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The Hobbit: An Unexpected Journey

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 14 Dec 2012 08:59:00 +0000

The first film in the trilogy of the follow-up to the Lord of the Rings trilogy(Although initially written by J.R.R. Tolkien years before the Lord of the Rings) has been highly anticipated ever since the enormous success of the original Big Screen adaptations. Peter Jackson helms the film again after initially planning on handing the reigns over to Guillermo Del Toro(Pans Labyrinth) only to have production delays convince Del Toro to pull out of the project. Jay Leno, oh wait I mean Peter Jackson also produces and co-writes the film just like the LOTR's Trilogy with wife Fran Walsh, and colleague Phillipa Boyens.

I hope this introduction wasn't overly long. I just wanted to give you some backstory. It hopefully didn't take an hour for you to read that. You know, like this movie takes an hour to go anywhere. My God, is it slow. I know the original book LOTR's starts with like a five page description of the wonder that is pipe weed but this is just too much. I found myself trying to keep my eyes open as the film meanders on and on.

Eventually there is some semblance of action but it is often times overwhelmed by sophmoric writing. The role of Bilbo is well played by Martin Freeman but in general the cast is uneven. Even Sir Ian Mckellen seems to phone in the performance. But then again let's face facts. The original trilogy is filled with suspect performances and some incredibly uneven writing. That trilogy though overcomes it with incredible action as well as endearing love stories. Plus an extremely attractive cast didn't hurt. There was star power. There was wit. There was a point.

The new monsters and animation is impressive. You would suspect no less from a Peter Jackson production. New creatures range from extremely creative to sometimes a bit cheesy but they at least keep you somewhat engaged even while baffled by the holes in the script. But, the effects work at least gives you something to enjoy during the long trudge towards some sort of answers to what the hell is going on. but despite all this there is one flaw that might be the biggest problem of all. One flaw made by the very man who championed not only the original Trilogy but brought the world "The Hobbit." Here comes the blasphemy. Ehhh, Whatever. The Mayans were probably right, so you can't be upset with me too long.

Peter Jackson is either a genius or an egomaniac. But, it can't be denied he is a visionary. His latest decision was to shoot the film at 48 frames a second(Most films are shot at half that, 24 frames a second.) The results are bizarre and at times comically bad. It looks like a video game. The scenery often looks like what it is, stage props. You can even at times see false hairlines, costume flaws and the whole process is just overall disorienting. After almost three hours, I had a headache. Not sure if it was the process or just the film in general.

The film finally and mercifully ends with an unexpected bang. Just kidding. It ends with absolutely nothing. I just sat here for almost three hours and it ends with exactly what it is. Just a set-up for the next movie. The original films usually ended with some climactic event and then a hint at the next film. Not this one. The entire film serves as an introduction of characters, setting up the next two cash grabs. I really wanted to like the film. But, it simply goes nowhere. Imagine you are at a party....Wait, you are reading a Hobbit review. Imagine you are at comic con and someone just starts meandering on and on about something and your only hope is at the end of the story they will get to the damn point and there will be some sort of payoff. Then they just look at you and say, "Oh, I'll be back and I can tell you the rest." I really hope the next two films are a payoff to this waste of my time. But, I'll tell you this. I will find out on the small screen.

Written and Edited by

E.Matthew

007 Skyfall Review: The sky isn't falling on James Bond.

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 16 Nov 2012 02:04:00 +0000

After the disappointment of the finale of the Batman trilogy and the to be generous lackluster "Quantum of Solace" it was with trepidation I walked into an early screening of Skyfall, the third film in the 007 Re-boot. I am really happy to say I was more than impressed. The film begins with a faux-cliffhanger that leads into Adele's Skyfall theme song which joins the most impressive non-sensical lyrics pantheon of James Bond movies (AKA The Paul McCartney Live and Let Die award.) The tone is set. The idea is planted. M(Dame Judy Dench), is now on James Bond's radar as perhaps not who she appears to be.

The film feels like, but apparently isn't a wrap-up of a trilogy. Where the first film "Casino Royale" alludes to the previous series, this film bathes itself in it. Inside jokes abound. It also deals quite well not only with the profession but with reality. How long can someone be an agent? People forget "The Greatest James Bond" Sean Connery did his first five Bond films in only five years. Times have changed. These franchises aren't turning them out like they used to. Contracts, special effects, marrying Rachel Weisz(Good on you Daniel, Good on you), get in the way. So how long can it stay realistic? It haunts the movie. And all for the better.

The beauty of this new wave franchise is the constant introduction of new characters. I will not give anything away (James Bond gets murdered by a guy named Gabriel, jk), but keeping new blood flowing and having old blood flow seems to be the recipe for any series be it television or film. Bond faces a morality play and his loyalty to not only M, but to England is challenged. You learn a lot more of the backstory that was so hinted at in the first film and dismissed in the second for car chases.

Much like the second film there is no true love interest. There's the women(I erased chicks about thirteen times) Bond sleeps with, but all in all he's got one singular purpose. Preserve Country and kill bad guys. Inside jokes abound but this is not Pierce Brosnan. This is a near maniac fighting for survival. And with that comes sacrifices. Also, it comes with a different kind of villian that I won't spoil because it's just far too good.

Javier Bardem long ago won street-cred with "No Country for Old Men," but shows his acting prowess again as the new villain. The way they have handled changing times in this series is extremely impressive. Bardem plays the edges like few could. Revenge on his mind and soul and the conflict/juxtaposition that he and Bond find themselves in is entrancing. Kudos to the casting.

I will end here. The film has it's usual holes. Why would one man be the only man? Why wouldn't if you knew you were being chased just hide whatever you took and wait for the backup to pick it up? Why not shoot the person immediately rather than some fanciful and elaborate torture? But, if you're looking for a film with action, personal struggle and most importantly the spirit of the Bond films, you have struck gold. This film is not a masterpiece. But in the Bond canyon, it is easily in the top five. Let us see what happens from here.

Written and edited by

E. Matthew

Louie CK: How a working comedian turned into the greatest voice in comedy today

noreply@blogger.com (Entertainment Outlet Staff) — Mon, 24 Sep 2012 20:34:00 +0000

Looking at Louie C.K.'s IMDB page is a veritable who's who of every great voice in Comedy over the past 15 years. The thing is he was always behind the scenes. He was on Conan O'Brien's staff, David Letterman's staff, he followed that with being a head writer on The short lived Dana Carvey show(not sure about the the rumors Louie tried to get this deleted from his page). He then wrote on the incredibly underrated "Chris Rock show", the show that inspired the hysteria that became "Chappelle's Show." He wrote the screenplay for the weak "Down to Earth" followed by writing the travesty of a film that is "Pootie Tang"(Again, Louie is on the record saying the filmmakers butchered the film.) He also for a decade contributed to the only good moments of SNL, Saturday TV Funhouse. All these credits built up and he began to start to get his own chances to be in front of the camera. This didn't work for a while.

First came the downright terrible sitcom "Saint Louie"(A show mocked in the opening of "Louie'" finest half hour(Oh Louie/Tickets), which included the only decent moment of Dane Cook's career. The show functions as an aborted jumping off point for a career. This was soon followed by "Lucky Louie" which was supposed to be a dark family comedy, that HBO made the genius moved of hitching their wagons to rather than continue with the planned fourth and fifth season of a little show called "Deadwood." Though, not as bad as "Saint Louis" it was again wildly inconsistent and lasted only one season. During this same time he was releasing some of the funniest comedy specials done in the past decade "Shameless", "Chewed up" and "Hilarious." So, when was the genius going to transfer to the screen. It was coming. And it came in a big way!

Everything came together with what is now undoubtedly the best and most hilarious comedy on Television. Simply titled "Louie", Louie CK made sure this one was done his way. Writing and directing every episode "Louie" has gone from cult hit to the show that every comedian wants a guest appearance in, and everyone is talking about. The show functions much in the way "Curb Your Enthusiasm" used to. Louie mirrors his real life as a divorced father of two and stand-up comedian. What sets the show apart is not only it's spot on writing but also the "Seinfeld" style intercuts of CK's actual stand up performances. You know, If Jerry Seinfeld was actually a good Stand-up Comedian.

With the passing of George Carlin, Chris Rock's(who recently guested on the show) decision to barely perform anymore and make terrible movies, and Dave Chappelle's decision to go insane, the show that has made the FX Network relevant has also made Louie the most talked about working comedian today. If "Louie" doesn't go too crazy with all the star cameos(Dane Cook, Robin Williams, and Sarah Silverman to name a few) It is on pace to become one of the best comedies of the era. Louie CK doesn't seem too impressed with his new found fame and continues to push the boundaries with each season. If you aren't on the bandwagon yet, get on it. This show is doing something special. And Louie CK has at 45 made himself the definitive comedy voice in America today.

Written and Edited by
E. Matthew

PS

I have been lucky enough to recently to see Louie at the world famous Comedy Store in Los Angeles working on material for his upcoming US tour. If you can make it, Go. You are in for a great treat.

Roll On John: Bob Dylan's tribute to his friend and sometimes foe John Lennon

noreply@blogger.com (Entertainment Outlet Staff) — Mon, 10 Sep 2012 18:10:00 +0000

The stories are known by many. Bob Dylan was the first person to ever expose The Beatles to Marijuana. When asked in 1965 in the amazing documentary "Don't Look Back" if he cared about what he sung about Dylan responded "How can I answer that if you dare to ask me that....Do you ask The Beatles that?" The Beatles have acknowledged they went from a love song oriented band to what they became after hearing Dylan and realizing music didn't have to be two minute catchy songs. Dylan and George Harrison were close friends their whole careers which makes a tribute to Lennon rather than Harrison even more surprising. Dylan wrote his song "Fourth time around" as a mock of "Norwegian Wood" Lennon later repaid the favor by borrowing the chorus of "I want you" with "I want you(She's so Heavy). And ultimately one of his last writings was a response to Dylan's so called "Christian Period" and his Grammy winning hit "You Got to Serve Somebody" with "Serve Yourself" But, after all these years Dylan's love of Lennon shows through in this beautiful epic.

"Roll on John" is the name an old folk song that was a staple in Bob Dylan's first performances. Dylan takes the title and runs with it in folk tradition on this lovely tribute to his fallen friend. The song quotes lines from some of Lennon's most memorable songs. From the opening lines you hear the pain in Dylan's heart. "Doctor, Doctor tell me the time of day. Another bottles empty, another penny spent. He turned around and he slowly walked away. They shot him in the back and down he went. Shine your light, moving on. You burned so bright. Roll on John"

He starts at the beginning of Lennon's career playing in tiny clubs(Down in the Quarry with the Quarrymen), then to royalty(Playing to the rafters, playing to the cheap seats, Another Day in the life on your way to your Journeys end). Then onto the US's continual attempts to extradite Lennon on drug charges but more realistically due to the fact that Lennon spoke out against the Vietnam war and several of its antiquated policies as illustrated in The US VS. John Lennon. (Sailing through the trade winds, bound for the south. rags on your back like any other slave. They tied your hands and they clamped your mouth. Wasn't no way out of that deep dark cave.) You can feel empathy in every breath that is sung. He knows the road. He's lived it.

Then onto the death of his dear friend. "I Heard the news today Oh boy! They hauled your ship up on the shore. Now the city gone dark, now there is no more joy, they tore the heart right out and cut it to the core. Shine your light, moving on. You shined so bright, Roll on John" Despite their differences, Dylan shows nothing but love. He even in his own way illustrates those differences in his proclamations of praying to the Lord for Lennon and his insistence that Lennon will be back. Something Lennon might have deeply despised but comes as the only way Dylan can face this loss.

All is forgotten as Dylan seems to understand that Lennon is the singer above anyone who faced the same type of repeated persecution that he himself has faced. And was the victim of the violence that Dylan so often feared with lines like "They trapped you in an ambush before you know, too late now to sail back home." and "Slow down you're moving way to fast. Come together right now over me. Your bones are weary, you're about to breathe your last. Lord, you know how hard that it can be. Shine your light, moving on. You burned so bright. Roll on John."

There has been much speculation about this album. Shakespeare's last sole written play was called "The Tempest". Dylan recently put his home of over thirty years up for sale. And despite much recent recording, Dylan has long proclaimed his hatred for the studio as well as his distain for current recording technology. All of these theories Dylan has dismissed. In typical Dylan form he was recently quoted as saying "Shakespeare's last play was called 'The Tempest' this is just called 'Tempest' Totally different." We're all hoping this isn't a last statement. But, whatever the case it's a beautiful one. And as only Dylan himself could say in the final words of the song we will remember John Lennon forever. "In the forest of the night cover him over and let him sleep. Shine your light, moving on, you burn so bright, and Roll on John"

Lawless: A Review

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 31 Aug 2012 18:18:00 +0000

Standing outside the Premier at the Arclight in Los Angeles you got to see all the stars you could imagine. Shia Labeouf, Guy Pearce, Nick Cave, and even Sean "Diddy" Combs. It's strange what feels like such a small movie seems to be getting the Blockbuster treatment. Directed by John Hillcoat(The Proposition) and written by Goth God Nick Cave(Who also wrote "The Proposition) this film is getting major buzz and for a period piece almost western. Although I'm surprised, it is wildly deserved. This film delivers on almost every level. In fact, I can just about promise you that there will not be a better movie released this year. It's that good.

Lawless tells the story of the real life Bondurant Brothers, legends of the prohibition era. Set in Franklin County Virginia, The Bondurants took on the established bootleggers and fought them with only two rules. Family first and kill anyone who fucks with family first. The films main character is Jack Bondurant(Shia Labeouf), a fragile young man constantly living in his older brothers shadow. A lackey for the most part Jack realizes if he's going to ever fit in with his brothers he's going to have to start acting like them. This internal conflict is a large part of the film. His oldest brother Forrest(Tom Hardy) is considered invincible in Franklin County and serves as the leader of the gang. His other brother Howard(Jason Clarke) is well, a near psychopath who likes nothing better than to kill someone who crosses anyone in the family.

Guy Pearce plays Charlie Rakes a corrupt police office and enforcer for the mob. He intimidates the towns bootleggers into falling into line with bribes. Well. the entire town but the Bondurants. This is the focal point of the film. The Bondurants fighting their battle to remain autonomous. Rakes won't allow this and the bodies pile up faster than PBR cans at a Brooklyn house party. Pearce excels at playing a character way out of his usual range and is an excellent villain. He has all the reinforcements but none of them have the heart of the Bondurants. His appearance is also very much different than his actual one and downright creepy.

The true revelation of this film is Tom Hardy. In an earlier review I wrote what a poor villain he made in "The Dark Knight Rises." Funnily, You get the feeling they could simply move the character of Forrest directly into "The Dark Knight" and the film would be excellent. Hardy is near inhuman as the leader of the gang and one of the most cold-blooded son of a bitch's in recent cinema. Forrest is in line with Javier Bardem in "No Country for Old Men" as characters who you pray couldn't possibly exist in real life. Hardy is that good and that haunting. Shia Labeouf, while still not great certainly shows great strides towards being a real actor after his "Transformers" stint. Jason Clarke, Jessica Chastaine and Mia Wasikowska all are excellent along with Gary Oldman's strong cameo performance. The writing is incredible and the soundtrack lends heavily to the storyline.

In closing, films like this don't come along often. Is it perfect? No. But, It's about as close as we get nowadays. This film should not only be the favorite but should win the Oscar this year. Tom Hardy also deserves Best supporting actor consideration. Chances are neither will happen but that doesn't change the quality of the film. If only blockbuster meant great. Because that is what this film is. And that is what all films should strive to achieve. This movie kills it. Over and over again.

