list http://www.spout.com/ Recent community activity around The Wild Bunch 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/The_Wild_Bunch/38324/default.aspx Title: The Wild Bunch
Year: 1969
Director: Paul Seydor, Sam Peckinpah
Plot: "If they move, kill 'em!" Beginning and ending with two of the bloodiest battles in screen history, Sam Peckinpah's classic revisionist Western ruthlessly takes apart the myths of the West. Released in the late '60s discord over Vietnam, in the wake of the controversial Bonnie and Clyde (1967) and the brutal "spaghetti westerns" of Sergio Leone, The Wild Bunch polarized critics and audiences over its ferocious bloodshed. One side hailed it as a classic appropriately pitched to the violence and nihilism of the times, while the other reviled it as depraved. After a failed payroll robbery, the outlaw Bunch, led by aging Pike Bishop (William Holden) and including Dutch (Ernest Borgnine), Angel (Jaime Sanchez), and Lyle and Tector Gorch (Warren Oates and Ben Johnson), heads for Mexico pursued by the gang of Pike's friend-turned-nemesis Deke Thornton (Robert Ryan). Ultimately caught between the corruption of railroad fat cat Harrigan (Albert Dekker) and federale general Mapache (Emilio Fernandez), and without a frontier for escape, the Bunch opts for a final Pyrrhic victory, striding purposefully to confront Mapache and avenge their friend Angel. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 8
Number of Lists: 35
Number of blog posts: 5
Number of discussion threads: 8
SpoutRating: 3
]]>Mon, 27 Jul 2009 20:10:33 GMTThe Wild Bunch1969Paul Seydor, Sam Peckinpah"If they move, kill 'em!" Beginning and ending with two of the bloodiest battles in screen history, <a href="/players/P___105940/default.aspx" style='text-decoration:underline'>Sam Peckinpah</a>'s classic revisionist Western ruthlessly takes apart the myths of the West. Released in the late '60s discord over Vietnam, in the wake of the controversial <a href=/films/4050/default.aspx style='text-decoration:underline'>Bonnie and Clyde</a> (1967) and the brutal "spaghetti westerns" of <a href="/players/P____99378/default.aspx" style='text-decoration:underline'>Sergio Leone</a>, The Wild Bunch polarized critics and audiences over its ferocious bloodshed. One side hailed it as a classic appropriately pitched to the violence and nihilism of the times, while the other reviled it as depraved. After a failed payroll robbery, the outlaw Bunch, led by aging Pike Bishop (<a href="/players/P____32805/default.aspx" style='text-decoration:underline'>William Holden</a>) and including Dutch (<a href="/players/P_____7448/default.aspx" style='text-decoration:underline'>Ernest Borgnine</a>), Angel (<a href="/players/P____62898/default.aspx" style='text-decoration:underline'>Jaime Sanchez</a>), and Lyle and Tector Gorch (<a href="/players/P____53739/default.aspx" style='text-decoration:underline'>Warren Oates</a> and <a href="/players/P____35776/default.aspx" style='text-decoration:underline'>Ben Johnson</a>), heads for Mexico pursued by the gang of Pike's friend-turned-nemesis Deke Thornton (<a href="/players/P___128119/default.aspx" style='text-decoration:underline'>Robert Ryan</a>). Ultimately caught between the corruption of railroad fat cat Harrigan (<a href="/players/P____18299/default.aspx" style='text-decoration:underline'>Albert Dekker</a>) and federale general Mapache (Emilio Fernandez), and without a frontier for escape, the Bunch opts for a final Pyrrhic victory, striding purposefully to confront Mapache and avenge their friend Angel. ~ Lucia Bozzola, All Movie Guide8Taggedy Taggged (6-10)35583http://www.spout.com/ProductImages/u42201rewdy.jpghttp://www.spout.com/films/The_Wild_Bunch/38324/default.aspxFilm http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/33376/1/ShowPost.aspx Post By: SkyPilot
Post To: Filmgaming
Post Date: 8/1/2008 9:26:54 AM
Body: Cammmalot's recast has gathered a cult following! It is pretty rad, so I wanted to make it really visible. RESERVOIR *STRAW* DOGS As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit & Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam Other honorable mentions: theunemployedshortstop, who like Cammmalot turned the film into a western as gritty as a spittoon full of chaw. And jdamer83 for another great B-movie noir cast that Tarantino probably wrote in his journal at some time as a wishlist.
