HDTenEightyP/NetNews huggingface dataset:
X-Subject:      Video top 30
Newsgroups: bit.listserv.cinema-l
Date:         Mon, 14 Dec 1992 15:47:49 CST
Reply-To:     NUTS@FINHUTC.HUT.FI
Comments:     Resent-From: C1PH000 <C1PH@SDSUMUS.SDSTATE.EDU>
Comments:     Originally-From: Peter Van Schevensteen <pvscheve@VNET3.VUB.AC.BE>
Comments:     Warning -- original Sender: tag was PHYDESBONNET@BODKIN.UCG.IE
From:         C1PH000 <C1PH@SDSUMUS.SDSTATE.EDU>
Subject:      Video top 30

I thought that the list may enjoy something from a humorous standpoint.
It is originally from the Nuts list. Nuts is a humor list where pretty
much anything goes. Thought you should be warned.

Bill Engels.
------------------------------- Original Message -------------------------------
Video top 30 for informaticians

1       For a diskful of dollars        Print Eastwood
2       The postfix always rings twice  Track Nicholson
3       Missing in hacktion             Chunk Norris
4       Raiders of the lost PARC        Harrison Fortran
5       Ray Tracy                       Warren Bitty
6       Total pascall                   Arnold Bottlenecker
7       Mac Max                         Mel Chipson
8       Laptop Gun                      Tom Crays
9       Death on the file               Peter Ustinode
10      American gigaload               Rechart Clear
11      Cobolero                        Poke Derek
12      Fatal quadraction               Cycle Douglas
13      Sea hack                        Error Flynn
14      Gosubusters                     Bill Array
15      Beverly hills copy              Editor Murphy
16      9 1/2 peeks                     Kim Basicer
17      Gorkey board                    John Hurtdisk
18      Crayopatra                      Elispeth Taylor
19      The bias from Brazil            Sir Laurence Olivetti
20      Lawrence of Arraybia            Peter O'toolbox
21      Sea hack                        Error Flynn
22      Apocalisp now                   Martin Scheme
23      Heapo man                       Charlie Screen
24      Jumpin' Jack Crash              Floppy Goldberg
25      Die hardware                    Bruce Welltris
26      Who framed Roger Rabbitmap ?    Bob Doskins
27      Foobarella                      Jane Fonta
28      The meaning of file             Monty Type on
29      Stack to the future             Dialo G. Box
30      Rombo - First boot              Sylvester Installone



    __Peter__
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Date:         Thu, 17 Dec 1992 09:48:52 -0600
From:         CDOMS@UMKCVAX1.BITNET
Subject:      Re: Letterbox (was Dracula)

Guys,  I regards to getting use to Letterbox, I have found that some
films where letterboxed better than others.  That is, they seem to have
varying shades of black, which are either annoying as heck or very
unnoticable.  I wish I could give you some examples, but my mind is
blanking out.  However, I thought it was nice that they used letterbox
for "sub-titles" in _Hunt for Red October_.  I would not mind seeing
more foreign films and films with some sub titles go to that format.

Also, since my husband and I are movie fans, that get letterbox over
any other format.  We bought a larger screen tv, to get around having
to sit up close to the tv.  (The opening for _Flatliners_ with that
beautiful scenery and music in stero sound just cried for a larger
screen :) :)   ).

Carol Doms
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Date:         Mon, 14 Dec 1992 13:10:42 EST
From:         JONATHAN LORD <jml4s@UVA.PCMAIL.VIRGINIA.EDU>
Subject:      Re: Turkey Update

Two other movies that should be high on the 1992 turkey list are:


HOME ALONE 2
WAYNE'S WORLD


Jonathan


-=-=-=- JML4S@Virginia.edu  -=-=-=-  The University of Virginia  -=-=-=-
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Date:         Wed, 16 Dec 1992 12:54:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Re: J-man and John and Kasdan

