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Exiles of the New York Times
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Author Topic: Movies  (Read 33902 times)
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madupont
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« Reply #3000 on: December 30, 2007, 02:29:46 PM »

For whomever it was that posted a doubt that Tommy Lee Jones
can act.

http://youtube.com/watch?v=WpFvd8mr9uk&feature=related
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madupont
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« Reply #3001 on: December 30, 2007, 02:41:04 PM »

Now for the great Jbottle:

Here is the "big blond" to whom I was recently referring re: Old Movies,especially those in which John Garfield displays his talent.

It turns out that Ms. Bassinger(not the one from L.A.Confidential)wrote a book, since she is head of a Film Studies Dept.  She discusses how the "persona" was invented by the Studios, a mechanism that I mention to those who want to become stars and are confused about what is acting and what isn't.

http://www.nytimes.com/imagepages/2007/12/30/books/30darg.html
 
http://www.nytimes.com/2007/12/30/books/review/Dargis-t.html?
ref=books

Then Mahnola Dargis was required to review the Bassinger book and somewhere between the two of them comes a new critique.   Of us. It implies that the change over from the studio system(which was a period when we as viewers believed, "those were the stars as real people rather than the system-designed-persona") resulted in our contemporary attitude that movie actors are people like us.  Sometimes....
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madupont
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« Reply #3002 on: December 30, 2007, 02:58:00 PM »

jbottle,re:#3001

where you mentioned Chris Walken being paid for a "trailer"...
This reminded me that of all the favorite Walken roles, I think this is tops, it is the Western as a Southern, only not very far South at that, it is a true story set in my locale and that is why the film was pointed out to me so that I would learn more about the circumstances of the case that terrorized my neighborhood before I got there.

 
Sean Penn                             Christopher Walken
the corrupted son who betrays his vicious father in ''At Close Range,''

In this film, Walken manages to create a character that he plays as the closest thing to a white rendition of Little Richard!  Sean Penn's role is inevitably brought up when James Lippman interviews Penn (although the character is rather theoretical and written to give Walken a son in order to imply how this gang was made up of more than one generation of killers). It is brought up by Lippman, however, to discuss acting tricks to produce desired results in the person whom you are playing opposite.
http://www.imdb.com/title/tt0090670/#comment
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madupont
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« Reply #3003 on: December 30, 2007, 03:01:02 PM »

Ps,"...case that terrorized my neighborhood before I got there."


 (that was not to imply that i terrorized my neighborhood when i got there!)
« Last Edit: December 31, 2007, 01:06:31 AM by madupont » Logged
oilcanboyd23
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« Reply #3004 on: December 30, 2007, 07:49:42 PM »

"No Country For Old Men" *** SPOILERS ***

Moss is dead on the floor of that motel room, shot I presume by Chigurh.  What was your take on that?

No, I think a group of Mexican guys (who we never meet) shot Moss - associates of the guy who helped Carla Jean's mother with her luggage.  I think Chigurh got there later.
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« Reply #3005 on: December 30, 2007, 09:12:31 PM »

That's a thought.  I remember wondering, "Who the heck are these guys?"
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barton
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« Reply #3006 on: December 31, 2007, 11:31:07 AM »

Someday you'll be a Superhero Member and probing these mysteries will be as routine as a cup of coffee.

Rumors of "Atonement" release in the U.S. have been greatly exaggerated. 

BTW, did anyone see "The Mist"?  I remember reading the novella in King's "Graveyard Shift" collection years ago and sort of liking it, chock full of King's rural downeaster stereotypes.  I imagine the regionality was purged in the movie.

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oilcanboyd23
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« Reply #3007 on: December 31, 2007, 01:24:51 PM »

"No Country For Old Men" *** SPOILER ***

That's a thought.  I remember wondering, "Who the heck are these guys?"

I think that's what they were going for in that sequence. 

The POV from Bell's car isn't really the best perspective for seeing what's happening, and the "Who the heck are these guys" feeling sort of sets up the "UMPH" of the feeling you get when you finally get to the spot where the action took place, and you see Moss laying dead on the floor and you're wondering, "Wait, is that Moss?  Is he just dead and I didn't even get to see what happened to him?"
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madupont
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« Reply #3008 on: December 31, 2007, 08:41:01 PM »

Sorry,Barton, it went by me THIS LAST WEEK.  I read Andre Braugher's remarks but he is about as communicative as  Jake Gyllenhaal. I do, however consider him one of the really top actors which is why I watched so much of Homicide:Life on the Street(and thereby considered some other fine actors).  But he has never made that upper echelon of receiving the good offers; possibly it isn't being written for him. People like Will Smith would always have material on tap; he has an ownership in Paramount, I believe.    THOSE ARE THE BREAKS.
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madupont
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« Reply #3009 on: January 01, 2008, 10:02:43 PM »

Anybody seen, Ill Met by Moonlight, 1957? Dirk Bogarde, partisans in Greece, Nazis, etc.
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Urethra_Franklin
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« Reply #3010 on: January 02, 2008, 06:50:52 AM »

Funniest movie I've seen all year, haha......










