A few of these I think I know:
Glenn Close/Martin Short in Mars Attacks (I shouldn't know this movie - I hated it)
Goldie Hawn and Drew Barrymore in Everyone Says I Love You
Orson Welles and Peter Sellers in Casino Royale (another dud)
Paul Newman and Dennis Hopper in Cool Hand Luke
I would have to wholly agree that the "Galaxy Quest" deleted scenes are fantastic. I wish they hadn't been left out of the movie - some are that funny. The added footage in the original "Alien" is pretty good, too.
I am sure you have been anticipating my comment on your surprising inclusion of BEN HUR on your disappointing movies list, so here it is. From your brief comments on the movie in your list, you sound as if you, like so many others, watch the movie with a very limited viewpoint. The film is indeed the ultimate epic, and Charleton Heston is not exactly the best actor in the world, but I fail to see how the story doesn't make up for where he lacks. I personally don't watch BEN HUR for Heston, but for the story since I think it is incredibly satisfying. Judah's nemesis is amazingly and relentlessly venomous, like Iago, to him and his family. The plight of his mother and sister evokes the greatest of sympathies from me that I can't wait to see Judah find a way to exact his revenge against his former friend. I feel very much for the victims in this movie - they are innocent and wrongfully accused by people who know they are innocent - and I respond to them very sincerely. It is not like most movies today - I think the responses of the characters to their fate is extremely sincere, not the kind of manufactured conflict you get in most movies today. And, yes, the chariot scene is something, as is Massaba's painful death, Judah in the galley, the reuniting of Judah and his leprosy-stricken family (and the fact that he does not shy away from them, but still embraces them), and the great ending. The film is called BEN-HUR: THE STORY OF THE CHRIST, and this is where I find its greatest strength of meaning and message, as Christ finds His way in and out of Judah's life. And the crucifixion cleansing Judah's mother and sister of the wrongs upon them (and the sight of His blood mixing with the rain to cleanse the world), I think is a FINE FINE moment in movie history. I cry a lot at this film, just like I cry when I read or see a version of OTHELLO. What happens to the characters and their reactions to their fates are so gut-wrenching to me. I can't believe these strengths are not enough to avoid making this list.
I think that what is most interesting about Dr. Strangelove, like many of Kubrick's films, is that the subtext of the script is much more important to the understanding of the movie than the mere story. Is this really a Cold War movie? Or is it a movie that is about sex? Inability of sex drives Major Ripper; the possibility of sex drives Stangelove and the rest of the President's cabinet; Premier Kissov is engaged in sex when the President calls; the airplane crew read Playboy magazines and such. The whole film is inundated with the idea that sex drives people's actions. This is also evident in Lolita, of course, but the reason people hated Lolita when it came out, I think, was that Kubrick decided to make the serious nature of the story humorous. Just think of the extremely funny scene of the roll-away bed. Ironically, the movie that Kubrick made where sex is out in the open - Eyes Wide Shut - is a big disappointment.
I had a read a review of this book months ago, and from the get-go it sounded like a must read, though I have not gotten to it yet. Sinclair's "The Jungle" probably isn't that much different in comaprison, even though the technology of food processing has altered dramatically in the last century. But it is still a dirty business, where people are exploited, cleanliness is only marginal, and morality is certainly questionable, even today. I know someone who did become a vegetarian after reading this particular book.
Books like this make you think about the connections between things that are not always readily apparent. Not really related per se, but other good eye-openers (which have very similar titles coincidentally) are "Asphalt Nation" (Kay) and "Suburban Nation" (Duany). They may not be as gruesome, but they really demonstrate the consequences for actions we either take for granted or just choose to ignore altogether.
36. Ed Burns' character in "She's the One" is a cab driver.
I have a question. Do you want to ask it?
"What is Tucker's full real name in 'There's Something About Mary?"
Well, in Aliens, the scene in which Ripley goes back down from the surface to get Newt, while the entire planet is crumbling around her, is one of my favorite suspense/action sequences in the entire series.
The whole train wreck in The Fugitive is certainly noteworthy, as is when the Marshalls first get sight of Kimball, and chase him through the bowels of the dam, ending with him jumping.
