list http://www.spout.com/ Recent community activity around Cool Hand Luke 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/Cool_Hand_Luke/7031/default.aspx Title: Cool Hand Luke
Year: 1967
Director: Stuart Rosenberg
Plot: Paul Newman was nominated for an Oscar and George Kennedy received one for his work in this allegorical prison drama. Luke Jackson (Paul Newman) is sentenced to a stretch on a southern chain gang after he's arrested for drunkenly decapitating parking meters. While the avowed ambition of the captain (Strother Martin) is for each prisoner to "get their mind right," it soon becomes obvious that Luke is not about to kowtow to anybody. When challenged to a fistfight by fellow inmate Dragline (George Kennedy), Luke simply refuses to give up, even though he's brutally beaten. Luke knows how to win at poker, even with bad cards, by using his smarts and playing it cool. Luke also figures out a way for the men to get their work done in half the usual time, giving them the afternoon off. Finally, when Luke finds out his mother has died, he plots his escape; when he's caught, he simply escapes again. Soon, Luke becomes a symbol of hope and resilience to the other men in the prison camp -- and a symbol of rebelliousness that must be stamped out to the guards and the captain. Along with stellar performances by Newman, Kennedy, and Martin, Cool Hand Luke features a superb supporting cast, including Ralph Waite, Harry Dean Stanton, Dennis Hopper, Wayne Rogers, and Joe Don Baker as members of the chain gang. ~ Mark Deming, All Movie Guide
Times Tagged: 23
Number of Lists: 48
Number of blog posts: 5
Number of discussion threads: 2
SpoutRating: 4
]]>Tue, 12 May 2009 03:08:06 GMTCool Hand Luke1967Stuart Rosenberg<a href="/players/P___104390/default.aspx" style='text-decoration:underline'>Paul Newman</a> was nominated for an Oscar and <a href="/players/P____37705/default.aspx" style='text-decoration:underline'>George Kennedy</a> received one for his work in this allegorical prison drama. Luke Jackson (<a href="/players/P___104390/default.aspx" style='text-decoration:underline'>Paul Newman</a>) is sentenced to a stretch on a southern chain gang after he's arrested for drunkenly decapitating parking meters. While the avowed ambition of the captain (<a href="/players/P____46040/default.aspx" style='text-decoration:underline'>Strother Martin</a>) is for each prisoner to "get their mind right," it soon becomes obvious that Luke is not about to kowtow to anybody. When challenged to a fistfight by fellow inmate Dragline (<a href="/players/P____37705/default.aspx" style='text-decoration:underline'>George Kennedy</a>), Luke simply refuses to give up, even though he's brutally beaten. Luke knows how to win at poker, even with bad cards, by using his smarts and playing it cool. Luke also figures out a way for the men to get their work done in half the usual time, giving them the afternoon off. Finally, when Luke finds out his mother has died, he plots his escape; when he's caught, he simply escapes again. Soon, Luke becomes a symbol of hope and resilience to the other men in the prison camp -- and a symbol of rebelliousness that must be stamped out to the guards and the captain. Along with stellar performances by Newman, Kennedy, and Martin, Cool Hand Luke features a superb supporting cast, including <a href="/players/P___115728/default.aspx" style='text-decoration:underline'>Ralph Waite</a>, <a href="/players/P____67626/default.aspx" style='text-decoration:underline'>Harry Dean Stanton</a>, <a href="/players/P____94825/default.aspx" style='text-decoration:underline'>Dennis Hopper</a>, <a href="/players/P___108718/default.aspx" style='text-decoration:underline'>Wayne Rogers</a>, and <a href="/players/P_____3412/default.aspx" style='text-decoration:underline'>Joe Don Baker</a> as members of the chain gang. ~ Mark Deming, All Movie Guide23Tag Target (>10)48524http://www.spout.com/ProductImages/t00038gthxx.jpghttp://www.spout.com/films/Cool_Hand_Luke/7031/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/3/13/41010.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2009 11:01:08 AM
Body: What is worse about the now-infamous Watchmen sex scene (watch it here), the distracting soundtrack or the explosive metaphor at the climax? Even if intended to be funny, and regardless of its (more-subtle) appearance in the graphic novel, the fire blast as stand-in for ejaculation is so cliché that it has no place in a story that means to shatter conventions. Plus, sexual metaphor is a little unnecessary in a film that already has a lot of nudity and a distinct moment of impotence. Especially at the end of a scene that is quite gratuitous compared to the comic’s depiction, that blast is more a symbol of how incorrectly handled Watchmen is than of the orgasms it’s intended to represent. Between that shot in Watchmen and our recent list of sexiest non-sex scenes, we have had bad sex-scene clichés on the brain. So, to relieve us from the tension of list-making blue balls, we’ve decided to release this short burst of a list for discussion. Think we should have included saxophone-heavy soundtracks or any other cliché you’ve come to notice, let us know in the comments. 1. The Explosively Metaphoric Climax Watchmen may have the worst example of this cliché, and that’s saying a lot considering the practice of using everything from fireworks to popping soda/champagne bottles to rockets firing to trees spontaneously combusting to nuclear explosions during kissing and sex scene climaxes has been extremely popular throughout film history. Explosive metaphors sometimes work well in classic films that required veiled innuendo (see To Catch a Thief, The Girl Can’t Help It and Cool Hand Luke for some good examples), but anything that’s come after the terrific montage in The Naked Gun 2 ½ is overkill. 