Author Topic: Sober Second Thought Marathon  (Read 8171 times)

oldkid

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Re: Sober Second Thought Marathon
« Reply #20 on: March 04, 2015, 11:00:10 PM »
I tried to convince my daughter to watch this the other day.  She didn't bite.  Great discussion, guys.
"It's not art unless it has the potential to be a disaster." Bansky

1SO

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Re: Sober Second Thought Marathon
« Reply #21 on: March 04, 2015, 11:09:20 PM »
The two of you make my review posts downright simple-minded. It's like seeing the evolution while stuck in the primordial ooze. I would also have a hard time coming up with Top 5 moments in V For Vendetta. Even in my wallpapers file I have 8 evocative images.





smirnoff

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Re: Sober Second Thought Marathon
« Reply #22 on: March 05, 2015, 09:17:34 PM »
Alright. I'm going to rewatch this soon. I love this.

What a treat! Especially if it has been a while. :)

I tried to convince my daughter to watch this the other day.  She didn't bite.  Great discussion, guys.

Ask her if she's read 1984 in school yet. Then ask her if she wants to see a version with a more hopeful ending. :)



How cool. I'd never been conscious of the symbolic V there until now. Seeing it frozen in time makes it obvious.  Great grab! :)

oldkid

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Re: Sober Second Thought Marathon
« Reply #23 on: March 05, 2015, 10:41:05 PM »
I tried to convince my daughter to watch this the other day.  She didn't bite.  Great discussion, guys.

Ask her if she's read 1984 in school yet. Then ask her if she wants to see a version with a more hopeful ending. :)

You are so cute.  Pretty much every other young adult novel that is out there is a dystopia, and my daughter is all about reading and watching dystopias.  I'll get her to watch it eventually.
"It's not art unless it has the potential to be a disaster." Bansky

smirnoff

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Re: Sober Second Thought Marathon
« Reply #24 on: March 05, 2015, 10:46:39 PM »
Reading/Watching The Count of Monte Cristo might not be a bad primer either. ;)

Or maybe it's the other way around. V for Vendetta primes you for the Count. :)

Sandy

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Re: Sober Second Thought Marathon
« Reply #25 on: March 30, 2015, 08:48:15 PM »
If someone wanted to know what kind of film Out of Sight was without hearing any details, I'd say it's a pretty chill film. What's a chill film? Chill is being alive but not hysterical. Chill is responding but not overreacting. Chill is moving but not too quickly. Chill is never getting carried away.

Vanilla sky has hysterics, and flash. V for Vendetta has crazy emotions and fireworks. Neither of them are chill films. I do not feel chilled out watching them. They are too huge a journey for that.

Do any films come to mind for you that are more chill experiences, but also good experiences?


I've been going over my top 100 list and you've made me realize that my #s 9, 10 and 11 are so watched and loved precisely because they're chill films. I watch them to decompress. They do have movement, but it's so casual, it calms me. Thank you for showing me why they are there, so high on the list. I will sound like a broken record by listing these movies. :)

You've Got Mail
Return to Me
While You Were Sleeping.


Watching these, I'm completely relaxed and utterly happy.

This is my understanding of chill, before seeing Out of Sight, so I'd like to compare it with others that I love, when I finish, k?


How interesting that you named those particular films! I think it bodes well for Out of Sight. We'll talk about it after. :)

Well now I'm completely intrigued! :)




What are some of your other favorite chill experience movies?


A lot of Woody Allen's recent films I find chill. Even the ones I don't enjoy that much, there's a nice easy tempo of dialog, wit and humour. You Will Meet A Tall Dark Stranger, Midnight in Paris, Vicky Christina, etc. It's just walking and talking. And on that note, Before Sunrise/Sunset/Midnight are similarly chill.

Maybe an abundance of dialogue makes for a chill movie in general because it limits what else can be going on. Both on the part of the movie and on the part of the audience who has to listen to it.


Yes, dialogue! Ha! That takes care of my #'s 1, 2 and 3. :) Parlor talk. I must be in great need of chill movies!

