Movie news on your iPhone today!
Advertisement
Sign in
Username   Password         Forgot password?
Wanna join? Sign up
Find movies you'll love

SpoutBlog on spout.com

  • 5 State Skits That Should Be Movies

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Guys and Dolls  (1955)

    My Fair Lady  (1964)

    Spaceballs  (1987)

    West Side Story  (1961)

    Cats  (1998)

    Galaxy Quest  (2009)

    Taxi  (2004)

    The Pacifier  (2005)

    Step Brothers  (2008)

    The Ten  (2007)

    Lincoln  (2009)

    W.  (2008)

    Role Models  (2008)

    When it was announced that David Wain would be directing Role Models — taking over from The Girl Next Door’s Luke Greenfield — there was room for disappointment. After all, for Wain to follow up his anarchic cult favorites Wet Hot American Summer and The Ten with a seemingly mainstream man-child comedy — one more suited to the talents of Todd Phillips or, well, Greenfield — was to crush his fans’ hopes for something more along the lines of his wacky web series, such as Wainy Days and Stella, or the old MTV sketch comedy show, The State.

    But Role Models does look funny, probably because Wain ended up rewriting (with Paul Rudd and Ken Marino) Timothy Dowling’s original script. And it’s not as if Wain has suddenly gone and sold out with a bunch of really broad family films, as did his former State mates Thomas Lennon and Ben Garant, the screenwriting duo behind The Pacifier, Night at the Museum and Taxi. Still, many of us are holding out for that rumored State movie, or even better, a big screen adaptation of any of the following State sketches:

    Louie (aka the “I wanna dip my balls in it” guy)

    The ensemble behind The State was never interested in recurring characters, but MTV supposedly pressured the show to be more like SNL, and so the ironic “Louie” was born. As little more than a joke on recurring characters and their catch-phrases, “Louie” may not seem the best character to mine for a feature-length movie. But considering Wain and the others were likely just as against sketches spinning off into movies as they were against recurring characters, it would be suitable for such a film, something to lampoon the Lorne Michaels tradition, if that’s at all possible. And I can already see the ad campaigns: posters with just a release date and the words “Dip Your Balls In It.”

    Lincoln Logs: The Unauthorized Biography of Honest Abe

    After the release of Oliver Stone’s W., something like this deserves to be made into a movie. Maybe Stone could even direct it from a script by some of the State writers. It could complete his evil Republican president trilogy. And if they act quick enough, it would be awesome if the movie could go up against Steven Spielberg’s Lincoln.

    The Bearded Men of Space Station 11

    This skit really stretches a single joke really thin (like many State sketches), but the simple premise — a space station crew is illogically incarcerated for growing beards in space — could be a mere jumping ground for an hilarious sci-fi comedy. Sure, the genre has hardly been successful outside of Spaceballs and Galaxy Quest, but if anyone can give us another great parodic outer space movie, it’s Wain and friends. Think of Hitchcock’s wrong man scenario, multiply it times five, and throw in a lot of silly shenanigans.

    Porcupine Racetrack

    This simple cross between Guys and Dolls, Cats and the “Ascot Gavotte” scene from My Fair Lady is so, so stupid, yet so, so brilliant. And a feature-length version would be as surprisingly beloved as the skit was, especially if there’s some way of also slipping in some reference to the “Gang Fight” skit (that was the “Beat It” video meets West Side Story segment involving an Amish street gang), the “Super Robby” skit (turns out the orphanage that needs saving is cruelly convincing kids they can fly out windows) and the “Mind Match” skit (the orphans are ultimately given away as prizes on a game show). If anything, a silly song penned by Teddy Shapiro would have to receive an Oscar nomination, thereby elevating the Hollywood cred of the State ensemble enough for potentially more ridiculous films.

    The Inbred Brothers

    I’ve come to realize that most of these movie ideas come from skits likely conceived by Lennon and Garant. This only furthers the point that the pair NEEDS to work on something State-related before putting on the blindfold and writing Night at the Museum 3. And there’s really no better project than a movie based on their Inbred Brothers characters, Emmett and Lyle. Think of Step Brothers with an even dumber duo. How could this not be a success? The merchandising alone is worthy: t-shirts that say “Whaddamydoin?”; talking dolls that also hit themselves in the head with sticks; Halloween costumes (I actually was a non-specific “Inbred Brother” for Halloween back in the ’90s). To make the dream complete, though, Michael Ian Black has to appear as the French exchange student.


