HDTenEightyP/NetNews huggingface dataset:
From: bole@hmivax.humgen.upenn.edu (Greg Bole)
Newsgroups: rec.arts.movies
Subject: Feb Films and Stuff
Date: 12 Jan 93 20:27:40 GMT
Organization: HHMI/Human Genetics, Univ of Pa.

Movies coming in Febuary according to Premiere Magazine:

Alive 
(Ethan Hawke goes down in the Andes and has to eat his buddies)

Amos & Andrew 
(Samual Jackson is a black man mistaken as a burgler in his own home)

Blood In...Blood Out 
(Gritty ghetto drama about three cousins in East L.A.)

The Cemetary Club
(Olympia Dukakis, Diane Ladd, and Danny Aiello contemplate thier lives)

Dragon
(The short life of martial-arts artist Bruce Lee)

Falling Down
(Michael Douglas goes bonkers and sports a haircut worse than Costner's)

Groundhog Day
(Bill Murray is a TV weatherman stuck in time - Febuary 2, to be exact)

Love Field
(Michelle Pfeiffer has her life changed on the way to JFK's funeral)

Mac
(Three brothers focus of this autobiopic directed/starring John Turturro)

National Lampoon's Loaded Weapon 1
(Emilio Estevez got jealous of brother Charlie's _Hot Shots_ I guess)

Oliver Oliver
(The Martin Guerre of the baby-sitting set)

Passion Fish
(Small indy about a washed up soap opera diva returning to Louisiana)

Riff-Raff
(London lower class, accents so thick there are subtitles)

Sniper
(Tom Berenger and Billy Zane take a shot at South America)

Sommersby
(Foster and Gere in the Civil War remake of _The Return of Martin Guerre_)

Swing Kids
(It is finally released!  Bale, Whaley dance thru WWII.  Branaugh is a nazi)

Untamed Heart
(Christian Slater does the man-with-a-past thing for Valentine's Day)

The Vanishing
(Re-make of the same name Dutch-French flick.  With Sutherland, Bridges, Travis)


Let me know if you'd like me to dig up any more info about any of these films.


ObFlynnRef: "If the Errol Flynn story is ever made, Ethan Hawke would be 
	     perfect"  Susan Vargas, Glendale Hts. Ill.

(Personally I'd rather see Patrick Bergin, Kevin Kline, or Julian Sands)


And a hysterical quote from James Spader: "Brad Pitt ruined it for the rest of
us in _Thelma & Louise_.  We could see all his muscles, now everybody has to 
do it.  I hate Brad Pitt."

(Speaking of Brad Pitt, I'd love to see him get a Best Supporting nomination
for _A River Runs Through It_.  He was amazing and more than made up for 
his atrocities in _Cool World_)

Greg Bole                                  "A twelve-gague, double-barreled, 
bole@hmivax.humgen.upenn.edu                  grenade-launcher of LOVE!"
                                           Steve Martin in _Leap of Faith_
Newsgroups: rec.arts.movies,alt.cult-movies
From: grider@IASTATE.EDU (Yuhang Ho)
Subject: Re: More Weird List
Organization: Iowa State University
Date: Wed, 13 Jan 1993 04:02:50 GMT


How about Woody Allen's "Everything You Always Wanted To Know About Sex; And
Were Afraid To Ask"? I watched it for the second time today, and still think
that it is damn funny especially when the gigantic tit is on the loose. Also,
not to forget the ending story of the adrenalin-pumping sperm mission. I'll
give it a 5.

Wait a minute. There's another one that should not be left out ---- Monty
Python's Meaning of Life. Remember the fattest man in the world? Hell this is
gross! A 4.5 for me. Come to think about it, maybe all the Python movies deserve
to be weird movies. 


                           

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
                       (
 Yuhang [:-P)          ) "Nobody expects the Spanish Inquisition. Amongst our 
 grider@iastate.edu    (  weaponry are such diverse elements as fear, surprise,
 Iowa State University )  ruthless efficiency, and an almost fanatical devotion
 Elec. Engineering     (  to the Pope, and nice red uniforms - oh, damn! I-I
 Ames, IA 50010        )  can't say it, you'll have to say it."
                       (             -- Ximinez (Michael Palin) in Monty Python
                       )
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
From: bole@hmivax.humgen.upenn.edu (Greg Bole)
Newsgroups: rec.arts.movies
Subject: Re: Review:  SCENT OF A WOMAN
Date: 11 Jan 93 20:37:25 GMT
Distribution: usa
Organization: HHMI/Human Genetics, Univ of Pa.