2. The L-Shaped Blanket This is a basic movie cliché that people have complained about for years and doesn’t necessarily have to be tied to a sex scene. It’s the typical appearance of an “L-shaped” sheet or blanket that exposes a male character’s chest while covering the female’s (or “LL-shaped” sheet, in the case of Bob & Carol & Ted & Alice). When it appears after a sex scene, though, it’s even more frustrating, particularly if that scene has already featured nudity. The problem with continuing to show the woman’s breasts may have to do with the tradition of non-sexual representation of the female body, unbroken and casual, in movies. Or, it could just be the difficulty of not being able to use a body double in such wide-shot situations. Either way, it’s frustratingly unrealistic. Then again, so were separate beds for married characters; there are just some things we have to put up with from censored and modest Hollywood movies. 3. “Actress Inferior Position” This is the first entry in Roger Ebert’s Little Movie Glossary: A Compendium of Movie Cliches and was submitted by Ebert’s late friend and review-show partner Gene Siskel, who wrote, “In movie sex scenes, which are usually directed by men, the POV at the moment of climax is almost always the man’s, so that we see the actress, not the actor, losing control.” Well, this may be true enough that it encourages boys to grow up thinking sex is completely about conquering a woman by making her orgasm, but after seeing Patrick Wilson’s “O” face in that Watchmen scene, audiences might rather keep this cliché as standard. Of course, Malin Ackerman’s loss of control isn’t exactly enjoyable either. 4. Food Mixed With Sex Food can be quite sexy, and there are certainly a lot of decent films that explore the connection between eating and making love (Houston Press has a great list of ten such films). But some films have taken the concept too far and now it’s become a bad sex-scene convention. First, Hot Shots! lampooned the famous ice-and-food foreplay scene from 9 ½ Weeks, officially labeling the food/sex combination a cliché. Then, 12 years later, Young Adam conclusively killed the whole idea with its disgusting custard-covered lovemaking scene. 5. Cigarettes as Phallic Symbols Back during the Hays Code days, cigarettes were clever devices used as metaphoric hints at sexual activity. When characters shared cigarettes, such as in Now, Voyager, To Have and Have Not and Rope, it implied a sex act. When Marlene Dietrich held a cigarette in any of her films, the prop was a phallic symbol implicit in projecting an image of bisexuality. And ironically, in a film as explicit as 9 ½ Weeks, a cigarette may have been a required stand-in for Mickey Rourke’s penis during a strip-tease scene, because male nudity continues to be a taboo while the naked female body is common on the big screen. However, not all cigarettes in films represent sex and/or phallus, but due to the heavy employment of the prop in such a way for so many years, it’s hard for moviegoers (particularly those of us with film studies degrees) to think of them as anything but sex symbols. Fortunately, Hollywood is being forced to censor out cigarettes from their movies (getting slack for even featuring a pack of cigarettes), and meanwhile they continue to break sexual taboos at the same time. So this cliché is likely to go way very soon. Originally posted on:SpoutBlog
]]>Fri, 13 Mar 2009 15:01:08 GMTSpoutBlogSpoutBlog on spout.com3/13/2009 11:01:08 AMWhat is worse about the now-infamous Watchmen sex scene (watch it here), the distracting soundtrack or the explosive metaphor at the climax? Even if intended to be funny, and regardless of its (more-subtle) appearance in the graphic novel, the fire blast as stand-in for ejaculation is so cliché that it has no place in a story that means to shatter conventions. Plus, sexual metaphor is a little unnecessary in a film that already has a lot of nudity and a distinct moment of impotence. Especially at the end of a scene that is quite gratuitous compared to the comic’s depiction, that blast is more a symbol of how incorrectly handled Watchmen is than of the orgasms it’s intended to represent. Between that shot in Watchmen and our recent list of sexiest non-sex scenes, we have had bad sex-scene clichés on the brain. So, to relieve us from the tension of list-making blue balls, we’ve decided to release this short burst of a list for discussion. Think we should have included saxophone-heavy soundtracks or any other cliché you’ve come to notice, let us know in the comments. 1. The Explosively Metaphoric Climax Watchmen may have the worst example of this cliché, and that’s saying a lot considering the practice of using everything from fireworks to popping soda/champagne bottles to rockets firing to trees spontaneously combusting to nuclear explosions during kissing and sex scene climaxes has been extremely popular throughout film history. Explosive metaphors sometimes work well in classic films that required veiled innuendo (see To Catch a Thief, The Girl Can’t Help It and Cool Hand Luke for some good examples), but anything that’s come after the terrific montage in The Naked Gun 2 ½ is overkill. 