    Originally posted on:SpoutBlog

  • Twister Recut. Clip of the Day

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Coma  (1978)

    His Girl Friday  (1940)

    Congo  (1995)

    Twister  (1996)

    Timeline  (2003)

    Michael Crichton died unexpectedly of cancer yesterday at the age of 66. In his honor, I thought about posting a montage of clips from movies he wrote and/or directed and/or which were adapted from his novels. But the one I found, despite making some of the lesser adaptations (Congo; Timeline) seem better than they actually are, wasn’t quite as long or in depth as I’d hoped. And I couldn’t merely include a scene or trailer for a single film, because it’s impossible to choose one work that best exemplifies his career. No, not even Jurassic Park is worthy.

    So, I’m going a little indirect and showcasing this recut trailer for Twister, a movie Crichton scripted with his then wife, Anne-Marie Martin. Not only do I think Twister is underrated, but I think this is one of the better recut trailers around, mainly because the voiceover sounds more legit than most amateur efforts. The fact that Crichton had penned the screenplay to Twister was immediately a surprise to anyone watching the movie, which hardly even seemed to have a foundation of story or dialogue prior to being shot. It had seemed that director Jan De Bont went into a wide expanse of Midwest farmland with a loose synopsis to His Girl Friday and a lot of ideas for spectacular CG tornado effects to be added in during post.

    It doesn’t matter if Crichton had simply written the movie for an easy paycheck, though. If you’ve ever read any of his science fiction novels, you know he’s an intelligent guy with impeccable storytelling skills. Sometimes his narratives are so fluid that it seems he’s writing with the expectation of the book being later made into a movie. Actually, for The Lost World, that’s clearly what he’s doing. But then there are books like Congo, which when adapted reveal some basic truths for why certain stories are better suited to literature and aren’t so easily translated to film language.

    I had a love and hate relationship with Crichton’s work throughout my life, having been first introduced to him through my father’s favorite film, The Andromeda Strain, as a little kid. I’ve been afraid of science ever since, though it didn’t stop me from becoming obsessed with Jurassic Park as a teenager. I later experienced my first real disappointment with a film adaptation when Spielberg’s movie arrived (”where was the river ride? and the pterosaurs?” I cried), yet I ultimately realized how great that movie actually is after reading and then watching Congo. And then another year later, I was flabbergasted with how simple Twister is. And like a number of others, the disappointment with the script initially disrupted the enjoyment of how entertaining the movie is, as a simple disaster pic.

    Anyway, Crichton also gave us great films like Westworld, Coma, The Great Train Robbery, and in some ways, we can kind of thank him for George Clooney’s stardom. via TV’s ER. He will be missed.


    Originally posted on:SpoutBlog

  • Jean Claude Van Damme: Five Moments That Are More Fun Than JCVD

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Bloodsport  (1988)

    Double Impact  (1991)

    Kickboxer  (1989)

    Monaco Forever  (1983)

    Street Fighter  (1994)

    JCVD opens wide this weekend, and it’s no secret that I wasn’t a huge fan of the movie. Still, the screening I attended in Toronto was thronged with college students, howling at every mention of Van Damme’s name, so it’s safe to say that the Muscles from Brussels still enjoys a lot of popularity. It’s just unfortunate that people think that translates to JCVD being a good film. It’s not. So to swing the scales in the other direction, here are five moments from Jean Claude Van Damme films that are a lot more fun than anything in JCVD.

    Cutting a rug in Kickboxer

    Not only can Van Damme get his jam on (and is he playing air guitar a little bit?), he also kicks ass against all comers, without even missing a beat. The best part of the scene is the guy who snatches a bottle off the bar and breaks it, only to have Van Damme roundhouse him to the face. That guy sure didn’t look that determined, almost as if he knew what was coming.

    Inspiring the troops in Street Fighter

    You probably wouldn’t have expected Raul Julia, Kylie Minogue, Ming Na-Wen and Jean Claude to share the screen, but they did in this 1994 adaptation of the popular arcade game Street Fighter. Jean Claude addresses the Allied Nation troops after finding out that General Bison is holding hostages and demanding $20 billion dollars. He even does exactly what he promises in this speech: he gets in his boat, and goes to kick Bison’s ass. Patton had nothing on this guy.

    Fighting himself in Double Impact

    What’s better than one Van Damme? Two Van Dammes! He plays his own twin brother in this 1991 movie where they’re both out for revenge on the people who killed their parents. Separated after their parents died when they were kids, Chad was given a cushy living while Alex had to turn to petty crime to survive. Strangely, they both end up learning advanced martial arts training. In the above scene they square off against each other (’bad’ Van Damme Alex even slaps a girl!), but they eventually team up and go after their parents’ murderers. Classic Van Damme.

    Vs. Chong Li in the final fight in Bloodsport

    One of his first (and arguably one of his best) movies, Bloodsport follows the supposedly true events of American Frank W. Dux (Van Damme) as he goes to Hong Kong and fights in the illegal and underground Kumite match — which is a bit like UFC on major steroids. He fights through three rounds to end up against the reigning champion, and even though his opponent fights dirty, Van Damme still triumphs in the end. It’s a Rocky-like moment for martial artists everywhere.