And while maybe not necessarily an action scene (I don't know what qualifies in your definition), per se, I think the chase in Raising Arizona is one to consider.
I couldn't agree more with both comments made about this movie, and especially the politics of the prize. At least the Academy Awards largely rewards things that have some level of merit. There are those, like the Grammys in particular, that seem to totally disregard quality. Popularity often does not equal quality, as something like Hannibal will attest to.
Out of the nominated pictures, and I saw all except Chocolat, Traffic was clearly the best. It had all the makings of something special, from excellent writing and acting, and from beautiful editing and rendering to a very important social and political message. This without compromising the fact that it is also entertaining. I really liked the director's comments during the show. His winning was to me the most satisfying moment.
The guy who sings that song is actually a member of Union Station, which is Alison Krauss's band. He joined the band recently, so only from "So Long So Wrong" to the present is he part of the band. He sings at least a couple of songs on the album. For my money, though, the best Alsion Krauss album I own is "Everytime You Say Goodbye." There is so much great bluegrass music, including Flatt and Scruggs, the founders of the modern 5 string banjo bluegrass style, but others include JD Crowe, the New Grass Revival, Sam Bush, and others for music with vocals. For music without vocals, I recommend highly "Tales From the Acoustic Planet Vol. 2 : The Bluegrass Sessions" by Bela Fleck and also "Drive" by Bela Fleck. The soundtrack to "O Brother," though, is primarily music that is about the roots of Southern Folk, Blues and Gospel, and the beginnings of American Music. If you like the other music on the album, a great Delta Blues album is "Call Down the Thunder," by Guy Davis. Alison Krauss's albums almost always have a gospel piece of some sort. Chris Thomas King's "Me, My Guitar, and the Blues" is an interesting fusion of old and new genres. Some old Bonnie Raitt albums (priot to the 90s) really explore the beginnings of blues music in the USA and are much better than he pop albums. The Staple Singers are great for gospel, as is Sam Cooke's old music with the Soul Stirrers. And even Alison Krauss does a gospel album with the Cox Family that is quite good. I am very happy to have been turned on to Krauss's music because (besides having a voice like an angel) her explorations into the roots of American music always wield great results.
On the flip side, you could do a list of films about prodigies or exeptional people that overcome adversity, because there are an awful lot of those.
Examples being: Hillary and Jackie, Shine, Good Will Hunting, etc etc
I have noticed this trend for a number of years - if you play the retarded person, the handicapped person, a member of the opposite sex, or any other person with some kind of obvious eccentricity, you are seemingly automatically nominated for an oscar, and will frequently win. Linda Hunt, Holly Hunter, Dustin Hoffman, Al Pacino, Tom Hanks, etc., come to mind. And I like many of these performances and consider them good enough for accolades, but not enough "normal" portrayals win awards. It is EXTREMELY difficult to act "normal," more so than it is to play someone blind or mute, which can fall into the trap of being "over the top," as this article indicated. Some of the most egregious mistakes in the Oscars have been overlooking Paul Neuman in this instance, Anthony Hopkins in "The Remains of the Day" (he did win for playing a diabolical cannibal, however), Ralph Fiennes in "Schindler's List" (he lost to Tommy Lee Jones!), and Peter Fonda in "Ulee's Gold." Their seemingly simple, but very complex portrayals of their characters in these films sometimes makes my jaw drop in awe. I cry every time I watch the scenes in "The Remains of the Day" when Ms. Kenton approaches Mr. Stephens as he is "caught" reading a romance novel, and when Mr Stephens learns of his father's death. They are so understated that the true pain and emotional turmoil of the character, which are aggressively suppressed, comes out tenfold for me. This is the sign of the true tearjerker for me. Debra Winger dying in "Terms of Endearment" is less emotional than how Shirley McLaine reacts to it afterward - her energy is sapped so greatly that it even effects how she merely stands up. Could it be that it is more emotional powerful to watch an actor who has been sapped of energy, instead of one who overexerts to portray the eccentricities?
Actually, Stumpy beat me on #20. I didn't even read the responses first.
A few of these I think I know:
Glenn Close/Martin Short in Mars Attacks (I shouldn't know this movie - I hated it)
Goldie Hawn and Drew Barrymore in Everyone Says I Love You
Orson Welles and Peter Sellers in Casino Royale (another dud)
Paul Newman and Dennis Hopper in Cool Hand Luke
Am I right? And do I get a prize?
