HDTenEightyP/NetNews huggingface dataset:
From: bright@nazgul.UUCP (Walter Bright)
Newsgroups: rec.arts.movies
Subject: Customer service at the movies
Date: 9 Jan 93 01:21:23 GMT
Reply-To: bright@nazgul.UUCP (Walter Bright)
Organization: Zortech, Seattle

In article <1icglrINN765@titan.ucc.umass.edu> a0s5108@titan.ucc.umass.edu (Neal and Mara Priestly) writes:
/With the availablity of home video and pay cable the only thing
/that can keep people coming is the 'theatre experience' and the lions share
/of that is direct and indirect customer service.

I have a suggestion to all theater managers to improve customer service.

Take a lesson from airline baggage check lines, and have *one* line for
popcorn feeding multiple cash registers. This eliminates the frustration
of always picking the 'wrong' line. The airlines switched to this method
after doing several studies showing that customers were more satisfied
with this approach.
From: jmann@vineland.pubs.stratus.com (Jim Mann)
Newsgroups: rec.arts.movies
Subject: Re: Coppola's DRACULA
Date: 7 Jan 1993 15:10:04 GMT
Organization: Stratus Computer Inc, Marlboro MA
Distribution: na
Reply-To: jmann@vineland.pubs.stratus.com
NNTP-Posting-Host: gondolin.pubs.stratus.com

In article <1993Jan7.144844.16689@Princeton.EDU>  
egnilges@phoenix.Princeton.EDU (Edward G. Nilges) writes:
> I KNOW that I don't love the smell of napalm in the morning, and to  
me
> it's not the smell of victory.  Coppola needs to grow up.
> 

Are you confusing the point of view of a character in the movie
with that of the writer/director?  The character was obviously
portrayed as a buffoon for saying things like that.

--
Jim Mann            
Stratus Computer   jmann@vineland.pubs.stratus.com  

Newsgroups: rec.arts.movies
From: fehr@ms.uky.edu (Jeff Davis)
Subject: Re: Most Underrated Actor/Actress
Date: Tue, 5 Jan 1993 18:37:46 GMT
Organization: Austerlitz, Gershovitz, and Carmichael

Frank R.A.J. Maloney writes:
>Jeff Davis writes:
>>Gary L Dare writes:
>>>
>>>We saw "Green Card" and "Sex, Lies and Videotape" over the past couple
>>>of weeks and Andie McDowell couldn't act her way out of a bag. 
>>
>>She doesn't have enormous range, but what she does she does well. As
>>she isn't (from the interviews I've read) the finicky, fubsy, repressed
>>uber-nun she generally plays, I'd say she acts rather well.
>
>I never saw GREEN CARD, but in addition SEX, LIES, AND VIDEOTAPE I have
>see MacDowell in THE OBJECT OF BEAUTY a 1991 film written and directed
>by Michael Lindsay-Hogg, in which she costarred with John Malkovich;
>the rest of the cast included Lolita Davidovich, Joss Ackland, Peter
>Reigert, and Rudi Davies. I gave this film pretty good marks at the
>time, especially the performance of Rudi Davies as a hearing-impaired
>hotel chambermaid. MacDowell's performance was that of a deft, subtle
>comedienne. Malkovich was funny, despicable, and sympathetic.
>Altogether, a rather wonderful little film.
>

There's a scene in "The Object of Beauty" unlike any other I've ever
seen in the movies. It's very simple and MacDowell is fine at it.   
In it, she's the ex-lover of Peter Reigert to whom she goes to
ask for some money. She doesn't love Reigert, admits as much,
and still cannot fathom why he won't let her have any. MacDowell
handled her character's vacuity without resorting to any of the 
usual frou-frou of air headedness. A fine performance. Plus, I like
the fact that she's kind of dirndl shaped, with a real picket fence
smile. She's sort of like Alfred E Newman's impossibly pretty
kid sister.
-- 
Jeff Davis <davis@keats.ca.uky.edu> One never knows, do one?
Newsgroups: rec.arts.movies
From: reiher@ficus.cs.ucla.edu (Peter Reiher)
Subject: Re: Why X _is_ making money
Organization: UCLA Computer Science Department
Date: Tue, 5 Jan 93 16:14:57 GMT

