HDTenEightyP/NetNews huggingface dataset:
Newsgroups: bit.listserv.cinema-l
Date:         Mon, 21 Dec 1992 13:23:07 CST
From:         C444307@MIZZOU1.BITNET
Subject:      Re: Good horror movies

>               State University of New York at Stony Brook
>                       Stony Brook, NY 11794-8121
>
>                                            Michel Deschuyteneer
>                                            Department of Neurology, HSC
>                                            516 444-1469
>                                            19-Dec-1992 12:52pm EST
>FROM:  MDESCHUYTENEER
>TO:    Remote Addressee                     ( _cinema-l@auvm.bitnet )
>
>SUBJECT: Good horror movies
>
>    (subject was: THUNDERHEART/A MIDNIGHT CLEAR)
>
>    Joe,
>
>    I would not label horror movies "bad" across the board. I believe there
>    are good horror movies. Actually, I would say there are good movies
>    which happen to borrow some of the usual themes of the horror genre.
>    THE SHINING as you mentioned, THE EXORCIST, AMITYVILLE, FRANKENSTEIN
>    UNBOUND, GOTHIC, NOSFERATU come to mind. There are also two movies by
>    Belgian (allow me a little chauvinistic pride here) director Harry
>    Kummel: MALPERTUIS and LES LEVRES ROUGES. I don't think that the former
>    has been released in the US (or maybe under a weird title). LES LEVRES
>    ROUGES, which should be translated "The Red Lips", is available on
>    video as DAUGHTERS OF DARKNESS (go figure). And, of course, there are
>    the good horror comedies like YOUNG FRANKENSTEIN, THE FEARLESS VAMPIRE
>    KILLERS OR PARDON ME BUT YOUR TEETH ARE IN MY NECK, THE NIGHT OF THE
>    LONG SHADOWS and BEETLEJUICE.
>
>    I must confess that I like bad horror movies too. And I have the
>    hardest time to take them seriously. They usually make me laugh, like
>    the first one I ever saw: Andy Warhol's FRANKENSTEIN. I was with my dad
>    who laughed all the way (most to the dismay of other spectators who
>    were there to be scared).
>
>    Finally while we are in this department, I have always enjoyed the
>    classic Hammer productions which, IMO, were quality products in this
>    category.
>    And for me, much as Sean Connery being Bond, James Bond, Christopher
>    Lee still is Count Dracula, Coppola or not.
>
>    Boo,
>
>    MICHEL
>

Michel,

Could you tell me a little more about _Frankenstein Unbound_?
Is this the one with Raul Julia (sp?)?  If so
I would really be interested in your thoughts on it.
Every other time I'm renting flicks I pick this one
up and have that little inner debate only to put
it back down once again.

Thanks,

Joe Daus  U of MO-Columbia
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Date:         Tue, 22 Dec 1992 01:34:19 -0500
From:         S1MBM@ISUVAX.BITNET
Subject:      Re: John and Grand Canyon

j-man, i'm not sure whether "The Loss of the Creature" is included in
*Message in the Bottle*, though if the latter comprises Percy's collected
essays, twould only make sense if it is.  "Creature" is included in a
collection of readings that i like to use in teaching freshman comp, *Ways
of Reading*.  The essay tends to upset students, for it challenges all sorts of
assumptions regarding a great national icon . . . the Grand Canyon!

Best,
michael mcdonald
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Date:         Tue, 22 Dec 1992 10:53:39 EST
From:         Scott Huddle <grass@CHAOS.ENTO.VT.EDU>
Subject:      Weekend Update -- 12/16

from Usenet, it must be true....
----------------
Following is a list of the top-ten grossing movies in the U.S. as of 16
December 1992 (source: Seattle P-I, 16 December 1992). The first dollar
column lists the amount grossed in millions of dollars in the previous
weekend. The second dollar column lists the total gross receipts in the
U.S. through the end of the previous weekend. The fourth column tracks
the number of weeks a film has been on the Top Ten list.