I've seen Midnight in Paris, Vicky Christina and parts of Before Sunrise and they really do fit the bill. I'd put in Leigh films, for their dialogue, but he has a way of excoriating, and there is nothing chill about that.


Yea, I don't think I would include Leigh in the same category either. David Mamet on the other hand... he has written some pretty chill movies I think.


3 in your top 25!

Are there? I can think of two, Glengarry Glen Ross and Spartan... damned if I know what the third one is. *goes and looks* Oh, Ronin! That's news to me! IMDB says "(screenplay - as Richard Weisz)" so I guess that's why it never occurred to me. What a revelation. Of course now I'm replaying the entire movie in my head and it's like "oh course it's Mamet!" The whole movie is MEN TALKING with a capital M. Punchy exchanges replete with interjections and hesitations, as seems to be his way.

I remember listening to a David Mamet commentary on one of his directed films and he talked about how he favoured depictions of violence that were fast. He felt that was the proper way to portray it. *snap* The violence is instantaneous and not telegraphed. That preference certainly manifests itself in Spartan. As a result though, the violence not being protracted into entire sequences but mere moments, the bulk of the film is very chill for it's genre (abduction of a senator's daughter, spy, political action thriller, whatchamacallit). Thanks for bringing it up!


I could've saved you some time if I'd listed them. I assumed all three were there in large part because of Mamet, and they were! You just didn't know it yet. :)

I'm intrigued by that take on violence--spare, vicious. It's probably more like real life.


I've only seen The Winslow Boy and A Life in the Theater. Both of them have very smart dialogue.

That cracks me up. Of all the Mamet-written films in existence you've seen the one that's a costume drama. You are a proper fiend you are. :)) It does look like a compelling story though... you can pretend that's why you saw it and I'll believe you. :)


:))  Maybe I'm in need of an intervention. Oh! Maybe this marathon is my intervention! As part of my recovery, I must be honest and say I didn't watch it because of the story, no not at all. I watched it for the beautiful language, the time period and to completely clear my conscience, Jeremy Northam.  ;)


Oh he's the guy who sings in Gosford Park! I thought he looked vaguely familiar. Great soundtrack. ;)


He sings too?! *sigh* :)



Out of Sight (Steven Soderbergh, 1998)

Sandy & smirnoff - Heavy spoilers

:))

Ha! Even the starting music is chill!

Thank you for this movie. Digging in now...


It's a great one for the music. Absent during action, dulcet during dialogue, funky in transitions. It keeps the film pretty reigned in overall.

I thoroughly enjoyed those aspects of the music. I looked up to see who the composer was and it's David Holmes. He also did the Ocean's movies. I've not seen Ocean's Eleven in a very long time, so can't remember, but do those movies have the same feel, music wise, as this one?


As much or more! It's the right instrumentation for the right film, ya know? You could shoe-horn a full orchestra into it if you wanted, they so often do, but I like this... a more considered approach. More interactive. Just listen to the way that Holmes track is used in place of a line in the opening scene. "Mr. Ocean, what do you think you would do if released?" *cue music* It says it all right there. Damn if that's not cool as hell. I bet the editor felt like a champ that day.

Out of Sight has some transitions worth a smile as well. Foley and Buddy getting left in the lurch on the side of highway by Glenn. Karen waking up next to her Sig on the pillow. Foley getting busted trying to escape in his Civic with a flooded engine. Karen departing the airport for Detroit. In all four scenes the music kicks in before the cut and carries you into the next segment. It's smooth. A lot of good flavour is added in post-production with this film. But it's not a case where the seasoning overpowers the dish, if you know what I mean. Or maybe we differ there? Did you think the styling fit the content?


Like a glove. :) Going back over these, I see why the scenes are just that much more charming. Is that a good word? The actors bring their own good measure of it and these musical tags on the ends of the scenes, tip that charm scale way up high.

Hey! Did you know David Holmes did this too?

You've got patterns within patterns in your favorite movies. :)


Pi is a bit of a weird soundtrack. It seems like it's loaded with songs you don't actually hear in the film itself. At least I don't remember a lot of them, including that one from David Holmes. You'll hear for yourself when we watch it. I could be wrong but I don't think it's in there. The only music I remember from Pi is Clint Mansell's (The Fountain, etc). At least I think it's all his.