In article <sterbenc-040193150223@150.130.23.185> sterbenc@ivhs.mot.com (Joe Sterbenc) writes:
>Um, guys...
>
>It's not challenging the Culkinator or setting records, but X is 
>already in 8-digit profits - in spite of the Amazing Colossal Budget.

That's 8-digit grosses.  The formula I hear most often is that a film
has to gross something like 3 to 4 times its budget to really show a 
profit.  (There are so many variables here that it's probably a mistake
to make authoratative claims, but it's a starting point.)  Of course, nowadays 
a lot of that gross comes from foreign release and videocassette sales, so 
there's a pretty good chance "Malcolm X" will end up making money.  But it 
will not be an incredible hit.  Studios don't spend upwards of $30 million
to make a small profit.  For that amount of money, they want a tremendous
hit.  Still, it's a lot better than a tremendous flop, and there have
been a number of $30-$40 million flops this year.  "Malcolm X" looks pretty
profitable, next to "1492" and "Hero".

>There is one simplereason it's not as blockbustery as y'all apparently
>expect it to be. Can you name any box office smash that was three and
>a half hours long? 

As a matter of fact, yes.  "Gone With the Wind", by some estimates the
most profitable film of all time.  "Lawrence of Arabia" and "Dr. Zhivago"
did pretty well, too.  "The Sound of Music" is also up there in length -
it was the highest grossing film of all times for quite a few years.
Long films can make lots of money, provided enough people want to see
them.

"Malcolm X" hasn't turned good profits for a number of reasons.  If length
were the only factor, then "Malcolm X" would still be selling out in large
theaters to all the folks who couldn't get into it before because there
were only two or three shows a day.  Most multiplexes have moved it into
one of their smaller auditoriums, because not enough people are showing up
to fill the large ones.  The explanation I've heard for this film's failure
to turn into a blockbuster is insufficient appeal for youth audiences,
particularly white youth audiences.  (Though many of the young black men
wearing X hats and T-shirts apparently aren't quite sure what the X refers
to, and have little interest in going to the movie to find out.)

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

Newsgroups: rec.arts.movies
From: frankm@microsoft.com (Frank R.A.J. Maloney)
Subject: Re: Italian movie - Title please...
Date: 05 Jan 93 16:27:33 GMT
Organization: Microsoft Windows/DOS Users Ed Group

In article <1993Jan4.213205.6131@merlin.dev.cdx.mot.com> haluk@merlin.dev.cdx.mot.com (Haluk Gumrukcu) writes:
>
[deletions]
>
>
>Couple of things; Victoria Abril has nothing to do with The Lovers, she is in a
>new movie by Almadovar: "High Heels"

Sorry, but you are the victim of the U.S. distributors of two similarly
titled and recently released films. One is a Spanish film called
AMANTES, but released in the U.S. as LOVERS (note, no article). The
other being a French film set in Vietnam called in its U.S.  release
THE LOVER (note, singular).  AMANTES does indeed star Victoria Abril,
who also starred in Almodovar's HIGH HEELS.