I would have to wholly agree that the "Galaxy Quest" deleted scenes are fantastic. I wish they hadn't been left out of the movie - some are that funny. The added footage in the original "Alien" is pretty good, too.
I am sure you have been anticipating my comment on your surprising inclusion of BEN HUR on your disappointing movies list, so here it is. From your brief comments on the movie in your list, you sound as if you, like so many others, watch the movie with a very limited viewpoint. The film is indeed the ultimate epic, and Charleton Heston is not exactly the best actor in the world, but I fail to see how the story doesn't make up for where he lacks. I personally don't watch BEN HUR for Heston, but for the story since I think it is incredibly satisfying. Judah's nemesis is amazingly and relentlessly venomous, like Iago, to him and his family. The plight of his mother and sister evokes the greatest of sympathies from me that I can't wait to see Judah find a way to exact his revenge against his former friend. I feel very much for the victims in this movie - they are innocent and wrongfully accused by people who know they are innocent - and I respond to them very sincerely. It is not like most movies today - I think the responses of the characters to their fate is extremely sincere, not the kind of manufactured conflict you get in most movies today. And, yes, the chariot scene is something, as is Massaba's painful death, Judah in the galley, the reuniting of Judah and his leprosy-stricken family (and the fact that he does not shy away from them, but still embraces them), and the great ending. The film is called BEN-HUR: THE STORY OF THE CHRIST, and this is where I find its greatest strength of meaning and message, as Christ finds His way in and out of Judah's life. And the crucifixion cleansing Judah's mother and sister of the wrongs upon them (and the sight of His blood mixing with the rain to cleanse the world), I think is a FINE FINE moment in movie history. I cry a lot at this film, just like I cry when I read or see a version of OTHELLO. What happens to the characters and their reactions to their fates are so gut-wrenching to me. I can't believe these strengths are not enough to avoid making this list.
I think that what is most interesting about Dr. Strangelove, like many of Kubrick's films, is that the subtext of the script is much more important to the understanding of the movie than the mere story. Is this really a Cold War movie? Or is it a movie that is about sex? Inability of sex drives Major Ripper; the possibility of sex drives Stangelove and the rest of the President's cabinet; Premier Kissov is engaged in sex when the President calls; the airplane crew read Playboy magazines and such. The whole film is inundated with the idea that sex drives people's actions. This is also evident in Lolita, of course, but the reason people hated Lolita when it came out, I think, was that Kubrick decided to make the serious nature of the story humorous. Just think of the extremely funny scene of the roll-away bed. Ironically, the movie that Kubrick made where sex is out in the open - Eyes Wide Shut - is a big disappointment.
I had a read a review of this book months ago, and from the get-go it sounded like a must read, though I have not gotten to it yet. Sinclair's "The Jungle" probably isn't that much different in comaprison, even though the technology of food processing has altered dramatically in the last century. But it is still a dirty business, where people are exploited, cleanliness is only marginal, and morality is certainly questionable, even today. I know someone who did become a vegetarian after reading this particular book.
Books like this make you think about the connections between things that are not always readily apparent. Not really related per se, but other good eye-openers (which have very similar titles coincidentally) are "Asphalt Nation" (Kay) and "Suburban Nation" (Duany). They may not be as gruesome, but they really demonstrate the consequences for actions we either take for granted or just choose to ignore altogether.
36. Ed Burns' character in "She's the One" is a cab driver.
I have a question. Do you want to ask it?
"What is Tucker's full real name in 'There's Something About Mary?"
7 Six days (and actually, both Trent and Sue say "six days" simultaneously)
15 Francis Sawyer ("any of you guys call me Francis, I'll kill ya")
Well, in Aliens, the scene in which Ripley goes back down from the surface to get Newt, while the entire planet is crumbling around her, is one of my favorite suspense/action sequences in the entire series.
The whole train wreck in The Fugitive is certainly noteworthy, as is when the Marshalls first get sight of Kimball, and chase him through the bowels of the dam, ending with him jumping.