1     A FEW GOOD MEN                    $ 15.5 M     debut

2     HOME ALONE 2                         8.3     101.4 M 4th week

3     THE BODYGUARD                        7.4      51.3   3rd week

4     ALADDIN                              7.4      50.3   3rd week

5     THE DISTINGUISHED GENTLEMAN          5.4      18.6   2nd week

6     THE MUPPET CHRISTMAN CAROL           5.0       debut

7     MALCOM X                             1.8      35.7   4th week

8     BRAM STOKER'S DRACULA                1.6      78.1   5th week

9     PASSENGER 57                         1.0      37.6   6th week

10    A RIVER RUNS THROUGH IT              0.7      31.5   9th week

COMMENTS:

In one month HOME ALONE 2 has gone blockbuster (more than
$100 million).

I for one am impressed by the legs PASSENGER 57 is showing.

I would imagine no one is too pleased with the performance
of THE DISTINGUISHED GENTLEMAN, which opened to $10 million
and fell 50% in one week. Not a sign of a big money maker.

A RIVER RUNS THROUGH IT has done remarkably well considering
its arthouse quality and limited distribution.

----------
I know that _A Few Good Men_ retained the BO pole position and
is looking for a strong drive through the rest of the holiday
track.

--
-scott
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Date:         Mon, 21 Dec 1992 10:35:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      A Crying Gem by Jordan

The Crying Game is the most delightfully unusual film of the year.
So as not to spoil your own discoveries, I will discuss the film
mostly in generalities rather than specifics. It's a thriller
without villains. Imagine a band without a rhythm section and how
interesting it could be. It's a comedy in the Shakespearean mode -
a comedy of errors with its ingredients of sex, murder, betrayal;
replete with hoods, veils, mirrors, gauzes. It's a deliriously
romantic tale of immpossible love(Neil Jordan's favorite theme),
defining and redefining relationships and sex roles. The basic plot
involves the relationship between a black British soldier(Forest
Whitaker) and one of his IRA kidnappers. But the audience will be
held willing hostage to more twists and turns, more misconnections
and misunderstandings, more deception than the Reagan/Bush adminis-
tration. You'll also encounter the most unforgettable character in
Dil, the film's femme fatale, played by the striking Jaye Davidson.
Miranda Richardson(Enchanted April) plays a small but pivotal role.
The film isn't without its faults. It starts out rather slowly and
maybe I'm just suffering from a slight case of the dreaded but
fashionable PC virus, but I sensed misogynistic tendencies here and
there. Nevertheless, this Neil Jordan's best film since Mona Lisa.
The dreamlike Company of Wolves put me to sleep. High Spirits
lowered mine. And I had mixed feelings about We're No Angels. I liked
its look(The village looks like its about to slide into the river)
and I found the Laurel and Hardy interpretations of De Niro and Penn
quite amusing. But I was turned off by the films lame humor and the
overall pointlessness. And then there's Ms. Demi Moore, whose talent
for Vanity Fair covers exceeds her talent for acting. The Crying Game
looks great(its use of the widescreen format is far more effective
than Rob Reiner's obviously commercial ploy). Rob Reiner's purpose, it
seems, is to fill the screen with close-ups of pretty faces. The problem
is he forgot to create characters to go with these faces.
                                                        Rolando
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Date:         Mon, 21 Dec 1992 10:45:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Re: Rob Reiner and The Crying Game

I forgot to mention the film I was referring to where Rob Reiner
used the widescreen format. It's A Few Good Men, in case someone out
there didn't know.
                                                Rolando
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Date:         Tue, 22 Dec 1992 15:53:06 -0500
From:         S1MBM@ISUVAX.BITNET
Subject:      Re: Awards and Bits on _My Brothers Keeper_

Scott, thanks for the info.  I remember now . . . *Brother's Keeper* is set in
rural New York, is it not?  Sisk and Eb both raved over it, which I have found
to be a good sign, *usually* . . .

michael mcdonald
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Date:         Wed, 30 Dec 1992 01:20:00 EDT
From:         FARQUHAR@SNYSYRV1.BITNET
Subject:      Re: Frankenstein Unbound

I too watched _Frankenstien Unbound_ on Cinemax (or was it HBO?) And from
what I've read in VIDEO WATCHDOG, thge
the version they showed wsa
was the edited American release! Here's want the magazine says
:

(They compared the US laser Disc and the Newer Japanese LD)

1) Durring the initial Storm that  the scientist and the kids encounter
  In the Japanese LD the Sky and Picture in general Darken to match
what one expects from a storm The US LD (and Cable version from what I
remember) Does not.

