list http://www.spout.com/ Recent community activity around Dick Tracy 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/Dick_Tracy/9035/default.aspx Title: Dick Tracy
Year: 1990
Director: Warren Beatty
Plot: Warren Beatty directed and starred in this big-budget action comedy featuring Chester Gould's square-jawed, two-dimensional comic strip detective. Ruthless gangster Big Boy Caprice (Al Pacino) touches off a gang war against underworld boss Lips Manlis (Paul Sorvino), with Big Boy and his minions rubbing out enough of Manlis's goons (along with Manlis himself) to take over his nightclub, and a healthy percentage of the city's criminal activities in the process. Caprice also gains proprietary rights to Manlis's girlfriend, nightclub chanteuse Breathless Mahoney (Madonna). Big Boy's next move to is unite the rest of the city's crooks under his command; this wave of corruption attracts the attention of lawman Dick Tracy, who is determined to smash Caprice's criminal network once and for all. As Tracy plots to put Big Boy behind bars where he belongs, Breathless uses her considerable charms in an attempt to sway Tracy from the path of righteousness; this causes no small amount of anxiety for Tracy's long-suffering female companion, Tess Trueheart (Glenne Headly), and the street-smart kid (Charlie Korsmo) they've been keeping an eye on. The various bad guys, heavily made up to resemble Gould's cartoon characters (though Beatty is not made up to resemble Tracy), include Dustin Hoffman, James Caan, R.G. Armstrong, and William Forsythe. ~ Mark Deming, All Movie Guide
Times Tagged: 18
Number of Lists: 31
Number of blog posts: 6
Number of discussion threads: 5
SpoutRating: 2
]]>Wed, 29 Jul 2009 01:57:28 GMTDick Tracy1990Warren Beatty<a href="/players/P____81105/default.aspx" style='text-decoration:underline'>Warren Beatty</a> directed and starred in this big-budget action comedy featuring Chester Gould's square-jawed, two-dimensional comic strip detective. Ruthless gangster Big Boy Caprice (<a href="/players/P____54596/default.aspx" style='text-decoration:underline'>Al Pacino</a>) touches off a gang war against underworld boss Lips Manlis (<a href="/players/P____66963/default.aspx" style='text-decoration:underline'>Paul Sorvino</a>), with Big Boy and his minions rubbing out enough of Manlis's goons (along with Manlis himself) to take over his nightclub, and a healthy percentage of the city's criminal activities in the process. Caprice also gains proprietary rights to Manlis's girlfriend, nightclub chanteuse Breathless Mahoney (<a href="/players/P___100711/default.aspx" style='text-decoration:underline'>Madonna</a>). Big Boy's next move to is unite the rest of the city's crooks under his command; this wave of corruption attracts the attention of lawman Dick Tracy, who is determined to smash Caprice's criminal network once and for all. As Tracy plots to put Big Boy behind bars where he belongs, Breathless uses her considerable charms in an attempt to sway Tracy from the path of righteousness; this causes no small amount of anxiety for Tracy's long-suffering female companion, Tess Trueheart (<a href="/players/P____31365/default.aspx" style='text-decoration:underline'>Glenne Headly</a>), and the street-smart kid (<a href="/players/P____39131/default.aspx" style='text-decoration:underline'>Charlie Korsmo</a>) they've been keeping an eye on. The various bad guys, heavily made up to resemble Gould's cartoon characters (though Beatty is not made up to resemble Tracy), include <a href="/players/P____94585/default.aspx" style='text-decoration:underline'>Dustin Hoffman</a>, <a href="/players/P____83766/default.aspx" style='text-decoration:underline'>James Caan</a>, R.G. Armstrong, and <a href="/players/P____24374/default.aspx" style='text-decoration:underline'>William Forsythe</a>. ~ Mark Deming, All Movie Guide18Tag Target (>10)31652http://www.spout.com/ProductImages/t17886x9bcs.jpghttp://www.spout.com/films/Dick_Tracy/9035/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_July_27_Games_of_Chance/625/43299/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/28/2009 9:57:28 PM
Body: We're throwing caution to the wind and hoping for a windfall this week. There's a reason Las Vegas is such a popular destination: the strippers and all you can eat buffets are a distant second to the lure of taking a chance on the endless stream of slot machines, roulette wheels and poker tables where a single stroke of luck can bring you unimaginable riches (or at least pay for a go at the buffet later). I've always loved those smokey gambling dens of iniquity where the liquor is cheap and so are the woman such as those in The Big Sleep, Gilda, and Dick Tracy. The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. Recently I've taken a liking to Texas Hold'em and movies such as Rounders, Ocean's 11, Casino Royale and My Blueberry Nights do the game justice (with losers like Lucky You and All In making a mockery of it). So what other movies are there about gambling / games of chance?