]]>Fri, 01 Aug 2008 13:26:54 GMTSkyPilotFilmgaming8/1/2008 9:26:54 AM Cammmalot's recast has gathered a cult following! It is pretty rad, so I wanted to make it really visible. RESERVOIR *STRAW* DOGS As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit &amp; Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam Other honorable mentions: theunemployedshortstop, who like Cammmalot turned the film into a western as gritty as a spittoon full of chaw. And jdamer83 for another great B-movie noir cast that Tarantino probably wrote in his journal at some time as a wishlist. http://www.spout.com/groups/Filmgaming/RESERVOIR_STRAW_DOGS/563/32756/1/ShowPost.aspx Post By: Cammmalot
Post To: Filmgaming
Post Date: 7/19/2008 7:22:06 AM
Body: As much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit & Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam
]]>Sat, 19 Jul 2008 11:22:06 GMTCammmalotFilmgaming7/19/2008 7:22:06 AMAs much as I love this movie it's fascinating to ponder what would have happened if the script had fallen into Sam Peckinpah's lap circa '69-'74 Pat Garrett and Billy the Kid (1973) Kris has enough of that fatherly/mentor vibe to have pulled this off. I would love to hear his version of the let's go get a taco speech. The Getaway (1972) Junior Bonner (1972) Now this would have been something to see. I think this would have been a cross between Bullit &amp; Junior Bonner. How would he have done the commode story? Pat Garrett and Billy the Kid (1973) This would have been fantastic. "Are you gonna bark all day little doggie...or are you gonna bite." The Wild Bunch (1969) Of all the Peckinpah ensemble this one's the no brainer. Right out of the wild bunch and into the wearhouse. He just grabbed the diamonds and split!? I'm right about that, that's your story? The Wild Bunch (1969) Okay, this one's a different vibe. Holden would still explore all the angles but in a much less manic way. Those discussions would involve a whole new layer of tension. Pat Garrett and Billy the Kid (1973) ...And the vibe change continues....at first this choice seemed a bit odd but I really think Robards would have come at it in a much different , yet powerful manner. I can totally hear his voice and inflection on the "So you guys like to fool around and tell jokes" speech. The Getaway (1972) This is probably my favorite choice. Just think of Slim's supply pack speech in Strangelove and now picture him saying, "Now let me tell you all what Like a Virgins about." Convoy (1978) So Bunker is a fantastic in the know cameo..so I just connected look and demeanor.....and I'd put Seymour in any movie! Major Dundee (1965) Yes, yes, YES! I so want to hear heston say "..and if your the 12th caller you'll win 2 tickets to the monster truck extraveganza being held tonight at the carson fairgrounds featuring Big Daddy Don Bodean's truck "The Bohemiath" The 12th caller wins on the station where the 70's survived KBILLY....It's made of PEOPLE! Straw Dogs (1971) Marathon Man (1976) What can I say.....When in Rome. Actually it would be fascinating to hear Hoffman's voice scream, "He cut off my 'effin ear man!" Cam http://www.spout.com/blogs/tallquasimodo/archive/2008/7/14/32526.aspx Post By: tallquasimodo
Post To: tallquasimodo Blog
Post Date: 7/14/2008 12:08:07 PM
Body: I really wanted to be impressed by this movie, and I was, in a sense. The color is fantastic, and the cinematography is nothing to sneeze at either. It even had what must have been some very cool gunfights for its time. Unfortunately the narrative itself was too hard to follow. Call me racist, but I had trouble differentiating the various bosses from each other due to the similarity of their names to my western ear. This left the majority of dialogue fairly difficult to comprehend. I wish I had seen this movie before being exposed to some of the better handgun-based action movies made since, such as A Better Tomorrow, A Better Tomorrow II, The Killer, Hard Boiled, Desperado, etc. Even The Wild Bunch could be included in that category.
