tag:blogger.com,1999:blog-43276056742807736462024-03-13T12:36:16.889-04:00Stale PopcornGlenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.comBlogger494125tag:blogger.com,1999:blog-4327605674280773646.post-48547147899010419922013-08-15T02:25:00.004-04:002013-08-15T02:25:36.676-04:00Whoopi With Your Best Shot: The Color PurpleTypical me, I got a copy of the film in order to do an entry for The Film Experience's beloved (says I) "Hit Me With Your Best Shot" series. Typical because it's now 2am the day after participants were meant to get their pieces up and here I am doing it now. Sigh. Sadly, not much commentary for this piece. Isn't that the way of it lately?<br />
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I really adore <i>The Color Purple</i>. It's a rarity in Spielberg's filmography for him to make a film so purely focused on women and yet - like magic - it's probably his best acted film. Actresses: we always need more of them. I think Whoopi Goldberg is exceptional here, don't you? And then of course there's Margaret Avery and Oprah Winfrey making up the trio of fabulous women. They're the core of the film and that's why I didn't choose the below shot as my favourite, even though it probably deserves it...<br />
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No, I chose this below shot because, well, just look at it.<br />
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This is a film where even in its prettiest sequences - and there are so very many - the ugliness of the world is shining just as bright. The "Miss Celie (Blues)" number, however, is a moment of pure, unbridled joy. A moment for these two women to be beautiful without question. Heaven.Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-33748137584750930142013-07-18T00:37:00.002-04:002013-07-18T00:37:55.611-04:00Hit Me With Your Best Shot: Mary PoppinsI had never seen <i>Mary Poppins</i> before today. This somewhat startling fact had become more or less a running gag with certain friends since they just could not fathom why I hadn't seen it and why I had no desire to do so. I was the same with <i>The Sound of Music</i> until I came across it one day on television and figured "it's now or never." My experience with watching that famous 1965 Julie Andrews musical only made my desire to not watch <i>Mary Poppins</i> from one year earlier even stronger. Still, bite the bullet I did and I watched Robert Stevenson's 1964 musical for the first time for The Film Experience's ongoing "Hit Me With Your Best Shot" series.<br />
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I'll admit that for as much as I struggled to watch the movie its seemingly interminable series of pantomime and cloying wide-eyed quirkiness, I struggled even more to find a shot that I liked enough. I don't feel <i>Mary Poppins</i> is a particularly well-photographed film. Oh, sure, the sets and the costumes and the animation and the visual effects are all working overtime to make this a lively and energetic picture (there is always <i style="font-weight: bold;">a lot</i> going on in nearly every frame), but I don't think the cinematography do it any favours with its unimaginative set-ups and framing. I didn't find many of the musical sequences all that involving and only when they really ramped up the artificiality did I actually get invested in them, which is a curious thing to admit but there you go.<br />
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I guess that brings me back to why I just flat out did not like this movie. It feels so crushingly old-fashioned. Consider that <i>West Side Story</i> had come out just three years prior and maybe you can see what I mean. That one is so vibrantly constructed and beats with a modern heart. <i>Mary Poppins</i>, for all of its technological advances, just reeks of mothballs. I know many consider the film to be a lighter than air confection, but I found its dottering and fluttering to be nigh on insufferable. I mean, it certainly doesn't help that Julie Andrews is the only one I could stand to listen to - it's undeniable that she has a pretty voice, yes - but I really struggled to watch this movie without sighing every time an unnecessary song that goes on far too long came on. Cutesy kids alert at red, folks. Eep!<br />
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The one aspect other than Andrews that I enjoyed was just how very <i>odd</i> the whole enterprise is. I don't just mean in that characters go about doing odd things, but that the film itself finds itself throwing some truly odd stuff out there in what was probably conceived as a rather innocuous children's flick (upcoming <i>Saving Mr Banks</i> will certainly show us what's what, right? <a href="http://thefilmexperience.net/blog/2013/7/12/yes-no-maybe-so-saving-mr-banks.html">Ummm... maybe not</a>). When it came to selecting a shot I considered the moment the flowers become butterflies in the famous animated sequence (above), or something from Dick Van Dyke's rooftop dancing sequence with the fireworks since there was some beautiful matte work there, or his foggy exit, or even one of the ridiculous shots of nanny's flying away down the street (did nobody find <i>that </i>odd?) No, my "best shot" is one actually from the very beginning of the movie as the camera pans across the London skies and spots Mary Poppins sitting atop the clouds. I found it quite odd, but that's a good thing.<br />
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It's a moment that genuinely surprised me. And for a film that didn't do all that much surprising to me in its following two hours and twenty minutes, I figured that was worth celebrating. It's just a supremely strange moment that comes unexpectedly and comes rather peacefully, uncluttered by everything including the kitchen sink that the rest of the film seems determined to throw at the screen. Looking at it just now and it's a rather beautiful image in its own right, and one that looks as if it carries a certain sadness without its cheerful chim-chim-cheree on the soundtrack. I wish the rest of the film was able to make me actually feel something other than painful contempt. I am not surprised in the least that the creator of the Mary Poppins character hated the film.<br />
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If you ask me, the best thing this film wrought was the infamous "Scary Mary" recut trailer that reposits the film as an suspenceful horror flick about a vengeful nanny with mystical powers. I'd long enjoyed the video, but now having seen the movie it's based on I can guarantee that it'd be a helluva lot more interesting. Especially since, as the video suggests as well as the aforementioned odd moments, there's a completely different movie going on in there and I want to see it.<br />
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Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-50283729627906672362013-07-04T01:56:00.001-04:002013-07-04T01:56:35.179-04:00Hit Me With Your Best Shot: American GraffitiGeorge Lucas has been saying he's going to leave big budget movies behind and refocus on the small ones that began his career in the 1970s. Anybody who has paid any attention knows that that is never going to happen, even if he has decided to sell his LucasFilm brand and potentially leave the <i>Star Wars</i> (and <i>Indiana Jones</i>, I guess) franchise behind him. He'll surely never truly leave it behind. I mean, he's hung on to that thing for dear life for decades and even against his better judgement has kept spinning it off into new incarnations at the drop of a hat.<div>
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Still, even if Lucas' career is one of unfulfilled promise, derailed by the unparalleled success of a genre flipped space opera, that initial promise will always be unforgettable. His 1973 nostalgic ode to the teenage dream of his early life was his second feature after the stripped down science fiction of <i>THX 1138</i>. He was nominated for writing and directing Oscars, winning neither. It was still a huge deal given its origin as a small-budget virtually independent production. It's hard to imagine teenagers today flocking to a film such as this, although I guess Gary Ross' <i>Pleasantville</i> is the closest I can think of off the top of my head.</div>
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The film, a sprawling look at a group of graduating seniors on the verge of a tumultuous world. It's one of my favourite movies. A good looking one, however, is not how I've ever particularly seen it. This series at The Film Experience, that asks readers to select their favourite shot from within a given film, proves otherwise. Furthering how much I adore this film, every time I watch it it reveals something new and rich. The visuals, as I said, have never been something I have gravitated towards, but looking at it now it seems silly to have not noticed them earlier. There are some really vivid colours and beautifully crafted images on display here. </div>
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See? Absolutely gorgeous. I particularly love the film's use of shadow and tightness. So many movies are filmed in close shots these days, but here it truly serves a purpose. The shot I chose - sadly after only a skim, I didn't have time to rewatch the entire film as much as I would love to (also: my blu-ray is back home in Australia) - is this moment, which I think sums up the film really rather nicely. These people occupy a sort of limbo land where they want to be adults - smoking, drinking - but knowing full well that the passing of time means the things they take for granted will fall away. </div>
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This beautiful shot of Oscar-nominated Candy Clark, I feel, echoes those sentiments entirely. An almost mournful pose as the cool purple light of the night sky beams down - they won't have moments like this for much longer, and the melancholy nature of the lighting here adds pangs of sadness to this already thick layer of morose that lingers over the characters. It's a gorgeous shot from a gorgeous moment in a gorgeous film. Just gorgeous. Drink up!</div>
Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-91085021607667841332013-07-03T12:17:00.001-04:002013-07-03T12:17:36.950-04:00San Francisco FIPRESCI Review: Nights with Théodore<div style="text-align: right;">
<i><b>Nights with Théodore</b></i></div>
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Dir. Sebastien Betbeder</div>
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Running Time: 67mins </div>
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Aus Rating: N/A </div>
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At only 67 minutes long, Sébastien Betbeder's captivating genre mash-up <i>Nights with Théodore</i> (<i>Les nuits avec Theodore</i>) could be seen as skimping on the drama. However, it turns out that that is in fact the perfect length, and perhaps more filmmakers could take a lesson or two when it comes to the old-fashioned way of thinking that length equals importance and worth. It is certainly a way of thinking that has taken hold amongst Hollywood with Oscar-winners and box office hit comedies alike stretching their rather innocuous storylines to absurd lengths, diluting their product in the process. The short running time is only one of the strengths of Betbeder's film, but perhaps one of the most noteworthy in a festival scenario. It certainly doesn't outstay its welcome and that is something to be thankful for.
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<b>Read the rest at <a href="http://www.fipresci.org/festivals/archive/2013/san_francisco/gdunks.htm">FIPRESCI</a></b></center>
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Apologies for getting this review up so late, but it's been sitting on the FIPRESCI website since I returned from sitting on the San Francisco jury. You can read about my experiences on the jury at <a href="http://blog.quickflix.com.au/2013/05/16/new-york-stories-lost-in-san-francisco/">Quickflix</a> as well as a look at all the films in competition at <a href="http://thefilmexperience.net/blog/2013/5/18/i-left-my-film-festival-in-san-francisco.html">The Film Experience</a> if didn't get to read them at the time.Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-72729891647471754602013-05-15T16:12:00.000-04:002013-05-15T16:12:18.904-04:00Hit Me With Your Best Shot: The Talented Mr... SealeIt has admittedly been a few years since I have watched Anthony Minghella's <i>The Talented Mr Ripley</i>. And yet I remember it so vividly in my mind. So much so that years removed I can still remember invidivual sequences and shots. I seem to remember the camera repeatedly looking up and down, as if the entire film is told from the perspective of where Matt Damon's "Mr Ripley" sees himself being and where he sees everyone else. I didn't rewatch the film to prepare for this week's Hit Me With Your Best Shot - a series at Nathaniel Rogers' The Film Experience dedicated to viewers finding their favourite shot amongst a designated title of the year - but I skimmed through and found myself immersed in a treasure trove of gorgeously lensed moments from Mr John Seale.<br />
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John Seale is an Australian four-time Oscar nominee, winning for Minghella's earlier picture, <i>The English Patient</i>. I was surprised to find he wasn't nominated for <i>The Talented Mr Ripley</i>. Apart from being a beautiful movie in general, it really is fabulously filmed and all those European locations certainly don't hurt matters. But, then again, <i>The Talented Mr Ripley</i> and the Oscars had a weird relationship that year that had Harvey Weinstein basically jump ship to the (curiously over-performing) <i>The Cider House Rules</i>, leaving Minghella and co to flounder about racking up a (still very respectable) five nominations. The five that were nominated are certainly a stellar bunch, so Seale (nor I) should really be able to complain. Still... I would have expected more than mere Chicago and Las Vegas to stump for the guy.<br />
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Okay, so this one's just because Jude Law is so freakin' good looking. I can't. I just can't.<br />
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I love the mirror between these two shots from different scenes in the movie. Ripley down front with Dickie in charge at the back, and then vice versa when the tables are turned.<br />
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Tom Ripley literally sees himself (or, projects himself as doing so) as so small that he could be crushed under foot.<br />
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I greatly enjoy the way that once Jude Law exits the picture - er, spoiler? - everyone begins having to question who they're even conversing with (they should, alas they don't). This moment of Cate Blanchett's return to the picture is divine, almost like a Hitchcock cameo in the beginning. At first the viewer may not notice her in the background, but then neither does Tom.<br />
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My favourite shot, however, is this one. Tom has finally risen not only in social standing, but within myself. And at this moment as the potential for all of his lies to become unravelled he stands up the top and, in actual fact, is guiding everything like a puppeteer. Out of sight he plays the characters of Gwyneth and Cate with the skill of a marionette master, laying the foundation for what comes next.Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com3tag:blogger.com,1999:blog-4327605674280773646.post-36413946359852519922013-04-28T23:15:00.000-04:002013-04-28T23:15:52.684-04:00Birth of an Unknown WomanIf I were to be the owner of a grand repertory cinema with the ability to curate and put on double features of my choice, I think I found a perfect evening for my patrons. It would be a double feature dedicated to the greatest of all niche genres, "women who lie to themselves", and would feature Max Ophuls' 1948 tragic romance <i>Letter from an Unknown Woman</i> and Jonathan Glazer's reincarnatory love story <i>Birth</i>. The two films really, truly feel as if they couldn't be more dissimilar to one another, and yet as I sat in the Museum of Modern Art watching a 35mm print of Ophuls' seemingly overlooked drama I couldn't help but think the two films, separated by some 56 years of history, were peas in a pod.<br />
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It's a beautiful film, for sure, on a visual and dramatic level. The story of a famous pianist who receives a mysterious letter from a woman who claims to have loved him for her entire life only to have been turned away because he was too blind to see who she was. Of course, the tragedy becomes twofold for reasons that seem rather obvious from the opening scene, but that's neither here nor there. For somebody who is notoriously fickle with the tears they shed, I did get quite a bit misty-eyed of <i>Unknown Woman</i> with its delicately fragile lead performance by Joan Fontaine (we were <a href="http://stalepopcornau.blogspot.com/2013/04/katharine-hepburn-bette-davis-and-joan.html">just have a laugh with her</a> last week!) and her tale of operatic woe. The cinematography of Franz Planer is gorgeous with its beautiful rendering of snow and shadow. My particular favourite shot it that overhead shot of Fontaine's "unknown woman" walking away her body casts a shadow as long as her gloom. Just divine.<br />
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But where the connection to <i>Birth</i> comes in is remarkable. The films share so much and yet it was something that I only noticed when <i>Unknown Woman</i>, which I had obviously never seen before, utilised the scene of an opera in a very similar way to Glazer's. As Fontaine's Lisa takes her seat to watch Mozart's <i>The Magic Flute</i>, she has just been confronted with the realisation that her one true love has returned. Whilst not quite in the same mysterious fashion as the situation that confronts Nicole Kidman's character in <i>Birth</i>, but the two characters wrestle with their feelings as the power of the music wash over them. It's remarkable how similar the scenes and the character motivations behind them are. Sadly, we are not treated to a masterful three-minute sequence of beguiling close-up in <i>Letter from the Unknown Woman</i> like we are in <i>Birth</i> - I suppose this very mainstream-leaning romance film wasn't quite the place for such a visual move in 1940s Hollywood - but the effect is one and the same. It works.<br />
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<tr><td class="tr-caption" style="text-align: left;">Image source, <a href="http://www.fipresci.org/undercurrent/issue_0306/bacher_ophuls.htm">FIPRESCI</a></td></tr>
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From there, the two films felt like nothing less than sisters. The stories of Fontaine's Lisa and Kidman's Anne seemingly etched together as they each emerge out of the intimidating shadow of the men who took their former flame's place and decide to persue something that seems foolhardy and destined for failure, but which neither women can truly come to terms with until it's staring them blankly in the face. Both women go to personally tragic places in order to be with the love of their life, only to have it suggested by the man himself that it wasn't that all along. They mourn very obviously on the inside, harbouring long-gestating pain within them, while putting on an external face of strength. And even though the man at the centre of <i>Unknown Woman</i> is obviously a very dashing, handsome man, and the boy at the centre of<i> Birth</i> is, well, a boy, both stories tell a very salient point on what the idea of an all-encompassing love can do to us in the long term if it is interrupted by the natural order of things. Funnily enough, in <i>Unknown Woman</i> the love is interrupted by a birth, and in<b> </b><i>Birth</i> it is interrupted by death. Make of that as you wish.<br />
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That they also share the aforementioned stunning cinematography, plus great musical scores (Desplat's work on <i>Birth</i> remains one of the greatest things my ears have ever heard), and bona fide immaculate performances by the respective lead actors are just cherries on top. <i>Birth</i> has been said to have been influenced by Kubrick, which I think is definitely on point to a degree, but having now see Ophuls' film I can't separate the two. Nor do I want to, even if my mind is just playing tricks. I now covet both of these films separately and together. I want to soak in their opulence and live in a world where I get to yearn for somebody with the strength and dedication as them. Although, hopefully, my yearning would have a happier ending.<br />
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<u><b>Note:</b></u><br />
I was thankfully able to view <i>Letter from an Unknown Woman</i> in 35mm print form, which was a wonderful relief. MoMA are screening it again on Monday at 5pm so hopefully I have maybe inspired you to jump on the subway to 53rd street. Coincidentally, <i>Birth</i> will also be screening on 5 June and 12 June at MoMA in a tribute season to cinematographer Harris Savides. I have been told by the MoMA people that it too is screening in 35mm. If somebody would put them together, side-by-side, I think you'd have one hell of devastating double.Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-45865354499944754942013-04-18T22:16:00.000-04:002013-04-18T22:16:35.233-04:00The Brain and the BodyI've seen two horror films in the last week or so. As I like to describe them, one is of the brain and the other is of the body. One traces the gradual decline of a single individual as he gets deeper and deeper into a situation he can't escape, while the other revels in more traditional horror tropes like gore and the undead. Both are impeccable crafted endeavours that never once feel like anything on screen was unintentioned. Of course, whether they differ is a gulf so wide that chalk and cheese would baulk.<br />
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<i>Simon Killer</i> comes from the production house that brought us the stunning directorial debut of Sean Durkin, <i>Martha Marcy May Marlene</i> in 2011. Director and co-writer Antonio Campos' unnerving, is dramatically too cool for school in many ways, <i>Simon Killer</i> is certainly not the film that I had expected given the rather dark title and creepy (and excellent) poster. Much more than a backpacker <i>Parisian Psycho</i>, it follows a young American tourist in Paris as he digs holes so deep he can't get out. First by pretending to be the recipient of a beating in order to stay at the home of an affectionate prostitute, and then by struggling to keep the darkness within him covered up.<br />
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The film's co-writer (I presume there was quite a bit of improvisation in that regard) is star Brady Corbet, one of the most interesting actors working today alone based on the list of directors he's worked with. His filmography isn't extensive, but considering he's worked with Gregg Araki (<i>Mysterious Skin</i>), Michael Haneke (<i>Funny Games US</i>), and Lars Von Trier (<i>Melancholia</i>) as well as the aforementioned Sean Durkin on <i>Martha Marcy</i>. He obviously fostered a good working relationship with the team and is now a creative force behind <i>Simon Killer</i>.<br />
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Make no mistake, this is purely a horror film in broad psychological terms. There's no blood and not even any thrills despite working within a thriller template. The horror of the piece is in Corbet's performance. He is so good in the role as Simon, mentally unstable and unable to contain it. With him working at such a great level, it's a shame the film didn't pick up to meet him. It's not that the film's first half doesn't work, it's just that characters routinely do things that show such poor judgement. It's hard to be reeled in. Towards the end, however, Campos appears to elevate the material thanks to more abrasive editing and a more hurried pace. Gold stars also for the use of Spectral Display's "It Takes a Muscle to Fall in Love" to such unique and unsettling effect. <b>B-</b><br />
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What the psycho-chills of <i>Simon Killer</i> lacks in the blood and gore department are more than made up for with Xan Cassavetes' <i>Kiss of the Damned</i>. A film that's as super lush and stylish as it is super ridiculous and, at times, over-the-top. One could almost call it a campire tale given its propensity to be flashy and abundantly into its own colourful aesthetic. The film, Cassavetes' debut feature after her 2004 documentary <i>Z Channel:A Magnificent Obsession</i>, frequently looks like Sofia Coppola directing a Florence + The Machine video (and, surely not coincidentally, Coppola's name appears in the end credit thank yous) with some impeccably rich costume and production design. Shame the actors drown in them, which can make for a slower second act.<br />