Written and edited by

E. Matthew

Bourne Legacy Review

noreply@blogger.com (Entertainment Outlet Staff) — Wed, 15 Aug 2012 04:23:00 +0000

Decades ago Robert Ludlum wrote the first three Bourne novels which became the smash hit Bourne Trilogy starring Matt Damon. As far as action movies go, The Bourne Identity, The Bourne Supremacy, and The Bourne Ultimatum were about as good as they come. They also made people utter the words no one thought would ever be uttered. "Matt Damon is a bad ass."Then eight years ago an author named Eric Van Lastbuder decided to continue the storyline(like any truly inventive person would) and has cranked out seven Bourne novels in those eight years(another great sign.) Only problem is....No Matt Damon. So, rather than a continuation like the novels they decided to revamp the series starring Jeremy Renner(The Hurt Locker) as Aaron Cross. Another member of the super secretive force created by Treadstone to do misdeeds. The film runs concurrently with Jason Bourne's adventures in the previous films with Cross acting as another rogue assassin trying to solve the riddle that is Jason Bourne. What follows is over two hours of the most terrible hackery that will ever be put on film.

To begin with for the first thirty minutes Renner just seems to be climbing mountains. Then he runs into another assassin and wimply asks over and over again for explanations to banal questions. This is the root of the problem to this film, although hardly it's only flaw. Where Jason Bourne is a bad ass, Cross is the wimpy guy you'd expect to be starring opposite Jen Aniston in a Rom-Com.(Congrats on the engagement by the way Jenny, this might be the one!) Sure they try to make him do all the same super hero stuff but he just comes off as a lame substitute who cares more about whining then killing the bad guys. It's like they tried to make a Bourne movie for women who liked Bridges of Madison County.

The plot line is nearly non-sensical. You don't understand why people are there, or why they act the way they do. This is not for effect. It's just shitty writing. Ed Norton is probably the only bright spot and even his character is ridiculous(I for one would have much rather seen Norton as the next Bourne hero). The movie drags on and on and when the action scenes come Renner delivers them with all the coolness of Matt Mcconaughey(read that as none). You're constantly waiting for Damon to show up and just shoot Renner in the back of the head to put him and the viewers out of their misery.

Here's what it comes down to. When Damon said he wasn't going to be involved...end of series. But there was money to be made so this shlock reared it's ugly head. I would give away spoilers but I am still not sure what the hell was going on. Much like the writers it seems. Maybe the worst part of this whole mess is its title. The Bourne Legacy. The Bourne Legacy lies in those first three excellent films. They should have called this The Bourne Tragedy. Utterly a waste of time and no doubt millions of peoples money. For the record, the last scene of the Bourne movies will always be Matt Damon lying motionless and then suddenly swimming away as Moby blares in the background. This film tries to pay homage to that running gimmick of the originals by opening with Renner lying motionless in water before springing to life and swimming. My only wish is he would have stayed in the water and saved me two and a half hours of my life.

Written and edited by
E. Matthew

The Amazing Spider-Man : Amazingly it's really good!

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 10 Aug 2012 02:50:00 +0000

When you think of re-boots of a franchise, you think of twenty years down the road. The idea of starting over from scratch within just a few years is well.....pretty dumb. That was what was facing the new series. Completely recast with Andrew Garfield (Social Network) stepping in for Tobey Maguire who was the masked man in the original series simply entitled Spider-Man 1, 2, and 3. They not only changed actresses but the love interest role. Kirsten Dunst is out as Mary Jane Watson and Emma Stone is in as Gwen Stacy. Martin Sheen and Sally Field also step into the roles of Peter's aunt and uncle. All of these changes turn out to be significant upgrades with the possible exception of Field(The wonderful character actress Rosemary Harris played the original Aunt May.) All these additions would mean nothing if they just regurgitated the same old story that we all saw just a few short years ago.

Ok. Maybe the addition of Stone would make it worth while. I mean look at her. My God. I digress. What makes this film so successful is that other than being faithful to the basic storyline that has run through the comic for decades the film breaks almost all of the rules of the initial Spider-Man series. In the original movies Peter's parents are just dead. A nice couple that died. Here you see Peter's father as a scientist who along with his mother strangely disappear after leaving Peter with his Aunt and Uncle. I can't begin to express how much of a boost to this movie Martin Sheen brings as Uncle Ben. He is a down to earth man but not a fool and has raised Peter like his own. Peter unlike in the originals isn't so ordinary. Where in the original Parker was a smart hard working student, this Peter is a flat out Genius and isn't really too shy to show it. This Parker is a bit more confident, a bit more ready to standup for himself. Granted Andrew Garfield as a wimp would have been hard to believe. But, they show him more as just an awkward guy who never really learned how to fit in with others.

What elevates this film above the previous series is the amount of realism they try to throw in. Yes, he's a spider. I get it. How much realism can you ask for? But, Peter's desire for revenge on those who bullied him. His continual breaking of the oldest rule in comics. Never reveal your secret. Peter is unmasked or unmasks himself repeatedly throughout the film. The whole idea of masks? You don't want anyone to know who you are so they can't come after you or your family. But, what 18 year old would understand that? Thus, Garfield continually almost flaunts who he is and breaks down that fourth wall that plague so many of these Super hero movies.

Another added bonus is just how far we've come in video effects. I remember watching the original especially and thinking "God it looks like a bad video game." Not anymore. The scenes where Spider-Man flies through the air are as realistic as you can get and the villain simply known as "The Lizard" is extremely realistic as well. Rhys Ifans best known for his bumbling roles in movies including "Notting Hill" is reborn as the not so bad guy Dr. Kurt Connors. Both his and Emma Stone's roles are radical departures from anything they have done before and are both successful.

All in all the new series has the potential to surpass the originals with what appears to be a fresh and innovative way to tell the same story we already know. Now anything could change to prevent that. Like, I don't know....The Fact that Stone and Garfield are now a real life couple putting the death of the franchise one Emma Stone sleeps with the Director episode away from chaos. But, even if that happened the Directors name is Marc Webb. How f'ing cool is that? So, we will just have to wait and see where they take us. But, for now we have something possibly very special brewing.

Written and Edited by E. Matthew

Russell Brand returns to the stage as a surprise guest of Sarah Silverman

noreply@blogger.com (Entertainment Outlet Staff) — Mon, 06 Aug 2012 18:28:00 +0000

Russell Brand star of hits Forgetting Sarah Marshall and Get him to the Greek as well as shall we say non-hits like Arthur and Rock of Ages returned to the stage for the first time in the States since his breakup with now former wife Katy Perry. And the cherry on top? On the same day he was sentenced to community service for throwing a paparazzi's phone through a window. Brands free flowing and often times extremely metaphysical humor was on display as the closing act of Sarah Silverman's monthly show at the Largo in Los Angeles, CA.

Brand jumped from topic to topic in his usual manner touching on everything from sex, metaphysics and being pretty sure the Dali Lama was hitting on him. He even made a brief comment in regards to his sentencing that day. Brand who is known for his flamboyant performances, his very British sense of humor, and for his sobriety after years of drug and alcohol addiction was in fine form. At one point he even turned it over to the crowd to decide what subject for him to discuss. Then went on a fifteen minute description of the above mentioned meeting with the Dali Lama. If any of his recent troubles were bothering him, he certainly didn't show it as he smiled through out and closed his set with his usual "Namaste" and a fake make out session with Silverman.

Perhaps the biggest surprise of the night was Silverman's performance. I admit to not being a fan of her TV show "The Sarah Silverman Program" and her movie "Jesus is Magic" was hit or miss at best. But, in performance she got rid of the guitar and (for the most part) the bodily function humor and delivered a funny at times hilarious set that showed more and more Silverman is becoming an accomplished Standup. Now mind you, this was a small monthly show and perhaps led to the more laid back set. But, there was something impressive about her and her overall demeanor. When she's in your town you should check her out. She really seems to be coming into her own.

On a somber note...Unlike my last review from the Largo. There was no Kristen Stewart, Robert Pattinson sightings. I don't know what happened. How could this happen? Was she so overwhelmed by his Wellesian direction on "Snow White?" And what's going to happen with the final installment of "Twilight?" A little shimmer went out of me when I heard the news. A little shimmer went out of the world. Just see Will Ferrell for my reaction...

Written and Edited by E. Matthew

Dark Knight Rises Review. No Spoilers...Promise.

noreply@blogger.com (Entertainment Outlet Staff) — Wed, 25 Jul 2012 06:04:00 +0000

In the build up to this film a lot of conjecture has gone into if this will be the movie in which Batman dies. You certainly won't get any answers to that in this review. Also, some reviewers who gave this film negative reviews actually received death threats from fans who had yet to even see the film because of negative reviews. The investment in this franchise and thus this film is startling. Unlike Harry Potter which stretched itself way too thin with it's 17 films (yes, 17. I counted and this seems accurate), Christopher Nolan has stated that this would be the last in the trilogy. Apparently three is enough much like Lord of the Rings, or The Bourne Trilogy(although soon resurrected without Matt Damon.) I'm sorry to say that unlike those, this trilogy does not go out on a high note.

Yell, Scream, E-mail hate mail. Whatever. It just does not succeed on the level it should. Christian Bale is by far the most charismatic lead of all these super hero stories. And, there is certainly a lot of ground to mine from. Don't get me wrong. This is not a bad film. It simply does not live up to Batman Begins or The Dark Knight. The strange part is the previous two films lone failings seem to be combined in this finale to the trilogy. Where the first film gloriously succeeds in telling the story about the origins of Batman in intriguing storytelling. It fails to have a consistent successful bad guy. The true bad guy is actually only revealed with twenty minutes left. The Dark Knight on the other hand is slightly light on storyline and despite my teenage obsession with "Secretary"(We'll pretend it ended in my teens), Maggie Gyllenhaal doesnt quite cut it as the love interest. However, it makes up for it with perhaps the greatest villain ever put in this genre of film, the Joker (Mostly due to the late Heath Ledger's absolutely pitch perfect and oscar winning and deserving performance.)

But "The Dark Knight Rises" which starts eight years from where "The Dark Knight" leaves off seems to sputter it's way home. The main reason is the bad guy. Bane played by Tom Hardy best known for.......Ummmm nothing? Oh he plays a small part in "Rock N' Rolla." Bane seems to be the main character. Taking up way too much time of the almost three hour long film. See, Bruce Wayne has retired "The Batman" and so it seems Nolan felt that to stay true to that vision most of the action must involve Bane. Problem is he's just not interesting. He's kind of a fat guy who talks annoyingly through a mask the whole movie. Yeah, yeah, yeah. Comic fans will probably jump up screaming. "The character of Bane is awesome!", or "He's the one who kills Batman in the original comic(which is part of what lead to the Batman dies in this one rumors). Here's the problem. I don't like comic books. I like movies. And Bane after Leslie Nielsen and Heath Ledger, I'm sorry but it doesn't cut it.

Here's the truly shocking part. Especially to all my friends who've heard my rants about how much I dislike Anne Hathaway in...Well everything. Be it "Get Smart", "Devil Wears Prada" or "Love & Other Drugs," she just annoys the hell out of me. She might be the best part of this movie. As someone whose been really looking forward to this movie a long time, when I heard she was cast as Cat Woman I immediately responded "For Fuck sake." She is really, really good. Her storyline is good. Her acting good. Her chemistry with Christian Bale is good. She really truly makes a mediocre movie actually decent. See, the problem is simple. Christian Bale is too good to not be the main character. Joseph Gordon-Levitt of "500 Days of Summer" is quite serviceable as the secondary character but it just doesn't all add up.

What's so maddening is that it feels all along this review should be a rave. Simple fixes would accomplish that. Take two of Bane doing bad shit scenes and replace them with two Batman doing Badass shit. Take Twenty minutes of minutia out and replace it with a scene or two more of Bale and Hathaway's obvious chemistry. Hell, if she could carry James Franco's high ass at the Oscars she could carry another two scenes. This should have been the curtain call. This should have been Dylan doing "Like a Rolling Stone", Springsteen doing "Born to Run" or McCartney doing "The End." Instead it comes off more like Guns & Roses doing "Chinese Democracy." The ending of the film is satisfying and a wonderful nod to fans of the franchise. But the fifty minutes before it simply weigh down the movie too much to give the review I wish I was giving. And leaves one to wonder if Ledger was around and we had three or four scenes of his to replace some Bane scenes, could this film be epic? It could. But, sadly we will never see that. It's not a wimper. But, it certainly isn't the bang this trilogy deserved.

Written and edited by

E. Matthew

10 Greatest Television Dramas Ever!

noreply@blogger.com (Entertainment Outlet Staff) — Wed, 18 Jul 2012 21:58:00 +0000

THE GREATEST TELEVISION DRAMAS EVER.

Due to reaction to our Comedies article, we decided to take a look at the best Dramas. This one is a lot more difficult. Main reason? The honorable mention to your left. Perry Mason. What a great show! It had a long run and starred the awesome Raymond Burr in his most famous role with the possible exception of the the husband driven to murder in Hitchcock's brilliant "Rear Window." So, what's the problem. Dude never lost a case! Where's the drama. In the entire show he loses one case. Retries it and ends up winning. Whether Perry's that good or Hamilton Burger was just that bad. I want my Dramas with main characters dying. So here we go with #10.

10) The Sopranos: So low you ask? It's the best ever! Hate to tell you but no it's not. Not even close. It almost didn't make it. The reason is simple. After an amazing first season, the show became wildly erratic. Terrible acting in a lot of places. Stupid story lines and that terrible ending. Throughout there were also amazing moments, plots and acting but at the end of the day the show was just way to inconsistent to rank any higher.

9) Breaking Bad: This one's still going and might rise on this list as it keeps getting stronger. A chemistry teacher receives the news he is suffering from terminal cancer and has to find a way to provide for his family once he's gone. Meth! Good plan. The show has twists and turns galore and is impeccably acted and written. AMC has really gotten on a good streak with their shows and I'm guessing we'll see another one of their shows a little higher up on the list.

8) Rome: It kills me to put this show so low. From Episode three of the first season until episode eight of the second season this show is almost untouchable. So why low? Because HBO decided the ratings weren't high enough to support the huge budget. Jupiters stars! Following two soldiers as they manage to stumble into just about every notorious moment of ancient Rome. Sure, that's a bit unrealistic but the writing is stunning. The acting is incredible and for those who don't think they talked like that back then. Oh, they did. And it contains the greatest fight scene in History. Don't fuck with the 13th!

7. Oz: Well, all the stories you've heard are true. This show has just as much sex and violence as Rome. Only difference is a lot of that sex isn't exactly erotic. OZ took a while to find an audience but when it did they were enthralled by great story arcs, incredible acting, and some of the most disturbing things ever shown on Television. The shows cast changed constantly, mainly because they'd kill off just about anyone. Not only is it one of the most enthralling shows ever, but damn does it make you not ever want to go to prison.

6. The Twilight Zone: My God this show is brilliant. The brainchild of already respected author Rod Serling. What few know is that Serling himself wrote almost all of the first few seasons episodes. And this is back when they were doing 30 episodes a season. The chances Serling took were astonishing for the time. Almost no subject was off limits. One episode was actually banned from television after its first showing for decades. The Holocaust, WWII, God, Satan, human vanity. It was all on the table. And those weren't even the scary episodes. I still to this day can't watch some these episodes at night. And I'm a brave brave man. The only draw back is as the show went along Serling's participation went from writer/producer/host to just host. The writing certainly dropped off, especially in season four which is for the most part forgettable. But, at it's peak it is one of the most daring amazing shows ever.

5. The West Wing: The only problem with this show was that it made us envious of what it would be like to have a brilliant president as we were mired in the Bush years. Written and created by Aaron Sorkin, the man who later brought us Academy Award winning "The Social Network." Presidents ordering political assassinations, hiding a debilitating illness, alcoholics, and people with an absolute dedication to doing the right thing. The dialogue is witty as all hell and even if sometimes cheesy there are moments where you truly feel proud to be an American. At least this America. The show dropped off terribly after Sorkin left the show after season four due to creative difference. Oh and the Cocaine arrest. But for Four Seasons America had an amazing president and a show that showed all idealism sometimes must be compromised.

