list http://www.spout.com/ Recent community activity around Die Hard 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/Die_Hard/9087/default.aspx Title: Die Hard
Year: 1988
Director: John McTiernan
Plot: It's Christmas time in L.A., and there's an employee party in progress on the 30th floor of the Nakatomi Corporation building. The revelry comes to a violent end when the partygoers are taken hostage by a group of terrorists headed by Hans Gruber (Alan Rickman), who plan to steal the 600 million dollars locked in Nakatomi's high-tech safe. In truth, Gruber and his henchmen are only pretending to be politically motivated to throw the authorities off track; also in truth, Gruber has no intention of allowing anyone to get out of the building alive. Meanwhile, New York cop John McClane (Bruce Willis) has come to L.A. to visit his estranged wife, Holly (Bonnie Bedelia), who happens to be one of the hostages. Disregarding the orders of the authorities surrounding the building, McClane, who fears nothing (except heights), takes on the villains, armed with one handgun and plenty of chutzpah. Until Die Hard came along, Bruce Willis was merely that wisecracking guy on Moonlighting. After the film's profits started rolling in, Willis found himself one of the highest-paid and most sought-after leading men in Hollywood. ~ Hal Erickson, All Movie Guide
Times Tagged: 109
Number of Lists: 98
Number of blog posts: 18
Number of discussion threads: 4
SpoutRating: 4
]]>Wed, 29 Jul 2009 07:56:58 GMTDie Hard1988John McTiernanIt's Christmas time in L.A., and there's an employee party in progress on the 30th floor of the Nakatomi Corporation building. The revelry comes to a violent end when the partygoers are taken hostage by a group of terrorists headed by Hans Gruber (<a href="/players/P____60157/default.aspx" style='text-decoration:underline'>Alan Rickman</a>), who plan to steal the 600 million dollars locked in Nakatomi's high-tech safe. In truth, Gruber and his henchmen are only pretending to be politically motivated to throw the authorities off track; also in truth, Gruber has no intention of allowing anyone to get out of the building alive. Meanwhile, New York cop John McClane (<a href="/players/P____76618/default.aspx" style='text-decoration:underline'>Bruce Willis</a>) has come to L.A. to visit his estranged wife, Holly (<a href="/players/P_____4930/default.aspx" style='text-decoration:underline'>Bonnie Bedelia</a>), who happens to be one of the hostages. Disregarding the orders of the authorities surrounding the building, McClane, who fears nothing (except heights), takes on the villains, armed with one handgun and plenty of chutzpah. Until Die Hard came along, <a href="/players/P____76618/default.aspx" style='text-decoration:underline'>Bruce Willis</a> was merely that wisecracking guy on <a href=/films/23174/default.aspx style='text-decoration:underline'>Moonlighting</a>. After the film's profits started rolling in, Willis found himself one of the highest-paid and most sought-after leading men in Hollywood. ~ Hal Erickson, All Movie Guide109Tag Target (>10)981844http://www.spout.com/ProductImages/u50631grhih.jpghttp://www.spout.com/films/Die_Hard/9087/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/5/7/42123.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 5/7/2009 6:51:54 PM
Body: "John McClane," a New York City police officer, has finally got some time off, and goes to California to spend Christmas with his estranged wife (Bonnie Bedelia) and their two kids (Taylor Fry and Noah Land). He is taken from the airport to his wife's place of work, a Japanese-owned skyscraper which is still under construction by a very friendly limo driver (De'Voreaux White), who once worked as a taxi driver. Not too long after "McClane" arrives to the building, meets his wife's boss and co-workers and has a continuing argument with his wife the building is taken over by a group of terrorists who take "Holly" (Bedelia) and her co-workers hostage. "McClane" is able to slip away as chaos ensues, and he is unable to contact the Los Angeles Police for help until he takes things into his own hands and is able to get a hold of one of their walkie-talkies and contacts the LAPD, who warns him to get off the frequency until shots are fired at McClane, and the cops send "Sergeant Al Powell" (Reginald Veljohnson), who is a few blocks down the road buying Twinkies for his pregnant wife. Eventually, back-up arrives at the building as all hell breaks loose inside with "McClane" taking the terrorists out one-by-one as "Sgt. Powell" has to deal with inept superiors and, eventually FBI agents who happen to share a last name, but are unrelated. No "McClane" has to save his wife, her co-workers and himself as the police work to fulfill the terrorists demands. "Die Hard" is a strong action movie that gives you a little bit of time to catch a breather. All the action scenes, which is mostly gun battles, have lots of energy and are nicely filmed. You get some much-needed breaks when "McClane" is catching a much needed breather, or talking to "Powell". There are some character development problems in this movie, especially with supporting characters. Another problem is that "Powell" and "McClane" are the only law enforcement characters in this film that are believable. All the others shouldn't even be carrying a badge. There are also some characters which have very little to do. Except for during the action scenes, none of the scenes really stand out. The sets are quite boring and poorly lit, which is explained in the movie. The script is well written, and makes a plot that is somewhat hard to believe really believable. I personally can't see one man taking on a group of terrorists by himself and being able to keep one step ahead of them. Despite the forgettable flaws, this movie is a very good action movie that would be good as a first choice rental. It could also be a good addition to your movie collection.