In article <4556@cvbnetPrime.COM>, csroc@cvbnet.prime.com (cvbnet) writes:

>> SCENT OF A WOMAN

> I saw some reviews which seemed to think this movie
> was too long...NOT
I would say it was too long as well.
 
> It holds your interest from start to finish despite a
> theme that's been told many times before.
It held my interest for the first half, then started to drag, and THEN...
 
> Pacino gives the performance of a lifetime!!!
Which was absolutely spoiled for me by the HORRIBLY stupid "happy Hollywood"
ending.  It was literally the dumbest ending of any movie I have ever, made
all the more dissapointing because the movie had some real promise in the 
beginning.

My advice is stay far, far away from this dog if you get as mad at stupid, 
contrived, tied-up-in-a-neat-package endings as I do.

Greg Bole                                  "A twelve-gague, double-barreled, 
bole@hmivax.humgen.upenn.edu                  grenade-launcher of LOVE!"
                                           Steve Martin in _Leap of Faith_
Newsgroups: rec.arts.movies
From: reiher@ficus.cs.ucla.edu (Peter Reiher)
Subject: Re: x can't make money
Organization: UCLA Computer Science Department
Distribution: rec
Date: Wed, 6 Jan 93 17:03:43 GMT

In article <1993Jan6.030251.26936@oucsace.cs.ohiou.edu> bchurch@oucsace.cs.ohiou.edu (Robert Church) writes:
>In article <1993Jan5.1489.35978@channel1> "eric walker" <eric.walker@channel1.com> writes:
>
>>There's another reason why MALCOLM X isn't a blockbuster, and that
>>reason has nothing to do with racism:
>
>What about releasing it in December. This is 'Home Alone' season, not
>serious movie time (speaking from a marketing point of view). I wonder
>how 'Malcolm X' would have done if released during the long hot summer.

The conventional wisdom in Hollywood is that large serious movies do
best during the Christmas season, and get buried during the summer.  You
might have noticed that a number of big serious films have gotten releases
of late - "A Few Good Men", "Chaplin", "Hoffa", "Lorenzo's Oil", and
several others.  That's intentional, and it happens every year.  Part of
the reason is that it keeps the films fresh in the mind of the Academy
voters, part of it is the belief that adults are more likely to patronize
serious films during the Christmas season.  (Why, exactly, is a mystery
of Hollywood, but that's the belief.)

In contrast, almost no big serious films opened during the past summer,
and that was also intentional.  "The Last of the Mohicans" was probably
the closest to a big serious film, and it was packed with action sequences.

-- 
		Peter Reiher
		reiher@wells.cs.ucla.edu

Newsgroups: rec.arts.movies,alt.cult-movies
From: mccreary@sword.eng.hou.compaq.com (Ed McCreary)
Subject: Re: The Weird List
Organization: Compaq Computer Corp.
Date: Mon, 11 Jan 1993 23:08:36 GMT

In article <1993Jan11.135326.11488@samba.oit.unc.edu> Peter.Norton@launchpad.unc.edu (peter norton) writes:
>Or how about the Australian classic "Bad Taste". A very sick/weird low budget
>alien/horror/comedy. And once you've seen a man who's lost the top of his
>head to a chainsaw(?) push his brain back in and keep his flapping skull
>together with his belt your know what I mean...

Ahem, it's from New Zealand and his head cracked open after a nasty
fall off a cliff.

I'm in a picky mood...