I don't doubt the sincerity of the actors, but I felt they
were mere mouthpieces by Kasdan to dump all that sanctimonious
bullshit on us. It's Kasdan's sincerity I doubt. I think that
after scoring a huge success with The Big Chill, his very hollow
60's epiphany, he thought he could impress us with his high-
mindedness by making a Big Chill for the 90's. Thanks, Mr. Kasdan,
but I already have CNN. Besides, I just have to get up in the
morning to know that not everything is what it should be.
                                                 Rolando
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Date:         Tue, 15 Dec 1992 13:27:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Another turkey

I almost forgot Far And Away as another contender for this
year's turkey. What a silly guy Ron Howard is, shooting this
cream puff in expensive 70mm. widescreen format. I've never seen
shit look so good and big. I cannot fathom what Mr. Howard had in
mind when he made this movie. I think he wanted to make an old-fashioned
historical love story a la David Lean. The result is a David Lean movie
without brains. Ron Howard should do a sequel to Backdraft and burn this
film.
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Date:         Tue, 15 Dec 1992 16:06:32 -0600
From:         JACKSOSM@VUCTRVAX.BITNET
Subject:      Re: ESCHATOLOGY

kjf,

Fascinating stuff about Burgess.  What an unkind twist of fate for him to
sell off the rights to CLOCKWORK ORANGE for a measly $500.  What did Joe
Eszterhas get for his BASIC INSTINCT script-- a million bucks, wasn't
it?  There might be justice somewhere in the universe, but you won't
find it in Lotus land.

j-man
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Date:         Fri, 18 Dec 1992 21:24:04 CST
From:         Rick Francis <C47805NF@WUVMD.WUSTL.EDU>
Subject:      PoMo, ironic icons, idyllic idols

Michael McDonald's thoughts on pomo iconicity make me wonder:  if there
is a recognizable BAD kind of pomo allusiveness, then it WOULD seem
there is a definable pomo aesthetic.  In fact, maybe it shouldn't be
surprising that any new aesthetic seems clearest in its WORST executions
(because those rely most heavily on formulaic encapsulations).  Not

Whether it was bad sci-fi, bad detective fiction, or bad imitations of
cubism, fauvism, pointillism, or whatever, the lousy versions which
were contemporary with the early best ones are often the clearest examples
of the textbook formulas so loved by pedants.  I think the same point can
be made with parodies, though.  Good, skillful parodies can show you loads
about the originals.  So what if a particular pomo artefact is both lousy
and parodic (or pastiche, if you prefer)?
I get the sense that might cover the movie M. McDonald mentioned, though I
I haven't seen it.

Incidentally, in his The Condition of Postmodernity, David Harvey talks
about pomo cinema.  Don't know why I didn't mention tht before.  Harvey's
is one of the better ones, IMHO.

Here's a quote from Terry Eagleton that seems relevant here...

"There is, perhaps, a degree of consensus that the typical
postmodernist artefact is playful, self-ironizing and even schizoid;
and that it reacts to the austere autonomy of high modernism by
impudently embracing the langauge of commerce and the commodity.  Its
stance towards cultural tradition is one of irreverent pastiche, and
its contrived depthlessness undermines all metaphysical solemnities,
sometimes by a brutal aesthetics of squalor and shock."

--Terry Eagleton

____________________________________________________________________________
Rick Francis        | "Is there a fatherless book, an orphan volume in
C47805NF@WUVMD      |  this world?  A book that is not the descendant of
Dep't of Comp. Lit. |  other books?  A single leaf of a book that is not
Box 1107            |  an offshoot of the great genealogical tree of
Washington Univ.    |  mankindUs literary imagination?  Is there creation
St. Louis, MO       |  without tradition?  But again, can tradition survive
63130               |  without renewal, a new creation, a new greening
                    |  of the perennial tale?"
                    |
                    |                   --Carlos Fuentes
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Date:         Tue, 15 Dec 1992 08:39:00 EST
From:         AMBLY@CLUST1.CLEMSON.EDU
Subject:      Re: Six handerchiefs/Ballad of a Soldier

My all-time six- or seven- hanky movie was LOVE STORY!!!  I've been crying
over that one since I first saw at the onset of puberty.  Now that I'm a
grown-up I no longer suffer the bouts of hiccups that usually accompany
the tears, but I still make pretty loud crying noises.