]]>Thu, 07 May 2009 22:51:54 GMTThe_MOWThe_MOW Blog5/7/2009 6:51:54 PM"John McClane," a New York City police officer, has finally got some time off, and goes to California to spend Christmas with his estranged wife (Bonnie Bedelia) and their two kids (Taylor Fry and Noah Land). He is taken from the airport to his wife's place of work, a Japanese-owned skyscraper which is still under construction by a very friendly limo driver (De'Voreaux White), who once worked as a taxi driver. Not too long after "McClane" arrives to the building, meets his wife's boss and co-workers and has a continuing argument with his wife the building is taken over by a group of terrorists who take "Holly" (Bedelia) and her co-workers hostage. "McClane" is able to slip away as chaos ensues, and he is unable to contact the Los Angeles Police for help until he takes things into his own hands and is able to get a hold of one of their walkie-talkies and contacts the LAPD, who warns him to get off the frequency until shots are fired at McClane, and the cops send "Sergeant Al Powell" (Reginald Veljohnson), who is a few blocks down the road buying Twinkies for his pregnant wife. Eventually, back-up arrives at the building as all hell breaks loose inside with "McClane" taking the terrorists out one-by-one as "Sgt. Powell" has to deal with inept superiors and, eventually FBI agents who happen to share a last name, but are unrelated. No "McClane" has to save his wife, her co-workers and himself as the police work to fulfill the terrorists demands. "Die Hard" is a strong action movie that gives you a little bit of time to catch a breather. All the action scenes, which is mostly gun battles, have lots of energy and are nicely filmed. You get some much-needed breaks when "McClane" is catching a much needed breather, or talking to "Powell". There are some character development problems in this movie, especially with supporting characters. Another problem is that "Powell" and "McClane" are the only law enforcement characters in this film that are believable. All the others shouldn't even be carrying a badge. There are also some characters which have very little to do. Except for during the action scenes, none of the scenes really stand out. The sets are quite boring and poorly lit, which is explained in the movie. The script is well written, and makes a plot that is somewhat hard to believe really believable. I personally can't see one man taking on a group of terrorists by himself and being able to keep one step ahead of them. Despite the forgettable flaws, this movie is a very good action movie that would be good as a first choice rental. It could also be a good addition to your movie collection. http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40717.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:02:08 PM
Body: In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:02:08 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:02:08 PM In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2009/2/27/40678.aspx Post By: paul
Post To: paul on spout.com
Post Date: 2/27/2009 6:01:09 PM
Body: In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog » Paul Moore
]]>Fri, 27 Feb 2009 23:01:09 GMTpaulpaul on spout.com2/27/2009 6:01:09 PM In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog » Paul Moore http://www.spout.com/blogs/backandwhite/archive/2009/2/2/40160.aspx Post By: BackandWhite
Post To: BackandWhite Blog
Post Date: 2/2/2009 3:33:54 PM
Body: Director John McTiernan handles the action sequences perfectly in this action movie from the 80s. He not only does that well, but also develops the characters as the movie progresses. The exceptional screenplay written by Jeb Stuart and Steven E. de Souza, about a cop who gets caught in the middle of some ruthless criminals taking everyone in an office building hostage, gives the director some good stuff to work with. This was a great role fro Bruce Willis.
]]>Mon, 02 Feb 2009 20:33:54 GMTBackandWhiteBackandWhite Blog2/2/2009 3:33:54 PMDirector John McTiernan handles the action sequences perfectly in this action movie from the 80s. He not only does that well, but also develops the characters as the movie progresses. The exceptional screenplay written by Jeb Stuart and Steven E. de Souza, about a cop who gets caught in the middle of some ruthless criminals taking everyone in an office building hostage, gives the director some good stuff to work with. This was a great role fro Bruce Willis. http://www.spout.com/blogs/spoutblog/archive/2009/1/30/40098.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/30/2009 2:01:09 PM
Body: It’s been a long time since I watched a movie aired on commercial television. As a kid, however, I watched enough TV edits of films to have seen both Fast TImes at Ridgemont High and Sixteen Candles about a thousand times each before I knew that either film, in its original cut, features nudity. As far as language goes, though, any kid could figure out what curse words were really being mouthed by the actors instead of overdubbed words like “stuff,” “funsters” and “mothercrusher.” But a young person watching Weird Science may have been seriously confused, because much of the censored dialogue wasn’t even inappropriate for television. So, when words like “nipples,” “fart” and “bang” are replaced with “pimples,” “puke” and “hit,” we kids of the ’80s just simply had to abandon TV edits forever. Therefore, I’ve never had the pleasure of hearing a coarse phrase from The Big Lebowski turned into the bizarre line “This is what happens when you find a stranger in the Alps!” According to a list of “10 Worst Movie Edits For TV” at AskMen.com, the #1 offender is Die Hard’s infamous “Yippee-ki-yay, Mr. Falcon.” But I have to go with their #10, Weird Science, for the top spot, because it ruined me for future movie edits, and now I’m aware that some of them are actually quite enjoyable in a ridiculous sort of way. Check out a montage of Weird Science overdubs after the jump. Originally posted on:SpoutBlog
