Discland
edited by Jonathan Doyle
Classe tous risques (The Criterion Collection, 6.17.2008) Claude Sautet is best known for subtle interpretations of French bourgeois life in such films as Un coeur en hiver and Nelly & Monsieur Arnaud. Yet the director began his career with genre films. Classe Tous Risques, released in 1960, is considered the best of his early work and it's a fascinating companion to similar crime movies made around the same time by Jean-Pierre Melville. (continued)

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July 2

Hancock

July 3

The Whackness

July 4

Diminished Capacity

Gonzo: The Life and Work of Hunter S. Thompson

Holding Trevor

Kabluey

We are Together

July 9

Full Battle Rattle

July 11

A Man Named Pearl

August

Eight Miles High

Garden Party

Harold

Hellboy II: The Golden Army

Journey to the Center of the Earth

Meet Dave

Roman Polanski: Wanted and Desired

The Stone Angel

July 18

A Very British Gangster

Before I Forget

The Dark Knight

The Doorman

Felon

Lou Reed's Berlin

Mad Detective

Mamma Mia!

Space Chimps

Take

Transsiberian

July 22

Two Tickets to Paradise

July 23

Boy A




 

German Shepherd

Sometime around '82 or '83 there were two plays playing next to each other on 45th Street -- one was called "Good" (written by C.P. Taylor, about an ordinary guy who becomes a Nazi) and the other was called "Plenty" (by David Hare). It was silly -- bizarre, really -- but those titles being proclaimed from their respective marquees looked like some kind of put-on. I remember standing nearby after the two were up and flashing and saying to myself, "This is a joke, right?"

In the same silly-ass vein we have two "good" movies coming out in December -- Steven Soderbergh's The Good German (Warner Bros., 12.8) and Robert De Niro's The Good Shepherd (Universal, 12.22) which I've begun to refer to as German Shepherd .

The lameness of this juxtaposition plus the two-Goods-in-December are bonds of total brainlessness, agreed, but there's more. They're both adult thrillers, and both period pieces about cold-war political intrigues (the Soderbergh is set in Berlin in '47 or '48, and the De Niro flick begins its story about a James Angleton-like CIA figure in, I believe, the late '40s). And their respective stars, George Clooney and Matt Damon, are topliners in the Oceans trilogy (Eleven, Twelve and Thirteen).

Plus the early buzz on both films is sorta similar. If I were writing for the New York Times, my editors would suggest the following sentence: "Whether these two films will be bet with critical and commercial success remains to be seen."

Posted by Jeffrey Wells on September 30, 2006 at 11:24 AM

comment #1

Dixon Steele [TypeKey Profile Page] says ...

The British playwright C.P. Taylor is the author of GOOD.

Viggo Mortensen will star in the upcoming film version as a "good" man who eventully joins the Nazis during WWII.

Posted by Dixon Steele [TypeKey Profile Page] at September 30, 2006 12:46 PM

comment #2

Sid Yobbo [TypeKey Profile Page] says ...

Are these by any chance two of the three December releases you recently mentioned in another piece as having an 'uh-oh' factor attached to them & how their stock was going to plummet once word got out?

Can't say I'm surprised if The Good Shepherd is indeed one of the three. This one's being carrying the whiff of failure ever since those unenthused preview reactions surfaced on AICN. Dunno about The Good German but - as most everybody seems to agree - that Casablanca-styled poster is sure making some mighty big claims.

Posted by Sid Yobbo [TypeKey Profile Page] at September 30, 2006 12:54 PM

comment #3

Nate West [TypeKey Profile Page] says ...

Most telling of all: the "good" in each is ironic.

Posted by Nate West [TypeKey Profile Page] at October 1, 2006 04:10 AM

comment #4

Sprewell [TypeKey Profile Page] says ...

Do editors actually recommend a sentence like that? I always assumed writers just put that in to pad their stories while saying nothing informative. Do the editors think that's a good sentence or do they think they're forestalling some sort of legal liability by putting it in? If that's what editors contribute, I'm glad they're all going to be out of work soon, when all writers become bloggers of some sort.

Posted by Sprewell [TypeKey Profile Page] at October 1, 2006 12:13 PM

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