-- 
Frank Richard Aloysius Jude Maloney
	"Well, I'm a little muddled." -- Glinda
Newsgroups: rec.arts.movies
From: roland@quadsys.com (Roland Besserer)
Subject: Re: PEEVES at MOVIE THEATERS !
Organization: QUAD Systems
X-Newsreader: Tin 1.1 PL3
Date: Sat, 9 Jan 1993 19:21:55 GMT


Whow - I don't know where you people go to see movies, but I rarely -
if ever - encounter any of the annoyances you list. Almost anything -
including people talking, screaming kids, etc - can be taken care of
by simply going over to those people and explaining (nice calm voice,
menacing visage) that they are seriously disturbing your viewing 
enjoyment  :-)

Anyway, I only have one real complaint - and this is something I will
complain about every time I encounter it - COMMERCIALS. It has pissed 
me off so bad, that I have demanded my admission back and left the
theatre after like the 4th damn commercial was shown. After all, I am
not paying admission to be force commercials.
-- 

Roland Besserer
QUAD Systems
roland@quadsys.com	
Newsgroups: rec.arts.movies
From: mftjs@uxa.ecn.bgu.edu (T. Jerry Scott)
Subject: Re: Review: A Few Good Men.
Organization: Educational Computing Network
Date: Wed, 6 Jan 1993 14:17:34 GMT

In article <23650007@hplsla.hp.com> jaym@hplsla.hp.com (Jay Miazga) writes:
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>                              A Few Good Men
>                          A Review by Raul Cairo
>
>But if there is anything that can be said about this film it is 
>that it is by far one of the greatest movies ever made, and is certainly going 
>to be remembered as a classic, years from now. 

I saw this movie during Christmas break and agree with the assessment.
It was  refreshingly honest and sexless and the conclusion was not known
until the movie was over.  An excellent acting job by Demi Moore, Jack
Nicolsen, and Tom Cruise.

I don't care what the critics think, this was "a keeper."  My question
for the group who have seen this exciting movie is, "Who did the best
acting job: Tom, Demi, or Jack?"

=======================================================================
Thomas J. Scott						mftjs@uxa.ecn.bgu.edu

Newsgroups: rec.arts.movies
From: spencer@der.Princeton.EDU (S. Spencer Sun)
Subject: Re: PEEVES at MOVIE THEATERS !
Originator: news@nimaster
Reply-To: spencer@phoenix.princeton.edu (S. Spencer Sun)
Organization: Society for Promotion of Entropy in the Universe (SPEU)
Date: Sat, 9 Jan 1993 00:29:20 GMT

In article <1993Jan8.185440.17860@spectra.com>, johnson@spectra.com (boyd johnson) writes:
>In article <1993Jan7.204526.6320@CERIS.Purdue.EDU> tfisher@CERIS.Purdue.EDU (Tom Fisher) writes:
>Since 99% of the people leave at the first sign of credits as if someone
>had yelled "FIRE" the ushers usually have a few minutes during the

Maybe where YOU go the movies.  I have worked at five movie theaters in
the Baltimore area, worked at one up here in Jersey, and seen movies at
a sixth one in Balto. on a regular basis.  There are always some people
who stay through the whole credits.  Enough to get in the way.  And then
they bitch that you disturbed them while they were trying to see who the
key grip's best boy's assistant was.

>credits to start cleaning (along with giving patrons obvious clues they
>would like them to leave).
>I can see where it would be a problem keeping people from entering until
>all of the trash was removed and the floors were mopped and still giving
>them enough time to get a good seat and get settled.

Often there just isn't enough time.  It's as simple as that.  Someone
higher up decided they wanted to squeeze T2 for all it was worth, so
they stuck us with the schedule.  End of discussion.  So we had to live
with it, and sadly that meant the patrons did too.

To this, add patrons from the previous showing who have absolutely no
consideration for the people in the next showing, and you end up with
leftover trash.

It depends on the volume of business, of course, but there often has to
be this tradeoff between "Well, do you want a clean auditorium or are
you tired of waiting in the lobby?"