]]>Fri, 30 Jan 2009 19:01:09 GMTSpoutBlogSpoutBlog on spout.com1/30/2009 2:01:09 PMIt’s been a long time since I watched a movie aired on commercial television. As a kid, however, I watched enough TV edits of films to have seen both Fast TImes at Ridgemont High and Sixteen Candles about a thousand times each before I knew that either film, in its original cut, features nudity. As far as language goes, though, any kid could figure out what curse words were really being mouthed by the actors instead of overdubbed words like “stuff,” “funsters” and “mothercrusher.” But a young person watching Weird Science may have been seriously confused, because much of the censored dialogue wasn’t even inappropriate for television. So, when words like “nipples,” “fart” and “bang” are replaced with “pimples,” “puke” and “hit,” we kids of the ’80s just simply had to abandon TV edits forever. Therefore, I’ve never had the pleasure of hearing a coarse phrase from The Big Lebowski turned into the bizarre line “This is what happens when you find a stranger in the Alps!” According to a list of “10 Worst Movie Edits For TV” at AskMen.com, the #1 offender is Die Hard’s infamous “Yippee-ki-yay, Mr. Falcon.” But I have to go with their #10, Weird Science, for the top spot, because it ruined me for future movie edits, and now I’m aware that some of them are actually quite enjoyable in a ridiculous sort of way. Check out a montage of Weird Science overdubs after the jump. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2009/1/27/39987.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/27/2009 5:01:13 PM
Body: Both are broadly classifiable as science fiction, but Alien is basically a horror flick and Aliens has all the conventions of a war film. That’s a pretty slick transition from one type of movie to another, especially since the switch was so immediate within the series. Most movie franchises don’t play with genre in such a way until they’ve gone through a number of sequels, and even then the series usually just simply takes its characters into outer space, a la Moonraker, Jason X and Leprechaun 4. Genre jumping isn’t that easy, though, unless a franchise inhabits a whole universe in which to expand through. Like Star Wars, for example. Originally a film series, the Star Wars franchise spread out into novels, which has allowed for dips into the romance genre and now horror. That’s right, an upcoming novel by horror author Joe Schreiber, titled Deathtroopers, takes the Star Wars universe into frightening territory described by Schreiber as “in the vein of The Shining and Alien, with a little dose of William Gibson mixed in.” So, if Star Wars can venture into the horror genre, what other movie franchises should attempt a genre jump? To toy with the idea, we’ve selected five film series in need of a change and suggested a possible redirection of genre for each. Franchise: Indiana Jones New Genre: Spy Film With Indiana Jones and the Kingdom of the Crystal Skull, the franchise already made a slight genre leap, turning an adventure series with minor fantasy elements into a lame science fiction tale. In a way, George Lucas pretty much did for Indy what past producers did with James Bond, Jason Voorhees and the Leprechaun. Only, this time, the outer space came to the characters instead of the other way around. That installment was quite a disappointment and now the only way to save the series is to head in a more serious direction and cut out all sci-fi/fantasy material altogether. Set in the 1960s, Indiana Jones and the Bay of Pigs will be more C.I.A. thriller than mystical archaeological adventure, but while Harrison Ford will get to bring a piece of his Jack Ryan portrayal into the franchise, it won’t completely abandon the elements that make it an Indiana Jones movie. He’ll still be in search of an ancient object, this one located in the Cuban rain forest, but he’ll also be battling Communists in more of a Jason Bourne and Daniel Craig as 007 style. No flying fridges, no swinging Shias and definitely no aliens. Just pure Cold War-era suspense. Franchise: Harry Potter New Genre: Teen Sex Comedy The Harry Potter series has evolved throughout its novels and films to darker and more mature themes, but the next step, if Warner Bros. decides to continue the franchise after the last J.K. Rowling adaptation, is to regress into a lighter and more immature genre. Along the lines of the teen sex classic Zapped!, as well as the hilarious fantasies/screenplays of actor Patrick Stewart (as depicted on Extras), Harry Potter and the Clothes That Magically Fall Off, would involve Harry’s days at university, during which he uses his powers to see female classmates naked and win basketball games (because it’s an American “Muggle” college and so there’s no Quidditch team). But in the end, he realizes that he doesn’t need to use magic to win the girl of his dreams (really just his college fling since he later settles down with someone else) or the championship game. Franchise: Ocean’s Eleven New Genre: Western There aren’t many places left for Steven Soderbergh to go with this series, which kicked off with a remake of the Rat Pack film Ocean’s 11. So, instead of moving ahead with Ocean’s Fourteen, he should move sideways and do a remake of Sergeants 3. Itself a loose remake of Gunga Din, the western comedy was the only other movie to feature all of the Rat Pack guys. Technically, this new version won’t be another sequel to Ocean’s Eleven, but it would surely be considered part of the franchise, as it will still star Clooney, Pitt, Damon, Affleck, Caan, Jemison, Qin, Gould, Reiner