list jklugman's Recent Activity - Spout http://www.spout.com/ jklugman's Recent Activity - Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg jklugman's Recent Activity - Spout http://www.spout.com/ 136 30 Spout Group:Spout Customer Care - Get answers to your questions here! http://www.spout.com/groups/Spout_Customer_Care/420/default.aspx Group Name: Spout Customer Care - Get answers to your questions here!
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]]>Mon, 31 Aug 2009 12:47:00 GMTSpout Customer CareWed, 01 Aug 2007 09:06:04 GMT790513Group Spout Group:HORROR MOVIES 101 - FOR ALL WHO LOVE HORROR MOVIES http://www.spout.com/groups/HORROR_MOVIES_101/222/default.aspx Group Name: HORROR MOVIES 101 - FOR ALL WHO LOVE HORROR MOVIES
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]]>Sun, 30 Aug 2009 00:53:17 GMTHORROR MOVIES 101Sun, 17 Dec 2006 01:20:09 GMT41462333Group Spout Group:foureyedmonsters - Talk to Susan & Arin about the movie and those addictive podcasts. http://www.spout.com/groups/foureyedmonsters/338/endorsed.aspx Group Name: foureyedmonsters - Talk to Susan & Arin about the movie and those addictive podcasts.
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]]>Fri, 28 Aug 2009 05:42:31 GMTfoureyedmonstersMon, 04 Jun 2007 15:28:43 GMT322056Group Spout Group:Weekly Theme - "Fighting off boredom with the Iron Fist of Variety" http://www.spout.com/groups/Weekly_Theme/625/default.aspx Group Name: Weekly Theme - "Fighting off boredom with the Iron Fist of Variety"
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]]>Thu, 27 Aug 2009 20:20:23 GMTWeekly ThemeMon, 30 Jun 2008 15:13:45 GMT5212701Group Spout Group:Spout Mavens - Spout's best movie reviewers. Membership is limited. http://www.spout.com/groups/Spout_Mavens/366/default.aspx Group Name: Spout Mavens - Spout's best movie reviewers. Membership is limited.
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]]>Wed, 26 Aug 2009 20:10:52 GMTSpout MavensWed, 20 Jun 2007 10:13:29 GMT369451Group Spout Group:missing a film - we'll help you find a film http://www.spout.com/groups/missing_a_film/263/default.aspx Group Name: missing a film - we'll help you find a film
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]]>Wed, 26 Aug 2009 11:30:05 GMTmissing a filmMon, 05 Mar 2007 16:37:43 GMT1311234Group Spout Group:Friends of Foreign Flicks - Discussions of all films not American. http://www.spout.com/groups/Friends_of_Foreign_Flicks/591/default.aspx Group Name: Friends of Foreign Flicks - Discussions of all films not American.
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]]>Wed, 26 Aug 2009 04:05:26 GMTFriends of Foreign FlicksThu, 24 Apr 2008 11:44:11 GMT30192Group Spout Group:The Documentary - A place to talk about the much overlooked genre of the Documentary. http://www.spout.com/groups/The_Documentary/79/default.aspx Group Name: The Documentary - A place to talk about the much overlooked genre of the Documentary.
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]]>Tue, 25 Aug 2009 21:05:39 GMTThe DocumentarySun, 02 Apr 2006 00:58:55 GMT49453Group Spout Group:Sound on Sight - Podcasts, movie reviews, interviews, news and more. http://www.spout.com/groups/Sound_on_Sight/529/default.aspx Group Name: Sound on Sight - Podcasts, movie reviews, interviews, news and more.
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Sound on Sight proudly brings you two podcasts each week. Voted best podcast in 2008, these hard working hosts cover everything from mainstream Hollywood films to noir, horror, science fiction, cult cinema, documentary film making and more. Look out for a new show added every Tuesday and Thursday morning.

http://www.soundonsight.org/

 

 


Created: 1/6/2008
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]]>Tue, 25 Aug 2009 21:03:03 GMTSound on SightSun, 06 Jan 2008 21:24:34 GMT1040150Group Spout Group:Worst Movie Ever - The Group is dedicated to uncovering the bombs, so you don't have too. http://www.spout.com/groups/Worst_Movie_Ever/104/default.aspx Group Name: Worst Movie Ever - The Group is dedicated to uncovering the bombs, so you don't have too.
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]]>Tue, 25 Aug 2009 16:43:26 GMTWorst Movie EverFri, 05 May 2006 20:20:45 GMT20010412Group Spout Group:Movie Polls - Vote in weekly polls and discuss http://www.spout.com/groups/Movie_Polls/657/default.aspx Group Name: Movie Polls - Vote in weekly polls and discuss
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]]>Tue, 25 Aug 2009 02:42:29 GMTMovie PollsTue, 25 Nov 2008 16:54:38 GMT660414Group Spout Group:Zombie Obsession - Zombie Lovers, Unite! http://www.spout.com/groups/Zombie_Obsession/329/default.aspx Group Name: Zombie Obsession - Zombie Lovers, Unite!
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Created: 5/28/2007
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]]>Mon, 24 Aug 2009 17:29:56 GMTZombie ObsessionMon, 28 May 2007 02:04:45 GMT1041594Group Spout Group:A World of MSTies - Thank You, Won't We? http://www.spout.com/groups/A_World_of_MSTies/590/default.aspx Group Name: A World of MSTies - Thank You, Won't We?
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Glorify the best show ever (MST3K) with wit, wisdom and downright wackiness!


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]]>Mon, 24 Aug 2009 17:25:25 GMTA World of MSTiesWed, 23 Apr 2008 20:21:48 GMT10223Group Spout Group:It's a Wonderful Night for Oscar! - Devoted to everything nominated or snubbed by the Academy of Golden Guys http://www.spout.com/groups/It_s_a_Wonderful_Night_for_Oscar/46/default.aspx Group Name: It's a Wonderful Night for Oscar! - Devoted to everything nominated or snubbed by the Academy of Golden Guys
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]]>Mon, 24 Aug 2009 11:11:33 GMTIt's a Wonderful Night for Oscar!Sat, 04 Mar 2006 15:24:32 GMT4158226Group Spout Group:Movie Marathons http://www.spout.com/groups/Movie_Marathons/693/default.aspx Group Name: Movie Marathons
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This is a group for members to start and organize movie marathons. Its primary purpose is to get more people exposed to more film. And to watch these films and discuss them as a group.

Anyone can start a marathon and marathons can be organized in many different ways to showcase the films of a director, actor, genre, theme etc...

Check the Guidlines and Suggestions discussion for ideas.


Created: 7/22/2009
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]]>Sat, 22 Aug 2009 16:33:02 GMTMovie MarathonsWed, 22 Jul 2009 01:35:58 GMT15022Group Spout Group:Movies we do not want to see - Try to convince us to see these movies! http://www.spout.com/groups/Movies_we_do_not_want_to_see/70/default.aspx Group Name: Movies we do not want to see - Try to convince us to see these movies!
