. Although Walt Kowalski&rsquo;s prime was not an idyllic time, many people say it&rsquo;s the best we&rsquo;ve had, and we have to know something about it to appreciate its attraction and understand Walt. Walt&rsquo;s transformation from angry racist pig to dedicated friend of the Hmong neighbours is quite believable for a host of reasons. One: Walt is basically a fine man. This comes out when he bares his soul in confession, and the priest says, &ldquo;Is that all!?&rdquo; Two: While Walt is a racist, he is not as bad as he seems. It&rsquo;s his way of talking. When Walt goes for a haircut, he and barber sling outrageous insults at each other because they are sort of buddies. In our era of political correctness, we can hardly imagine such a way of speaking. Three: the death of Walt&rsquo;s wife opens Walt to the possibility of big changes. It reminds me of the university professor who went to India to confer with the Dalai Lama on scientific topics. An interviewer for a Buddhist journal asked the scientist what it was about the Dalai Lama that had such a big impact on him. He replied, not much. If you take someone who has recently retired from his life&rsquo;s work and whose spouse has just died (or divorced), it doesn&rsquo;t take very much influence to affect a huge change, such as going in with no interest in religion and coming out a Buddhist. Four: Walt is lonely--wife dead, both son&rsquo;s estranged, friends from the Ford plant long gone, and the old neighbourhood full of immigrants&mdash;so, if given half a chance, he is going to do something besides sit on the porch and drink Pabst Blue Label. Five: The opportunity presents itself when the charming teenager, Sue, from next door stands up to Walt and welcomes him, at the same time the Hmong in the neighbourhood shower Walt with gifts of flowers and food for his stand against the Hmong gang. Six: Walt slowly and reluctantly decides to mentor the Hmong boy from next door, Thao (Bee Vang). Although not a popular topic of conversation, research shows that a lot of men at or near the end of their career want to mentor someone up and coming. Walt has additional motivation because he wants badly to resurrect the old way of life. So he helps the kid get a construction job and develops the kid&rsquo;s interest in mechanic&rsquo;s tools&mdash;when we all know what is happening with the housing market and with the auto makers today. Seven: Because Walt&rsquo;s biggest regret is the huge distance between him and his two sons, he wants to have another try at raising a young man. Walt still is not great at it, but good enough. Eight: Walt is coughing blood, needs every medical test under the sun, and is staring death in the face, so he wants to get serious, do something worthwhile, and not worry too much about the physical consequences. For me, that is enough to understand where Walt is coming from and why he changes the way he does. Gran Torino is a good movie that packs a powerful punch. http://www.spout.com/blogs/dibot/archive/2009/2/9/40351.aspx Post By: dibot
Post To: dibot Blog
Post Date: 2/9/2009 1:55:18 PM
Body: Dark Corners started out as a pretty interesting horror movie with Thora Birch ("Train") playing dual roles as a depressed, poor woman having beautiful dreams and a wealthy, happy woman having nightmares. They seemed to be dreaming each other's lives. And then it just descended into making zero sense and plausibility. I don't mind bending the rules of space and time. But there needs to be something I can hold onto as possible.Gran Torino gives us Clint Eastwood ("Million Dollar Baby") at his grizzled best. Eastwood stars as a grumpy old racist man living in a changing neighborhood. He starts getting close to his Hmong neighbors who change his outlook as he tries to keep them out of trouble. Besides Eastwood, the acting of the unknowns in the film is atrocious. But the story is so good, that I mostly overlooked that. And I enjoy Eastwood as a director. He doesn't waste time. All the shots are important and further the story. If this is truly Eastwood's final acting performance, then this is a good one to end with. But I hope he keeps directing for many more years.Another in the Filmspotting Angry Young Men Marathon, If... just confirms that I don't like this genre. A very young Malcolm McDowell ("Bolt") stars as a disgruntled, head-in-the-clouds, authority hating teen at a boarding school. As the term wears on, McDowell and his friends rebel against some older bullies and the teachers backing them. And a full-fledged war develops. There are some very surreal sequences as well. These supossedly emphasize the absurdness of the society and school. I just didn't enjoy it.Persepolis is an animated coming-of-age story of an imaginative Iranian girl during and after the Islamic Revolution. I really enjoyed the black and white animation. Very dramatic. And the story. It was funny, informative and heart-breaking. I don't know much about the Islamic Revolution, but this story, based on the life of cowriter/codirector Marjane Satrapi, shows the long-lasting effects on one family. Very good.And then I rewatched Silence of the Lambs. I don't know what to say about it that hasn't already been said. It still rocks. It's still tense even though I know exactly what's coming. Anthony Hopkins ("Beowolf") is perfect and not over the top. Jodie Foster ("Nim's Island") is all young and determined to prove herself. I love it!