4. Homicide: The most underrated television series of all-time. While everyone was out watching the ridiculous one hour episodes where they always catch the bad guy which was "NYPD Blue", Homicide was redefining the genre. Some great cops, some terrible cops, all with their own personal demons and long story lines that often didn't lead to the killers. Just more and more death. Cops committing cold blooded murder, Killers walking away. No matter how beloved by the critics for seven seasons the show simply never got a large enough following. Not even the greatest TV actor of our time Andre Brougher could change that. That's the true tragedy of this show.

3. Mad Men: In five short seasons AMC's first ever TV series has swept the nation developing a huge following. Why? Because it's that fucking good. Set in the 60's at an advertising firm ((M)ad men, get it?). The shows fantastic cast is highlighted by every woman's dream man Jon Hamm. The hyper-realism of the time period, along with a core group of characters all of whom have vastly different lives both in and out of work. Tearing away the illusion that people were somehow more responsible or honorable in the 60's, we see a group of extremely flawed at times terrible people. And yet, we still seem to root for them. The incredible writing and direction simply put this show over the top of all aforementioned shows. And hopefully we have a few more seasons of this terrific show.

2. The Wire: This was the toughest call of all. This could easily have been number one. For five amazing seasons we followed the story of a core group of characters. Many of which get killed off as early as season two. Set in Baltimore and created by David Simon(Who was one of the head writers on Homicide), the show is as entertaining as it is terrifying. The hopeless feeling you get, the endless horrors of drugs, and the corruption that runs not only through the police force, but politics and even the media leave you feeling like this will never end. It most likely won't. But, for five seasons(each with it's own unique storyline we were enthralled by this corrupt world. And this makes "The Wire" one of the finest achievements not only in the history of television but in entertainment history.

1. Deadwood: So what makes this #1. I truly can't say. Originally scheduled to be five seasons the geniuses at HBO announced before the third season that it would in fact be the shows last. Most characters are based on real life inhabitants of the town of Deadwood, a lawless, ungoverned, territory of the early west gold rush. Good guys become bad. Bad guys show great evil minutes after great compassion. A lot has been made of the constant profanity. Much research was done on the subject and you know what they found. Yeah, uneducated people in the old west swore a lot. Shocking. The shows constant undercurrent of constant violence and the knowledge that no matter what, this is not going to end well makes you relish every moment of it. There's simply not an episode that isn't great. New characters bolster the shows core characters and Ian McShane might in fact play the greatest bad guy in TV history. But that's the thing. He isn't really that bad. Sure, he murders or orders the murder of like a hundred people in only three seasons but some cocksuckers just have to die. And at the end of the three year run just like you'd expect most characters end up in terrible shape if not dead. But if you watched the show all the way through you can expect no less. And one of the finest show ends with one the greatest lines in history as Al utters the obvious, "He wants me to tell him something pretty" as he scrubs the blood from the floor. Deadwood. The greatest drama in Television history.

Written and edited by

E. Matthew

Jenny Lewis child star stars in front of Sarah Silverman, Robert Pattinson, and Kristin Stewart.

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 22 Jun 2012 21:21:00 +0000

You know it's not going to be a normal night when the first thing you see is Sarah Silverman coming onto the stage to introduce the woman "Whose songs, sense of humor, and body make me cry." Such is the life of Jenny Lewis. Jenny has led quite the life. If you don't know her from her music career you might know her better as the little girl in the cult classic "The Wizard" playing opposite Fred Savage. Or as the meek teenager saved by the new tough girl in town (Angelina Jolie in one of her first roles) in Foxfire.

The life of a child actor usually spirals out of control. But, Jenny has avoided those pitfalls quite well. Well, as long as you don't count her constant references in song to her former drug habit, drinking issues, and sexual promiscuity. Name checking her close friends including Zooey Deschanel, Elvis Costello and Bright Eyes' Conor Oberst, Jenny went through a set of her confessional and southern rock tinged music. More than a decade removed from her role in the surreal 1998 film "Pleasantville, Jenny has forsaken her promising acting career for her true love. Music.

Jenny's intimate show at the Largo in Los Angeles last night was hardly the only event in town. I got caught in traffic only to see the reason was the premier of the new Seth Macfarlane and Marky Mark vehicle "Ted" As I finally passed by and saw Seth's huge white teethed grin, we were on our way. The child star has attracted quite a cultish following ever since her band Rilo Kiley hit the stage over a decade ago. So much so that it was no surprise to see Robert Pattinson and Kristen Stewart six rows behind me.

Such is life these days for Jenny who has maintained a good sense of humor about all the stars coming out to her shows and her devoted followers singing along to her catchy hooks. The evening wrapped up with her amazing version of "Acid Tongue" one of her best songs which details her ever-present self doubt and yet optimism. Sample "You know I am a liar, You know I am a liar, Nobody helps a liar." Perhaps she is, but sometimes in this life it's the liars who get the last laugh. And Jenny seems to be laughing a lot these days. It's nice to see not all kid stars of Jello commercials go onto lives in trailer parks. Even if Jenny's trailer trash short shorts are often the highlight of a lot of her shows. Well, for me anyway. Click below for a sample of the angelic voiced Lewis' song stylings and check her out when she comes to your town. All you Twilight fans might just get lucky!

Written and edited by

E. Matthew

Vampira explored with a little help from Kat Von D.

noreply@blogger.com (Entertainment Outlet Staff) — Sat, 16 Jun 2012 18:42:00 +0000

I won't be the 50,000 person to write "Vampira back from the Dead" or "Vampira rises from her coffin." But, in West Hollywood and later on this month in the Cinematic release of "Vampira and Me" the story of the woman once known as Vampira (Born Maila Syrjaniemi) will suddenly be illuminated.
Last night at LA Ink host Kat Von D.'s Wonderland Gallery an exhibit honoring the memory of the original mistress of the dark was opened.

The Truly amazing feat though is that both occasions shed a light not just on the woman who let's face it, garnered most of her enduring legend from being the woman in Ed Wood's universally panned movies such as "Plan 9 from Outer Space." But, on what was an amazingly well rounded woman with such an eccentric personality and vision of life. Rumors of flings with James Dean, her rather bizarre sudden disappearance from the spotlight(or at least what local network TV spotlight there is) and her reclusive last half a century of life.(She passed away in Los Angeles in 2008)

The above picture was for a photo shoot Maila was doing and she asked(read as told) a very rich friend she wanted them for the shoot. 50 years later here they are in a glass case in LA. Never returned to their rightful owner.

So as I walked out of Wonderland lanight and after I had almost been trampled by the mob during Kat Von D.'s "surprise" appearance at her own gallery, it was these glasses that struck me. It was the defiance that led her to sue and eventually lose to Cassandra Peterson for almost totaling ripping off her concept for what would later be known as "Elvira." It was the photos of a middle aged woman head shaved with just a sweep of hair up front. That hair cut didn't originate in the dirty Electro dance clubs of the 70's and 80's. Here it was on this middle aged woman. Always obstinate. Always fighting. And in the end that will be her legacy. No terrible movies. None of the 10,000 costumes worn every halloween but that sallow woman sitting there pondering off a balcony. It was a good life Maila. Thanks for living every moment of it.

Prologue

With all the celebrity guests my favorite moment was this. Leaving the gallery a street performer who played everything from Joy Division to Hank Williams, acting out his Skeletal Marionette act. See the older gentleman in the suit watching to his right? Bauhaus was right, Bela Lugosi might be dead. But his son is alive and was in attendance to honor both his fathers and Maila's memory. And he couldn't have been a nicer more humble man.

Written and edited by

E. Matthew

Sports in Movies: To Inspire and Bring Hope

noreply@blogger.com (Entertainment Outlet Staff) — Thu, 31 May 2012 18:52:00 +0000

With Father's Day fast approaching and times hard all around sometimes you need to feel inspired. To those who don't get sports there's really not much i can tell you. But, for those who do it goes so deep that tears are shed, days are changed and hearts broken. We're going to look at the 10 films that best exemplify this principle. We are disqualifying Documentaries as then Ken Burns just wins everything right? But first, a brief synopsis of some of the runner-ups.

Chariots of Fire: Good film about two British Athletes training for the 1924 Olympics. Left off the list because it feels slightly dated.
Bingo Long's Traveling All-stars and Motorcade: Wildly entertaining look at the Negro Leagues. Left off simply because it wasn't one of the top ten.
Bull Durham: #1 on a lot of lists. Funny movie but doesn't quite capture the glory of sports.
Remember the Titans: Inspiring and Informative. Not good enough but Denzel is great. And it's got Avon from "The Wire" so who's complaining?
Loneliness of The Long Distance Runner: Easily the second best film out of all these films. Left off the list simply because it's a lot more about youthful defiance than it is sports. But a must See.

Now to the top ten!

10. Rudy: OK. It's not the greatest movie of all-time. The acting is just ok. It's overly dramatic and Sean Astin looks nothing like the real Rudy. But the film shows maybe more than any other just how the love of sports can drive someone to such great lengths that there is really no turning back. As always happens, the best friend dies and leads Rudy on to follow his dream of eventually making it onto the field at Notre Dame. Hard work and perseverance pay off and he makes it out of the tunnel. If you don't cry when Rudy gets the final sack you're not human. Or you're a woman.

9. A League of their own: Again, not a great movie but an amazing Sports movie. The story of the woman's league that was formed during WWII, this film is both hilarious and inspiring. Even Madonna isn't totally annoying. A movie that women should love and men should really see too. A very moving ending and you have yourself a Penny Marshall production. Tom Hanks steals the show though with the famous "There's no crying in Baseball" rant. And the thought women really can't play sports. Just Kidding.....Maybe.

8. The Natural: You think Baseball movies this is the first one that pops to mind. Parts "Pride of the Yankees" parts "Cocoon" Tells the story of Roy Hobbs (Brilliantly as always portrayed by Robert Redford). A middle-aged man comes out of nowhere. No past just a bat cut out a lightning struck tree and leads a terrible team to the championship. Total fantasy but an absolute classic and one that will leave you with a smile on your face.

7. Field of Dreams: "If you build it, He will come." Another classic fantasy film. With a surprisingly good performance out of Kevin Costner and a typically good performance out of James Earl Jones this film transcends the typical feel good story. More than maybe any other film it shows the passion for the game. The beauty of belief when there is no hope. And how a simple game can bring people together. Especially a father and son. "Wanna have a catch?" If you don't get tingles at that moment something is really wrong with you.

6. Brians Song: The healing power of friendship. Two men. Two rivals. Same team. Based on the true story of Gale Sayers and Brian Piccollo, this film shows how sports can bring people from all classes, creeds, and even races together. Wonderful performance by James Caan and Billy Dee Williams keep the story going. All the while knowing the inevitable is coming. But sports transcends. Love transcends death.

5. Eight Men Out: Based on the true story of the "Black Sox Scandal" the greatest scandal to hit sports until the "Steroid Era" It tells the tale of how organized crime conspired with a group of low paid, often mistreated Chicago White Sox to throw the 1918 World Series. The scandal that ensued robbed the game of one of the greatest players to ever play the game at the tender age of 30, Shoeless Joe Jackson(Adeptly played by John Cusack.) Although batting .375 and setting a series record for hits, Jackson admitted he took the money and simply didn't follow instructions. Nonetheless he and seven others were banned from the game. Joe Jackson is not allowed in the Hall of Fame. Meanwhile A-Rod is still strutting around.

4. Seabiscuit: Everything is Broken. This film will leave anyone inspired. Yes, it's about a horse. But in the end it's really about what the horse represented to a group of people, all broken in their way. And to a nation, broken by the Great Depression. Seabiscuit was America. Beaten, wounded and angry. But with guidance, compassion, and friendship he was lifted up and became one of the great champions of all-time. One horse transformed America. Secretariat might be the greatest horse ever. But, Seabiscuit was the most important.

3. Rocky: No sports list would be complete. Sylvester Stallone wrote and stars in one of the most memorable films about dedication and hard work paying off. Based on parts of three different boxers story, this film lifts the human spirit by showing that even a man at his lowest can accomplish anything if he's hungry enough for it. Playing like a man version of Seabiscuit, Rocky simply wills himself to the place where he can compete against the best in the world. He believed in himself. And in the end....That's better than any championship belt.

2. Hoosiers: My God this movie is good. There is not a moment this movie comes on where I don't stop everything I'm doing and become engrossed. I've probably seen it 75 times and it never gets old. Norman Dale(Gene Hackman) is a broken down coach with a suspect past who comes to a school with basically no team, no talent, and no team work. Through a series of travails they come together and elevate themselves to heights unimaginable. The fact that halfway through the season they are joined by the greatest fictitious character in sports film history doesn't hurt either. "I'll Make It" Damn, that line gets me every time. I can't imagine a better sports film.

1. Raging Bull: Fortunately, I don't have to. Simply a perfect film. Perfectly cast, acted, directed. My God, the Cinematography. Simply the most realistic fight scenes that will ever be put on film. The true story of Jake LaMotta brought to life by one of the greatest performances by any actor ever. Robert DeNiro never came close to this performance again. This film is a punishing look at a very flawed man who had one thing and one thing alone. He didn't care. He could take the beating and just not care. He was an animal. The film follows him from early 20's to all the way in his 60's. It's a scary journey. And it makes the film not only the greatest sports film of all-time. It makes it one of the greatest films of all-time. "I'm a Force, I'm a Force, I'm a Force."

Written and edited by

E. Matthew

Five Film Noir's you might not have seen...But Should!

noreply@blogger.com (Entertainment Outlet Staff) — Thu, 24 May 2012 04:01:00 +0000

In elementary school everyone I knew was talking about Tron or Ghostbusters. I always felt out of place because we didn't really go to the movies or to date myself the Drive-thru. We'd just stay at home watching these old movies where everyone was a suspect and everyone died of poison or a very fake gunshot. Everyone knows Casablanca or Touch of evil. But some of my fondest memories are sitting with my mother and watching these obscure classics on TBS and waiting to see what happens after those commercials. Here's a few you should definitely check out.

Scarlet Street : Directed by the German Master Fritz Lang tells the classic tale of a weak man who can't resist the charms of a conniving woman who plays him for a fool. Edward G. Robinson plays Chris Cross(Yep) a clerk and amateur painter. Beguiled by the lovely Joan Bennett. Robinson steals and cheats to keep her happy without the knowledge her and her brutish boyfriend are playing him the whole time. As always happens the guy doesn't get the girl and people have to die. Lang paints a portrait so complete that in the end your left with just a broken man and an amazing film.

They Drive By Night : Directed by Raoul Walsh. This film ends like many Noirs with someone breaking down and admitting the crime on the witness stand. George Raft holds hid own as leading man even with Humphrey Bogarts well "Bogarting". Two brothers, Two girls, One business. Jealousy, a lost arm and a hysterical woman. This film brings you all of the key elements to a Noir classic. And Ida Lupino is in it. Enough said.

Pickup On South Street: This film should be required to be watched in schools it's so good. Richard Widmark is a petty thief who steals the wallet of Jean Peters. But, don't you know it....She was carrying government secrets to her ex-boyfriend as one last favor before she'd be free of him. Poor guy. His best friend played by Thelma Ritter(the nosey older woman in classics like Pillow Talk and Rear Window) is than killed for not ratting out Witmark. Peters who has been trying to play Widmark realizes she truly loves him. The Agent who killed Ritter does everything to get the secrets back. People are shot, people are killed. And we're left with the secrets in the right hands.