--
Ed McCreary                                               ,__o
mccreary@sword.eng.hou.compaq.com                       _-\_<,
"If it were not for laughter, there would be no Tao."  (*)/'(*)
Newsgroups: rec.arts.movies
From: spinaa@rpi.edu (Matt Garretson)
Subject: Re: Aspect Ratio (question)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 4 Jan 1993 18:07:25 GMT

In article <C03A7L.n0E@cmptrc.lonestar.org> mitch@cmptrc.lonestar.org (Mitch Veenstra) writes:
>There are many films that have been made in Accademy ratio that is so close
>to the standard size of a typical tv set that they will probably never be
>released in letterbox.  But there are many others that are otherwise shot.


What is the Academy Ratio? While we're at it, what is tv? 4:3 or something
like that?  

If Academy is so close to tv, I for one would think they'd be more willing
to letterbox it, since the black bands would be less noticable. But then 
again I guess they figure it's too much effort either way.

I just thought of another question. Which is more expensive to produce- a
panned-and-scanned tape or a letterboxed tape (or disc)?  It seems like
letterboxing would be more straightforward for them to do.
Newsgroups: rec.arts.movies
From: reiher@ficus.cs.ucla.edu (Peter Reiher)
Subject: Re: TOP TEN MOVIES, as of 23 December 1993
Organization: UCLA Computer Science Department
Date: Mon, 4 Jan 93 16:29:24 GMT

In article <1i5fo2INNgqq@agate.berkeley.edu> annie@garnet.berkeley.edu  (Anne Jessop) writes:
>In article <1993Jan2.170246.16610@cbnewse.cb.att.com> gmark@cbnewse.cb.att.com (gilbert.m.stewart) writes:
>>
>>Lastly, I expect Spike Lee will be claiming racism as the reason
>>for poor box-office showing as part of his usual antics, but frankly,
>>I don't think he's got nearly as much to worry about as he would have
>>in those pre-video years.
>
>Actually, he already has made some insinuations, if not outright
>accusations, along these lines.  I'm not dure of the exact date, but in
>the _SF Chronicle_ I think the week or so before Christmas, there was a
>story about X's declining ticket sales, which said that what was actually
>happening was that the ticket computers were screwing up, so you could go
>plonk down your $7 (or $3.50) for X and get a ticket stub for some other
>flick.  Since the ticket computers are used to compile the lists of who's
>seeing what (and therefore top ten lists, gross sales, etc), X's place was
>supposedly far lower than it should have been (and probably HA2 and Aladdin
>and the Amazing Ducks were way higher than _they_ should have been.)

Knowledgeable industry people say that ticket sales being misattributed
due to vendor error happens all the time, particularly during the Christmas
rush when inexperienced part-time help comes in to sell tickets.  They
also said that, absent other evidence, there's little reason to believe
that any particular film suffers more or less from this phenomenon than
any other.  Remember that some tickets that were actually sold for "Home
Alone 2" and "Aladdin" probably got attributed to "Malcolm X", too.  The 
general feeling seems to be that if you properly audited every single ticket 
sold in the U.S., chances are that the grosses of "Malcolm X" would have 
been substantially unchanged by this phenomenon.

-- 
		Peter Reiher
		reiher@wells.cs.ucla.edu

Newsgroups: rec.arts.movies
From: barrus@cod.nosc.mil
Subject: Re: Q on A Few Good Men: Poison???
Organization: Naval Ocean Systems Center, San Diego, CA
Date: Thu, 7 Jan 1993 16:28:51 GMT


In article <1993Jan7.023705.4755@datamark.co.nz>  writes:
>In article <1993Jan6.005505.28065@nosc.mil> barrus@cod.nosc.mil writes:
>>>
>>Cruise knew that Nicholson thought he was correct on this and
>>shouldn't have to hide from the truth.  This is why Cruise struggled
>>to decide whether it would be worth risking his career to try to
>>make him admit it on the stand.  Nicholson only wouldn't admit it
>
>Something I don't understand - why was Cruise risking his career?
>
>I thought lawyers were only allowed to ask questions of witnesses - so
>if he asked Nicholson if he had fabricated evidence or ordered a Code
>Red, surely Nicholson only had to say "No"?
>
>That's not the same as accusing someone.
>

Actually, it is.  You have to be real careful how you word something
if you have no evidence to back it up.  Without the evidence to back
up your question it can be taken as inflammatory and accusatory.  In 
a civilian court you can be punished by the judge or by the bar.  In
a military court it is worse if you accuse a senior officer, because
then you can be charged with insubordination.  He not only risked
his career, but might have faced time in the brig as well.