2. The L-Shaped Blanket This is a basic movie cliché that people have complained about for years and doesn’t necessarily have to be tied to a sex scene. It’s the typical appearance of an “L-shaped” sheet or blanket that exposes a male character’s chest while covering the female’s (or “LL-shaped” sheet, in the case of Bob & Carol & Ted & Alice). When it appears after a sex scene, though, it’s even more frustrating, particularly if that scene has already featured nudity. The problem with continuing to show the woman’s breasts may have to do with the tradition of non-sexual representation of the female body, unbroken and casual, in movies. Or, it could just be the difficulty of not being able to use a body double in such wide-shot situations. Either way, it’s frustratingly unrealistic. Then again, so were separate beds for married characters; there are just some things we have to put up with from censored and modest Hollywood movies. 3. “Actress Inferior Position” This is the first entry in Roger Ebert’s Little Movie Glossary: A Compendium of Movie Cliches and was submitted by Ebert’s late friend and review-show partner Gene Siskel, who wrote, “In movie sex scenes, which are usually directed by men, the POV at the moment of climax is almost always the man’s, so that we see the actress, not the actor, losing control.” Well, this may be true enough that it encourages boys to grow up thinking sex is completely about conquering a woman by making her orgasm, but after seeing Patrick Wilson’s “O” face in that Watchmen scene, audiences might rather keep this cliché as standard. Of course, Malin Ackerman’s loss of control isn’t exactly enjoyable either. 4. Food Mixed With Sex Food can be quite sexy, and there are certainly a lot of decent films that explore the connection between eating and making love (Houston Press has a great list of ten such films). But some films have taken the concept too far and now it’s become a bad sex-scene convention. First, Hot Shots! lampooned the famous ice-and-food foreplay scene from 9 ½ Weeks, officially labeling the food/sex combination a cliché. Then, 12 years later, Young Adam conclusively killed the whole idea with its disgusting custard-covered lovemaking scene. 5. Cigarettes as Phallic Symbols Back during the Hays Code days, cigarettes were clever devices used as metaphoric hints at sexual activity. When characters shared cigarettes, such as in Now, Voyager, To Have and Have Not and Rope, it implied a sex act. When Marlene Dietrich held a cigarette in any of her films, the prop was a phallic symbol implicit in projecting an image of bisexuality. And ironically, in a film as explicit as 9 ½ Weeks, a cigarette may have been a required stand-in for Mickey Rourke’s penis during a strip-tease scene, because male nudity continues to be a taboo while the naked female body is common on the big screen. However, not all cigarettes in films represent sex and/or phallus, but due to the heavy employment of the prop in such a way for so many years, it’s hard for moviegoers (particularly those of us with film studies degrees) to think of them as anything but sex symbols. Fortunately, Hollywood is being forced to censor out cigarettes from their movies (getting slack for even featuring a pack of cigarettes), and meanwhile they continue to break sexual taboos at the same time. So this cliché is likely to go way very soon. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/28/35661.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/28/2008 3:01:55 PM
Body: Paul Newman passed away on Friday after a long battle with cancer, and he will be sorely missed. As early as May he had been planning to direct a stage version of John Steinbeck’s Of Mice and Men, but he had to cancel due to his health. He’s a winner of every major award an actor can pull down, from Oscar to Emmy, and he appeared in over 50 feature films. Besides his work in film, television and on the stage, he also served in World War II, and has been a longtime humanitarian. Paul Newman retired from acting in May of 2007, but he left behind a large body of work that should be in your Netflix queue or on your shelf at home. Here’s a look at some of his best films, and why you should be watching them in tribute. Butch Cassidy and the Sundance Kid Arguably the film Newman is the most famous for, this was the first pairing of Redford and Newman. Although originally it was to be Steve McQueen and Paul Newman, and then a handful of other stars, including Jack Lemmon, until Redford finally got the part. However, Newman was originally supposed to play Sundance, and Redford to play Butch. What a different movie that would have been. A great followup to this pairing is The Sting, but avoid the sequel that doesn’t have Newman or Redford in it. The Hustler The Hustler stands to this day as a cinematic masterpiece, and Newman’s performance in it stands among his very best. Singer/actor Bobby Darrin was supposed to star in this film, but Newman made the role his own and made “Fast Eddie” Felton into a film legend. The far inferior 1986 sequel The Color of Money with Tom Cruise doesn’t hold a candle to the original, but Newman won his Best Actor Oscar for his reprisal of the Felton role, but most critics agree this was a nod to his role in The Hustler. Hud This movie is an adaptation of Larry McMurtry’s early novella Horseman, Pass By, and saw Newman nominated for Best Actor in his portrayal of the “man with the barbed-wire soul.” It actually won for Best Supporting Actor, Actress, and Cinematography, but it is Newman’s selfishly hard-hearted modern day cowboy that holds this movie together and makes it worth watching more than once. Cool Hand Luke Newman’s portrayal of a prisoner who just won’t submit to the system and the will of the warden will be remembered