Group Description: Want to be a member? Send me a message with a list of at least 5 movies that you do not want to see. There are many movies that I do not want to see. I'm not sure if its right of me to decide never to see a movie without seeing it. You know...like when a kid says they hate mushrooms even though they admit never trying them. So maybe this is a good spot for people to display movies they don't think they want to see, and see if anyone can convince us to try them out.
Created: 3/22/2006
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]]>Wed, 19 Aug 2009 00:31:56 GMTMovies we do not want to seeWed, 22 Mar 2006 14:27:50 GMT203190Group Spout Post: The Man Who Laughs (1927) http://www.spout.com/blogs/jklugman/archive/2007/9/10/19650.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 9/10/2007 11:41:27 PM
Body: This is a different film than I was expecting. As far as I can tell, there are barely any traces of German Expressionism weirdness here. This feels like a typical big budget Hollywood silent film--slow pacing and typical romantic trajectory (boy loves girl, boy gets tempted by "bad girl", boy figures out the truth and goes back to the good girl, triumphs over the odds, etc). Visually there's not a lot going on...Leni made a lot of bland choices in terms of composition and lighting. Probably the film's saving grace is Conrad Veidt, who was able to convey his character's melancholy despite having to smile all the time in a silent film.
]]>Tue, 11 Sep 2007 03:41:27 GMTjklugmanjklugman Blog9/10/2007 11:41:27 PMThis is a different film than I was expecting. As far as I can tell, there are barely any traces of German Expressionism weirdness here. This feels like a typical big budget Hollywood silent film--slow pacing and typical romantic trajectory (boy loves girl, boy gets tempted by "bad girl", boy figures out the truth and goes back to the good girl, triumphs over the odds, etc). Visually there's not a lot going on...Leni made a lot of bland choices in terms of composition and lighting. Probably the film's saving grace is Conrad Veidt, who was able to convey his character's melancholy despite having to smile all the time in a silent film. Spout Post: The Set-Up (1949) (spoilers) http://www.spout.com/blogs/jklugman/archive/2007/9/2/19263.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 9/2/2007 10:58:22 AM
Body: This film is only loosely related to film noirs in a narrative sense. Robert Ryan plays a down-on-his-luck boxer who insists he can win his latest fight. Unbeknowest to him, his manager, Tiny, has agreed that he will take a fall in the third round. Tiny doesn't tell Ryan's character because he wants to pocket the money himself. You can see what happens--due to forces outside of his control, Ryan meets a tragic end. Unlike in many other film noirs, the hero is not taken in by his own stupidity or the seductive wiles of a femme fatale. But visually speaking, the film is very much a film noir, and comes the closest to German expressionism. Wise frames Ryan so that he is swallowed up by his dark surroundings. Wise also uses the camera to indict the brutal sport of boxing and its spectators. Aside from the beautiful mise-en-scene, I loved watching the film. Robert Ryan makes a sympathetic portrait of a loser boxer, and Wise ratchets up the tension during the boxing match--I was simultaneously repelled by the sport but also rooting for Ryan.
]]>Sun, 02 Sep 2007 14:58:22 GMTjklugmanjklugman Blog9/2/2007 10:58:22 AMThis film is only loosely related to film noirs in a narrative sense. Robert Ryan plays a down-on-his-luck boxer who insists he can win his latest fight. Unbeknowest to him, his manager, Tiny, has agreed that he will take a fall in the third round. Tiny doesn't tell Ryan's character because he wants to pocket the money himself. You can see what happens--due to forces outside of his control, Ryan meets a tragic end. Unlike in many other film noirs, the hero is not taken in by his own stupidity or the seductive wiles of a femme fatale. But visually speaking, the film is very much a film noir, and comes the closest to German expressionism. Wise frames Ryan so that he is swallowed up by his dark surroundings. Wise also uses the camera to indict the brutal sport of boxing and its spectators. Aside from the beautiful mise-en-scene, I loved watching the film. Robert Ryan makes a sympathetic portrait of a loser boxer, and Wise ratchets up the tension during the boxing match--I was simultaneously repelled by the sport but also rooting for Ryan. Spout Post: Dolemite (1975) http://www.spout.com/blogs/jklugman/archive/2007/7/29/16816.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 7/29/2007 7:44:00 PM
Body: I guess in blaxploitation movies the plot and dialogue are beside the point. But if the film's stars have absolutely no charisma, the film is sunk. This is the case with Dolemite. The hero is a pimp who is supposed to be defiant, savvy, and a lethal fighter. In reality, Rudy Ray Moore is a chunky man who acts as if just saying "mutha fucka" makes him some kind of great wit. (Don't get me wrong: I don't have a problem with profanity. Just don't expect me to salute a guy who thinks that using profanity is sufficient to impress me). Most of the performances are so bad that the viewer becomes so conscious that these are people acting out parts. The only exceptions are West Gale (who plays a corrupt, hypocritical preacher) and Jerry Jones (one of the detectives in Robert Altman's The Long Goodbye), who plays an FBI agent tackling corruption in the local police force. I did find it interesting that the film treats an FBI agent as a hero, considering the FBI's pretty shabby record when it came to the civil rights movement. Maybe it just came from respect for the federal government's other interventions to promote civil rights.
]]>Sun, 29 Jul 2007 23:44:00 GMTjklugmanjklugman Blog7/29/2007 7:44:00 PMI guess in blaxploitation movies the plot and dialogue are beside the point. But if the film's stars have absolutely no charisma, the film is sunk. This is the case with Dolemite. The hero is a pimp who is supposed to be defiant, savvy, and a lethal fighter. In reality, Rudy Ray Moore is a chunky man who acts as if just saying "mutha fucka" makes him some kind of great wit. (Don't get me wrong: I don't have a problem with profanity. Just don't expect me to salute a guy who thinks that using profanity is sufficient to impress me). Most of the performances are so bad that the viewer becomes so conscious that these are people acting out parts. The only exceptions are West Gale (who plays a corrupt, hypocritical preacher) and Jerry Jones (one of the detectives in Robert Altman's The Long Goodbye), who plays an FBI agent tackling corruption in the local police force. I did find it interesting that the film treats an FBI agent as a hero, considering the FBI's pretty shabby record when it came to the civil rights movement. Maybe it just came from respect for the federal government's other interventions to promote civil rights. Spout Post: The Bubble (2006) http://www.spout.com/blogs/jklugman/archive/2007/7/24/15659.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 7/24/2007 12:10:11 AM
Body: I guess I did not find The Bubble very compelling mainly because for the first 90 minutes it felt like a Friends episode, as it follows a group of good-looking, young friends who live in Tel Aviv. These stories always kind of aggravate me, because it is as if I was part of a larger group of friends who have their own in-jokes and expect me to laugh and play along because they're so hip and cool. I guess Fox is trying to be critical of these people for not doing more to break out of their "bubble", but I felt this got overshadowed by the romantic and sexual shenanigans of the protagonists. To be fair, the actors playing Noam (Ohad Knoller), Lulu (Daniela Virtzer), and Ashraf (Joe Sweid) did a good job fleshing their characters out and making them likeable and sympathethic. In the last twenty minutes the film dramatically switches gears as it lays bear the tragedy of the characters' lives--and the Israeli-Palestinian conflict--with the subtlety of a jackhammer.
