I originally saw the Oscar-nominated short, World of Tomorrow, with my friend at the little indie movie theater here in Boise. It was shown with the collection of all the nominated animated shorts. I’d read the synopsis of it when it first appeared on Netflix, but it seemed depressing. I’d avoided it for weeks by the time we went to see the shorts, so when its title popped up on the screen I felt apprehensive.
Since then, I’ve streamed this film four or five times for different friends and family. Everyone has had the exact same reaction: Continue reading
While many of the great animal actors stood over two and a half feet tall, the shorter actors, actually, often steal the entire film. Remember Whitey, the gorgeous ingénue from Fatal Attraction? At 6 inches tall, she delivered a death performance that is still being talked about nearly 30 years later. And let’s not forget Toto the Terrier (née Terry), who, to this day, is stealing the hearts of audiences in her iconic role as Toto in 1939’s Wizard of Oz, stood just shy of a foot tall.
Okay, no, they aren’t really. But if you only had this film to go by, you would really think they were.
I’d seen the trailer when it first came out, and I was interested, despite the fact that it seemed very straightforward and obvious. And the fact that this is the second remake of the original Belgium film, I assumed there must be something to it.
I have to preface this review with the mention that after showing the first half of this trailer to my bestfriend Shannon, she ran out of the room, declaring that if it ends badly she will not see it. She added something along the lines of “I can’t even.”
Usually, with these kinds of films, I can’t even either. At first glance it’s a trite, over-worked cliché of a film, but the trailer does an admirable job of showing these characters as more than just paper dolls, unlike the characters in other sappy, overwrought melodramas. Continue reading
I guess I could have looked for a translated version of this trailer, but I had more fun watching it without even knowing what was being said. These film franchises are already so well established that we frankly don’t really need a translation to know what’s going on.
The trailer with the years and…titles? Awards? Okay, this is the downside of not having a translated version.
I have looked for a translated version, and could not find one, so you’re stuck with my guesswork.
If I believed in guilty pleasures, I’d probably consider He’s Just Not That Into You to be right up there next to Dirty Dancing and Bulletproof. However, I don’t subscribe to the whole guilty pleasure disclaimer. I think if you like a film, you should embrace it. I understand that’s pretty rich coming from a woman whose entire podcast is built on making excuses for her vast and diverse DVD collection, but I stand by it.
I like the films I like.
For the most part, those films are not highbrow or Oscar-worthy. In fact, skimming through a list of past Best Picture winners, since the inception of the award, I own a grand total of eleven winners, two of which I have not re-upped to DVD, so I still only own them on VHS. (To be fair, On the Waterfront is difficult to find on DVD) Continue reading
Due to Ari having her wisdom teeth out, we do not have a new podcast this week. What we DO have is a new theme song written, created, and performed by Jason Klamm, so enjoy that!
Due to unforseen bad planning, the next Why Did I buy This? podcast will not up til the afternoon. It’s all recorded and stuff, but not edited. Sorry bro!
Our friend Kimberley will be joining us to discuss a few of the star trek movies! Look forward to that.
Ever since I was a kid, I have been involved in theater. My mother is an actress, playwright, and director, while my step-father is a violinist and a composer. If you cut me, I would probably bleed paint thinner. I think Neil Simon is a theatrical staple, what with his hits including the Sunshine Boys, the Odd Couple, and Barefoot in the Park. He is certainly one of my mom’s favorite playwrights, and her zeal for him definately rubbed off onto me. (Ignore the obvious innuendo there)
The Goodbye Girl was not originally a play (although Neil Simon is mainly a playwright), but in ’97 it was adapted for the stage, in fact, into a musical. I have only seen the ’77 film with Marsha Mason and Richard Dreyfuss. Personally, I don’t think I need to see any other version. Dreyfuss is spectacular. Only he, as actor Elliot Garfield, could take nebbishness and turn it into “charisma,” at least according to Cynthia Fine (a very small character). With his ruddy, ratty hair and awful beard, his high squeaky voice and sopping wet guitar case, Elliot waltzes into the film and sweeps the audience off their feet. It takes Mason’s character, Paula McFadden, a little longer to fall for him, but it does happen eventually.
I’m a sucker for a glib sense of humor. I don’t care if he is playing a ghastly cartoonish version of Richard III, if you can make me laugh, I’m hooked. I think that’s what attracted me to this movie so many years ago. Even when Paula’s character drives you up the freakin’ wall, the fact that she loves and appreciates Elliot as much as the audience does makes you root for her anyway.
This film is fun, funny, and totally quotable. Simon writes the most natural dialogue I have ever heard or read, and I adore comedy that feels natural. I hadn’t sat down and watched this for, oh, four years or so, not since my girlfriends all watched it in college, and yet I could still chant along with all my favorite back and forth lines.
I think I mostly love this film because it takes a rather old, worn-out story-line and spins it into gold. It shows you that it isn’t a slick, shiny plot that makes a movie good…all it takes is some witty dialogue and likeable characters and, bang, you gotta an instant classic. Inception and Avatar may have been hits, but do you think the characters have charisma?
The Goodbye Girl
Director: Herbert Ross