]]>Mon, 14 Jul 2008 16:08:07 GMTtallquasimodotallquasimodo Blog7/14/2008 12:08:07 PMI really wanted to be impressed by this movie, and I was, in a sense. The color is fantastic, and the cinematography is nothing to sneeze at either. It even had what must have been some very cool gunfights for its time. Unfortunately the narrative itself was too hard to follow. Call me racist, but I had trouble differentiating the various bosses from each other due to the similarity of their names to my western ear. This left the majority of dialogue fairly difficult to comprehend. I wish I had seen this movie before being exposed to some of the better handgun-based action movies made since, such as A Better Tomorrow, A Better Tomorrow II, The Killer, Hard Boiled, Desperado, etc. Even The Wild Bunch could be included in that category. http://www.spout.com/blogs/shaunhuston/archive/2008/6/18/31390.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 6/18/2008 9:01:56 PM
Body: The Western Top 10 is the toughest for me. As some of you may know, while I'm hardly Richard Slotkin or Jane Tompkins, I write, teach, and think about this genre on a regular basis, and, as a result, my views are not only fairly strong, but well-informed. And, where certain well regarded classics are concerned, they are also iconoclastic. This is probably nowhere more obvious than with The Searchers (1956), the film that tops the AFI list. This film does not resonate with me on any level. I have never found the ending credible. John Wayne does not portray Ethan Edwards with any of the complexity needed for his embrace of Debbie (Natalie Wood) to ring true after his 118 (or so) minutes of hard, racist ranting about Native Americans and his intent to kill her. I also find the photography and production design to be garish without purpose, and for all of its superficial sophistication about Native peoples, the talk of ritual, the use of indigenous language, it only serves to perpetuate the myth of white mastery. After all, it is white men who “know” and understand Native peoples, not the other way around. Native Americans are no less the brutish savages in this film than they are in Stagecoach (1939), but at least that film doesn't pretend to be anything but pulpy fantasy (indeed, it remains my favorite John Ford/John Wayne Western). And the landscape changes in The Searchers drive me crazy. Even though no one seems to actually leave Texas, the weather and land change in absurd ways during the course of the quest. Where are these people supposed to be? I fully recognize that I am a freak when it comes to this film, and as a result, I'm not going to make a pitch for taking it off of the list, although I do think that it needs to be demoted. The other film worth arguing about is one that I would knock of the AFI list, and that is Shane (1953). My biggest block with this film is Joey (Brandon de Wilde). The whining, oh the whining. Gah. I can't get past it. At the same time, I don't think that Alan Ladd makes for a convincing hero; he has too much of a “contemporary” presence. Van Heflin's Joe Starrett is virtually the same guy as Dan Evans, Heflin's character in 3:10 to Yuma (1957), and much less interesting. As menacing as Jack Palance's black hatted gunfighter is, he's also more hollow than the norm. And, yes, I understand the subtext about the Frontiersman and his lack of place in civilization, but that theme is punctuated in many a film without Shane's weaknesses. The selection of Cat Ballou (1965) still seems like some kind of a joke, but it is perhaps typical of an industry that has wanted to bury this genre for the past five decades or so. Red River (1948) made no impression on me when I saw it. Is that a reason to take it off the list? I don't know, but I would have no shortage of replacements if it is. Part of the difficulty with these lists is how the boundary is drawn around “American” film. I can see where Sergio Leone's movies with Clint Eastwood might be precluded as “American”, but, given some of the other selections on other lists, Once Upon a Time in the West (1968) seems perfectly fair game to me (it was, after all, co-produced by Paramount, not to mention featuring a group of notable American actors in all of the lead male roles). Were it up to me, this film would certainly be on the list, and possibly even on top (I might just elevate High Noon, 1952, to the top spot depending on how much of a classisist I want to be). Undoubtedly, The Wild Bunch (1969) is Sam Peckinpah's magnum opus, but that's hardly a reason to make it his