Mo: Yeah, that's right. I just gave you the most awesome task ever. I'm going to provide a picture of a dinosaur. I want you to provide a movie that goes with it. Travis: Something tells me you like dinosaurs? And I won't be a bitch and say The Land Before Time for the first one. 1. Brontosaurus  Travis: Boogie Nights Julianne Moore and Mark Wahlberg have this weird mother-son relationship in Boogie Nights. They're not actually mother and son, but they act like it, so watching Amber Waves break Dirk Diggler's porno cherry carries the same aura as a mother dropping her son off for the first day of school. Is it me, or does that Brontosaurus seem to be enjoying that kiss a little too much...  Travis: The Royal Tenenbaums I don't know. This is stupid. I just thought of Gwyneth Paltrow and her wooden finger for some reason. 3. Raptor Jesus  Travis: RoboCop Or basically any movie that uses someone as a giant metaphor for Jesus fuckin' Christ. The Matrix, The Day the Earth Stood Still, and like 20 other Keanu Reeves movies have done this. Hardball? I don't know, probably. Actually, as soon as I saw that image, I immediately thought of the mural episode of Parks and Recreation, and how Donna made a Greg Kinnear Jesus. 4. Sinclair  Travis: Baby Geniuses, Superbabies: Baby Geniuses 2 I hate you for making me remember these movies exist. 5. HAHAHAsaurus  Travis: Rent This kid reminds me of Rosario Dawson. And she's in Rent. And Rent is one of my least favorite movies of all time. And this picture is one of my least favorite pictures of all time. So it all connects. Add Comment Travis: It's Soundtrack Thursday here at work. We take requests. Clueless is playing now. I own no nostalgic attachment to it, but it's incredible that an entire crowd of people can hear any one of these songs and remember the first time they saw fucking Clueless. So how's bouts it? 5 movie soundtracks that create a fire in your belly. As an added bonus, I'll list the soundtracks we listen to today. Requests are welcome (if they're done before 3, that is): 1. Clueless 2. Donnie Darko 3. Superbad 4. Sixteen Candles 5. The Graduate 6. The Breakfast Club 7. Hard Day's Night 8. Purple Rain 9. Reality Bites 10. Drive Winner winner, chicken dinner. Mo: ROLLING WITH THE HOMIES! This is going to be a pretty pathetic list, since, oddly, I don't pay much attention to the soundtracks of movies. They sort of sweep over me. But. 1. Aladdin 2. Lion King (yeah, it's that kind of list) 3. Phantom of the Opera 4. A Knight's Tale 5. No Country For Old Men What about you, T? Travis: That is a little odd. I love movie soundtracks. Sometimes, like with Drive, their just so goddamn pivotal to the story and its themes. But I'll go ahead and make my list for the fuck of it: 1. West Side Story I feel really nerdy for this one. I like musicals. but no musical has ever come close to Singin' in the Rain. But the West Side Story soundtrack and score is that good. The overture is incredible, with the flashing colors in the opening sequence depicting the tone of the rest of the film. It's so adventurous and fleeting and essential to the film, I don't think I've seen another one like it. I'm over the whole Romeo & Juliet aspect of it all, but the score will forever remain incredible.  2. Halloween I guess I'm dipping into scores, but I've never made the distinction between the two. They both accompany the movie and dictate the mood. And I'll be damned if the Halloween score doesn't send chills down my spine. Jesus this is such a perfect fucking movie. I don't even have to discuss it further.  3. Nashville Gotta love when the soundtrack features songs sung by characters in the film. Each of the songs was written originally for the film, so each one goes that much further in flushing out the characters. "It Don't Worry Me" makes me think of the closing moments of the film...and it just makes me wanna cry.  4. Boogie Nights I love Magnolia, but Boogie Nights is the best soundtrack to come from a Paul Thomas Anderson film. It's just stuffed from front to back, but each of the songs has its own personality in the film. The Emotions, Eric Burdon, Electronic Light Orchestra, Marvin Gaye, Night Ranger...it even features Mark Walhberg and John C. Reilly singing "Feel the Heat," which just cracks me up every time. LOVE IT LOVE IT LOVE IT LOVE IT LOVE IT LOVE IT LOVE IT LOVE IT.......  5. Drive I'll beat this into the ground until the day I die: I've never heard a soundtrack so integral to a film than Drive's. Driver (Ryan Gosling) essentially forms his own soundtrack of cheesy pop music to coincide with his corrupted mind, which basically has Driver trapped in a shitty 80s action flick. And Jesus, College's "A Real Hero" is just a fucking amazing song. Done. Next.  For Travis: your reaction to this story 03/28/2012