And while maybe not necessarily an action scene (I don't know what qualifies in your definition), per se, I think the chase in Raising Arizona is one to consider.
7 I think is John Goodman in "Barton Fink"
15 Charles Grodin in "Midnight Run"
42 Brad Pitt/Edward Norton in "Fight Club"
74 Alan Parsons Project
84 REO Speedwagon
86 Stevie Nicks
87 Depeche Mode
I couldn't agree more with both comments made about this movie, and especially the politics of the prize. At least the Academy Awards largely rewards things that have some level of merit. There are those, like the Grammys in particular, that seem to totally disregard quality. Popularity often does not equal quality, as something like Hannibal will attest to.
Out of the nominated pictures, and I saw all except Chocolat, Traffic was clearly the best. It had all the makings of something special, from excellent writing and acting, and from beautiful editing and rendering to a very important social and political message. This without compromising the fact that it is also entertaining. I really liked the director's comments during the show. His winning was to me the most satisfying moment.
The guy who sings that song is actually a member of Union Station, which is Alison Krauss's band. He joined the band recently, so only from "So Long So Wrong" to the present is he part of the band. He sings at least a couple of songs on the album. For my money, though, the best Alsion Krauss album I own is "Everytime You Say Goodbye." There is so much great bluegrass music, including Flatt and Scruggs, the founders of the modern 5 string banjo bluegrass style, but others include JD Crowe, the New Grass Revival, Sam Bush, and others for music with vocals. For music without vocals, I recommend highly "Tales From the Acoustic Planet Vol. 2 : The Bluegrass Sessions" by Bela Fleck and also "Drive" by Bela Fleck. The soundtrack to "O Brother," though, is primarily music that is about the roots of Southern Folk, Blues and Gospel, and the beginnings of American Music. If you like the other music on the album, a great Delta Blues album is "Call Down the Thunder," by Guy Davis. Alison Krauss's albums almost always have a gospel piece of some sort. Chris Thomas King's "Me, My Guitar, and the Blues" is an interesting fusion of old and new genres. Some old Bonnie Raitt albums (priot to the 90s) really explore the beginnings of blues music in the USA and are much better than he pop albums. The Staple Singers are great for gospel, as is Sam Cooke's old music with the Soul Stirrers. And even Alison Krauss does a gospel album with the Cox Family that is quite good. I am very happy to have been turned on to Krauss's music because (besides having a voice like an angel) her explorations into the roots of American music always wield great results.
On the flip side, you could do a list of films about prodigies or exeptional people that overcome adversity, because there are an awful lot of those.
Examples being: Hillary and Jackie, Shine, Good Will Hunting, etc etc
I have noticed this trend for a number of years - if you play the retarded person, the handicapped person, a member of the opposite sex, or any other person with some kind of obvious eccentricity, you are seemingly automatically nominated for an oscar, and will frequently win. Linda Hunt, Holly Hunter, Dustin Hoffman, Al Pacino, Tom Hanks, etc., come to mind. And I like many of these performances and consider them good enough for accolades, but not enough "normal" portrayals win awards. It is EXTREMELY difficult to act "normal," more so than it is to play someone blind or mute, which can fall into the trap of being "over the top," as this article indicated. Some of the most egregious mistakes in the Oscars have been overlooking Paul Neuman in this instance, Anthony Hopkins in "The Remains of the Day" (he did win for playing a diabolical cannibal, however), Ralph Fiennes in "Schindler's List" (he lost to Tommy Lee Jones!), and Peter Fonda in "Ulee's Gold." Their seemingly simple, but very complex portrayals of their characters in these films sometimes makes my jaw drop in awe. I cry every time I watch the scenes in "The Remains of the Day" when Ms. Kenton approaches Mr. Stephens as he is "caught" reading a romance novel, and when Mr Stephens learns of his father's death. They are so understated that the true pain and emotional turmoil of the character, which are aggressively suppressed, comes out tenfold for me. This is the sign of the true tearjerker for me. Debra Winger dying in "Terms of Endearment" is less emotional than how Shirley McLaine reacts to it afterward - her energy is sapped so greatly that it even effects how she merely stands up. Could it be that it is more emotional powerful to watch an actor who has been sapped of energy, instead of one who overexerts to portray the eccentricities?