JDB



>-- 
>    Thomas Beagle | thomas@datamark.co.nz           Work: 64 4 233 8186
>Datamark Intl Ltd | thomas@cavebbs.welly.gen.nz     Home: 64 4 499 3832
> Technical Writer | Yes, I do have long ears, a black nose, and a tail.
Newsgroups: rec.arts.movies
From: dtschett@saims.skidmore.edu (donna tschetter)
Subject: Chaplin and Scent of a Woman movie posters.
Organization: Skidmore College, Saratoga Springs NY
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 12 Jan 1993 18:38:22 GMT



If anyone in interested in either of these posters, please e-mail to
me. I have a couple original theater - size 41 x 27 available to
interested fans!

Newsgroups: rec.arts.movies
From: spinaa@rpi.edu (Matt Garretson)
Subject: Re: Seat reservations in movie theatres
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 4 Jan 1993 20:23:34 GMT

In article <bruce.0di7@zuhause.MN.ORG> bruce@zuhause.MN.ORG (Bruce Albrecht) writes:
>Does anyone know of other theatres doing this,
>and if so, do you prefer it? 't
>
I hope they don't start doing this in the US. I usually like to sit in one
of the front rows, and would resent having a seat assigned to me. I guess
this is a double standard, since I go to concerts and plays all the time
and rely on ordering long in advance to get good seats. But I just don't think
it's a great idea for movies.

Some theaters heer will let you reserve a ticket with a credit card by phone,
but you still have to find your own seat. I think this is a good idea,
and it turns out to be very convenient at times.
From: 9073hammesm@vms.csd.mu.edu
Newsgroups: rec.arts.movies
Subject: Re: PEEVES at MOVIE THEATERS !
Date: 8 Jan 1993 22:58:15 GMT
Organization: Marquette University - Computer Services
Reply-To: 9073hammesm@vms.csd.mu.edu
NNTP-Posting-Host: vmsa.csd.mu.edu

In article <1993Jan7.183616.4623@magnus.acs.ohio-state.edu>, mgrimes@magnus.acs.ohio-state.edu (Michael Grimes) writes:
>
>What are some of the things that drive you nuts when you go to see a movie at a
>theater?
>
>1: People who have to talk constantly, especially if they have to narrate the
>whole damn film to their stupid companions!
>

Especially people who keep saying "Why is he/she/it doing that?" instead of
just WATCHING to find out.


Also:  People who bring their crying babies to the back of the theatre and
stand there watching the movie instead going completely out.  Like they don't
want to be rude to those they were originally sitting by, but think the folks 
in back won't mind.  
Xref: sparky rec.arts.movies:36798 alt.cult-movies:11628
From: K.R.Catchpole3@lut.ac.uk
Newsgroups: rec.arts.movies,alt.cult-movies
Subject: Re: The Weird List
Date: 7 Jan 93 11:43:39 GMT
Reply-To: K.R.Catchpole3@lut.ac.uk (Uncle Bill Burroughs)
Organization: Loughborough University, UK.


How about "Carnival of Souls" 
	or "Dead of Night"

Both B&W, and display a sort of non technical horror (i.e. no gore,hideous
mosters,frights etc.) but are all the more bizzare and chilling for it.

Also:	"Towers Open Fire"	By William S. Burroughs 
				and Ian Somerville
and	"Ghosts at no.57" (or something like that anyway)
Both available on a Video called "Thee Films 1950s-1960s"

P.S.	Un Chien Andalou is brilliant. The first scene (where Bunel slices
	the eye of a young lady (who remains seated and motionless throughout)
	with a razor blade) is THE most revloting thing I have EVER seen in
	any film.
			Anyone know where I can get a copy ?
Newsgroups: rec.arts.movies
From: s1mbm@isuvax.iastate.edu (michael bruce mcdonald)
Subject: Re: Coppola's DRACULA
Reply-To: s1mbm@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Distribution: na
Date: Thu, 7 Jan 1993 07:25:22 GMT