-----
sss/PU'94 Dept of CS (spencer@phoenix.princeton.edu)/JvNCnet (spencer@jvnc.net)
"The subtle, truly debilitating manifestations of a degenerate society are
twofold.  First, the ruling class no longer cares for the proletariat.
Second, the proletariat no longer cares."  [J. G. Betancourt, "Johnny Zed"]

Newsgroups: rec.arts.movies
From: spencer@stroke.Princeton.EDU (S. Spencer Sun)
Subject: Re: PEEVES at MOVIE THEATERS!
Originator: news@nimaster
Reply-To: spencer@phoenix.princeton.edu (S. Spencer Sun)
Organization: Society for Promotion of Entropy in the Universe (SPEU)
Date: Sat, 9 Jan 1993 05:10:04 GMT

In article <1993Jan9.032354.18335@scott.skidmore.edu>, dtschett@saims.skidmore.edu (donna tschetter) writes:
>
>On another note,  while I agree with Lisa and her humorous
>dissertation of patron rebukes and management irritations, I find
>Spencer to be a little less open minded about his posts.  Lisa speaks
>from both vantage points of the "movie" experience and gives us a much
>better presentation.  Spencer, however, seems to relish his role as
>one of control when problems are encountered.  I would rather go to
>Lisa's theater and pay more $$ for popcorn with real butter! :>

Not really.  I am more than happy to handle reasonable complaints when
politely brought to the attention of the staff.  I am very embarrassed
if the problem could have been prevented.  I do not, however, subscribe
to the idea that the patron is some god that should be worshipped.

Lisa, do you have management experience?  I'm wondering if that perhaps
gives a different perspective.  If you have, I guess it doesn't then...

>While on the subject of peeves.... Here's another - that credit thing...
>I know lots of people who have struggled for recognition in costume
>and design and sound editing and lots of the "unglamorous" tedious
>work that goes into a movie.  The names become familiar -  I know a few
>of these people and it's great to see what project someone has just
>finished and how much help they had or did they get individual credit.
>
>Besides, it gives the patron a chance to "reenter" the interactive world
>after enjoying the passive existence of an observer for two or three hours.
>
>Some of us prefer a slower re-emergence into the real world rather
>than rushing out the door immediately.  Some movies are meant to be
>savored, pondered and yes, credits are meant to be read, not only by
>those in the industry, but by those of us who appreciate good
>filmmaking and craftsmanship in the finished product.

Actually I don't mind watching credits either... it is, as you say, a
nice way to make the transition from movie world to real world.
Usually, the people I'm with drag me out though :-)


-----
sss/PU'94 Dept of CS (spencer@phoenix.princeton.edu)/JvNCnet (spencer@jvnc.net)
Please be considerate, and don't talk during the show!  (SSSSSSHHH!)
Thank you for coming to Loews!  Sit back and relax -- enjoy the show!

Newsgroups: rec.arts.movies
From: spinaa@rpi.edu (Matt Garretson)
Subject: Re: DOUBLE LIFE OF VERONIQUE.SOUNDTRACK
Organization: Rensselaer Polytechnic Institute, Troy, NY
Distribution: usa
Date: Mon, 4 Jan 1993 17:36:16 GMT

I don't know if it has actually been released in the US, but it is now
fairly widely available. You can mailorder it from Tower Records in NYC.
Sorry, I don't know the phone number. There must be a considerable demand for
this disc, since I have seen it in stores that usually don't carry imports,
let alone soundtracks to non-mainstream films. Great!  :-)
Newsgroups: rec.arts.movies
From: wung@eecom.gatech.edu (Peter Wung)
Subject: Re: The Wizard of Oz
Reply-To: wung@eecom.gatech.edu
Organization: School of EE, Georgia Institute of Technology, Atlanta, GA
Date: Thu, 7 Jan 1993 22:48:43 GMT

In article 26537@b8.b8.ingr.com, anthony@panzer.b17b.ingr.com (Anthony Shipman) writes:
>|In article <1ihnicINN6fc@ensta.ensta.fr>, dussert@beatrice.ensta.fr (Pierre Dussert) writes:
>||> 	Hello everybody!
>||> 
>||>  Does someone remember the name of the little girl played by Judy Garland in the
>||>  Wizard of Oz?
>||> 
>||> 				Alex
>|
>|Scarlett O'Hara?