This Gun For Hire: Oh Veronica Lake. You're what a woman should be. Alan Ladd as a classic baddy. Of course he manages to steal some secret chemical formula from a a chemist he kills. He's on the run. Robert Preston plays a great detective who just happens to be vacationing in the area(San Francisco) with his girlfriend played by Veronica Lake. The chase is on. Double-crosses abound. A kidnapped Lake leaves a breadcrumb trail to help Preston find them. Lake appeals to Ladd's inner-soul. But, can a bad guy do the the right thing. Can a woman like Lake fall for someone like that? Watch and see. It's well worth your time and money.

Thunder Road: Thunder Road? This Gun for Hire? It's like a Springsteen setlist. Moonshiner and ex-soldier(Robert Mitchum) runs a moonshine company and yet is afraid his kid brother(Played by his real life brother James) will follow in his footsteps. But, before that can happen a crime boss comes in and tries to push Mitchum and all others out. The Government cracks down and the gangster decides to lay low. But, Mitchum has a woman he wants. He needs the money. He has to go for it. He has to try one last ride down that Thunder Road. It's a town full of losers, and he's pulling out of there to win!

Thanks Mom.

E. Matthew

Zooey Deschanel. Meet the New Girl, Same as the Old Girl

noreply@blogger.com (Entertainment Outlet Staff) — Thu, 17 May 2012 00:29:00 +0000

What can I say about Zooey Deschanel that hasn't gotten me hit in the face by numerous women? Nothing really. But that has never stopped me before. There seem to be two camps when it comes to Zooey. There's the camp that believes she's an extension of the Parker Posey, Chloe Sevigny, Indie film-star made good. She's Gorgeous, interesting, talented, a hell of a singer and just about perfect. The other group are jealous. They say she is at best cute, her eyes are too big, she has a mediocre singing voice and no range as an actress. To these people I suggest therapy or plastic surgery to make you more aware and to let you feel better about yourself. Here's a look at Mrs. Deschanel to date. For better and for worse.

Mumford: Zooey's first big role in a film is actually one of her most successful. No doubt in large part thanks to the brilliant direction of Lawrence Kasden, Zooey plays a detached teenager who does her best to live in a fantasy world to avoid the world around her. Even as a young teen you saw all the traits that has led her to such great success. And just for the record, I've adored Zooey since this film came out so all you bandwagon jumpers can shush. And she's older than me so it isn't creepy.

Almost Famous: Forgot she was in this didn't ya? She plays the hip older sister who leaves her records to her kid brother when she runs away from home. Small role but a successful film and she was off.

Manic: Super small role in a forgettable movie. Why is it important to mention? It began her long friendship with Joseph Gordon-Levitt that would lead to her best film role to date.

Small roles in films and TV shows followed. The Good Girl and a small role in Frasier included. A sea change was about to occur and it started with a small little film made good and then a Blockbuster made bad. But, oh well. I only pause here to give myself more excuses to post pictures. I mean Jeez.

All the Real Girls: This indie film was a critical smash and attracted a lot more people to art houses. The tale of a group of teen girls all with their own issues. Not much of a departure but a serious career jumper which led to the unforgivable. A role starring as the love interest of Will Ferrell.

Elf: Elf brought us two things. Zooey as a blonde. And Zooey's seeming insistence to sing in every movie. It also brought us her in a elf costume.

Winter Passing: I am leaving out a ton of forgettable films including perhaps the worst film I've ever seen Flakes. I bring this film up because it is what leads me to believe one day Mrs. Deschanel might make that leap to Oscar caliber actress. A very dark role again sadly involving Will Ferrell, but you see a depth in her character you might not have expected previously. And a film well worth seeking out.

A re-occuring role in the hit show Weeds, along with a small role in The Assassination of Jesse James...., a large role in the high budget, poorly written, The Happening, as well as the interesting Gigantic followed. Her soon to be launched music career inching up on us and her quirky personality was starting a groundswell. Yes, Americas Indie Sweetheart was born. One terrible role was in the way of this though. It came and went and then came her signature role.

Yes Man: If Will Ferrell wasn't bad enough(alright Cowbell and Old School fans enough, he sucks now. I know it. You know it), now Zooey is teamed as the love interest of Jim Carrey. Yes, the award winner for most likely to turn into Mel Gibson insane, Jim Carrey(Seriously read some of his interviews he's an acknowledged manic depressive who won't take medication because he can out think depression. M'kay). Fuck this movie. But buy it at only $5.99 above. =). Yeah, I don't care.

500 Days of Summer: AWWWWWWWW. The American version of Amelie. Re-teamed with Joseph Gordon-Levitt in an anti-love story, Zooey comes as close to making a great film as she has yet. For a much more detailed review see the following review by an obviously brilliant man. And while you're at it watch this charming video.

So here we are. Our Idiot Brother, Your Higness, and the New Girl's smash TV debut. Where will she go from here. Who knows. But, the sky seems to be the limit. The role that was supposed to propel her into Oscar talk, Janis Joplin seems to be scratched. Sad as they try to turn the prettiest girl in the world into the ugliest woman ever. See Monster with Charlize Theron if you don't think this is a successful strategy. For now she seems happy riding on her current popularity and being exactly who she wants to be. If you need proof. Meet the new girl. Same as the old girl.

Written and edited by:

E. Matthew

10 Greatest TV Comedy Shows of All-Time

noreply@blogger.com (Entertainment Outlet Staff) — Wed, 18 Apr 2012 23:29:00 +0000

How far has TV fallen? The best new comedy in the last five years? 2 Broke Girls. Yes, 2 Broke Girls. Now anything that brings Kat Dennings into my house 24 nights of the year is ok by me but that's a joke. And not a very funny one. So, it got me feeling nostalgic. Here's a look at what I believe to be the funniest shows in the history of Television. No Dramedy's, I don't want to learn a lesson. I want to laugh. These shows make me laugh.

10.The Family Guy:

Cancelled after just a few seasons it looked as if all we had to enjoy was the DVD's. The show only started hitting its stride in its third season. Then a funny thing happened. The DVD sales were through the roof. Fox sucked. So, four years later the show was brought back. Creator Seth Mcfarlane was vindicated. They needed him. What has followed has been seven years of Mcfarlane punishing Fox by repeatedly ripping them in shows, daring them to censor the most patently offensive show in the history of network TV and a lot of brilliant comedy.

9.Monty Pythons Flying Circus:

Decades before its time. Very rarely do you see such a collection of talented actors/writers get together and create something so great. Unlike a show like Saturday Night Live, every skit was new. There wasn't running characters. It was fresh, it was exciting, it spawned two Brilliant and one not so brilliant movies and at its best it was among the greatest shows in television history.

8.I Love Lucy:

No list would be complete without Lucy. Created basically because Lucille Ball needed a vehicle that would allow her husband Desi Arnaz to have a job to keep him from cheating on her. I Love Lucy became the most influential show in the history of TV. Absurd, hilarious, and perfectly cast, Lucy is a timeless, amazing show that holds up six decades later.

7.The Simpsons:

This one is hard for me. Groundbreaking, exceptional and simply the greatest animation project ever created. At its best(Season 4 through 7), it can be argued it is the greatest comedy of all-time. The first nine seasons all are great. Problem is its still going. Year after year of simply terrible writing has certainly tarnished the shows name. But, think of it this way. Say you're married for 25 years but were only happy seven or eight. Ehh, at least you had those years.

6.Fawlty Towers:

12 episodes. It doesn't matter. That's all it took. A nearly perfect show and the brainchild of Monty Python's John Cleese, Fawlty Towers laid the groundwork that would be followed by many of the greatest shows ever. Without Fawlty Towers there is no Seinfeld, Curb Your Enthusiasm, Office, or Arrested Development. And I would argue the episode "The Germans" is the greatest half hour in the history of Television.

5.Cheers:

As a little kid Cheers was my favorite show. Strange thing, I started watching the show twenty years later again. And you know what? It holds up. Not only does it hold up but it is hilarious. And the best part is that even though the show had its ebbs and flows and revolving cast, for almost a decade the show was consistently solid. Not to mention having the greatest theme song in TV history.

4.Arrested Development:

2 1/2 Seasons before it was cancelled. Malcolm in the Middle was on almost a decade. God people are stupid. This show has everything you ask for in a show. Brilliant writing, incredible cast, and an awesome premise. Every character is hilarious. There is not a single episode that isn't great. Jason Bateman made an amazing comeback and Michael Cera's career was launched. This show deserved better. So did its viewers.

3.The Larry Sanders Show:

Offered his own late night talk show, Garry Shandling decided it was too much of a headache. But it gave him an idea. The Larry Sanders Show is the look at the inner-workings of a late night talk show. The brilliant writers who included Shandling, Judd Apatow, Janeane Garofalo, and a whose who of successful TV show writers since, delivered one of the greatest runs in TV history. The cast is perfect. And unlike any show that lasted more than five seasons(Six total) every season got better and better. Shandling went out on top. And helped influence every great show that followed.

2.Curb Your Enthusiasm:

Originally shot as a one hour comedy special, Curb Your Enthusiasm has become the funniest and most quoted show on Television. You can't help feeling that the show was Larry Davids way of showing he was the genius behind Seinfeld. A point he really didn't need to prove since when he left Seinfeld after season seven the show became absolutely unwatchable. Unfortunately "Curb" has suffered a somewhat similar fate having some great seasons followed by mediocre seasons. But facts are this. Curb has produced the three greatest seasons in the history of comedic TV.

1.Seinfeld:

Yep it made it to number one. The show was simply too good for too long. Seven absolutely amazing seasons. The show that came to be known as "The show about nothing" was actually about everything. Everything was fair game. The show during its peak years was basically an examination of Larry Davids neurosis and Jerry Seinfeld's somewhat likeableness. The final two seasons are worthless but what the show accomplished during it's first seven have simply never been touched. The greatest comedy in TV history in my opinion. Not that there's anything wrong with that.

Written and edited by:

E. Matthew

The Most interesting man in the world : Ryan Gosling

noreply@blogger.com (Entertainment Outlet Staff) — Sun, 04 Mar 2012 04:02:00 +0000

He's the man every woman wants. He's the man every man wishes they could be. But, the unique thing about Gosling isn't his sex appeal, his fantastic acting or his surprisingly good singing range. Without many people noticing it, Gosling has compiled one of the most unique and diverse collection of acting roles of any actor going. Here's an overview of the most interesting man in the worlds career to date. We're leaving out the Mickey Mouse club stuff.

THE BEGINNING (KINDA)

The Believer (2001) : The true story of a young Jewish man who developed such a hatred for his own background he joined the Ku Klux Klan. Gosling gives a startling performance as the self-loathing young man and single-handedly elevates the script to new levels. In scene after scene, you can see the promise of what was to come. Gosling was 19 years old when the movie was filmed.

Murder by numbers (2002) : Although playing second fiddle to Sandra Bullock, this forgettable film is what brought Gosling to mainstream attention. The interesting United States of Leland followed the next year but nothing prepared viewers for the film that cemented Gosling as the Dream of every girl under, well 60.

MOVIE STAR

The Notebook (2004) Playing out as a typical Romeo & Juliet tale, Gosling and his co-star Rachel McAdams (His soon to be girlfriend) create one of the most intense relationships put on film in years. Not near his best film it is still the first film most people think of when Goslings name comes up. It also is the movie you watch on a third date with a girl. TRUST ME.

Half Nelson (2006) After 2005's forgettable "Stay", Gosling followed it up with an extremely interesting career choice for an Actor on the rise. He made a little film starring as a strung out inner-city teacher who forms a friendship with one of his students after they discover his addiction. What The Notebook did for Goslings standing amongst Hollywood film goers, Half Nelson did for him amongst the indie film goers. He was a full-fledge star. I even had to buy my best friend a Ryan Gosling pillow case for her birthday. It pains me to this day.

Fracture (2007) At this point it seems Ryan had learned the rules. We'll call it the Clooney rule. If you want to do an indie film, you have to give the public a mainstream film. Fracture is that film. Successful in what it's going for, it is a standard thriller co-starring Anthony Hopkins. It's box office was good enough that Gosling felt comfortable making his most unique character choice to date.

INDIE STAR

Lars and the Real Girl (2007) Lars and the Real Girl is the story of a man so detached from society that he begins to have a delusional relationship with a sex doll that he purchases via the internet. It shows what alienation brings. It also shows the pain that can come with personal growth and how that the acceptance of others can often lead you to accept yourself. Sounds dark right? The film is hilarious. Gosling is fantastic. It is probably his most spot on acting to date. Almost any other actor would have played the character absudly. Gosling plays it pitch perfect. I can't recommend this film enough. And then at the beginning of his ascension to super stardom, Gosling left his audience with the image of him as Lars for the next three years while he took a hiatus. He returned with a film that made his strung out teacher in Half Nelson look lighthearted.

Blue Valentine (2010) What can I say about this film that won't make you want to take the Hemingway out? No seriously...Cause I don't know. Gosling returns to the screen as a kind if not very intelligent husband of his high school sweetheart who has now grown into a successful woman(Michelle Williams). Told in flash forward and flash back fashion, this film is a two hour long Bataan death march. At every turn Dean(Gosling) is embarrased, cuckolded, and made to look stupid by a woman who has fallen out of love. This film is a wonderfully executed and much deeper look into the disinegration of love than has hit the big screen in years.

SUPERSTAR

All Good Things (2010) In his next movie co-starring Kirsten Dunst, Gosling stars as David Marks. This is the true story of a wealthy man who murdered two women and got away with it. The script is flawed and no one is going to accuse Dunst of being much of an actress, but Gosling handles the material as best he can. Not all of em' are going to be winners right?

Drive (2011) I was wrong. When I first saw this film I was with my ex and in a mood and f'ing hated it. I watched it again about three days ago. It is amazing. Here's what I didn't get. It's an homage/spoof of Cinemax movies. Every character over the top, every storyline obvious, every camera shot hammering you over the head. Hell, even the font they use for the credits is ridiculously 80's. For every young boy who became a man watching Shannon Tweed movies on Cinemax(I neither confirm nor deny), Think C. Thomas Howell. Except you know, good looking. Even the soundtrack is spot on. Anyone who enjoyed the movie without realizing this is crazy, but if you do it's almost a laugh a minute. Bravo. The greatest Cinemax movie ever.

Crazy,Stupid,Love (2011) That one's for all you ladies out there. And fellows. Different strokes. A standard romantic dram-edy also starring Steve Carrell, Julianne Moore, and Emma Stone. This one was done just for the paycheck. Where at least the Carrell and Moore scenes are interesting, the whole concept of Goslings character is absurd. He basically is playing Matt McConaughey in the even more dreadful Ghost of Girlfriends past. He really should have higher standards. I mean if I was handed a script and told to read it and then someone said "Oh you have sex scenes with Emma Stone." .....Ummmm, Good for you Ryan. Good 4 U.

Ides of March (2011) I won't review the film because you can read my full review right here. But, it all comes full circle. The protege meets the master.

So what's next? He has a ton of films coming up. Let's hope he keeps mixing it up and not going the Hollywood route. He's a great talent and let's hope he doesn't waste his talents doing some stupid superhero movie. Wait What? He breaks up fights on the streets on New York while grocery shopping?

My God. He's already a superhero. F my life.

Written and edited by:

E. Matthew

Dear Mr. Oscars, Take one back!

noreply@blogger.com (Entertainment Outlet Staff) — Sat, 25 Feb 2012 18:16:00 +0000

Oscar season is here. Whose going to win best picture? Who will be snubbed? What will Angelina Jolie be wearing? All valid questions. But we don't have the answers to these questions. What we do know is that over the years and particularly recently, there have been some dreadful choices. Sometimes, It's just a weak year(cough...this year....cough). But sometimes, the selection is so terrible compared to the competition that we feel there is only one answer. If they're going to keep giving out the Oscars, they need to start rectifying some of the past errors. So, Dear Mr. Oscar, take one back.....