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I think <a href="http://mynewplaidpants.blogspot.com/2013/04/kiss-suck-kill.html">Jason at My New Plaid Pants</a> put it best: "there's a lot of talk in <i>Kiss of the Damned</i> about the magnetic force of Milo [Ventimiglia]'s presence, and you kinda wanna laugh every time it's spoken of." Vampires are, after all, meant to be compelling creatures and lure with lust, but while Milo - as well as the parade of women that surround him all throughout the film - is a very good looking man (that beard is working all sorts of wonders for him) he doesn't exactly command the screen. The women, too, are mostly airy beings that float about through scenes, although if that was Cassavetes' intentions then at least she cast well and got actors that have some truly captivating voices.<br />
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Where the film really succeeds is is the sound work. May sound like a strange observation, but it's true. The sound work in <i>Kiss of the Damned</i> is phenomenal and seeing it in the theatre certainly packed a punch that home entertainment would otherwise lack. The abrupt switches in music styles mixed with copious screams, canny dialogue dubbing, and high-pitched sound effects, not to mention the deep bass that appears to be a constant within the sound mix. The work here is a genuine wonder and was one of the reasons that I remained so focused and alert during the somewhat less exciting (if more gruesome) second half. I found <i>Kiss of the Damned</i> to be a much more intoxicating experiment than, say, <i>Amer</i>, which I think some may compare it to thanks to their pastiche patterns. <b>B</b><br />
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Both <i>Simon Killer</i> and <i>Kiss of the Damned</i> are available on demand in America. <i>Simon</i> is also in limited release now, <i>Damned</i> will be in cinemas from May.Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-65794760859627963792013-03-29T14:36:00.001-04:002013-03-29T14:36:17.358-04:00The Rite of Spring BreakersFirst of all, let me apologise for the lack of updates here. Alas, as most of you would probably be aware I have recently made the move overseas so, naturally, I have been a bit busy. I've been fortunate enough to catch a few films in the brief time that I'm here and one of them - the very first, actually - was Harmony Korine's <i>Spring Breakers</i>, which has crashed the multiplex and turned normally intelligent people into blabbers who can't seem to make heads or tails of the whole thing.<br />
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I, however, thought it was great.<br />
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A richly textured mood piece of a film that takes its position early and run with it for another 94 minutes, most of which are as hypnotically captivating as one could realistically hope for in a film about this American tradition known as "Spring Break". Seen as a rite of passage for any good looking young American - no seriously, apart from the older drug dealers, everybody in this Florida enclave is apparently really good looking in that indistinguishable way - the film dives headfirst into the story of four particular young women who end up falling down a wormhole of excess and debauchery, much of which is quite clearly illegal. Not that they care.<br />
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Much has been made of the film's casting, which sees three of four girls portrayed by actors known more for wholesome family entertainment than risque, breast-baring arthouse fare. What they were previously known is, I feel, besides the point. They do, however, make for some spot on casting, and alongside James Franco as a drug-dealing skeeze-ball that hands these women a very literal get-out-of-jail-free card, makes for surely one of the most perfectly cast films that we'll get in 2013. While Franco and an emotional Selena Gomez make for the best performances in a film that's filled with all sorts of weird faces that is so typical for a Korine film, it's the technical aspects that turn <i>Spring Breakers</i> into a fluid trip down the rabbit hole.<br />
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Benoît Debie's neon-lit cinematography gives the film a bright eyed hue that recalls <i>Miami Vice</i> if focused on the villains in a modern day Spring Break resort. The exotic colours of Heidi Bivens' costume design - all bikinis and Ed Hardy-style brand names - are exquisitely lit and make for a particularly eye-popping final scene. Douglas Crise has been given the responsibility of editing Korine's screenplay into the film that it is and he does a particularly stunning job of it. It's easy to see this going completely wrong - hell, many think it <i>did</i> - with random, overlapping, repetitious, and generally untraditional cuts used throughout. However, the final product is one of an almost swirling grandiosity that made for thrilling hypnosis. One scene in particular set to the tune of Britney Spears' "Every Time" has to be seen to be believed, with its juxtaposition of bikini-clad spring breakers with their phallic guns and hot pink balaclavas.<br />
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Naturally, some people don't see it that way. <a href="http://www.guardian.co.uk/commentisfree/2013/mar/28/spring-breakers-movie-wild-girls-rape-culture">This article in <i>The Guardian</i></a> by Heather Long is such a case. Yet again we have people unable to distinguish between a film showing a particularly act and endorsing it. Long's argument that Korine's film endorses "rape culture" and the idea that for young women to have the "time of their life" they must resort to scandalous and scantily-clad behaviour is both misguided and ridiculous. I can't imagine how many people could view <i>Spring Breakers</i> and come out thinking it endorses anything other than the unironic appreciation of Britney Spears. And it certainly doesn't "endorse" anything like rape culture. In fact, not only does the film not feature rape of any kind (certainly none that I remember, but maybe I was transfixed and have forgotten), but the one scene that threatens to do so ends with a "no" (albeit a bare-breasted no.) The film very clearly paints the paths of these girls as dangerous and worrisome, with their actions bringing them more and more pain. So much pain that this so-called "time of their life" will forever be marred by the results they crashed head-first into. Sigh.<br />
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Speaking of rites of passage though, I did enjoy my first ever American cinema experience and "experience" is certainly a perfect word for it. Wow. Not only did a woman bring her (at least I hope it was hers) newborn baby to the cinema and let it crawl around on the ground (!!!), but two girls got up and danced during the Skrillex-soundtracked opening scene. Of course people got up and left and came back at a snail's pace, which I don't quite understand unless you're truly hating the film, which one man in particular made well known. Throughout the final ten minutes of the film one man standing in the theatre entry corridor yelled out "<i>Spring Breakers</i> is a lie!" repeatedly. Maybe it was his ode to the film's own use of repetitious dialogue, but it was nevertheless as bothersome as it was hilarious. Hey, at least it makes a great anecdote.Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-18934293637116024422013-03-26T09:00:00.000-04:002013-03-26T09:00:08.627-04:00Hit Me With Your Best Shot: Jackie Brown<a href="http://1.bp.blogspot.com/-ODNmqIJY4SM/UUmqegLt_XI/AAAAAAAAeCs/cnc3dygrSuY/s1600/jackiebrown01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="111" src="http://1.bp.blogspot.com/-ODNmqIJY4SM/UUmqegLt_XI/AAAAAAAAeCs/cnc3dygrSuY/s320/jackiebrown01.jpg" width="200" /></a><i>Jackie Brown</i> is my favourite Quentin Tarantino film. Anybody who's listened to me yammer on about it would be aware, and it ranks alongside <i>Death Proof</i> as the most rewatched of Tarantino's films by me. I consider it a staggering achievement in the way that many look at <i>Pulp Fiction</i> or the recent <i>Django Unchained</i>. Whilst those two are indeed varying degrees of quality (<i>Pulp Fiction</i> >> <i>Django Unchained</i>, however, obviously), neither can surpass the pop connoisseur's third film in my eyes. From a visual stand point - the entire purpose of <a href="http://thefilmexperience.net/blog/tag/hit-me-with-your-best-shot">Nathaniel Rogers' "Hit Me With Your Best Shot" feature</a> - it certainly lacks the vivid cinematic brush strokes of Tarantino's collaborations with Robert Richardson (<i>Inglourious Basterds</i> and the aforementioned <i>Django Unchained</i>), and yet there's probably quite a lot going on that, upon initial inspection, may be missed.<br />
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<i>Jackie Brown</i>, more so than any other of Tarantino's films, has a certain workmanlike quality to its visuals and yet also feels imbued with a stylish swagger. Thanks to cinematographer Guillermo Navarro, this obviously reflects the character at the heart of <i>Jackie Brown</i> - regular, but projecting an everyday class. The film is full of bold uses of colour amongst drab surroundings right from the very get go as Pam Grier's title character emerges on an airport conveyerbelt against a wall of various hues of blues, greens, and browns as the bright electric blue uniform pops. Blue and brown, it would seem, are recurring colours in the film. From the Ordell Robbie's blue flat cap and pants ensemble, the blue hum of a Los Angeles apartment complex, to the drab beige and brown walls of Max Cherry's bail bonds office, and the coffee-coloured textures of Grier and Jackson themselves. Jackie's blue stewardess uniform is surely as vivid a costume as The Bride's yellow motorcycle suit and that fabulous opening tracking shot is a beautiful inroads into this previously unknown character as she weaves her way through an airport lounge. At first calm and a picture of royal beauty, she becomes flushed and frenzied as the serene colours of her backdrop begin to blur into one another and give way to the hustle and bustle of the world around her/us.<br />
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This evolution is repeated once more in the film's standout set piece. A rivetting twist on a traditional heist sequence, the drop off department store scene is a deliciously handled moment that tells the same incident from multiple points of view. A stunning example of editing and music that merge to craft a tense, funny, almost cathartic moment for an audience. From Jackie's initial POV - wherein the "boo yah!" moment occurs, forever destined to be awesome - there lies a long take that follows Grier as Brown as she makes her way out of the department store she was to make the money drop and tries to find the FBI agents trailing her. As the camera watches Grier's every facial tick and flinch, it's hard to tell whether Brown is pretending to be worried and scared so as to make the FBI believe her story, or if she's genuinely worried about what's about to go down. A little from column a and a little from column b, perhaps.<br />
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This particular long take is my favourite "shot" of the movie, but the one spot I chose to screencap is, I think, so representative of the film as a whole. Pam Grier's face, etched in desperate verve, front and centre and the world whizzing by around her. She's just trying to make her way through the world "doing whatever [she] has to do to survive" (to quote the Bobby Womack song from the opening credits). The end of <i>Jackie Brown</i> is ambiguous if you choose to think of it that way. She sails off into the sunset and is happily ever after, or Jackie just continues to struggle as she attempts to be as classy as she can be even if the world around her is in chaos. <br />
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Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-66535953211555382532013-02-25T06:37:00.001-05:002013-02-25T21:02:05.365-05:00Review: Exit<div style="text-align: right;"><b><i>Exit</i></b></div><div style="text-align: right;">Dir. Marek Polgar</div><div style="text-align: right;">Country: Australia</div><div style="text-align: right;">Running Time: 90mins</div><div style="text-align: right;">Aus Rating: N/A</div><br />
<a href="http://1.bp.blogspot.com/-CXywM_IENL8/USwXLxIpL7I/AAAAAAAAd3I/eEG9tEaf8Ss/s1600/exit_poster01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-CXywM_IENL8/USwXLxIpL7I/AAAAAAAAd3I/eEG9tEaf8Ss/s320/exit_poster01.jpg" height="200" width="141" /></a>A subculture has emerged within the maze of a modern metropolis in <i>Exit</i>. A city – one that certainly looks like Melbourne (it was shot there), but is perhaps deliberately never named – that is comprised of angular architecture, walls of concrete and glass, and somewhat zombie-like office workers that drift about as if in a fog. This subculture of people live off the grid, squatting in abandoned buildings as they seek out the “exit”, a mythical doorway that will lead whichever lucky soul who discovers it away to (so they suspect) a better life away from all of their worldly troubles. Having dropped out of society, deserted their jobs, families, and friends along the way, they attempt to navigate the so-called maze, trying not to get lost with one mere wrong turn. Oh sure, their bodies exist within the world, but they go by more or less unnoticed as they slink down graffiti-sprayed alleyways, through vacant office skyscrapers, and even through busy streets as they attempt to solve the vague clues (clues that may have conjured up out of thin air) without going the wrong way.<br />
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<center><b>Read the rest at <a href="http://www.onyamagazine.com/arts-culture/film/film-review/exit/">Onya Magazine</a></b></center>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-44421964390338227362013-01-30T05:36:00.001-05:002013-01-30T05:36:17.900-05:00Any Which Way With Laurence<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Sabq2ysmG9I/UQjxRO7mboI/AAAAAAAAdg4/tMpou_uG1gY/s1600/xavierdolan01.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="200" width="116" src="http://1.bp.blogspot.com/-Sabq2ysmG9I/UQjxRO7mboI/AAAAAAAAdg4/tMpou_uG1gY/s200/xavierdolan01.jpg" /></a></div>Xavier Dolan is a very young filmmaker. I don't just mean in terms of his age - although at only 23 his ambition is now embarrassing the rest of us - but in terms of his style, too. Emblematic of a lot of young directors, his brief three-deep filmography has veered wildly about through a list of inspirations as he navigates the terrain for a style that feels explicitly his own. His debut, the ferocious <i>I Killed My Mother</i>, was, I felt, very indebted to the American independent movement and directors of the New Queer Cinema movement of the late 1980s and early 1990s like Gus Van Sant and Todd Haynes. His follow-up, <i>Heartbeats</i> (or <i>Les Amours Imaginaires</i> because the English title is lame), was like a fractured blending of Wong Kar-wai and the French New Wave. I adored them both, loved them even. For such a young filmmaker to hold such command is admirable to say the least. He wore his inspirations on his sleeve, sure, but the boldness of his storytelling and the captivating way he brandishes his style made for exciting cinema. He embraced overt style in a large-scale more than any director since Baz Luhrmann or Tarsem Singh - at least that I could think of, and as somebody with a penchant for that very type of cinema, it thrilled me to no end.<br />
<br />
With <i>Laurence Anyways</i>, Dolan has made perhaps his strongest statement yet for what the rest of his career may hold. A near three-hour boutique epic if you will that charts the relationship between two individuals once the man (Melvil Poupaud in a role that demands a liquid transformative quality) decides to live the rest of his life as a woman, <i>Laurence Anyways</i> was clearly a demanding undertaking for the Canadian director. For the first time Dolan has removed himself from the on-screen equation (except for a brief Hitchcock style cameo during the dazzing "Fade to Grey" musical number) and stuck to a mere three hyphenated role as writer-director-costume co-designer. Still, his inspirations remain front and centre and, perhaps, that's just the way he wants it and perhaps that's his actual signature trait ala Quentin Tarantino. Of course, Dolan's work is more homage than pastiche, as he recreates and recrafts his favourite elements of cinema into something altogether unfamiliar. As he experiences more of the world - and his films imply he's already experienced quite a bit that's worth examining through a lens - I suspect his films will only grow more assured, which is an alarming concept given the impeccable streak he's already on.<br />
<br />
With this film, Xavier Dolan has seemingly found a way to blend the exuberant flamboyance of Pedro Almodovar with that of the winsome melancholy of Sofia Coppola. Regarding the former, he all but goes out of his way to reference both <i>What Have I Done to Deserve This?</i> and <i>All About My Mother</i>, whilst allowing many moments of the film to revel in the hyper-textural landscape that the Spaniard is known for. Coppola, on the other hand, is much like Dolan in that she's used her own inspirations to help create her own style that feels both something borrowed and something new at the same time. <i>Laurence</i>'s affinity to baroque synth-pop of the 1980s and classical instrumentals can't help but recall Coppola's <i>Marie Antoinette</i>, but the influence is also there in the way Dolan is able to turn a quiet moment of seeming insignificance into a painting of a thousand words. As the final scenes show the transformed Laurence finally recognising her true self and potential, the same may certainly be said for Dolan himself. <i>Laurence Anyways</i> is a messy film at times, but its those loose threads that give it an identity all its own, and with this film the intrepid Canuck may have just found his unique, true path to set out on. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-3fYsG0uWVVE/UQjyTJUbBMI/AAAAAAAAdhE/-O9OXbRoFpc/s1600/laurenceanyways03.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="225" width="400" src="http://2.bp.blogspot.com/-3fYsG0uWVVE/UQjyTJUbBMI/AAAAAAAAdhE/-O9OXbRoFpc/s400/laurenceanyways03.jpg" /></a></div><br />
Full of ornate, delicate beauty, <i>Laurence Anyways</i> is such a strong piece of filmmaking that I can't imagine its images and soundscapes escaping my memory any time soon. The billowing purple coat as Laurence's ferry takes him away through the ice, the darkened laser-lit nightclub sequence, the assortment of over-sized jackets worn by Suzanne Clément, the look of gee whiz surprise on her face as she teaches Laurence to apply make-up, the pink brink amongst a wall of white, a broad-shouldered person, whose face we don't see, disappearing into a cloud of white smoke... just remembering them now (and many others) is making me ache. This film is so incredibly beautiful that I could barely stand any more than the 160 minutes we got. Filmed in 1:33 Academy ratio, the film is nevertheless sumptuously crafted with stunning costumes and cinematography that lend the oft-maligned time period a rich decadence. The stand-out scene, a hypnotic ballroom dance sequence set to the classic beats of Visage's "Fade to Grey", is a cavalcade of hypnotic visuals as Clément struts about as if Dolan has decided to recreate a 1980s music video to full anything goes excess. Full to the brim with divine cross-fades and breath-taking camera swoops, zooms, and pans, it's an utterly awe-inspiring moment of pure grandeur and if a moment comes along in 2013 that is as eye-opening and rewatchable as that then 2013 will be a mighty good year.<br />
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<center><iframe width="480" height="270" src="http://www.youtube.com/embed/OvXRtdDFmco" frameborder="0" allowfullscreen></iframe></center><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-vbHfW-YGp44/UQjy5Lnd0MI/AAAAAAAAdhU/GDZiz0TDVVI/s1600/laurenceanyways02.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="134" width="200" src="http://4.bp.blogspot.com/-vbHfW-YGp44/UQjy5Lnd0MI/AAAAAAAAdhU/GDZiz0TDVVI/s200/laurenceanyways02.jpg" /></a></div>And as if that scene wasn't enough proof, Suzanne Clément is truly magnificent as Frederique. She has such power in her performance that the film feels as if it's more about her journey than his. Whether breathlessly arguing with a nosy waitress, laughing maniacally along to Kim Carnes' "Bette Davis Eyes" in a pot-fuelled car trip, or attempting to present a facade of normalcy as she tries to live a suburban life away from the drama of Laurence, Clément gives a performance of fiery range. She's a stunner. I can only hope that Dolan's next film proves as magnetic as <i>Laurence</i> and that he continues to tell queer stories in a completely unabashed way. We need a few more directors like him who are willing to <i>go there</i> and make "gay cinema" that embraces all the facets, both positive and negative, of our lives, whilst also inhabiting the skills to make them technical marvels. <b>A-</b> / <b>A</b>Glennhttp://www.blogger.com/profile/08194113062830373898noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-60140974001734375982013-01-29T19:03:00.000-05:002013-01-29T19:03:04.331-05:00Scream to Scream, Scene by Scene: SCENE 15 of Scream 3 (0:55:34-0:59:15)<center><span style="font-size: 85%;">In this project I attempt to review the entire <i>Scream</i> trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!</span><br />
<span style="font-size: 85%;"><br />
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<a href="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s1600/screamtoscream_banner.jpg"><img alt="" border="0" src="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s400/screamtoscream_banner.jpg" id="BLOGGER_PHOTO_ID_5479992480978737570" style="cursor: pointer; display: block; height: 85px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<b>SCENE 15</b> of <i>Scream 3</i><br />
<b>Length:</b> 3mins 41secs <br />
<b>Primary Characters:</b> Gale Weathers, Jennifer Jolie, Bianca Burnette (<b>Carrie Fisher</b>).<br />
<b>Pop Culture References:</b><br />
<ul><li><i>Star Wars</i> and George Lucas</li>
</ul><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-OstYe-l5LhI/UQhSdMxqFDI/AAAAAAAAdbk/h0vpaCPCwsQ/s1600/scream3_204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-OstYe-l5LhI/UQhSdMxqFDI/AAAAAAAAdbk/h0vpaCPCwsQ/s400/scream3_204.jpg" height="170" width="400" /></a></div><br />
Thank god <a href="http://stalepopcornau.blogspot.com.au/2013/01/scream-to-scream-scene-by-scene-scene_23.html">that's over!</a> Now we can move on to what <i>Scream 3</i> does best: Gale & Gale Investigations. It's like <i>Scooby Doo</i>, but with two narcissistic Hollywood types. Of course, even though the worst scene in <i>Scream</i> franchise history is over, doesn't mean the national nightmare that is <i>Scream 3</i>'s costume design is also over. No sir, Courteney Cox's unflattering ensembles are still here to stay.<br />
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<center><a href="http://4.bp.blogspot.com/-i7uRbpzYul4/UQhUiw_m1pI/AAAAAAAAdcU/vkEY8fiwK4M/s1600/scream3_205.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-i7uRbpzYul4/UQhUiw_m1pI/AAAAAAAAdcU/vkEY8fiwK4M/s400/scream3_205.jpg" height="170" width="400" /></a><br />
<a href="http://4.bp.blogspot.com/-gsBYyemTvrM/UQhUiXDsSLI/AAAAAAAAdcI/VaGW_-UEUv0/s1600/scream3_206.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-gsBYyemTvrM/UQhUiXDsSLI/AAAAAAAAdcI/VaGW_-UEUv0/s400/scream3_206.jpg" height="170" width="400" /></a></center><br />
This movie really did overdo the "boo machine" scare tactic. Like, way way overboard with that. These characters are out in broad daylight surrounded by hundreds of people... I mean, Roman's a dumb serial killer, but he's not <i>that</i> dumb.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_X7RYGSGK_I/UQhVeX3Y2yI/AAAAAAAAdcg/i0IXjHK6yYc/s1600/scream3_207.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-_X7RYGSGK_I/UQhVeX3Y2yI/AAAAAAAAdcg/i0IXjHK6yYc/s400/scream3_207.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"What the hell are you doing?"<br />
"Being Gale Weathers! What the hell are <i>you</i> doing?"<br />
"I <i>am</i> Gale Weathers."</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table><br />
Gale weathers is <a href="http://stalepopcornau.blogspot.com.au/2011/11/scream-to-scream-scene-by-scene-scene-5.html">such a complex character</a>, after all.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-9IqVoQ3hh3M/UQhV0RQzbDI/AAAAAAAAdcs/m20t45eTpJ4/s1600/scream3_208.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-9IqVoQ3hh3M/UQhV0RQzbDI/AAAAAAAAdcs/m20t45eTpJ4/s400/scream3_208.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Here's how I see it. I've got no house, no bodyguard, no movie, and I'm being stalked. 'Cause somebody wants to kill me? No. Because somebody wants to kill <i>you</i>. So now, starting now, I go where you go. That way, if somebody wants to kill me, I'll be with you, so if they really want to kill you they won't kill me. They'll kill you. Make sense?"<br />
"None."<br />
"You know, in the movies I play as you being much smarter."<br />
"And as a <i>sane</i> person. For you that must be quite a stretch."</td></tr>
</tbody></table><br />