]]>Wed, 29 Jul 2009 01:57:28 GMTmercurialWeekly Theme7/28/2009 9:57:28 PMWe're throwing caution to the wind and hoping for a windfall this week. There's a reason Las Vegas is such a popular destination: the strippers and all you can eat buffets are a distant second to the lure of taking a chance on the endless stream of slot machines, roulette wheels and poker tables where a single stroke of luck can bring you unimaginable riches (or at least pay for a go at the buffet later). I've always loved those smokey gambling dens of iniquity where the liquor is cheap and so are the woman such as those in The Big Sleep, Gilda, and Dick Tracy. The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. Recently I've taken a liking to Texas Hold'em and movies such as Rounders, Ocean's 11, Casino Royale and My Blueberry Nights do the game justice (with losers like Lucky You and All In making a mockery of it). So what other movies are there about gambling / games of chance? http://www.spout.com/blogs/the_mow/archive/2009/7/17/43087.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 7/17/2009 10:22:57 AM
Body: Based on the cult classic comic strip of the same name by Chester Gould, "Dick Tracy" brings the unusual world of one of the greatest fictional police detectives to life. "Tracy" (Warren Beatty) is the best detective on the force. He is well-respected, and the prime target of the city's (unusual looking) criminal element. One of the criminal element is "Alphonse 'Big Boy' Caprice" (Al Pacino), who wants to takeover the criminal underworld and control it with an iron fist. He has his hand in the law by having at least one high ranking official (Dick Van Dyke) in his pocket. His plan goes into motion when he has "Lips Manlis'" henchmen killed in St. Valentine's Day Massacre fashion, but it is witnessed by a street urchin who goes by the name of "The Kid" (Charlie Karsmo) who has no parents. Of course, "Tracy" is put on the case of the massacre and comes across not only "Kid", but the seductive, sultry singer "Breathless Mahoney" (Madonna), who works at "Caprice's" night club. "Mahoney" holds key testimony, but refuses to testify unless "Tracy" admits an attraction to her despite him being seriously involved with "Tess Trueheart" (Glenne Headley) As he hunts down "Caprice" and his henchmen, "Tracy" learns that a person with no face known as "The Blank" also wants "Caprice". However, it appears that "Blank" and "Tracy" are on the same side as whoever this mysterious figure is comes to "Tracy's" more than once. Both times saving the detective's life. "The Blank" is out to destroy "Caprice" and his empire and tries to get "Tracy" off "Caprice's" trail by framing him for murdering "District Attorney Fletcher" (Van Dyke). "The Blank" then tries to frame "Caprice" for kidnapping, a federal offense, by planting a tied-up and blindfolded "Trueheart" in a room in the upstairs area of "Caprice's" club. Now, not only does the yellow jacket-wearing detective have to try to clear his name, but he has to bring in "Caprice", his henchmen and the mysterious "Blank". This is just a fun movie with a somewhat weak script that the cast, the majority of which is no lower than the A- List, somehow makes it work even better than it is with their over the top, memorable performances. The look of this film is spectacular. Obviously inspired by film noir with its spectacular use of shadows and camera angles, with the blend of vibrant colors. This is one reason that I would say you should check it out. Another thing that you can't help but notice is the spectacular make-up. Even though it is quite obvious that many of the cast are wearing prosthetics, it is blended into their own features, including skin tone, expertly. Despite a fair script filled with character development problems by screenwriters Jim Cash and Jack Epps, Jr., the cast, most of which are headliners in their own right, are amazing in their roles. Pacino all but steals every scene he is in, Beatty, who also acts as director and producer, is strong as Tracy, but doesn't wear make-up to look like his character like others in this film. Dustin Hoffman, who looks a lot like the late Richard Mulligan in his make-up if you ask me, does a highly comedic performance as the stool-pigeon, "Mumbles," a character which only "Tracy" can understand. In my opinion, Madonna has the weakest performance, but that could only be because of who else is in the cast as she was in her second major role after becoming a major force in the music industry. At times, she seemed a little stiff in her on-screen performance. Sometimes, like when she is singing on stage, it was necessary for her to just stand there and "Vogue" (which appears on her album that was inspired by this film by the way) due to back in the 1930s, which this film takes place, singers did not have the elaborate choreography Madonna's shows are known for. Another reason she may have been "Vogueing" is for the film noir style of many shots. One performance that is real good is that of Karsmo, who works well with Beatty. In fact, I believe his teaming with Beatty was a lot stronger than Beatty and Madonna. He brought "The Kid" to life and makes you believe that he is a street-wise youngster living on the street. One thing that this movie has a problem with is character development. If you ask me the recurring villains in the comic strip who appear in this film are only introduced, may have a few lines, and helps advance the plot. "Trueheart", and her relationship with "Tracy" is only touched upon and is used as a plot device in the build-up to the film's climax. The only special effects that stand out are make-up effects. One good explosion as well, but nothing much else. Much of the soundtrack, much of which have Madonna on lead vocals (and one song she performs is played multiple times in the movie), is done in the 1930's style. Those who would remember that type of music may enjoy this soundtrack more than those who are younger and expect the music Madonna is known for. Despite the minor flaws, this is just a fun movie to catch on television or even be your third pick if your first pick is unavailable.