Pi is going to hurt my brain, like Contact or more so, right? :)

Funny you should say it like that. You're circling Pi without knowing it.

I am?

Now you've got me wanting to watch PI next. BUT, I won't put off The Matrix any longer. Nothing you say can dissuade me! :))




So now that you've seen it, I've got to ask, did Clooney and Lopez' woulda, shoulda, coulda-been romance appeal to your sensibilities? It's more rom-con than rom-com, but that has to do with who the characters are. A cop and a bank robber. I'm asking does it still scratch the same itch as a You've Got Mail or a Return to Me?


rom-con :)   Out of Sight is the adult/gritty version of You've Got Mail.

The occupational conflict in YGM:




The occupational conflict in OoS:




The chemistry in YGM:



The chemistry in OoS:




The side kick in YGM:



The side kick in OoS:



Steve Zahn practically transformed this comedy into a full fledged Shakespearean tragedy. He puts so much weight into the story, it's almost too heavy to pull up from it. Incredible performance.

I derailed your question with Zahn, but he derailed me for a good long time and I'm still now trying to shake it off...


You have a good heart feeling so much for Glenn. His is a tragic story when you isolate it, you're right. I think the effect of it is lessened for me after repeat viewings, knowing he's going to escape with his life. You were dreading for him when he was at the boxing match and trying to slip out, but because I knew he would get away I was quick to laugh at his delivery "hey you know what, I gotta go take a pee!" One of those cases where you're not sure if it's safe to laugh or not the first time. The film has evolved a lot for me in that way. It very interesting to hear your totally different perspective!


Yes, during that scene I was "sweating bullets" for him! Run Glenn! His eyes are so haunted, it's hard not to be completely shattered by his mistakes. I'm going to like seeing this again, because he has a lot of humorous moments that I'll be able to enjoy more next time.

Something about Steve Zahn spills over into all his roles. I'm not just watching Glenn, but YGM's George (I can hardly believe that's from the same year as OoS.) and Rescue Dawn's Duane, so I'm already invested in him... Maybe I need an intervention for my over empathy towards certain actors! :)


He's often cast in that Neville Longbottom sort of roll. The underdog who only wants to do right by the hero.

I love his reaction to Foley asking where his shades are. It is a great performance, you're right.




Okay back to the question about Out of Sight as it compares to your favourite romantic comedies

The romance between Clooney and Lopez is cool yet smoldering and very enjoyable to watch, so my answer is, it's not quite the same, but it does scratch a similar itch. :) The trunk scene was a great way to get them to speed up their meet and greet. Instant intimacy.

What was your first time viewing like? Did it surprise you how well they pulled the romance off? What do you think made it work so well?


I think it surprised me that the film took the time to do more than just say "here are two attractive people, obviously the movie will conspire to bring them together because that's the formula for these things". I think this is Elmore Leonard shining through, and it shows itself in this and Jackie Brown. He gives the protagonists a moment to be real together without the plot speeding them along.

In Jackie Brown's kitchen



And here at the bar


It's an interlude that brings the greater story to a halt, but that does so much to help us get to know what the characters are really thinking. They really show themselves in these scenes.

Yay for scenes like that! What's the all fired up hurry anyway? The story matters not, if I don't get to know the characters a little and connect with them... smirnoff! Have you seen Edge of Tomorrow? I watched it last night and I'm just realizing as I'm reading your PM, that the reason I was so into the movie, was in large part, because it took moments of interaction, character connection, amidst all of the mayhem, so that I could really care about the characters. It's such a key part for me to be invested in a film. Are you getting my level of soap boxing about this with my words? :)) If not, just know its a really big deal. I'm preaching to the choir here, aren't I? This is a big deal to you too, yes?