You know, Jennifer's reasoning actually makes a lot of sense in a general way, although it also doesn't make sense because if the killer was simply trying to kill off people from the original killings then why kill Sarah after Cotton? <br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-U_Qsb8y9prg/UQhYBBTNuyI/AAAAAAAAddk/jyNo82Am0X8/s1600/scream3_209.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-U_Qsb8y9prg/UQhYBBTNuyI/AAAAAAAAddk/jyNo82Am0X8/s400/scream3_209.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Need to get in that building?"<br />
"Yeah."<br />
"There a story in that building?"<br />
"Maybe."<br />
"Gale Weathers would find a way."</td></tr>
</tbody></table><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-h7-O7Bwx2OQ/UQhYvcPnReI/AAAAAAAAddw/krQ28uGJogU/s1600/scream3_210.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-h7-O7Bwx2OQ/UQhYvcPnReI/AAAAAAAAddw/krQ28uGJogU/s400/scream3_210.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Bitch!"</td></tr>
</tbody></table><br />
I could watch these two all day.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-2nylFjrgF5k/UQhZ-9GxQpI/AAAAAAAAdeI/5_iy34_RfHM/s1600/scream3_211.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-2nylFjrgF5k/UQhZ-9GxQpI/AAAAAAAAdeI/5_iy34_RfHM/s400/scream3_211.jpg" height="170" width="400" /></a></div><br />
Flawless. And I kinda love that Marco Beltrami's score takes a turn for the Angelo Badalamenti-meets-<i>Clue</i> in this moment all but completing the film's swerve from slasher to old-fashioned whodunnit mystery. <i>Sherlock Holmes</i>y, even.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-HGEZHRtvi-g/UQhaZjO0n5I/AAAAAAAAdeU/ZZP_8M5k__A/s1600/scream3_212.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-HGEZHRtvi-g/UQhaZjO0n5I/AAAAAAAAdeU/ZZP_8M5k__A/s400/scream3_212.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Basements give me the creeps!"<br />
"You'd make a fascinating interview."</td></tr>
</tbody></table><br />
Ooh, burn!<br />
<br />
And, yes, I am very much aware that somewhere along the line I've stopped even attempting to provide thoughtful, probing insights, and have instead resorted simply to quoting Gale and Jennifer, letting you swim through Courteney Cox and Parker Posey's sublime divinity.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-oD4oNj56nrY/UQhbBG9TXoI/AAAAAAAAdeg/-CPiU42mhIk/s1600/scream3_213.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-oD4oNj56nrY/UQhbBG9TXoI/AAAAAAAAdeg/-CPiU42mhIk/s400/scream3_213.jpg" height="170" width="400" /></a></div><br />
Of all the times to not try and give audiences a fake scare, they go for the scene in the studio basement? That makes no sense. They may Heather Matarazzo's entrance into a boo machine testing suite and yet here all we get is a noise off in the distance. No threatening music cues or prolonged sequence of terror? Sigh. But, then again, maybe they thought Randy's sister was enough to terrify people for days on end and that they didn't need any more? (I'll get over that scene eventually, you guys!)<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-bRugSAQtzps/UQhb3v0v12I/AAAAAAAAdes/cl_Cug2YW0w/s1600/scream3_214.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-bRugSAQtzps/UQhb3v0v12I/AAAAAAAAdes/cl_Cug2YW0w/s400/scream3_214.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Hey, are you-"<br />
"No."<br />
"But you look just li-"<br />
"Like her? I've been hearing it all my life."<br />
"It's uncanny!"<br />
"I was up for Princess Leia, I was <i>this</i> close. So who gets it? The one who sleeps with George Lucas."</td></tr>
</tbody></table><br />
Ignoring the fact that the thought of sleeping with George Lucas is now in my brain and can <b>never be erased</b>, the story flies in the face of history, which tells a story of Carrie Fisher and Sissy Spacek being cast in <i>Carrie</i> and <i>Star Wars</i> respectively. They then swapped for some reason and history played out the way it did. Can you imagine Spacek in <i>Star Wars</i>? No, neither can I? Can you imagine Carrie Fisher having the career that Spacek did? No, neither can I. Funny, that. Although, I think there's a story in the <i>Scream 3</i> audio commentary about this scene (or at least parts of it) being written by Fisher herself, so who knows...<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-7g95sY4bXME/UQhdA2lRWXI/AAAAAAAAde4/AiYQyqM4STI/s1600/scream3_215.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-7g95sY4bXME/UQhdA2lRWXI/AAAAAAAAde4/AiYQyqM4STI/s400/scream3_215.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"I don't work for the cops, I work for the studio."<br />
"Really, well, would you work for... the President?"<br />
"The President... of the studio."</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-vbLgtCsWhik/UQhdgydlhBI/AAAAAAAAdfE/Khpt7HAg3BA/s1600/scream3_216.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-vbLgtCsWhik/UQhdgydlhBI/AAAAAAAAdfE/Khpt7HAg3BA/s400/scream3_216.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Fifty dollars? What are you, a reporter for Woodsboro High?"</td></tr>
</tbody></table><br />
And that, ladies and gentlemen, is why I'm grateful <i>Scream 3</i> exists. Parker Posey just tears through this part, doesn't she? I would have placed her in my top five supporting actresses of 2000, for sure (alongside this and <i>Best in Show</i> she was quite prolofic at the time, although I'm not quite sure where she's gone too after <i>Superman Returns</i> in 2006). Anyway, I know we give Ehren Kruger a lot of flack for many of the film's biggest faults, but I can't deny that he came up with some zingers and in this instant didn't even fall back on a <i>Nancy Drew</i> joke like he so easily could have. Amazing.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-wFbSoNKWIUk/UQhee299s8I/AAAAAAAAdfQ/SrkDx8YPFf0/s1600/scream3_217.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-wFbSoNKWIUk/UQhee299s8I/AAAAAAAAdfQ/SrkDx8YPFf0/s400/scream3_217.jpg" height="170" width="400" /></a></div><br />
Of course Sidney's mom never made it big in Hollywood if her stage name was Rena Reynolds!<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/--6gfLM5kXAM/UQhezBMPOsI/AAAAAAAAdfc/dT0lVmlDntg/s1600/scream3_218.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/--6gfLM5kXAM/UQhezBMPOsI/AAAAAAAAdfc/dT0lVmlDntg/s400/scream3_218.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Rena Reynolds... stage name."<br />
"You should talk, Judy Jergenstern!"</td></tr>
</tbody></table><br />
JUDY JERGENSTERN! I want this frame printed and hung on my wall. It fills me with so much joy.<br />
<br />
<center><a href="http://4.bp.blogspot.com/-Ri_ZzV1U9lw/UQhf2pYDiDI/AAAAAAAAdf0/Rw57nEVew58/s1600/scream3_219.jpg" imageanchor="1" style=""><img border="0" height="170" width="400" src="http://4.bp.blogspot.com/-Ri_ZzV1U9lw/UQhf2pYDiDI/AAAAAAAAdf0/Rw57nEVew58/s400/scream3_219.jpg" /></a><br />
<a href="http://3.bp.blogspot.com/--UyfCF36im0/UQhf2MK8vAI/AAAAAAAAdfo/O64PE7E_n2A/s1600/scream3_220.jpg" imageanchor="1" style=""><img border="0" height="170" width="400" src="http://3.bp.blogspot.com/--UyfCF36im0/UQhf2MK8vAI/AAAAAAAAdfo/O64PE7E_n2A/s400/scream3_220.jpg" /></a></center><br />
FLAW-LESS.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-fbScTSnPjuw/UQhgo8lnGWI/AAAAAAAAdgA/SRE-SJHpCuQ/s1600/scream3_221.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="170" width="400" src="http://1.bp.blogspot.com/-fbScTSnPjuw/UQhgo8lnGWI/AAAAAAAAdgA/SRE-SJHpCuQ/s400/scream3_221.jpg" /></a></div><br />
I could quote the expository dialogue that links Sidney mother with <i>Stab</i> producer John Milton and his early horror films like <i>Creatures from the San Andreas Fault</i>, <i>Amazombies</i>, and <i>Space Psycho</i>, but let's just bathe in how incredible those fake movie titles are and imagine how wonderful it'd be if they really existed. Preferably starring Parker Posey. Because you know she'd be aces in them. Also: Maureen (nee Rena) was in a stage play called <i>I Want to Scream</i>. Well, that certainly proved prophetic, no?<br />
<br />
<center><span style="font-size: 78%;"><b><i>Scream</i>:</b> <br />
<a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scream.html">Intro</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene_22.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_12.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_7039.html">Scene 14</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_17.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_19.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_6398.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_23.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_26.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_09.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_14.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_16.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_20.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_4478.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_1927.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_29.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_21.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_26.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene.html">Scene 31</a> <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_07.html">Scene 32</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_08.html">Scene 33</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 2</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/12/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-9_15.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_14.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_23.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene.html">Scene 14</a>. <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene_10.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_06.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_15.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_18.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_19.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_25.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_30.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_24.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_29.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_07.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_12.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_15.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_20.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 3</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com.au/2011/11/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene_27.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com.au/2013/01/scream-to-scream-scene-by-scene-scene.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com.au/2013/01/scream-to-scream-scene-by-scene-scene_23.html">Scene 14</a></span></center>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-81197828729992574722013-01-23T06:51:00.001-05:002013-01-23T06:53:46.786-05:00Scream to Scream, Scene by Scene: SCENE 14 of Scream 3 (0:51:25-0:55:33)<center><span style="font-size: 85%;">In this project I attempt to review the entire <i>Scream</i> trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!</span><br />
<span style="font-size: 85%;"><br />
</span></center><br />
<a href="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s1600/screamtoscream_banner.jpg"><img alt="" border="0" src="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s400/screamtoscream_banner.jpg" id="BLOGGER_PHOTO_ID_5479992480978737570" style="cursor: pointer; display: block; height: 85px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<b>SCENE 14</b> of <i>Scream 3</i><br />
<b>Length:</b> 4mins 8secs <br />
<b>Primary Characters:</b> Sidney Prescott, Dewey Riley, Gale Weathers, Martha Meeks (<b>Heather Matarazzo</b>), Randy Meeks (<b>Jamie Kennedy</b>), and Detective Wallace.<br />
<b>Pop Culture References:</b><br />
<ul><li><i>The Godfather Part III</i> and <i>The Return of the Jedi</i> (Used as trilogy examples)</li>
<li><i>Reservoir Dogs</i> (Randy describes a potential crime scene this way)</li>
</ul><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-BYS-HwkD_kU/UP-VVhle5-I/AAAAAAAAdTs/-dWpQnn28K0/s1600/scream3_191.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-BYS-HwkD_kU/UP-VVhle5-I/AAAAAAAAdTs/-dWpQnn28K0/s400/scream3_191.jpg" height="170" width="400" /></a></div><br />
Are you ready for the worst scene in the entire franchise? Gosh, I HOPE SO!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-LXNfrLlzPgs/UP-V8DKgntI/AAAAAAAAdT4/pYSPLJYoY28/s1600/scream3_192.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-LXNfrLlzPgs/UP-V8DKgntI/AAAAAAAAdT4/pYSPLJYoY28/s400/scream3_192.jpg" height="170" width="400" /></a></div><br />
Oh my gawd. Do you know what's behind that door? WELL DO YOU? It's something far scarier than Ghostface could ever be. And given it's daylight on a heavily populated location, the film's use of the "boo scare" reveal just makes the following character introduction ever worse. Sigh. It gives me great pains to present to you...<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-g_edOpKhSkA/UP-WaPBtEpI/AAAAAAAAdUE/ngOB3uPU_NE/s1600/scream3_193.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-g_edOpKhSkA/UP-WaPBtEpI/AAAAAAAAdUE/ngOB3uPU_NE/s400/scream3_193.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Don't shoot, I'm only 17!"</td></tr>
</tbody></table><br />
MARTHA MEEKS AND THE HIDEOUS GOLD ANIMAL PRINT PANTS FROM HEEEEEELLLL!!<br />
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No, but seriously, Martha is awful, and her clothes are awful, and this scene is awful, and Heather Matarazzo is awful (in this), and Martha is awful, and her clothes are awful, and her clothes are awful, and Martha is awful.<br />
<br />
Well, you get the picture. Literally.<br />
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Not only did they have to give Heather Matarazzo an entirely terrible character that wears entire terrible clothes and exists for entirely terrible expository reasons, but they make the actress say ludicrous rubbish dialogue like the bonmot underneath the screencap. I just can't with this scene, you guys. Every single time I watch this movie I skip it. Well, that is unless I'm screening it for somebody for the first time and they've never witnessed the shocking sights that it holds in its tight, leopard print grip. *shudder*<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/--Fnrl-09CSI/UP-X2X0CKcI/AAAAAAAAdU4/xSY0uLfquPk/s1600/scream3_194.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/--Fnrl-09CSI/UP-X2X0CKcI/AAAAAAAAdU4/xSY0uLfquPk/s400/scream3_194.jpg" height="170" width="400" /></a></div><br />
Well done anonymous police extras. I feel much safer knowing Heather Matarazzo can't stab me to death now that you're around. :/<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-qHu32Bq6fc4/UP-YS_8G3LI/AAAAAAAAdVE/YVgon3L74Ck/s1600/scream3_195.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-qHu32Bq6fc4/UP-YS_8G3LI/AAAAAAAAdVE/YVgon3L74Ck/s400/scream3_195.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"What are you doing here?"<br />
"There's something you guys should see."</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table><br />
No seriously, what is she doing there and how did she get onto the lot? "I'm the real life sister of somebody portrayed in <i>Stab</i>" probably doesn't get a lot of gorky 17-year-olds onto film sets these days. Could she not express post the video rather than jumping out of film set trailers in retina-burning pants? SHOULDN'T SHE BE IN SCHOOL INSTEAD OF GALLIVANTING AROUND LOS ANGELES?!? "We miss you in Woodsboro," she says. Yeah, I'm sure they're really disappointed that a new serial killing Ghostface is on the scene and has decided to take up residence in another town. Really disappointed. That does remind me of one of <i>Scream 4</i>'s most potent moments, when a crime scene onlooker goes all <i>The Birds</i> on Neve Campbell's Sidney and blames her for bringing the killings with her. But we're getting ahead of ourselves, aren't? This scene has plenty more awful stuff to go yet.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-BL55u_rD7xE/UP_ESh3IZ-I/AAAAAAAAdV4/Lr0tbnZxtTg/s1600/scream3_196.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-BL55u_rD7xE/UP_ESh3IZ-I/AAAAAAAAdV4/Lr0tbnZxtTg/s400/scream3_196.jpg" height="170" width="400" /></a></div><br />
RANDY!<br />
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And yet still one of the worst decisions they could have made. It's just silly, isn't it? I mean, this shit is morbid for Martha to be holding on to that tape just in case another killer comes around, isn't it? <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-AfTDwMg0a6g/UP_E49C2RJI/AAAAAAAAdWE/qwRDqUNiK0A/s1600/scream3_197.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-AfTDwMg0a6g/UP_E49C2RJI/AAAAAAAAdWE/qwRDqUNiK0A/s400/scream3_197.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Toldja I'd make a movie some day! Well, if you're watching this tape it means, as I feared, I did not survive these killings here at Windsor College. And that giving up my virginity to to Karen Colcheck at the video store was probably not a good idea."<br />
"Karen Colcheck?"<br />
"Yes, Karen Colcheck."<br />
"Creepy Karen?"<br />
"Shut up! She was a sweet person. We were working late, putting away some videos in the porno section and, ya know, shit happens."</td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table><br />
Oh lord, the video tape back and forth between Dewey and Randy! :/<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-hMvIrkUlr4w/UP_F4if1otI/AAAAAAAAdWU/wRev_M7E2XY/s1600/scream3_198.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-hMvIrkUlr4w/UP_F4if1otI/AAAAAAAAdWU/wRev_M7E2XY/s400/scream3_198.jpg" height="170" width="400" /></a></div><br />
I'm glad you find your goody future husband's banter so funny, Gale, but while you're here in this scene, I think we can all agree that we'd much rather be watching Gale & Gale Investigations on another channel.<br />
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I'm not gonna lie, guys. I'm debating whether to even include <i>Scream 3</i>'s "trilogy" rules. I mean, it's just so silly and tacked on. This would have at least made more sense if, as <i>Scream 3</i> was originally meant to do, it was set in Woodsboro. Alas.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-T98enS1LJlY/UP_GojSKAOI/AAAAAAAAdXE/M3YEx6T7GvI/s1600/scream3_199.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-T98enS1LJlY/UP_GojSKAOI/AAAAAAAAdXE/M3YEx6T7GvI/s400/scream3_199.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"The reason I am here is to help you so that my death won't be in vein. So that my life's work will help save some other poor soul from being mutilated. If this killer does come back and he's for real, there are a few things you gotta remember. Is this simply another sequel? Well, if it is: same rules apply. Here's the critical thing. If you find yourself dealing with an unexpected back-story, and a preponderance of expedition then the sequel rules do not apply. Because you are not dealing with a sequel. You are dealing with the concluding chapter... <b>of a trilogy!</b><br />
<br />
That's right, it's a rarity in the horror field, but it does exist. It's a force to be reckoned with, because true trilogies are all about going back to the beginning and discovering something that wasn't true from the get go. <i>Godfather</i>, <i>Jedi</i>, all revealed something that wasn't true that we thought was true. So if it is a trilogy you're dealing with here are some super trilogy rules...</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-obpoyA5i9GY/UP_IDEQTrVI/AAAAAAAAdX4/qCh8CZb6vX0/s1600/scream3_200.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-obpoyA5i9GY/UP_IDEQTrVI/AAAAAAAAdX4/qCh8CZb6vX0/s400/scream3_200.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"1. You've got a killer who's going to be super human. Stabbing him won't work, shooting him won't work. Basically in the third one you gotta cryogenically freeze his head, decapitate him, or blow him up.<br />
2. Anyone including the main character can die. This means you, Sid. It's the final chapter. It could be fucking <i>Reservoir Dogs</i> by the time this thing's through.<br />
3. The past will come back to bite you in the ass. Whatever you think you know about the past, forget it. The past is not at rest. Any sins you think were committed in the past are about to break out and destroy you. </td></tr>
</tbody></table><br />
And he goes on to wish them good luck and, "for some", a see you soon invitation. Of course, nobody from this group actually did die, nor did the finale end up like <i>Reservoir Dogs</i>. If anything, <i>Scream 4</i> adhered to the rules of <i>Scream 3</i> much more than <i>Scream 3</i> did. Funny to note that there was originally a fourth rule, "never be alone." It was taken out because, hilariously, Gale goes off by herself (and the others let her without a fuss, curiously) as soon as Martha leaves. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-xL_ugM_lZWU/UP_Jx01UWMI/AAAAAAAAdYs/abL68k4N3s8/s1600/scream3_201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-xL_ugM_lZWU/UP_Jx01UWMI/AAAAAAAAdYs/abL68k4N3s8/s400/scream3_201.jpg" height="170" width="400" /></a></div><br />
An amber-hued hair clip. Seriously. AND THOSE PANTS OH MY GAWD! Of course, it just keeps <s>better and better</s> worse and worse.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-OVxkS4UgsIw/UP_KGjrve9I/AAAAAAAAdY4/39qWDcZMj_M/s1600/scream3_202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-OVxkS4UgsIw/UP_KGjrve9I/AAAAAAAAdY4/39qWDcZMj_M/s400/scream3_202.jpg" height="170" width="400" /></a></div><br />
!!!!!!!!!!!!!!!<br />
<br />
I repeat.<br />
<br />
!!!!!!!!!!!!!!!<br />
<br />
How long until this late '90s, early '00s fashion trend takes off again? <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-wEHXSsAl84c/UP_LMFSwvnI/AAAAAAAAdZs/cfu8HAmmdlQ/s1600/scream3_203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-wEHXSsAl84c/UP_LMFSwvnI/AAAAAAAAdZs/cfu8HAmmdlQ/s400/scream3_203.jpg" height="170" width="400" /></a></div><br />
AND THEN THEY JUST SEND HER ON HER WAY!<br />
<br />
Sorry for getting so shouty, but it bears shouting. I mean, she shows up out of the blue in Hollywood, shows them a video tape, and then just walks off into the (figurative) sunset. Hell, I'd be thinking she was a suspect. Especially given what her brother's own video said about the past and the beginning and things never being what they seem. Is it too crazy for these guys to assume (or at least Gale since she doesn't personally know Martha) that maybe Randy was a puppeteer from the very start and now he's using his meek sister (lol, MEEK!) to play out some of his dirty work?<br />
<br />
You guys, I just came up with the better ending to <i>Scream 3</i>. Sigh.<br />
<br />
Even if that wasn't the case, wouldn't they feel a bit strange about sending this 17-year-old off by herself amongst Hollywood as a serial killer is on the loose specifically targeting people with connections (however fictional) to the original Woodsboro? <br />
<br />
Sigh.<br />
<br />
Thank gawd that's over because one scene later we revisit Gale & Gale Investigations, which is basically what I want my life to be like, okay?<br />
<br />
<center><span style="font-size: 78%;"><b><i>Scream</i>:</b> <br />