forever, and it’ll come to mind every time you eat a hard-boiled egg. It’s famous for the line “What we’ve got here is a failure to communicate,” and some of the best scenes ever of Newman grinning from ear to ear. If you’re a nonconformist, like Newman often was in his acting choice, you’ll love this movie. The Hudsucker Proxy This is a dark horse among the Coen Brothers films, but it’s my favorite of theirs right after Miller’s Crossing. Newman’s portrayal of a cigar-chomping business executive who growls out all of his lines is classic, although this film only grossed $3 million dollars at the box office, and was the Coens biggest flop. Still, it is well worth watching, if just for Newman. He literally chews up the scenery. Road to Perdition This was Paul Newman’s final feature film, although he did go on to star in HBO’s Empire Falls and to lend his voice to the Disney/Pixar hit Cars. Newman plays Irish mob boss John Rooney to Tom Hanks’ Michael Sullivan, and reportedly had author Frank McCourt send him tapes of himself speaking so he could get the voice right. It’s a tragic role for Newman, and a fitting swan song to his entire career. They definitely don’t make ‘em like him anymore. Originally posted on:SpoutBlog
]]>Sun, 28 Sep 2008 19:01:55 GMTSpoutBlogSpoutBlog on spout.com9/28/2008 3:01:55 PM Paul Newman passed away on Friday after a long battle with cancer, and he will be sorely missed. As early as May he had been planning to direct a stage version of John Steinbeck’s Of Mice and Men, but he had to cancel due to his health. He’s a winner of every major award an actor can pull down, from Oscar to Emmy, and he appeared in over 50 feature films. Besides his work in film, television and on the stage, he also served in World War II, and has been a longtime humanitarian. Paul Newman retired from acting in May of 2007, but he left behind a large body of work that should be in your Netflix queue or on your shelf at home. Here’s a look at some of his best films, and why you should be watching them in tribute. Butch Cassidy and the Sundance Kid Arguably the film Newman is the most famous for, this was the first pairing of Redford and Newman. Although originally it was to be Steve McQueen and Paul Newman, and then a handful of other stars, including Jack Lemmon, until Redford finally got the part. However, Newman was originally supposed to play Sundance, and Redford to play Butch. What a different movie that would have been. A great followup to this pairing is The Sting, but avoid the sequel that doesn’t have Newman or Redford in it. The Hustler The Hustler stands to this day as a cinematic masterpiece, and Newman’s performance in it stands among his very best. Singer/actor Bobby Darrin was supposed to star in this film, but Newman made the role his own and made “Fast Eddie” Felton into a film legend. The far inferior 1986 sequel The Color of Money with Tom Cruise doesn’t hold a candle to the original, but Newman won his Best Actor Oscar for his reprisal of the Felton role, but most critics agree this was a nod to his role in The Hustler. Hud This movie is an adaptation of Larry McMurtry’s early novella Horseman, Pass By, and saw Newman nominated for Best Actor in his portrayal of the “man with the barbed-wire soul.” It actually won for Best Supporting Actor, Actress, and Cinematography, but it is Newman’s selfishly hard-hearted modern day cowboy that holds this movie together and makes it worth watching more than once. Cool Hand Luke Newman’s portrayal of a prisoner who just won’t submit to the system and the will of the warden will be remembered forever, and it’ll come to mind every time you eat a hard-boiled egg. It’s famous for the line “What we’ve got here is a failure to communicate,” and some of the best scenes ever of Newman grinning from ear to ear. If you’re a nonconformist, like Newman often was in his acting choice, you’ll love this movie. The Hudsucker Proxy This is a dark horse among the Coen Brothers films, but it’s my favorite of theirs right after Miller’s Crossing. Newman’s portrayal of a cigar-chomping business executive who growls out all of his lines is classic, although this film only grossed $3 million dollars at the box office, and was the Coens biggest flop. Still, it is well worth watching, if just for Newman. He literally chews up the scenery. Road to Perdition This was Paul Newman’s final feature film, although he did go on to star in HBO’s Empire Falls and to lend his voice to the Disney/Pixar hit Cars. Newman plays Irish mob boss John Rooney to Tom Hanks’ Michael Sullivan, and reportedly had author Frank McCourt send him tapes of himself speaking so he could get the voice right. It’s a tragic role for Newman, and a fitting swan song to his entire career. They definitely don’t make ‘em like him anymore. Originally posted on:SpoutBlog http://www.spout.com/blogs/captainryannn/archive/2008/8/8/33738.aspx Post By: CaptainRyannn
Post To: CaptainRyannn Blog
Post Date: 8/8/2008 5:01:23 AM