and Cheadle (sadly, Bernie Mac can not join them). Who wouldn’t love to see that cast playing tongue-in-cheek in the old west? In any genre those actors together would make an enjoyable piece of blockbuster fluff. Franchise: Die Hard New Genre: Marital Drama Weren’t you disappointed to learn that John and Holly McClane are divorced by the fourth Die Hard installment, Live Free or Die Hard? After all, the original movie wouldn’t have happened were it not for the main character’s attempt to save their marriage. And the events of Die Hard 2 also pretty much revolve around the status of the relationship. So, let’s go back to the beginning and look into the cracks between the four action flicks. We know John can thwart terrorists in any given scenario, but how does he function on a normal day? How does he deal with the threats of separation and divorce when he doesn’t have the distraction of action and the benefit of coming off a hero? This prequel/concurrent drama, titled Die Slowly, would depict marital dysfunction and collapse similar to Who’s Afraid of Virginia Woolf? and Revolutionary Road, except that in this film, whenever the couple goes at it, the husband gets to shout, “I saved you from terrorists. Twice. Give me a f—ing break!” Franchise: Friday the 13th New Genre: Romantic Comedy We’ve seen Freddy Vs. Jason. Now it’s time for Jason , a romantic pairing of Jason Voorhees, of the Friday the 13th series, and Angela Baker, of Sleepaway Camp. The two meet-cute when they both attempt to kill the same camper, accidentally stabbing each other instead. Rather than uniting to kill more kids, the new lovers realize that they’ve only been slashing people because they’ve never been hit with Cupid’s arrow (Jason actually had encountered the little cherub once, but he mistakenly decapitated him, stole his arrow and used it to impale a naked teen). But the movie isn’t all happy lovey-dovey montages. Like all romantic comedies, this one features a misunderstanding, and here it comes about when Jason and Angela first become intimate and the former discovers that the latter is in fact a boy. The result, though, is tragically more Boys Don’t Cry than The Crying Game, and ends with Jason killing Angela and returning to his old murderous ways. It’s a harsh conclusion, sure, but some genre jumps must be expected to be only temporary. Originally posted on:SpoutBlog
]]>Tue, 27 Jan 2009 22:01:13 GMTSpoutBlogSpoutBlog on spout.com1/27/2009 5:01:13 PMBoth are broadly classifiable as science fiction, but Alien is basically a horror flick and Aliens has all the conventions of a war film. That’s a pretty slick transition from one type of movie to another, especially since the switch was so immediate within the series. Most movie franchises don’t play with genre in such a way until they’ve gone through a number of sequels, and even then the series usually just simply takes its characters into outer space, a la Moonraker, Jason X and Leprechaun 4. Genre jumping isn’t that easy, though, unless a franchise inhabits a whole universe in which to expand through. Like Star Wars, for example. Originally a film series, the Star Wars franchise spread out into novels, which has allowed for dips into the romance genre and now horror. That’s right, an upcoming novel by horror author Joe Schreiber, titled Deathtroopers, takes the Star Wars universe into frightening territory described by Schreiber as “in the vein of The Shining and Alien, with a little dose of William Gibson mixed in.” So, if Star Wars can venture into the horror genre, what other movie franchises should attempt a genre jump? To toy with the idea, we’ve selected five film series in need of a change and suggested a possible redirection of genre for each. Franchise: Indiana Jones New Genre: Spy Film With Indiana Jones and the Kingdom of the Crystal Skull, the franchise already made a slight genre leap, turning an adventure series with minor fantasy elements into a lame science fiction tale. In a way, George Lucas pretty much did for Indy what past producers did with James Bond, Jason Voorhees and the Leprechaun. Only, this time, the outer space came to the characters instead of the other way around. That installment was quite a disappointment and now the only way to save the series is to head in a more serious direction and cut out all sci-fi/fantasy material altogether. Set in the 1960s, Indiana Jones and the Bay of Pigs will be more C.I.A. thriller than mystical archaeological adventure, but while Harrison Ford will get to bring a piece of his Jack Ryan portrayal into the franchise, it won’t completely abandon the elements that make it an Indiana Jones movie. He’ll still be in search of an ancient object, this one located in the Cuban rain forest, but he’ll also be battling Communists in more of a Jason Bourne and Daniel Craig as 007 style. No flying fridges, no swinging Shias and definitely no aliens. Just pure Cold War-era suspense. Franchise: Harry Potter New Genre: Teen Sex Comedy The Harry Potter series has evolved throughout its novels and films to darker and more mature themes, but the next step, if Warner Bros. decides to continue the franchise after the last J.K. Rowling adaptation, is to regress into a lighter and more immature genre. Along the lines of the teen sex classic Zapped!, as well as the hilarious fantasies/screenplays of actor Patrick Stewart (as depicted on Extras), Harry Potter and the Clothes That Magically Fall Off, would involve Harry’s days at university, during which he uses his powers to see female classmates naked and win basketball games (because it’s an American “Muggle” college and so there’s no Quidditch team). But in the end, he realizes that he doesn’t need to use magic to win the girl of his dreams (really just his college fling since he later