Seriously though, it greatly exceeded my expectations.  I laughed throughout the entire film.


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Urethra_Franklin
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« Reply #3011 on: January 02, 2008, 07:13:45 AM »

"No Country For Old Men" *** SPOILER ***

That's a thought.  I remember wondering, "Who the heck are these guys?"

I think that's what they were going for in that sequence. 

The POV from Bell's car isn't really the best perspective for seeing what's happening, and the "Who the heck are these guys" feeling sort of sets up the "UMPH" of the feeling you get when you finally get to the spot where the action took place, and you see Moss laying dead on the floor and you're wondering, "Wait, is that Moss?  Is he just dead and I didn't even get to see what happened to him?"


The only problem I have with NCFOM is the ill-defined death of Moss.  With that much character development, at least give the audience some respect by actually showing his demise.


Still the best movie I've seen in a while.  I love the dialogue between Sugar and the senile gas station attendant.



Oh yeah, almost forgot....




****SPOILER*****
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oilcanboyd23
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« Reply #3012 on: January 02, 2008, 09:18:28 AM »

"No Country For Old Men" *** SPOILER ***

The only problem I have with NCFOM is the ill-defined death of Moss.  With that much character development, at least give the audience some respect by actually showing his demise.


Judging from the reaction of the 3 theater audiences with whom I've seen the movie, I think most people agree with you.
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barton
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« Reply #3013 on: January 02, 2008, 12:17:25 PM »

Saw "I am Legend" --watchable, but still prefer Omega Man, where the creatures have (sort of) actual personalities and are a bit more layered than the cannibalistic monsters of IaL.  Still, Smith does a credible, if somewhat hammy, job with the material and, thank goodness, talks to mannikins instead of soccer balls.  SPOILERS  I might have thought to stuff myself into the steel hidey hole with the Brazilian cutie and the boy and just lob out the grenade before shutting it, but I guess he could take out more of the ghouls his way and it saves us from a romantic subplot late in the narrative.  Also, he being a brilliant scientist with seemingly immense resources, a portable UV lamp might have saved him a bit of trouble here and there.





   
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oilcanboyd23
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« Reply #3014 on: January 02, 2008, 12:38:36 PM »

"I Am Legend" *** SPOILER ***

I might have thought to stuff myself into the steel hidey hole with the Brazilian cutie and the boy and just lob out the grenade before shutting it, but I guess he could take out more of the ghouls his way and it saves us from a romantic subplot late in the narrative.     

You don't know that the hidey-hole was sealable from the inside - had he first activated the grenade, chucked it through the hole in the plexiglass and then jumped into the hidey hole, he might not have been able to shut the door behind him securely before the grenade went kablooey.  Since the cure was in the vial held by the girl, doing it like he did it was the safest way in terms of protecting the cure.

As to the title, "I Am Legend":

I didn't see "The Omega Man", so maybe this comes up in that movie, and again, this is NOT a gripe (I liked "I Am Legend") but rather a question:  Why name the movie "I Am Legend", especially when the ending and thus the meaning of the title is nothing at all like the book?

In the book, the title ends up describing the twist at the end - the vampires kill Neville, but before they do, he realizes that he is the monster and they are the fearful, and that for as long as they exist, he will be the subject of their nightmares, etc.  In the movie, they slapped on a voice-over at the end, presumably to give some explanation as to the movie's title, re: since Neville came up with the cure, he is a "legend" for giving hope to all of us human survivors, etc.

Every decision is about making $$$, I know, but does the title "I Am Legend" confer any revenue-generating advantage?  Okay, it's the name of the book, but so what?  Have enough people read the book so that the studio would say, "Hey, if we name the movie 'I Am Legend', then we'll get the people who read the book to come and see it..."?   It doesn't make sense to me, since the # of people who read the book is probably 1/1000000 of the number of people who will say, "Hey let's go see that Will Smith zombie movie..."
« Last Edit: January 02, 2008, 12:40:47 PM by oilcanboyd23 » Logged
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