Body: Since January 1st, 2008, I've been keeping track of all the films I've watched. Because I don't feel like taking the time to highlight each movie up until this point, I will start at the previous week, Week 29 and continue from now on. 328. The Dark Knight (2008) -My second time seeing it. Such a great movie. Although not good enough to be considered 'best film of all time'. 329. Teeth (2007) -The storyline attracted me to it. Within the first 20 minutes I wanted it to be done. I hated this thing so much. 330. Heima (2007) -Such a beautiful documentary for such an amazing band; Sigur Ros. Check them out if you haven't yet. 331. La Haine / Hate (1995) -One of the best French films I've seen. If there's one thing I'll remember about this movie years from now, it'll be the ending and how shocked I was after it was all said and done. 332. À ma soeur! / Fat Girl (2001) -There was something sad in the way that the relationship between Anais and her older sister works out. I can't quite place my finger on it. The whole mood of the story is it's strongest part. Even a week after watching it, it still lingers with me. 333. C.R.A.Z.Y. (2005) -I had heard much about this before but now finally got around to watching it. I enjoyed this quite a bit. It deals with real people and real family issues. 334. Me and You and Everyone We Know (2005) - When I first saw this when it came out, I really liked it. After viewing it for a second time, I can't remember why. It's filled with unrealistic dialouge and characters I didn't care about. 335. À bout de souffle / Breathless (1960) -What had been hailed to be the 'crown jewel' of the French New Wave was also the last thing I saw before I feel asleep on Thursday. I think I'm going to have to give this another try. 336. Son of Rambow (2007) -After the rave reviews and catchy trailer, I had been looking forward to this. But after finally viewing it, I was left unfulfilled and wanting something more. 337. Phone Booth (2003) -Are there plot holes? Sure. Is the story likely? Nah. I mainly watched this for mere entertainment and nothing more. 338. Dazed and Confused (1993) -Immediately reminded me of American Graffiti except this took place in the 70's. I always fall for the movies that focus on how familar characters interact with one another. Although American Graffiti played this out much better, I thought this was pretty alright. 339. Batoru rowaiaru / Battle Royale (2001) -Although the dialouge seemed kind of cheesy, I can look past that because this was one hell of a ride. A group of 9th. graders put on an island and ordered to kill each other. Man, if only America had the balls to put something like that out. 340. Dazed and Confused (1993) -Yes, I watched it again. 341. Cool Hand Luke (1960) -My dad told me I would like this film. I did more than like it. Although many of us have never worked on a chain gang, the theme and spirit that this movie has is something that we can all relate to. 342. 21 (2008) -The only reason I watched this is so I could have an opinion about it when I hear kids talking about it in the hallways. I thought it was decent. Although it had many cliches, it was a little better than I expected it to be. 343. Vanishing Point (1971) -One of the first movies from the 70's that I fell in love with. Probably one of the best road chase movies out there, it's easy to tell why Quentin Tarantino decided to use it as his inspiration for Death Proof. 344. Casablanca (1942) -Classic, classic, classic. What else can I say? 345. The Breed (2006) -Such a horrible movie. Don't ever watch it.
]]>Fri, 08 Aug 2008 09:01:23 GMTCaptainRyannnCaptainRyannn Blog8/8/2008 5:01:23 AMSince January 1st, 2008, I've been keeping track of all the films I've watched. Because I don't feel like taking the time to highlight each movie up until this point, I will start at the previous week, Week 29 and continue from now on. 328. The Dark Knight (2008) -My second time seeing it. Such a great movie. Although not good enough to be considered 'best film of all time'. 329. Teeth (2007) -The storyline attracted me to it. Within the first 20 minutes I wanted it to be done. I hated this thing so much. 330. Heima (2007) -Such a beautiful documentary for such an amazing band; Sigur Ros. Check them out if you haven't yet. 331. La Haine / Hate (1995) -One of the best French films I've seen. If there's one thing I'll remember about this movie years from now, it'll be the ending and how shocked I was after it was all said and done. 332. &Agrave; ma soeur! / Fat Girl (2001) -There was something sad in the way that the relationship between Anais and her older sister works out. I can't quite place my finger on it. The whole mood of the story is it's strongest part. Even a week after watching it, it still lingers with me. 333. C.R.A.Z.Y. (2005) -I had heard much about this before but now finally got around to watching it. I enjoyed this quite a bit. It deals with real people and real family issues. 334. Me and You and Everyone We Know (2005) - When I first saw this when it came out, I really liked it. After viewing it for a second time, I can't remember why. It's filled with unrealistic dialouge and characters I didn't care about. 335. &Agrave; bout de souffle / Breathless (1960) -What had been hailed to be the 'crown jewel' of the French New Wave was also the last thing I saw before I feel asleep on Thursday. I think I'm going to have to give this another try. 336. Son of Rambow (2007) -After the rave reviews and catchy trailer, I had been looking forward to this. But after finally viewing it, I was left unfulfilled and wanting something more. 337. Phone Booth (2003) -Are there plot holes? Sure. Is the story likely? Nah. I mainly watched this for mere entertainment and nothing more. 338. Dazed and Confused (1993) -Immediately reminded me of American Graffiti except this took place in the 70's. I always fall for the movies that focus on how familar characters interact with one another. Although American Graffiti played this out much better, I thought this was pretty alright. 339. Batoru rowaiaru / Battle Royale (2001) -Although the dialouge seemed kind of cheesy, I can look past that because this was one hell of a ride. A group of 9th. graders put on an island and ordered to kill each other. Man, if only America had the balls to put something like that out. 340. Dazed and Confused (1993) -Yes, I watched it again. 