only film on the list. Ride the High Country (1962), for example, is an early elegiac Western that explores Western archetypes in more interesting ways than most of the films on the list from its same general period. The AFI's definition of the Western - “a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier” - also seems to leave room for a movie like Lone Star (1996), or, and I know I'm pushing it here, Serenity (2005) (and you can scoff at this if you want, but Joss Whedon's movie re-imagines the Frontier and the supposed line between savagery and civilization in interesting and vital ways; I think that it certainly makes a more original contribution to the genre than does Shane). Two other recent Westerns for which I have a great deal of affection are The Claim (2000) and Open Range (2003). I'm not sure I'd end up placing all of the films listed above on a reconstructed list, but I do think that there is a tendency to treat the Western as a “dead” genre, killed at some point in the 1960s, with an occasional raising from the dead, and it's not so. It's also a genre with a fairly well-rehearsed canon. Placing The Searchers at the top of a list like this is much like putting Citizen Kane (1941) at the top of the AFI's ur-list: it's almost reflexive. Link to introduction. Originally posted on:Short-Circuit Signs
]]>Thu, 19 Jun 2008 01:01:56 GMTShaunHustonShaunHuston filmblog6/18/2008 9:01:56 PMThe Western Top 10 is the toughest for me. As some of you may know, while I'm hardly Richard Slotkin or Jane Tompkins, I write, teach, and think about this genre on a regular basis, and, as a result, my views are not only fairly strong, but well-informed. And, where certain well regarded classics are concerned, they are also iconoclastic. This is probably nowhere more obvious than with The Searchers (1956), the film that tops the AFI list. This film does not resonate with me on any level. I have never found the ending credible. John Wayne does not portray Ethan Edwards with any of the complexity needed for his embrace of Debbie (Natalie Wood) to ring true after his 118 (or so) minutes of hard, racist ranting about Native Americans and his intent to kill her. I also find the photography and production design to be garish without purpose, and for all of its superficial sophistication about Native peoples, the talk of ritual, the use of indigenous language, it only serves to perpetuate the myth of white mastery. After all, it is white men who &ldquo;know&rdquo; and understand Native peoples, not the other way around. Native Americans are no less the brutish savages in this film than they are in Stagecoach (1939), but at least that film doesn't pretend to be anything but pulpy fantasy (indeed, it remains my favorite John Ford/John Wayne Western). And the landscape changes in The Searchers drive me crazy. Even though no one seems to actually leave Texas, the weather and land change in absurd ways during the course of the quest. Where are these people supposed to be? I fully recognize that I am a freak when it comes to this film, and as a result, I'm not going to make a pitch for taking it off of the list, although I do think that it needs to be demoted. The other film worth arguing about is one that I would knock of the AFI list, and that is Shane (1953). My biggest block with this film is Joey (Brandon de Wilde). The whining, oh the whining. Gah. I can't get past it. At the same time, I don't think that Alan Ladd makes for a convincing hero; he has too much of a &ldquo;contemporary&rdquo; presence. Van Heflin's Joe Starrett is virtually the same guy as Dan Evans, Heflin's character in 3:10 to Yuma (1957), and much less interesting. As menacing as Jack Palance's black hatted gunfighter is, he's also more hollow than the norm. And, yes, I understand the subtext about the Frontiersman and his lack of place in civilization, but that theme is punctuated in many a film without Shane's weaknesses. The selection of Cat Ballou (1965) still seems like some kind of a joke, but it is perhaps typical of an industry that has wanted to bury this genre for the past five decades or so. Red River (1948) made no impression on me when I saw it. Is that a reason to take it off the list? I don't know, but I would have no shortage of replacements if it is. Part of the difficulty with these lists is how the boundary is drawn around &ldquo;American&rdquo; film. I can see where Sergio Leone's movies with Clint Eastwood might be precluded as &ldquo;American&rdquo;, but, given some of the other selections on other lists, Once Upon a