2) There ia anothe similar lack of darkening (this tim associated with it
being night) that again is in the Japanese but noit US (when the scientist
leaves the candle lit resturant)






SPOILERS SPOILERS SPOILER SPOILER SPOILERS SPOILERS SPOILERS SPOILERS SPOILSER




















SPOILERS SPOILERS SPOILERS SPOILERS SPOILSER SPOILSER SPOILERS SPOILERS SPOILERS

3) The next dirrefence deals with the murder of Victor's fiancee, Elizabeth.
In the US version the Monster grabs the girl, the scence cuts to his face,
and then back to her which her chest re
ripped open. In the Japanese disc he first rips open her dress, and the is
shown to rip o[pen her chest in a sperate action. There is also a note that
although her dress is ripped open in the Japanese disc, her breasts are not
visible, but that the is an audiable JUMP in the soundtrack of both copies
implying that possible a shot of her breasts were removed from both copies.
The muse that perhaps the MPAA objected to her death being preceeded by a
sexual allusion.

4) the next change is durring Dr. Buchanan's final dream. This dream has a
nude Buchanan with his chest scared to suggest his guilty identification
with the monster. Mary looks at him an says "An abomination in the eye's
of God." and then cuts to Buchanan's waking in a chair. In the Japanese
Disc After Mary says her line they cut back to Buchanan's chest which swells
until it's stichings burst, unleasing an explosion of blood, then he wakes
in the chair. Interesting enough, In the US disc you can still hear the
end of the explosion as he wakes in the chair.

5) one ;last thing, althogh it's not a change. The auther notes that when
the bride is shot, the gun fires twice (rapidly) for some reason.

All in all the differences acount for only 8secs cut! But The presumed
cut durring the murder of victor's fiancee makes me think that perhaps
there was a lot more taken out post perduction that wasn't even put back
in for the Japanese release.


BTW can anyone who read the book explian what was meant by the monster's
voice saying "You can't kill me, I am unbound"?
Or the future world they found themselves in and the computer
that apperantly knew who Buchanan was?


Sean "Doc Syracuse" Farquharson
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Date:         Sat, 2 Jan 1993 10:39:46 -0600
From:         CDOMS@UMKCVAX1.BITNET
Subject:      Re: Leap of Faith

Michael-

You said you didn't like the ending, but didn't want to talk about it.
Actually, I would be interested in what aspect you didn't like.  I've
only read a couple of "movie critics" why they didn't like it (the ending)
but I am curious about what others thought on this.  Like I have said
before, there are at least two other endings I could think of that they
could have taken, but this one was more interesting (to me).

Let me know what you think, either post a spoiler warning for other
folks or you can e-mail me direct.

Carol Doms
cdoms@umkcvax1
cdoms@vax1.umkc.edu
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Date:         Tue, 22 Dec 1992 15:12:00 EST
From:         AMBLY@CLUST1.CLEMSON.EDU
Subject:      Season's Greetings Revised...

Well, at the risk of being called a copycat, I too would like to wish you
all a Safe and Happy Holiday!  There's no chance of snow in South Carolina,
but this has been one of the wettest Decembers this state has ever seen.
But looking on the bright side, at least I won't have to see the inside of
this office until Jan. 4.  Until we read and write again...

Dreaming of a dry Christmas,
                                Adrian
                                Clemson
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Date:         Mon, 21 Dec 1992 08:08:43 CST
From:         Carol Slingo <slingo@CASBAH.ACNS.NWU.EDU>
Subject:      Re: great elevator scenes
              at Dec 21, 92 8:57 am

My favorite elevator scene (on screen) is Ingmar Bergman's marital
reconciliation between Eva Dahlbeck and Gunnar Bjornstrand in WAITING
WOMEN.  I recall that this couple had been too busy to even talk to each
other for years but when they're trapped in an elevator there's nothing
else to do but talk and sex.  I especially liked it that they were middle
aged people.

My favorite elevator scene (off screen) is the maybe apocryphal tale of
Alfred Hitchcock, who was supposed to be in the habit of turning "on" and
"off" juicy stories of murders when he got into elevators with someone he
knew.