]]>Tue, 24 Jul 2007 04:10:11 GMTjklugmanjklugman Blog7/24/2007 12:10:11 AMI guess I did not find The Bubble very compelling mainly because for the first 90 minutes it felt like a Friends episode, as it follows a group of good-looking, young friends who live in Tel Aviv. These stories always kind of aggravate me, because it is as if I was part of a larger group of friends who have their own in-jokes and expect me to laugh and play along because they're so hip and cool. I guess Fox is trying to be critical of these people for not doing more to break out of their "bubble", but I felt this got overshadowed by the romantic and sexual shenanigans of the protagonists. To be fair, the actors playing Noam (Ohad Knoller), Lulu (Daniela Virtzer), and Ashraf (Joe Sweid) did a good job fleshing their characters out and making them likeable and sympathethic. In the last twenty minutes the film dramatically switches gears as it lays bear the tragedy of the characters' lives--and the Israeli-Palestinian conflict--with the subtlety of a jackhammer. Spout Post: Wait Until Dark (1967) (spoilers) http://www.spout.com/blogs/jklugman/archive/2007/7/16/15111.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 7/16/2007 11:39:21 PM
Body: This is a quite effective thriller. The filmmakers slowly raise the level of tension as the heroine realizes that she is at the center of a sinister plot. There is something satisfying about watching Audrey Hepburn find her inner strength and intelligence to save herself and foil the villains' machinations. Hepburn is aided by her costars as well. The men playing the villains (Alan Arkin, Richard Crenna, and Jack Weston) are convincing and really fun to watch, and Julie Herrod is great as an awkward 12-year-old girl who helps Hepburn turn the tables on her antagonists.
]]>Tue, 17 Jul 2007 03:39:21 GMTjklugmanjklugman Blog7/16/2007 11:39:21 PMThis is a quite effective thriller. The filmmakers slowly raise the level of tension as the heroine realizes that she is at the center of a sinister plot. There is something satisfying about watching Audrey Hepburn find her inner strength and intelligence to save herself and foil the villains' machinations. Hepburn is aided by her costars as well. The men playing the villains (Alan Arkin, Richard Crenna, and Jack Weston) are convincing and really fun to watch, and Julie Herrod is great as an awkward 12-year-old girl who helps Hepburn turn the tables on her antagonists. Spout Post: Under Capricorn (1949) (spoilers) http://www.spout.com/blogs/jklugman/archive/2007/7/15/14803.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 7/15/2007 9:00:26 PM
Body: While the film throws out a few red herrings at the beginning to make the viewer believe that this is a Gaslight-type thriller, for a Hitchcock film the mystery and suspense elements are quite subdued, making this more a historical drama than anything else. The plot is propelled not so much by the actions of malicious characters (although there is some of that) but also by the misunderstandings among the non-bad characters about each other's past and intentions. The movie frustrated me because these non-bad characters seemed to deliberately mislead other characters and the viewer for no other reason than to propel the plot along, so the ensuing tension feels artificial, as does the you-can't-run-from-the-past theme. This isn't helped by the forgettable performance of Michael Wilding, who frankly is a rather bland hero. Under Capricorn is unusual for a Hitchcock film in that it explicitly takes on the role of class and examines how class distinctions can trap people and make them unhappy.The setting was also very drab--the colors, especially in interiors, felt washed out. I don't know if this was the fault of the filmmaker, or aging, or that of the transfer ( I saw the Image DVD edition of this film). Because the plot is so boring, I don't think Hitchcock was able to flex his directorial talents very much. The only thing that really stands out is an impressive long take where the camera follows Wilding around Joseph Cotton's estate as he is introduced to the other guests.
]]>Mon, 16 Jul 2007 01:00:26 GMTjklugmanjklugman Blog7/15/2007 9:00:26 PMWhile the film throws out a few red herrings at the beginning to make the viewer believe that this is a Gaslight-type thriller, for a Hitchcock film the mystery and suspense elements are quite subdued, making this more a historical drama than anything else. The plot is propelled not so much by the actions of malicious characters (although there is some of that) but also by the misunderstandings among the non-bad characters about each other's past and intentions. The movie frustrated me because these non-bad characters seemed to deliberately mislead other characters and the viewer for no other reason than to propel the plot along, so the ensuing tension feels artificial, as does the you-can't-run-from-the-past theme. This isn't helped by the forgettable performance of Michael Wilding, who frankly is a rather bland hero. Under Capricorn is unusual for a Hitchcock film in that it explicitly takes on the role of class and examines how class distinctions can trap people and make them unhappy.The setting was also very drab--the colors, especially in interiors, felt washed out. I don't know if this was the fault of the filmmaker, or aging, or that of the transfer ( I saw the Image DVD edition of this film). Because the plot is so boring, I don't think Hitchcock was able to flex his directorial talents very much. The only thing that really stands out is an impressive long take where the camera follows Wilding around Joseph Cotton's estate as he is introduced to the other guests. Spout Post: Murder, My Sweet http://www.spout.com/blogs/jklugman/archive/2007/7/12/13772.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 7/12/2007 8:53:00 PM
Body: I have to confess that I approached this film somewhat predisposed to not liking it. First, I was introduced to the 1975 version of Raymond Chandler's novel Farewell, My Lovely when I was a teenager, and I loved it for the performances by Mitchum, Rampling, Harry Dean Stanton, John Ireland, and Jack O'Halloran. Second, to some extent I bear Dmytryk some antipathy for naming names at the HUAC hearings.It turned that the first bias really colored my feelings about the film. Frankly, most of the performances are pretty forgettable. Dick Powell is one of the weakest Marlowes ever. Chandler's Marlow is a 38-year old man who makes a living in corrupt Los Angeles as a virtuous and jaded private detective whose understanding of human nature allows him to penetrate the most byzantine of plots hatched by powerful men and alluring femme fatales. Rather, Powell's Marlowe is a grinning idiot and a smug asshole who couldn't survive Chandler's Los Angeles for one day. The same goes for the other performances. As characters were introduced I kept on thinking that their counterpart in the 1975 Farewell, My Lovely did a much better job. The one exception is Otto Kruger, who does a good job playing the villanous Jules Amthor. Dmytryk and his cinematographer Harry J. Wild did make a movie that had some nice shots visually, but since Murder, My Sweet, is so plot- and character-driven, it is sunk, in my view, by the poor acting.