settles down with someone else) or the championship game. Franchise: Ocean’s Eleven New Genre: Western There aren’t many places left for Steven Soderbergh to go with this series, which kicked off with a remake of the Rat Pack film Ocean’s 11. So, instead of moving ahead with Ocean’s Fourteen, he should move sideways and do a remake of Sergeants 3. Itself a loose remake of Gunga Din, the western comedy was the only other movie to feature all of the Rat Pack guys. Technically, this new version won’t be another sequel to Ocean’s Eleven, but it would surely be considered part of the franchise, as it will still star Clooney, Pitt, Damon, Affleck, Caan, Jemison, Qin, Gould, Reiner and Cheadle (sadly, Bernie Mac can not join them). Who wouldn’t love to see that cast playing tongue-in-cheek in the old west? In any genre those actors together would make an enjoyable piece of blockbuster fluff. Franchise: Die Hard New Genre: Marital Drama Weren’t you disappointed to learn that John and Holly McClane are divorced by the fourth Die Hard installment, Live Free or Die Hard? After all, the original movie wouldn’t have happened were it not for the main character’s attempt to save their marriage. And the events of Die Hard 2 also pretty much revolve around the status of the relationship. So, let’s go back to the beginning and look into the cracks between the four action flicks. We know John can thwart terrorists in any given scenario, but how does he function on a normal day? How does he deal with the threats of separation and divorce when he doesn’t have the distraction of action and the benefit of coming off a hero? This prequel/concurrent drama, titled Die Slowly, would depict marital dysfunction and collapse similar to Who’s Afraid of Virginia Woolf? and Revolutionary Road, except that in this film, whenever the couple goes at it, the husband gets to shout, “I saved you from terrorists. Twice. Give me a f—ing break!” Franchise: Friday the 13th New Genre: Romantic Comedy We’ve seen Freddy Vs. Jason. Now it’s time for Jason , a romantic pairing of Jason Voorhees, of the Friday the 13th series, and Angela Baker, of Sleepaway Camp. The two meet-cute when they both attempt to kill the same camper, accidentally stabbing each other instead. Rather than uniting to kill more kids, the new lovers realize that they’ve only been slashing people because they’ve never been hit with Cupid’s arrow (Jason actually had encountered the little cherub once, but he mistakenly decapitated him, stole his arrow and used it to impale a naked teen). But the movie isn’t all happy lovey-dovey montages. Like all romantic comedies, this one features a misunderstanding, and here it comes about when Jason and Angela first become intimate and the former discovers that the latter is in fact a boy. The result, though, is tragically more Boys Don’t Cry than The Crying Game, and ends with Jason killing Angela and returning to his old murderous ways. It’s a harsh conclusion, sure, but some genre jumps must be expected to be only temporary. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_December_15_Ho_Ho_Ho/625/38446/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 12/16/2008 12:08:59 PM
Body: I was thinking about posting a poll in the Movie Polls group about movies that are set during Christmas time but that aren't really about Christmas. Or maybe there's a better way to define them. Movies that aren't about Christmas in the usual way you think about them. Some examples I was thinking of are: Eyes Wide Shut Die Hard and possibly the afore mentioned Gremlins Anyone know of any other good movies in which the Christmas season is really just a back drop to a totally different kind of movie?
]]>Tue, 16 Dec 2008 17:08:59 GMTRisseladaWeekly Theme12/16/2008 12:08:59 PMI was thinking about posting a poll in the Movie Polls group about movies that are set during Christmas time but that aren't really about Christmas. Or maybe there's a better way to define them. Movies that aren't about Christmas in the usual way you think about them. Some examples I was thinking of are: Eyes Wide Shut Die Hard and possibly the afore mentioned Gremlins Anyone know of any other good movies in which the Christmas season is really just a back drop to a totally different kind of movie? http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_October_13_Just_One_Day/625/36297/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 10/14/2008 2:55:59 PM
Body: The Taking of Pelham One Two Three - one of the best action/thriller/comedy movies ever made. A lot of it takes place in almost real time. 12 Angry Men - another one that's almost in real time, so certainly within a day. Magnolia - the EPIC of one day films. Clerks. - he was supposed to have that day off High Noon - also almost real time Kids - I think this was just one day. It feels like it. Rope - real time My Dinner with Andre - real time Most movies based on classical theater will take place within 24 hours since this was one of the ancient restriction of good theatre. Time, space, and subject were all supposed to be remain the same. More Linklater films - Before Sunrise / Before Sunset / Slacker These come up under one night I think Night of the Living Dead Goonies Die Hard Escape from New York Harold & Kumar Go to White Castle