<a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scream.html">Intro</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene_22.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_12.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_7039.html">Scene 14</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_17.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_19.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_6398.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_23.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_26.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_09.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_14.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_16.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_20.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_4478.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_1927.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_29.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_21.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_26.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene.html">Scene 31</a> <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_07.html">Scene 32</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_08.html">Scene 33</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 2</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/12/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-9_15.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_14.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_23.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene.html">Scene 14</a>. <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene_10.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_06.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_15.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_18.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_19.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_25.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_30.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_24.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_29.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_07.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_12.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_15.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_20.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 3</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com.au/2011/11/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene_27.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com.au/2013/01/scream-to-scream-scene-by-scene-scene.html">Scene 13</a></span></center>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com3tag:blogger.com,1999:blog-4327605674280773646.post-40236611707852196182013-01-21T00:28:00.000-05:002013-01-21T00:28:05.649-05:00Wild Open WatersSaturday was a long day that began with a discussion about <i>The Guilt Trip</i> on the radio that turned into a delirious vaudeville act of Barbra Streisand jokes, and then developed into a day out at the tennis. I cheered on players I didn't know against other players I didn't know (they turned out to be good matches though, and the games involving more famous players like the Williams sisters and Tsonga were straight set duds), and briefly spotting Novak Djokavic. Naturally I was surrounded by onlookers who were, like me, only out for a perve (er, <a href="http://www.squarehippies.com/2008/01/novak-djokovic/">can you blame us?</a>). By the time I got home late in the evening I needed some movie viewing that wasn't, shall we say, dramatically challenging. After digging through the stacks of films I have, I chose <i>The River Wild</i>. Because, you know, why not?<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-YxvombgEJAc/UPzMlcywWvI/AAAAAAAAdRE/HMHQuu5feWU/s1600/theriverwild_poster01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-YxvombgEJAc/UPzMlcywWvI/AAAAAAAAdRE/HMHQuu5feWU/s200/theriverwild_poster01.jpg" width="134" /></a></div>Directed by Curtis Hanson - "from the director of <i>The Hand That Rocks the Cradle</i>" as the poster of elegantly states - this 1994 actioner is one one of those rare beasts that sees an actress of Meryl Streep's age and stature (she was a 45-year-old, duel Oscar winner at the time) taking charge of a genre film. In that regard, <i>The River Wild</i> had a lot of interest behind it for me, not to mention that this era in Meryl Streep's career is a particularly curious one to navigate with titles like <i>She-Devil</i>, <i>Death Becomes Her</i>, and <i>Postcards from the Edge</i>, which were, at the time, seemingly anomalous for her as they branched into thoroughly unprestigious territory.<br />
<br />
However, as the end credits rolled, I couldn't help but wish she'd do this more often. Streep obviously verges more on the mainstream side of the fence than some may think, but she so often takes roles in films that are only fleetingly as good and interesting as her performances in them. Making <i>Mamma Mia!</i> may have defied expectations once, but not anymore, and it'd be great if she could take on an original property that felt truly unique and necessary. I'd love to see her put that enviable skill to another film like <i>The River Wild</i>, or, as I've long wished - and said so on multiple occasions - a scary film in the tradition of <i>The Innocents</i> and <i>The Others</i>. Hell, if they have to remake <i>Gaslight</i> like they keep threatening, I'd dive at the chance to see Streep's take on the material. It would certainly pique my interest, because as much as I look forward to the big screen adaptation of <i>August: Osage County</i>, her casting feels particularly musky.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-CkbqBp2hyl8/UPzPTLVbwLI/AAAAAAAAdR4/5uJQknjnReo/s1600/theriverwild02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="http://2.bp.blogspot.com/-CkbqBp2hyl8/UPzPTLVbwLI/AAAAAAAAdR4/5uJQknjnReo/s400/theriverwild02.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Straithairn, Josh C Reilley, Meryl Streep, Kevin Bacon, and the kid from <i>Jurassic Park</i>!</td></tr>
</tbody></table><br />
Hell, if they just went and rereleased <i>The River Wild</i>, I am sure its reception would be a hell of a lot more positive than it was in 1994. It's <a href="http://www.rottentomatoes.com/m/river_wild/">score on Rotten Tomatoes</a> - always an iffy prospect for movies made before, say, 2000 - indicates a 50/50 split between those who didn't like it and those who enjoyed it as little more than disposable genre fluff. It's very easy to hypothesise that if this white water rafting thrill-seaker action flick (yes, I'm guessing that was once used as a way to sell <i>The River Wild</i>!) being made today with, for instance, Jessica Chastain (they'd naturally cast younger, but in a pinch maybe they'd choose Sandra Bullock?) and Jeremy Renner in the Kevin Bacon villain role and being greeted with rapturous response. Given the dire state of action filmmaking, <i>The River Wild</i>'s more old school sensibility - lack of plastic CGI, actual identifiably flawed human characters, established adult actors over "next big thing" type gambles - would surely prove a calming respite from a world full of <i>John Carter</i>, <i>The Hobbit</i>, and <i>The Avengers</i>. I mean, the amount of times I've read "good enough" (or a variation of it) in relation to an action film outside the realm of superheroes and sci-fi is alarming.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-jwPy2Wp_Rdk/UPzPc6XP4kI/AAAAAAAAdSE/D5k8p-qzPJY/s1600/theriverwild01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="264" src="http://1.bp.blogspot.com/-jwPy2Wp_Rdk/UPzPc6XP4kI/AAAAAAAAdSE/D5k8p-qzPJY/s400/theriverwild01.jpg" width="400" /></a></div><br />
It's perhaps possible to make the argument that I am projecting modern day action film disappointment on to <i>The River Wild</i> and claiming it to be greater than it actually it. I certainly wouldn't shoot you down if you said that, but I do think the film is a remarkably effective one for many of the reasons I've already stated. Streep's aura of authority looms over the film, propelling its dramatic moments to as high a peak as its adventurous, oft-thrilling action setpieces. I admired the way Jerry Goldsmith's score and Robert Elswit's cinematography go together so handsomely. And I though Hanson's handling of the action scenes - as potentially messy and discombobulating as ones involving white water rafting could get - were all superb. "Meryl Streep kicks ass" isn't a saying that can be uttered all that often, but in doing so here she helped make <i>The River Wild</i> a cut above the rest. <b>B+</b>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com2tag:blogger.com,1999:blog-4327605674280773646.post-49385931613340684892013-01-09T05:40:00.000-05:002013-01-09T05:40:25.814-05:00Scream to Scream, Scene by Scene: SCENE 13 of Scream 3 (0:47:27-0:51:24)<center><span style="font-size: 85%;">In this project I attempt to review the entire <i>Scream</i> trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!</span><br />
<span style="font-size: 85%;"><br />
</span></center><br />
<a href="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s1600/screamtoscream_banner.jpg"><img alt="" border="0" src="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s400/screamtoscream_banner.jpg" id="BLOGGER_PHOTO_ID_5479992480978737570" style="cursor: pointer; display: block; height: 85px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<b>SCENE 13</b> of <i>Scream 3</i><br />
<b>Length:</b> 3mins 57secs <br />
<b>Primary Characters:</b> Detective Kincaid, Gale Weathers, Dewey Riley, Sidney Prescott<br />
<b>Pop Culture References:</b><br />
<ul><li><i>Kiss Me Deadly</i> and <i>Murders in the Rue Morgue</i> (posters on Kincaid's wall)</li>
</ul><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-4gkFwucDIwA/UO0jYIM5iTI/AAAAAAAAc-M/8biLDNhl9Qc/s1600/scream3_180.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-4gkFwucDIwA/UO0jYIM5iTI/AAAAAAAAc-M/8biLDNhl9Qc/s400/scream3_180.jpg" height="170" width="400" /></a></div><br />
I love that Kincaid (or, ya know, the set decorator) has a newspaper clipping on the wall headlined "A 'Nice Vice'". I can only imagine that it's a puff piece about himself that he hangs on the wall in prize position near posters for old scary movies like <i>Kiss Me Deadly</i> and <i>Murders in the Rue Morgue</i>. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-l28ZHy1lrkQ/UO0ktNrLiRI/AAAAAAAAc-c/1qzQrwZxftE/s1600/scream3_181.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-l28ZHy1lrkQ/UO0ktNrLiRI/AAAAAAAAc-c/1qzQrwZxftE/s400/scream3_181.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Who knows more about Maureen Prescott than her own mother?"</td></tr>
</tbody></table><br />
Er, considering you just admitted that Sidney once identified the wrong killer in court and that it's documented Sidney didn't know her mother's scandalous past before <a href="http://stalepopcornau.blogspot.com.au/2010/08/scream-to-scream-scene-by-scene-scene_26.html">Tatum went all Richard Gere on her</a>, you're probably not gonna get much out of her. <br />
<br />
Also: 2000 was a popular time for baggy dress shirts, wasn't it? Christ, even I had some at the time. They were my "formal" look. LOLOLOLhate.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-zpDvLgacXxA/UO0mgQAUhkI/AAAAAAAAdAQ/Fx0FcrC-fos/s1600/scream3_182.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-zpDvLgacXxA/UO0mgQAUhkI/AAAAAAAAdAQ/Fx0FcrC-fos/s400/scream3_182.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Do you wanna have this conversation with a polygraph?"</td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-40V4n9TH5Aw/UO0mePXN6DI/AAAAAAAAc_s/tK0TcqlWje0/s1600/scream3_183.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-40V4n9TH5Aw/UO0mePXN6DI/AAAAAAAAc_s/tK0TcqlWje0/s400/scream3_183.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Was that a threat, Detective?"</td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-mq3DsKn6Rzo/UO0mes1-gBI/AAAAAAAAc_4/M-TC8bXQvLQ/s1600/scream3_184.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-mq3DsKn6Rzo/UO0mes1-gBI/AAAAAAAAc_4/M-TC8bXQvLQ/s400/scream3_184.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"When it's a threat, you'll know it."</td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-rAQFMH2ngig/UO0mfaQs28I/AAAAAAAAdAE/1h0i0hGGh4g/s1600/scream3_185.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-rAQFMH2ngig/UO0mfaQs28I/AAAAAAAAdAE/1h0i0hGGh4g/s400/scream3_185.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Was <i>that</i> a threat?"</td></tr>
</tbody></table>I think this dialogue is meant to be menacing, or something. Is it meant to be setting up Kincaid as a potential suspect because (oh dear) he likes scary movies and may have an anger issue. It's hard to tell, I'm too dazzled by Ehren Kruger's sparkling dialogue in this scene. To wit:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-HlkTyWqPz3o/UO0oIXYMcVI/AAAAAAAAdBA/0s4sJVuowGE/s1600/scream3_186.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-HlkTyWqPz3o/UO0oIXYMcVI/AAAAAAAAdBA/0s4sJVuowGE/s400/scream3_186.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Boys, boys, let's compare our gun calibres later!"</td></tr>
</tbody></table><br />
What entendre! <br />
<br />
Also: It was a complete accident that I paused the video on that moment with Courteney's face doing... whatever the hell it is it's doing. I'm not sure what it is, but you never can tell these days with her face.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-H_drtfXloNM/UO0oqgze4LI/AAAAAAAAdBM/WkKEqwbswxw/s1600/scream3_187.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-H_drtfXloNM/UO0oqgze4LI/AAAAAAAAdBM/WkKEqwbswxw/s400/scream3_187.jpg" height="170" width="400" /></a></div><br />
Sid making a superstar entry into the LAPD station, of course.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-xvP-n68_ipM/UO0plVnD13I/AAAAAAAAdBc/DtoJNi6H4C4/s1600/scream3_188.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-xvP-n68_ipM/UO0plVnD13I/AAAAAAAAdBc/DtoJNi6H4C4/s400/scream3_188.jpg" height="170" width="400" /></a></div><br />
Erotic.<br />
<br />
The music in this reunion scene between Sid and Dewey, as well as Sid and Gale directly afterwards in Kincaid's office, is really terrible. It's thick like syrup like everybody on the production forgot where they were and decided to make it into a scene from a TV movie about a kidnapped girl being returned to her mother 20 years later. Or something. What would I know?<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-3mpC1UXZO3Q/UO1GZwWYOWI/AAAAAAAAdC4/bCzlF25uYFc/s1600/scream3_189.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-3mpC1UXZO3Q/UO1GZwWYOWI/AAAAAAAAdC4/bCzlF25uYFc/s400/scream3_189.jpg" height="170" width="400" /></a></div><br />
So apparently Neve Campbell is on <i>Grey's Anatomy</i> now? Or she was? I'm not sure. Anyway, she gave <a href="http://scream-trilogy.net/2013/01/neve-campbell-on-scream-5-patrick-dempsey/">an interview</a> where she discussed working about with Patrick Dempsey and it just reminds me how strange is seems now for the man to have been cast in <i>Scream 3</i>. <br />
<br />
<blockquote><span style="color: #38761d;"><b>Did you have fun reuniting with Patrick Dempsey, having done a Scream movie together?</b></span><br />
<span style="color: #38761d;"><br />
</span> <span style="color: #38761d;">CAMPBELL: Yeah, it was really fun! I hadn’t seen him since Scream, so it had been at least a decade. He’s a great guy. They’ve been on that show for nine years, so they definitely know what they’re doing. It was fun to be around a group who have been working together for so long.</span><br />
<span style="color: #38761d;"><br />
</span> <span style="color: #38761d;"><b>Any chance of there being a Scream 5?</b></span><br />
<span style="color: #38761d;"><br />
</span> <span style="color: #38761d;">CAMPBELL: We’ll see. I’m not sure they’re going to make it, to be honest. If that were to come up again and they were to approach me, I’d have a chat with them about it.</span></blockquote><br />
Hmmm.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-1qQa9Y0x4tU/UO1HpwvpAWI/AAAAAAAAdDo/R1j_GPfHfy0/s1600/scream3_190.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="170" width="400" src="http://4.bp.blogspot.com/-1qQa9Y0x4tU/UO1HpwvpAWI/AAAAAAAAdDo/R1j_GPfHfy0/s400/scream3_190.jpg" /></a></div><br />
I think in this scene, amongst some others, you can really tell Neve Campbell wasn't entirely with it on <i>Scream 3</i>. I don't mean "with it" in the sense that, say, Lindsay Lohan isn't with it anywhere anytime anymore, but "with it" in the sense that she probably didn't feel particularly inspired about making the film. Her role was already reduced significantly, almost to a supporting role for half the run time, and here she barely seems to raise a pulse as she finds out her mother is a significant part of the investigation. She was, however, totally "with it" in <i>Scream 4</i> in case you're wondering.<br />
<br />
Of course, upon seeing the photographs Sidney asks to go to the place they were taken. That means two things: a) more amazing Gale and Gale murder investigations, b) the worst cameo in the entire franchise. The worst everything in the entire franchise, actually. I shudder just thinking of it. We'll get to that next time though.<br />
<br />
<center><span style="font-size: 78%;"><b><i>Scream</i>:</b> <br />
<a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scream.html">Intro</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene_22.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_12.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_7039.html">Scene 14</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_17.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_19.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_6398.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_23.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_26.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_09.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_14.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_16.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_20.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_4478.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_1927.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_29.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_21.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_26.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene.html">Scene 31</a> <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_07.html">Scene 32</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_08.html">Scene 33</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 2</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/12/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-9_15.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_14.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_23.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene.html">Scene 14</a>. <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene_10.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_06.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_15.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_18.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_19.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_25.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_30.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_24.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_29.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_07.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_12.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_15.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_20.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 3</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com.au/2011/11/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene_27.html">Scene 12</a></span></center>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-39930852451473918542013-01-07T23:40:00.000-05:002013-01-07T23:40:17.566-05:00Fiona Shaw's Gangster Squad<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-lMagTb22v5I/UOuS-g-_FGI/AAAAAAAAc54/Ah4TZv0d9ys/s1600/blackdahlia_fionashaw01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-lMagTb22v5I/UOuS-g-_FGI/AAAAAAAAc54/Ah4TZv0d9ys/s400/blackdahlia_fionashaw01.jpg" height="170" width="400" /></a></div><blockquote><span style="color: #38761d;"><span style="font-size: x-small;">Did you know, Mr Bleichert, that Ramona Boulevard is named after me."</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"I didn't."</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"When Emmett married me for my father's money, he promised my family that he would use his influence with the city's zoning board to have a street named after me. But all he could manage was a dead-end block in a red light district. In Lincoln... Hhhh-eights. Are you familiar with the neighbourhood, Mr Bleichert."</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"I grew up there."</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"Yes, well, then you'll know that Mexican prostitutes expose themselves from windows. I hear many of them know Mr Liscott by name!"</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"Shut up!"</span></span><br />
<span style="color: #38761d;"><span style="font-size: x-small;">"I will sing for my supper when Mayor Bowran comes to dinner, but not for Madeleine's male whores. He's a common policeman, my god! How little you think of me.</span></span></blockquote><br />
The above is a transcript of one of Fiona Shaw's two incredibly memorable scenes from Brian De Palma's 2006 retelling of the famous "Black Dahlia" murder. It is inarguable one of just many incredibly odd scenes to be found across De Palma's altogether messy film, <i>The Black Dahlia</i>. A film that reached such sky high levels of badness that it veered directly into unintentionally camp laugh riot. Shaw, it would seem, is the only actor the whole affair who was able to see what film was being made and went about not only stealing it outright from everybody else, but doing so in a style that continues to amaze me to this very day. In just two brief scenes Fiona Shaw was able to give <i>The Black Dahlia</i> a legacy of some sort beyond being a pretty failure. One person <a href=http://stinkylulu.blogspot.com.au/2006/09/fiona-shaw-in-black-dahlia-supporting.html>once described her</a> as an "utter loon" and who could argue with that? I know many hate this movie - and with good reason, I'd suggest - but I enjoy it as an exercise in complete and utter foolhardy, Hollywoodised rubbish. Shaw is the lone star amongst a collection of dull, imploding masses of clay (I'm looking at you Scarlett Johannson, Josh Hartnett, Aaron Echkart, and Hilary Swank as a ridiculously unsexy Russian lesbian who doesn't for a single moment look "just like that dead girl", no matter what Johansson's playing-in-mummy's-wardrobe performance would have you believe.)<br />
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I bring up <i>The Black Dahlia</i> because last night I saw <i>Gangster Squad</i>, new film by Ruben Fleischer (<i>Zombieland</i>) that got shafted to a January release date after the shooting tragedy at a Colorado movie theatre. Set two years after the events of <i>The Black Dahlia</i>, <i>Gangster Squad</i> shares a similarly styled aesthetic, although one that lacks the lush intricacies of <i>Dahlia</i>. Dione Beebe's overly computerised digital photography and the overly artificial sets don't have any of the eye-popping class of Vilmos Zsigmond's Oscar-nominated cinematography or uniquely specific sets from De Palma's movie. Mark Isham's musical score for the latter is equally fine, especially compared to <i>Squad</i>'s Nolan-inspired boom score from Michael Bay collaborator Steve Jablonsky. If the actors are by and large better in <i>Gangster Squad</i> then that's more an indictment of <i>The Black Dahlia</i>, but they still fail to enliven a fairly mediocre movie. Emma Stone looks particularly lost at sea playing a sexy dame with eyes for Ryan Gosling's bad boy cop. That her entrance is a replication of Michelle Pfeiffer's breakthrough into cinema history in <i>Scarface</i> does her little favours.<br />
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Still, the film's biggest problem is its tone. Whether this is a result of having to (literally) go back to the editing room and recut the film to, at least, remove any trace of the infamous cinema shooting scene that caused such a controversy after the Aurora massacre, I'm not sure, but I think it's fair to say there was a problem long before that tragedy unfolded. I suspect there's little coincidence that Sean Penn's villain (as well as many of his henchmen) resemble <i>Dick Tracy</i> characters, but why then not go all the way and give the film an entirely cartoonish quality? It certainly would have made some of its more excessive directorial flourishes more palatable. I craved a scene or two that was as maddeningly bonkers as Fiona Shaw's inclusion in <i>The Black Dahlia</i>. I longed for a scene as deliciously in your face and technically savvy as that film's long take as the body of Elizabeth Short was found. Sadly none were to be found. <br />
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Similarly, if it's not going to reach the crazy end of the pool, why not go serious and aim for <i>LA Confidential</i> or <i>The Untouchables</i>? It's not as if the cast was wanting for something serious, but the no man's land that <i>Gangster Squad</i> finds itself in does nobody any favours. By the time Josh Brolin's leathery hide was chasing down buggies and latching on them like he was T1000 I'd long since given up interest. Which is a shame, but not altogether unsurprising. The aforementioned cinema scene looked like a film peak from the trailer so its exclusion is as disappointing in that regard as it is unnecessary. But, there's nothing they can do about it now. <b>C</b><br />
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I will say this though: <i>Gangster Squad</i>'s end credits are fabulous. It's not actually a diss to say they're the best part of the film because they're genuinely excellent. They were done by a company called Scarlet Letters and if you do go see the film please stay and watch them all.<br />
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You show 'em, Fiona!Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com3tag:blogger.com,1999:blog-4327605674280773646.post-54444738121629820942013-01-07T00:15:00.002-05:002013-01-07T00:15:28.942-05:00Sweet Sweetgrass' Baadasssss Ride!<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-t8-5fJJIJNg/UOpYkJHvBdI/AAAAAAAAc3w/Ttxu5kJt7Io/s1600/sweetgrass_poster01.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="200" width="134" src="http://4.bp.blogspot.com/-t8-5fJJIJNg/UOpYkJHvBdI/AAAAAAAAc3w/Ttxu5kJt7Io/s200/sweetgrass_poster01.jpg" /></a></div>I had long wanted to catch <i>Sweetgrass</i>, a documentary about the modern day dying American west that received minor attention upon its release in 2010 as well as screening at the Melbourne International Film Festival (I didn't see it there, sadly). It's hardly surprising that this film hasn't received a local release given documentaries that work in a strictly anthropological sense are an even harder sell than traditional ones that have been crafted around conventional narratives. Lacking narration, a musical score, or even on screen credits to inform the viewer of who is who, <i>Sweetgrass</i> comes from recordist Lucien Castaing-Taylor and producer Ilisa Barbash. Both work for Harvard and have a list of credits to their name that certainly sounds lofty and indicative of people who would have a film as boutique and yet wide-roaming as this (read the <a href=http://movies.nytimes.com/2010/01/06/movies/06sweet.html?pagewanted=print&_r=0>sixth paragraph</a> of this <i>New York Times</i> review to see what I mean).<br />