]]>Fri, 13 Jul 2007 00:53:00 GMTjklugmanjklugman Blog7/12/2007 8:53:00 PMI have to confess that I approached this film somewhat predisposed to not liking it. First, I was introduced to the 1975 version of Raymond Chandler's novel Farewell, My Lovely when I was a teenager, and I loved it for the performances by Mitchum, Rampling, Harry Dean Stanton, John Ireland, and Jack O'Halloran. Second, to some extent I bear Dmytryk some antipathy for naming names at the HUAC hearings.It turned that the first bias really colored my feelings about the film. Frankly, most of the performances are pretty forgettable. Dick Powell is one of the weakest Marlowes ever. Chandler's Marlow is a 38-year old man who makes a living in corrupt Los Angeles as a virtuous and jaded private detective whose understanding of human nature allows him to penetrate the most byzantine of plots hatched by powerful men and alluring femme fatales. Rather, Powell's Marlowe is a grinning idiot and a smug asshole who couldn't survive Chandler's Los Angeles for one day. The same goes for the other performances. As characters were introduced I kept on thinking that their counterpart in the 1975 Farewell, My Lovely did a much better job. The one exception is Otto Kruger, who does a good job playing the villanous Jules Amthor. Dmytryk and his cinematographer Harry J. Wild did make a movie that had some nice shots visually, but since Murder, My Sweet, is so plot- and character-driven, it is sunk, in my view, by the poor acting. Spout Post: Gaslight (1940) http://www.spout.com/blogs/jklugman/archive/2007/6/28/12534.aspxPost By: jklugman
Post To: jklugman Blog
Post Date: 6/28/2007 11:12:50 PM
Body: This could have been a stodgy adaptation of a British play about a man who is driving his wife insane to cover up his criminal past. The film is saved by Antom Walbrook, who plays the husband. He gives a controlled performance--at first he seems annoying, but gradually he brings out his character's sinister nature. His character is one of the most despicable I have seen in a long time. As the film progressed I felt more and more tense, and could only get relief when the film ended. Diana Wynyard is also good as the meek and passive woman who is victimized by her husband, although I wish there was more to this character (I suppose she was playing to Victorian ideals of feminity).
]]>Fri, 29 Jun 2007 03:12:50 GMTjklugmanjklugman Blog6/28/2007 11:12:50 PMThis could have been a stodgy adaptation of a British play about a man who is driving his wife insane to cover up his criminal past. The film is saved by Antom Walbrook, who plays the husband. He gives a controlled performance--at first he seems annoying, but gradually he brings out his character's sinister nature. His character is one of the most despicable I have seen in a long time. As the film progressed I felt more and more tense, and could only get relief when the film ended. Diana Wynyard is also good as the meek and passive woman who is victimized by her husband, although I wish there was more to this character (I suppose she was playing to Victorian ideals of feminity). Spout Post: Across 110th Street http://www.spout.com/blogs/jklugman/archive/2007/6/25/12189.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 6/25/2007 10:18:30 PM
Body: Across 110th Street is about three desperate black criminals, whose ambitions are checked by poverty, racism, and their own criminal pasts, who rob the Mafia intending to strike it rich. Instead they end up killing a number of gangsters and two police-officers, and bring a nightmare down on their lives as mobsters ruthlessly hunt them down one by one and torture them for leads to another collaborator. Yaphet Kotto and Anthony Quinn play police officers who are trying to track down the robbers before the Mafia can get to them. Kotto has to deal with the racism, brutality, and corruption of his elder partner.I really like this film. This is one of Kotto's best performances I have ever seen, as a noble detective who is overwhelmed by the situation. The film does not glamorize violence at all--all that violence accomplishes is bring pain, and even its perpetrators become engulfed by it. The biggest problem with the film is that the film is a little too efficient with its narrative, and many of the characters (even the two leads) seem to function merely to advance the plot.
]]>Tue, 26 Jun 2007 02:18:30 GMTjklugmanjklugman Blog6/25/2007 10:18:30 PMAcross 110th Street is about three desperate black criminals, whose ambitions are checked by poverty, racism, and their own criminal pasts, who rob the Mafia intending to strike it rich. Instead they end up killing a number of gangsters and two police-officers, and bring a nightmare down on their lives as mobsters ruthlessly hunt them down one by one and torture them for leads to another collaborator. Yaphet Kotto and Anthony Quinn play police officers who are trying to track down the robbers before the Mafia can get to them. Kotto has to deal with the racism, brutality, and corruption of his elder partner.I really like this film. This is one of Kotto's best performances I have ever seen, as a noble detective who is overwhelmed by the situation. The film does not glamorize violence at all--all that violence accomplishes is bring pain, and even its perpetrators become engulfed by it. The biggest problem with the film is that the film is a little too efficient with its narrative, and many of the characters (even the two leads) seem to function merely to advance the plot. Spout Post: The Namesake (2006) http://www.spout.com/blogs/jklugman/archive/2007/6/21/11637.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 6/21/2007 10:56:07 PM
Body: The Namesake is a family drama that follows a Bengali-American family (the Gangulis) from the parents' courtship in India, move to New York City, and birth and life of their son, Gogol (played by Kal Penn). The film explores the tensions between tradition and assimilation, and between autonomy and family life. Unfortunately I do not believe the film addresses these issues in a particularly interesting way, namely because of its focus on Gogol's coming of age and maturation. Gogol transforms from being obnoxious and self-absorbed to being a good guy who cares about his mama and his Bengali heritage. I didn't buy Kal Penn's performance, and I didn't buy how profound his character's self-realization was. I couldn't shake the feeling that I had seen this kind of story many, many times before. On the plus side, the actors who play the parents do a marvelous job (Irfan Khan as Ashoke, the father, and Tabu as Ashima, the mother). I think their characters' story would have been a more interesting movie than Gogol's.