    As ‘Gay Karate Man’ in Monaco Forever

    One of Van Damme’s first speaking roles ever was as ‘Gay Karate Man’ (no kidding) in the 1984 French film Monaco Forever. He has a small part as a man tooling down the road in karate wear for some reason, who gets a little fresh with a tuxedoed hitchhiker. When the hitchhiker tries to teach him some manners, Van Damme kicks the air a few times until the guy runs off in fast-motion, Benny Hill-style. His “Okayyyy” line directly to the camera is priceless.


    Originally posted on:SpoutBlog

  • Presidential Appeal: Bill Clinton By John Travolta

    Was this review helpful? [Be the first to tell us!]
    Under discussion:

    Primary Colors  (1998)

    My mom has the hots for President Clinton as badly as I swoon for Arnold Schwarzenegger, both of us turning into goofy schoolgirls at the mere mention of our respective crushes. While the Governator’s arrogant, aggressive virility drives me wild, personally I’ve never fantasized about Arkansas charmer Slick Willy.

    And yet I’d be thrilled to bed John Travolta

    , who embodied Bill Clinton via the character of Jack Stanton in Mike Nichols’ 1998 Primary Colors, a thinly veiled account of the would-be president’s rise to stardom during the 1992 primaries, with a swift-moving screenplay by Elaine May based on political reporter Joe Klein’s originally “Anonymous” novel. Travolta as Stanton perfectly captured the sexy essence of Clinton then topped it with his well-honed movie star touch.

    The similarities between the two aging icons are striking. Primary Colors begins and ends with the famous “Stanton handshake,” shots of the many ways the southern governor greets his supporters, the positioning of his free hand on an arm sending a subliminal signal, from sparkling playfulness to grave empathy, to the adoring fan. He connects with people through pressing the flesh, literally through touch. Stanton, like Clinton, is a visceral character, full of warmth and life. Which also perfectly describes Travolta, who has always cultivated the same image of accessibility, the Jersey boy from the hardworking Irish-Italian-American family who never forgot his roots. Neither Stanton/Clinton nor Travolta were silver spoon fed; both earned fame and fortune through sheer sweat and tenacity.

    In fact, it’s nearly impossible to imagine either Clinton or Travolta being spoon-fed at all. Even as Stanton shoves a donut in his mouth as if he’s popping a peanut, Travolta’s own hearty appetite shines right through. These are men of insatiable hunger who attack life with gusto. They’re also not afraid to play by their own rules. Who would have thought a small-time southern politician with a campaign run by passionate novices would become leader of the free world? Who could have imagined the dude who played Vinnie Barbarino would become an international sex symbol? I’m sure Travolta, like Clinton, never thought it farfetched for a second.

    And this especially is the root of their steamy appeal: a combination of knowing self-confidence, charm and good looks coupled with a downright honest vulnerability. There’s a lost little boy innocence locked inside their big men’s bodies. Stanton weeps openly as a man in an adult literacy program describes the shame he felt upon graduating with an honor in “attendance” –  Clinton’s “I feel your pain” core personified. Likewise, Travolta as sweet Vincent Vega dancing and whacking his way through Pulp Fiction, and especially turning in an astonishingly mature, heartrending performance as Tony Manero in Saturday Night Fever, garnered Academy Award nominations – and these things just don’t go to guys who fear wearing their hearts on their sleeves.

    Which doesn’t mean that they’re not also shrewd and calculating. In Primary Colors Stanton has the foresight to have his arrest at the DNC convention in ’68 expunged from the record, lest it return to haunt him. I don’t think it’s an accident that before the flops following Urban Cowboy, Travolta was untouchable, box office gold. Though both men are gamblers never shying from heart-pounding risk (Stanton/Clinton with his serial infidelities, Travolta starring as Edna Turnblad in the remake of Hairspray), they’re also experts at planning the next move while making it look like it was all divine provenance.

    In Primary Colors Stanton refers to Lincoln being a whore before he was a president. There’s something sexy about a man who doesn’t mind getting his working hands dirty – who revels in the mud. And yet sly Stanton/Clinton won the presidency by wooing voters like a patient respectful lover. “Now don’t break our hearts,” a campaign staffer says to Stanton at his inauguration. No coincidence it’s a specialty that’s always been Travolta’s own stock in trade.


    Originally posted on:SpoutBlog

  • Obama’s Win to End Hollywood Stereotyping? Trade Roughage 11/05/08

    Was this review helpful? [Be the first to tell us!]


    Originally posted on:SpoutBlog