Time in the West (1968) seems perfectly fair game to me (it was, after all, co-produced by Paramount, not to mention featuring a group of notable American actors in all of the lead male roles). Were it up to me, this film would certainly be on the list, and possibly even on top (I might just elevate High Noon, 1952, to the top spot depending on how much of a classisist I want to be). Undoubtedly, The Wild Bunch (1969) is Sam Peckinpah's magnum opus, but that's hardly a reason to make it his only film on the list. Ride the High Country (1962), for example, is an early elegiac Western that explores Western archetypes in more interesting ways than most of the films on the list from its same general period. The AFI's definition of the Western - &ldquo;a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier&rdquo; - also seems to leave room for a movie like Lone Star (1996), or, and I know I'm pushing it here, Serenity (2005) (and you can scoff at this if you want, but Joss Whedon's movie re-imagines the Frontier and the supposed line between savagery and civilization in interesting and vital ways; I think that it certainly makes a more original contribution to the genre than does Shane). Two other recent Westerns for which I have a great deal of affection are The Claim (2000) and Open Range (2003). I'm not sure I'd end up placing all of the films listed above on a reconstructed list, but I do think that there is a tendency to treat the Western as a &ldquo;dead&rdquo; genre, killed at some point in the 1960s, with an occasional raising from the dead, and it's not so. It's also a genre with a fairly well-rehearsed canon. Placing The Searchers at the top of a list like this is much like putting Citizen Kane (1941) at the top of the AFI's ur-list: it's almost reflexive. Link to introduction. Originally posted on:Short-Circuit Signs http://www.spout.com/groups/Violence_on_film/Violence_in_movies/494/21814/1/ShowPost.aspx Post By: Dr_Gor
Post To: Violence on film
Post Date: 11/19/2007 11:15:39 PM
Body: There are certain movies that are all about the violence! (insert your favorite horror movie here) And then there are some which are more 'drama' but with at least one or two really violent scenes for an 'attention-grabber' . In other words, in some cases the violence helps to tell the story, and in other cases, the violence IS the story... here are some examples... The Good, The Bad and The Ugly and ALL of the Clint Eastwood westerns ... Up to, and including, Unforgiven ... ALL of the Bruce Lee movies and most of the Steven Segal movies and Jean Claude Van Damme and Don 'the dragon' Wilson and Jeff Speakman , etc ... No. My favorite violent movies are the ones about real warriors... THAT is what it's all about! Movies like The Warriors and The Wild Bunch and The Magnificent Seven and The 13th Warrior and 300 are excellent examples of movies which are all about the violence... not to mention the Kill Bill series and every movie ever made by John Woo as well... They ALL have one thing in common, what some would call 'excessive' violence...
]]>Tue, 20 Nov 2007 04:15:39 GMTDr_GorViolence on film11/19/2007 11:15:39 PM There are certain movies that are all about the violence! (insert your favorite horror movie here) And then there are some which are more &#39;drama&#39; but with at least one or two really violent scenes for an &#39;attention-grabber&#39; . In other words, in some cases the violence helps to tell the story, and in other cases, the violence IS the story... here are some examples... The Good, The Bad and The Ugly and ALL of the Clint Eastwood westerns ... Up to, and including, Unforgiven ... ALL of the Bruce Lee movies and most of the Steven Segal movies and Jean Claude Van Damme and Don &#39;the dragon&#39; Wilson and Jeff Speakman , etc ... No. My favorite violent movies are the ones about real warriors... THAT is what it&#39;s all about! Movies like The Warriors and The Wild Bunch and The Magnificent Seven and The 13th Warrior and 300 are excellent examples of movies which are all about the violence... not to mention the Kill Bill series and every movie ever made by John Woo as well... They ALL have one thing in common, what some would call &#39;excessive&#39; violence... http://www.spout.com/groups/Directors/Re_My_favorite_directors_by_algorithm/406/16688/1/ShowPost.aspx Post By: Dr_Gor
Post To: Directors
Post Date: 7/27/2007 6:37:37 PM
Body: OH! And ANOTHER much overlooked director (at least in this group) ... Sam Peckinpah ! "The Wild Bunch" is ABSOLUTELY one of the best pictures ever made!