Absolutely. What's funny is how hard it can be to know in which movies you're going to find it. Sometimes it shows up sometimes it doesn't. Out of Sight is the kind of movie I wouldn't expect to find it. Neither is Edge of Tomorrow. But there it is. :)

I've got Edge of Tomorrow on my list of things to see. :)


There are a few unexpected outcomes in EoT as well, which made me jump. And, the pacing is impressive. Enough said! I hope you enjoy it. :)



Since the bar scene came up I've got to give props to the actors who play the guys trying to buy Karen drinks. Talk about unflattering roles. "We're going to cast you as the wanna-be big shots who would never have a chance in hell of hooking up with someone like J-Lo, even though your trying really hard and you seem like a nice guy, and then after you get brushed aside Clooney will show up and immediately succeed where you failed." Those guys were pros though, because I totally cringed. Unsung heroes of the film :))


:)) Hope springs eternal.

When Clooney walked in, I laughed and then felt immediately sorry for the other men. They were very brave, weren't they? If it's any consolation to them, if I were unable to start a conversation with Clooney and J-Lo walked in, catching his attention with ease, I'd feel 10 times the fool too. :)


I think those "guys at the bar" are maybe the best indication of what Soderberg brought to the table as a director of actors. How easy would it be to have them play the part so that we feel nothing for them when they get rejected? Come on way too strong, be relentless, drunk, beligerant, etc. Just make them easy to dislike. But instead here we are feeling a bit bad for them. Relating to their getting turned down. Thinking about them after Clooney shows up. What does that say?

Elmore Leonard writes really colourful characters. That's something I've noticed about all his books. And that works when you're imaging them in your mind. But a lot of adaptations seem to have trouble toning that down for film. They translate them a little too literally. Say a character in the novel wears a red velvet hat and black suit... In your imagination you can shift how that "looks" until it fits the greater context of the world you've been imagining. A literal translation of "red velvet hat and black suit" in film though, it may just look silly. It's exactly what the book said, but seeing it for real is different. You can't mentally blend it in. It just is. A lot of comic book movies run into this same problem trying to adapt costumes.

I think that's what Soderberg and the actors got right and why this is one of the better Leonard adaptations. They had a sense of "how it would look" or "how it would sound" regarding the dialogue and the personalities. They knew that a literal adaptation would come across as a cartoon, as they do in bad Leonard adaptations. But when even throw-away characters have humanity, like those guys at the bar, it really speaks to a director not being on autopilot imo.


Out of Sight does not feel like an adaptation from a novel, which is a compliment to Soderbergh and company. What you said, about the light touch with the characters and a sense of them cinematically, is so true. Hey, he got me to care about career criminals, for Pete's sake! :)

Since you're our resident Elmore Leonard book to film expert, I believe every word you say. :)

Your observations have had me sitting here this evening, pondering on books to movies in general. I just had an experience that made me consider the always fascinating job of choosing books and, like you mention, finding the right tone.

I had read "The Heart is a Lonely Hunter" a few years ago and found the story and characters to be discouragingly, determinately down, but the movie adaptation, works beautifully. The director, who mostly worked in TV, was able to help the actors flesh out these people. It's like the opposite of what Leonard material needs. It really does take a great amount of skill and intuition to make it all work.


And as you point out, every case is different. What rules for adaptation could a person really come up with that would be useful and helpful across all types of literature? Seems like one of those things you just do from scratch each time or suffer the consequences.




Another question for you, where does White-Boy Bob's death rank in your list of most unexpected outcomes? :)) Was your reaction the same as Clooney's?

:o

Clooney didn't just do a double take, he did a septuple take! I know, cause I went back and counted them. :))

As for me, I gasped, and exhaled and rewound. I couldn't believe what I just saw and wanted to see how they did it! As for ranking, it would be in my top 3 for sure! Where does it rank for you? Can you remember your reaction when you saw it for the first time?


I think I jumped. The only moment I can really compare it to involves a scene with Clooney and Pitt in Burn After Reading. It's like "whoa, that just happened!" Mamet would approve me thinks. :) I enjoyed it.

That's pretty impressive and memorable, if you only have one comparison. The only one that comes to my mind, at that level, is a scene with Alfre Woodard in The Forgotten. I was completely stunned. Have you seen it? Someday when I see Burn After Reading, I will remember this conversation. :)


I haven't seen it, no. I'm intrigued simply knowing it's going to have a surprising moment in it. :)

I'd suggest you avoid the trailer if you're going to watch it. moonspinner's review on IMDb will give you a good idea of what to expect, enjoyment wise.