]]>Fri, 17 Jul 2009 14:22:57 GMTThe_MOWThe_MOW Blog7/17/2009 10:22:57 AMBased on the cult classic comic strip of the same name by Chester Gould, "Dick Tracy" brings the unusual world of one of the greatest fictional police detectives to life. "Tracy" (Warren Beatty) is the best detective on the force. He is well-respected, and the prime target of the city's (unusual looking) criminal element. One of the criminal element is "Alphonse 'Big Boy' Caprice" (Al Pacino), who wants to takeover the criminal underworld and control it with an iron fist. He has his hand in the law by having at least one high ranking official (Dick Van Dyke) in his pocket. His plan goes into motion when he has "Lips Manlis'" henchmen killed in St. Valentine's Day Massacre fashion, but it is witnessed by a street urchin who goes by the name of "The Kid" (Charlie Karsmo) who has no parents. Of course, "Tracy" is put on the case of the massacre and comes across not only "Kid", but the seductive, sultry singer "Breathless Mahoney" (Madonna), who works at "Caprice's" night club. "Mahoney" holds key testimony, but refuses to testify unless "Tracy" admits an attraction to her despite him being seriously involved with "Tess Trueheart" (Glenne Headley) As he hunts down "Caprice" and his henchmen, "Tracy" learns that a person with no face known as "The Blank" also wants "Caprice". However, it appears that "Blank" and "Tracy" are on the same side as whoever this mysterious figure is comes to "Tracy's" more than once. Both times saving the detective's life. "The Blank" is out to destroy "Caprice" and his empire and tries to get "Tracy" off "Caprice's" trail by framing him for murdering "District Attorney Fletcher" (Van Dyke). "The Blank" then tries to frame "Caprice" for kidnapping, a federal offense, by planting a tied-up and blindfolded "Trueheart" in a room in the upstairs area of "Caprice's" club. Now, not only does the yellow jacket-wearing detective have to try to clear his name, but he has to bring in "Caprice", his henchmen and the mysterious "Blank". This is just a fun movie with a somewhat weak script that the cast, the majority of which is no lower than the A- List, somehow makes it work even better than it is with their over the top, memorable performances. The look of this film is spectacular. Obviously inspired by film noir with its spectacular use of shadows and camera angles, with the blend of vibrant colors. This is one reason that I would say you should check it out. Another thing that you can't help but notice is the spectacular make-up. Even though it is quite obvious that many of the cast are wearing prosthetics, it is blended into their own features, including skin tone, expertly. Despite a fair script filled with character development problems by screenwriters Jim Cash and Jack Epps, Jr., the cast, most of which are headliners in their own right, are amazing in their roles. Pacino all but steals every scene he is in, Beatty, who also acts as director and producer, is strong as Tracy, but doesn't wear make-up to look like his character like others in this film. Dustin Hoffman, who looks a lot like the late Richard Mulligan in his make-up if you ask me, does a highly comedic performance as the stool-pigeon, "Mumbles," a character which only "Tracy" can understand. In my opinion, Madonna has the weakest performance, but that could only be because of who else is in the cast as she was in her second major role after becoming a major force in the music industry. At times, she seemed a little stiff in her on-screen performance. Sometimes, like when she is singing on stage, it was necessary for her to just stand there and "Vogue" (which appears on her album that was inspired by this film by the way) due to back in the 1930s, which this film takes place, singers did not have the elaborate choreography Madonna's shows are known for. Another reason she may have been "Vogueing" is for the film noir style of many shots. One performance that is real good is that of Karsmo, who works well with Beatty. In fact, I believe his teaming with Beatty was a lot stronger than Beatty and Madonna. He brought "The Kid" to life and makes you believe that he is a street-wise youngster living on the street. One thing that this movie has a problem with is character development. If you ask me the recurring villains in the comic strip who appear in this film are only introduced, may have a few lines, and helps advance the plot. "Trueheart", and her relationship with "Tracy" is only touched upon and is used as a plot device in the build-up to the film's climax. The only special effects that stand out are make-up effects. One good explosion as well, but nothing much else. Much of the soundtrack, much of which have Madonna on lead vocals (and one song she performs is played multiple times in the movie), is done in the 1930's style. Those who would remember that type of music may enjoy this soundtrack more than those who are younger and expect the music Madonna is known for. Despite the minor flaws, this is just a fun movie to catch on television or even be your third pick if your first pick is unavailable. http://www.spout.com/blogs/dibot/archive/2009/1/3/39058.aspx Post By: dibot