Carol
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Date:         Sun, 3 Jan 1993 01:44:55 -0500
From:         S1MBM@ISUVAX.BITNET
Subject:      Re: Leap of Faith

Carol, I admire the way you ask for discussion from an interlocutor you
already know is predisposed to disagree with your views (regarding *Leap*).
The spirit of inquiry you thus demonstrate is what the net should be all
about (in my view, of course), yet rarely is.  Thanks.

Spoliers ahead:






















Ok, it's pretty neat that Martin's character doesn't simply get together with
Davidovitch's, which the typical Hollywood formula would necessitate.  This
much of the ending I liked, and I liked the moment when Martin gazes out over
the peaceful field of holy campers, seeing the holiness of simple, everyday
life.  That was a very nice touch indeed.

But Winger's character staying one with Neeson's?  Perhaps if each of these
characters had received more development, I would have better understood,
especially in her case, the *motivation* for this (other than formulaic
romance, which I rather suspect was the only motivation the writers en-
visioned in this case), but it irked me that this supposedly road-hardened,
somewhat cynical character would be seduced by strong-faced sincerity and
clinging butterflies to give up the road for life in Rustwater.  No matter
how much she likes that sheriff, isn't her character smart enough to
*consider* what *daily life* in such a town would be like?  Of course, the
entire ideological set-up of the film leads to an *affirmation* of such
life; I guess I just don't buy it, or that *her* character would buy it.
See, this is the problem:  complete breakdown of character consistency in
favor of the mystifications of cheap ideology.  I can accept that Martin's
character repented of his hucksterism, but does it really follow that he
would set off for parts unknown, leaving himself in an utterly destitute
economic and personal position?  Oh, I know that he's supposed to not care
about such stuff because a special kind of practical faith now infuses him,
but once again I just don't buy it.  I do believe that such transformations
of faith can and do happen all the time, but I strongly doubt that people
who experience such transformations simply ride off into sunrise or, with
Huck, set off for the territories (at least Twain had the grace not to imply
that Huck was probably going to find happiness in that uncertain future).
And finally, of course, the rain comes right on cue, complete with swelling
music . . . too damn much!  I really don't mind being manipulated by films,
but when the manipulation is of the sort that replaces truth, or at least the
striving after truth, with the false comforts of a mystifying ideology, I
mind very much indeed.

Comments?

michael mcdonald
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Date:         Mon, 28 Dec 1992 00:39:21 -0500
From:         S1MBM@ISUVAX.BITNET
Subject:      Re: Recommendation Wanted for Adults & Kids

Richard, if it's still at a theater near you, take those adults and kids to
see *A River Runs Through It*; this is one of the most moving films I've
seen in quite some time, and has more substance in terms of "family values"
and plain ole human character than dozens of other media events put together.
The movie contains a *little* nudity and violence (frankly, I'm not sure
about language, cuz the damn stuff tends to roll off me), but certainly nothing
gratuitous or too rough for a 10 year old to handle (I believe that all the
nudity consists of butt shots, and the violence is constrained to a couple
of fist fights).  Anyway, I do hope you will see this with folks you love;
it's a beautiful film, a beautiful work of art.

unabashedly gushing,
michael mcdonald
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Date:         Mon, 21 Dec 1992 19:41:50 -0600
From:         JACKSOSM@VUCTRVAX.BITNET
Subject:      Re: Awakenings

>>The Two J's(J-man, Joe),
>>    Awakenings was indeed heartrending. But it's in my nature
>>to think that I haven't seen the perfect movie yet so I have
>>to pick on something. I had a bit of a problem with Robin Williams'
>>performance. I got tired of him smiling and acting sincere. I also
>>felt that in his noble attempt to underplay(a method of acting unfa-
>>miliar to him), I thought the strain showed. But it's nice to see
>>him get away from doing schtick.
>>                                                Rolando
>>

>Can't agree with you here Rolando,
>I thought Robin Williams was brilliant.
>IMHO.
>
>Joe

I believe AWAKENINGS is Robin Williams' best dramatic work since DEAD POETS
SOCIETY. I absolutely love that scene in Dr. Benjamin S.'s apartment
when he is telling Leonard all about the Table of Periodic Elements,
which is hanging on the wall.  This movie convinced me that Williams has
a future as a dramatic actor, if he chooses to pursue it.  But I doubt
seriously that he'll ever give up comedy--his stock in trade.