]]>Fri, 27 Jul 2007 22:37:37 GMTDr_GorDirectors7/27/2007 6:37:37 PM OH! And ANOTHER much overlooked director (at least in this group) ... Sam Peckinpah ! "The Wild Bunch" is ABSOLUTELY one of the best pictures ever made! http://www.spout.com/blogs/jlgdrd/archive/2007/6/22/11758.aspx Post By: jlgdrd
Post To: Wicked Fun
Post Date: 6/22/2007 6:46:00 PM
Body: Years ago, a local film critic (living in the Dallas-Ft. Worth Metroplex) dismissed Crimes of Passion by saying, “Why doesn’t Ken Russell just go back to England?” as if this were a legitimate, professional reaction to any film. You just couldn’t help the feeling that she didn’t get it. “It” not being the film itself. It was awful but I don’t think it’s ever okay to pan a film because one’s sensibilities are offended. Or ravaged. Ironically I find myself in a similar situation after viewing Spike and Mike’s Sick and Twisted Festival of Animation. Call it Karmic Justice. I repeatedly wondered if I’d viewed this collection, say, 25 years ago, if I’d have been rolling in the proverbial aisles. Though I’d like to think I’m smarter today. From The Grand Guignol Theatre of 19th Century Paris, to Peter Jackson’s Dead Alive to the Mr. Creosote sketch in Monty Python’s The Meaning of Life, to the Itchy and Scratchy cartoon-within-a-cartoon featured on The Simpsons the practice of depicting the disturbing, the horrific, the unwatchable seems more and more prevalent. And in those particular cases, hilarious. With the release of films like Bonnie and Clyde, The Wild Bunch, The Godfather, Taxi Driver, it’s been theorized that film makers must steadily escalate the violence in their movies to lure audiences away from television, the result being that we have become progressively more inured to the maiming, mutilation, decapitation and other forms of torture and execution we bear witness to in the everyday business of visual entertainment. Remember the groundbreaking sketch when Dan Ackroyd, dressed as Julia Child, lopped off the end of her thumb on Saturday Night Live? I say groundbreaking because, yes, it was funny. The blood everywhere, so extravagant that “Child” was actually slipping in it. SNL demonstrated that you could be gory and tasteless and excessive and still be uproarious. Unfortunately, it also spawned uncountable comedic derivations, based on the unfortunate misconception that anything tasteless or absurdly, disproportionately grisly was de facto funny.The reason why I’ve gone on so long about this is because so much of S&M’s Animation Festival is composed of creepy, violent images that I can’t sort out whether they’re not funny because I’m just a sour old curmudgeon, or a closet candy-ass. Mondo Media’s Happy Tree Friends is rife with mutilation imagery, that I suppose, is plausible, but just random enough that the shock invites us to laugh. Just how far can you push the irony of physical trauma erupting repeatedly and whimsically? Perhaps the reason Eric Merola’s Fly Boy (homage to Di Palma’s Scarface) works better is that context gives it depth. We’re not expected to find hilarity in random ghastly occurrences that pop up to poison the cotton candy, to gouge out the eyes of Hello Kitty! But who am I to say? Maybe there are people who find the specious, vapid content of traditional cartoons to be so dull and insipid, so vacuous (so offensive?) that Spike and Mike provide respite. Catharsis. Spike and Mike’s Sick and Twisted Festival of Animation offers 23 new films and 2 special encores. It runs about 90 minutes, and features roughly the level and garden variety of quality you might expect from an assortment of 25 animated short subjects. Some of the pieces never transcend the amusement you might get from any quirky, novel animation, and unlike other animation festivals, none are intended as chiefly dramatic or reflective pieces. Though the best have layers of content. There is a great deal of impressive facility and imagination going on, even if the end result of most have very little impact. Cat Ciao, for example, has lots of intriguing craft and mechanics. The depth of field is vivid and inspired, even if the story is disappointing. And that’s the way it is throughout. It’s like a Christmas stocking with a few gemmy trinkets here and there but not much you’d want to take home. A couple (The Answer and Mule Dick ) are predicated on jokes that have been circulating for at least 15 years and others like Proper Urinal Etiquette and Krazy Kock are more clever in concept than in practice. Some, ironically, go on way past the point of being comical while others hit the punch line so quickly you have to do a double-take. Hippie Juice was terrible. By far the best are: Here Comes Dr. Tran, The Boy Who Could Smell the Future, My First Boner (after Schoolhouse Rock), Crab Revolution, Frog, and Ah, L’ Amour, with Proper Urinal Etiquette, Mr. J. Russell, No Neck Joe and Krazy Kock running second.