Post To: dibot Blog
Post Date: 1/3/2009 10:12:08 PM
Body: I'm never going to get caught up on my reviews. But I'm blaming my husband this time. He got me Roku for Christmas! Now there are too many movies at my fingertips!Enemy Mine is a movie I've been curious about for awhile. I remember it playing in the background of my childhood, but I've never actually watched it until now. And it's interesting, but it hasn't aged that well. Dennis Quaid ("The Express") stars as a soldier who crash lands on a planet with an alien with whom he is at war. Though mortal enemies, they begin to form a bond and learn about each other's cultures. The first half is a really good survival/learning tolerance movie. The second half is terribly cheesy and looses it's effectiveness when Louis Gossett Jr. ("The Perfect Game"), playing the alien, is out of the picture.The Day the Earth Stood Still is another remake that doesn't stack up to the original. Keanu Reeves ("The Lake House") plays the alien sent to Earth to decide whether or not we should be distroyed. And he does an okay job of it. He sometimes seems a little too detached. But the reason this movie is only mediocre does not really lie on Keanu's shoulders. It's the story. I know that when doing a remake, you have to make the film your own, but that doesn't mean taking out the heart of the original and putting nothing back in it's place. And if you've got a giant robot, use it right, people! The effects are amazing. Someone took care of Jennifer Connelly ("Reservation Road") unibrow so that didn't drive me crazy like it usually does. And little Jaden Smith ("The Pursuit of Happyness") is just as adorable as his pops. It's not an awful movie, it's just not very good either.I have a thing for evil kid movies, and the original Village of the Damned is a perfect fix. A village in England is affected by a strange phenomenon where all the residents fall asleep for several hours. After they awaken, all the women turn up pregnant. And when the kids are born, they all have blond hair, strange eyes and powers. At first, the film is just interesting, but then it gets tense as the children grow older. It's more intellectual than explosive. A very good watch.I also have a thing for Stephen King adaptations. I know, there's definitely something wrong with me. I caught Riding the Bullet on Sci-Fi one night, and I'm not sure whether I'm happy or sad about this fact. A college kid in the 60s learns his mother is in the hospital and then tries to hitchhike home to see her. Of course, he sees a lot of crazy things and meets the ghost of David Arquette ("Hamlet 2") who forces him to make a terrible choice. The story is good. It is King after all. But the execution is not that great. Director Mick Garris ("Desperation") is just too in-your-face with the camera and the cutting.When I was young, I loved Dick Tracy. And you know what? It's still good. Oh yeah. Director/star Warren Beatty ("Town and Country") has a commitment to the character that really makes the whole thing work. Plus the color and the sets just feel like the cartoon. And Madonna ("Arthur and the Invisibles") is perfect on the soundtrack and as Breathless Mahoney. Sure, it's a little cheesy. But it's also totally fun. And you won't believe all the big stars covered in make-up.