Best Picture (The Titanic Award)

BEST PICTURE TAKEBACK: Matt

CHARIOTS OF FIRE OVER RAIDERS OF THE LOST ARK

What does this man have to do for a little golden statue?

The history of movies that shouldn’t have one best picture at the Oscars is a long and troubling one, and in all honesty should probably be dubbed the “Shakespeare in Love Syndrome”. Seriously, just gaze upon the look of disgust on Harrison Ford’s face after he had to announce that bombshell.

"That's NOT how you spell Saving Private Ryan"

Of course, he’s a man that would know about being on the receiving end of the grand prize in snubbery. To this day the circumstances surrounding the 1981 win of Chariots of Fire over Raiders of the Lost Ark remain a mystery. Chariots of Fire is a snob of a movie, that flexes it’s overly dramatic muscles throughout its run time in some vague pathetic hope that someone….anyone will give it attention. At its’ best it a textbook read of how to make standard drama. Pure Oscar bait.

Russel Crowe, for instance, caught his fishing with genuine ancient time-period action piece

On the other hand you have Raiders of the Lost Ark. It’s not the pretentious guy in the suit telling everyone about his bank account, it’s the cool kid in the room that everyone likes for their natural charm. It’s a tribute to classical theatrical shorts, it had a big name lead, it was well received by both critics and the box office (it in fact outgrossed Chariots of Fire by about four times while weilding a better review percentage), and was even helmed by Steven Spielberg and George Lucas. Not exactly a couple of unknown indie punks that the ceremony traditionally shuns.

So what happened? The only possible explanation is that this is another victim of Hollywood not wanting to recognize a genre film. Raiders of the Lost Ark is a sci-fi, horror, action-adventure movie. It is not a drama, or a victorian period piece, or a movie about struggles against some sort of internal conflict. It just wasn’t a movie the Academy was ready to acknowledge. That is the real crime here. There was nothing going against this movie winning the biggest prize in its industry except the lines under its description, which makes this a pretty clear cut case of a hate crime at a world televised award ceremony.

Unfortunately, this is how they would later apologize for their genre film hate crime

In the end of course it doesn’t matter because Chariots of Fire is mostly only remembered for this song (which has since been parodied over, and over, and over pushing it into the realm of comedy since), and Raiders is one of the most widely beloved movies of all time. Still if you ever wondered why the majority of semi-intelligent homo sapiens consider the Oscars a joke, there are few blunter examples.

BEST PICTURE TAKEBACK: ERIN
HOW GREEN WAS MY VALLEY OVER CITIZEN KANE

"It's Hard being a Pimp"

I'll admit this one was a little hard for me. There's so many instances that to pick one is maddening. And as is the case here, the history of the Oscars is filled with not just one bad choice but a series of them(See also my ex-girlfriends). So, when it comes down to I admit I would rather take one back from this film(A film I actually enjoy) than rant against its Directors win (The Legendary John Ford won over Orson Welles.) You see I can understand the Academy not wanting to give the fresh faced kid, the best Director right out of the shoot especially when he was known as an egomaniac. But, not to honor the film that changed film forever is simply unacceptable.

From the Opening Scene on the rules of filmmaking changed. Hell, the rules of the world changed. Do you want to know how you can completely dismiss anything anyone has to say about anything? If they ever make the statement "Citizen Kane is overrated." Ok. Your opinion has no value now, I can move on to someone who might matter. This film is in fact the most underrated film of all-time. Yeah I said it. You know why? You know why everyone under sixty isn't as impressed as they should be? Because they've seen it a million times. Every single scene, every single shot, every single nuance has been stolen time and time again. It's to the point no one realizes none of it, none of it had ever been done before. Orson Welles singlehandedly changed all cinema that would come after it. In fact, can I do this article about him getting screwed out of Best Director? My editor says no. Whatever, moving on.

The still directly above for example. You've seen shots like that in movies countless times. Cranes, platforms, hell even Protools can do some of these effects. You know how it happened here? Welles wanted the shot to be low so he had the cinematographer put the camera as low as possible. Not low enough. He asked for different cameras. None worked. What the hell was he supposed to do have them dig a whole in the floor 6 feet deep and lay the camera in it?! HE DUG A HOLE IN THE FLOOR SIX FEET DEEP AND PUT THE CAMERA IN IT!!!! Who the fuck in 1940 does that? Charles Foster Kane is who does that.

Moving on. Everything is spotless. Watch any movie from this or any previous year and the acting is superior here. Welles wanted it as real as possible. Not that stage acting stuff. The cinematography was groundbreaking(Pun intended). The casting perfect. And the script? The script you ask. Here's how good the script is. Sixty years later, a dude and his ex-wife formed a band. They pretended to be brother and sister. They recorded a few albums that got some good press but had their real breakthrough with their album "White Blood Cells" and more specifically their track "Union Forever." Not only does the song lift ninty percent of it's lyrics from the script, the other ten is about the movie. They're The White Stripes. The twenty year olds following them might not know it, but it all started here.

This will turn into an article in and of itself so, I will finish with this. The amount of pressure and probably the reason why it had such little success upon release and didn't win all the Oscars is the subject matter itself. Charles Foster Kane was a barely veiled biopic of what many of whom viewed as the most powerful man in the world at the time. William Randolph Hearst. Hearst was so powerful that to this day his family is worth billions. Yet, Welles mocked him. The man who once famously/allegedly said "You provide the pictures, I'll provide the war," was taken to task. Hearst strong-armed theaters to not show the film and hurt Welles career so much he was reduced to this. But in the end, Welles created a film that shouldn't have competed for film of the year. It is in the running for best film of all-time. He went at Hearst without reservation and as Omar from the wire said "Lesson here, you come at the king, you best not miss ." Welles Didn't miss. Welles made one of the greatest films of all-time.

Best Director Takeaway: Matt

DELBERT MANN OVER CHARLES LAUGHTON

"Entirely Un-noteworthy" - The Academy

The list of worst snubs in the category of best director is more entertaining than any broadcast the Oscars have done. I know the entire ceremony is in fact the biggest political race of the year (election years included) but some of the picks bring to mind a visual of some sad man in a suit with his thumbs in his ears blowing a raspberry at legitimate, and often times historically validated talents, over some slight the rest of the world will never know about.

But the one I’m choosing for worst snub isn’t really an example of that at all.

Let me explain. This is the purpose of the Academy of Motion Picture Arts and Sciences according to Wikipedia “…professional honorary organization dedicated to the advancement of the arts and sciences of motion pictures.” Ideally, this is a philosophy that would be exemplified and not shunned in their award ceremonies. Yet inexplicably in 1955, the award for best director was denied to acting great Charles Laughton (as was even a nomination) for his directorial debut in Night of the Hunter, and went instead to Delbert Mann for his movie of the week, Marty. Marty isn’t really a bad film you see. It’s actually pretty good in its acting and story. But its direction is entirely paint by numbers. Night of the Hunter on the other hand is a disturbing and horrifying journey in terror that has been studied in film schools since its release for its gothic overtones and brilliantly handled camera work.

Even in still frame, it's brilliant.

Of course at the time of its release, Night of the Hunter was a critical and box office failure. It is in fact a prime example of a movie being ahead of its’ time. But shouldn’t that be the exact thing the academy that supposedly acknowledges “the advancement of the arts and sciences of motion pictures” would recognize? Even if the movie wasn’t a hit, how can you not notice the brilliant directing the movie had? I know expecting foresight from the Academy is like expecting a lifelong stoner to become president, but it’s a shame that the supposed governing body of film in America couldn’t even give a simple nomination to such an obviously brilliant work of filming.

I'm just going to keep posting shots of this movie until someone else is outraged

As it stands, the reception to Night of the Hunter was so bad that Charles Laughton swore to never direct another movie. And to his word he didn’t, thus depriving us of a potentially great artist in the world of film. Would a nomination of changed that? Maybe not. But by all definitions, it was so rightfully deserved.

Best Director Takeaway: Erin

Robert Zemeckis OVER Kryzstof Kieslowski

Let me start by saying I am committing a crime here. To talk about Directors being screwed and not to focus on Martin Scorcese is just wrong. He should have won in 76 for Taxi Driver, getting beaten out by John Avildsen for Rocky, because America was still smarting from the ass kicking it took in Vietnam. He should have won for his greatest Directorial accomplishment Raging Bull, getting beaten out because the academy thought it would be cute to give the award to Robert Redford. And should have won for Goodfellas getting beaten out by Kevin Costner and his opus Dances with Wolves. You know why I'm not talking about any of these three jokes? Because it was all karma building up to bite him in the ass for his eventual give me back awarding for The departed. That movie sucked. The direction sucked. And like Al Pacino(whose going to get his), just because you were great and didn't get acknowledged doesn't give you an excuse to start making terrible movies. Leo is rubbing some tanning lotion on, time to start filming Marty.

Now that I got that off my chest let's get to my real reason for choosing Red by Kieslowski. See the guy above? That's Ingmar Bergman. He deserved to win this award about six times. See the guy below? That's Akira Kurosawa. He deserved to win it at least five times. He didn't. Was never even nominated. His work was so dismissed, even in Japan that he eventually lost all funding and attempted suicide. He was finally nominated after Steven Spielberg produced a film for him and then got a lifetime achievment award thirty years after his last great film. Good on you Academy. The Oscars are a nationalistic, racist, and totally flawed system that if you take seriously, you really need to look within.

Now to my point. Kieslowski's Red is a masterpiece beyond words. Every shot, every silence, every pan is breathtaking. It's beauty is one of the things that gets a person through this life. It is part of the brilliant Three Colors Trilogy which sadly was his last work before his early death. His film Blue, should have equally won him this award but it went up against Steven Spielberg and Schindlers List. While I disagree with that call, It was an epic achievment for a director I don't have much respect for. So good on you, Steven.

The entire concept of these films is captured so magically in Red without once ever seeming forced or heavyhanded. And if your concept is to use a color and insert it often into a film to represent not only a color but also a mood and you can pull that off without it being overwhelming....You deserve a damn award. Look at the opening scene of Red. Really? Really? Did that just happen? Not as impressive as Tom Hanks ridiculous storyline but still kinda awesome. You see that's the problem. No one understands what a director does. That's why if people like the film they think it was well directed.(See James Cameron or Michael Bay.) What Kieslowski pulled off in Red is so breathtaking that Zemeckis should have refused the award out of embarassment.

I just watched the final scene from Red. The look in Trintignant's eyes? Tears are rolling down my face. That is what a director does. It doesn't take someone dying of aids. No love conquering all. It takes a perfect shot. A perfect tone. A perfect moment. A man who has nothing who finds a quasi-friend and who finds his humanity. And for one split instance he thinks it's all gone. And then it's not. No sweeping orchestra. No fifteen minute build up. For twenty seconds he is scared. And then simply relieved. Happy. And it's captured in one shot. One moment. Directors are here to bring us beauty. God rest you Krzystof. You gave us so much.

Best Actress Takeaway: Matt

JULIA ROBERTS OVER ELLEN BURSTYN

Here’s one I can neatly sum up in clips.

Who should win best actress for the year 2000?

Julia Roberts showing how to perfectly act like Julia Roberts….

Or Ellen Burstyn shown here giving one of the most haunting and disturbing performances ever shown on screen.

Yeah, Julia Roberts really won that year. The real question is…how can you be shocked?

Best Actress Takeaway: Erin

Anyone over Gena Rowlands

She's the greatest actress of all-time. Where's her awards Academy?

Best Actor Takeaway: Matt

PAUL NEWMAN OVER BOB HOSKINS

"Watch it Kid"

Sorry sir, I swear this one isn't personal.

I saved this for last because it represents a series of bad decisions that have forever plagued the Oscars more than any other series of bad decisions.

This is an example of "The Gimme".

That’s when an actor, actress, or director puts up a terrific body of work over the years and is continuously shunned at every turn when it comes time to present the award. Finally, the big day comes and they get their win for a role or movie that is usually nowhere near the ones that they should have clearly won for. The worst part of this is that the gimme usually comes at the expense of a much more deserving nominee, thus keeping the whole cycle going.

It's okay though Marty, it was a really weak year anyway.

One of the worst cases, outside of Martin Scorcese (though I’m still a fan of The Departed despite its gimme status), was at the 59^th Academy Awards when the legendary Paul Newman won an Oscar for the less than legendary Color of Money. Like many other winners, it must be noted that his performance was actually good, just not that good. What really makes this one sting though is that the year before he had won an honorary award for his complete body of work up until that point. A rare and appropriate apology indeed. And yet someone was still compelled to turn around the next year and give the man a gimme for the hell of it.

As I said, this usually comes at the expense of another actor. Unfortunately, this year it happened to the highly unsung great Bob Hoskins, who you probably know from this:

But you should know him for his brilliant work in Mona Lisa where he plays a gangster turned chauffer for a call girl. If Newman’s career was a rolling storm, this was lightning in a bottle. Hoskins’ performance as a gangster is so damn convincing you still can’t convince me to this day that this guy hasn’t had “knuckle breaker” on his real life resume. Everyone else in the world (Golden Globes, BAFTA, anyone with common sense) had already awarded Hoskins with best actor that year, yet again in the one place that should ideally matter most; he was snubbed in favor of a pity vote.

And Paul Newman didn’t need pity anything, much less acting recognition.

He can eat fifty eggs after all...even more than the great Marlon Brando

Best Actor Takeaway: Erin

Al Pacino OVER Denzel Washington

Just look at the links attached to the actors names. That's what it's come down to. A brilliant, subtle, nuanced performance that is identical to the man he portaying being beaten out by a yelling, screaming joke of a performance. Al learned that lesson. He was an amazing actor. Here. There's your proof. But he learned. They all learn. Denzel learned. He learned really well. The louder the better. Scream. Sweat. Make sure they hear ya in the backseats. They just don't get it.

Summing up

Matt:

You know what I’ve realized in doing this article though? It’s honestly quite possible that the Academy has watered themselves down to such a point that they acknowledge it and intentionally avoid giving awards to worthy recipients as to not shame them.

If that is the case, then kudos guys. By continuously ignoring the best works in your supposed field of expertise, you have given them more recognition than your cheap golden naked man statue could have ever done.

Erin:

First, Kudos to my friend Matt. All very valid especially Night of the Hunter. Totally correct. It's hard to not get upset at some of these and Matt and I certainly could have done five for each category. You see the problem is this. I have this crazy friend Sam. Sam loves everything. When you tell him a movie was terrible he simply responds "It made a Billion Dollars"

It's a hard arguement to refute. Scorcese, Newman, they won their awards because the Academy looked so bad for never doing it before. Washington because the Academy looked so racist for not giving it to him for X. Halle Berry because the Academy was so scared of the race issue after the Washington uproar, they nipped the "Never a Black Woman" issue in the bud. Why never a Chinese woman? Why never an Iranian? It doesn't matter. It all comes down to money. and it all comes down to who has the power. My final statement? Orson Welles accomplished the greatest achievment in film history as a kid when he made Citizen Kane. He pissed off the wrong people and never could make a film like he wanted to again. Enjoy the awards. But for all that God holds sacred. Don't take them seriously.

Written and edited by:

E.Matthew and Matt Byrd

Linsanity: Jeremy Lin VS. Jimmy Chitwood

noreply@blogger.com (Entertainment Outlet Staff) — Thu, 16 Feb 2012 21:24:00 +0000

The worlds going crazy with Linsanity. Entertainment Outlet does the impossible and contrasts him with the greatest sports star in film history, Jimmy Chitwood. So, why compare a point guard with seven good games to a fictional character from 1986's Gene Hackman vehicle "Hoosiers"? Because, everyone's talking about Jeremy Lin, and Jimmy Chitwood is the most awesome sports figure in film history. Sorry Rocky, but it isn't even close. Let's begin!

VS..

THE PUBLIC:

Jimmy: The town of less than a thousand worship Jimmy. He is their God. His decision to support Coach Dale, is the one decision that leads Hickory on to glory.