Adrian
Clemson
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Date:         Thu, 17 Dec 1992 11:29:43 -0500
From:         FAC_JCLARK@JMUVAX.BITNET
Subject:      Re: Letterbox (was Dracula)

Carol,

Agreed about the varying shades of black in letterboxed discs. At one time,
black wasn't even approached as a standard: the earlier lbxed edition of
Woody's Manhattan (he insisted it only be released or broadcast that way)
had gray banding.  And sometimes the variations in the quality of the black
bands may actually show defects or general lack of high quality in the
actual disc pressing.  But whatever, I normally find them pretty easy to
get used to ignoring, if you first get over the larger hurdle of adjusting
to 'boxing itself.

And I agree, it would be nice to see more often subtitles handled just below
the bottom of the picture; then there's no doubt about their readability (...
well, almost none).  But that practice is an extra expense in transferring
a film to video, so isn't always followed, especially on foreign films (in
that case you just pray they found good enough print material to work with
in the transfer).  I just ordered a used copy of Andrei Tarkovsky's The
Sacrifice which I haven't seen yet; but understand that the disc (very
slightly letterboxed) has subtitles that appear *half on and half off* the
bottom of the picture sometimes.  Now *that* may take some adjustment!

JC
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Date:         Mon, 14 Dec 1992 14:35:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Re: John and Grand Canyon

John,
    I agree with you. The title, itself, seems to suggest the enormous
gap between Director Lawrence Kasdan's reach and his grasp as he tries
to tackle a wide range of 90's social ills. As in his other film, The
Big Chill, he relies on chatter rather than dramatization. Although
the talk is sincere and passionate, these aren't real people conversing.
And you get the feeling the characters aren't talking to each other but
directly to the audience. They speak slowly and deliberately, seemingly
impressed that what they're saying is fresh and important. What they're
saying over and over is that life sucks. What I keep thinking over and
over is that this movie sucks. The movie ends in predictable happily-
ever-after fashion with a visit to the Grand Canyon, a breathtaking but
not so original metaphor for hope(the same imagery is used in the same
desperate fashion in Thelma and Louise). What I think Mr. Kasdan meant
the canyon to symbolize with its wide empty spaces and profound silence
is God's mysterious presence in our lives and that our individual
problems are relatively small. There are no accidents or coincidences
in life. They're all part of a grand design. But as Kevin Kline and
company stand speechless and in awe of the Grand Canyon, the Grand
Kasdan wants us to do the same - shut up and listen to him. This smug
film about smugness is one of the most self-important movies ever.
                                                         Rolando
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Date:         Tue, 15 Dec 1992 19:55:03 -0500
From:         JQL7500@NYUACF.BITNET
Subject:      unsubscribe

Jenine Lurie unsubscribe cinema
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Date:         Fri, 18 Dec 1992 09:58:00 EST
From:         EMC93@UNO.CC.GENESEO.EDU

subscribe ERIN CURTIS
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Date:         Fri, 18 Dec 1992 22:54:59 -0600
From:         JACKSOSM@VUCTRVAX.BITNET
Subject:      Re: Perfect Actor, No Dialogue, 6 Handkercheifs

Subj:   6 Handkercheifs

I'm thinking of the scene in AWAKENINGS where Leonard is trying to
converse with the pretty girl, who has only recently become his friend,
even as he exhibits all the embarassing, uncontrollable movements
of Parkinson's disease.  He's trying to hold on to his dignity,
but his body is in complete revolt.  He tells her that he doesn't
want to see her again.  But instead of leaving, she embraces him in
a silent dance, and as they move slowly together to some unheard music,
his violent tremors cease.  The camera then cuts to the window where
Leonard is watching her cross the street outside, watching as she gets
on the bus and is gone.

j-man
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Date:         Tue, 15 Dec 1992 08:22:42 EST
From:         Jacquie Wilson <OWI@NIHCU.BITNET>
Subject: Re: Jeremy Irons