]]>Sun, 04 Jan 2009 03:12:08 GMTdibotdibot Blog1/3/2009 10:12:08 PMI'm never going to get caught up on my reviews. But I'm blaming my husband this time. He got me Roku for Christmas! Now there are too many movies at my fingertips!Enemy Mine is a movie I've been curious about for awhile. I remember it playing in the background of my childhood, but I've never actually watched it until now. And it's interesting, but it hasn't aged that well. Dennis Quaid ("The Express") stars as a soldier who crash lands on a planet with an alien with whom he is at war. Though mortal enemies, they begin to form a bond and learn about each other's cultures. The first half is a really good survival/learning tolerance movie. The second half is terribly cheesy and looses it's effectiveness when Louis Gossett Jr. ("The Perfect Game"), playing the alien, is out of the picture.The Day the Earth Stood Still is another remake that doesn't stack up to the original. Keanu Reeves ("The Lake House") plays the alien sent to Earth to decide whether or not we should be distroyed. And he does an okay job of it. He sometimes seems a little too detached. But the reason this movie is only mediocre does not really lie on Keanu's shoulders. It's the story. I know that when doing a remake, you have to make the film your own, but that doesn't mean taking out the heart of the original and putting nothing back in it's place. And if you've got a giant robot, use it right, people! The effects are amazing. Someone took care of Jennifer Connelly ("Reservation Road") unibrow so that didn't drive me crazy like it usually does. And little Jaden Smith ("The Pursuit of Happyness") is just as adorable as his pops. It's not an awful movie, it's just not very good either.I have a thing for evil kid movies, and the original Village of the Damned is a perfect fix. A village in England is affected by a strange phenomenon where all the residents fall asleep for several hours. After they awaken, all the women turn up pregnant. And when the kids are born, they all have blond hair, strange eyes and powers. At first, the film is just interesting, but then it gets tense as the children grow older. It's more intellectual than explosive. A very good watch.I also have a thing for Stephen King adaptations. I know, there's definitely something wrong with me. I caught Riding the Bullet on Sci-Fi one night, and I'm not sure whether I'm happy or sad about this fact. A college kid in the 60s learns his mother is in the hospital and then tries to hitchhike home to see her. Of course, he sees a lot of crazy things and meets the ghost of David Arquette ("Hamlet 2") who forces him to make a terrible choice. The story is good. It is King after all. But the execution is not that great. Director Mick Garris ("Desperation") is just too in-your-face with the camera and the cutting.When I was young, I loved Dick Tracy. And you know what? It's still good. Oh yeah. Director/star Warren Beatty ("Town and Country") has a commitment to the character that really makes the whole thing work. Plus the color and the sets just feel like the cartoon. And Madonna ("Arthur and the Invisibles") is perfect on the soundtrack and as Breathless Mahoney. Sure, it's a little cheesy. But it's also totally fun. And you won't believe all the big stars covered in make-up. http://www.spout.com/groups/Filmgaming/Re_THURSDAY_Eagle_Eye_Challenge/563/35566/1/ShowPost.aspx Post By: RaeRae84
Post To: Filmgaming
Post Date: 9/26/2008 2:47:31 AM
Body: [quote user="csprague"] Thursday Eagle Eye ChallengeJudge Dredd (2005)(1) staloneDemolition Man (1993)(2) wesley snipesBlade II (2002)(3) ron pearlmanHellboy (2004)(4) john hurt V for Vendetta (2006)(5) hugo weavingLord of the Rings: The Fellowship of the Ring (2001)(6) viggo mortensonA History of Violence (2005)(7) william hurtThe Hulk (2003)(8) jennifer connellyThe Rocketeer (1991)(9) paul sorvinoDick Tracy (1990)(10) Eight of these movies have this in common: based on comic books [/quote]
]]>Fri, 26 Sep 2008 06:47:31 GMTRaeRae84Filmgaming9/26/2008 2:47:31 AM[quote user="csprague"] Thursday Eagle Eye ChallengeJudge Dredd (2005)(1) staloneDemolition Man (1993)(2) wesley snipesBlade II (2002)(3) ron pearlmanHellboy (2004)(4) john hurt V for Vendetta (2006)(5) hugo weavingLord of the Rings: The Fellowship of the Ring (2001)(6) viggo mortensonA History of Violence (2005)(7) william hurtThe Hulk (2003)(8) jennifer connellyThe Rocketeer (1991)(9) paul sorvinoDick Tracy (1990)(10) Eight of these movies have this in common: based on comic books [/quote] http://www.spout.com/groups/Filmgaming/Re_THURSDAY_Eagle_Eye_Challenge/563/35557/1/ShowPost.aspx Post By: Tenenbaums
Post To: Filmgaming
Post Date: 9/25/2008 9:27:52 PM
Body: Thursday Eagle Eye Challenge Judge Dredd (2005)(1) StalloneDemolition Man (1993)(2) Wesley SnipesBlade II (2002) (3) Ron Pearlman Hellboy (2004)(4) John Hurt V for Vendetta (2006)(5) Hugo WeavingLord of the Rings: The Fellowship of the Ring (2001)(6) Viggo MortinsenA History of Violence (2005)(7) Unexpected bursts of anger/violence/rageThe Hulk (2003)(8) Jennifer ConnollyThe Rocketeer (1991)(9) 1930s settingDick Tracy (1990)(10) Eight of these movies have this in common: Based on a comic/graphic novel