Jeremy: Has made a horrific New York Knicks team into the talk of the world. You can't turn on a TV or look at a newspaper without seeing his name or face. Rags(Harvard is rags?) to Riches.

Winner: Jeremy Lin. Not even close. Jimmy leads a small town High School to regional glory. Jeremy is now the face of a franchise that hasn't had a face in decades. (Sorry Melo, how bout you lose some weight than complain.) And if there's really any other question. The most recent rumor. Kim Kardashian wants to meet Jeremy. Son, from one Bay Area boy to another. Make that call. You Don't got to marry her.

THE STORY:

Jimmy: Parents gone. Introverted kid whose neighbor/teacher looks after. Gave up basketball to focus on his studies, but can't leave the sport he loves behind. Takes a stand for a coach and then leads a little town to it's ultimate glory.

Jeremy: Cut by team after team. A few days away from getting cut by the biggest market in the league, sleeping on his brothers couch because he doesn't think he'll be around long. Comes in and makes Tim Tebow look under-publicized. This kid has the world in the palm of his hand.

Winner: Jimmy Chitwood. Did I leave something out? Oh yeah. Jeremy Lin graduated from Harvard. He gets booted out of the league what does he do? Take a 6 figure salary somewhere else. Jimmy? farm worker? Maybe? No. Jimmy handsdown.

THE COACH:

Jimmy: Norman Dale. Kicked out of college coaching for striking his own player. Reviled by his city for his coaching style. Nowhere else to go, but still fighting to do what is right.

Jeremy: Mike Dantoni. Oh wait. Are you serious? You want a comparison? Did you watch that clip?

Winner: Jimmy Chitwood. Please. If my kid was the one Norman Dale hit, I would have turned to my son and make him apologize. Norman Dale is the man.

Defining moment:

Jimmy: http://youtu.be/A0QTBAWc3tM.

Jeremy: http://youtu.be/iFAeQGJW-jk

Winner:

Jimmy: Jeremy Lin is the biggest thing to hit New York from Asia since Godzilla, but come on. "I'll make it." The quiet, kind boy. "I'll make it." Ice water in his veins. You want me to give you someone to make headlines? Jeremy is my man. You want that last shot to go in? You want Mark Sanchez or Eli Manning? That's what I thought....PS...Hey Jeremy, get Kim's digits....you got 15 minutes son....It's ticking.....

If Popular Characters Ran For President

noreply@blogger.com (Entertainment Outlet Staff) — Sun, 12 Feb 2012 22:08:00 +0000

By: Matt Byrd

So in the world of film and television there have been many, many cases of an actor portraying the president. In fact, it seems like the role itself comes up more often than the actual election does. It is therefore very popular for people to imagine what it would be like if those fictional presidential personas were to actually assume command.

But as the Republican primary rages on, and another presidential election draws near, I’ve come up with a different idea. Instead of trying to imagine what it would be like if those presidents were actually in this election, I’m more curious what it would be like if some popular fictional characters from movies and TV were to take a run at becoming the leader of the free world. So here is how I think six incredibly random fictional characters would fare in the upcoming election.

THE BALLOT

EMPEROR PALPATINE

OF THE STAR WARS SERIES

Prior Leadership Experience: Supreme Chancellor of the Galactic Senate/ Emperor of the Galaxy

Credentials:

United a divided galaxy under one ruler. Even if it was him. And even if it was a militaristic hostile takeover. And even if he did have the ability to shoot lighting from his hands which he used liberally.
Revived the fighting spirit of the galaxy after it lost all hope upon seeing Jar Jar Binks elected to the senate.
An eye for blossoming talent, as evidence by turning the whiny Anakin Skywalker into the awesome Darth Vader. An inspiring plus in these times of misguided and disillusioned youths.
Clearly had an economic surplus under his rule that allowed him to construct the great military weapon (and beneficial tourist attraction), The Death Star.
Has the ability to sense great disturbances in the force…which means, as a nation, we may never have to suffer through another Star Wars sequel.

Chance of Election – Basically none. Much like how Nixon would lose out to JFK with help from the invention of television changing the game, Palpatine doesn’t come across as very social, which is a strong disadvantage in the social media age. It’s also hard to imagine that he won’t use his considerable projectile lightning skills unto those who would dare debate him, hurting his chances with the always reliable baby boomer demographic that relies on televised debates for entertainment. Finally, I just can’t believe that he will hold to the principles of democracy this time around and not try to take over the galaxy again. In fact, we’re quite fortunate that Palpatine will never run for…

...hey wait a minute...

...probably just a coincidence

Tony Soprano Of The Sopranos

Prior Leadership Experience – Waste management consultant, head of a family of four, legitimate business investor, and umm…..nothing else….capiche?

Credentials:

Living and Working in Jersey has taught him to deal with the unstable and inhospitable environment that politics provide
Employs a direct and vintage style of justice (let's call it mob like) that hasn't been seen for a while at this level of politics
His taxes have never been called into question (because he's never filed them)
Has great ability to delegate many key assignments to his underlings while having a decisive final say on all matters, making him a prime candidate for the executive branch
His waste management business and gentlemen's club are both thriving despite some suspiciously low profit margins, proving he really knows how to stretch a dollar.

Chances of Election – Fuggedaboutit! Despite his qualifications, Mr. Soprano has some completely unfounded arrests on his record that will hurt his image with voters. Not to mention that he has a very private nature about his business that wouldn't work with the public image that the position requires. In fact, and it’s hard to put my finger on it, but there just seems to be something off about Mr. Soprano. Like how he says his favorite lobbyist is a “slugger from Louisville”. And there is just something unsettling about his cabinet appointments…

Mayor Quimby Of The Simpsons

Prior Leadership Experiences - Mayor of the town of Springfield for over twenty years.

Credentials:

A natural born promoter, Quimby shouts his campaign slogan "Vote Quimby" at even the most inappropriate moments (like when being caught with yet another mistress)
Frequent kickbacks to the local mafia and police chief kept crime and corruption in his town pretty much solely in the mayor's office
Once allowed popular resident Marge Simpson to get out of a criminal charge so he wouldn't lose the "chick vote", thus showing he's a progressive thinker.
Admitted to using taxpayer dollars to murder his enemies, but got out of it by citing a popular catchphrase in his defense. So he's honest and in touch with the public conscious
Is basically a Kennedy.

Chances of Election – Pretty good. Nobody works the political machine like “Diamond” Joe Quimby. His experience in getting elected and living off of a massive slush fund is unrivaled, and if you need a baby kissed or a ribbon cut, there’s no one better for the job. The problem is that his many antics have been easy to conceal in a small town environment, but wouldn’t last long on the grand stage and would surely lead to impeachment. Of course, if this did happen, we would get the only honest concession speech in political history…

Cobra Commander of G.I. Joe

Previous Leadership Experience – Head of the International Cobra Organization

Credentials:

Started the Cobra organization by manipulating a small town with his charm, while using his criminal expertise to get what he needed...which is basically the voting process on a small scale.
Brands everything with the Cobra trademark, a move which as given him garnered him great acclaim in the private sector.
Surrounds himself with infinitely more competent minions while still keeping a position of power, a sly skill that any great president has.
Began his life as a car salesman, which is just the kind of grassroots beginnings needed to cover up such incidents as that "weather dominator" experiment.
His Wikipedia page says: "His objective is total control of the world's people, wealth and resources, brought about by revolution and chaos", which ambition wise makes Obama's change campaign look like a new haircut.

Chance of Election – Not enough cobra shaped gas pellets in the world. You see, there is this perception going around that the cobra organization is a terrorist group of sorts. But you must consider that the commander is just a man of supreme ambition and intelligence whose lust for revenge over his Vietnam War vet brother’s tragic demise caused his life to spiral into the dark criminal underworld. So I would love to see what he could do when given a chance to make something out of an honest job. Plus what makes the better national landmark?

The White House

Or the Terrordrome?

Captain James T. Kirk Of The
Star Trek Series

Previous Leadership Experience: Captain of the spacecraft USS Enterprise

Credentials:

Has years of decorated military experience that has given him tremendous life perspective….and the ability to throw a perfect dropkick
His Iowa birthplace gives him a strong voting base, which is fortunate considering the many illegal aliens he’s made friends with on his travels are ineligible to vote.
Would be unmatched in foreign relations assuming nobody’s husband finds out.
Fought with the visage of Abraham Lincoln against a team of evil that included Genghis Khan, which is a story that could end pretty much any political debate.
Once destroyed a world consuming doomsday machine by using a nuclear reactor while still giving himself enough time to escape and deliver a speech on the irony of the situation. This isn’t really a political credential but it was really cool.

Chance of Election: Highly Illogical. It’s been remarked of Kirk before that he was made for the captain’s chair. He has spent a career defying conventions, orders, and the very laws of probability to, in the end, do what was needed. Even if that meant sacrificing red shirted crewman after red shirted crewman, he has tirelessly defended the universe and his own people (that had major roles anyway) against a variety of seemingly unbeatable threats. We simply couldn't afford to take him away from that position. Hell, who would defend us against the Gorn? Fortunately though there is another perfect candidate aboard the Enterprise…

Gordon Gekko From Wall Street

Prior Leadership Experience: Wall Street Tycoon Extraordinaire

Credentials:

Sociopathic, charming personality that draws everyone to him just to be manipulated
Wealthy and greedy to the point of absolute absurdity.
An ability to make good for himself and anyone too close to him to be cut out of the deal
Impeccably dressed and highly articulate, skills he uses to hide the evil soul within.
Will wipe out anyone who stands in his way over matters trivial or large without a thought to the repercussions

Chances of Election: What, didn't you read those credentials? If this guy actually ran, we’d be mere months away from this…

The Departed : The Debate

noreply@blogger.com (Entertainment Outlet Staff) — Fri, 10 Feb 2012 01:01:00 +0000

Entoutlet.com Presents:

A Gentleman's Movie Duel

So around here, it's not uncommon for us to get into debates over movies. Most of the time these are friendly disagreements spurred by the mention of a particular title. Sometimes though, they can become everlasting wars over movies that create alliances and make enemies turning our usually friendly staff into bloodthirsty soldiers of film that George S. Patton himself would be proud of. So we figured, why keep the fun all to ourselves? Why not bring some of these debates to this open forum and let you, the reader, decide where you stand.

And in the spirit of Oscar season, we've decided to start with an award winning film that none of us can seem to agree on. So here are two of our staff members ready to go one on one over a recent best picture winner from one of the greatest directors of all time. Yes, our first film (straight from entoutlet.com's $5.99 selection) is none other than:

THE DEPARTED

(An actual shot from the debate of this movie)

FIRST TAKES

Byrd: Since this article started as a result of a friendly debate over The Departed, I have a pretty good feeling that my colleague is going to come at this movie pretty hard. So though I’ve seen the movie many times, I decided to watch it again recently to gear up for my argument and remind myself how awesome of a movie it is.

But you know a funny thing happened. My time away from the movie, combined with the new criticisms I had to listen to about it, made me come to a stark realization about The Departed.

It’s still completely awesome.

Don’t get me wrong. This is a far cry from the Raging Bull, Taxi Driver, Mean Streets Martin Scorsese, who was coked up and angry at the world while generating some of the finest films of his era (for a similar phenomena, see Allen, Woody. What this is instead is a Scorsese that is seemingly having fun with a movie for the first time since Casino. He goes back to using a purchase worthy soundtrack, his camera work is almost playful at times, and the actors he cast feel like a list of people he just loves to work with.

The biggest reason the whole movie works is the script, or more specifically the dialogue. Nicholson has been over the top for most of his career, and it’s only gotten worse with age, and DiCaprio and Damon have a tendency to phone it in when they take a paycheck gig. But in The Departed the script reels everyone in. Nicholson’s dialogue is built around his somewhat hammy nature and combines with those brilliant and subtle veteran moves he brings to a part to create a character that is as entertaining as he is unnerving.

Matt Damon goes back to the fast talking, charming, slightly sociopathic character that films like Good Will Hunting showed he can nail when given the right material. Hell, even the usually bland DiCaprio finds a home here playing a derailed and at times detestable character whose natural charm lends sympathy to his plight. Outside of that, the supporting cast is even better. Sure Martin Sheen delivers a same old same old part, but veterans Alec Baldwin and the criminally underworked Ray Winstone come through big time, while character actors like Kevin Corrigan and Anthony Anderson manage to make standouts of their minor characters.

Then you have to give special mention to Mark Walberg. Marky-Mark (as he’d prefer to be known) has flat out never and will never give a better performance than he does as professional asshole/policeman Sgt. Dignam. He’s like that guy who spends most of your life giving you a hard time, but one night backs you up in a bar fight and reveals his true self. It doesn’t hurt that nearly every word out of his mouth becomes instantly quotable by anyone ignorant enough to try to come off as the run-away train of ego that Walberg is in this movie.

In fact, it’s his part that made me realize what The Departed really is. A dark comedy. I found myself laughing more than anything else during the film, and that’s far from a bad thing. It’s exactly what the genre needed to feel alive again. Here is a gangster film that spends more time playing cops and robbers than it does entering philosophical debates over the morality of crime and blah, blah, blah. It harkens back to the simpler times of the Warner gangster films and combines them with the best modern filming techniques, screenwriting tricks, and pure acting talent that is available today. Right up until the ending (which is so good by the way I’d watch a sequel that’s just Walberg in a track suit and bags on his feet going vigilante in Boston Death Wish style) this is a taut, tense, and pure fun return to form by nearly all involved.

Seriously man, how do you not like this movie?

HAINES: If I learned one thing it is that I shouldn't give away several pieces of my argument before my colleague writes his review. Though I am much more the Alexander Hamilton to Matt's Aaron Burr, I digress.

I too re-watched the film in order to refresh my memory. It was a bit like thinking of a painful breakup. You know it will hurt, but dammit you've just got to pull those pictures out of that drawer. Maybe the only thing I agree with him on is that this is a far cry from Scorsese's masterworks. Mind you, it's a step up from his few previous films "Bringing out the Dead", "Gangs of New York", and "The Aviator." But, that's saying little to nothing. I also agree, the camera work is above average but I would credit that more to Cinematographer Michael Balhaus who worked on over a dozen of Fassbinder's films.

Now, the script. Based on the Hong Kong film "Infernal Affairs." My first complaint is many of the scenes are directly lifted from the original. In addition, almost every character is either an angel or demon. There's almost no character shading, no depth, nothing that separates them from characters in Spiderman 2. Then there's the issue of realism. What is less plausible? Damon's characters lightning ascension through the police department or that an evil, untrusting crime boss is going to make someone he knows to be a former cop his right hand man in just four months? Really? Really? And that same crime boss is going to go personally on payment runs? Yeah, that's how it works. When was the last time a mob boss went on a run?

Now the acting. I need two paragraphs for this. One is dedicated solely to Leonardo DiCaprio. What is Martin Scorsese's obsession with Leonardo DiCaprio? He's terrible. He is just as good now as he was as the troubled teen in "Growing Pains." Whilst, hanging out with two models watching Johnny Depp in Donnie Brasco is not prep work for a role. Recently, Scorsese gave an interview saying DiCaprio is "One of the two or three finest actors I've worked with." Oh really? Robert Deniro,Daniel Day-Lewis,Joe Pesci,Nick Nolte,Willem Dafoe,Harvey Keitel, Paul Newman, Robert Mitchum, Gregory Peck, and Liam Neeson. There's ten. Shut up Marty.

Now the rest of the cast. I could write a whole article about how terrible Nicholson is. In everything. He gave two decent performance 40 years ago. Since then he sucks. To say being over the top fits with the character is like saying casting someone in a coma as someone in a coma is good acting. It's not. He plays Jack Nicholson here like he does in all his movies. I will agree that Damon is serviceable as Sullivan, and Wahlberg is actually pretty damn convincing. Plus, I can't hate on anyone who has ever dedicated an autobiography to his dick (That books going for $90 bucks online right now, worth every penny.) The rest of the supporting cast turn in decent performances. But, they simply aren't enough to overcome a thoroughly unbelievable script.