]]>Tue, 14 Oct 2008 18:55:59 GMTRisseladaWeekly Theme10/14/2008 2:55:59 PMThe Taking of Pelham One Two Three - one of the best action/thriller/comedy movies ever made. A lot of it takes place in almost real time. 12 Angry Men - another one that's almost in real time, so certainly within a day. Magnolia - the EPIC of one day films. Clerks. - he was supposed to have that day off High Noon - also almost real time Kids - I think this was just one day. It feels like it. Rope - real time My Dinner with Andre - real time Most movies based on classical theater will take place within 24 hours since this was one of the ancient restriction of good theatre. Time, space, and subject were all supposed to be remain the same. More Linklater films - Before Sunrise / Before Sunset / Slacker These come up under one night I think Night of the Living Dead Goonies Die Hard Escape from New York Harold &amp; Kumar Go to White Castle http://www.spout.com/blogs/spoutblog/archive/2008/6/26/31749.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/26/2008 5:00:43 PM
Body: Over the weekend, Wanted had a 100% fresh rating on Rotten Tomatoes.com. It’s since gone down to 81% (at the time of this writing — and with top critics it’s down to 67%), though that’s still pretty good for a movie that initially looked like just another Matrix knockoff. But will the good reviews make for great box office? Last night, while viewing the latest trailer in a theater with some friends, I mentioned that Wanted was receiving great reviews. Nobody believed me at first, and then they didn’t care; they still thought it looked terrible. Good reviews rarely help an action movie, and bad reviews rarely deter audiences from seeing them. However, if we look at the top 5 most critically acclaimed action movies, it’s clear that people do often prefer a good action film to a bad one. The next 5, on the other hand… The Lord of the Rings: Return of the King (2003) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 98%) All Time Domestic Box Office Rank: #9 ($377 million) Sample Critic Quote: “The film event of the millennium.” (Richard Corliss, Time) My Analysis: In terms of both reviews and gross, it is possible that, yes, this final LOTR film was the film event of the millennium only three years in. It even won the Oscar for Best Picture, as well as ten other Academy Awards. However, we do have a few hundred years left, and Corliss’ assessment is likely to be challenged one of these centuries. Casino Royale (2006) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 95%) All Time Domestic Box Office Rank: #133 ($167.5 million) Sample Critic Quote: “This is the best James Bond film in at least 17 years, and Daniel Craig might be the best 007 … ever.” (Eric D. Snider, EricDSnider.com) My Analysis: Most critics and audiences agreed that this was one of the best 007 films ever and that Craig was at least the best Bond since Connery. Still, it only grossed a mere $7 million more than Die Another Day, which was certified rotten by RT. The Bourne Ultimatum (2007) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 97%) All Time Domestic Box Office Rank: #62 ($227.5 million) Sample Critic Quote: “It is probably the best action films to date that doesn’t involved so much special effects.” (Wilson Morales, BlackFilm.com) My Analysis: I agree that it’s the best of the series and one of the best action movies in years, maybe even best to date not involving special effects, as Morales says. But really the only reason that Ultimatum is higher up on the b.o. charts than The Bourne Identity and The Bourne Supremacy is because people took awhile to get into the series, with many of Ultimatum’s audience having seen the previous two for the first time on DVD. Still, along with both Return of the King and Indiana Jones and the Kingdom of the Crystal Skull, it’s one of the rare threequels that earned the highest gross of its series. Considering Return, that says one thing, while considering Indy, that says something else. Spider-Man 2 (2004) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 95%) All Time Domestic Box Office Rank: #10 ($373.6 million) Sample Critic Quote: “[It's sure to] join the upper echelons of action movies like Raiders of the Lost Ark, The Empire Strikes Back, and Die Hard.” (Jeffrey Overstreet, Looking Closer) My Analysis: If this sequel were switched in ranking with its predecessor (see below), it might say something more about reviews equaling revenue, but otherwise between the two installments, there is evidence that good superhero movies will perform better than bad ones. Just don’t pay any attention to Spider-Man 3, which is also pretty close on the b.o. charts, but which is pretty far below in RT ranking (62%, whole; 44%, top critics). Iron Man (2008) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 92%) All Time Domestic Box Office Rank: #26 ($305.9 million and counting) Sample Critic Quote: “It’s the best movie of its kind since the second Spider-Man movie four years ago.” (Mick LaSalle, San Francisco Chronicle) My Analysis: Fitting to LaSalle’s quote that Iron Man is just behind Spider-Man 2, and with only another $70 million to go in order to be just behind it on the b.o. chart. Unfortunately, as far as ticket sales show, it’s really only the best movie of its kind since the third Spider-Man movie one year ago. Spy Kids (2001) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 96%) All Time Domestic Box Office Rank: #309 ($112.7 million) Sample Critic Quote: “To sum up, if you want your children to someday appreciate the true art of cinema, Spy Kids is a terrific movie to start with.” (Bob Strauss, Los Angeles Daily News) My Analysis: If by “true art of cinema” Strauss means the kind of action movies that receive good reviews, then he’s right. Film critics love the well-directed spy movies (see #2 and #3). As for kids, they don’t care about reviews, which explains why Alvin and the Chipmunks made almost double what Spy Kids grossed. Out of Sight (1998) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 90%) All Time Domestic Box Office Rank: #1,395 ($37.6 million) Sample Critic Quote: “In a summer filled with mega-hyped disappointments, Out of Sight proves the undeniable value of story, characterization, and — most of all — intelligence.” (Mike McGranaghan, Aisle