]]>Fri, 26 Sep 2008 01:27:52 GMTTenenbaumsFilmgaming9/25/2008 9:27:52 PMThursday Eagle Eye Challenge Judge Dredd (2005)(1) StalloneDemolition Man (1993)(2) Wesley SnipesBlade II (2002) (3) Ron Pearlman Hellboy (2004)(4) John Hurt V for Vendetta (2006)(5) Hugo WeavingLord of the Rings: The Fellowship of the Ring (2001)(6) Viggo MortinsenA History of Violence (2005)(7) Unexpected bursts of anger/violence/rageThe Hulk (2003)(8) Jennifer ConnollyThe Rocketeer (1991)(9) 1930s settingDick Tracy (1990)(10) Eight of these movies have this in common: Based on a comic/graphic novel http://www.spout.com/groups/Filmgaming/Re_THURSDAY_Eagle_Eye_Challenge/563/35547/1/ShowPost.aspx Post By: Risselada
Post To: Filmgaming
Post Date: 9/25/2008 3:17:15 PM
Body: Judge Dredd (2005)Two words in the titleDemolition Man (1993)Sci-Fi moviesBlade II (2002)Both movies feature actorsHellboy (2004)Shot in colorV for Vendetta (2006)FictionLord of the Rings: The Fellowship of the Ring (2001)Feature dialogueA History of Violence (2005)Wide theatrical release in the USAThe Hulk (2003)Released with in the last 17 yearsThe Rocketeer (1991)Movies that actually existDick Tracy (1990)(10) Eight of these movies have this in common: vowels in the title
]]>Thu, 25 Sep 2008 19:17:15 GMTRisseladaFilmgaming9/25/2008 3:17:15 PMJudge Dredd (2005)Two words in the titleDemolition Man (1993)Sci-Fi moviesBlade II (2002)Both movies feature actorsHellboy (2004)Shot in colorV for Vendetta (2006)FictionLord of the Rings: The Fellowship of the Ring (2001)Feature dialogueA History of Violence (2005)Wide theatrical release in the USAThe Hulk (2003)Released with in the last 17 yearsThe Rocketeer (1991)Movies that actually existDick Tracy (1990)(10) Eight of these movies have this in common: vowels in the title http://www.spout.com/groups/Filmgaming/THURSDAY_Eagle_Eye_Challenge/563/35525/1/ShowPost.aspx Post By: csprague
Post To: Filmgaming
Post Date: 9/25/2008 9:11:08 AM
Body: Thursday Eagle Eye ChallengeJudge Dredd (2005)(1) Demolition Man (1993)(2) Blade II (2002)(3) There's more than one connection here, but we're looking for an actor. Hellboy (2004)(4) V for Vendetta (2006)(5) Lord of the Rings: The Fellowship of the Ring (2001)(6) A History of Violence (2005)(7) The Hulk (2003)(8) The Rocketeer (1991)(9) Dick Tracy (1990)(10) Eight of these movies have this in common:
]]>Thu, 25 Sep 2008 13:11:08 GMTcspragueFilmgaming9/25/2008 9:11:08 AMThursday Eagle Eye ChallengeJudge Dredd (2005)(1) Demolition Man (1993)(2) Blade II (2002)(3) There's more than one connection here, but we're looking for an actor. Hellboy (2004)(4) V for Vendetta (2006)(5) Lord of the Rings: The Fellowship of the Ring (2001)(6) A History of Violence (2005)(7) The Hulk (2003)(8) The Rocketeer (1991)(9) Dick Tracy (1990)(10) Eight of these movies have this in common: http://www.spout.com/blogs/usesoap/archive/2008/9/14/35132.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 9/14/2008 8:42:49 PM
Body: “What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?” posits a character of the new cop thriller “Righteous Kill.” Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, “Righteous Kill,” arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in “The Untouchables” with the definitive mismatched-buddy film “Midnight Run.” and Pacino was burning up the screen with Ellen Barkin in “Sea of Love” and about to chew on mouthfuls of scenery in “Dick Tracy.” Had “Kill” been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's “88 Minutes” or cheapening their legacy as DeNiro repeated has in both “Analyze This” and “Meet the Parents” and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in “Rocky Balboa.” “Righteous Kill” in not that movie. In fact, the title of Pacino's previous film, “Two for the Money,” seems more fitting. It's an adequate enough vehicle -- stable, drives well – but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament “ones that got away” -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute “gotcha” and so “Kill” plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing – and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's “88 Minutes,” in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up “Die Tryin'” to be an actor, because he certainly isn't going to “Get Rich” from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in “Heat” than any scene in “Righteous Kill.” Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (“Hide and Seek,” “Godsend,” “Showtime”), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted “Law and Order” episode with two very special guest stars.