]]>Fri, 22 Jun 2007 22:46:00 GMTjlgdrdWicked Fun6/22/2007 6:46:00 PMYears ago, a local film critic (living in the Dallas-Ft. Worth Metroplex) dismissed Crimes of Passion by saying, &ldquo;Why doesn&rsquo;t Ken Russell just go back to England?&rdquo; as if this were a legitimate, professional reaction to any film. You just couldn&rsquo;t help the feeling that she didn&rsquo;t get it. &ldquo;It&rdquo; not being the film itself. It was awful but I don&rsquo;t think it&rsquo;s ever okay to pan a film because one&rsquo;s sensibilities are offended. Or ravaged. Ironically I find myself in a similar situation after viewing Spike and Mike&rsquo;s Sick and Twisted Festival of Animation. Call it Karmic Justice. I repeatedly wondered if I&rsquo;d viewed this collection, say, 25 years ago, if I&rsquo;d have been rolling in the proverbial aisles. Though I&rsquo;d like to think I&rsquo;m smarter today. From The Grand Guignol Theatre of 19th Century Paris, to Peter Jackson&rsquo;s Dead Alive to the Mr. Creosote sketch in Monty Python&rsquo;s The Meaning of Life, to the Itchy and Scratchy cartoon-within-a-cartoon featured on The Simpsons the practice of depicting the disturbing, the horrific, the unwatchable seems more and more prevalent. And in those particular cases, hilarious. With the release of films like Bonnie and Clyde, The Wild Bunch, The Godfather, Taxi Driver, it&rsquo;s been theorized that film makers must steadily escalate the violence in their movies to lure audiences away from television, the result being that we have become progressively more inured to the maiming, mutilation, decapitation and other forms of torture and execution we bear witness to in the everyday business of visual entertainment. Remember the groundbreaking sketch when Dan Ackroyd, dressed as Julia Child, lopped off the end of her thumb on Saturday Night Live? I say groundbreaking because, yes, it was funny. The blood everywhere, so extravagant that &ldquo;Child&rdquo; was actually slipping in it. SNL demonstrated that you could be gory and tasteless and excessive and still be uproarious. Unfortunately, it also spawned uncountable comedic derivations, based on the unfortunate misconception that anything tasteless or absurdly, disproportionately grisly was de facto funny.The reason why I&rsquo;ve gone on so long about this is because so much of S&amp;M&rsquo;s Animation Festival is composed of creepy, violent images that I can&rsquo;t sort out whether they&rsquo;re not funny because I&rsquo;m just a sour old curmudgeon, or a closet candy-ass. Mondo Media&rsquo;s Happy Tree Friends is rife with mutilation imagery, that I suppose, is plausible, but just random enough that the shock invites us to laugh. Just how far can you push the irony of physical trauma erupting repeatedly and whimsically? Perhaps the reason Eric Merola&rsquo;s Fly Boy (homage to Di Palma&rsquo;s Scarface) works better is that context gives it depth. We&rsquo;re not expected to find hilarity in random ghastly occurrences that pop up to poison the cotton candy, to gouge out the eyes of Hello Kitty! But who am I to say? Maybe there are people who find the specious, vapid content of traditional cartoons to be so dull and insipid, so vacuous (so offensive?) that Spike and Mike provide respite. Catharsis. Spike and Mike&rsquo;s Sick and Twisted Festival of Animation offers 23 new films and 2 special encores. It runs about 90 minutes, and features roughly the level and garden variety of quality you might expect from an assortment of 25 animated short subjects. Some of the pieces never transcend the amusement you might get from any quirky, novel animation, and unlike other animation festivals, none are intended as chiefly dramatic or reflective pieces. Though the best have layers of content. There is a great deal of impressive facility and imagination going on, even if the end result of most have very little impact. Cat Ciao, for example, has lots of intriguing craft and mechanics. The depth of field is vivid and inspired, even if the story is disappointing. And that&rsquo;s the way it is throughout. It&rsquo;s like a Christmas stocking with a few gemmy trinkets here and there but not much you&rsquo;d want to take home. A couple (The Answer and Mule Dick ) are predicated on jokes