...a lovely, matter-of-fact lead performance by Julianne Moore. However, the editing goes slack by the film's midsection, with Moore constantly on the run and Di Pego's script scrambling to explain itself whilst keeping the audience in suspense. It's a gambit which doesn't quite pay off.


Something I only noticed after a couple viewings is that there are at least 2 scenes where White-Boy Bob can be seen slipping before the big slip. When they're leaving the fights walking to the van. And when they first enter the mansion and head upstairs. Did either of those moments register for you? I'm sure you saw them, but it's also one of those things the brain would so easily process and dismiss because what's the significance? At that point, nothing. I do like that they set it up though. A person could blame the film for being a little convenient in how White-Boy Bob dies, but it actually is justified. The guy is clumsy! :))


:)) I feel positively graceful compared to him!

Yes, it was all set up so well. I don't really recall the trip to the van, but my brain probably processed it and when he tripped on the stairs, I thought, he's an oaf, poor guy. The stage had been set! The whole thing is brilliant (and gruesome).


I don't recall if that's something that played out in the book or not, but it seems like something that might work better in the film because you can set it up more subtly. He can slip in the background. But in writing there isn't really a background. Your focus is whatever the writer is describing that moment. If you say "and White-Boy Bob slipped in the snow crossing the street" it draws a lot of attention to it. Then again, writers say a lot of stuff that doesn't often come back to mean anything. You could easily camouflage it amongst other details of the scene. I dunno.


This makes me laugh! And, so curious! I even went to see if the book was online, so I could see how Leonard handled it (if he did)... but it's not available. I might just check it out from the library to see, because my inquiring mind wants to know. :)


I checked my copy and it's not in there. So that means it was an invention for the film. That's a pretty interesting addition. Actually it goes a little further than that even. In the book White Boy Bob doesn't even die, he just gets arrested at the house when Karen shows up. So they didn't just change his fate, they went to lengths to set it up.

You might also be interested to know that the book ends not in the back of the paddy wagon but in the scene where Karen is talking to her dad on the phone after the bust. The exchange is almost verbatim from the book, and ends with the line, "My little girl, the tough babe." I guess in making the movie they decided the story needed a glimmer of light at the end of the tunnel for Foley's character. To the screenwriter's credit, it's impossible to tell where adaptation stops and invention begins. Every scene feels like it belongs.



What if the movie had ended on the scene the book ends on, do you think you'd prefer the way it is now?


I do prefer it as it is now. It's more impish and solidifies the connection/attraction of Jack and Karen. I wouldn't change a thing. :) How about you?

I agree. Keep it the way it is! :)



We've talked about the restraint this film has. A sense of how and when to play it cool. Meanwhile, the previous film we watched, V for Vendetta, was all about building to a world-shattering, soul-smashing climax. A decidedly different objective. Both films end quite gracefully according to their particular nature. V with fireworks and the destruction of a tyrannical government, Out of Sight with Foley in the back of a paddy wagon sitting across from a  9 time prison-escapist (a nod to the unwritten chapters of mischief ahead).

Wait. There's more?... Road Dogs? Have you read it? It looks like Sisco isn't in it, so I'm going to pretend it doesn't exist. :)

The ending really threw me, because I sat there saying, "She didn't, did she? Oh, that little scamp!"  Love/lust throws sanity right out the window!


I only meant the theoretical future, I didn't realize Leonard had made any kind of continuation. :)

Forget I said anything! I don't want the story to continue without her.

So here's a question for you about endings generally. Assuming the levels of grace are equal, do you have a preference for ending large versus ending small? Ending with a pop versus fading out?

I'm going to have to do some calculating...

Assuming that each of my top 25 films end gracefully, and you should :), the break down is this (not always counting the denouement) :

Pop: 3
mini pop: 4
Fade out: 16 :))
Whimper: 3

So it looks like I have a penchant for restraint and playing it cool. Although, my pop and mini pop movie endings are fantastic!