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Filmed in purely observational manner, Castaing-Taylor and Barbash's film was filmed over three years - and took something close to nine years to complete, which sounds like a lot of time before considering their roles as educators - <i>Sweetgrass</i> covers the now defunct shepherd of thousands of sheep across the Montana summer grazing highlands. The film's final image is of an "in memoriam" tag, stating the Reisland-Allestad Ranch, the subject of this documentary, ceased to exist in 2004 after 104 years. It lends <i>Sweetgrass</i> (so named after Sweet Grass County, a part of Montana that this epic march covers) a pang of elegiac sadness, one that is accentuated by the beauty of the landscape. So beautifully filmed, a true environmental documentary about man and nature, it's made with as little interference as possible. Thanks to the blessed diegetic sound design of Patrick Lindenmaier and the refreshingly still camera, every shifting cloud creating a creeping shadow is amplified. With its ghost-like presence (only the occasional sheep seems to acknowledge the camera's existence) creating an almost ethereal atmosphere, the "last of America's cowboys" are given a farewell of heartbreaking simplicity.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-L9N5IyMweQE/UOpZdHWDtkI/AAAAAAAAc4A/4j0R7f0C0us/s1600/sweetgrass01.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="220" width="400" src="http://4.bp.blogspot.com/-L9N5IyMweQE/UOpZdHWDtkI/AAAAAAAAc4A/4j0R7f0C0us/s400/sweetgrass01.jpg" /></a></div><br />
I'd love to see this film on a double feature with Kelly Reichardt's <i>Meek's Cutoff</i>. Both together (or alone, really, but together even more so) would send most audiences into a tailspin of boredom given the aversion to what's considered "slow" and "boring". However, much like Reichardt's captivating post-western trip along the Oregon Trail, <i>Sweetgrass</i> raises many questions. Why do these shepherds do what they (no longer) do? One sequence shows one such man on the telephone to his mother as he holds back tears telling her of the arduous journey he partakes every year. "I'd rather enjoy these mountains than hate 'em," he says. The film also asks vital questions about man's interference in the circle of life, as well as our relationship to nature. All three - man, animal, nature - can be unforgiving, but the film's strength is in how it tells the tale of all of them, and does so with powerful simplicity.<br />
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The film is as rich in warm-heartedness as it is in heart-tugging sadness. Those gorgeous Montana mountains are as lush with beauty as always, and the way they have been photographed recall the work of a master landscape painter. <i>Sweetgrass</i> is the type of film where a highlight is a zoom in from a long shot into to that of a mountainside as the sight of a herd of sheep becomes clearer and clearer. It's a film where the action peaks with a bear hunt in the dead of night, in near pitch black. The images within are the kind that trains cinematographers and filmmakers would spend a lot of money to perfectly choreograph and lens (see below for examples), but here are as effortless as the spinning of the Earth. There's little that's conventional here for both fiction and non-fiction filmmaking, but what there is a sterling, evocatively made portrayal of a way of life that is all but extinct. <b>A-</b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-yhk_KohDRAc/UOpZsD4MB2I/AAAAAAAAc5M/Th4RqUDhIrA/s1600/sweetgrass05.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="225" width="400" src="http://1.bp.blogspot.com/-yhk_KohDRAc/UOpZsD4MB2I/AAAAAAAAc5M/Th4RqUDhIrA/s400/sweetgrass05.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-glOejJfJ9AQ/UOpZpzYLWmI/AAAAAAAAc4o/-1xTqOiAljY/s1600/sweetgrass02.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="225" width="400" src="http://3.bp.blogspot.com/-glOejJfJ9AQ/UOpZpzYLWmI/AAAAAAAAc4o/-1xTqOiAljY/s400/sweetgrass02.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ahMUsvubdNU/UOpZqY6XzeI/AAAAAAAAc44/2kL5wioUEkU/s1600/sweetgrass03.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="225" width="400" src="http://1.bp.blogspot.com/-ahMUsvubdNU/UOpZqY6XzeI/AAAAAAAAc44/2kL5wioUEkU/s400/sweetgrass03.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-jBEGN4o9ZTY/UOpZrrjljWI/AAAAAAAAc5A/W3RgzBdNmNM/s1600/sweetgrass04.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="225" width="400" src="http://4.bp.blogspot.com/-jBEGN4o9ZTY/UOpZrrjljWI/AAAAAAAAc5A/W3RgzBdNmNM/s400/sweetgrass04.jpg" /></a></div>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-68355821142670983372012-12-31T18:00:00.000-05:002012-12-31T18:00:02.201-05:00New Years Catch Up Part I: The Grey, The Color Wheel, Love Story, On the Road, Pitch PerfectI always have such grand plans to review all the movies that I see, before inevitably forgetting and letting them slide into the recesses of my mind. Even though it is hard to deny that after that initial flurry of week-of-release excitement the desire to write may dwindle, I also think it's wrongheaded to think discussions on films have a shelf life of their opening weekend box office report. Alas, we're here today to take a look at some films that recently made their way to Australian screens and that I've had a chance to see on DVD. What better way to wring in the new year than with a look back on the old ones?<br />
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<div style="text-align: right;"><b><i>The Grey</i></b></div><div style="text-align: right;">Dir. Joe Carnahan</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Aus Rating: MA15+</div><div style="text-align: right;">Running Time: 117mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-qy2tkf3uDCw/UOEDxXHKZpI/AAAAAAAAcwM/vvegD0XHmbo/s1600/thegrey_australianposter01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-qy2tkf3uDCw/UOEDxXHKZpI/AAAAAAAAcwM/vvegD0XHmbo/s200/thegrey_australianposter01.jpg" height="200" width="138" /></a></div>Put me in the minority, but I found Joe Carnahan's "Liam Neeson vs the Wolves" adventure film/existential philosophy retreat to be as chilly as its Alaskan setting. From the opening sequence with its nauseating narration and foretelling blasting in neon - "I know this is where I belong, surrounded by my own. Ex-cons, fugitives, drifters, assholes. Men unfit for mankind." Hmm, do you think the film is about these men confronting their demons and atoning for sins? - to its silly, abrupt ending, I found <i>The Grey</i> lacking in both adventure film thrills, and moral quandaries. Featuring a repetitive structure and lacklustre use of the frame from cinematographer Masanobu Takayanagi who far too often fall back on rote imagery and camera placements, I found its lofty aspirations not met.<br />
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Seemingly at odds with what it wants to be, Carnahan never truly finds the right balance between the extreme action adventure title that sees Liam Neeson say such ridiculously survivalist dialogue as "we're going to shove [this branch] up this thing's ass, then we're going to eat it." - and the film that attempts to address its themes in a more prosaic manner. A smarter film would have deemed the flashbacks to Neeson's wife unnecessary, and would have found less blatant ways of extolling its virtues about god, faith, and fate. By the seemingly umpteenth wolf chase sequence I had long given up taking <i>The Grey</i> seriously, which is a real shame because the filmmakers were taking it far too seriously for far too long. That it ends on such a high farce moment makes me suspect that Carnahan was unsure how to handle the potentially prickly ethics at the screenplay's core, and instead continued to fall back on scenes that hold as much emotional weight as something from a fictional <i>Liam Neeson Movie</i> spoof. <b>C-</b><br />
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<div style="text-align: right;"><b><i>The Color Wheel</i></b></div><div style="text-align: right;">Dir. Alex Ross Perry</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Aus Rating: N/A</div><div style="text-align: right;">Running Time: 83mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-iJ3YCicETnI/UOEJ-8BGslI/AAAAAAAAcw4/x0EP7Nzfwaw/s1600/30_thecolorwheel.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-iJ3YCicETnI/UOEJ-8BGslI/AAAAAAAAcw4/x0EP7Nzfwaw/s200/30_thecolorwheel.png" height="200" width="144" /></a></div>This film isn't for everybody. In fact, it's very hard to pigeonhole this sophomore feature from Alex Ross Perry (I have not seen his debut, <i>Impolex</i>) as being for anybody in particular, rather unsuspecting open-minded types who respond to its strange charms. Still, charms it has, as the actors navigate their way through a story that covers an entire spectrum, much like the color wheel of the title. It's little surprise to learn that stars Perry and Carlen Altman were stand-up comedians, but their foray into cinema shows remarkable restraint and skill as they limited the use of improvisation and utilised incredibly textural 16mm film. Despite navigating the same sort of boutique twentysomethings-have-feelings-to terrain of other films from the "mumblecore" wheelhouse - as a matter of fact, writer/director/star Perry appeared in Lena Dunham's <i>Tiny Furniture</i>, itself a film that hovered around the fringes of the mid-to-late-'00s movement of ultra low budget filmmaking - <i>The Color Wheel</i> blooms into a refreshing and frequently candid take on bizarre adult-sized children and their fluctuating levels of morose.<br />
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Last year's winner of Indiewire's best "unreleased" film, it's easy to see what they saw in <i>The Color Wheel</i>. This abrasive take on familial relationships - the film covers a road trip between complicated siblings - navigates some typically tricky territory, up to and including a final act that spirals in unpredictable directions. It's a testament to the screenplay by Perry and Altman, as well as their performances, that the film is able to veer between such silly sweetness and such peculiar harshness with ease. It has a daring wit to it that is brave and uncompromising as it finds countless entertaining scenarios to thrust its frequently unlikable characters into. <i>The Color Wheel</i> is a striking breakthrough that should get enough people excited to allow Perry to expand beyond the boutique. <b>B</b><br />
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<div style="text-align: right;"><b><i>Love Story</i></b></div><div style="text-align: right;">Dir. Florian Habicht</div><div style="text-align: right;">Country: New Zealand</div><div style="text-align: right;">Aus Rating: M</div><div style="text-align: right;">Running Time: 94mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-w-pfIJ-rCuQ/UOEcWEp1qrI/AAAAAAAAcy8/o2hNl7KsGOE/s1600/lovestory_poster01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-w-pfIJ-rCuQ/UOEcWEp1qrI/AAAAAAAAcy8/o2hNl7KsGOE/s200/lovestory_poster01.jpg" height="200" width="134" /></a></div>Perhaps a perfect double feature pairing for <i>The Color Wheel</i> is Florian Habicht’s endearing scattershot romance, <i>Love Story</i>. Yes, the title is the same as a much more famous film from the 1970s, but Habicht’s take is a very modern look at romance through the prism of a changing society that is as comfortable with cameras as filmmakers are with new ways of utilising them. Habicht has made a very literal “docu-drama”, a film that purports to be about the burgeoning romance between a New Zealand tourist (that would be director/writer/star Habicht) and a woman he meets on the subway of New York on her way to Coney Island, which is interspersed with crowd-sourced moments of reality (or “reality”, who really knows?) where this curly-haired lank of a man asks people around the city what and how he should do to make this woman love him.<br />
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It’s an interesting idea, and Habicht does well to rarely fumble the many balls he has flying about the air at any one time. However, one’s enjoyment of <i>Love Story</i> will surely depend almost entirely on your ability to enjoy the peculiar persona that Habicht inhabits. This New Zealand art student, via Germany, is an odd duck and I’m sure he fits the bill for certain hipster credentials. I found his act wore thin by the film’s final act – I certainly wouldn’t have objected to them cutting 10 minutes from it, or at least the cereal sequence – but at least his sparring partner in Masha Yakovenko remains a visually arresting presence throughout. She lends a particularly melancholy presence to the proceedings that gives the film a far more intriguing authenticity than any number of bumbling scenes of public distraction (although the taxi sequence has to be seen to be believed). Still, it’s a curio originality is a refreshing delight far more often than a hindrance, and that’s something to smile about. <b>B-</b><br />
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<div style="text-align: right;"><b><i>On the Road</i></b></div><div style="text-align: right;">Dir. Walter Salles</div><div style="text-align: right;">Country: USA / UK / France / Brazil</div><div style="text-align: right;">Aus Rating: MA15+</div><div style="text-align: right;">Running Time: 140mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-EoXJCscUCbE/UOEMMm1rUfI/AAAAAAAAcxk/ShTmuxu4BwY/s1600/ontheroad_australianposter01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-EoXJCscUCbE/UOEMMm1rUfI/AAAAAAAAcxk/ShTmuxu4BwY/s200/ontheroad_australianposter01.jpg" height="200" width="138" /></a></div>The week that Walter Salles’ <i>On the Road</i> was set for release into Australian cinemas, it was announced that the film’s American distributor would be trimming the near two-and-a-half-hour film to a more palatable length. Knowing that Australian cinemagoers got the unabridged version makes for a curious viewing experience. As I watched the much delayed Jack Kerouac adaptation I found myself recalling Francis Ford Coppola’s <i>Apocalypse Now Redux</i> – only further enhanced by the end credits that has Coppola’s name, his son Roman, and the American Zoetrope production house spread throughout – which I viewed for the first time several years ago. It was the only version of the film I could attain and, having never seen the theatrical cut (despite my preference being to see theatrical before any altered editions) I was hardly surprised to discover later which scenes were new additions as they were inevitably the film’s weakest moments. I am intrigued to know what has been cut out of <i>On the Road</i> for its international release if for no other reason than to prove myself right on the film’s virtues and missteps.<br />
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Virtues and missteps it most certainly has, mind you. Much to my surprise, I found myself very much enjoying Salles’ more character-minded take on Kerouac’s novel and found its meandering flurries of excess frustrating. For instance, the sidebar sequence with Viggo Mortensen as Old Bull Lee (actually William S Burroughs) felt remarkably similar to the French plantation sequence in the aforementioned <i>Redux</i>. Still, if Salles and his screenwriter Jose Rivera – the two collaborated on the thematically similar <i>The Motorcycle Diaries</i> – are prone to waffling, then they can be more or less forgiven given the task of adapting a novel such as the Beat Generation’s defining moment of <i>On the Road</i>.<br />
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Thankfully, he has amassed a collection of collaborators that have served his extremely well. I can take or leave Sam Riley, but the work of Garrett Hedlund, Kristen Stewart, Kirsten Dunst, Tom Sturridge, and a flock of fleeting supporting players manage to make the film’s somewhat ponderous ways far more accessible. Gustavo Santaolalla’s superb locational score plays with an assortment of instruments in frisky ways, whilst the cinematography of Eric Gautier amplifies the sublime location work. Whether it’s a misty dirt road, a cluster of cacti along the Mexican border, a Colorado mining town, or the post-war lights of Manhattan, <i>On the Road</i> constantly looks beautiful and lush. Whether that goes with or against the book’s intentions I’m not sure, but I enjoyed this road trip through America through the eyes of modern day soul-searchers. <b>B</b><br />
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<div style="text-align: right;"><b><i>Pitch Perfect</i></b></div><div style="text-align: right;">Dir. Jason Moore</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Aus Rating: M</div><div style="text-align: right;">Running Time: 112mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-rzT-iect0rU/UOESmVqy9qI/AAAAAAAAcyQ/S6GdSkAUXgQ/s1600/pitchperfect_australianposter01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-rzT-iect0rU/UOESmVqy9qI/AAAAAAAAcyQ/S6GdSkAUXgQ/s200/pitchperfect_australianposter01.jpg" height="200" width="134" /></a></div>The makers of campus choir comedy <i>Pitch Perfect</i> have clearly modelled their perky musical on the stellar blueprint of <i>Bring It On</i>. While its buoyant energy is as catchy as the smartly arranged pop-heavy soundtrack, director Jason Moore hasn’t quite transferred the risqué wit of his Broadway puppet musical <i>Avenue Q</i> to his debut feature.<br />
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Surely nobody can mistake <i>Pitch Perfect</i> for original. Its underdog/girl power storyline is older than the classic teen films it references, most notable of which is John Hughes’ <i>The Breakfast Club</i>. Thankfully, the cast – predominantly actors in their mid-to-late 20s, naturally – give it their all and make for bubbly fun. Anna Kendrick’s barely masked contempt for the material is right in line with her character’s post-emo moping, whilst loud and boisterous Rebel Wilson, Anna Camp, and Brittany Snow are working overtime to wring laughs out of the thoroughly thin material. By the toe-tapping finale, however, its joy de vivre proves too infectious to truly resist.<br />
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<span style="font-size: x-small;">This review was originally published in <i>The Big Issue</i></span> Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-20223609180154872012012-12-18T07:01:00.000-05:002012-12-18T07:01:00.916-05:00The Best (and Worst) Posters of 2012 - Part II<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-aEvuDA9MsGg/UMgip9gdKfI/AAAAAAAAcSg/saOmMw5ts8U/s1600/posterbanner01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-aEvuDA9MsGg/UMgip9gdKfI/AAAAAAAAcSg/saOmMw5ts8U/s400/posterbanner01.jpg" height="400" width="275" /></a></div><br />
It's distressing when compiling a list such as this and I come to realise that almost any poster featured within the entire top (bottom?) 50 could have been a legitimate contender for worst of the worst. Literally, take your pick and it was a bona fide "worst!" pick at any given moment. I'm not as much a doomsayer as some others when it comes to the art of film key artwork, as I feel every year I have proven there is a substantial number of designs (and specific designers) that are original, unique, interesting, and feature a style worth paying attention to. This year, however, as I made up the list, it really did appear as if the bad designs just kept on coming and coming.<br />
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Whether it's bad Photoshop, bizarre spacial arrangements, disinterested star power, or ugly aesthetics, all 50 of the following posters remind me of Satanic garbles from one of those possessed idiots in <i>The Devil Inside</i> (which, yes, features <b>twice</b> on the list). Like the deranged flip side of my <a href="http://stalepopcornau.blogspot.com.au/2012/12/the-best-and-worst-posters-of-2012-part.html">favourite poster biases</a>, there are some posters below that bask in garish colours and simplicity that is actually just laziness. All of the 50 images below are an insult to the eyes, and no matter the budget of the film in question ($200mil <i>John Carter</i>; presumably miniscule <i>Leave it On the Floor</i>) they remain unforgivable and inexplicably released to the public. Enjoy, or, better yet, don't. Just shake your head and wonder where it all went wrong.<br />
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<center><span style="font-size: x-small;"><b>50.</b> <i>The Moth Diaries</i></span><br />
<span style="font-size: x-small;"><b>49.</b> <i>Katy Perry: Part of Me 3D</i></span><br />
<span style="font-size: x-small;"><b>48.</b> <i>Hope Springs</i></span><br />
<a href="http://3.bp.blogspot.com/-qLVRmkEQE-k/UNBMU-odpQI/AAAAAAAAceI/2PqFxOq3Sn4/s1600/50_themothdiaries.jpg"><img border="0" src="http://3.bp.blogspot.com/-qLVRmkEQE-k/UNBMU-odpQI/AAAAAAAAceI/2PqFxOq3Sn4/s200/50_themothdiaries.jpg" /></a> <a href="http://1.bp.blogspot.com/--8sCdWt1_Is/UNBMTgsch-I/AAAAAAAAcdw/ECsRTN3gbAA/s1600/49_katyperrypartofme3d.jpg"><img border="0" src="http://1.bp.blogspot.com/--8sCdWt1_Is/UNBMTgsch-I/AAAAAAAAcdw/ECsRTN3gbAA/s200/49_katyperrypartofme3d.jpg" /></a> <a href="http://2.bp.blogspot.com/-RFlnta-p684/UNBMUaIyQnI/AAAAAAAAcd8/CNAuffHz1lk/s1600/48_hopesprings.jpg"><img border="0" src="http://2.bp.blogspot.com/-RFlnta-p684/UNBMUaIyQnI/AAAAAAAAcd8/CNAuffHz1lk/s200/48_hopesprings.jpg" /></a><br />
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<span style="font-size: x-small;"><b>47.</b> <i>Parental Guidance</i></span><br />
<span style="font-size: x-small;"><b>46.</b> <i>Men In Black 3</i></span><br />
<span style="font-size: x-small;"><b>45.</b> <i>House at the End of the Street</i></span><br />
<a href="http://1.bp.blogspot.com/-68IcDEWCmvI/UNBMt5g70sI/AAAAAAAAces/daR2tiNVIzg/s1600/47_parentalguidance.jpg"><img border="0" src="http://1.bp.blogspot.com/-68IcDEWCmvI/UNBMt5g70sI/AAAAAAAAces/daR2tiNVIzg/s200/47_parentalguidance.jpg" /></a> <a href="http://1.bp.blogspot.com/-EZAJ8lYQ6AQ/UNBMswN_HlI/AAAAAAAAceU/2IoEOYWweNY/s1600/46_meninblack3.jpg"><img border="0" src="http://1.bp.blogspot.com/-EZAJ8lYQ6AQ/UNBMswN_HlI/AAAAAAAAceU/2IoEOYWweNY/s200/46_meninblack3.jpg" /></a> <a href="http://3.bp.blogspot.com/-1bZN3aL57NA/UNBMtZKvJ1I/AAAAAAAAcec/H03GKIyxafw/s1600/45_houseattheendofthestreet.jpg"><img border="0" src="http://3.bp.blogspot.com/-1bZN3aL57NA/UNBMtZKvJ1I/AAAAAAAAcec/H03GKIyxafw/s200/45_houseattheendofthestreet.jpg" /></a><br />
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<span style="font-size: x-small;"><b>44.</b> <i>Alex Cross</i></span><br />
<span style="font-size: x-small;"><b>43.</b> <i>Killing Them Softly</i></span><br />
<span style="font-size: x-small;"><b>42.</b> <i>Bait 3D</i></span><br />
<a href="http://2.bp.blogspot.com/-b3aCNpRnXnY/UNBNEXIqIiI/AAAAAAAAcfQ/9olb1kwOwS4/s1600/44_alexcross.jpg"><img border="0" src="http://2.bp.blogspot.com/-b3aCNpRnXnY/UNBNEXIqIiI/AAAAAAAAcfQ/9olb1kwOwS4/s200/44_alexcross.jpg" /></a> <a href="http://4.bp.blogspot.com/-nXHS-BCVg3A/UNBNDFEpn2I/AAAAAAAAce4/4eF1tGssLMI/s1600/43_killingthemsoftly.jpg"><img border="0" src="http://4.bp.blogspot.com/-nXHS-BCVg3A/UNBNDFEpn2I/AAAAAAAAce4/4eF1tGssLMI/s200/43_killingthemsoftly.jpg" /></a> <a href="http://2.bp.blogspot.com/-8RVVHqG4ukA/UNBNDjcpbcI/AAAAAAAAcfE/3DLwasVCyL4/s1600/42_bait3d_australianposter.jpg"><img border="0" src="http://2.bp.blogspot.com/-8RVVHqG4ukA/UNBNDjcpbcI/AAAAAAAAcfE/3DLwasVCyL4/s200/42_bait3d_australianposter.jpg" /></a><br />
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<span style="font-size: x-small;"><b>41.</b> <i>Joyful Noise</i></span><br />
<span style="font-size: x-small;"><b>40.</b> <i>What to Expect When You're Expecting</i></span><br />
<span style="font-size: x-small;"><b>39.</b> <i>Any Questions for Ben?</i></span><br />
<a href="http://4.bp.blogspot.com/-StyOLWKi91M/UNBNV4bausI/AAAAAAAAcf0/8xHUFljswhs/s1600/41_joyfulnoise.jpg"><img border="0" src="http://4.bp.blogspot.com/-StyOLWKi91M/UNBNV4bausI/AAAAAAAAcf0/8xHUFljswhs/s200/41_joyfulnoise.jpg" /></a> <a href="http://4.bp.blogspot.com/-CtwMqPqmfFI/UNBNUUpwgLI/AAAAAAAAcfc/CjyIeniZKW4/s1600/40_whattoexpectwhenyoureexpecting.jpg"><img border="0" src="http://4.bp.blogspot.com/-CtwMqPqmfFI/UNBNUUpwgLI/AAAAAAAAcfc/CjyIeniZKW4/s200/40_whattoexpectwhenyoureexpecting.jpg" /></a> <a href="http://2.bp.blogspot.com/-PUJdLVW0hNI/UNBNVJeLeFI/AAAAAAAAcfo/T979kz2mYCE/s1600/39_anyquestionsforben.jpg"><img border="0" src="http://2.bp.blogspot.com/-PUJdLVW0hNI/UNBNVJeLeFI/AAAAAAAAcfo/T979kz2mYCE/s200/39_anyquestionsforben.jpg" /></a><br />
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<span style="font-size: x-small;"><b>38.</b> <i>A Fantastic Fear of Everything</i></span><br />
<span style="font-size: x-small;"><b>37.</b> <i>The Perfect Family</i></span><br />
<span style="font-size: x-small;"><b>36.</b> <i>The Babymakers</i></span><br />
<a href="http://3.bp.blogspot.com/-OrSDbVX2cN8/UNBNwFXQVDI/AAAAAAAAcgY/iLQSWNC3s6Y/s1600/38_afantasticfearofeverything.jpg"><img border="0" src="http://3.bp.blogspot.com/-OrSDbVX2cN8/UNBNwFXQVDI/AAAAAAAAcgY/iLQSWNC3s6Y/s200/38_afantasticfearofeverything.jpg" /></a> <a href="http://3.bp.blogspot.com/-aA8glO_xdvA/UNBNu7nV5kI/AAAAAAAAcgA/tFtMaQ-3sSU/s1600/37_theperfectfamily.jpg"><img border="0" src="http://3.bp.blogspot.com/-aA8glO_xdvA/UNBNu7nV5kI/AAAAAAAAcgA/tFtMaQ-3sSU/s200/37_theperfectfamily.jpg" /></a> <a href="http://3.bp.blogspot.com/-rrC8SYd4xYM/UNBNvUOnIvI/AAAAAAAAcgM/fPKEFbUeXgM/s1600/36_thebabymakers.jpg"><img border="0" src="http://3.bp.blogspot.com/-rrC8SYd4xYM/UNBNvUOnIvI/AAAAAAAAcgM/fPKEFbUeXgM/s200/36_thebabymakers.jpg" /></a><br />