341. Cool Hand Luke (1960) -My dad told me I would like this film. I did more than like it. Although many of us have never worked on a chain gang, the theme and spirit that this movie has is something that we can all relate to. 342. 21 (2008) -The only reason I watched this is so I could have an opinion about it when I hear kids talking about it in the hallways. I thought it was decent. Although it had many cliches, it was a little better than I expected it to be. 343. Vanishing Point (1971) -One of the first movies from the 70's that I fell in love with. Probably one of the best road chase movies out there, it's easy to tell why Quentin Tarantino decided to use it as his inspiration for Death Proof. 344. Casablanca (1942) -Classic, classic, classic. What else can I say? 345. The Breed (2006) -Such a horrible movie. Don't ever watch it. http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_July_29_Locked_Up/625/33154/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 7/27/2008 11:21:05 PM
Body: I got this idea from watching The 400 Blows this weekend. It only took me about 5 minutes to come up with a pretty long list of films that have to do with being incarcerated in some sense. Some films use this setting as the backdrop of some grave injustice such as false accusation such as Jim Sheridan’s fantastic film, In The Name Of The Father. Sometimes the jail cell is used in comedies like Jim Jarmusch’s Down By Law. Other times we just deal with the emotional and mental drama associated with dealing with your loss of personal freedom such as in American History X and The 25th Hour. And I haven’t even mentioned escape films, like The Shawshank Redemption and Brute Force which is somewhat of a sub-genre in itself. So, with the plethora of films we’ve seen dealing with being locked up in mind, let’s hear about which are some of your favorites. More specifically, what is your favorite scene, shot inside a jail cell or detention center of some sort? For me, there are two scenes that have touched me for drastically different reasons. The first is the triumphant moment in which Luke (Paul Newman) in Cool Hand Luke chokes down his 50th egg. You really can’t help but to rejoice and laugh at the same time with this one. The second one for me is one of the most unforgettable scenes of all time. The moment that Giuseppe (Pete Postelthwaite) dies in In The Name Of The Father leads into a great shot. All of the inmates light pieces of paper and throw them out of their cell windows yelling, “Giuseppe’s dead!” The prison walls look as though they are crying tears of flames. Well, that’s what I’ve got, let’s hear it. Remember, I also want to know about some of your favorite specific scenes as well. Emery
]]>Mon, 28 Jul 2008 03:21:05 GMTleeroy711Weekly Theme7/27/2008 11:21:05 PMI got this idea from watching The 400 Blows this weekend. It only took me about 5 minutes to come up with a pretty long list of films that have to do with being incarcerated in some sense. Some films use this setting as the backdrop of some grave injustice such as false accusation such as Jim Sheridan&rsquo;s fantastic film, In The Name Of The Father. Sometimes the jail cell is used in comedies like Jim Jarmusch&rsquo;s Down By Law. Other times we just deal with the emotional and mental drama associated with dealing with your loss of personal freedom such as in American History X and The 25th Hour. And I haven&rsquo;t even mentioned escape films, like The Shawshank Redemption and Brute Force which is somewhat of a sub-genre in itself. So, with the plethora of films we&rsquo;ve seen dealing with being locked up in mind, let&rsquo;s hear about which are some of your favorites. More specifically, what is your favorite scene, shot inside a jail cell or detention center of some sort? For me, there are two scenes that have touched me for drastically different reasons. The first is the triumphant moment in which Luke (Paul Newman) in Cool Hand Luke chokes down his 50th egg. You really can&rsquo;t help but to rejoice and laugh at the same time with this one. The second one for me is one of the most unforgettable scenes of all time. The moment that Giuseppe (Pete Postelthwaite) dies in In The Name Of The Father leads into a great shot. All of the inmates light pieces of paper and throw them out of their cell windows yelling, &ldquo;Giuseppe&rsquo;s dead!&rdquo; The prison walls look as though they are crying tears of flames. Well, that&rsquo;s what I&rsquo;ve got, let&rsquo;s hear it. Remember, I also want to know about some of your favorite specific scenes as well. Emery http://www.spout.com/groups/Introduce_Yourself/Re_Introduce_Yourself/291/26408/1/ShowPost.aspx Post By: seely
Post To: Introduce Yourself
Post Date: 3/19/2008 6:23:54 PM