What does your breakdown look like?


Before counting I suspect it will look much the same. I was kind of going over it in my head earlier and there wasn't that many that ended with a pop. I think that may have to do with movies generally... ending with a pop being less common.

If your being very literal and saying the very last thing shown has to end on a crescendo, well that really narrows it down. I like your system because you've worked in a bit of nuance and judgement, which is the only way to really do it. Your categories appear to do a good job covering the bases. I can already see the need for a Pop and miniPop category. Fade Out and Whimper though, that's a curious differentiation. What film did you get to on your list that spawned that sub-category? Maybe i'll see the need when I sort out my own top 25.


Yes, having the last thing be a crescendo, is almost impossible! So, I cheated and allowed for an extra scene on the end. I agree that ending with a pop is less common. I was considering how big the plot's climax is and how near the end of the film. The bigger and closer to the end, constituted pop, with a sliding scale down and back from that, to mini pop and then fade out. It was the most scientific I could be, in making my choices. :)

There are three movies in my top ten unlike any of the others. They are so very sad: one of shock (West Side Story), one of despair (Fiddler on the Roof), and one of grief (Amadeus). Since WSS is the movie I came to first, it spawned the category.


I'm sort of thinking of the Star Wars films when I think of what goes where.

Pop: A New Hope
Mini Pop: Return of the Jedi
Fade Out: Empire Strikes Back
Whimper: not sure...

A New Hope ends with Willaim's score absolutely roaring, the grandness of the ceremony hall, and loads of people.
Return of the Jedi also ends on a high note, but the flavour of the score and setting are more intimate. And there's a melancholy note to it on account of the Ghosts. Still a big end as endings go.
Empire of course ends with just a few characters, the rebellion back on its heels, and lot of uncertainty about the future. Not a triumph.

Would you categorize them the same way or do you see it differently?


Whimper - Having to listen to certain dialogue from the prequels.
"I wish that I could just, wish away my feelings!"
"Ay-yee-yee! Wha! Was’n dat. Hey, wait! Oh, mooie-mooie! I love you!"
"I don't like sand. It's coarse and rough and irritating and it gets everywhere."

and my personal favorite:
"Only a Sith deals in absolutes". :)

But I digress! My three pops are, Galaxy Quest, Empire Strikes Back and E.T. I know! I had to go to back to the climax to make that decision. My system is all messed up! :)) Yes, yes and yes on your Star Wars choices. Can I go back and change my list?


There's always a bigger fish. :)

My top 25 breaks down like this:

Pop: 3
Mini Pop: 4
Fade Out: 18

Wow, this was really hard to do actually. The impulse to create another category is there with almost every film, lol. I don't know if that ultimately means this is a futile exercise or not, but it was sure fun do it! :) I'm also surprised by how hard it was to visualize the final scenes of some movies. I found myself thinking "how does Tremors end?" I mean I know all the Graboids die, but what does the actual last scene look like? Guess it doesn't matter how many times you see something, if it's not a particularly memorable moment you can still forget. It's probably one of those typical endings for action/horror/thrillers of that time, all the surviving characters standing around while the police or whoever finally show up. When in doubt I skipped to the next film.

Looks like our distributions are pretty similar. I hope people chime in with their own breakdowns so that way we could begin to see if it's systemic (if there are simply more films that fade out in the world) or a reflection of personal... preference? Or something else altogether... a maybe an indication that fade out endings are more likely to be "successful".


I hope people will chime in also, because I think we're onto something, but I know not what! :))

I had a lot of fun too, so that's never a futile exercise. I am inwardly happy that it was hard for you to figure out what to do AND that you couldn't really remember some of the endings. I feel so much better! :)


And what did you think of Out of Sight specifically? I already know the beginning put a smile on your face (":)) Ha! Even the starting music is chill!"), how 'bout the ending? Did it leave you nodding thinking "nice one"?

Oh, I answered this partially. Yes, surprised and it's also very, very fitting to the movie as a whole. I'm pleased with it.

And while we're on the subject, is there an ending to a movie that comes to mind when you think of "the best ending of all time?"