In article <1993Jan7.022056.10619@Princeton.EDU>, egnilges@phoenix.Princeton.EDU (Edward G. Nilges) writes:
>Pray tell me, WHY is relating a movies to current events, of which the
>movie makers are both consciously and unconsciously aware, especially
>either "deconstructionist" or "drivel?"  It is true that I enjoy reading
>film criticism that is at least aware of French theories; such criticism
>is much better, to me, than the Trivial Pursuit of much American
>criticism, concerned as it is with issues of mere entertainment and who
>said what to whom.  It is certainly news to me that we must check our
>brain at the door of the cinema, that indeed cinema is to be treated as
>another drug.
>
>Dracula DOES stalk Winona Ryder and his conduct is rewarded with her
>love.  The parallels to Serbia ARE unavoidable; imagine making a movie
>celebrating Czarist pogroms at THE SAME TIME Hitler's holocaust was in
>full swing.
>
>It is clear to me that Coppola "coulda been the champ" but his career
>was short-circuited PRECISELY by the lack of a healthy film criticism in
>this country, which would have forced the guy to look at his unexamined
>will-to-power.  The guy made a great movie, Godfather I, and then
>proceeded to turn out crap because all he had to read were his own press
>releases.  He ends up, sadly, using self-referential stunts stolen from
>better directors (like the incredibly tedious scenes in the early cinema
>in which Dracula chases Ryder's character) without understanding how to
>use them.
>
>You may be so afraid of authority that ANY criticism is, to you,
>"deconstructionist drivel", and I will once more note that the
>neo-Stalinist anti-PC drive was part of the manufacture of consent to
>the genocidal war against Iraq.  And Esquire magazine has reprinted
>communiques from Coppola that show a psychotic fear of criticism and
>willingness to retaliate.  But give me "deconstructionist drivel" over
>Trivial Pursuit and the stink of fear any goddamn day of the week.
>
>


Ed, thanks for a heartfelt, and in my view, rather sensible post.  Am I to
infer, though, that you think *Apocalypse Now* is crap?  I *hope* not!

michael mcdonald
Newsgroups: rec.arts.movies
From: cew2w@Virginia.EDU ("Chris Wrike")
Subject: Re: top-grossing movies
Organization: University of Virginia
Distribution: rec
Date: Tue, 12 Jan 1993 21:37:59 GMT

mlh@eddy.austin.ibm.com  writes:
> In article <1993Jan5.1489.36055@channel1> "eric walker" <eric.walker@channel1.com> writes:
> >   Here are the estimated weekend top ticket sales for 1992 according
> >to Exhibitor Relations, with distributor and total gross.
> >
> >   1. "Batman Returns," Warner Bros., $163.7 million.
> >   2. "Home Alone 2: Lost in New York," Fox, $145.8 million.
> >   3. "Lethal Weapon 3," Warner Bros., $144.7 million.
> >   4. "Sister Act," Disney, $139.6 million.
> >   5. "Wayne's World," Paramount, $121.6 million.
> >   6. "Basic Instinct," TriStar, $117.2 million.
> >   7. "Aladdin," Disney, $114.8 million.
> >   8. "A League of Their Own," Columbia, $107.4 million.
> >   9. "The Bodyguard," Warner Bros., $88.2 million.
> >   10. "The Hand that Rocks the Cradle," Disney, $87.59 million.
> 
> With the recent discussion about X, it would be nice if someone on the net
> could post the cost of each film to produce/distribute/etc .
> 
	I'm sure I will be corrected if I'm wrong, but to my
knowledge this is the cost of each of those films:

	"Batman Returns"-- the studio said it cost $55 mil.
This is almost definetly a lie.  Premiere estimated that with
salaries, special effects, marketing, and interest on the bond companies
that the budget could have been in the range of 100-150
million.  I think that's a bit to high.  I'd say 85 million.

	"Home Alone 2"-- 28 mil.  I'm sure of that.

	"Lethal Weapon 3"-- 35 mil.  Suprisingly cheap when you
see the special effects, however, two of the exploding
buildings were already scheduled for demolition, and the
sequence at the end with the housing project was picked up from
a defunct S&L for a mere 50,000 dollars.