]]>Mon, 09 Feb 2009 18:55:18 GMTdibotdibot Blog2/9/2009 1:55:18 PMDark Corners started out as a pretty interesting horror movie with Thora Birch ("Train") playing dual roles as a depressed, poor woman having beautiful dreams and a wealthy, happy woman having nightmares. They seemed to be dreaming each other's lives. And then it just descended into making zero sense and plausibility. I don't mind bending the rules of space and time. But there needs to be something I can hold onto as possible.Gran Torino gives us Clint Eastwood ("Million Dollar Baby") at his grizzled best. Eastwood stars as a grumpy old racist man living in a changing neighborhood. He starts getting close to his Hmong neighbors who change his outlook as he tries to keep them out of trouble. Besides Eastwood, the acting of the unknowns in the film is atrocious. But the story is so good, that I mostly overlooked that. And I enjoy Eastwood as a director. He doesn't waste time. All the shots are important and further the story. If this is truly Eastwood's final acting performance, then this is a good one to end with. But I hope he keeps directing for many more years.Another in the Filmspotting Angry Young Men Marathon, If... just confirms that I don't like this genre. A very young Malcolm McDowell ("Bolt") stars as a disgruntled, head-in-the-clouds, authority hating teen at a boarding school. As the term wears on, McDowell and his friends rebel against some older bullies and the teachers backing them. And a full-fledged war develops. There are some very surreal sequences as well. These supossedly emphasize the absurdness of the society and school. I just didn't enjoy it.Persepolis is an animated coming-of-age story of an imaginative Iranian girl during and after the Islamic Revolution. I really enjoyed the black and white animation. Very dramatic. And the story. It was funny, informative and heart-breaking. I don't know much about the Islamic Revolution, but this story, based on the life of cowriter/codirector Marjane Satrapi, shows the long-lasting effects on one family. Very good.And then I rewatched Silence of the Lambs. I don't know what to say about it that hasn't already been said. It still rocks. It's still tense even though I know exactly what's coming. Anthony Hopkins ("Beowolf") is perfect and not over the top. Jodie Foster ("Nim's Island") is all young and determined to prove herself. I love it! http://www.spout.com/blogs/newalternativerock/archive/2009/2/1/40130.aspx Post By: NewAlternativeRock
Post To: NewAlternativeRock Blog
Post Date: 2/1/2009 10:29:54 PM
Body: Clint Eastwood acts and directs in this movie about a bigot who does not a favorable view about the world in which he lives in. Someone tries to steal his 1972 Gran Torino, and events lead him to intermingle with his Asian neighbors. Eastwood does a good job of directing himself and the rest of the talented cast members. As a director, Eastwood also displays great sensitivity in the acting scenes, with or without him in them. As an actor, he is always interesting to watch.