]]>Fri, 22 Jun 2007 02:56:07 GMTjklugmanjklugman Blog6/21/2007 10:56:07 PMThe Namesake is a family drama that follows a Bengali-American family (the Gangulis) from the parents' courtship in India, move to New York City, and birth and life of their son, Gogol (played by Kal Penn). The film explores the tensions between tradition and assimilation, and between autonomy and family life. Unfortunately I do not believe the film addresses these issues in a particularly interesting way, namely because of its focus on Gogol's coming of age and maturation. Gogol transforms from being obnoxious and self-absorbed to being a good guy who cares about his mama and his Bengali heritage. I didn't buy Kal Penn's performance, and I didn't buy how profound his character's self-realization was. I couldn't shake the feeling that I had seen this kind of story many, many times before. On the plus side, the actors who play the parents do a marvelous job (Irfan Khan as Ashoke, the father, and Tabu as Ashima, the mother). I think their characters' story would have been a more interesting movie than Gogol's. Spout Post: Dr. Jekyll and Mr. Hyde (1941) - unnecessary remake http://www.spout.com/blogs/jklugman/archive/2007/6/19/11404.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 6/19/2007 2:37:00 AM
Body: It is hard to evaluate this film without comparing it to the superior 1931 version (directed by Rouben Mamoulian). To me the 1941 version feels pedantic and stodgy, largely because of Spencer Tracy's performance. Tracy plays Jekyll like a sitcom Dad and consequently there is zero chemistry between him and Lana Turner and him and Ingrid Bergman. Fredric March, who played Jekyll in the 1931 version, actually made you believe his Jekyll was capable of great deeds but also evil deeds. There is no such depth to Tracy's Jekyll performance. When he pontificates about good and eivl the film feels very leaden and talky, because the film is actually taking this nonsense seriously (in the 1931 version, March used these scenes to highlight how grandiose the Jekyll character is). Ingrid Bergman is pretty good in the thankless role of Ivy Peterson (when she realizes her predicament, her depseration is visceral), but to be honest, Miriam Hopkins, who played Ivy in the 1931 version gives a better portrayal of a working-class British woman living in the Victorian era. Come to think of it, Hopkins made the 1931 version much more racier than this one. Which raises the obvious question, why on earth did MGM feel the need to remake this film? It uses the exact same story structure as the 1931 version (both the 1931 and 1941 versions are more directly related to Thomas Russell Sullivan's 1887 stage adaptation than the actual Robert Louis Stevenson novella) and it really doesn't add anything unique that the 1931 version did not have. I originally thought that Mamoulian's use of subjective photography was ostentatious, but after seeing this version, I have come to appreciate Mamoulian's experimental techniques. His diagonal split screens are very memorable (especially the one where Jekyll-as-Hyde runs off into the park while his fiancee is stood up at her party) but the camera work here feels more workmanship than anything else.
]]>Tue, 19 Jun 2007 06:37:00 GMTjklugmanjklugman Blog6/19/2007 2:37:00 AMIt is hard to evaluate this film without comparing it to the superior 1931 version (directed by Rouben Mamoulian). To me the 1941 version feels pedantic and stodgy, largely because of Spencer Tracy's performance. Tracy plays Jekyll like a sitcom Dad and consequently there is zero chemistry between him and Lana Turner and him and Ingrid Bergman. Fredric March, who played Jekyll in the 1931 version, actually made you believe his Jekyll was capable of great deeds but also evil deeds. There is no such depth to Tracy's Jekyll performance. When he pontificates about good and eivl the film feels very leaden and talky, because the film is actually taking this nonsense seriously (in the 1931 version, March used these scenes to highlight how grandiose the Jekyll character is). Ingrid Bergman is pretty good in the thankless role of Ivy Peterson (when she realizes her predicament, her depseration is visceral), but to be honest, Miriam Hopkins, who played Ivy in the 1931 version gives a better portrayal of a working-class British woman living in the Victorian era. Come to think of it, Hopkins made the 1931 version much more racier than this one. Which raises the obvious question, why on earth did MGM feel the need to remake this film? It uses the exact same story structure as the 1931 version (both the 1931 and 1941 versions are more directly related to Thomas Russell Sullivan's 1887 stage adaptation than the actual Robert Louis Stevenson novella) and it really doesn't add anything unique that the 1931 version did not have. I originally thought that Mamoulian's use of subjective photography was ostentatious, but after seeing this version, I have come to appreciate Mamoulian's experimental techniques. His diagonal split screens are very memorable (especially the one where Jekyll-as-Hyde runs off into the park while his fiancee is stood up at her party) but the camera work here feels more workmanship than anything else. Spout Post: Dr. Jekyll and Mr. Hyde http://www.spout.com/blogs/jklugman/archive/2007/6/14/11063.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 6/14/2007 2:24:00 AM
Body: Dr. Jekyll and Mr. Hyde is an emotionally charged film. Fredric March plays Henry Jekyll, a physician who has it all: he's born into wealth; engaged to the beautiful Muriel Carew (Rose Hobart); he tends to the poor, and is beloved by his patients. But you know the story: Jekyll is overconfident that he understands human nature, develops a concoction to separate and distill the good and evil natures in each person, but the concoction leads him to be consumed by his Hyde persona. March is convincing as Jekyll who is at turns kind, impetuous, arrogant, and penitent. But he is really fun to watch as the cackling, sneering, brutal Hyde. The actresses who play the "good Jekyll woman" (Hobart as Carew) and the "bad Hyde woman" (Miriam Hopkins as a working-class prostitute) really make the film work though, because it is how Jekyll/Hyde inflict pain on the women he loves that really drives home the tragedy of the film. I felt touched by Hopkins' performance--her character lusts after the good Jekyll but she is brutalized by Hyde and she realizes too late that rescue by Jekyll is not possible. The film is marred by occassional scenes that come off a bit corny and florid to a 21st century audience. I also thought that Mamoulian's extensive use of subjective photography, especially in the opening scene--verged on being gimmicky and ostentatious. A couple of other things noteworthy about the film: It was pretty racy for its time. Namely, the scene where Hopkins lays in bed with Jekyll in her apartment and it is strongly implied she striped naked to seduce him. One of the most powerful scenes I thought was where Jekyll goes to his fiancee to "set her free", as he does so, the enormity of what he's done dawns on him. This is a man starring into the abyss.
]]>Thu, 14 Jun 2007 06:24:00 GMTjklugmanjklugman Blog6/14/2007 2:24:00 AMDr. Jekyll and Mr. Hyde is an emotionally charged film. Fredric March plays Henry Jekyll, a physician who has it all: he's born into wealth; engaged to the beautiful Muriel Carew (Rose Hobart); he tends to the poor, and is beloved by his patients. But you know the story: Jekyll is overconfident that he understands human nature, develops a concoction to separate and distill the good and evil natures in each person, but the concoction leads him to be consumed by his Hyde persona. March is convincing as Jekyll who is at turns kind, impetuous, arrogant, and penitent. But he is really fun to watch as the cackling, sneering, brutal Hyde. The actresses who play the "good Jekyll woman" (Hobart as Carew) and the "bad Hyde woman" (Miriam Hopkins as a working-class prostitute) really make the film work though, because it is how Jekyll/Hyde inflict pain on the women he loves that really drives home the tragedy of the film. I felt touched by Hopkins' performance--her character lusts after the good Jekyll but she is brutalized by Hyde and she realizes too late that rescue by Jekyll is not possible. The film is marred by occassional scenes that come off a bit corny and florid to a 21st century audience. I also thought that Mamoulian's extensive use of subjective photography, especially in the opening scene--verged on being gimmicky and ostentatious. A couple of other things noteworthy about the film: It was pretty racy for its time. Namely, the scene where Hopkins lays in bed with Jekyll in her apartment and it is strongly implied she striped naked to seduce him. One of the most powerful scenes I thought was where Jekyll goes to his fiancee to "set her free", as he does so, the enormity of what he's done dawns on him. This is a man starring into the abyss. Spout Post: Superfly (*spoilers*) http://www.spout.com/blogs/jklugman/archive/2007/6/4/10075.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 6/4/2007 12:18:57 AM
Body: After suffering through Sweet Sweetback's Baadasssss Song and being underwhelmed by Shaft, I had low expectations for my third blaxploitation film. I was pleasantly surprised by Superfly, and I ended up loving it. The acting in this film is actually good. Ron O'Neal and Carl Lee , as the film's "heroes", play off each other very well. O'Neal's Youngblood Priest is serious and reflective, realizing his life as a cocaine dealer is not all there is. Carl Lee's Eddie is more flippant and ultimately corruptable. When he tells Priest he is OK with being owned, his character becomes simultaneously pathetic and scary, because we know there is nothing to stop him from selling out his friends. Unlike in SSBS and Shaft, the police are convincing villains, they are effective, corrupt, and pose a real threat to the hero (whereas in the other films they come off more as clowns). Finally, the ending is unusual, in that the hero does have a climatic confrontation with the film's villain and triumphs over him, but his victory is a tentative and ironic one, and the viewer is left to doubt if Priest will truly be able to escape his cage. It goes without saying that my enjoyment of the film was probably due in no small part to Curtis Mayfield's musical score. The music, the setting, the costumes, all scream "1970s" and I loved it.