Body: Hi everyone...I confess I've known about spout.com and been a member for some time, but have not done anything outside of looked up movie reviews and rated some films I've seen. I figure its time to start interacting a bit.I'm 25, live down the street from the spout.com HQ, and am a Communication Arts major which by default makes me a film critic and enthusiast. I love movies from nearly all genres. One of my favorite all-time genres though has to be the Western, though I do love some of the classics (re: Cool Hand Luke) and a lot of the modern "indie" films. The last film I saw twice in the theatres was "3:10 to Yuma", which I thought was nothing short of amazing.Anyways, thought I'd say hi and start contributing a bit. Cheers!-seely [quote user="Risselada"] Hello everyone!Welcome to the Introduce Yourself group.I thought it would be nice to get to know a few more personal details about some of the people we all interact with on Spout. So here is where you can share more about yourself, if you feel so inclined of course.Well I'll start out. My name is Brian, but many people call me "Rizzo". I grew up around Grand Rapids, MI where Spout is actually located. Actually I am from Jenison, but then went to college at Calvin College in Grand Rapids. I actually didn't hear about Spout until after I had moved to Chicago after college, which is where I still am at.Like probably the majority of the Grand Rapids population, I am from Dutch descent. Although Risselada doesn't sound like a Dutch name, it is. I grew up with a great family, wonderful parents, and two younger brothers.Growing up I didn't do anything too unusual. Watched at lot of TV, played a lot of video games. Never have been very big into sports though. Don't really follow professional sports or anything like that. I did play soccer every year until 8th grade though.In high school I played Trombone and was all kinds of school bands like marching band, orchestra, jazz band, playing for musicals. I sang in a church choir too. And eventually I learned the bass guitar which I played with different groups here and there. I was also a big Mac geek. And occasionally a trouble maker, usually more subversive than malicious.In college I first intended to study film, but then became extremely interested in theatre as well. We had a fantastic theatre program at our college in my opinion, and luckily enough an amazing group of classmates with a lot of talent and ambition. Theatre became my major, although I still took many film classes. I made several videos while in college as well and had a great time with that.Throughout my time in college I became infatuated with improv, as in theatrical improv. I figured out pretty early on in college that I wanted to move to Chicago eventually because this is really the birthplace of current mainstream improv as performance and is still the epicenter.It's hard for me to remember when I first became extremely interested in film. It may be when I finally turned seventeen and was able to start renting any kind of movies I wanted to. The thing about film as an art form is that it can encompass almost any other kind of artwork out there. It seems to have the most potential and possibilities. It's quicker and easier to experience than a book, but can be just as absorbing. Unlike a play, it will essentially be the same every time you see it. This makes plays more fresh, but allows movies to be discussed by people from all different times and places as long as they have seen the same movie at some point they have usually seen the same thing (which of course is what pisses me off when movies aren't presented in a consistent format).Currently I'm still doing improv. My main team is called Very Real Cops (just ask me if you are ever going to be in Chicago if we happen to be doing a show). I'm working for an insurance company in the Loop which is working out fairly well for me. I've been involved in a good church community here. Trying to watch a lot of good movies of course. And always searching out new good music to go out and see or fill up my ipod with. And in a week I'm moving out of my current apartment and parting ways with my roommates. I'll be moving into my own tiny little studio apartment, but am pretty excited about it.Well that's quite a bit about me. Hopefully this doesn't all sound too self-indulgent, but my purpose of this group is really to hear more about all of you. So please let us all know![/quote]
]]>Wed, 19 Mar 2008 22:23:54 GMTseelyIntroduce Yourself3/19/2008 6:23:54 PMHi everyone...I confess I&#39;ve known about spout.com and been a member for some time, but have not done anything outside of looked up movie reviews and rated some films I&#39;ve seen. I figure its time to start interacting a bit.I&#39;m 25, live down the street from the spout.com HQ, and am a Communication Arts major which by default makes me a film critic and enthusiast. I love movies from nearly all genres. One of my favorite all-time genres though has to be the Western, though I do love some of the classics (re: Cool Hand Luke) and a lot of the modern "indie" films. The last film I saw twice in the theatres was "3:10 to Yuma", which I thought was nothing short of amazing.Anyways, thought I&#39;d say hi and start contributing a bit. Cheers!-seely [quote user="Risselada"] Hello everyone!Welcome to the Introduce Yourself group.I thought it would be nice to get to know a few more personal details about some of the people we all interact with on Spout. So here is where you can share more about yourself, if you feel so inclined of course.Well I&#39;ll start out. My name is Brian, but many people call me "Rizzo". I grew up around Grand Rapids, MI where Spout is actually located. Actually I am from Jenison, but then went to college at Calvin College in Grand Rapids. I actually didn&#39;t hear about Spout until after I had moved to Chicago after college, which is where I still am at.Like probably the majority of the Grand Rapids population, I am from Dutch descent. Although Risselada doesn&#39;t sound like a Dutch name, it is. I grew up with a great family, wonderful parents, and two younger brothers.Growing up I didn&#39;t do anything too unusual. Watched at lot of TV, played a lot of video games. Never have been very big into sports though. Don&#39;t really follow professional