Seat) My Analysis: The mega-hyped disappointments of that summer include Godzilla, which made about $100 million more than this film. Of course, Out of Sight isn’t really an action-packed action movie, and it only starred George Clooney, who despite being a huge movie star has never really been that big a box office draw. Meanwhile, 1998’s biggest box office winner, the more-action-packed Saving Private Ryan (which RT apparently doesn’t consider to be an action movie), was also one of the five best-reviewed films of the year. Hot Fuzz (2007) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 92%) All Time Domestic Box Office Rank: #2,029 ($23.6 million) Sample Critic Quote: “Hot Fuzz is everything an action-comedy should be. It achieves through parody what most films in the genre can’t accomplish straight.” (Nathan Rabin, The Onion A.V. Club) My Analysis: The best action buddy comedy in ten years, yet it’s gross is hardly comparable to the box office success of the Rush Hour movies, Bad Boys II, Lethal Weapon 4 and … Starsky & Hutch? Even Jimmy Fallon’s Taxi performed better domestically. Rescue Dawn (2006) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 88%) All Time Domestic Box Office Rank: #3,970 ($5.5 million) Sample Critic Quote: “A potentially commercial audience-pleaser that retains all of the characteristic Herzog complexity and nuance, Rescue Dawn is an electrifying action adventure that clamps your nerves with jaws of steel.” (Rex Reed, New York Observer) My Analysis: Too bad more moviegoers don’t read Rex Reed, because that’s a mighty good sell. Unfortunately, Rescue Dawn suffered a double blow because of who directed it. Critics certainly overpraised it, just because it’s an Herzog film; audiences likely avoided it because of the same reason (not by name, but had it opened bigger right away, audiences wouldn’t have even noticed the art house connection and might have gone to see the new action movie starring “Batman”). Spider-Man (2002) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 85%) All Time Domestic Box Office Rank: #7 ($403.7 million) Sample Critic Quote: “Let the gauntlet be thrown: Spider-Man may be the best comic adaptation of all time.” (Todd Gilchrest, FilmStew.com) My Analysis: In terms of box office receipts, it is indeed the best comic adaptation of all time. But as we see by two titles above, it’s since been beat in terms of critical acclaim, just in this decade alone (and from earlier, at least Superman: The Movie has a better RT score). Still, it would almost be evidence that critics and box office can sometimes go hand in hand if it weren’t for that certified rotten movie that ranks just above it on the box office chart: Pirates of the Caribbean: Dead Man’s Chest. Originally posted on:SpoutBlog
]]>Thu, 26 Jun 2008 21:00:43 GMTSpoutBlogSpoutBlog on spout.com6/26/2008 5:00:43 PMOver the weekend, Wanted had a 100% fresh rating on Rotten Tomatoes.com. It’s since gone down to 81% (at the time of this writing — and with top critics it’s down to 67%), though that’s still pretty good for a movie that initially looked like just another Matrix knockoff. But will the good reviews make for great box office? Last night, while viewing the latest trailer in a theater with some friends, I mentioned that Wanted was receiving great reviews. Nobody believed me at first, and then they didn’t care; they still thought it looked terrible. Good reviews rarely help an action movie, and bad reviews rarely deter audiences from seeing them. However, if we look at the top 5 most critically acclaimed action movies, it’s clear that people do often prefer a good action film to a bad one. The next 5, on the other hand… The Lord of the Rings: Return of the King (2003) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 98%) All Time Domestic Box Office Rank: #9 ($377 million) Sample Critic Quote: “The film event of the millennium.” (Richard Corliss, Time) My Analysis: In terms of both reviews and gross, it is possible that, yes, this final LOTR film was the film event of the millennium only three years in. It even won the Oscar for Best Picture, as well as ten other Academy Awards. However, we do have a few hundred years left, and Corliss’ assessment is likely to be challenged one of these centuries. Casino Royale (2006) Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 95%) All Time Domestic Box Office Rank: #133 ($167.5 million) Sample Critic Quote: “This is the best James Bond film in at least 17 years, and Daniel Craig might be the best 007 … ever.” (Eric D. Snider, EricDSnider.com) My Analysis: Most critics and audiences agreed that this was one of the best 007 films ever and that Craig was at least the best Bond since Connery. Still, it only grossed a mere $7 million more than Die Another Day, which was certified rotten by RT. The Bourne Ultimatum (2007) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 97%) All Time Domestic Box Office Rank: #62 ($227.5 million) Sample Critic Quote: “It is probably the best action films to date that doesn’t involved so much special effects.” (Wilson Morales, BlackFilm.com) My Analysis: I agree that it’s the best of the series and one of the best action movies in years, maybe even best to date not involving special effects, as Morales says. But really the only reason that Ultimatum is higher up on the b.o. charts than The Bourne Identity and The Bourne Supremacy is because people took awhile to get into the series, with many of Ultimatum’s audience having seen the previous two for the first time on DVD. Still, along with both Return of the King and Indiana Jones and the Kingdom of the Crystal Skull, it’s one of the rare threequels that earned the highest gross of its series. Considering Return, that says one thing, while considering Indy, that says something else. Spider-Man 