I believe the movie is called *Damage*, and is supposedly
being rated at NC-17 because of some explicit love
scenes.  But from the comments I have read Malle giving,
the love scenes do not seem any more explicit than what
we've seen in movies like *Basic Instinct*, or even
on day time television.
...Jacqueline Wilson
   National Center for Health Statistics
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Date:         Fri, 18 Dec 1992 00:10:24 -0500
From:         S1MBM@ISUVAX.BITNET
Subject:      Re: John and Grand Canyon

j-man, this is just a note to thank you for a thoughtful post on Grand
Canyon, which I think does indeed have some merit, though I enjoyed
Rolando's magisterial dismissal of it, if only because his tone reminds
me of one I often like to employ (and when Rolando tunes up that tone,
I feel strangely relieved of my own will-to-Adornoesque-manifestation-of
-cultural-Mandarin-[not orange]-ism).  Anyway, I liked the way that you
found value in the film despite its regrettable flaws.  For me, the
fine performances by Kline and Glover made it worthwhile, as did the
film's interesting resonance with Walker Percy's marvelous essay,
"The Loss of the Creature," which I think Kasdan *must* have read.

Thanks,
michael mcdonald
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Date:         Fri, 18 Dec 1992 09:38:00 PST
From:         THOMPSON@UCRVMS.BITNET
Subject:      Laserdisc player

Jeff,
   Did you say some time ago that there's a disc player that plays
both sides by using two lasers?  If so, how expensive is it?
Jim
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Date:         Thu, 17 Dec 1992 09:35:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Scent of a Woman

Al Pacino follows up his terrific performance in Glengarry Glen
Ross with an even better performance. Scent of a Woman shows you
what a great actor can do with a mediocre script(re: perfect actor/
perfect script). The script is by Bo Goldman, who wrote the very fine
Melvin and Howard. Scent's script is a familiar one - a cross between
Dead Poet's Society and Midnight Run; a variation of the student/
teacher/buddy formula. Chris O'Donnell, who was wonderful as Jessica
Lange's son in Men Don't Leave, holds his own as the student who learns
what seeing is all about from the blind Pacino. He shows a kind of
restraint lacking in most young actors these days. Director Martin Brest
who gave Midnight Run a depth and poignancy not normally associated with
that genre, elicits two more fine performances. It's a long movie at 160
minutes. Brest lets some scenes run on too long. But his only real
mistake, and it's a serious one, is the pat and preachy ending which
almost made me forget what a thrilling ride I just had.
                                                         Rolando
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Date:         Tue, 15 Dec 1992 08:44:00 PST
From:         THOMPSON@UCRVMS.BITNET
Subject:      Six handerchiefs

Ellen,
  You wrote, "there are planty of 6 handy movies not worth the Kleenex
they're printed on, can we skip these and list only the good stuff?"

  Sorry, someone's already mentioned LOVE STORY.

Jim
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Date:         Tue, 15 Dec 1992 13:51:00 EST
From:         AMBLY@CLUST1.CLEMSON.EDU
Subject:      Re: Listserv info

Sorry, Heather.  I wasn't paying attention.  You wanted to reach the listserv
not the list.
That's totally different.  I'll get back to you on that one.

Adrian
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Date:         Fri, 11 Dec 1992 11:20:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Scott and Brooke

Scott,
    Brooke Shields can probably be seen in the next Bob Hope
special. It will be tougher for her to get movie roles(thank God!)
now that her better-looking and more talented look-alike, Jennifer
Connelly( Hot Spot, Rocketeer) has first shot at anything remotely
Brooke Shields-y.
                 Rolando
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Date:         Wed, 16 Dec 1992 09:12:00 PST
From:         THOMPSON@UCRVMS.BITNET
Subject:      Robert Goulet

Just in case everybody's still panting for a chance to see what's
become of Robert Goulet, he's appearing in CAMELOT at the Orange
County (Ca.) Performing Arts Center, Dec. 21-Jan.3.  As King
Arthur, no less.