Mo: the below story is from Collider The live-action adaptation of the manga/anime Akira has apparently sunk back into development hell. The movie was beginning to move into pre-production after having cast Garrett Hedlund as Kaneda, and Warner Bros. was in various stages of negotiations with Kristen Stewart, Gary Oldman, and Helena Bonham Carter. The studio was also trying to find the film’s other male lead to play Tetsuo. Wrath of the Titans actor Toby Kebbell was one of the actors being considered, and he was excited for the chance to play the part until he read the script. Hit the jump for what Kebbell, a fan of the original manga and anime, had to say about Warners’ take on the story. Speaking to IFC [via The Playlist], Kebbell said he was confused about why Warners wouldn’t want to use the manga as a launching point if they were planning to turn Akira into a franchise: “They were like, ‘This is going to be a big franchise!’” he explained. “So I said, ‘Then in that case, understand that I’ve read the comics, and I’ve read the comics that got turned into the annuals, and then the annuals that got turned into the one-off anime. So if you really want to do it, then why don’t you look at the six comics and just put two into each film?’” But the studio wanted to use the anime (which was based on the manga) as the basis for the live-action adaptation: “They were like, ‘Welllll…’” he shrugged. “So I told them, ‘Then this is a remake [of the animated movie], and I don’t want to do a live-action remake of the cartoon, because [the cartoon] is perfect and you’re not going to do it dark enough — so therefore, I don’t want to do it.” It’s clear that Kebbell is a true fan, especially when he points out the short comings of the anime, and how the studio’s plan to make Tetsuo and Kaneda brothers was a terrible idea: “I was desperate to play Tetsuo, but Tetsuo in the comic and annual form,” he explained. “He’s brilliant in the anime, but if you know anything about the comics, they cut so much of the story out. You care about him, because it’s brilliantly done, but you don’t really care about Kaneda, who isn’t.” “The other thing they wanted to do was make [Tetsuo and Kaneda] brothers,” he continued. “I was like, ‘The point is that Tetsuo can’t comprehend how someone who isn’t his brother could love him so much — and that’s where his wrath and his rage come from. Do you not see that? Why have you made them brothers? What the fuck are you doing?’” Kebbell doesn’t expect to get the part since he’s made the unforgivable error of giving his honest and well-informed opinion. He’s still eager to see a live-action Akira movie, but he’s disappointed at the studio’s approach. My respect for Kebbell has now increased exponentially. He was willing to torpedo any chance he had at starring in a blockbuster adaptation of one of his favorite stories because he didn’t feel the adaptation would be true to the story he loved. How do you feel about this, Travis? (+5 rhyming bonus for me) Travis: I have a few different reactions to this story—as a lover of film, and as a journalist. And, er…as a rational human being. Let’s let the rational side of me take over for a minute: What is Kebbell thinking? It seemed both gutsy and unprofessional to pull a move like that. The way he spoke to the production company regarding the project and his unwillingness to participate in a butchered adaptation pretty much ensures he won’t be starring in this film. So why the angst? He’s out giving interviews, giving away plot points and important components of the story (however misguided they may be). I’m all for voicing one’s opinion, but certain situations require a certain bit of restraint. Here, he probably should have hinted at his distaste for the script. Delving into details? Seems a bit douchey. On the other hand, it’s refreshing to hear the passionate side of an actor. His reaction and public outcry may be childish, but if I was so closely involved with one of my nostalgic treasures, I’d want to react as well. He wants the best possible adaptation for this film, so he’s pressing the filmmakers to do so. But here’s the thing: he’s not the screenwriter. He’s the actor. It’s like when Will Smith turns down any script he’s not allowed to tinker with himself. It’s so fucking annoying. If you really want to control these things, go the Woody Allen or Sean Penn route. You’re perfectly capable of integrating yourself into other aspects of the business. If you don’t have the gumption to do so, shouting cries of help about the film you’re starring in shouldn’t be the next-best option. As a lover of film, it sounds like this is another sad case of a film studio that has no connection to the audience. They live in this bubble that’s disconnected from the outside world and have no idea how to build a movie to please the masses. As seen with The Hunger Games, hitting on every major aspect of the story seems to do justice, but they don't realize they're sacrificing the substance and themes of the tale. In Akira’s case, throwing a $200 million budget into a beloved franchise indicates they want a lot of flash and flare. But the screenplay apparently indicates the filmmakers have no true sense of the original film. Akira, a good film, is perpetuated to higher standards because of its cult following. Remaking Akira isn’t an attempt to recreate a masterpiece—it’s obviously done to rouse a minimal fan base that’s more vocal than your average moviegoer. If that’s the case…then this is sad. The public outcry on the Internet has done nothing to halt