To sum up. They took a decent Hong Kong film, made the script less believable (and if you know Hong Kong cinema, that's hard.) Just like "Crash" the year before the lack of quality of modern Hollywood films has lowered expectations to such a degree, that even mediocre, run of the mill films are now considered great. It's not the worst film. It's not even terrible. But, if I wasn't getting paid to watch this film again, I'd be pretty pissed. Wait a second, I was off the clock. God Dammit!

FINAL THOUGHTS

Byrd: Ok, there’s no way to argue against the plot holes in this film. The most damning of which may be the scene where DiCaprio somehow gets out of giving Nicholson his personal information that would have revealed him as a cop by having a philosophical discussion with him at a bar. I really wish that would work in real life. I’m full of philosophical ramblings.

Other than that, I overall still disagree. Casting someone in a coma to play a coma patient isn’t good acting? Well maybe not, but its sure good casting. It’s harder to argue for Leonardo Di Caprio in general, but I still contend that if I’m casting a misguided, somewhat whiny know it all with bad facial hair, then you can hardly do better. Oh and by the way, Nick Nolte is a better actor? Superior drinker and finer mugshot I grant you, but not acting.

Like I said, I see this film as a tribute to the early cops and robbers flicks. There is no gray area, or complex characters, but come on, this isn’t The Wire (honestly what is?). It’s a superior thriller with a dark comic edge that separates it from a million genre competitors out there. It kills me to say this about a re-make, but it’s even superior to its inspiration. Even in his twilight years, Scorcese is still the best at shooting gangsters (err...filming gangsters).

Overall Rating: 9/10

HAINES: How dare you!!!! How dare you say Nick Nolte isn't a better actor than Leo. This is a man who once had to act like he found Barbara Streisand attractive! (Prince of Tides.) Look, it's not that I think this film is totally an insult to cinema. I think maybe like your rational for this film, I live in the past. Martin Scorcese could have done this film twenty times better, twenty years ago. And twenty times faster with the amount of coke he was on.

I've simply gotten tired of suspending disbelief. You're right. The bar scene is a perfect example. How many more films do we have to watch where we have to put aside seven or eight major errors? I mean, in the original (Infernal Affairs), the character Damon's character is based on worked his way through the police force for years. But, that didn't fit the high paced actions of this film. So, it got cut.

I feel this film took the easy way out. Al Pacino is legendary for taking Francis Ford Coppola's script for "Godfather 2" and sending it back to him and saying it wasn't good enough for him to be in. Yes, this coming from a man who was in "Any Given Sunday." But, still this just goes to illustrate the point. Decent script. Check. Too many star actors. Check. It's easy. It's too easy. Scorcese used to take his time. Now, he cranks out a movie every year or so. And it shows. It shows that "The Departed" isn't only a mediocre film but its title could also double as the title of the biography on Scorcese's desire to make well-crafted, amazing work. It's over. It's just as sad as Jake Lamotta's end, in a film that Scorcese has lost any ability to ever touch again.

Overall Rating: 5/10

Five More Movies To Own

noreply@blogger.com (Entertainment Outlet Staff) — Sun, 05 Feb 2012 18:53:00 +0000

By: Matt Byrd

In this second installment highlighting entoutlet.com 's $5.99 DVD section, I take a look at a cult favorite TV show, an action classic, the funniest comedy you shouldn't laugh at, a return to form for an iconic character, and a major release horror movie from the last ten years that's actually pretty good.

Not Just The Best of The Larry Sanders Show

Hey Now!

You’re either one of two people reading this right now. Either you saw that first sentence and are currently looking for your Hank Kingsley fan club membership card, or you have absolutely no idea what I’m talking about.

If you are in that second group, I truly envy you. That means you’ve never seen The Larry Sanders Show and get to laugh at it for the first time. One of the greatest comedies ever aired, The Larry Sanders Show remains seriously underrated to this day. Inspired by the late night wars of Letterman and Leno, The Larry Sanders Show follows the titled host Larry Sanders (Gary Shandling basically playing himself) and his crew as they attempt to survive the ratings battle. There to help him are his producer Artie (Rip Torn running and stealing the show) and his faithful sidekick, one of the worst human beings ever portrayed on television, Hank Kingsley (Jeffrey Tambor).

It’s those men and the rest of the cast of (then) young and promising comedians that make the show what it is. The show carries a very raw feel in its production, which only accentuates the perfectly dry sense of humor that everyone on set is working with. As for the DVD set, it does manage to collect some of the best episodes of the shows six season run, although many of them are from the later seasons leaving some of the show’s early all time classics for those who buy the complete series set. Though as a nice addition, you do get some great special features, as well some above average packaging for such a deal of a set.

It’s hard not to recommend this DVD to anyone who enjoys good comedy. It takes exactly one episode to become hooked, and, amazingly, even though this show would go on to influence countless of other programs (most notably The Office), it still feels fresh and unlike anything else on television. One of the true steals of our collection.

The Professional

Here’s a movie that I don’t feel I can explain properly without going on a lengthy spiel about it. But I’ll do my best to avoid that here.

Released in 1994, this is the story of a 12 year old girl (Natalie Portman in her debut role) whose parents are murdered by a corrupt DEA agent (Gary Oldman), forcing her to seek refuge with a neighbor (Jean Reno) who happens to be one of the top professional assassins in the world.

After you’ve read that description, I’d like you to take a look at the original trailer for the movie.

See, that trailer tried very hard to make this look like an action film. Most of the scenes shown in it come from two distinct parts of the movie, leaving a heavy chunk of it out. Why? Because those scenes left out show the movie as it really is, which is basically a love story. In fact, this film was considered very controversial (and in some ways remains so to this day) for using a young Natalie Portman in, at times, such an outright sexual way. Her interactions often go beyond that of a father/daughter or tutor/mentor relationship that she shares with her protector, and it can unnerve an unsuspecting viewer.

But that’s not the way to think about this movie. Instead, you have to understand that Portman’s character is just an isolated girl who lost the only family she’s ever known. She’s eager to prove she is an adult in the world, without understanding what that fully means. For Leon’s part, he’s a lifelong loner who starts teaching Portman his ways, not just as a means for revenge, but because it’s simply the only thing he knows. He has no idea how to handle a person in his life, much less one that he has some level of feelings for which, as a result, only enhances the awkward relationship between them. But this isn’t that kind of relationship. To best understand it, I always refer to the line Edward Norton famously quipped at the end of Fight Club. “You met me at a very strange time in my life”.

Don’t get me wrong though, the action in the film is incredible. Director Luc Besson and star Jean Reno both bring an effort to this movie that neither would show again in their careers. Besson knows just where he wants the viewer to focus, and Reno carries himself so much like a hitman, I still have trouble to this day convincing myself that he is in fact not. And those character scenes that make up the bulk of the movie only enhance the action by giving it real weight since we now understand and genuinely care about the characters by the time bullets start flying. In fact my only major knock against this film (and this is the only time I will ever say this) is Gary Oldman’s work as the villain. It’s extremely over the top and seems to belong to a lesser action movie. He's certainly memorable and gives his character some real presence (and far from ruins the rest of the movie), but it could have been much more without his hamming it up in every scene.

However, that’s no reason not to buy this DVD. If you get it for the action, you will be pleased. If you buy it for a character piece, you will not regret it. And if you buy it for the total package of what it is, you could find yourself among the many who list this movie among their favorites of all time.

Oh that turned into a lengthy spiel anyway.....ah well, I'll try harder next time.

Blazing Saddles

If you’ve never seen this movie, I hate to be the one who has to describe it.

Mel Brooks made many comedies in his life, and what we’re talking about now is his masterpiece. It’s the story of a…*snicker*….sorry I’m laughing as I type here. It’s the story of a town in the old west under siege by outlaws and in need of a sheriff. The local politician, who happens to be sending the outlaws in a bid to snatch land, decides to answer their call by giving them a sheriff who has absolutely no qualifications to do the job. And in a twist that sets the town afire with anger, and gives this movie the bulk of its comedy, that sheriff also happens to be black.

In this PC no offense intended world we live in, it’s hard to imagine a movie like Blazing Saddles seeing a release today. Its racism is not only placed in the forefront of the movie, it’s the main source of its comedy. But what you have here isn’t a movie that’s being insensitive; it’s just being unbelievably funny. You have to laugh at the absurdity of the ways the townsfolk act, and use it as a reflection to the absurdity of racism in general. Once you appreciate that, it becomes impossible not to roll over laughing at this movie…even the stuff that’s just wrong. For instance I dare even the most politically correct viewer to not laugh at one of the funniest scenes ever put to film, where the sheriff rides into town for the first time much to the horror of the locals. That’s not to say that the movie only is funny because of its race jokes. Because, in general Mel Brooks has never put more memorable lines, actors, or characters in a film, and it’s easy to tell that those actors have never had more fun playing those characters and saying those lines. Plus it has Gene Wilder, which, like bacon, has scientifically been proven to make anything better.

I will admit that towards the end of the movie, things do start to fall apart as the humor goes towards a more slapstick style that hasn’t aged well. As a result, Young Frankenstein remains Brooks’ most complete movie. But for sheer laugh till it hurts humor, he never did better. And if you’re looking to add to your DVD comedy collection, you couldn’t either.

Casino Royale

I've been a fan of Bond Films (yes it should be capitalized) ever since I caught You Only Live Twice on one of those TV Bond marathons they routinely do. For a brief period, my life became a quest to see them all, and that’s exactly what I did. But when it came to the Pierce Bronson years (Goldeneye excluded) I started to deeply regret that decision.

Sure, the other Bonds had bad movies too, but they at least always felt like Bond Films. In most of Bronson’s, they just became incredibly generic action movies that put more emphasis on product placements and model of the day casting jobs than they did creating any sort of compelling reason to keep watching, or even bothering to maintain that classic Bond movie charm.

If you’ve actually seen Casino Royale, I think you know where I’m going with this.

Because much like Batman Begins did for its franchise, Casino Royale showed people who didn’t even want another Bond film how much life and quality there still is in the character. A big part of this has to do with the casting of Daniel Craig in the title role. Initially, fans were outraged at the move seemingly entirely based off of the fact that Craig was a blonde, and Bond traditionally wasn’t. That might be true but, follicle fallacies aside, what Craig truly brings to the role is an edge that was missing since the days of Connery. It doesn’t hurt that he’s working with a script that includes some of the best action sequences ever seen in a Bond movie, a villain’s plot that doesn't rely on taking over the world with nuclear missiles or lasers, and (I can’t believe I’m saying this) a believable and somewhat interesting love story for James Bond 007 himself. Hell, this movie even has the best opening title sequence to a Bond movie since the immortal Goldfinger.

The best part though doesn't come until the last minute of the film. Casino Royale has one of the greatest stand up and cheer (or if you’re conservative, maybe a particularly stout fist pump) endings I've ever seen. It’s enough to make you want to watch the movie again. And again. And again….

The Mist

Sometimes I feel bad being a horror movie fan. Sure it’s not exactly the most respectable genre to begin with, but lately it seems that horror films range from exploitation shlock fest (the SAW franchise) to re-makes (too many….too sad).

So imagine my surprise when I came across The Mist. Based off a Stephen King short story (marking director Frank Darabont’s second adaptation of a Stephen King work after the previously mentioned Shawshank Redemption), The Mist is about a group of small towners trapped in a grocery store while a mysterious mist that seems to be harboring otherworldly creatures surrounds them. As the time wears on, the fear and distrust within becomes greater than the horrors outside.

The best part of this set is actually its second disc. That’s because it includes a black and white version of the film. Big deal right? All they did was take away the color. If anything it almost seems counter-intuitive. The thing is though is that the whole story is done much in the manner of an old 1950’s small town horror film like say….The Blob. Seeing the movie in this way makes you appreciate the homage to those classic films and really enhances every aspect of it. The somewhat two-dimensional characters become priceless relics of a time gone by, the more obvious cg effects blend in thanks to the new palette, and best of all the actual mist itself stands out more than it does in the original making it seem like a more of a constant presence and an always present character.

If you’re like me and find yourself becoming angered at the continuing declining quality of horror movies and wondering if you’re just outgrowing the genre, give The Mist a shot.

As always, be sure to let us know what you think in our comment section below.

Woody Allen : Is it true that happiness can destroy talent?

noreply@blogger.com (Entertainment Outlet Staff) — Thu, 02 Feb 2012 06:37:00 +0000

This year Woody Allen turns 77. Happy Birthday Woody! From young comedic talent, to well respected Writer/Director, to that dirty old man who married his adopted step daughter and puts 24 year old women as his love interest in all his movies. It's been a fun ride. Now, Thirty three years after his first nomination for Best Director, he is again nominated, this time for "Midnight in Paris." Let's look at how we got here.

THE BEGINNING

Born Allan Konisberg, Woody Allen left TV writing for film with his "What's Up Tigerlily!" An inspired debut, where Allen supplies ludicrous overdubbed dialog to a Japanese B-picture fashioned after "Matt Helm" spy films. Allens debut as lead actor, director, and writer came in "Take the money and run" A straight for the laughs comedy about a bumbling crook. The film created the mold Allen would follow for the rest of his career. Neurotic and self-loathing.

He then went on a run of slapstick comedies including "Bananas","Play It Again, Sam", "Everything you ever wanted to know about sex....", and "Sleeper." "Love and Death" followed and is simply a perfect comedy. Allen plays a cowardly Russian whose in love with his cousin, forced into war, a plot to kill Napolean, has philosophical conversations with Death and then gets executed. A perfect ending to the beginning of a career.

CRITICAL ACCLAIM

Then came the quantum leap that no one suspected. "Annie Hall" may be funny but is an ernest and honest exploration of love in the 70's. And, the amazing part is Allen's brutal honesty. Some may argue but this seems to be the beginning of a reflective period that Allen stayed in for a decade. The film won Allen best director at the Oscars. Perhaps emboldened by his recent success he followed with the dark Bergman homage "Interiors". Certainly a bold move after such a critical and commercial success. Then came "Manhattan." Consider by many his masterpiece, it also began his obsession with young love interests. (Muriel Hemingway was 19, Allen 40) after another successful mostly dramatic film in "Stardust memories" His next few films, "A midsummer's night...", "Zelig", "Broadway Danny Rose", and "Purple Rose of Cairo," All brought comedy back to center stage. It also, introduced his new muse. His new bride, Mia Farrow.

THE FARROW YEARS

Newly married to Superstar Mia Farrow, the film that followed "Hannah and Her Sisters" may or not be Allen's best film. But, it is my favorite. Allen shows a maturity that he never had before and seemingly will never reach again. A series of dramas followed, highlighted by "Radio Days" and Allen's homage to John Cassavettes "Another Woman." Which led to Allen's(in my opinion) last great film.. "Husbands and Wives." Released in the midst of one of the ugliest celebrity divorces to date, the film feels like a documentary. A man sees a younger woman as the answer to a failing marriage. Allen's marriage was done. As was in my opinion his relevance. Written mostly before the split "Manhattan Murder Mystery" brings back the much more talented Diane Keaton to take Farrows place. "Bullets over Broadway" has it's moments but something had changed. And the fall was coming.