j-man
    <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
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Date:         Tue, 22 Dec 1992 10:53:39 EST
From:         Scott Huddle <grass@CHAOS.ENTO.VT.EDU>
Subject:      Awards and Bits on _My Brothers Keeper_

     LOS ANGELES FILM CRITICS' ASSOCIATION

     Best Picture:  "Unforgiven"
     Best Director:  Clint Eastwood, "Unforgiven"
     Best Actor:  Clint Eastwood, "Unforgiven"
     Best Actress:  Emma Thompson, "Howards End"
     Best Supporting Actor:  Gene Hackman, "Unforgiven"
     Best Supporting Actress:  Judy Davis, "Husbands and Wives"
     Best Screenplay:  David Peoples, you guessed it, "Unforgiven"
     Best Foreign Film:  "The Crying Game"
     Best Cinematography:  "Raise The Red Lantern"
     Best Documentary:  "The Threat" and "Black Harvest"
     "New Generation" Award:  Carl Franklin, director of "One False Move"

     NEW YORK FILM CRITICS' CIRCLE

     Best Picture:  "The Player"
     Best Director:  Robert Altman, "The Player"
     Best Actor:  Denzel Washington, "Malcolm X"
     Best Actress:  Emma Thompson, "Howards End"
     Best Supporting Actor:  Gene Hackman, "Unforgiven"
     Best Supporting Actress:  Miranda Richardson, "The Crying Game",
                                 "Damage", and "Enchanted April"
     Best Screenplay:  Neil Jordan, "The Crying Game"
     Best Foreign Film:  "Raise The Red Lantern"
     Best Cinematography:  Jean Lapine, "The Player"
     Best Documentary:  "My Brothers' Keeper"
     Best New Director:  Allison Anders, "Gas Food Lodging"

     NATIONAL BOARD OF REVIEW

     Best Picture:  "Howards End"
     Best Director:  James Ivory, "Howards End"
     Best Actor:  Jack Lemmon, "Glengarry Glen Ross"
     Best Actress:  Emma Thompson, "Howards End" (3 for 3)
     Best Supporting Actor:  Jack Nicholson, "A Few Good Men"
     Best Supporting Actress:  Judy Davis, "Husbands And Wives"
     Best Screenplay:
     Best Foreign Film:  "Indochine"
     Best Cinematography:
     Best Documentary:  "My Brothers Keeper"


     Notes:   Emma Thompson won everyone's Actress award, and _My Brother's
 Keeper_
     won two of the documentary awards!

     I saw _My Brothers Keeper_ as a rough cut at last year's Virginia Festival
     of American Film.  The story is about two brothers who had shared the same
     bed in this tiny broken down house, and one morning one of them wakes up
 dead.
     An investigation is started, and the facts point to murder, but no motive.
     I have no idea how it ends (the director didn't show it).
     The brother that is alive has a really strong accent, it is initially very
     hard to understand.  One of the reasons the directors showed at the
 festival
     was to get input on how to end the movie, and wheter to subtitle the
     brothers speech.  It was all really interesting.
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Date:         Tue, 29 Dec 1992 16:55:00 CST
From:         Rolando Recometa <$W$LB4P@LUCCPUA.BITNET>
Subject:      Re: Books on movies

Carol,
    One book I really enjoyed was A Cinema of Loneliness by Robert
Phillip Kolker. It's a critical essay on the works of Penn, Kubrick,
Scorsese, Spielberg, Altman. You can either get the 1st edition which
has Coppola instead of Spielberg or the second edition.
                                                        Rolando
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Date:         Mon, 21 Dec 1992 16:07:15 -0500
From:         Ens Alexander W Ellermann <ellerman@NORFOLK.NADN.NAVY.MIL>
Subject:      Aladdin question & 1 more AFGM

Was the voice of the princess in ALADDIN the same as that of Belle
in BEAUTY AND THE BEAST?

Also, did anyone else notice how the dimple in Kevin Bacon's tie
kept moving around in the middle of courtroom scenes (it was in
the right place about 20% of the time, BTW)?

                                Merry Christmas
                                           Alex
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