]]>Mon, 02 Feb 2009 03:29:54 GMTNewAlternativeRockNewAlternativeRock Blog2/1/2009 10:29:54 PMClint Eastwood acts and directs in this movie about a bigot who does not a favorable view about the world in which he lives in. Someone tries to steal his 1972 Gran Torino, and events lead him to intermingle with his Asian neighbors. Eastwood does a good job of directing himself and the rest of the talented cast members. As a director, Eastwood also displays great sensitivity in the acting scenes, with or without him in them. As an actor, he is always interesting to watch. http://www.spout.com/blogs/spoutblog/archive/2009/1/22/39777.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/22/2009 10:01:03 AM
Body: The nominations for the 81st Annual Academy Awards were announced this morning, and they likely have upset a large number of people in the comic book geek community. Yes, the most obvious snubs have to do with The Dark Knight, which failed to garner nods for Best Picture, Best Director or even Best Screenplay — yes, obviously Heath Ledger was at least nominated. And at least the comic book adaptation did get a few craft awards, including Best Cinematography. Could we blame the Academy’s usual penchant for Holocaust movies? Perhaps, since The Reader was a surprise nominee for Best Picture and Best Director. What else was overlooked and what else was shockingly present? My immediate thoughts after the jump: Kate Winslet will not be able to achieve the same kind of double-duty win she achieved at the Golden Globes, because despite the surprising noms for The Reader, the film did not recieve a Best Supporting Actress nod. Fortunately, she did at least acquire a nomination for Best Actress for Revolutionary Road. And maybe as a consolation for her lack of two nominations, the Academy will feel it’s their obligation to give her the Oscar. Winslet is joined in the lead actress category by expected nominees Meryl Streep and Anne Hathaway and also by non-sure things Angelina Jolie and Melissa Leo. The glaring “snub” is of course Golden Globe winner Sally Hawkins, who is the most upsetting omission in the eyes of this blogger. I’d even expected Cate Blanchett over Jolie, who can now make the Oscars a family affair since the other half of Brangelina is also nominated, for Best Actor. Waltz with Bashir somehow didn’t make it into the Best Animated Film trio, although nobody should attack Bolt because of this snub (surely you didn’t see it, and it is indeed worthy). Bashir did at least receive recognition in the Best Foreign Film category, which it will most surely win. Many people thought Gran Torino came out just at the right time to garner Clint Eastwood an acting nomination and maybe even a Best Picture nod, as well. But what could have been this year’s Crash is nowhere to be found among the nominees. As if The Dark Knight snubs weren’t enough to get young audiences protesting this year’s Oscars, there were also no Best Original Song nods for High School Musical 3 or even expected nominee Miley Cyrus, who cowrote a song for Bolt with Jeffrey Steele. And speaking of this category, is there any reason that there are only three nominees, none of which are for predicted winner Bruce Springsteen? I almost always have at least one issue with the Best Original Screenplay category, but if Courtney Hunt’s script for Frozen River is one of the best of the year, then Jenny Lumet, Woody Allen and Charlie Kaufman should all just pack up and retire. Wait, nevermind, because it’s snubs like these that have us once again saying that the Oscars are a joke. For the full list of nominees, head to Oscar.com. Or, if you don’t like drop menus, Variety. Originally posted on:SpoutBlog
]]>Thu, 22 Jan 2009 15:01:03 GMTSpoutBlogSpoutBlog on spout.com1/22/2009 10:01:03 AMThe nominations for the 81st Annual Academy Awards were announced this morning, and they likely have upset a large number of people in the comic book geek community. Yes, the most obvious snubs have to do with The Dark Knight, which failed to garner nods for Best Picture, Best Director or even Best Screenplay — yes, obviously Heath Ledger was at least nominated. And at least the comic book adaptation did get a few craft awards, including Best Cinematography. Could we blame the Academy’s usual penchant for Holocaust movies? Perhaps, since The Reader was a surprise nominee for Best Picture and Best Director. What else was overlooked and what else was shockingly present? My immediate thoughts after the jump: Kate Winslet will not be able to achieve the same kind of double-duty win she achieved at the Golden Globes, because despite the surprising noms for The Reader, the film did not recieve