THE FALL AND THE POSSIBLE REDEMPTION

What followed was a mess of films, and a ridiculous cast of characters. "Mighty Aphrodite" and "Everybody says I love you' gets some much undeserved respect. "Deconstructing Harry" was Allen lashing out at the press and his detractors.. Then came a series of terrible films where seemingly the only important thing to Allen was having an attractive twenty something star. Drew Barrymore, Helena Bonham-Carter, Penelope Cruz, and Scarlett Johannson several times. Film after film it was clear, Allen had lost the plot. His films have made less and less money at the box office, some even going straight to DVD. And now, here we are. Allen is nominated for Best Director again, deserving or not. And perhaps he'll win. But, whatever failings Allen has shown as of late, there is no denying the indelible effect Allen has left on cinema. Five decades of film, over thirty films, and in the end, Woody Allen has left his mark as one of the most important and most talented writers in the history of film.

Dinner and a Movie: Breathless

noreply@blogger.com (Entertainment Outlet Staff) — Wed, 01 Feb 2012 04:40:00 +0000

Dinner And A Movie

By: Matt Byrd

Welcome to the first installment of Dinner and a Movie. A Column which looks to match the best of film with it's food counterpart for a perfect night in.

The Film: Breathless

Synopsis: Arrogant thief Michel Poiccard (Jean-Paul Belmondo) murders a policeman and tries to convince a young and beautiful journalism student named Patricia Franchini (Jean Seberg) to accompany him on a getaway to Italy.

I hate to crib notes, but I feel that Criterion.com perfectly introduces Breathless in one sentence:

"There was before Breathless, and there was after Breathless."

That's because in 1960, french director Jean-Luc Godard challenged the very foundations of cinema with its release. The movie shocked audiences with bold new filming techniques like jump cuts (a quick transition from one scene to another) and strange fades of music and sound throughout. It was all based under the umbrella idea of film making that Godard helped to patent called la politique des auters, or auteur theory. The idea states that a director writes their film in the same way that a novelist would write their work. With complete control.

As a result Breathless remains to this day a strange film. It's heavily disjointed, and downright awkward in many of its scenes which were primarily placed to startle viewers. Godard wrote and directed most of the film on the fly to give it a documentary feel and it shows. The dialog is another hurdle that any casual viewer will have to overcome. It's filled with philosophical and psychological babble that often leads nowhere, and even at it's best comes off as stilted due to the changes of time since the film's release and the rough translation of the dialog in the first place. I guess you would say Breathless is an artsy film. Not for everyone.

And yet....everyone should still see it. For one thing, it is most definitely on any true cinema fans list of most important and influential films. Beyond the textbook aspects though, Breathless is simply a beautiful movie. Paris itself has rarely looked better than it does shot through the lens of a young man who wanted to show the world a passion he held for movies.

Jean Seberg also remains one of the sexiest women to ever appear on film, and her appeal absolutely radiates here. At times it's hard to tell if she is being coy or merely naive, but her hip and natural girlish charm has not aged a day. Similarly Jean-Paul Belmondo has that timeless leading man look that is only accentuated by his characters fascination and emulation of Humphrey Bogart. Together, despite their unique circumstances and dangerous actions, they will remind any viewer with a heart of the beauty of young love and how it can spin the world itself around. We've seen couples in love in Paris many times before Breathless, and many more after, but it's hard for even the films biggest detractors to deny that these two capture the untamed spirit of the whole experience better than any others.

Untamed spirit is actually a good way to sum up Breathless. The best way to approach it is to think of it not as a narrative, or a film, but like free flowing music. Often without rhyme, reason, or intent, it instead dances around on the screen to it's own beat and allows, or even challenges, you to appreciate it for the beauty it is built upon, flaws and all.

There is hardly an idea in Breathless that hasn't been copied and improved since its release by many films. Yet none of them capture that same soul and feel. This is the movie to share with the special person in your life and let it wrap you both in a world where up until the moment of one final breath, love itself was possible.

The Dish: Breathless Beef Bourguignon

And what better meal to go with a classic French film than a classic French dish? The recipe is courtesy of foodnetwork.com.

Ingredients

1 tablespoon good olive oil
8 ounces dry cured center cut applewood smoked bacon, diced
2 1/2 pounds chuck beef cut into 1-inch cubes
Kosher salt
Freshly ground black pepper
1 pound carrots, sliced diagonally into 1-inch chunks
2 yellow onions, sliced
2 teaspoons chopped garlic (2 cloves)
1/2 cup Cognac
1 (750 ml.) bottle good dry red wine such as Cote du Rhone or Pinot Noir
1 can (2 cups) beef broth
1 tablespoon tomato paste
1 teaspoon fresh thyme leaves (1/2 teaspoon dried)
4 tablespoons unsalted butter at room temperature, divided
3 tablespoons all-purpose flour
1 pound frozen whole onions
1 pound fresh mushrooms stems discarded, caps thickly sliced

For serving:

Country bread or Sour Dough, toasted or grilled and rubbed with garlic clove
1/2 cup chopped fresh parsley, optional

Directions

Preheat the oven to 250 degrees F.

Heat the olive oil in a large Dutch oven. Add the bacon and cook over medium heat for 10 minutes, stirring occasionally, until the bacon is lightly browned. Remove the bacon with a slotted spoon to a large plate.

Dry the beef cubes with paper towels and then sprinkle them with salt and pepper. In batches in single layers, sear the beef in the hot oil for 3 to 5 minutes, turning to brown on all sides. Remove the seared cubes to the plate with the bacon and continue searing until all the beef is browned. Set aside.

Toss the carrots, and onions, 1 tablespoon of salt and 2 teaspoons of pepper in the fat in the pan and cook for 10 to 15 minutes, stirring occasionally, until the onions are lightly browned. Add the garlic and cook for 1 more minute. Add the Cognac, stand back, and ignite with a match to burn off the alcohol. Put the meat and bacon back into the pot with the juices. Add the bottle of wine plus enough beef broth to almost cover the meat. Add the tomato paste and thyme. Bring to a simmer, cover the pot with a tight-fitting lid and place it in the oven for about 1 1/4 hours or until the meat and vegetables are very tender when pierced with a fork.

Combine 2 tablespoons of butter and the flour with a fork and stir into the stew. Add the frozen onions. Saute the mushrooms in 2 tablespoons of butter for 10 minutes until lightly browned and then add to the stew. Bring the stew to a boil on top of the stove, then lower the heat and simmer for 15 minutes. Season to taste.

To serve, toast the bread in the toaster or oven. Rub each slice on 1 side with a cut clove of garlic. For each serving, spoon the stew over a slice of bread and sprinkle with parsley.

10 Movies You Can No Longer Afford Not to Own

noreply@blogger.com (Entertainment Outlet Staff) — Tue, 31 Jan 2012 16:55:00 +0000

By: Matt Byrd

At Entertainment Outlet, we have a huge selection of films. One of the highlights of our collection is our ever expanding roster of $5.99 titles. Featuring hundreds of movies, it can be a little daunting to sort through them all. That’s where this list comes in. The first in a series, this article will highlight ten films that any movie fan should own have in their collection right now. The best part? They're all $5.99 or 2 for $10.

1-Ghostbusters

No decade can lay claim to as many timeless comedies as the 1980’s. Caddyshack, Ferris Bueller’s Day Off, This is Spinal Tap, and many others all came out in those ten years as mere movies, and exited as timeless pieces of humor. Yet in my opinion, they are all bested by a film about three out of work New York scientists who decide to start hunting ghosts in the city for an outrageous fee.

Yeah it’s pretty ridiculous, but that’s the charm. Never once does the movie slow down to examine the absurdity of its situation, and instead delivers a relentless onslaught of humor that draws you in. What really makes the whole movie work though is the cast of Murray, Akroyd, and Ramis. Their real life friendship translates instantly to the screen where their triumph as a comedy troupe makes everyone around them bring their A-game to keep up.

The best part is that the whole thing is tied together by a script that features enough quotable dialogue to cover awkward conversation silences until the end of time. Between that and the corniest/greatest theme song ever recorded, Ghostbusters will burrow into your subconscious and never leave. Just like those brave men who weren’t afraid of no ghosts, there is no reason you should hesitate buying this DVD.

2-The Exorcist

It would be great to go back in time and see the original theatrical release of the exorcist. As the stories go, no mainstream film before it had ever really shocked audiences in the same way. People fainted in the aisles, ran out of their seats claiming they’ve seen the devil, and sued the film makers left and right for crimes against humanity. It must have been a sight.

Now almost 39 years after the original release, the hysteria over the film has, naturally, died down. Which makes it all the more impressive that The Exorcist can be viewed now not as a bit of shock horror, but as a genuinely good and important film. Its direction was incredible, its story is timeless (as evidenced by the many knock offs it spawned), and many of its scares still work after all these years.

Good horror is a hard commodity in film as it is. But a nearly forty year old film that has somehow become better with age and barely loses any of its original frights? That’s truly scary.

3-A Clockwork Orange

I wish I could have asked Stanley Kubrick one question in life. Was even his birth controversial? Because it seems like everything the mad scientist director did after that caused some sort of debate amongst viewers. There is probably no greater example of that than his 1971 film based off the novel by Anthony Burgess, A Clockwork Orange.

It’s the story of a young man and his cronies who just don’t seem to fit in to society. They’d rather spend their nights sipping enhanced milk and committing a series of increasingly bizarre crimes while speaking in the style of a sonnet. It’s just as strange as it sounds….and equally brilliant.

I mean how can’t you love Kubrick’s innovative camera work which frames a hopeless dystopian future, where your main characters are some of the most despicable vandals ever portrayed on film while having the whole thing anchored by a career performance by the brilliant Malcolm Mcdowell? Well… okay it’s not for everyone. But it’s still a film unlike any other that must be viewed by all. As long as you can stomach a bit of the old ultraviolence that is.

4-Lawrence of Arabia

Here’s a film that I don’t really feel the urge to go on about. It’s Lawrence of Arabia people! As much as the word is tossed around these days, the only appropriate way to describe it is epic. It truly is epic filmmaking at its finest, and stands to this day as a glowing example of the scope and triumph that movies can provide.

This is a movie that people will trek to in order to see it in its original big screen format and film print. That’s because every emotional impact, gut wrenching scene, and stand up and cheer moment that director David Lean intended for audiences in 1962 still rings true today. As a topper to it all, you also get the incomparable Peter O’ Toole and Sir Alec Guinness at the peak of their game leading the whole film.

Some movies don’t live up to the hype. But Lawrence of Arabia isn’t burdened by hype. It’s just great.

5-Braveheart

Due to the…let’s say eccentric behavior of director Mel Gibson since Braveheart’s release, the film itself has taken some hits in the eyes of viewers. More than just personal attacks though, the movie itself has also been called out for being melodramatic, sappy, and cliché by its detractors.

And honestly, in a way they are right. Braveheart is not the perfect film its biggest fans would leave you to believe. But that doesn’t come close to mattering. Because once you take away everything that Braveheart isn’t, you can see it for what it really is. A truly superior action film.

That’s right. It’s not a top ten movie of all time, and it’s not “Shakespearean” (*shiver*). It is however one of the greatest red blooded action movies ever, that happens to feature some far above average writing, and a cast of great character actors that surround a powerhouse Mel Gibson in one of his best performances. Top it off with one of the best endings in movie history, and you have a DVD that should be in every action movie fans collection at the least.

6-Maltese Falcon

Is there anything cooler than noir films? The backlit alleys, the smoke filled offices, the shady characters…it’s like eye candy for film fanatics. In fact the only thing possibly cooler is acting great Humphrey Bogart. That’s why it’s so fortunate that Mr. Bogart appeared in so many great noir movies. And of those Bogart noirs, this may just be the crown jewel.

Which is appropriate since the whole film is about a debauched group of characters in pursuit of a valuable jeweled falcon. Humphrey Bogart handles lead duties as detective Sam Spade, a street wise and tough private detective whose basic structure would define many a role for Humphrey afterwards. Yet he’s rarely as good as he is here. His swagger and hard-nosed line delivery carry the movie far past its somewhat standard plot and aged dialogue.

But that doesn’t matter, because this movie is an absolute work of art. It stands as a glowing tribute to the genre, and blazes through its 100 minute run time with style to spare. It may be the type of movie you only watch once, but it’s also the type you’ll never forget.

7-Shawshank Redemption

Few films have had the strange path to success that Shawshank had. At the box office it didn’t even make enough money to cover its budget (even after it was nominated for several Oscars), yet somehow after its video release, and being picked up by Ted Turner for a very low price to be repeatedly shown on his TNT network, Shawshank found its niche.

Of course that niche would turn out to be nearly everyone who saw it. Watching the film it’s hard to understand why it didn’t immediately catch on. It’s as heartwarming as a prison movie can possibly get, and is filled with iconic scenes that are anchored by a perfectly placed cast spouting dialogue that you’ll never forget. The whole thing is then expertly tied together by the effortless direction of Frank Darabont.

In fact, maybe the effortlessness of the whole project is why it took a while to catch on. It’s almost too tight and perfectly structured of a film to really be true. Of course, since the movie has been sitting on top of the IMDB fan voted top 250 films list for quite some time, there’s a pretty good chance you’ve probably seen it and there’s not much point to talking about it any longer. Which is why not owning it should be a crime worthy of a sentence to Shawshank.

8-Goodfellas

Martin Scorcese is one of those few people that film buffs and casual viewers alike all hold in pretty much the same esteem. Much of his filmography reads like a best of all-time list, and to this day he continues to surprise viewers with the sheer quality of his work (Gangs of New York notwithstanding).

It’s a bold move then to publicly state that there is in fact a best Scorcese film. However, if you want to go the safe route, it might have to be Goodfellas. While The Godfather introduced many movie goers to the finer inner workings of a crime family, its view was from the ivory tower of the mafia. Goodfellas takes it back to the streets. Over a period of decades we follow Henry Hill (a never better Ray Liotta) as he rises through the ranks of the mob and finds life’s ups and downs along the way.

Now you could write an essay on the qualities of Goodfellas (many film students have), but to me the most impressive thing about the movie is how re-watchable it is. Even after I think I could play the whole movie out in my head, I find little things on repeat viewings that put it all into a new light. So if being close to a perfect film isn’t enough reason to own Goodfellas, that surely should be.

9-Rio Bravo

John Wayne was in 172 films in his life. Many of those films were westerns. He became so iconic in his cowboy hats, six shooter, and boots that John Wayne westerns almost became a genre unto themselves. If you could make one knock against the man though, many of those movies were pretty much the same. So while you could say “if you’ve seen one you’ve seen them all”, for our purposes a more accurate statement would be “if you’re going to own one, it should be Rio Bravo.”

Why? Well it’s just simply the best of its kind. It’s not drastically different from any other Wayne movie, but instead takes every quality that is great about them and pulls them off to perfection. It has Howard Hawkes in the prime of his directing, Dean Martin proving he’s more than a singer (though his singing in the film is incredible), the iconic and beautiful Angie Dickinson, and a plot that varies enough from “John Wayne shoots a bunch of Indians who had it coming” to keep you interested.

More than all that though, you simply don’t have a complete movie collection without a John Wayne film. So don’t settle for anything less (unless maybe it’s The Searchers….but we’ll get there).

10-Bullitt

Ah Steve McQueen. While other men and women became film stars through a variety of paths in life, for Steve McQueen there was seemingly nothing else he should be. He was dubbed “The King of Cool” by general consent and reinforced that image time and time again. Yet he didn’t have to considering that he earned the name for life with his 1968 detective thriller Bullitt.

Bullitt is a film you may have seen without actually seeing it. It’s been borrowed from, and straight up ripped off, by many movies after it with various results. Yet it is because of McQueen that this one still stands above the pack. Anyone can look like an action star getting in gunfights, wooing impossibly sexy women, or barreling through the streets of San Francisco in a mustang so awesome it may be McQueen’s child, but no one does it near as cool as the king himself.

Bullitt isn’t a movie that you write a thesis on. It’s a flick that asks you to kick back, open your beverage of choice to, turn your brain down (if not off), and remind yourself that at the end of the day movies are meant to be fun. Buy it for that lazy Saturday, and feel the adrenaline flood back in.