Jim
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Date:         Tue, 15 Dec 1992 21:24:52 GMT
From:         John Smyth <eeijsh@EEIUC.ERICSSON.SE>
Subject:      Flame-grilled turkey

>I almost forgot Far And Away as another contender for this
>year's turkey. What a silly guy Ron Howard is, shooting this
>cream puff in expensive 70mm. widescreen format. I've never seen
>shit look so good and big. I cannot fathom what Mr. Howard had in
>mind when he made this movie. I think he wanted to make an old-fashioned
>historical love story a la David Lean.The result is a David Lean movie
>without brains. Ron Howard should do a sequel to Backdraft and burn this
>film.

I haven't seen Far and Away, but your criticisms could equally be
directed at Backdraft. Beautifully-shot scenes of pure rubbish.
The story itself had potential, but the dialogue was
almost embarassing, and the action throughout was fairly predictable.
Donald Sutherland's character was a joke, a wide-eyed looney
muttering about the 'spirit' within fire.
               Some scenes must have had real fireman squirming, such as
when the firefighting team take the elevator to reach the blazing floor.
Or the scene where De Niro re-lights a fire in a room to demonstrate 'the
nature of the beast'. Even the final scene in the burning factory, where
the firemen shin down (apparently) red-hot pipes and.....I could go
on and on. I was very disappointed, especially as the scenes of the
fires were brilliantly filmed.

My favourite movie of this year was probably "Flirting", possible because
I had heard nothing about it beforehand. I was a bit disappointed
with "Sneakers" too. A great cast, but the story never really lives
up to it's potential. And worse, Mary McDonnell is in it :-)

John Smyth
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Date:         Tue, 15 Dec 1992 10:06:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Re: Michael's Request II

Michael,
      Let's not forget Malcolm X or be accused of racism by Spike.
I enjoyed it despite its flaws. I wasn't bored despite its length and
that's a good indicator of a film's merits.
                           Rolando
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Date:         Mon, 14 Dec 1992 12:35:32 -0500
From:         FAC_JCLARK@JMUVAX.BITNET
Subject:      Re: Alien3 and spoilage

michael,

As my original comments may have *very* diffusely implied, I'd agree with your
spoiler notion: there's a lot more than endings to get spoiled in discussing
films, and who's to say what else for other viewers?  Talking about a film
in a way that's remotely critical, is going to get into this territory almost
inevitably--rather than in the case of approaching it like a capsule "reviewer"
for a potential audience.  But I for one will probably continue to bumble back
and forth between trying to satisfy both conditions, and trying to remember
to flag my remarks.  But your point not to read about films you haven't seen
is still a sensible one.  Jeff Clark
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Date:         Thu, 17 Dec 1992 11:01:42 EST
From:         "E. Susan Stonehill" <ZKTKB@CUNYVM.BITNET>
Subject:      Re: Greenaway, Chaplin, lost weekends, & Con Men
              15 Dec 1992 09:34:22 -0500 from <ellerman@NORFOLK.NADN.NAVY.MIL>

     The best L & H movie is MARCH OF THE WOODEN SOLDIERS.  That's a kinder
 and gentler version of the duo.
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Organization: State University of New York, Stony Brook
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Date:         Fri, 18 Dec 1992 09:14:44 -0500
From:         MDESCHUYTENE@SBCCMAIL.BITNET
Subject:      Re: great elevator scenes

               State University of New York at Stony Brook
                       Stony Brook, NY 11794-8121

                                            Michel Deschuyteneer
                                            Department of Neurology, HSC
                                            516 444-1469
                                            18-Dec-1992 08:53am EST
FROM:  MDESCHUYTENEER
TO:    JONATHAN LORD                        ( _CINEMA-L@AUVM.BITNET )

SUBJECT: RE: great elevator scenes

    One of my all time favorite nail biting scenes takes place when Max Von
    Sydow and Robert Redford share an elevator in THE THREE DAYS OF THE
    CONDOR.

    And a graphic reminder of why one should not use elevators in a fire:
    TOWERING INFERNO.

    MICHEL
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