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<span style="font-size: x-small;"><b>35.</b> <i>Lay the Favorite</i></span><br />
<span style="font-size: x-small;"><b>34.</b> <i>Here Comes the Boom</i></span><br />
<span style="font-size: x-small;"><b>33.</b> <i>Keith Lemon: The Film</i></span><br />
<a href="http://3.bp.blogspot.com/-XKA1lY9AIjc/UNBOBMawYAI/AAAAAAAAcg8/W2-FaRhlLNk/s1600/35_laythefavorite.jpg"><img border="0" src="http://3.bp.blogspot.com/-XKA1lY9AIjc/UNBOBMawYAI/AAAAAAAAcg8/W2-FaRhlLNk/s200/35_laythefavorite.jpg" /></a> <a href="http://1.bp.blogspot.com/-13_Pg9ITCUE/UNBN_p7wvAI/AAAAAAAAcgk/RDt9o7nif7c/s1600/34_herecomestheboom.jpg"><img border="0" src="http://1.bp.blogspot.com/-13_Pg9ITCUE/UNBN_p7wvAI/AAAAAAAAcgk/RDt9o7nif7c/s200/34_herecomestheboom.jpg" /></a> <a href="http://3.bp.blogspot.com/-nhSZ5EmDsrA/UNBOAIXAoAI/AAAAAAAAcgw/H4I8AbrrQlA/s1600/33_keithlemonthefilm.jpg"><img border="0" src="http://3.bp.blogspot.com/-nhSZ5EmDsrA/UNBOAIXAoAI/AAAAAAAAcgw/H4I8AbrrQlA/s200/33_keithlemonthefilm.jpg" /></a><br />
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<span style="font-size: x-small;"><b>32.</b> <i>Tyler Perry's Madea's Witness Protection</i></span><br />
<span style="font-size: x-small;"><b>31.</b> <i>John Carter</i></span><br />
<span style="font-size: x-small;"><b>30.</b> <i>Housos vs Authority</i></span><br />
<a href="http://4.bp.blogspot.com/-mVJxDH4NKpI/UNBO7SKkfDI/AAAAAAAAchk/SeLeKTbsVb0/s1600/32_madeaswitnessprotection.jpg"><img border="0" src="http://4.bp.blogspot.com/-mVJxDH4NKpI/UNBO7SKkfDI/AAAAAAAAchk/SeLeKTbsVb0/s200/32_madeaswitnessprotection.jpg" /></a> <a href="http://1.bp.blogspot.com/-3nBh99r45Fw/UNBO5fzFZgI/AAAAAAAAchM/5SUMvqXJIBQ/s1600/31_johncarter.jpg"><img border="0" src="http://1.bp.blogspot.com/-3nBh99r45Fw/UNBO5fzFZgI/AAAAAAAAchM/5SUMvqXJIBQ/s200/31_johncarter.jpg" /></a> <a href="http://4.bp.blogspot.com/-_scVfe_xxSg/UNBO58JW8oI/AAAAAAAAchc/RDGvhzabxl4/s1600/30_housosvsauthority.jpg"><img border="0" src="http://4.bp.blogspot.com/-_scVfe_xxSg/UNBO58JW8oI/AAAAAAAAchc/RDGvhzabxl4/s200/30_housosvsauthority.jpg" /></a><br />
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<span style="font-size: x-small;"><b>29.</b> <i>So Undercover</i></span><br />
<span style="font-size: x-small;"><b>28.</b> <i>Journey 2: The Mysterious Island</i></span><br />
<span style="font-size: x-small;"><b>27.</b> <i>The Intouchables</i></span><br />
<a href="http://1.bp.blogspot.com/-jV-O3CdehZc/UNBPx4PvyOI/AAAAAAAAcig/IpyvCDIf95M/s1600/29_soundercover.jpg"><img border="0" src="http://1.bp.blogspot.com/-jV-O3CdehZc/UNBPx4PvyOI/AAAAAAAAcig/IpyvCDIf95M/s200/29_soundercover.jpg" /></a> <a href="http://3.bp.blogspot.com/-elIndNfR3DA/UNBPwGDoBXI/AAAAAAAAciI/KHHUOPQMyWU/s1600/28_journey2themysteriousisland.jpg"><img border="0" src="http://3.bp.blogspot.com/-elIndNfR3DA/UNBPwGDoBXI/AAAAAAAAciI/KHHUOPQMyWU/s200/28_journey2themysteriousisland.jpg" /></a> <a href="http://4.bp.blogspot.com/-DuXeCKwdYeU/UNBPwnVzsKI/AAAAAAAAciU/2f5wc4Dycpo/s1600/27_theintouchables.jpg"><img border="0" src="http://4.bp.blogspot.com/-DuXeCKwdYeU/UNBPwnVzsKI/AAAAAAAAciU/2f5wc4Dycpo/s200/27_theintouchables.jpg" /></a><br />
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<span style="font-size: x-small;"><b>26.</b> <i>Bait 3D</i></span><br />
<span style="font-size: x-small;"><b>25.</b> <i>The Woman in Black</i></span><br />
<span style="font-size: x-small;"><b>24.</b> <i>The Devin Inside</i></span><br />
<a href="http://3.bp.blogspot.com/-mFUoLbQWvPM/UNBQZe77jTI/AAAAAAAAcjE/nHsPSBs5KDE/s1600/26_bait3d.jpg"><img border="0" src="http://3.bp.blogspot.com/-mFUoLbQWvPM/UNBQZe77jTI/AAAAAAAAcjE/nHsPSBs5KDE/s200/26_bait3d.jpg" /></a> <a href="http://1.bp.blogspot.com/-8QJqAg3s5A8/UNBQYMhyoNI/AAAAAAAAcis/93GcTvtG0MA/s1600/25_thewomaninblack.jpg"><img border="0" src="http://1.bp.blogspot.com/-8QJqAg3s5A8/UNBQYMhyoNI/AAAAAAAAcis/93GcTvtG0MA/s200/25_thewomaninblack.jpg" /></a> <a href="http://3.bp.blogspot.com/-935BKK7s4fc/UNBQYTKTVBI/AAAAAAAAci4/R4rl7JAt3pE/s1600/24_thedevilinside2.jpg"><img border="0" src="http://3.bp.blogspot.com/-935BKK7s4fc/UNBQYTKTVBI/AAAAAAAAci4/R4rl7JAt3pE/s200/24_thedevilinside2.jpg" /></a><br />
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<span style="font-size: x-small;"><b>23.</b> <i>The Decoy Bride</i></span><br />
<span style="font-size: x-small;"><b>22.</b> <i>Stolen</i></span><br />
<span style="font-size: x-small;"><b>21.</b> <i>Battleship</i></span><br />
<a href="http://1.bp.blogspot.com/-NhCn56v8epk/UNBSBrBAXUI/AAAAAAAAcko/KmcRo-i7yHw/s1600/23_thedecoybride.jpg"><img border="0" src="https://1.bp.blogspot.com/-NhCn56v8epk/UNBSBrBAXUI/AAAAAAAAcko/KmcRo-i7yHw/s200/23_thedecoybride.jpg" /></a> <a href="http://4.bp.blogspot.com/-VfON28aiX60/UNBSAdHA1kI/AAAAAAAAckQ/DXkJlZWO1WU/s1600/22_stolen.jpg"><img border="0" src="https://4.bp.blogspot.com/-VfON28aiX60/UNBSAdHA1kI/AAAAAAAAckQ/DXkJlZWO1WU/s200/22_stolen.jpg" /></a> <a href="http://3.bp.blogspot.com/-BhNRvGROKZs/UNBSArXeSvI/AAAAAAAAckc/8_c0Nb0bV20/s1600/21_battleship.jpg"><img border="0" src="https://3.bp.blogspot.com/-BhNRvGROKZs/UNBSArXeSvI/AAAAAAAAckc/8_c0Nb0bV20/s200/21_battleship.jpg" /></a><br />
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<span style="font-size: x-small;"><b>20.</b> <i>Lawless</i></span><br />
<span style="font-size: x-small;">For being the yearly "Weinstein Fob Off". For the ugly-assed placements (the cast on the vest!!!). For covering Tom Hardy's face with an ugly hat.</span> <br />
<a href="http://4.bp.blogspot.com/-_kKYWJYeI_4/UNBTVgi_k1I/AAAAAAAAclQ/nVZgwH55R9U/s1600/20_lawless.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-_kKYWJYeI_4/UNBTVgi_k1I/AAAAAAAAclQ/nVZgwH55R9U/s320/20_lawless.jpg" height="320" width="217" /></a><br />
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<span style="font-size: x-small;"><b>19.</b> <i>Playing for Keeps</i></span><br />
<span style="font-size: x-small;">For the hideous colour uncoordinated panels. For a tagline that begs a response of "NOT THIS!"</span><br />
<a href="http://3.bp.blogspot.com/-7jqtnSKrd1g/UNBTWICAVgI/AAAAAAAAclc/1CPpCfV06RA/s1600/19_playingforkeeps.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-7jqtnSKrd1g/UNBTWICAVgI/AAAAAAAAclc/1CPpCfV06RA/s320/19_playingforkeeps.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>18.</b> <i>Think Like a Man</i></span><br />
<span style="font-size: x-small;">For the OMGSOMANYPEOPLEAAAAAGGH! For terrifying me <a href="https://www.google.com.au/search?num=10&hl=en&site=imghp&tbm=isch&source=hp&biw=1280&bih=882&q=think+like+a+man+poster&oq=think+like+a+man+poster&gs_l=img.3..0.441.3567.0.3685.23.15.0.5.5.1.290.1712.8j5j2.15.0...0.0...1ac.1.89PxZKbjPd4">with this</a> when I went to get a file.</span><br />
<a href="http://3.bp.blogspot.com/-4fJ-lHTIzqM/UNBTW_l1aJI/AAAAAAAAclo/mRuKGG6Fxqs/s1600/18_thinklikeaman.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-4fJ-lHTIzqM/UNBTW_l1aJI/AAAAAAAAclo/mRuKGG6Fxqs/s320/18_thinklikeaman.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>17.</b> <i>Intruders</i></span><br />
<span style="font-size: x-small;">For failing miserably at whatever it was doing. For serious? For not being scary at all.</span><br />
<a href="http://1.bp.blogspot.com/-wzyJE6qzzyE/UNBTXtZEo1I/AAAAAAAAcl0/lIW7JEFSEGI/s1600/17_intruders.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-wzyJE6qzzyE/UNBTXtZEo1I/AAAAAAAAcl0/lIW7JEFSEGI/s320/17_intruders.jpg" height="320" width="220" /></a><br />
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<span style="font-size: x-small;"><b>16.</b> <i>Alyce</i></span><br />
<span style="font-size: x-small;">For making want to get a tetanus booster just by looking at it.</span><br />
<a href="http://3.bp.blogspot.com/-8WfGxfMFvss/UNBTYX1XBZI/AAAAAAAAcmA/5VH9Vdy_nu8/s1600/16_alyce.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-8WfGxfMFvss/UNBTYX1XBZI/AAAAAAAAcmA/5VH9Vdy_nu8/s320/16_alyce.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>15.</b> <i>The Door</i></span><br />
<span style="font-size: x-small;">The being so entirely drained of imagination. For not even attempting it.</span><br />
<a href="http://3.bp.blogspot.com/-Vm4k1SXJtO0/UNBU9F-QQWI/AAAAAAAAcmo/_-MB2uVjPzE/s1600/15_thedoor.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-Vm4k1SXJtO0/UNBU9F-QQWI/AAAAAAAAcmo/_-MB2uVjPzE/s320/15_thedoor.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>14.</b> <i>Cowgirls n Angels</i></span><br />
<span style="font-size: x-small;">For shamelessly cribbing off of every other little-girl-and-her-inspirational-pet poster. For just everything.</span><br />
<a href="http://4.bp.blogspot.com/-xfSUi4Rna-M/UNBU9sIz5_I/AAAAAAAAcm0/U6xefHuCwps/s1600/14_cowgirlsnangels.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-xfSUi4Rna-M/UNBU9sIz5_I/AAAAAAAAcm0/U6xefHuCwps/s320/14_cowgirlsnangels.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>13.</b> <i>Outside Bet</i></span><br />
<span style="font-size: x-small;">For... take your pick.</span><br />
<a href="http://3.bp.blogspot.com/-Uky3roHKbyU/UNBU-qD-eaI/AAAAAAAAcnA/zwdbuqPvI_g/s1600/13_outsidebet.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-Uky3roHKbyU/UNBU-qD-eaI/AAAAAAAAcnA/zwdbuqPvI_g/s320/13_outsidebet.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>12.</b> <i>The Man Who Shook the Hand of Vincente Fernandez</i></span><br />
<span style="font-size: x-small;">For the indignity. For the colour palate brown.</span><br />
<a href="http://1.bp.blogspot.com/-SZ8yh1DJQ_4/UNBU_Tg9QMI/AAAAAAAAcnM/qg6XduEdhm4/s1600/12_themanwhoshookhandswithvincentefernandez.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-SZ8yh1DJQ_4/UNBU_Tg9QMI/AAAAAAAAcnM/qg6XduEdhm4/s320/12_themanwhoshookhandswithvincentefernandez.jpg" height="320" width="217" /></a><br />
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<span style="font-size: x-small;"><b>11.</b> <i>The Twilight Saga: Breaking Dawn Part 2</i></span><br />
<span style="font-size: x-small;">For that Photoshop. For the hilarious running action still. For being over.</span><br />
<a href="http://4.bp.blogspot.com/-hQ7llskf7R0/UNBVARZ4AUI/AAAAAAAAcnY/yAkO2HFHVfA/s1600/11_thetwilightsagabreakingdawnpart2.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-hQ7llskf7R0/UNBVARZ4AUI/AAAAAAAAcnY/yAkO2HFHVfA/s320/11_thetwilightsagabreakingdawnpart2.jpg" height="320" width="216" /></a><br />
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<span style="font-size: x-small;"><b>10.</b> <i>The Cold Light of Day</i></span><br />
<span style="font-size: x-small;">For being cheap and lazy. For Terminator Sigourney.</span><br />
<a href="http://3.bp.blogspot.com/-bldKPIsdBYA/UNBWKXjvp-I/AAAAAAAAcno/NS-Ld_mSWT8/s1600/10_thecoldlightofday.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-bldKPIsdBYA/UNBWKXjvp-I/AAAAAAAAcno/NS-Ld_mSWT8/s400/10_thecoldlightofday.jpg" height="400" width="280" /></a><br />
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<span style="font-size: x-small;"><b>9.</b> <i>Dark Tide</i></span><br />
<span style="font-size: x-small;">For being... overt.</span><br />
<a href="http://2.bp.blogspot.com/-vgoX9P1kZu8/UNBWK-SEyTI/AAAAAAAAcn0/2siazLTAP5M/s1600/09_darktide.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-vgoX9P1kZu8/UNBWK-SEyTI/AAAAAAAAcn0/2siazLTAP5M/s400/09_darktide.jpg" height="400" width="270" /></a><br />
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<span style="font-size: x-small;"><b>8.</b> <i>Fun Size</i></span><br />
<span style="font-size: x-small;">For being a fake tanned hot mess for bad Photoshop and bizarre use of space. For the superhero baby who's actually an eight-year-old child (whod've thunk it?)</span><br />
<a href="http://1.bp.blogspot.com/-tGNIV9uf56g/UNBWLjkIw1I/AAAAAAAAcoA/x5djUtXhKgU/s1600/08_funsize.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-tGNIV9uf56g/UNBWLjkIw1I/AAAAAAAAcoA/x5djUtXhKgU/s400/08_funsize.jpg" height="400" width="270" /></a><br />
<br />
<span style="font-size: x-small;"><b>7.</b> <i>Freelancers</i></span><br />
<span style="font-size: x-small;">For... well, do I even have to say it?</span><br />
<a href="http://2.bp.blogspot.com/-f8m8uOGRarA/UNBWMXkSdRI/AAAAAAAAcoM/Bq_qH7SUk78/s1600/07_freelancers.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-f8m8uOGRarA/UNBWMXkSdRI/AAAAAAAAcoM/Bq_qH7SUk78/s400/07_freelancers.jpg" height="400" width="271" /></a><br />
<br />
<span style="font-size: x-small;"><b>6.</b> <i>This Means War</i></span><br />
<span style="font-size: x-small;">For being ugly for the most part, but also for having <a href="http://stalepopcornau.blogspot.com.au/2011/11/when-bad-posters-strike-this-means-war.html">the year's most egregious use of Photoshop imaginable</a>. For not even bothering to hide it.</span><br />
<a href="http://2.bp.blogspot.com/-dxX1mJ5ajnI/UNBWNnHZOUI/AAAAAAAAcoY/d16wR6JlseI/s1600/06_thismeanswar2.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-dxX1mJ5ajnI/UNBWNnHZOUI/AAAAAAAAcoY/d16wR6JlseI/s400/06_thismeanswar2.jpg" height="400" width="270" /></a><br />
<br />
<span style="font-size: x-small;"><b>5.</b> <i>Leave It On the Floor</i></span><br />
<span style="font-size: x-small;">For "Featuring SWEET DREAMS by BEYONCE". For being one big ol' gay mess.</span><br />
<a href="http://3.bp.blogspot.com/-QX_brTIfVog/UNBYS1-FiJI/AAAAAAAAcpY/kiA8L-xohzo/s1600/05_leaveitonthefloor.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-QX_brTIfVog/UNBYS1-FiJI/AAAAAAAAcpY/kiA8L-xohzo/s400/05_leaveitonthefloor.jpg" height="400" width="283" /></a><br />
<br />
<span style="font-size: x-small;"><b>4.</b> <i>The Devil Inside</i></span><br />
<span style="font-size: x-small;">For making me want to get ANOTHER tetanus booster.</span><br />
<a href="http://2.bp.blogspot.com/-luOm6UilZ8Y/UNBYTb2e_FI/AAAAAAAAcpk/Q5q6FRZ0-5M/s1600/04_thedevilinside1.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-luOm6UilZ8Y/UNBYTb2e_FI/AAAAAAAAcpk/Q5q6FRZ0-5M/s400/04_thedevilinside1.jpg" height="400" width="270" /></a><br />
<br />
<span style="font-size: x-small;"><b>3.</b> <i>Quartet</i></span><br />
<span style="font-size: x-small;">For being <a href="https://twitter.com/GuyLodge/status/275926141016104961">"part 1980s anti-apartheid concert poster, part Dulcolax ad."</a> (thank you Guy Lodge!)</span><br />
<a href="http://4.bp.blogspot.com/-PUe2GMvudxs/UNBYT3Mac4I/AAAAAAAAcpw/F0TDqIVsQaM/s1600/03_quartet.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-PUe2GMvudxs/UNBYT3Mac4I/AAAAAAAAcpw/F0TDqIVsQaM/s400/03_quartet.jpg" height="400" width="270" /></a><br />
<br />
<span style="font-size: x-small;"><b>2.</b> <i>360</i></span><br />
<span style="font-size: x-small;">For making a terrible concept even worse. For being so goddamn fucking ugly.</span><br />
<a href="http://4.bp.blogspot.com/-p3GSqGCGiEk/UNBYUQfsWPI/AAAAAAAAcp8/XVnc_Fca1jc/s1600/02_threesixty.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-p3GSqGCGiEk/UNBYUQfsWPI/AAAAAAAAcp8/XVnc_Fca1jc/s400/02_threesixty.jpg" height="400" width="273" /></a><br />
<br />
<span style="font-size: x-small;"><b>1.</b> <i>Freeloaders</i></span><br />
<span style="font-size: x-small;">For <a href="http://stalepopcornau.blogspot.com.au/2012/07/when-bad-posters-strike-freeloaders.html">everything</a>. For having its own star ask "is that real". For everything</span>.<br />
<a href="http://4.bp.blogspot.com/-T8D6I5cavWA/UNBYVeMkhSI/AAAAAAAAcqI/huuaMCHGDi4/s1600/01_freeloaders.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-T8D6I5cavWA/UNBYVeMkhSI/AAAAAAAAcqI/huuaMCHGDi4/s400/01_freeloaders.jpg" height="400" width="301" /></a></center><br />
And how about you, dear readers? I know I've forgotten something (I always do), but this year had a particularly, er, stellar crop to choose from.
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Coming to this year's evaluation of film posters I was scratching my head wondering what could possibly be at the top. Unlike prior years, there were no pieces of imagery that struck me in such a way that they screamed to be hailed as the best of the year. There wasn't anything like <i>Here I Am</i>, <i>Funny Games</i>, <i>Antichrist</i>, and so on. That's certainly a shame, but it also made compiling the list perhaps even more interesting. I literally had no idea what I was going to put at the tip top of the list, and I think it's saying something when I mention that the #1 poster of the year (as chosen by me) was one that I hadn't seen until just a few days ago. When I saw it I was besotted and I reckon you will be, too.<br />
<br />
I admire every one of the fifty images below in one way or another - I wouldn't entertain the thought of listing them if I second-guessed myself about their quality - but I also come at this list much differently to most. You won't find a single Hollywood summer blockbuster on here, and that's not because I'm against them, I just think that this year they were mostly a pile of junk. I trawled foreign film lists, independent film award lineups, and festival fringes to find some marvellous gems including the number one poster. I think anybody doing a list of this kind owes it to themselves and their readers to do as much. The last thing I'd want to see (and I have seen them in my research) is a list that all but replicates the top twenty grossing films of any given year. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-he0OLwfPuiI/UMgtzvIDUYI/AAAAAAAAcS8/qDKyrimKGNE/s1600/darkknightrises_quad01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-he0OLwfPuiI/UMgtzvIDUYI/AAAAAAAAcS8/qDKyrimKGNE/s400/darkknightrises_quad01.jpg" height="229" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Not this year, thanks. The movie's still amazing though!</td></tr>
</tbody></table><br />
Don't get me wrong, I am keenly aware that everybody has different tastes. I like what I like, but I would hope many of you readers wouldn't expect any less of me. Those who have been reading me for long enough probably know that I'm willing to forgive a poster for its ills if I see something unique in its design or special in its intention. I, too, have my own aesthetic preferences and if your poster deals heavily in colour and bold imagery then I am more likely to take a second glance. As evidenced time and time again, I don't so much care about a film's quality when I comes to doing a list like this. If that were the case then... well, I haven't even seen half of the titles listed (and some of the others are outright terrible). I hope that you like the list, and maybe you will discover some gems that you'd never seen before.<br />
<br />
<center><span style="font-size: x-small;"><b>50.</b> <i>Apart</i></span><br />
<span style="font-size: x-small;"><b>49.</b> <i>Barbara</i></span><br />
<span style="font-size: x-small;"><b>48.</b> <i>The King is Dead!</i></span><br />
<a href="http://1.bp.blogspot.com/-T9DujtIiImM/UMgxwP-O29I/AAAAAAAAcTw/C0Ao49jETV4/s1600/50_apart.jpg"><img border="0" src="https://1.bp.blogspot.com/-T9DujtIiImM/UMgxwP-O29I/AAAAAAAAcTw/C0Ao49jETV4/s200/50_apart.jpg" /></a> <a href="http://1.bp.blogspot.com/-ehvb6pomHew/UMgxvCpCujI/AAAAAAAAcTY/eUFMzc-zSIU/s1600/49_barbara.jpg"><img border="0" src="https://1.bp.blogspot.com/-ehvb6pomHew/UMgxvCpCujI/AAAAAAAAcTY/eUFMzc-zSIU/s200/49_barbara.jpg" /></a> <a href="http://4.bp.blogspot.com/-HMSCYu_BAfk/UMgxvSTk27I/AAAAAAAAcTk/ChkztmAz4EM/s1600/48_thekingisdead.jpg"><img border="0" src="https://4.bp.blogspot.com/-HMSCYu_BAfk/UMgxvSTk27I/AAAAAAAAcTk/ChkztmAz4EM/s200/48_thekingisdead.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>47.</b> <i>Wuthering Heights</i></span><br />
<span style="font-size: x-small;"><b>46.</b> <i>Silver Linings Playbook</i></span><br />
<span style="font-size: x-small;"><b>45.</b> <i>Boy Eating the Bird's Food</i></span><br />
<a href="http://1.bp.blogspot.com/-WRCoaYmKtyc/UMgx_dvtGxI/AAAAAAAAcUU/aYI6MdcU_Y0/s1600/47_wutheringheights.jpg"><img border="0" src="https://1.bp.blogspot.com/-WRCoaYmKtyc/UMgx_dvtGxI/AAAAAAAAcUU/aYI6MdcU_Y0/s200/47_wutheringheights.jpg" /></a> <a href="http://4.bp.blogspot.com/-jRF6tYXmvYM/UMgx--wS5ZI/AAAAAAAAcUI/Y3R67TEi34w/s1600/46_silverliningsplaybook.jpg"><img border="0" src="https://4.bp.blogspot.com/-jRF6tYXmvYM/UMgx--wS5ZI/AAAAAAAAcUI/Y3R67TEi34w/s200/46_silverliningsplaybook.jpg" /></a> <a href="http://3.bp.blogspot.com/-wrH_ngMHFAY/UMgx-RlvYQI/AAAAAAAAcT8/xoJ_BOkcyWw/s1600/45_boyeatingthebirdfood.jpg"><img border="0" src="https://3.bp.blogspot.com/-wrH_ngMHFAY/UMgx-RlvYQI/AAAAAAAAcT8/xoJ_BOkcyWw/s200/45_boyeatingthebirdfood.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>44.</b> <i>Hail</i></span><br />
<span style="font-size: x-small;"><b>43.</b> <i>Zero Dark Thirty</i></span><br />
<span style="font-size: x-small;"><b>42.</b> <i>Anna Karenina</i></span><br />
<a href="http://4.bp.blogspot.com/-5oqDWliCrlg/UMgyT0CO8TI/AAAAAAAAcUs/lE83GM14w5M/s1600/44_hail.jpg"><img border="0" src="https://4.bp.blogspot.com/-5oqDWliCrlg/UMgyT0CO8TI/AAAAAAAAcUs/lE83GM14w5M/s200/44_hail.jpg" /></a> <a href="http://1.bp.blogspot.com/-Xpn620gHk-o/UMgyTRjtW4I/AAAAAAAAcUg/HcGmZqpauMQ/s1600/43_zerodarkthirty.jpg"><img border="0" src="https://1.bp.blogspot.com/-Xpn620gHk-o/UMgyTRjtW4I/AAAAAAAAcUg/HcGmZqpauMQ/s200/43_zerodarkthirty.jpg" /></a> <a href="http://2.bp.blogspot.com/-llbghEBrVgU/UMgyUWcG8dI/AAAAAAAAcU4/O4c0-jjmAK0/s1600/42_annakarenina.jpg"><img border="0" src="https://2.bp.blogspot.com/-llbghEBrVgU/UMgyUWcG8dI/AAAAAAAAcU4/O4c0-jjmAK0/s200/42_annakarenina.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>41.</b> <i>After Lucia</i></span><br />
<span style="font-size: x-small;"><b>40.</b> <i>The Master</i></span><br />
<span style="font-size: x-small;"><b>39.</b> <i>Chasing Ice</i></span><br />
<a href="http://2.bp.blogspot.com/-fTQ_CVaLkQQ/UMgyz0-MSJI/AAAAAAAAcVc/ny6ikAkDvPY/s1600/41_afterlucia.jpg"><img border="0" src="https://2.bp.blogspot.com/-fTQ_CVaLkQQ/UMgyz0-MSJI/AAAAAAAAcVc/ny6ikAkDvPY/s200/41_afterlucia.jpg" /></a> <a href="http://4.bp.blogspot.com/-yoqeKadoQp4/UMgyyiqv18I/AAAAAAAAcVE/WtBPme6RM0k/s1600/40_themaster.jpg"><img border="0" src="https://4.bp.blogspot.com/-yoqeKadoQp4/UMgyyiqv18I/AAAAAAAAcVE/WtBPme6RM0k/s200/40_themaster.jpg" /></a> <a href="http://1.bp.blogspot.com/-fl22nhZ5M9c/UMgyzEpyjYI/AAAAAAAAcVQ/TH75VpZsxTo/s1600/39_chasingice.jpg"><img border="0" src="https://1.bp.blogspot.com/-fl22nhZ5M9c/UMgyzEpyjYI/AAAAAAAAcVQ/TH75VpZsxTo/s200/39_chasingice.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>38.</b> <i>Francine</i></span><br />
<span style="font-size: x-small;"><b>37.</b> <i>The Hunter</i></span><br />
<span style="font-size: x-small;"><b>36.</b> <i>This is Roller Derby</i></span><br />
<a href="http://3.bp.blogspot.com/-xcjSusVeLQ0/UMgzBxvhsjI/AAAAAAAAcWA/2HPyAxMRN3Y/s1600/38_francine.jpg"><img border="0" src="https://3.bp.blogspot.com/-xcjSusVeLQ0/UMgzBxvhsjI/AAAAAAAAcWA/2HPyAxMRN3Y/s200/38_francine.jpg" /></a> <a href="http://1.bp.blogspot.com/-C5fnedYZBz0/UMgzA823skI/AAAAAAAAcVo/pncpFf3evFI/s1600/37_thehunter.jpg"><img border="0" src="https://1.bp.blogspot.com/-C5fnedYZBz0/UMgzA823skI/AAAAAAAAcVo/pncpFf3evFI/s200/37_thehunter.jpg" /></a> <a href="http://2.bp.blogspot.com/-MNXz3JZHZ38/UMgzBCDn1QI/AAAAAAAAcV0/RqRWS5Xc-Rw/s1600/36_thisisrollerderby.jpg"><img border="0" src="https://2.bp.blogspot.com/-MNXz3JZHZ38/UMgzBCDn1QI/AAAAAAAAcV0/RqRWS5Xc-Rw/s200/36_thisisrollerderby.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>35.</b> <i>The Best Exotic Marigold Hotel</i></span><br />
<span style="font-size: x-small;"><b>34.</b> <i>Headshot</i></span><br />
<span style="font-size: x-small;"><b>33.</b> <i>Argo</i></span><br />
<a href="http://2.bp.blogspot.com/-qBQgeeGB2M0/UMgzRS7uoqI/AAAAAAAAcWk/98QZ5qhy14k/s1600/35_bestexoticmarigoldhotel.jpg"><img border="0" src="https://2.bp.blogspot.com/-qBQgeeGB2M0/UMgzRS7uoqI/AAAAAAAAcWk/98QZ5qhy14k/s200/35_bestexoticmarigoldhotel.jpg" /></a> <a href="http://4.bp.blogspot.com/-kl2ZgmuzuA8/UMgzQbKwFrI/AAAAAAAAcWM/OK0pXHXFWAk/s1600/34_headshot.jpeg"><img border="0" src="https://4.bp.blogspot.com/-kl2ZgmuzuA8/UMgzQbKwFrI/AAAAAAAAcWM/OK0pXHXFWAk/s200/34_headshot.jpeg" /></a> <a href="http://1.bp.blogspot.com/-UuAXOuFfoQ4/UMgzQ9NDsbI/AAAAAAAAcWY/k8BbyaauYHc/s1600/33_argo.jpg"><img border="0" src="https://1.bp.blogspot.com/-UuAXOuFfoQ4/UMgzQ9NDsbI/AAAAAAAAcWY/k8BbyaauYHc/s200/33_argo.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>32.</b> <i>Django Unchained</i></span><br />
<span style="font-size: x-small;"><b>31.</b> <i>Elena</i></span><br />
<span style="font-size: x-small;"><b>30.</b> <i>The Color Wheel</i></span><br />
<a href="http://2.bp.blogspot.com/-babrpg04rGs/UMgzg1vM4eI/AAAAAAAAcW8/2pYP_N4DgeQ/s1600/32_djangounchained.jpg"><img border="0" src="https://2.bp.blogspot.com/-babrpg04rGs/UMgzg1vM4eI/AAAAAAAAcW8/2pYP_N4DgeQ/s200/32_djangounchained.jpg" /></a> <a href="http://3.bp.blogspot.com/-ugBWRFnDuHI/UMgzgfLrvMI/AAAAAAAAcWw/3GPv6bdpiXE/s1600/31_elena.jpg"><img border="0" src="https://3.bp.blogspot.com/-ugBWRFnDuHI/UMgzgfLrvMI/AAAAAAAAcWw/3GPv6bdpiXE/s200/31_elena.jpg" /></a> <a href="http://4.bp.blogspot.com/-cvjWX6S1eTo/UMgzho6ztqI/AAAAAAAAcXI/CLQDSQcgwPQ/s1600/30_thecolorwheel.png"><img border="0" src="https://4.bp.blogspot.com/-cvjWX6S1eTo/UMgzho6ztqI/AAAAAAAAcXI/CLQDSQcgwPQ/s200/30_thecolorwheel.png" /></a><br />
<br />
<span style="font-size: x-small;"><b>29.</b> <i>Apres le neige</i></span><br />
<span style="font-size: x-small;"><b>28.</b> <i>The Turin Horse</i></span><br />