production and the butchering of the source material, indicating the filmmakers have no intention of actually accepting input from the cult following it set out to appease. But then again, the $200 million budget suggests otherwise. They want this film to make lots of money. But the original fan base doesn’t want the film. Newcomers know nothing about the original film. How do they expect to make their money back? Again: they are so disconnected from the movie-going world that these baffling decisions are simply explained away by ignorance. It would be cool if they were attempting to stir debate and rebel against preconceived notions regarding the film—instead it’s just incompetence. How fucking boring… And, most importantly (for me), as a journalist, this story sucks ass. I don’t read Collider and I don’t know its style regarding objectivity, but it clearly doesn’t exist. Which is fine. If that’s the standard you’ve set for your publication, as seen with AV Club and other great pop culture entities, then it doesn’t question your journalistic integrity. But with such freedom comes the burden of presenting both sides of an issue, of which the writer did not do. It’s the sort of pat-on-the-back mentality that plagues both film criticism and the downfall of journalism, simply siding with Kebbell and not condoning any of his actions. There were many ways to relate this story, but the author seemed pretty content in regurgitating what casual fans would already be thinking, instead of challenging them. It’s pretty pathetic. Disgusting, in fact. Was that the reaction you were looking for? Huh? HUH??!! Anyway, anything you want to add Modigliani? Mo: Wow! I did not expect this reaction. I honestly hadn't thought so much about it. So your answer was very...illuminating! Talk about challenging the reader. I had sort of expected you to be like "Fuck yeah, Kebbell!" I would add. I get what you're saying about Kebbell being unprofessional by revealing plot details and taking this public. I like that he's challenging the studio. They have stupid ideas, he's making it known. I'm guessing it's because he hopes that by taking it public it will force the studio to make positive changes, even if it ruins his chances and his business-reputation (though I'm sure he'll gain fans in the public realm). I like the idea in theory. What if someone had spoken up about Last Airbender? Or Dragon Ball? But I can see it tipping into a negative realm. What if someone thought the Batman Begins script was stupid and talked shit about it? So actors and actresses start commenting on plots. Fans start demanding changes. You'll start having the entire plot of a movie known before it even comes out. Or you start having directors and screenwriters giving press-conferences where they are forced to defend their films in front of fans, revealing crucial details, answering any and all questions. Studios start letting fans vote on plots points. Etc. etc. So I get why he revealed details. I thought it was cool. But thinking about the implications, not so sure I like it... Especially with all the power of remakes today. I almost think it's not a bad idea for someone to make a bad version of a movie. Let Warners make an awful movie. Two years later, they can hire a new team and try again. And if that fails, try again. Now that's an implication I like. I'd be fine with seeing a movie tried in various ways. Like. Gladiator was awesome as done by Ridley Scott. What would David Fincher have done with the script? Or Tarantino. We already saw this done with Dragon Tattoo, and I think it was done successfully. We have two versions of Snow White coming out. Why not three more? Especially if each interpretation is different and better. I would say the standards of adapting a novel-to-film are Goblet of Fire and Fincher's Dragon Tattoo. And what's the thing they show us? Length does matter. The Hunger Games is 142 minutes. That was good to hit all the plot points. It should have been 150+. 160. Then we could have gotten the substance the film lacked. (Hey there David Yates, you know all about the problem of "length"). Collider isn't objective at all. I didn't find the article's journalism as egregious as you did. But. I see what you're saying. And I respect where you're coming from. I feel the same way about high school and college sports. They can be exciting, but they're not...elite. The best college football team cannot compete against the best professional football team--so why would I watch college athletes play? "It's exciting! They play because they love the sport!" Yeah, but...they lose the ball, they drop easy passes, they swing at terrible, terrible pitches...they make a lot of mistakes. You want Major League Journalism. And that doesn't mean boring or cliche or typical. It just means you want athleticism and skill at its finest. The best journalism in the land. An aspect of that is thoroughness. This response is all over the place. Does it even make sense? Travis: Sure does. And I don't want to relay the wrong idea about Collider--they seem great. But this isn't journalism. This is why I spend more time furiously rubbing my head reading a news article than