sports or anything like that. I did play soccer every year until 8th grade though.In high school I played Trombone and was all kinds of school bands like marching band, orchestra, jazz band, playing for musicals. I sang in a church choir too. And eventually I learned the bass guitar which I played with different groups here and there. I was also a big Mac geek. And occasionally a trouble maker, usually more subversive than malicious.In college I first intended to study film, but then became extremely interested in theatre as well. We had a fantastic theatre program at our college in my opinion, and luckily enough an amazing group of classmates with a lot of talent and ambition. Theatre became my major, although I still took many film classes. I made several videos while in college as well and had a great time with that.Throughout my time in college I became infatuated with improv, as in theatrical improv. I figured out pretty early on in college that I wanted to move to Chicago eventually because this is really the birthplace of current mainstream improv as performance and is still the epicenter.It&#39;s hard for me to remember when I first became extremely interested in film. It may be when I finally turned seventeen and was able to start renting any kind of movies I wanted to. The thing about film as an art form is that it can encompass almost any other kind of artwork out there. It seems to have the most potential and possibilities. It&#39;s quicker and easier to experience than a book, but can be just as absorbing. Unlike a play, it will essentially be the same every time you see it. This makes plays more fresh, but allows movies to be discussed by people from all different times and places as long as they have seen the same movie at some point they have usually seen the same thing (which of course is what pisses me off when movies aren&#39;t presented in a consistent format).Currently I&#39;m still doing improv. My main team is called Very Real Cops (just ask me if you are ever going to be in Chicago if we happen to be doing a show). I&#39;m working for an insurance company in the Loop which is working out fairly well for me. I&#39;ve been involved in a good church community here. Trying to watch a lot of good movies of course. And always searching out new good music to go out and see or fill up my ipod with. And in a week I&#39;m moving out of my current apartment and parting ways with my roommates. I&#39;ll be moving into my own tiny little studio apartment, but am pretty excited about it.Well that&#39;s quite a bit about me. Hopefully this doesn&#39;t all sound too self-indulgent, but my purpose of this group is really to hear more about all of you. So please let us all know![/quote] http://www.spout.com/blogs/honeysuckle/archive/2007/4/22/7409.aspx Post By: honeysuckle
Post To: honeysuckle Blog
Post Date: 4/22/2007 12:17:00 PM
Body: I’m sure some of you have noticed the Christ symbolism in Cool Hand Luke. The most blatant is the visual imagery in the famous “Nobody can eat fifty eggs” scene. At the conclusion of the scene, Luke’s disciples and detractors abandon him and the camera records him from above. Lying on the table, legs crossed at the ankles, arms splayed away from his body, head turned to the side, he looks very much like the image of Christ portrayed in some paintings. Add to that the fact that the egg is a symbol of life, and the scene really makes an impact. Luke becomes a savior and a martyr. The other inmates are his disciples and, after his death, George Kennedy becomes his apostle, spreading the “word” in the oral tradition. Now, did the makers of this movie do this on purpose or am I reading too much into it? I count this movie in my top five. It’s funny and sad and devastating. And, of course, the source for one of the greatest movie quotes of all time: “What we've got here is a failure to communicate.”
]]>Sun, 22 Apr 2007 16:17:00 GMThoneysucklehoneysuckle Blog4/22/2007 12:17:00 PMI&rsquo;m sure some of you have noticed the Christ symbolism in Cool Hand Luke. The most blatant is the visual imagery in the famous &ldquo;Nobody can eat fifty eggs&rdquo; scene. At the conclusion of the scene, Luke&rsquo;s disciples and detractors abandon him and the camera records him from above. Lying on the table, legs crossed at the ankles, arms splayed away from his body, head turned to the side, he looks very much like the image of Christ portrayed in some paintings. Add to that the fact that the egg is a symbol of life, and the scene really makes an impact. Luke becomes a savior and a martyr. The other inmates are his disciples and, after his death, George Kennedy becomes his apostle, spreading the &ldquo;word&rdquo; in the oral tradition. Now, did the makers of this movie do this on purpose or am I reading too much into it? I count this movie in my top five. It&rsquo;s funny and sad and devastating. And, of course, the source for one of the greatest movie quotes of all time: &ldquo;What we&#39;ve got here is a failure to communicate.&rdquo; http://www.spout.com/blogs/shooter/archive/2006/3/19/504.aspx Post By: shooter
Post To: shooter Blog
Post Date: 3/19/2006 4:52:00 AM
Body: Easily the funniest moment of this poignant film for me is when Kennedy's character rents out the picture of Newman with the two women.
]]>Sun, 19 Mar 2006 08:52:00 GMTshootershooter Blog3/19/2006 4:52:00 AMEasily the funniest moment of this poignant film for me is when Kennedy's character rents out the picture of Newman with the two women. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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