<span style="font-size: x-small;"><b>27.</b> <i>Cabin in the Woods</i></span><br />
<a href="http://3.bp.blogspot.com/-ok2PlOTxMAg/UMgzutVGgoI/AAAAAAAAcXs/XD7Xc4n_h5o/s1600/29_ApresleNeige.jpg"><img border="0" src="https://3.bp.blogspot.com/-ok2PlOTxMAg/UMgzutVGgoI/AAAAAAAAcXs/XD7Xc4n_h5o/s200/29_ApresleNeige.jpg" /></a> <a href="http://2.bp.blogspot.com/-rHdAPChP4AI/UMgztauWLjI/AAAAAAAAcXU/qEFVa8y_ayM/s1600/28_theturinhorse.jpg"><img border="0" src="https://2.bp.blogspot.com/-rHdAPChP4AI/UMgztauWLjI/AAAAAAAAcXU/qEFVa8y_ayM/s200/28_theturinhorse.jpg" /></a> <a href="http://4.bp.blogspot.com/-zrSS5Olldus/UMgztmK_vHI/AAAAAAAAcXg/305Gw-koXdQ/s1600/27_cabininthewoods.jpg"><img border="0" src="https://4.bp.blogspot.com/-zrSS5Olldus/UMgztmK_vHI/AAAAAAAAcXg/305Gw-koXdQ/s200/27_cabininthewoods.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>26.</b> <i>Antiviral</i></span><br />
<span style="font-size: x-small;"><b>25.</b> <i>Berberian Sound Studio</i></span><br />
<span style="font-size: x-small;"><b>24.</b> <i>The Innkeepers</i></span><br />
<a href="http://1.bp.blogspot.com/-Ydjpz-pcb7g/UMgz8VTJv2I/AAAAAAAAcYQ/ujlXrwexTYs/s1600/26_antiviral.jpg"><img border="0" src="https://1.bp.blogspot.com/-Ydjpz-pcb7g/UMgz8VTJv2I/AAAAAAAAcYQ/ujlXrwexTYs/s200/26_antiviral.jpg" /></a> <a href="http://2.bp.blogspot.com/-9V9u5YC_MyY/UMgz65N48MI/AAAAAAAAcX4/v3lO9Bnm2HA/s1600/25_berberiansoundstudio.jpg"><img border="0" src="https://2.bp.blogspot.com/-9V9u5YC_MyY/UMgz65N48MI/AAAAAAAAcX4/v3lO9Bnm2HA/s200/25_berberiansoundstudio.jpg" /></a> <a href="http://4.bp.blogspot.com/-M-Msp7lb1kA/UMgz7gCPx0I/AAAAAAAAcYE/I9d5S_tI-a4/s1600/24_theinnkeepers.jpg"><img border="0" src="https://4.bp.blogspot.com/-M-Msp7lb1kA/UMgz7gCPx0I/AAAAAAAAcYE/I9d5S_tI-a4/s200/24_theinnkeepers.jpg" /></a><br />
<br />
<span style="font-size: x-small;"><b>23.</b> <i>Amour</i></span><br />
<span style="font-size: x-small;"><b>22.</b> <i>Amour</i></span><br />
<span style="font-size: x-small;"><b>21.</b> <i>Neighboring Sounds</i></span><br />
<a href="http://4.bp.blogspot.com/-auh-Bu7KL38/UMg0aS70-3I/AAAAAAAAcY0/ZYZOqbxxxBU/s1600/23_amour.jpg"><img border="0" src="https://4.bp.blogspot.com/-auh-Bu7KL38/UMg0aS70-3I/AAAAAAAAcY0/ZYZOqbxxxBU/s200/23_amour.jpg" /></a> <a href="http://4.bp.blogspot.com/-FhjCM2JIcGQ/UMg0Y-EGMdI/AAAAAAAAcYc/QtxwlKLmrck/s1600/22_amour.jpg"><img border="0" src="https://4.bp.blogspot.com/-FhjCM2JIcGQ/UMg0Y-EGMdI/AAAAAAAAcYc/QtxwlKLmrck/s200/22_amour.jpg" /></a> <a href="http://1.bp.blogspot.com/-PFY6Q5WLQek/UMg0ZTBhK_I/AAAAAAAAcYo/mU7TzTqeEec/s1600/21_neighbouringsounds.jpg"><img border="0" src="https://1.bp.blogspot.com/-PFY6Q5WLQek/UMg0ZTBhK_I/AAAAAAAAcYo/mU7TzTqeEec/s200/21_neighbouringsounds.jpg" /></a></center><br />
<center><b>20.</b> <i>Killing Them Softly</i><br />
<span style="font-size: x-small;">For not resting on its laurels. For being as blisteringly obvious, refreshingly so, just like the film.</span><br />
<a href="http://4.bp.blogspot.com/-d730hhk6W3Q/UMg2TlTP-zI/AAAAAAAAcZA/CXlH6jiu3hg/s1600/20_killingthemsoftly.jpg"><img border="0" src="https://4.bp.blogspot.com/-d730hhk6W3Q/UMg2TlTP-zI/AAAAAAAAcZA/CXlH6jiu3hg/s320/20_killingthemsoftly.jpg" /></a><br />
<br />
<b>19.</b> <i>Gayby</i><br />
<span style="font-size: x-small;">For the colourful animation that's playful, but yet alludes to shadows and distance between friendship.</span><br />
<a href="http://3.bp.blogspot.com/-xz4VOC6Otk8/UMg2UA2kS0I/AAAAAAAAcZM/hqnzjFAh1Yw/s1600/19_gayby.jpg"><img border="0" src="https://3.bp.blogspot.com/-xz4VOC6Otk8/UMg2UA2kS0I/AAAAAAAAcZM/hqnzjFAh1Yw/s320/19_gayby.jpg" /></a><br />
<br />
<b>18.</b> <i>The Imposter</i><br />
<span style="font-size: x-small;">For the slow-fade of the movie's theme. For the intrigue.</span><br />
<a href="http://4.bp.blogspot.com/-sY03LpwJwtw/UMg2UkL3BvI/AAAAAAAAcZY/YIH1c3k2-c0/s1600/18_theimposter.jpg"><img border="0" src="https://4.bp.blogspot.com/-sY03LpwJwtw/UMg2UkL3BvI/AAAAAAAAcZY/YIH1c3k2-c0/s320/18_theimposter.jpg" /></a><br />
<br />
<b>17.</b> <i>The Bay</i><br />
<span style="font-size: x-small;">For making the audience look twice and question themselves. For the ick factor.</span><br />
<a href="http://4.bp.blogspot.com/-KWFEOIVg5xE/UMg2Vw7m_dI/AAAAAAAAcZk/pe4-CbnSy2g/s1600/17_thebay.jpg"><img border="0" src="https://4.bp.blogspot.com/-KWFEOIVg5xE/UMg2Vw7m_dI/AAAAAAAAcZk/pe4-CbnSy2g/s320/17_thebay.jpg" /></a><br />
<br />
<b>16.</b> <i>Moonrise Kingdom</i><br />
<span style="font-size: x-small;">For retro chic. For feeling so lush one could touch it and feel damp moss.</span><br />
<a href="http://1.bp.blogspot.com/-bOoRDTFDUN0/UMg2WnuYjmI/AAAAAAAAcZw/7NBdeP5G7GI/s1600/16_moonrisekingdom.jpg"><img border="0" src="https://1.bp.blogspot.com/-bOoRDTFDUN0/UMg2WnuYjmI/AAAAAAAAcZw/7NBdeP5G7GI/s320/16_moonrisekingdom.jpg" /></a><br />
<br />
<b>15.</b> <i>Polisse</i><br />
<span style="font-size: x-small;">For the succinct representation of its themes and not resigning its marketing to simple police drama cliches.</span><br />
<a href="http://1.bp.blogspot.com/-QNCQ7lt313E/UMg4R-9TC8I/AAAAAAAAcas/GpmRfpaPoJw/s1600/15_polisse.jpg"><img border="0" src="https://1.bp.blogspot.com/-QNCQ7lt313E/UMg4R-9TC8I/AAAAAAAAcas/GpmRfpaPoJw/s320/15_polisse.jpg" /></a><br />
<br />
<b>14.</b> <i>Casa de mi Padre</i><br />
<span style="font-size: x-small;">For being a comedy with an actual comedic poster. For "Funniest Movie You'll Ever Read".</span><br />
<a href="http://4.bp.blogspot.com/-52MXVE7gvuk/UMg4RENBJuI/AAAAAAAAcag/UDWelvlxWME/s1600/14_casademipadre.jpg"><img border="0" src="https://4.bp.blogspot.com/-52MXVE7gvuk/UMg4RENBJuI/AAAAAAAAcag/UDWelvlxWME/s320/14_casademipadre.jpg" /></a><br />
<br />
<b>13.</b> <i>The American Scream</i><br />
<span style="font-size: x-small;">For rewarding viewers with a keen eye. For the intricacy without becoming ugly.</span><br />
<a href="http://2.bp.blogspot.com/-DBec4QVPGjY/UMg4Qrkt1bI/AAAAAAAAcaU/QsCz8ZsZe04/s1600/13_theamericanscream.jpg"><img border="0" src="https://2.bp.blogspot.com/-DBec4QVPGjY/UMg4Qrkt1bI/AAAAAAAAcaU/QsCz8ZsZe04/s320/13_theamericanscream.jpg" /></a><br />
<br />
<b>12.</b> <i>Rust and Bone</i><br />
<span style="font-size: x-small;">For the rustic (LOL!), rough around the edges take on complicated love.</span><br />
<a href="http://3.bp.blogspot.com/-oY78cHSf7Gs/UMg4QDloacI/AAAAAAAAcaI/6cDzXtMttmM/s1600/12_rustandbone.jpg"><img border="0" src="https://3.bp.blogspot.com/-oY78cHSf7Gs/UMg4QDloacI/AAAAAAAAcaI/6cDzXtMttmM/s320/12_rustandbone.jpg" /></a><br />
<br />
<b>11.</b> <i>Paranorman</i><br />
<span style="font-size: x-small;">For being cute and creepy with vivid colours. For not being shy.</span><br />
<a href="http://4.bp.blogspot.com/-B4FaX5tMCWw/UMg4Png3ZCI/AAAAAAAAcZ8/78TMNuT50YY/s1600/11_paranorman.jpg"><img border="0" src="https://4.bp.blogspot.com/-B4FaX5tMCWw/UMg4Png3ZCI/AAAAAAAAcZ8/78TMNuT50YY/s320/11_paranorman.jpg" /></a><br />
<br />
<b>10.</b> <i>V/H/S</i><br />
<span style="font-size: x-small;">For the creativity and playfulness. For taken a well worn horror poster tactic and reinvigorating it. For being so much better than the movie.</span><br />
<a href="http://1.bp.blogspot.com/-GZ2xPi9slas/UMg6iD3m2qI/AAAAAAAAca4/8DuzBmKikyg/s1600/10_vhs.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-GZ2xPi9slas/UMg6iD3m2qI/AAAAAAAAca4/8DuzBmKikyg/s400/10_vhs.jpg" height="400" width="270" /></a><br />
<br />
<b>9.</b> <i>Project X</i><br />
<span style="font-size: x-small;">For giving off an anarchic vibe without <a href="http://www.impawards.com/2012/project_x_ver2.html">slapping us in the face</a> with its obnoxiousness. For the cheeky X (seemingly the only connection to this film being a "project x". For being so much better than the movie.</span><br />
<a href="http://1.bp.blogspot.com/-lhD5_uApPDo/UMg684FrBdI/AAAAAAAAcbE/0sgzYEWU008/s1600/09_projectx.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-lhD5_uApPDo/UMg684FrBdI/AAAAAAAAcbE/0sgzYEWU008/s400/09_projectx.jpg" height="400" width="270" /></a><br />
<br />
<b>8.</b> <i>The Woman in Black</i><br />
<span style="font-size: x-small;">For being genuinely creepy and the exact opposite of the <a href="http://www.impawards.com/intl/uk/2012/woman_in_black_ver8.html">Photoshop mess</a> that was the rest of the marketing campaign. For being a great poster for the original film as well (which, being a TV movie, never got anything like this).</span><br />
<a href="http://3.bp.blogspot.com/--u4uUUca1pU/UMg7Ja2z2dI/AAAAAAAAcbQ/UW2wzC1rNsg/s1600/08_thewomaninblack.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/--u4uUUca1pU/UMg7Ja2z2dI/AAAAAAAAcbQ/UW2wzC1rNsg/s400/08_thewomaninblack.jpg" height="400" width="271" /></a><br />
<br />
<b>7.</b> <i>Alps</i><br />
<span style="font-size: x-small;">For being weird in a cool, dramatic, designed way. For the icy silver colour scheme.</span><br />
<a href="http://4.bp.blogspot.com/-2MXJvtm8ox8/UMg7qOaZ55I/AAAAAAAAcbc/9k6n94IqERA/s1600/07_alps.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-2MXJvtm8ox8/UMg7qOaZ55I/AAAAAAAAcbc/9k6n94IqERA/s400/07_alps.jpg" height="400" width="281" /></a><br />
<br />
<b>6.</b> <i>A Royal Affair</i><br />
<span style="font-size: x-small;">For being old fashioned and classically posed. For the hands, gloriously referencing the film's tug of war (and hearts). For period glamour. </span><br />
<a href="http://2.bp.blogspot.com/-whR52tfRFgs/UMg75uwZ5dI/AAAAAAAAcbo/j-0xsyBbBkw/s1600/06_aroyalaffair.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-whR52tfRFgs/UMg75uwZ5dI/AAAAAAAAcbo/j-0xsyBbBkw/s400/06_aroyalaffair.jpg" height="400" width="279" /></a><br />
<br />
<b>5.</b> <i>Frankenweenie</i><br />
<span style="font-size: x-small;">For the IMAX juxtaposition - hi tech meets classic. For the stark, but eye-catching imagery. For being so damned cute despite being, ya know, about a zombie dog!</span><br />
<a href="http://2.bp.blogspot.com/-ImYEyh8Hu04/UMg8lO-rM3I/AAAAAAAAcb0/OLP5j9WTjr4/s1600/05_frankenweenie.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-ImYEyh8Hu04/UMg8lO-rM3I/AAAAAAAAcb0/OLP5j9WTjr4/s400/05_frankenweenie.jpg" height="400" width="272" /></a><br />
<br />
<b>4.</b> <i>In Their Skin</i><br />
<span style="font-size: x-small;">For the beguiling oddness giving way to beguiling creepiness. For not forsaking atmosphere over the boo hysterics of other genre artwork.</span><br />
<a href="http://1.bp.blogspot.com/-GmyWdRVmLME/UMg8vJZSL6I/AAAAAAAAccA/H5jcpLsO-CU/s1600/04_intheirskin.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-GmyWdRVmLME/UMg8vJZSL6I/AAAAAAAAccA/H5jcpLsO-CU/s400/04_intheirskin.jpg" height="400" width="269" /></a><br />
<br />
<b>3.</b> <i>The Paperboy</i><br />
<span style="font-size: x-small;">For the retro chic and powdered pink noir tinge. For being oh so simple, but balanced. For dripping sweat.</span><br />
<a href="http://2.bp.blogspot.com/-jXcZ7uifZhc/UMg9Is2FPGI/AAAAAAAAccM/laPjEqV2rCM/s1600/03_thepaperboy.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-jXcZ7uifZhc/UMg9Is2FPGI/AAAAAAAAccM/laPjEqV2rCM/s400/03_thepaperboy.jpg" height="400" width="270" /></a><br />
<br />
<b>2.</b> <i>Neighboring Sounds</i><br />
<span style="font-size: x-small;">For diluting an entire film's tapestry (suburban security, Brazilian slice of life, neighborhood kooks) into one beautiful, striking image. For its classic, sketchy aesthetic. For featuring a cat so prominently (hey, I'm biased!)</span><br />
<a href="http://2.bp.blogspot.com/-Q5250bAMOXc/UMg9vs8V-9I/AAAAAAAAccY/NzHr1T5S1u0/s1600/02_neighbouringsounds.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-Q5250bAMOXc/UMg9vs8V-9I/AAAAAAAAccY/NzHr1T5S1u0/s400/02_neighbouringsounds.jpg" height="400" width="280" /></a><br />
<br />
<b>1.</b> <i>An Oversimplification of Her Beauty</i><br />
<span style="font-size: x-small;">For the artistry. For the colours. For the boldness. For the way it holds my gaze and rewards the viewer with something fresh each time you look. For being<span style="font-size: x-small;"> crazy</span> <i>art</i>.</span><br />
<a href="http://4.bp.blogspot.com/-Ryb4ighLObw/UMg-X8eWl_I/AAAAAAAAcck/lcrxFJ1UrX0/s1600/01_anoversimplificationofherbeauty.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-Ryb4ighLObw/UMg-X8eWl_I/AAAAAAAAcck/lcrxFJ1UrX0/s400/01_anoversimplificationofherbeauty.jpg" height="400" width="267" /></a></center><br />
And that's that. We'll get to the worst of the year in due time. Those ones are not quite as fun to look at repeatedly as I suss out rankings and edit HTML! What were your favourites of the year? <br />
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"https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F4.bp.blogspot.com%2F-sY03LpwJwtw%2FUMg2UkL3BvI%2FAAAAAAAAcZY%2FYIH1c3k2-c0%2Fs320%2F18_theimposter.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://4.bp.blogspot.com/-sY03LpwJwtw/UMg2UkL3BvI/AAAAAAAAcZY/YIH1c3k2-c0/s320/18_theimposter.jpg" -->Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com4tag:blogger.com,1999:blog-4327605674280773646.post-12792653382823952412012-12-08T00:09:00.004-05:002012-12-08T00:09:49.392-05:00Review: Liberal Arts<div style="text-align: right;"><b><i>Liberal Arts</i></b></div><div style="text-align: right;">Dir. Josh Radnor</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Aus Rating: M</div><div style="text-align: right;">Running Time: 97mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-jQIQ0PBbVBc/UMLHyvYlH2I/AAAAAAAAcQ0/HHESyXxgsRw/s1600/liberalarts_australianposter01.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="200" width="142" src="http://4.bp.blogspot.com/-jQIQ0PBbVBc/UMLHyvYlH2I/AAAAAAAAcQ0/HHESyXxgsRw/s200/liberalarts_australianposter01.jpg" /></a></div>Do you think Josh Radnor grew up idolising Woody Allen? In the span of just two films, the star of television sitcom <i>How I Met Your Mother</i> has marked a very clear identity for himself as a film writer and director. With <i>Happythankyoumoreplease</i> from 2010, and now <i>Liberal Arts</i>, Radnor has very much pencilled himself in as one of many “Wood Allen lite” filmmakers whose inspirations are as clear as day. His leading ladies in both have even been the same doe-eyed, winsome type. While Allen certainly doesn’t have a monopoly on films about the romantic entanglements and philosophical dilemmas of somewhat neurotic New Yorkers, Radnor’s methods are obviously in ode to Allen’s classic heyday. His dialogue heavy screenplay is peppered with supposed wit about the human condition, but it lacks the sophistication of not only Allen’s best work, but also the best work of his other countless imitators. <br />
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At the centre of Radnor’s film is the inter-generational relationship between Radnor’s New Yorker college admissions officer, Jesse Fisher, and a student that he meets at his old college when visiting for the retirement dinner of his “second favourite teacher”. The girl is Zibby – it’s short for “Elizabeth”, code for “I’m a kooky free spirit, yo” – and she’s played by Elizabeth Olsen with a refreshingly wavering sense of confidence and self. This role is so different to Olsen’s breakthrough in last year’s stunning <i>Martha Marcy May Marlene</i>, and there are times with Olsen chooses lovely moments to help form her character into one that isn’t simply the fantasy girlfriend redux that she constantly threatens to become. Thankfully, and this is to Radnor’s credit, the character of Zibby is written in a way that merely flirts with the (ugh, <i>I know!</i>) “manic pixie dream girl” idea without fully succumbing to it, whilst Jesse skirts around being the true definition of a stunted man child. That the two have discussions about art and life is nice and that’s certainly more than can be said for other films of this type, I guess.<br />
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Sadly though, many of the film’s strikes at earnest fall flat. A montage of quaint letter writing between Zibby and Jesse actually induced guffaws with its series of excessively pompous views on music and the world. It’s efforts at finding deep things to say – “nobody feels like an adult, it’s the world’s dirty little secret” – sound like little more than pageant poetry from a college student who hasn’t actually lived the life they’re trying to sell as hard knock. A stoner, played nicely by Zac Efron, appears sporadically to make wise observations and Alison Janney arrives to play a dead-hearted cougar that is treated with little more than pity. The movie’s troublesome fringes hover about as if suspended in midair as Radnor fails to find a natural way to incorporate them.<br />
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Where Radnor’s screenplay and direction really go wrong is its failure to probe either of the characters in as great a depth as he perhaps thinks he is. By allowing them the flourishes of inorganic quirkiness – she impulsively needs to hug people for reasons I can’t fathom, whilst he adopts a depressed student whose medication has rendered him zombified – they act as scapegoats for the drama. Little effort is made to explore why either of these people are the way the way they are and while the actors have nice chemistry, they make decisions that make little sense. Its central theme of never being too old or too young to learn major life lessons is a nice one, but the film, warm as it is, is tripped up by being made by somebody who hasn’t quite matured enough as a filmmaker to say it in a more grown-up way. Its flights of goofy absurdity - epitomised in a scene in which Jesse rushes around the campus with a Gene Kelly-esque giddiness, the film gushes at the idea of students sitting around reading and theorising between one another, and then throws in shots of kids playing frisbee and hippies playing the guitar - stick out like sore thumbs in a film that is so frequently aiming for the head as much as the heart. If Radnor had been able to focus more on the bittersweet nature of his lead characters without the fluff excess then <i>Liberal Arts</i> could have been an education worth taking. <b>C+</b>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-88427387951249772362012-12-06T07:10:00.000-05:002012-12-06T07:10:14.127-05:00Review: Compliance<div style="text-align: right;"><b><i>Compliance</i></b></div><div style="text-align: right;">Dir. Craig Zobel</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Running Time: 90mins</div><div style="text-align: right;">Aus Rating: N/A</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-D1QCLeQuXJg/UMCJzQwJk4I/AAAAAAAAcQM/sx4fjhvR3hs/s1600/compliance_poster01.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="200" width="135" src="http://1.bp.blogspot.com/-D1QCLeQuXJg/UMCJzQwJk4I/AAAAAAAAcQM/sx4fjhvR3hs/s200/compliance_poster01.jpg" /></a></div>Perhaps a better title for Craig Zobel’s sophomore effort – I have not seen his debut feature, <i>Great World of Sound</i> – would have been “It’s Complicated”. Oh sure, that title was already taken by a self-consciously zany romantic comedy with Meryl Streep and Alec Baldwin from several years back, but if ever those two words, made (in)famous in recent years by one of Facebook’s stranger attention seeking quirks, were applicable to a movie then it’s this one. Or, hey, what about “Stranger Than Fiction”? Will Ferrell doesn’t have a monopoly on that expression, surely. I struggled to string a few words together after watching Zobel’s noble, if inherently flawed, thriller, and still sometime after I am unsure as to how to write about it. I’m winging it here, folks. I mean, I know I didn’t enjoy watching the film, but one must assume that was the point. <br />
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Essentially a home invasion film of the <i>Funny Games</i> variety, but rather than a wealthy middle class family in their exquisite summer vacation home it’s a group of underclass fast food restaurant employees who are used as pawns in a progressively repugnant game of (dim) wits with a disembodied figure who places human life a little bit below that of a cockroach. These people and their actions amidst the increasingly mystifying situation that they find themselves in appear as much of a Hollywood fantasy as it does a segment on a fake <i>Dateline</i> spoof from <i>Saturday Night Live</i>. I didn’t care for <i>Funny Games</i> either, but at least that one utilised narrative, built genuine tension and was a vision of a filmmaker with a distinct message. It’s characters were bound by logic and physical threat, whereas here they have seemingly shot themselves so far beyond the realm of the believable and landed headfirst into farce territory. Yes, these events really happened, but many audience members will spend more time tearing their hair out at the ridiculous actions of its characters than they will engaging in its potential themes.<br />
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Potential themes, might I add, that may or may not even be present. On one hand it is a glaring look at the public’s subservience to as well as a blind belief in the possibility of extreme law enforcement. On another hand, it’s a humorless look at lower-middle class America that enforces the perceived red state mentality of the hick stereotype. That the film is all too vague in proclaiming what it is or, even, what it wants to be, or what it ever had an intention of being is one of the reasons why it doesn’t truly work. It’s too little of anything in particular and placing grand ideas upon its flimsy frame doesn’t help anybody. Even more worrying, however, is the thought that Zobel isn’t trying to say anything at all. This is a rather straight forward film and if its that hard to find a solid reading of it then something’s been lost in translation.<br />
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It’s easy to why <i>Compliance</i> has caused such a fuss – it’s truly maddening. Within minutes my eyebrow was raised by its alarming concept, but I rapidly grew frustrated. The matter of fact presentation of events only enforces a wandering mind – especially for somebody who has spent time working in retail – as there’s little to really grab a hold of, not to mention a lack of filmmaking flare. The actors pick up the slack for the most part, and Ann Dowd is a particular standout as the restaurant’s manager and principal punked dunce. I was intrigued by Dreama Walker’s presence, always hoping her character was withholding more than her naked body would imply, but that doesn’t appear to have been the intention of the filmmaker. A coda implies some really prickly plays on ethics and morals, but the credits role as quickly as Dowd’s deluded managerial figure begins to see the chips appear in her play innocent varnish. Much the like the film itself, there’s obviously more to Dowd’s character, but the film isn’t willing to investigate it. <b>C-</b>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com1tag:blogger.com,1999:blog-4327605674280773646.post-22638598471181118062012-11-29T03:00:00.003-05:002012-11-29T03:06:16.619-05:00Review: Fun Size<div style="text-align: right;"><b><i>Fun Size</i></b></div><div style="text-align: right;">Dir. Josh Schwartz</div><div style="text-align: right;">Country: USA</div><div style="text-align: right;">Running Time: 90mins</div><div style="text-align: right;">Aus Rating: PG</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-fStbjRhVHzg/ULcTpEqYk3I/AAAAAAAAcLI/v4uFGifDu1A/s1600/funsize_poster01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-fStbjRhVHzg/ULcTpEqYk3I/AAAAAAAAcLI/v4uFGifDu1A/s200/funsize_poster01.jpg" height="200" width="135" /></a></div>There’s little that makes sense in the new Nickelodeon production beyond the name. A modern day revamp (of sorts) of the 1980s teen classic <i>Adventures in Babysitting</i> meets <i>The Hangover</i> for tweens, the feature debut of television writer/producer Josh Schwartz (<i>The OC</i>, <i>Hart of Dixie</i>) is a mess of a movie. Despite being set on Halloween, the scariest thing here is how many barrels Max Werner’s screenplay manages to scrape the bottom of. Even before the opening credits, <i>Fun Size</i> has descended into a hilariously bad caricature of what a teen film should be. Reminiscent of childish adventure flick <i>Sleepover</i> (Remember that? Lucky you!), <i>Fun Size</i> is an appalling, eye-opening experience that lacks all the zest and wit of its teen flick forefathers.<br />
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Victoria Justice stars as Wren – none of those words I just typed make sense to me, but maybe they do to the target audience? – a typical high schoolgirl on the verge of going to college. Her single mother (Chelsea Handler), has shacked up with an abs-flashing toyboy (Josh Pence – you won’t be looking at anything other than his muscle tone) and leaves Wren in charge of babysitting her little brother, Albert (Jackson Nicoll), on Halloween. Naturally everything that could possibly go wrong does. Once Albert goes missing, Wren’s best friend April (Jane Levy, Shameless) insists on going to a cool kid’s party, she discovers she has a crush on geeky Roosevelt (Thomas Mann, Project X), and gets tangled up in a war between a love-struck cashier (Thomas Middleditch) and his rival (Johnny Knoxville).<br />
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There’s plenty more, too, but it’s far too complicated to go into. Being a low rent redo of a film as excellent as <i>Adventures in Babysitting</i> would be forgivable if Schwartz didn’t inject his film with so much on-the-nose toilet humour, onerous slapstick, and burdensome subplots that do nothing but extend the runtime to feature length. Anything involving the ghoulish Chelsea Handler – if she walked up to you on Halloween night you’d scream and swear she was wearing a mask of human skin – is particularly unnecessary as she attends the house party of a fart-friendly acquaintance who lives with his parents (they discuss mammograms when she takes a time out from the beer chugging twentysomethings).<br />