	"Sister Act"-- around 25 mil.

	"Wayne's World"-- 18 mil.

	"Basic Instinct"-- 50 mil.  Michael Douglas got a 15
million dollar salary.

	"Alladin"-- 30 mil.  Animation is expensive.

	"A League of Their Own"-- 40 mil.

	"The Bodyguard"-- around 35 mil.

	"The Hand that Rocks the Cradle"-- 28 mil.

	It is important to remember that the studio only gets
a little more than half of the box office take, the other half
going to the theater.  Thus, the most profitable movie of 1992 was
"3 Ninjas", which Disney picked up for one million and made about
thirty.
From: annie@garnet.berkeley.edu  (Anne Jessop)
Newsgroups: rec.arts.movies
Subject: Re: Weird Movies
Date: 5 Jan 1993 22:50:07 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: garnet.berkeley.edu
Originator: annie@garnet.berkeley.edu



Don't forget such alt.cult-movies favorites as:
Nekromantik I and II
Basket Case I - III
Freaks  (absolutely a classic)
Chained for Life
Satan's Sadists (actually, anything that could be called "psychotronic"
qualifies as wierd in my book)
True Stories
Mondo Cane
Spider Baby 
pretty much anything with Joe Bob Briggs's picture on the box
Pee-wee's Big Adventure and BigTop Pee-wee
all those Reanimator films
Wise Blood (better to read the book -- even tho this is John Huston, it's
not a very good adaptation.  Except for Harry Dean Stanton.)
Cockfighter (good adaptation of a Charles Willerford novel)
O Lucky Man
Deadly Weapons (starring Chesty Morgan and her truly enormous talents. 
This is not a porno flick.)

I'm running out of things off the top of my head, but these are definitely
some of my favorites.  More later if other classics come to mind :)

-annie
From: hhtra@usho72.hou281.chevron.com (T.M.Haddock)
Newsgroups: rec.arts.movies
Subject: It's A Wonderful Like (Was Re: Movies In the Public Domain)
Date: 8 Jan 93 21:18:45 GMT
Organization: Chevron

In article <1993Jan08.182201.27534@eng.umd.edu>, clin@eng.umd.edu (Charles Lin) writes:
|> 
|> In article <1993Jan8.152826.2641@b8.b8.ingr.com>, anthony@panzer.b17b.ingr.com (Anthony Shipman) writes:
|> >In article <138330001@hpcupt1.cup.hp.com>, stachnik@hpcupt1.cup.hp.com (George Stachnik) writes:
|> >|> I'm interested in movies that have passed into the public
|> >|> domain.  Does anybody have a list?  I was told recently that
|> >|> nobody owns the copyright to "It's a Wonderful Life", which
|> >|> I found hard to believe.  Can anyone confirm or deny?  Are
|> >|> there any other films of note that are in the public domain?
|> >
|> >I hope this won't be too long winded, but as I grew up I was a TOTAL movie-head,
|> >especially movies from the 30's and 40's. And I had never even HEARD of this film
|> >until it suddenly (in early `80s) started appearing on practically every TV
|> >channel around Christmas time. I read/saw somewhere (and I honestly think it was
|> >on Siskel&Ebert) that the company that owned "It's a Wonderful Life"'s copyright
|> >had let it run out and it was in the public domain, so therefore, every TV
|> >station could own a copy and show it at-will without paying for the rights.
|> >
|> >But this is all from memory and personal experience, so don't blame me if it's
|> >wrong.
|> 
|>    I believe this is correct.  I was listening to the radio, and there
|> was an interview with someone who did research on this movie.  In the
|> mid-seventies, the movie's copyright or whatever ran out, and they started
|> showing this movie on all the cable channels, etc. who wanted a movie they
|> didn't have to pay money for, and, like the Wizard of Oz, it's probably
|> more popular now than it was when it first came out.   I forget who
|> was interviewed, but I seem to recall that it was some actor in some old
|> tv show.

 IT'S A WONDERFUL LIFE was a big flop when it was released and was not
 "re-discovered" until the 70's - that's when I first recall seeing it.

 Travis
Newsgroups: rec.arts.movies