anything else. Technically...it's just plain awful to not fully present a story. I see it happening and I see it influencing younger writers. Same with movie reviews. It's a never-ending cycle that keeps corrupting each new generation of writers. OK, I'm done. New question. Travis: While The Hunger Games surprisingly shattered box office records, Miss Jennifer Lawrence seemed to shatter Modigliani's heart. Name five actors/actresses that you fell head-over-heels for after watching one of their performances. Mo: Good question. Like, "that's a really good question." Like, "you asked a good question." Not like, "I don't know, good question." I most certainly know the answers to this question (said in the most creepy voice possible because I doubt any of them will ever read this. If they one day do: "What's up?") Ready to see a really diverse group of women? 5. Lilly Collins - The Blind Side  4. Emma Roberts - I've never seen a movie she's in, but I love her  3. Jennifer Lawrence - Jennifer Lawrence Marries Me (it's a limited release, only available in my dreams, I play me, Jennifer Lawrence plays herself, and we get married and it's awesome. Not available on DVD.)  2. Keira Knightley - Pirates of the Caribbean: Curse of the Black Pearl  1. Scarlett Johansson - Lost in Translation  Um...is it...just me...or do they all...sort of look alike? Hey, wait. Why did you title this 5 actors/actresses? Though, I should include:  Travis: Heath Ledger--that's why. Mo: Let's get to know Travis a little bit, yeah? What are 5 films that, when they're over, you're just ready to go....ride a tiger, arm wrestle Lou Ferrigno, top gun Top Gun, run a prostitute ring out of your house, etc. etc. Travis: This is a tough one for me…not because I can’t come up with five films, but because NONE of them are action films, and I feel as though that genre would be most fitting for this category. In all honesty, action is my least favorite genre. Not because an action movie can’t be as good as any drama or comedy…but because the field is so weak. Also, action movies have not molded the fine young Cinema Bean that stands before you. Nonetheless, I’ve done it, so here we go: five movies that make wanna me scream, “Fuck yeah!” and go punch the nearest person in the face. 1. Pulp motherfuckin’ Fiction How could this movie not get you riled up? The build up, the inevitably, the closure. It’s all so fucking perfect. “It’s the one that says ‘Bad Motherfucker.’” CHILLLLLLS. And it all ends with Jules (Samuel L. Jackson) repeating his speech about the shepherd with a gun to some punk's mug, except it takes on a whole new meaning. Unbelievable. When he and Vincent (John Travolta) walk out of that restaurant in their baggy-ass clothes, it just…makes me wanna light my mom's couch on fire!   2. Adaptation Rarely does a film feature a character whose only desire is to become happier…and then allows him or her to succeed. For as cynical as Charlie Kaufman can be, I’ve rarely seen a film end so optimistically fitting. And as Charlie (good ole Nicky Cage) goes riding off into the sunset Charlie Chaplin style (minus the nonsensical babbling), Spike Jonze ends it perfectly: a time lapse of flowers blooming and deblooming, rounding out Cage’s journey and giving two grand meanings to the word “adaptation.” It’s so beautiful, it just…makes me wanna fight a gorilla!!   3. Nashville Robert Altman is the fucking man, and none of his films topped the magnificent and mesmerizing Nashville. I can’t really explain the effect the film has on me…but it just makes me feel so goddamn human. In the face of tragedy, the film ends in a pull-away shot that brings everybody and everything together, creating a sense of unity that I’ve never witnessed in film before. It just, it just…makes me wanna grab an American flag pole, rip it out of the ground and jam it down an oil derrick!!!   4. Sideways Miles (Paul Giamatti) is a pretty pathetic character, which makes him A) easy to laugh at, but more importantly B) easy to root for. He isn’t a bad guy…he’s just got an ego that’s satisfied in the most mind-boggling ways. But he fucking needs Maya (Virginia Madsen) to love him…he just needs love. And he finds it. But best of all: it doesn't end no pity party. Miles finally mans up after a self-discovering moment and makes his own way. Watching Miles knocking on Maya’s door just before the credits roll, it just…makes me wanna grab a sword, gather 299 of my closest buddies and murder thousands of Persians all at once!!!!   5. Paris, je t’aime Here it is: the mother. Certainly not my favorite film, but it’s one that possibly had a more emotional effect on me than any other. Schindler’s List made me fuckin’ bawl…but Paris je t’aime is different. The sadness I felt, just like Carol (Margo Martindale) states, was, “at the same time, joy and sadness. But not too much sadness, because I felt alive. Yes, alive.” Rounding out a film that does nothing for plot continuity, yet manages to connect all its characters through the grand act of love, it’s enough to make me wanna, make me wanna…give someone a hug. An ANGRY hug!!!!!   | ArchivesCategories |
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