]]>Mon, 15 Sep 2008 00:42:49 GMTusesoapusesoap Blog9/14/2008 8:42:49 PM &ldquo;What are you gonna do? Wheel me out on the 'Geraldo Show' as some freak of the week?&rdquo; posits a character of the new cop thriller &ldquo;Righteous Kill.&rdquo; Wait a minute, Geraldo? Are you sure that's the pop-culture reference you want to stick with? Were there licensing problems with Morton Downey Jr? Arsineo did not return calls? Yes, &ldquo;Righteous Kill,&rdquo; arriving in theaters in 2008 is hopelessly mired in elements of two decades ago. For that was an era when stars Al Pacino and Robert DeNiro were at their bankable best: DeNiro followed his larger-than-life turn as Al Capone in &ldquo;The Untouchables&rdquo; with the definitive mismatched-buddy film &ldquo;Midnight Run.&rdquo; and Pacino was burning up the screen with Ellen Barkin in &ldquo;Sea of Love&rdquo; and about to chew on mouthfuls of scenery in &ldquo;Dick Tracy.&rdquo; Had &ldquo;Kill&rdquo; been released at that point and time, their union would reach a fever pitch (and drummed up a better box office than its third-place finish this week at theaters). I am not suggesting the two are past their prime, as I think both have much to contribute to cinema in their twilight years. But instead of slumming through atrocities like Pacino's &ldquo;88 Minutes&rdquo; or cheapening their legacy as DeNiro repeated has in both &ldquo;Analyze This&rdquo; and &ldquo;Meet the Parents&rdquo; and their sequels, they should find a film with more subtle nuance and reflection, just as sexagenarian Sylvester Stallone did in &ldquo;Rocky Balboa.&rdquo; &ldquo;Righteous Kill&rdquo; in not that movie. In fact, the title of Pacino's previous film, &ldquo;Two for the Money,&rdquo; seems more fitting. It's an adequate enough vehicle -- stable, drives well &ndash; but handles with the thrills of a mini-van. Pacino and DeNiro are the bizarrely named crime-fighting duo Rooster and Turk, respectively. After decades on the force, they lament &ldquo;ones that got away&rdquo; -- the rapists, drug-pushers and murderers who, by a loopy legal system, squiggle free and return to the streets to commit more crime. In recent days, though, a serial killer has been dispensing vigilante justice, and a number of perpetrators the cases in which Turk and Rooster oversaw are winding up dead. Is it a cop, fed up with the system methodically finishing the job the justice system could not seem to do? Is it a lone-wolf groupie who's just trying to lend a hand to the haggard officers? Is it a vengefu... No, it's a cop. The film says so repeatedly within the first 20 minutes. We even see a videotaped confession and the words of the killer. Of course, a film of this nature live or dies by its last-minute &ldquo;gotcha&rdquo; and so &ldquo;Kill&rdquo; plods along to its inevitable ending zinger. It may be a twist, but it's not a surprise, as the audience is given a roughly 33.3 percent chance of guessing the limited suspect lineup. Supporting characters, as expected, are but window dressing &ndash; and there's not much light escaping through these panes. There's Carla Gugino as DeNiro's way-too-young love interest (Pacino already had a shot this year at being a mack granddaddy in director Jon Avnet's &ldquo;88 Minutes,&rdquo; in which every female within a one-mile vicinity was drawn to him as though he excreted some strange musk). Fitty Cent (here going by his thespian name of Curtis Jackson) may actually end up &ldquo;Die Tryin'&rdquo; to be an actor, because he certainly isn't going to &ldquo;Get Rich&rdquo; from it. John Leguizamo and Donnie Wahlberg also stop by to fill out various police-force stereotypes. And in the center rest DeNiro and Pacino, who have moments where they appear to enjoy one another's company, but there was more electricity generated in the brief five minutes they spent across the diner table in &ldquo;Heat&rdquo; than any scene in &ldquo;Righteous Kill.&rdquo; Hack director Avnet does little to punctuate the proceedings with anything else. The film is slightly above most of DeNiro's latter-day output (&ldquo;Hide and Seek,&rdquo; &ldquo;Godsend,&rdquo; &ldquo;Showtime&rdquo;), but with video stores stocked with decades of iconic work from these two Method men, the real crime would be bypassing them for this protracted &ldquo;Law and Order&rdquo; episode with two very special guest stars. http://www.spout.com/blogs/spoutblog/archive/2008/9/12/35065.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/12/2008 2:00:54 PM
Body: Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog
]]>Fri, 12 Sep 2008 18:00:54 GMTSpoutBlogSpoutBlog on spout.com9/12/2008 2:00:54 PM Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog http://www.spout.com/blogs/cinemarian/archive/2008/5/13/28830.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/13/2008 4:12:25 AM
Body: "They kill someone in the first five minuets!" excalimed my friend Peter's mom. It was the summer of 1990, I had just graduated from kindergarten, and I was trying to convince my parentsto take me to see Dick Tracy, the new blockbuster. The previous year, a bunch of selfless neighboorhood parents had sat through Teenage Mutant Ninja Turtles, a movie that definatley did not have the style or appeal of Tracy. What Tracey does have is sex and violence, and a lot of it. Peter's mom was right- despite the fact it got an "R" rating, the film was heavily marketed to kids, who had no business seeing it. When I finally saw the movie on video a few years later, I shut it off in a cold sweat, after viewing one of the most sadistc acts of violence in movie history. I had nightmares about it that scene for years, and watching it as an adult (I guess) it still is pretty creepy. This may be an odd way to begin a movie review, but if a movie has that strong an effect on your psyche as a kid, it's bound to cross over on your understanding of the film as an adult. But even with all that aside, I can