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<i>Fun Size</i> doesn’t even attempt to engage with its target teen audience in any way that isn’t superficial. Wren and her friends are apparently unpopular nerds, but they’re also super attractive and endure nothing that anybody who’s been to high school will find particularly hellish. As doe-eyed teen love goes, the central romance between Justice and Mann is weak stuff, but at least the actors look like they’d still be asked for ID rather than being portrayed by borderline 30-year-olds. When age appropriate casting is the best one can say about a film, you know you’re in trouble. And to think, I made it this far without mentioning the giant humping chicken, the hippie Democrat lesbians, or the rap sequence that evokes cult essential Teen Witch. So wrong, so very, very wrong. <b>D</b><br />
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Or, in simpler terms:<br />
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Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com2tag:blogger.com,1999:blog-4327605674280773646.post-16067543318386683832012-11-28T05:39:00.000-05:002012-11-28T05:40:12.839-05:00Review: All the Way Through Evening<div style="text-align: right;"><b><i>All the Way Through Evening</i></b></div><div style="text-align: right;">Dir. Rohan Spong</div><div style="text-align: right;">Country: USA / Australia</div><div style="text-align: right;">Aus Rating: M</div><div style="text-align: right;">Running Time: 70mins</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-SW0lswtt7Ig/ULXn44zRwFI/AAAAAAAAcJ8/XcrknLixAvE/s1600/allthewaythroughevening_australianposter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-SW0lswtt7Ig/ULXn44zRwFI/AAAAAAAAcJ8/XcrknLixAvE/s200/allthewaythroughevening_australianposter.jpg" width="142" /></a></div>There’s a scene in the charming, if somewhat overly polite, Australian drama <i>The Sum of Us</i> (1994) where the homophobic parents of a closeted gay man watch the Sydney Gay and Lesbian Mardi Gras from the comfort of their plush sofas in suburbia. To their abject horror they see their son gyrating on a platform in barely any clothing amongst a sea of body oil, glitter, and high camp. The film may have primarily been about the father-son relationship between Jack Thompson and Russell Crowe, but that scene – especially in retrospect – plays like a perfect analogy for the very sudden way that gay culture was thrust upon the public by the Australian film industry in the early-to-mid 1990s. Two years earlier and Baz Luhrmann was high-kicking a renaissance in Australian cinema into overdrive with his flamboyant <i>Strictly Ballroom</i>, while the same year as <i>The Sum of Us</i> also brought with it the bus full of drag queens of <i>The Adventures of Priscilla, Queen of the Desert</i> and the return of ABBA-mania with <i>Muriel’s Wedding</i>. <br />
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For a moment it appeared as if this country’s boutique film industry was about to push gay cinema well and truly into the mainstream, picking up the lead of the American New Queer Cinema movement as well as the more sexually open elements of European filmmaking that trickled into local arthouses and onto video shelves. Like some grand ol’ coming out party on celluloid, these films were all being released on local and international screens – <i>Priscilla</i> even won an Academy Award! – at a time when the AIDS crisis of the 1980s was disappearing from the news, and the image of the fun-loving homosexual with wit and sass to spare plus ace dance moves to boot was de rigueur. As a gay Australian cinephile it’s hard not to bemoan the lack of such open filmmaking since – oh sure, gay characters are frequently seen on our screens in the background, but the culture has rarely been examined in such mainstream, accessible ways since, instead left to such hard-edged films as <i>Head On</i> (1998), <i>Walking on Water</i> (2002), and the recent <i>Dead Europe</i> (2012). <br />
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It’s no surprise then to discover that Melburnian director Rohan Spong has had to travel to America to make his documentaries on gay life. Before now Spong’s most notable title was <i>T is For Teacher</i>, a look at four transgendered teachers in American high schools, but with <i>All the Way Through Evening</i>, however, Spong has crafted a superbly delicate and altogether moving document of one woman’s crusade to allow the victims of the HIV/AIDS epidemic to continue living. If not in body and soul, then through their work. An American production, but with some assistance from the Victorian AIDS Council and the Gay Men’s Health Centre, this “musical documentary”, as the credits call it, certainly deserves to be held in the same high regard as recent festival successes and award winners <i>We Were Here</i> (2011) and <i>How to Survive a Plague </i>(2012) for the impactful way it examines the HIV/AIDS crisis.<br />
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There is remarkably little to <i>All the Way Through Evening</i> and yet it feels as if it says so much. At a brisk 70 minutes, there isn’t far enough time to get into the back story of Mimi Stern-Wolfe and her “subjects”, but what Spong has assembles is still a loving ode to somebody who has tried to make a difference the best way she knows how. Mimi’s annual concert featuring the compositions of late acquaintances who died (predominantly in the ‘80s and ‘90s in the arts hub of the Lower East Side, Manhattan) sounds like a blessed event and ripe for a documentary telling. It’s amazing how seemingly every year a new documentary comes along telling a new angle to one of the worst pandemics of recent times. This film proves there is always something new to be said, and a new way to say it. That the music featured within this one is frequently soaring, poetic, and beautiful certainly helps.<br />
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Featuring the works of four predominant composers, none of which anybody this side of 9th Street, New York City, will have heard of, their songs and their music cut through the proceedings like glass. The stories of Kevin Oldham (died of AIDS in 1993, aged 33), Robert Chesley (died of AIDS in 1993, aged 50), Robert Savage (died of AIDS in 1993, aged 44), and Chris DeBlasio (died of AIDS in 1993, aged 34) will certainly leave audiences in a contemplative place, and that’s probably the perfect end result for this documentary. Releasing in local cinemas to coincide with World AIDS Day on 1 December, <i>All the Way Through Evening</i> is a perfect catalyst for remembrance. With this film now in existence the work of Stern-Wolfe will now always be imprinted in a way to be remembered. She admits to slowing down and who can blame her. In the twilight that her friends never got the chance to live, this woman has done more than enough to make her legacy as memorable as those of the men she has championed for the last two decades. <i>All the Way Through Evening</i> is a fitting tribute to her and a moving viewing experience. <b>B+</b>Glenn Dunkshttp://www.blogger.com/profile/05424659636310160482noreply@blogger.com0tag:blogger.com,1999:blog-4327605674280773646.post-61551124774755664372012-11-26T23:40:00.000-05:002012-11-27T00:00:08.409-05:00Scream to Scream, Scene by Scene: SCENE 12 of Scream 3 (0:36:54-0:47:26)<center><span style="font-size: 85%;">In this project I attempt to review the entire <i>Scream</i> trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!</span><br />
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<a href="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s1600/screamtoscream_banner.jpg"><img alt="" border="0" src="http://3.bp.blogspot.com/_Yt3M33fzOLA/TAzYIJCMmaI/AAAAAAAAPNo/hqNCEi7VZ6Q/s400/screamtoscream_banner.jpg" id="BLOGGER_PHOTO_ID_5479992480978737570" style="cursor: pointer; display: block; height: 85px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<b>SCENE 12</b> of <i>Scream 3</i><br />
<b>Length:</b> 10mins 32secs <br />
<b>Primary Characters:</b> Dewey Riley, Gale Weathers, Jennifer Jolie, Steven Stone, Angelina Tyler, Tom Prinze, and Ghostface<br />
<b>Pop Culture References:</b><br />
<ul><li>None so overtly, but I'm sure there are plenty!</li>
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Weird double feature idea: Peter Deming Lensed Hollywood Flicks from the Early 2000s! There's <i>Scream 3</i> and there's also <i>Mulholland Drive</i>. The nighttime shots of Los Angeles certainly look the same.<br />
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<span style="font-size: x-small;">"Is this a wrap party of this a wrap party? Scene 34, Maureen's murder flashback."<br />
"I never liked that scene."<br />
"That's because you weren't in it."</span></center><br />
Not for nothing, a lesser franchise would have done a scene like that by now, and thank gawd they never did. Obviously they couldn't have given the reveal of the climax being facts about Maureen death, but they still could have done one at some point. I shudder to think. I do like that the next joke is about "the Prescott house flashback", as if the entirely of <i>Stab 4</i> is just made up of Sidney returning to Woodsboro and having flashback after flashback.<br />
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I think we all remember where we were when we first caught a glimpse of Matt Keeslar, don't we? Mine was <i>Waiting for Guffman</i> and boy that was a sight! He had a great run, actually, with <i>Guffman</i>, <i>Urbania</i>, and <i>The Last Days of Disco</i>. Sadly, I think he expected <i>Scream 3</i> to be a breakout role for him. A look at his IMDb profile shows a lot of television one. One suspects many of them are pilots that never got picked up. Sad. He's such a good looking man. <a href="http://www.google.com.au/search?hl=en&tbo=d&biw=1280&bih=929&site=imghp&tbm=isch&oq=matt+keeslar+&gs_l=img.3..0j0i24l6.208416.209751.0.210668.3.3.0.0.0.0.351.821.0j1j0j2.3.0...0.0...1c.1.qoTSjLpZxSw&q=matt%20keeslar">Such a good looking man</a>.<br />
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Some time ago when I sat my friend Suze down to watch all three <i>Scream</i> films (so, "some time ago" was before <i>Scream 4</i> came out at least) because she'd never seen any of them, and by the third film came around we just spent most of the time mocking the clothes because MY GAWD WHAT WAS GOING ON IN THAT WARDROBE DEPARTMENT. It's actually very amusing on Jennifer Jolie because her character so flamboyant and over the time that you can totally see her wearing clothes like that, even if they are horrendous most of the time (She'd be on Go Fug Yourself daily). Gale, though?<br />
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Yikes!<br />
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I seem to remember when this scene happened we both burst into tears of laughter. Look at her! Consider for a moment what she is wearing and I dare you not to laugh. I mean, despite the fact that they're just heinously ugly to look at, are those red leather pants not the most inappropriate attire one could wear when there's a killer on the loose? And that bag. Oh my lordy, <i>that bag!</i> As if her hair wasn't bad enough...<br />
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I know <i>Scream 3</i> is about Hollywood, but I'm surprised they put in so much smoking. I have nothing to say about it per se other than I think it's curious and somewhat uncomfortable.<br />
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I have nothing to say about these shots either. Except maybe "has Parker Posey ever played a mid-century vampire?"<br />
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Much like everything else that Parker Posey does in this movie - seriously, one of my all time favourite comedy performances. How anybody doesn't see it is beyond me - I die for how obviously posed and green-screened this publicity photo is. Of course, now the plot is getting into the nitty gritty of Maureen's Hollywood past and we can all collectively fall asleep.<br />
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Stu Macher's comment to Sidney about Maureen, however, did prove to be curiously apt: "Your mom was no Sharon Stone!"<br />
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I like seeing stuff like this in movies. It's obviously a piece of personal paraphernalia and it's cute. I imagine most "family" photos in movies are of the actual actor's family and it lends great authenticity.<br />
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Aw, poor Puddy.<br />
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HOWEVER, here's where the problems with <i>Scream 3</i> kinda all come together. So, they keep trying to make the voice translator gadget happen like it's fetch. Also like fetch, it ain't gonna happen. What makes it all wrong for this scene though is that Steve Stone was a perfect character to have a traditional Ghostface phone conversation with. He's not a member of the original three (Sidney, Dewey, Gale), nor is he a member of the cast, so the familiarity with the voice isn't there. Someone like Steve could easily think it was a prank. Or, given his body size, realise it's the villain and yet think his bulky size will help keep him safe. He can protect himself and such. Alas, they use the Dewey voice changer and as a result the scene lacks oomph. <br />
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Patrick Warburton, the giant hulkish man that he is, gets killed by a single knife in the back (oh, and a whack over the head with... a saucepan). Believable, sure, but much like a certain other character from the series, Steve Stone is big and he probably played football at some point of his life. He could kick the shit outta anyone (especially wimpy Roman Bridger), so it's a shame he didn't get a, ahem, grander exit. Oh well.<br />
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Furthermore, when Steve sees Dewey there's a brief moment where he points to his phone as if to say "was it you?" but very little is made of it. Everybody is none the wiser regarding his phone conversation. Missed opportunity, I say. Missed opportunity.<br />
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Apropos of nothing, I like how the moonlighting recalls <i>Friday the 13th</i>.<br />
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<center><a href="http://2.bp.blogspot.com/-SMa2MQ58_nM/ULQ2QIB3zTI/AAAAAAAAcG8/PdPwj6UqP20/s1600/scream3_166.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-SMa2MQ58_nM/ULQ2QIB3zTI/AAAAAAAAcG8/PdPwj6UqP20/s400/scream3_166.jpg" height="170" width="400" /></a><br />
<span style="font-size: x-small;">"Alright, don't panic"</span><br />
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<span style="font-size: x-small;">"Aaaaaggghhh!"</span></center><br />
Not gonna lie, this is one of my favourite moments from <i>Scream 3</i>, and a rare moment where the comedy is being worked at the same time as a scare. I feel like I have to keep reiterating that I do really, really like <i>Scream 3</i> because I keep pointing out things that are wrong, but I'm harsh because I care. This film didn't blend the funny with the scary very well at all, but even though this is but a brief moment and the scare itself isn't particularly effective, I still think it works. It made for an ace post-title trailer moment, too.<br />
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Another bit I like with all the checking of the phones. Like I said <a href="http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene.html">in the last scene</a>, the franchise is a fascinating way to follow the technology developments of the last 15 years. I mean, does anyone in 2012 still use a fax machine outside of an office, maybe? <br />
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Which, sadly, brings us to the fax machine. Or, the ghost fax as we should perhaps be calling it. How else to explain it working when the power has been cut off to the house? Is the fax machine on its own power grid? Oh mystical Ghost Fax, what will your next feat of magic be?<br />
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<span style="font-size: x-small;">"I've had enough, I'm going back in."</span></center><br />
I mean, I guess it's understandable that Tom Prinze is a completely clueless twit given who he's named after, but <i><b>this</b></i>?!? I mean, really. That's one dumb decision right there. For crying out loud, he's currently starring <i>in</i> a horror movie and he decides to run back into the dark and empty house? At least the other characters are, for all intents and purposes, real world people. Oy.<br />
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WHY DOESN'T HE JUST TAKE THE GHOST FAX PAGE OUTSIDE AND READ IT WITH THE REST OF THEM RATHER THAN SEARCHING FOR A LIGHT SOURCE! Speaking of which, it is <i>not</i> that dark. Ugh. Tom's death is just so freakin' stupid. So many things wrong with it. If the gas was that strong already why did nobody else smell it? How the Ghost Fax receive the letters? How did Roman get down the hill in time after turning the gas on so much that the entire house explodes? How... why... but... ugh.<br />
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Tommy Prinze go boom!<br />
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Flash photography means forever, Courteney. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-22aAaQgHe4M/ULQ-C_GcijI/AAAAAAAAcIc/9Gbmz_1tevs/s1600/scream3_174.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-22aAaQgHe4M/ULQ-C_GcijI/AAAAAAAAcIc/9Gbmz_1tevs/s400/scream3_174.jpg" height="170" width="400" /></a></div><br />
Now, of course, the mooted "Angelina Tyler is the second killer" idea from the screenplay was obviously still in play at this point or else she'd be seen here fleeing the explosion along with Dewey, Gale, and Jennifer. It only goes to make the last minute decision to axe her role as Roman's accomplice all the more annoying. She was clearly set up very deliberately to fill the role and to fill it logically within the scenarios the film plays out. It makes little sense for Angelina to suddenly disappear <i>before</i> the explosion (which she does), right?<br />
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<center><a href="http://2.bp.blogspot.com/-pDsWdXEZoQs/ULQ-6MCvigI/AAAAAAAAcIo/SRcHajBDLhA/s1600/scream3_175.jpg"><img border="0" src="https://2.bp.blogspot.com/-pDsWdXEZoQs/ULQ-6MCvigI/AAAAAAAAcIo/SRcHajBDLhA/s400/scream3_175.jpg" /></a><span style="font-size: x-small;"> </span></center><center><span style="font-size: x-small;">"I'm rolling down the hill!"</span></center><br />
Oh Parker Posey! I love you so much!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-E5uL6n7OIB4/ULQ_sdljglI/AAAAAAAAcI0/xhGYlOQENIk/s1600/scream3_176.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-E5uL6n7OIB4/ULQ_sdljglI/AAAAAAAAcI0/xhGYlOQENIk/s400/scream3_176.jpg" height="170" width="400" /></a></div><br />
I hadn't noticed before, but the killer looks up at Dewey as he's shouting to Gale to look behind her. Gale and Dewey's little exchange of "Thanks for saving me", "It's a habit" is totally cute.<br />
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<span style="font-size: x-small;">"What. The fuck. Happened. To you?"</span></center><br />
GODDESS.<br />
<br />
<center><a href="http://1.bp.blogspot.com/-xZ96-EiuTTo/ULRBxqZYSbI/AAAAAAAAcJM/YnK6N7mfRho/s1600/scream3_178.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-xZ96-EiuTTo/ULRBxqZYSbI/AAAAAAAAcJM/YnK6N7mfRho/s400/scream3_178.jpg" height="170" width="400" /></a><br />
<span style="font-size: x-small;">"My. Lawyer. Liked. That."</span></center><br />
While the punch scene here is obviously meant to elicit a "Yeah! Gale finally gets to be the one to do the punching! Yeah!" moment, it's actually just kinda odd. Still, Posey's reply is just PHENOMENAL. I find it hard to believe she didn't do a bit of improvisation with her scenes. I mean, how can her writing be so fabulous and yet nobody else's is? <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-hBmZsESn7UM/ULRCychDcvI/AAAAAAAAcJY/oP-a1a7JSOU/s1600/scream3_179.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="170" width="400" src="http://3.bp.blogspot.com/-hBmZsESn7UM/ULRCychDcvI/AAAAAAAAcJY/oP-a1a7JSOU/s400/scream3_179.jpg" /></a></div><br />
Oh hai Angelina without a mark on you. Fancy seeing you there. <br />
<br />
<center><span style="font-size: 78%;"><b><i>Scream</i>:</b> <br />
<a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scream.html">Intro</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2010/06/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2010/07/scream-to-scream-scene-by-scene-scene_22.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_12.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_7039.html">Scene 14</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_17.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_19.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_6398.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_23.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2010/08/scream-to-scream-scene-by-scene-scene_26.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_09.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_14.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_16.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_20.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_4478.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_1927.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2010/09/scream-to-scream-scene-by-scene-scene_29.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_21.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2010/10/scream-to-scream-scene-by-scene-scene_26.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene.html">Scene 31</a> <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_07.html">Scene 32</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene_08.html">Scene 33</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 2</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2010/11/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2010/12/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/01/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene-9_15.html">Scene 9</a>, <a href="http://stalepopcornau.blogspot.com/2011/02/scream-to-scream-scene-by-scene-scene.html">Scene 10</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene.html">Scene 11</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_14.html">Scene 12</a>, <a href="http://stalepopcornau.blogspot.com/2011/03/scream-to-scream-scene-by-scene-scene_23.html">Scene 13</a>, <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene.html">Scene 14</a>. <a href="http://stalepopcornau.blogspot.com/2011/04/scream-to-scream-scene-by-scene-scene_10.html">Scene 15</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene.html">Scene 16</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_06.html">Scene 17</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_15.html">Scene 18</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_18.html">Scene 19</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_19.html">Scene 20</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_25.html">Scene 21</a>, <a href="http://stalepopcornau.blogspot.com/2011/05/scream-to-scream-scene-by-scene-scene_30.html">Scene 22</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene.html">Scene 23</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_24.html">Scene 24</a>, <a href="http://stalepopcornau.blogspot.com/2011/06/scream-to-scream-scene-by-scene-scene_29.html">Scene 25</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene.html">Scene 26</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_07.html">Scene 27</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_12.html">Scene 28</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_15.html">Scene 29</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-scene_20.html">Scene 30</a>, <a href="http://stalepopcornau.blogspot.com/2011/07/scream-to-scream-scene-by-scene-end.html">End Credits</a><br />
<br />
<b><i>Scream 3</i></b><br />
<a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-1.html">Scene 1</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-2.html">Scene 2</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-3.html">Scene 3</a>, <a href="http://stalepopcornau.blogspot.com/2011/10/scream-to-scream-scene-by-scene-scene-4.html">Scene 4</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-5.html">Scene 5</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-6.html">Scene 6</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-7.html">Scene 7</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-8.html">Scene 8</a>, <a href="http://stalepopcornau.blogspot.com/2011/11/scream-to-scream-scene-by-scene-scene-9.html">Scene 9</a>, <a href=http://stalepopcornau.blogspot.com.au/2011/11/scream-to-scream-scene-by-scene-scene.html>Scene 10</a>, <a href=http://stalepopcornau.blogspot.com.au/2012/11/scream-to-scream-scene-by-scene-scene.html>Scene 11</a></span></center>
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