You mean Dorothy?

---
********************************************************************
*Peter Wung			Email:wung@ee.gatech.edu	   * 
*Electric Power Laboratory	Snail mail: 33787 Ga. Tech Station * 
*School of Electrical Engineering	    Atlanta, GA 30332      *
*Georgia Institute of Technology			    	   *
*Atlanta, Georgia						   *
*   	"Pass, Set, CRUSH!"...					   * 
*  	Well, 2 out of 3 ain't bad for a short, fat guy. 	   *
*								   *
********************************************************************

Newsgroups: rec.arts.movies
From: sterbenc@ivhs.mot.com (Joe Sterbenc)
Subject: Re: Point in "Malcolm X" [Spoiler? Probably not, but you never know]
Organization: MOTOROLA 
Date: Thu, 7 Jan 1993 17:18:16 GMT
Followup-To: rec.arts.movies

In article <1993Jan7.155414.13892@netcom.com>, cass@netcom.com (Diana
Tenery-Fisher) wrote:
> 
> twcaps@tennyson.lbl.gov (Terry Chan) writes:
> 
> >I just saw and enjoyed "Malcolm X."  Afterwards, my friend and
> >I remembered a particular scene differently and was wondering
> >if someone could clear it up for us.  
> 
> >It was when Malcolm/Red jarred Archie's memory and said that 
> >he was owed $600 for the number that he played and Archie 
> >checked and then went after him because he believed Red conned 
> >him.  That episode and others lead me to believe that Red was 
> >conning Archie.  However my friend insists that Archie had 
> >forgotten.  Not wanting to escalate the difference further, I'd 
> >appreciate if others could clue us in on what you saw and if one (or 
> >neither) of us is correct.
>  
>  He wasnt conning him. During the scene when he was doing cocaine
> (for the first time, perhaps?) He pulled out a wad off money and
> started throwing it around, calling out numbers to Archie. And 
> I specifically remember him mentioning the number that had paid
> off.
> 
> -diana

Actually, I thought he _didn't_ mention the number. Wait 'till
video, I guess....
 
=====
Joe Sterbenc - Intelligent Vehicle Highway Systems - Motorola
All opinions are my own, but can be rented for reasonable rates
sterbenc@ivhs.mot.com
=====
Xref: sparky rec.arts.movies:36723 rec.arts.sf.movies:9694
From: chris_russo@gateway.qm.apple.com (Christopher Russo)
Newsgroups: rec.arts.movies,rec.arts.sf.movies
Subject: Re: Rachel Ward was a *fabricant*...??? :-)
Date: 6 Jan 93 18:15:46 GMT
Followup-To: rec.arts.movies
Organization: Apple

In article <STEINARB.93Jan1144313@tindved.idt.unit.no> Steinar 
Bang, steinarb@idt.unit.no writes:
>In the January 1993 issue of Byte, on page 334 in the column
"Stop
>Bit", titled "Cinema By Computer" Roger Ebert manages to say
(when
>talking about a computer animated sequence he has seen on a
film
>festival), I quote:
> "...When we were told the truth, I felt a little like
Harrison Ford
>  when he discovers that Rachel Ward is a fabricant." End
quote.
>
>Well hey,... here I have been wandering around for the last 10
years
>or so believing that it was really Sean Young and that she was
a
>*replicant*... Glad he put me straight...:-)

Quite a blunder (Especially for those of us on an sf newsgroup)
We 
would naturally be the first to catch such an error and it
would seem 
worse to us.  Maybe he shouldn't have referred to it at all if
he didn't 
know it well enough.

In his defense, tho, he's not too bad.  Also, he has to watch
so many 
movies every week.  It's no wonder that he jumbled a few facts.
 