still acknowege that Dick Tracy is one of the best action/adventure films from that period, and the least dated. Beacuse the movie is designed to look fake, we don't worry about the visual effects, and because it is in the 30's, we there is none of the late 80's/early 90's pop culture referances in movies like Batman. The movie was in development for years before Beatty became attached as actor and director, but I doubt anyone else could have done this better (Martin Scorsese and Bob Fosse were both slated to direct, and Jack Nicholson and Robert De Niro were the first choices to play the detective). Beatty was a hardcore fan of the comic strip, so he brought a level of respect to the materail, avoiding the urge to play it for camp. At the same time he preserves the astheque of a comic strip. Each character has essentially one trait, and that's it, right down to the their names. In the comic strip format, where the story only inches forward each day, obvious characterzations are important due to econemy of storytelling, but this would normally be the death of anything beyond a kid's film. But Beatty tackes this heads on and has fun with it-since we know exactly how every character will act at all times, the whole movie is about style, noirish dialouge and stagecraft. For example, Breathless Mahoney (Madonna) is exactly you would expect a person named Breathless Mahoney to be. And the movie has a cavalcade of stars- Al Pacino, Glynne Hedly, Dustin Hoffman, James Caan, Charles Durning, Dick Van Dyke, Paul Sorvino, Mandy Patinkin, Kathy Bates, Estelle Parsons, and on and on. The film looks brillant-literally. There are only eight colors used by the great photographer Vittirio Storaro, to give the movie the look of a comic strip. The choice to give most characters grotesque make-up also works, as the movie is, to use the cliche, a visual feast. Some critics disliked the film as all style and no substance, but this missed the point- the style is the substance. The movie is all about lighting, costumes, makeup, production design, editing, and character types. If you go into a movie like this expecting some kind of deep statement about humanity, you are really barking of the wrong alley. This movie is almost as much fun to watch as it would be to have those wrist radios in real life. Dick Tracy (1990)
]]>Tue, 13 May 2008 08:12:25 GMTCinemaRianCinemaRian Blog5/13/2008 4:12:25 AM"They kill someone in the first five minuets!" excalimed my friend Peter's mom. It was the summer of 1990, I had just graduated from kindergarten, and I was trying to convince my parentsto take me to see Dick Tracy, the new blockbuster. The previous year, a bunch of selfless neighboorhood parents had sat through Teenage Mutant Ninja Turtles, a movie that definatley did not have the style or appeal of Tracy. What Tracey does have is sex and violence, and a lot of it. Peter's mom was right- despite the fact it got an "R" rating, the film was heavily marketed to kids, who had no business seeing it. When I finally saw the movie on video a few years later, I shut it off in a cold sweat, after viewing one of the most sadistc acts of violence in movie history. I had nightmares about it that scene for years, and watching it as an adult (I guess) it still is pretty creepy. This may be an odd way to begin a movie review, but if a movie has that strong an effect on your psyche as a kid, it's bound to cross over on your understanding of the film as an adult. But even with all that aside, I can still acknowege that Dick Tracy is one of the best action/adventure films from that period, and the least dated. Beacuse the movie is designed to look fake, we don't worry about the visual effects, and because it is in the 30's, we there is none of the late 80's/early 90's pop culture referances in movies like Batman. The movie was in development for years before Beatty became attached as actor and director, but I doubt anyone else could have done this better (Martin Scorsese and Bob Fosse were both slated to direct, and Jack Nicholson and Robert De Niro were the first choices to play the detective). Beatty was a hardcore fan of the comic strip, so he brought a level of respect to the materail, avoiding the urge to play it for camp. At the same time he preserves the astheque of a comic strip. Each character has essentially one trait, and that's it, right down to the their names. In the comic strip format, where the story only inches forward each day, obvious characterzations are important due to econemy of storytelling, but this would normally be the death of anything beyond a kid's film. But Beatty tackes this heads on and has fun with it-since we know exactly how every character will act at all times, the whole movie is about style, noirish dialouge and stagecraft. For example, Breathless Mahoney (Madonna) is exactly you would expect a person named Breathless Mahoney to be. And the movie has a cavalcade of stars- Al Pacino, Glynne Hedly, Dustin Hoffman, James Caan, Charles Durning, Dick Van Dyke, Paul Sorvino, Mandy Patinkin, Kathy Bates, Estelle Parsons, and on and on. The film looks brillant-literally. There are only eight colors used by the great photographer Vittirio Storaro, to give the movie the look of a comic strip. The choice to give most characters grotesque make-up also works, as the movie is, to use the cliche, a visual feast. Some critics disliked the film as all style and no substance, but this missed the point- the style is the substance. The movie is all about lighting, costumes, makeup, production design, editing, and character types. If you go into a movie like this expecting some kind of deep statement about humanity, you are really barking of the wrong alley. This movie is almost as much fun to watch as it would be to have those wrist radios in real life. Dick Tracy (1990) http://www.spout.com/members/0/tags/Quirky/MemberTagFilms.aspxQuirky
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