2 (2004) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 95%) All Time Domestic Box Office Rank: #10 ($373.6 million) Sample Critic Quote: “[It's sure to] join the upper echelons of action movies like Raiders of the Lost Ark, The Empire Strikes Back, and Die Hard.” (Jeffrey Overstreet, Looking Closer) My Analysis: If this sequel were switched in ranking with its predecessor (see below), it might say something more about reviews equaling revenue, but otherwise between the two installments, there is evidence that good superhero movies will perform better than bad ones. Just don’t pay any attention to Spider-Man 3, which is also pretty close on the b.o. charts, but which is pretty far below in RT ranking (62%, whole; 44%, top critics). Iron Man (2008) Rotten Tomatoes’ “T-Meter” score: 93% (top critics: 92%) All Time Domestic Box Office Rank: #26 ($305.9 million and counting) Sample Critic Quote: “It’s the best movie of its kind since the second Spider-Man movie four years ago.” (Mick LaSalle, San Francisco Chronicle) My Analysis: Fitting to LaSalle’s quote that Iron Man is just behind Spider-Man 2, and with only another $70 million to go in order to be just behind it on the b.o. chart. Unfortunately, as far as ticket sales show, it’s really only the best movie of its kind since the third Spider-Man movie one year ago. Spy Kids (2001) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 96%) All Time Domestic Box Office Rank: #309 ($112.7 million) Sample Critic Quote: “To sum up, if you want your children to someday appreciate the true art of cinema, Spy Kids is a terrific movie to start with.” (Bob Strauss, Los Angeles Daily News) My Analysis: If by “true art of cinema” Strauss means the kind of action movies that receive good reviews, then he’s right. Film critics love the well-directed spy movies (see #2 and #3). As for kids, they don’t care about reviews, which explains why Alvin and the Chipmunks made almost double what Spy Kids grossed. Out of Sight (1998) Rotten Tomatoes’ “T-Meter” score: 92% (top critics: 90%) All Time Domestic Box Office Rank: #1,395 ($37.6 million) Sample Critic Quote: “In a summer filled with mega-hyped disappointments, Out of Sight proves the undeniable value of story, characterization, and — most of all — intelligence.” (Mike McGranaghan, Aisle Seat) My Analysis: The mega-hyped disappointments of that summer include Godzilla, which made about $100 million more than this film. Of course, Out of Sight isn’t really an action-packed action movie, and it only starred George Clooney, who despite being a huge movie star has never really been that big a box office draw. Meanwhile, 1998’s biggest box office winner, the more-action-packed Saving Private Ryan (which RT apparently doesn’t consider to be an action movie), was also one of the five best-reviewed films of the year. Hot Fuzz (2007) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 92%) All Time Domestic Box Office Rank: #2,029 ($23.6 million) Sample Critic Quote: “Hot Fuzz is everything an action-comedy should be. It achieves through parody what most films in the genre can’t accomplish straight.” (Nathan Rabin, The Onion A.V. Club) My Analysis: The best action buddy comedy in ten years, yet it’s gross is hardly comparable to the box office success of the Rush Hour movies, Bad Boys II, Lethal Weapon 4 and … Starsky & Hutch? Even Jimmy Fallon’s Taxi performed better domestically. Rescue Dawn (2006) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 88%) All Time Domestic Box Office Rank: #3,970 ($5.5 million) Sample Critic Quote: “A potentially commercial audience-pleaser that retains all of the characteristic Herzog complexity and nuance, Rescue Dawn is an electrifying action adventure that clamps your nerves with jaws of steel.” (Rex Reed, New York Observer) My Analysis: Too bad more moviegoers don’t read Rex Reed, because that’s a mighty good sell. Unfortunately, Rescue Dawn suffered a double blow because of who directed it. Critics certainly overpraised it, just because it’s an Herzog film; audiences likely avoided it because of the same reason (not by name, but had it opened bigger right away, audiences wouldn’t have even noticed the art house connection and might have gone to see the new action movie starring “Batman”). Spider-Man (2002) Rotten Tomatoes’ “T-Meter” score: 90% (top critics: 85%) All Time Domestic Box Office Rank: #7 ($403.7 million) Sample Critic Quote: “Let the gauntlet be thrown: Spider-Man may be the best comic adaptation of all time.” (Todd Gilchrest, FilmStew.com) My Analysis: In terms of box office receipts, it is indeed the best comic adaptation of all time. But as we see by two titles above, it’s since been beat in terms of critical acclaim, just in this decade alone (and from earlier, at least Superman: The Movie has a better RT score). Still, it would almost be evidence that critics and box office can sometimes go hand in hand if it weren’t for that certified rotten movie that ranks just above it on the box office chart: Pirates of the Caribbean: Dead Man’s Chest. Originally posted on:SpoutBlog http://www.spout.com/blogs/critick_chick/archive/2008/6/20/31452.aspx Post By: critick_chick
Post To: critick_chick Blog
Post Date: 6/20/2008 2:40:25 AM
Body: one of the only movies of the 80's that i loved. first reason i loved it is because it's full of action, second reason is because bruce willis looks REALLY GOOD in this movie!!!!!!!!!!!!
]]>Fri, 20 Jun 2008 06:40:25 GMTcritick_chickcritick_chick Blog6/20/2008 2:40:25 AMone of the only movies of the 80's that i loved. first reason i loved it is because it's full of action, second reason is because bruce willis looks REALLY GOOD in this movie!!!!!!!!!!!! http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
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