Recently, thanks to some bad video store decisions, I've had to
suffer 
through some boring movies.  I'm thrilled to death that I don't
have 
to watch bad movies for a living.
-----Christopher Russo
----- I admire a clever .sig message.  Wish I had one. <sigh>
----- day 408.974.6070
Xref: sparky rec.arts.movies:37314 alt.horror:5525
From: galeak@penelope.pad.otc.com.au (Jason Galea)
Newsgroups: rec.arts.movies
Subject: Re: Underrated Actor:  Alan Rickman
Date: 5 Jan 93 05:24:25 GMT
Organization: AOTC Limited

I know 2 other movies that Alan Rickman has been in.  They are

	. The January Man (w/ Kevin Kline)
		(From memory he played the artist)

	. Truly, Madly, Deeply
		where he played the husband


Are there any others?


--

Jason Galea

"The force will be with you.  Always"
Newsgroups: rec.arts.movies
From: s1mbm@isuvax.iastate.edu (michael bruce mcdonald)
Subject: Re: Naked Lunch
Reply-To: s1mbm@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Date: Mon, 4 Jan 1993 13:42:31 GMT

In article <1993Jan4.103738.13394@lut.ac.uk>, K.R.Catchpole3@lut.ac.uk writes:
>The most PERFECT movie I've ever seen:
>
>Sex, 
>Drugs,
>Not much Rock n'Roll (but who cares ?)
>Comedy
>Satire 
>Horror
>Biographic
>etc.....
>
>A sort of cut up and fold in of every movie style you can think of.....
>
>Read the book, you'll probably understand the film more. The book's also much
>better (if you can read it all). BUT the book is *VERY* graphic.The 'monsters'
>in the film were partly to portray visually what Burroughs wrote so as to get
>past the censors.
>
>"Corpses hang pants open on the road to Monterrey"
>
>KRC
>
>


Two more things:  First, let's not overlook the humor.  Perhaps because it 
came as a visible relief to the "just say no", "war on drugs" (which even
a middle-of-the-road journalist like Peter Jennings recently said is 
doomed to failure) absurdity, I laughed loud and long at the way drug
consumption was portrayed, especially early in the film.

Secondly, pay close attention to the soundtrack, which features the 
great jazz saxophonist Ornette Coleman in a consistently brilliant and
*fitting* performance.

I'll admit that the film loses some energy in its second half, but is still
excellent work overall, at least if one can simply revel in its zaniness
rather than spending too much time trying to make sense of things.

Finally, let's not overlook the fact that the great Judy Davis has a fine,
if somewhat scanty, rolehe.

michael mcdonald
Newsgroups: rec.arts.movies
From: sartre@iastate.edu (Michael J. Wendling (515) 294-6186)
Subject: Re: MINDWALK: information wanted
Organization: Iowa State University, Ames, IA
Date: Tue, 5 Jan 1993 20:03:49 GMT

(Glenn F. Leavell) writes:
>While recently watching the movie KAFKA on videocassette, I saw a preview
>for MINDWALK, which I believe was directed by the author of the book
>_The Tao of Physics_.  I had not heard of this film, and I was wondering if
>anyone has seen it or knows anything else of interest about it.


	I saw this picture about 2 weeks ago.  I enjoyed it quite a
bit (maybe 3 1/2 out of 5).

	The setup is taken from an old Gallilean style of writing.
There are three characters, one is an all knowing scientist and the
other two pose questions and arguments.  It is an interesting format.
A single dialogue lasts the course of the entire movie.  This one is
not for the fidigity.  

	Basically the scientist(Liv Ulmann) puts forth a view that we
should examine the world as a interconnected whole rather that make
attempts to reduce and simplify it.

	I am a grad student in Physics and a bit of the loose talk
about the 'quantum world' and such bothered me but on the whole I feel
they presented things as honestly as possible.

	I would be interested in others comments.
-- 
 Michael J. Wendling
 A410 Phys & Astronomy		     
 Iowa State University	  			Internet: sartre@iastate.edu
 (515)294-5440		 			Bitnet:   ISUMMA::WENDLING