]]>Mon, 04 Jun 2007 04:18:57 GMTjklugmanjklugman Blog6/4/2007 12:18:57 AMAfter suffering through Sweet Sweetback's Baadasssss Song and being underwhelmed by Shaft, I had low expectations for my third blaxploitation film. I was pleasantly surprised by Superfly, and I ended up loving it. The acting in this film is actually good. Ron O'Neal and Carl Lee , as the film's "heroes", play off each other very well. O'Neal's Youngblood Priest is serious and reflective, realizing his life as a cocaine dealer is not all there is. Carl Lee's Eddie is more flippant and ultimately corruptable. When he tells Priest he is OK with being owned, his character becomes simultaneously pathetic and scary, because we know there is nothing to stop him from selling out his friends. Unlike in SSBS and Shaft, the police are convincing villains, they are effective, corrupt, and pose a real threat to the hero (whereas in the other films they come off more as clowns). Finally, the ending is unusual, in that the hero does have a climatic confrontation with the film's villain and triumphs over him, but his victory is a tentative and ironic one, and the viewer is left to doubt if Priest will truly be able to escape his cage. It goes without saying that my enjoyment of the film was probably due in no small part to Curtis Mayfield's musical score. The music, the setting, the costumes, all scream "1970s" and I loved it. Spout Post: Intermezzo (and Sunrise) (spoilers) http://www.spout.com/blogs/jklugman/archive/2007/5/25/9297.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 5/25/2007 12:47:00 AM
Body: Intermezzo is famous for being the first film where Ingrid Bergman had a starring role. It is also a very mediocre film; I cannot imagine that it would live on today in VHS and DVD releases if Ingrid Bergman had not become a famous film performer.The film is about a famous violinist (Gösta Ekman) in Stockholm who falls in love with a up-and-coming pianist (Bergman). He leaves his wife and children to have an affair with her as they travel around Europe. Both Bergman and Ekman begin to have second doubts about their affair; ultimately Bergman goes to study in France and Ekman returns to his wife and children. Ekman and his wife reunite, their relationship strengthened after going through a traumatic and life-threatning experience.This is a very conventional story, with a conventional moral, and is shot in a very conventional way. Visually the film is pretty forgettable. The most memorable shot is early on in the film, when Ekman and Bergman face each other while walking at night in Stockholm. The corner of a large building sticks out prominently in the background, as if it represents some kind of barrier or line between the two. Ekman's acting is pretty stiff and it is hard to believe that Bergman's character would fall so deeply in love with such a drip. The film comes off as very preachy, trying hard to extol the virtues of family life (I've seen another one of Bergman's 1930s Swedish films--Walpurgis Nights--and it too has a very preachy, pro-family tone).What is really striking to me is that Intermezzo's dramatic arc is similar to a F. W. Murnau's Sunrise: A Song of Two Humans, made in 1927 in the United States. Sunrise is also about a wayward husband who gets disenchanted with married life, is tempted by another woman, nearly wrecks his relationship with his wife, but the couple reconcile and their relationship ends up being stronger after going through a traumatic experience. But Sunrise is so, so much better than Intermezzo. Murnau creates a dream-like vision that gives the story a sense of being a universal fable. Murnau is talking about the human condition. Gustaf Molander (the director of Intermezzo) is giving the family values crowd a soap opera. I am no classical music expert (or enthusiast) but since Intermezzo is about a violinist and a pianist, music does play a significant role in the film, and I found it utterly non-compelling. Timothy Brock's score for Sunrise (available on the DVD) contributes to its bittersweet and reflective tone.
]]>Fri, 25 May 2007 04:47:00 GMTjklugmanjklugman Blog5/25/2007 12:47:00 AMIntermezzo is famous for being the first film where Ingrid Bergman had a starring role. It is also a very mediocre film; I cannot imagine that it would live on today in VHS and DVD releases if Ingrid Bergman had not become a famous film performer.The film is about a famous violinist (Gösta Ekman) in Stockholm who falls in love with a up-and-coming pianist (Bergman). He leaves his wife and children to have an affair with her as they travel around Europe. Both Bergman and Ekman begin to have second doubts about their affair; ultimately Bergman goes to study in France and Ekman returns to his wife and children. Ekman and his wife reunite, their relationship strengthened after going through a traumatic and life-threatning experience.This is a very conventional story, with a conventional moral, and is shot in a very conventional way. Visually the film is pretty forgettable. The most memorable shot is early on in the film, when Ekman and Bergman face each other while walking at night in Stockholm. The corner of a large building sticks out prominently in the background, as if it represents some kind of barrier or line between the two. Ekman's acting is pretty stiff and it is hard to believe that Bergman's character would fall so deeply in love with such a drip. The film comes off as very preachy, trying hard to extol the virtues of family life (I've seen another one of Bergman's 1930s Swedish films--Walpurgis Nights--and it too has a very preachy, pro-family tone).What is really striking to me is that Intermezzo's dramatic arc is similar to a F. W. Murnau's Sunrise: A Song of Two Humans, made in 1927 in the United States. Sunrise is also about a wayward husband who gets disenchanted with married life, is tempted by another woman, nearly wrecks his relationship with his wife, but the couple reconcile and their relationship ends up being stronger after going through a traumatic experience. But Sunrise is so, so much better than Intermezzo. Murnau creates a dream-like vision that gives the story a sense of being a universal fable. Murnau is talking about the human condition. Gustaf Molander (the director of Intermezzo) is giving the family values crowd a soap opera. I am no classical music expert (or enthusiast) but since Intermezzo is about a violinist and a pianist, music does play a significant role in the film, and I found it utterly non-compelling. Timothy Brock's score for Sunrise (available on the DVD) contributes to its bittersweet and reflective tone. Spout Post: Baadasssss! http://www.spout.com/blogs/jklugman/archive/2007/5/19/9045.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 5/19/2007 11:58:00 PM
Body: Baadasssss is a lot more accessible and enjoyable than the actual film (Sweet Sweetback's Baadasssss Song) that is its subject. Baadasssss does suffer from a few cliches that are common in these biopics of artists: the melodramatic scenes where the artist gets his inspiration; the artist as unappreciated genius triumphing against all odds; the driven artist who alienates his loved ones. Still, despite these flaws, Mario Van Peebles makes Baadasssss work. The hero, SSBS's director Melvin Van Peebles is an interesting person who is at turns charismatic and driven, but also selfish, obsessive, and callous, even to his own 13-year old son whom he casts in a sex scene. It is a credit to Mario Van Peebles' acting that he makes the viewer care about how Melvin triumphs over all of the obstacles placed in his way. Mario Van Peebles is supported by great actors, such as Rainn Wilson, who plays his hippie partner; Terry Crews, who plays a thug-turned-sound mixer; and Khleo Thomas who plays Melvin's son Mario (among others). Addendum: One other thing that was a little disappointing was the relatively one-dimensional roles given to the women. Nia Long is the loving, long-suffering girlfriend who gets treated like crap by Melvin; Joy Bryant is the ditzy secretary who has the annoying quirk of auditioning for roles by overacting; and Karimah Westbrook as the "soul sister" who gets conned & manipulated into performing in a sex scene.