that have been circulating for at least 15 years and others like Proper Urinal Etiquette and Krazy Kock are more clever in concept than in practice. Some, ironically, go on way past the point of being comical while others hit the punch line so quickly you have to do a double-take. Hippie Juice was terrible. By far the best are: Here Comes Dr. Tran, The Boy Who Could Smell the Future, My First Boner (after Schoolhouse Rock), Crab Revolution, Frog, and Ah, L&rsquo; Amour, with Proper Urinal Etiquette, Mr. J. Russell, No Neck Joe and Krazy Kock running second. http://www.spout.com/blogs/chesterfilms/archive/2007/5/15/8833.aspx Post By: chesterfilms
Post To: chesterfilms Blog
Post Date: 5/15/2007 1:46:43 AM
Body: 1. Once Upon A Time In The West2. The Good, The Bad & The Ugly 3. The Searchers4. Rio Bravo5. The Wild Bunch
]]>Tue, 15 May 2007 05:46:43 GMTchesterfilmschesterfilms Blog5/15/2007 1:46:43 AM1. Once Upon A Time In The West2. The Good, The Bad &amp; The Ugly 3. The Searchers4. Rio Bravo5. The Wild Bunch http://www.spout.com/groups/HORROR_MOVIES_101/Re_Italian_Horror/222/7687/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 4/26/2007 7:40:20 PM
Body: Thank you, Froggy! But, I have to ask you, it sounds like you have seen this movie only once? If that is the case then you need to watch it again! This is one of those movies that actually gets BETTER every time you watch it! Much like... JAWS The Exorcist The Wild Bunch The Magnificent 7 The Beyond Dracula Frankenstein Rocky III Mars Attacks ... I will quit here before I wander TOO far off track! Ooh! wait! ... a couple more! ... Cannibal Holocaust Make Them Die Slowly
]]>Thu, 26 Apr 2007 23:40:20 GMTDr_GorHORROR MOVIES 1014/26/2007 7:40:20 PM Thank you, Froggy! But, I have to ask you, it sounds like you have seen this movie only once? If that is the case then you need to watch it again! This is one of those movies that actually gets BETTER every time you watch it! Much like... JAWS The Exorcist The Wild Bunch The Magnificent 7 The Beyond Dracula Frankenstein Rocky III Mars Attacks ... I will quit here before I wander TOO far off track! Ooh! wait! ... a couple more! ... Cannibal Holocaust Make Them Die Slowly http://www.spout.com/groups/Top_5/Re_Top_Westerns/190/7638/1/ShowPost.aspx Post By: josephkuzma
Post To: Top 5
Post Date: 4/25/2007 9:17:30 PM
Body: 1. A Fistful of Dollars / For a Few Dollars More / The Good, The Bad & the Ugly - This is essentially one film. One huge, phenomenal film.2. Treasure of the Sierra Madre - You find me a better Bogey and I'll kick you in the nuts for lying.3. The Wild Bunch - The beginning and end of this movie scarred me in the best way as a kid.4. The Magnificent Seven - You'd think I would hate this because it's a remake (sort of) of one of the greatest movies of all time but damn it I can't not love this film. Yul Brynner & Steve McQueen were never better.5. Tombstone - Prior to seeing this movie I had a weird stigma against any and all westerns that prevented me from even watching one much less liking one. But after this I realized that they were legitimate films and for months afterwards it was all I'd rent when it was my turn to pick (I was 12 at the time).
]]>Thu, 26 Apr 2007 01:17:30 GMTjosephkuzmaTop 54/25/2007 9:17:30 PM1. A Fistful of Dollars / For a Few Dollars More / The Good, The Bad &amp; the Ugly - This is essentially one film. One huge, phenomenal film.2. Treasure of the Sierra Madre - You find me a better Bogey and I&#39;ll kick you in the nuts for lying.3. The Wild Bunch - The beginning and end of this movie scarred me in the best way as a kid.4. The Magnificent Seven - You&#39;d think I would hate this because it&#39;s a remake (sort of) of one of the greatest movies of all time but damn it I can&#39;t not love this film. Yul Brynner &amp; Steve McQueen were never better.5. Tombstone - Prior to seeing this movie I had a weird stigma against any and all westerns that prevented me from even watching one much less liking one. But after this I realized that they were legitimate films and for months afterwards it was all I&#39;d rent when it was my turn to pick (I was 12 at the time). http://www.spout.com/members/0/tags/death/MemberTagFilms.aspxdeath
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