a Best Supporting Actress nod. Fortunately, she did at least acquire a nomination for Best Actress for Revolutionary Road. And maybe as a consolation for her lack of two nominations, the Academy will feel it’s their obligation to give her the Oscar. Winslet is joined in the lead actress category by expected nominees Meryl Streep and Anne Hathaway and also by non-sure things Angelina Jolie and Melissa Leo. The glaring “snub” is of course Golden Globe winner Sally Hawkins, who is the most upsetting omission in the eyes of this blogger. I’d even expected Cate Blanchett over Jolie, who can now make the Oscars a family affair since the other half of Brangelina is also nominated, for Best Actor. Waltz with Bashir somehow didn’t make it into the Best Animated Film trio, although nobody should attack Bolt because of this snub (surely you didn’t see it, and it is indeed worthy). Bashir did at least receive recognition in the Best Foreign Film category, which it will most surely win. Many people thought Gran Torino came out just at the right time to garner Clint Eastwood an acting nomination and maybe even a Best Picture nod, as well. But what could have been this year’s Crash is nowhere to be found among the nominees. As if The Dark Knight snubs weren’t enough to get young audiences protesting this year’s Oscars, there were also no Best Original Song nods for High School Musical 3 or even expected nominee Miley Cyrus, who cowrote a song for Bolt with Jeffrey Steele. And speaking of this category, is there any reason that there are only three nominees, none of which are for predicted winner Bruce Springsteen? I almost always have at least one issue with the Best Original Screenplay category, but if Courtney Hunt’s script for Frozen River is one of the best of the year, then Jenny Lumet, Woody Allen and Charlie Kaufman should all just pack up and retire. Wait, nevermind, because it’s snubs like these that have us once again saying that the Oscars are a joke. For the full list of nominees, head to Oscar.com. Or, if you don’t like drop menus, Variety. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_January_19_Neighborhood_Watch/625/39691/1/ShowPost.aspx Post By: Dr_Gor
Post To: Weekly Theme
Post Date: 1/20/2009 12:36:40 AM
Body: [quote user="mercurial"] Nowadays, the American Dream is tough. Finding a decent paying job. Looking for love. Buying a house. Mowing your lawn. And just when you think you've got it, some jerk has to move into your perfect little neighborhood and ruin it all. You know who I'm talking about. The pyscho mass murderers, the pedophiles, or worse, one of those weird French guys with their creepy accent and stupid looking berets. Whether you're looking out for the safety of your kids (like Sarah Pierce and Brad Adamson in Little Children), suffering from OCD (like Melvin Udall in As Good As It Gets), or just plain racist and homophobic (like Walt Kowalski in Gran Torino and Col. Frank Fitts in American Beauty), there is always some reason to take an overactive interest in your neighbors and plot to drive them out of their homes (or kill them). So with that said, what are your favorite Neighborhood Watch films? [/quote] Just because you are paranoid does not mean that they are not out to get you! Try watching The Marathon Man one more time and you might get it... The Neighbors is a good example of this kind of movie...
]]>Tue, 20 Jan 2009 05:36:40 GMTDr_GorWeekly Theme1/20/2009 12:36:40 AM[quote user="mercurial"] Nowadays, the American Dream is tough. Finding a decent paying job. Looking for love. Buying a house. Mowing your lawn. And just when you think you've got it, some jerk has to move into your perfect little neighborhood and ruin it all. You know who I'm talking about. The pyscho mass murderers, the pedophiles, or worse, one of those weird French guys with their creepy accent and stupid looking berets. Whether you're looking out for the safety of your kids (like Sarah Pierce and Brad Adamson in Little Children), suffering from OCD (like Melvin Udall in As Good As It Gets), or just plain racist and homophobic (like Walt Kowalski in Gran Torino and Col. Frank Fitts in American Beauty), there is always some reason to take an overactive interest in your neighbors and plot to drive them out of their homes (or kill them). So with that said, what are your favorite Neighborhood Watch films? [/quote] Just because you are paranoid does not mean that they are not out to get you! Try watching The Marathon Man one more time and you might get it... The Neighbors is a good example of this kind of movie... http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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