]]>Sun, 20 May 2007 03:58:00 GMTjklugmanjklugman Blog5/19/2007 11:58:00 PMBaadasssss is a lot more accessible and enjoyable than the actual film (Sweet Sweetback's Baadasssss Song) that is its subject. Baadasssss does suffer from a few cliches that are common in these biopics of artists: the melodramatic scenes where the artist gets his inspiration; the artist as unappreciated genius triumphing against all odds; the driven artist who alienates his loved ones. Still, despite these flaws, Mario Van Peebles makes Baadasssss work. The hero, SSBS's director Melvin Van Peebles is an interesting person who is at turns charismatic and driven, but also selfish, obsessive, and callous, even to his own 13-year old son whom he casts in a sex scene. It is a credit to Mario Van Peebles' acting that he makes the viewer care about how Melvin triumphs over all of the obstacles placed in his way. Mario Van Peebles is supported by great actors, such as Rainn Wilson, who plays his hippie partner; Terry Crews, who plays a thug-turned-sound mixer; and Khleo Thomas who plays Melvin's son Mario (among others). Addendum: One other thing that was a little disappointing was the relatively one-dimensional roles given to the women. Nia Long is the loving, long-suffering girlfriend who gets treated like crap by Melvin; Joy Bryant is the ditzy secretary who has the annoying quirk of auditioning for roles by overacting; and Karimah Westbrook as the "soul sister" who gets conned & manipulated into performing in a sex scene. Spout Post: Great story weighed down by poor acting, dialogue, & music http://www.spout.com/blogs/jklugman/archive/2007/5/17/8925.aspx Post By: jklugman
Post To: jklugman Blog
Post Date: 5/17/2007 1:12:03 AM
Body: For Whom the Bell Tolls has an interesting story which the synopsis here does not do justice. Gary Cooper and the guerilla band he's allied with realize that the chances of successfully bombing the bridge without sacrificing their own lives are diminishing with every setback, and Cooper has to deal with the tension between following his duty to the Spanish Republic and his romance with Maria.Unfortunately, the film can't live up to this story. While Cooper's character has found a new purpose and source of joy in his relationship with Maria, Cooper plays him like Captain America, and there is no question he will follow his orders, even if it means his death. The one scene that had the most emotional impact for me (where some trapped guerillas lure an arrogant Nationalist officer out so they can kill him) did not involve Cooper or Bergman at all. The dialogue is corny--I especially winced at Ingrid Bergman's lines, where she talks about how much she loves Robert Jordan and how much she can't wait to take care of him, etc. etc. I really hope this came from the screenwriter and not Hemingway. In short, even though the Spanish Republic and the lives of Cooper's and Bergman's characters are in extreme danger, the acting and dialogue prevented me from really caring. The score by Victor Young was also fairly repetitive and obtrusive. It felt as if the filmmakers were desperately pleading with the audience to feel sad for the Republican guerrillas. In other regards the film is competently done, for its time period. The production values are excellent, so for the most part I could buy that Jordan was in mountainous Spain. None of the people playing the Spanish guerillas were actually Spanish, but that didn't bother me.
]]>Thu, 17 May 2007 05:12:03 GMTjklugmanjklugman Blog5/17/2007 1:12:03 AMFor Whom the Bell Tolls has an interesting story which the synopsis here does not do justice. Gary Cooper and the guerilla band he's allied with realize that the chances of successfully bombing the bridge without sacrificing their own lives are diminishing with every setback, and Cooper has to deal with the tension between following his duty to the Spanish Republic and his romance with Maria.Unfortunately, the film can't live up to this story. While Cooper's character has found a new purpose and source of joy in his relationship with Maria, Cooper plays him like Captain America, and there is no question he will follow his orders, even if it means his death. The one scene that had the most emotional impact for me (where some trapped guerillas lure an arrogant Nationalist officer out so they can kill him) did not involve Cooper or Bergman at all. The dialogue is corny--I especially winced at Ingrid Bergman's lines, where she talks about how much she loves Robert Jordan and how much she can't wait to take care of him, etc. etc. I really hope this came from the screenwriter and not Hemingway. In short, even though the Spanish Republic and the lives of Cooper's and Bergman's characters are in extreme danger, the acting and dialogue prevented me from really caring. The score by Victor Young was also fairly repetitive and obtrusive. It felt as if the filmmakers were desperately pleading with the audience to feel sad for the Republican guerrillas. In other regards the film is competently done, for its time period. The production values are excellent, so for the most part I could buy that Jordan was in mountainous Spain. None of the people playing the Spanish guerillas were actually Spanish, but that didn't bother me. Spout Member:The_MOW - Mickey Micklon http://www.spout.com/members/148616/default.aspx Identity: The_MOW
Name: Mickey Micklon
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]]>Sun, 30 Aug 2009 04:00:00 GMTThe_MOWMickey Micklon369Uberlister (>100)Sat, 04 Apr 2009 11:50:30 GMTMember Spout Member:horror http://www.spout.com/members/144661/default.aspx Identity: horror
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]]>Sun, 30 Aug 2009 04:00:00 GMTfire13110Beginner (<10)Sat, 01 Sep 2007 21:48:24 GMTMember Spout Member:Argueta http://www.spout.com/members/91469/default.aspx Identity: Argueta