:o

This is so hard to do...  May I do categories? Please? :)

Most Devastating (ie: most (I mean buckets of) tears):
West Side Story

Honorable Mentions:
Taps
Warrior


Classics:
Casablanca or Citizen Kane or Sunset Boulevard (I can't decide. :) )

Biggest Surprise:
Planet of the Apes

Sweetest
It's a Wonderful Life Oh! or, City Lights!

I really should make a decision, shouldn't I? :) Okay, the one I think about the most is really quite a perfect ending. Drum roll please!


Castaway

So quiet, with the beautiful music slowly coming in and building. The scene is the essence of life - choices.


I don't think I could've guessed you would pick that one. I just took another look at your top 100 (enjoying the musical accompaniment immensely), and the endings I was familiar with all felt like potential contenders. It's a cruel questions isn't it. :)) Thanks for answering though. I think it's a great choice.


It was a cruel question :), but brilliant too! I'm really grateful for the chance to explore and am very satisfied with the one I ended up choosing. I believe I learned some things about myself, in my search. So, thanks! Oh, I'm glad you enjoyed the music. It really captures how my top 100 makes me feel. :)


I'm dying to hear your answer to this!  If it's V, you gotta tell me your second favorite, k? :)


It's a good thing you said that, because at this moment I am very much inclined to say V is the best ending of all time. :))

Okay, lemme take another look at my list.

Haha, okay some I'm taking out of the running entirely, for my own reasons which I won't share because... well you'll just have to trust me. :)

Oh!


I've just thought of it.

I was penning a list of contenders that I thought was pretty strong and I just threw it out. THE FLY!!!!! That's it! That's my answer. If I can't have V I'll have The Fly. Maybe even if I can. Yea, probably even then. The Fly times a million. Period. End of. Unbelievable power. Hands down the greatest ending of all time (for me).  :'(


That my friend is the quintessential definition of a Whimper ending.



Do you have any other avenues you want to go down with this film, favourite scenes?

I should be asking you about favorite scenes! I mean, I'm really asking you!

Well one scene I always enjoy is when Foley is first coming out of the tunnel dressed as a guard. Karen has a 12 gauge trained on him but he just walks right at her without any hesitation. I really enjoy how, despite not seeing each other for a couple years, Foley and Buddy know immediately how they're going to play the situation. It really speaks to the depth of their partnership, and their individual capabilities, that they can fall into a routine like that without any kind of communication. Karen is like a runner caught between bases, and Foley and Buddy expertly run her down by throwing her attention back and forth while closing the distance. It's a terrific sequence, and really informative of the characters. And just a whole lot of fun to watch.

They make a great team.


Another scene I love is Buddy's last scene, where he catches a cab to the airport and pulls the diamonds out of his pocket and has a moment. I just love Ving Rhames reaction. He's so fun to watch in this. But I guess that's always true with Ving Rhames.

I also enjoy when Buddy throws Foley a sandwich and it just goes right past him and off the balcony. So random but hilarious.

Oh and the exchange between Buddy and Foley as they cruise by the undercover feds.
Foley: "I wonder what the FBI is charging to trim hedges these days..."
Buddy: "mmm that's quite a checker game they got going on too."
:))

If I broke the film down on a scene by scene basis like 1SO does with Pixar movies, there wouldn't be too many that don't have something I really enjoy. From Jennifer Lopez being a total babe in that Miami Dolphins jersey to Clooney, Brooks and Cheedle discussing the costs of a pillow in prison. It cracks me up when Cheedle says "full goose down". :))




:)) :)) :))

Not fair!! How many viewings you got over me? Yes, I love those scenes too, but they've sunk into your bones and you have instant recall. As I read your words, they all come back to me. I used to play a mean game of pickle growing up, with five older brothers to practice with, so your baseball analogy is perfect. That's exactly what it looks like. I'm glad you mentioned Foley and Buddy's rapport, for that is a big part of why this movie works too.




One thing I forgot to mention...

Since I can get claustrophobic intensely, even if I were with George Clooney, the idea of being in a trunk makes me anxious. :) As great as that scene is, I have to tamp down my, unease.