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]]>Sun, 30 Aug 2009 04:00:00 GMTArgueta0Beginner (<10)Fri, 31 Aug 2007 20:52:15 GMTMember Film:Funny Games http://www.spout.com/films/Funny_Games/288707/default.aspx Title: Funny Games
Year: 2007
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]]>Mon, 31 Aug 2009 12:47:00 GMTFunny Games2007Michael Haneke27Tag Target (>10)241483http://www.spout.com/ProductImages/s288707.jpghttp://www.spout.com/films/Funny_Games/288707/default.aspxFilm Film:The Dark Knight http://www.spout.com/films/The_Dark_Knight/288704/default.aspx Title: The Dark Knight
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]]>Sun, 30 Aug 2009 23:13:34 GMTThe Dark Knight2008Christopher Nolan149Tag Target (>10)98156554http://www.spout.com/ProductImages/s288704.jpghttp://www.spout.com/films/The_Dark_Knight/288704/default.aspxFilm Film:H2 http://www.spout.com/films/H2/397884/default.aspx Title: H2
Year: 2009
Director: Rob Zombie
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SpoutRating: 1
]]>Sun, 30 Aug 2009 08:45:58 GMTH22009Rob Zombie111http://www.spout.com/ProductImages/s397884.jpghttp://www.spout.com/films/H2/397884/default.aspxFilm Film:Eleanor: First Lady of the World http://www.spout.com/films/Eleanor_First_Lady_of_the_World/10331/default.aspx Title: Eleanor: First Lady of the World
Year: 1982
Director: John Erman
Number of blog posts: 1
]]>Sun, 30 Aug 2009 02:47:51 GMTEleanor: First Lady of the World1982John Erman1http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Eleanor_First_Lady_of_the_World/10331/default.aspxFilm Film:Black Test Car http://www.spout.com/films/Black_Test_Car/328181/default.aspx Title: Black Test Car
Year: 1962
Number of Lists: 2
SpoutRating: 4
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Number of Lists: 1
]]>Sat, 29 Aug 2009 15:53:10 GMTDumpster BabyJames Bickert1http://www.spout.com/ProductImages/t76920jjhow.jpghttp://www.spout.com/films/Dumpster_Baby/273527/default.aspxFilm Film:Rick http://www.spout.com/films/Rick/235722/default.aspx Title: Rick
Year: 2002
Director: Curtiss Clayton
Times Tagged: 1
Number of Lists: 1
SpoutRating: 2
]]>Sat, 29 Aug 2009 14:32:48 GMTRick2002Curtiss Clayton1Slightly Tagged (1-5)12http://www.spout.com/ProductImages/t51978e8qnf.jpghttp://www.spout.com/films/Rick/235722/default.aspxFilm Film:Speed Racer http://www.spout.com/films/Speed_Racer/297765/default.aspx Title: Speed Racer
Year: 2008
Director: Andy Wachowski, Larry Wachowski
Times Tagged: 90
Number of Lists: 16
Number of blog posts: 41
Number of discussion threads: 16
SpoutRating: 3
]]>Sat, 29 Aug 2009 14:21:45 GMTSpeed Racer2008Andy Wachowski, Larry Wachowski90Tag Target (>10)1641163http://www.spout.com/ProductImages/s297765.jpghttp://www.spout.com/films/Speed_Racer/297765/default.aspxFilm Film:Speed Racer [Anime Series] http://www.spout.com/films/Speed_Racer_Anime_Series/32330/default.aspx Title: Speed Racer [Anime Series]
Year: 1967
Number of Lists: 1
Number of blog posts: 1
Number of discussion threads: 1
SpoutRating: 3
]]>Sat, 29 Aug 2009 14:20:43 GMTSpeed Racer [Anime Series]19671113http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Speed_Racer_Anime_Series/32330/default.aspxFilm Film:The Raven http://www.spout.com/films/The_Raven/317289/default.aspx Title: The Raven
Year: 2007
Director: Ulli Lommel
Number of blog posts: 2
SpoutRating: 1
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Year: 1991
Director: Simon Callow
Number of blog posts: 2
SpoutRating: 2
]]>Fri, 28 Aug 2009 19:25:24 GMTThe Ballad of the Sad Cafe1991Simon Callow22http://www.spout.com/ProductImages/t54643em1b1.jpghttp://www.spout.com/films/The_Ballad_of_the_Sad_Cafe/2239/default.aspxFilm Film:New York, New York http://www.spout.com/films/New_York_New_York/24524/default.aspx Title: New York, New York
Year: 1977
Director: Martin Scorsese
Times Tagged: 23
Number of Lists: 12
Number of blog posts: 57
Number of discussion threads: 2
SpoutRating: 2
]]>Fri, 28 Aug 2009 19:22:40 GMTNew York, New York1977Martin Scorsese23Tag Target (>10)125722http://www.spout.com/ProductImages/u47828gvtpe.jpghttp://www.spout.com/films/New_York_New_York/24524/default.aspxFilm Film:St. Nick http://www.spout.com/films/St_Nick/402616/default.aspx Title: St. Nick
Year: 2009
Director: David Lowery
Times Tagged: 3
Number of Lists: 2
Number of blog posts: 5
SpoutRating: 5
]]>Fri, 28 Aug 2009 15:01:06 GMTSt. Nick2009David Lowery3Slightly Tagged (1-5)255http://www.spout.com/ProductImages/s402616.jpghttp://www.spout.com/films/St_Nick/402616/default.aspxFilm Film:We Are the Strange http://www.spout.com/films/We_Are_the_Strange/314016/default.aspx Title: We Are the Strange
Year: 2007
Director: M dot Strange
Number of Lists: 3
Number of blog posts: 3
SpoutRating: 4
]]>Fri, 28 Aug 2009 14:25:52 GMTWe Are the Strange2007M dot Strange334http://www.spout.com/ProductImages/s314016.jpghttp://www.spout.com/films/We_Are_the_Strange/314016/default.aspxFilm Film:The Sadist http://www.spout.com/films/The_Sadist/29811/default.aspx Title: The Sadist
Year: 1963
Director: James Landis
Number of Lists: 4
SpoutRating: 3
]]>Fri, 28 Aug 2009 14:08:29 GMTThe Sadist1963James Landis43http://www.spout.com/ProductImages/t27402rl1sl.jpghttp://www.spout.com/films/The_Sadist/29811/default.aspxFilm Film:The Alligator People http://www.spout.com/films/The_Alligator_People/50507/default.aspx Title: The Alligator People
Year: 1959
Director: Roy Del Ruth
Number of Lists: 2
Number of blog posts: 1
SpoutRating: 2
]]>Fri, 28 Aug 2009 14:04:19 GMTThe Alligator People1959Roy Del Ruth212http://www.spout.com/ProductImages/t46806zj8ua.jpghttp://www.spout.com/films/The_Alligator_People/50507/default.aspxFilm