You know what I'm thinking about now right? I'm thinking through every film we have left in the marathon for scenes that might have the same effect. There might be one or two. I hope they are a thrilling sort of anxious. :)


Oh? Funny, how just you mentioning it, makes me take a few calming breaths. :)   Bring It On!




One last question, what do you make of the title? Out of Sight. Presumably referring to out of sight, out of mind, right? I've never worked out what that has to do with this film though. Care to take a stab at it?

Ha! I don't think I've even thought about the title, except I forgot it a time or two. Not very relevant is it? As soon as I read your question, even before getting to out of sight, out of mind, this is what I thought of.



That's a little more relevant, yes? :)


Is it? I've never seen it before.

Outta Sight specializes in Northern Soul and Rare soul music and as at 2010 is the only UK record label to release previously unissued material by Detroit girl group The Heartstoppers - wikipedia

I don't have a part time job managing a music thread on this forum is probably why I didn't recognize it. :)) You're like John Cusack in High Fidelity compared to me.

(( :)) ))

I see how it relates though, musically. :)

The star logo took me in a different direction when I first saw it. It made me think of the diamonds. Out of Sight in the fish tank, as it were. I don't really know if that works though. In Plain Sight would be more accurate. That was the whole trick of it!


Yes, that would have made much more sense!

It's my fault I sent you on a wild goose chase with outta sight! But, you circled it very nicely. :) I should have done this logo.




It's a little before my time even, but it was a catch phrase like "far out" or "groovy." I'm not sure, but it could have originated with James Brown. Jennifer Lopez is the definition of Outta Sight.


Outta Sight

You got your high-heeled sneakers on
Slip-in mules
You got your high-heeled sneakers on
And your slip-in mules
You're more than alright
You know you're out of sight
You got a shapely figure mama :)
That's keepin' me uptight
You got a shapely figure mama
And keep me uptight
You're too much
You know you're out of sight





I have Loved this discussion. Thank you so much!

It was a fun one! *high five*




:))

I got a sneaking suspicion that I'm Richard Ripley in that picture.

Is that so bad? Paper beats rock. ;)
"Don't be shy. You learn to fly and see the sun when day is done. If only you see."

The Deer Hunter

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Re: Sober Second Thought Marathon
« Reply #26 on: March 31, 2015, 01:05:03 AM »
You take so long in between films because it takes that long to format your posts right?

verbALs

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Re: Sober Second Thought Marathon
« Reply #27 on: March 31, 2015, 02:28:06 AM »
Thanks for the reminder about Road Dogs. I just put it in my Kindle.

Leonard starts the book "They put Foley and the Cuban together in the back seat of the van and took them from the Palm Beach county jail to Glades Correctional,"

Nice nod to the Soderbergh ending eh? Except "the Cuban" isn't a nice chap at all. He's from another book La Brava.
I used to encourage everyone I knew to make art; I don't do that so much anymore. - Banksy

smirnoff

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Re: Sober Second Thought Marathon
« Reply #28 on: March 31, 2015, 08:37:25 AM »
You take so long in between films because it takes that long to format your posts right?

:)) The formatting does take a little while (maybe an hour or two), but it's really the dialogue that takes time. This conversation took place through PMs over 9 or 10 days, on a "get to it when you get to it" schedule.



Thanks for the reminder about Road Dogs. I just put it in my Kindle.

Leonard starts the book "They put Foley and the Cuban together in the back seat of the van and took them from the Palm Beach county jail to Glades Correctional,"

Nice nod to the Soderbergh ending eh? Except "the Cuban" isn't a nice chap at all. He's from another book La Brava.

That is neat. I didn't realize he wrote Road Dogs after Out of Sight the film had been released. I guess he thought the ending of the film was pretty cool. :)

Sandy

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Re: Sober Second Thought Marathon
« Reply #29 on: March 31, 2015, 09:57:36 AM »
"get to it when you get to it" schedule.

Just my speed. :)


I can't stop laughing about this comeback!

Quote
Is that so bad? Paper beats rock. ;)

It's brilliant. :))
"Don't be shy. You learn to fly and see the sun when day is done. If only you see."