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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions
1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Upcoming

January 8

Bitch Slap

Waiting for Armageddon

Wonderful World

Youth in Revolt

January 15

January 22

Drool

Extraordinary Measures

The Girl on the Train

Glory in October

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Gavin O'Connor's Pride and Glory is finally out of the distribution woods. Former New Line honcho Bob Shaye's decision early this year to bump this exceptional New York cop film into '09 is now null and void with Warner Bros. having just slotted a 10.24.08 release. It's an exceptional film (I saw it in mid-April) and never should have been bumped in the first place. The question now is how wide or vigorous a release will it receive? How much of a p & a investment? How committed will the p.r. people be?

Cheers for Mr. Beaks<< previous | next >>Big Jaunt

Posted by Jeffrey Wells on June 28, 2008 at 1:31 AM

comment #1

LexG says ...

THIS SHIT WILL OWN YOUR ASS.

COP SHIT IS THE GREATEST GENRE EVER AND I HOPE PEOPLE GET FUCKED THE FUCK UP IN THIS MOVIE.

SUPERHERO SHIT IS FOR NERDS.

BADASS COP MOVIES ARE BETTER THAN NERDASS SPIDERMAN AND IRON MAN.

CRIME MOVIES RULE. KNOW.

LEXG IS YOUR GOD. YOU ARE WEAK.

Gruver1, RECOGNIZE THE LEX. I AM THE STAR. YOU ARE AN EXTRA.

Posted by LexG at June 28, 2008 2:14 AM

comment #2

EDouglas says ...

Not sure how I can follow up Lex G's insightful post but I'm glad this one is out of the woods... Colin Farrell generally seemed happy with it and bummed by the decision to delay it until next year.

Posted by EDouglas at June 28, 2008 2:35 AM

comment #3

vansmith says ...

A good picture, but for 10-14 bucks, no.. DVD. We own the night was also good...DVD..

Posted by vansmith at June 28, 2008 3:45 AM

comment #4

thevisceral says ...

Tumbleweeds never got the love it deserved.

Posted by thevisceral at June 28, 2008 5:08 AM

comment #5

gruver1 says ...

Wells to vansmith: Your statement that We Own The Night "was also good" is the trust-breaker and deal-breaker. The contrast between Glory and Night was one of the key points of that review I wrote two and a half months ago, to wit: "Pride and Glory is a cup-runneth-over drama in that intensity rules and emotions are often (but not always) fully cranked. All I know is that I was driven half-mad with exasperation as I sat through similar stuff in We Own The Night, but I felt aroused and lifted during last night's showing. This is not just another crazy-sick-cops movie. Melodrama is melodrama and the form is the form, but special things happen when exceptional craft and restraint are brought to bear. The gifted O'Connor (Miracle, Tumbleweeds) has put together something very vulnerable, soulful and alive-in-the-moment."

Posted by gruver1 at June 28, 2008 9:26 AM

comment #6

The Pope says ...

I am motivated to see this picture. I like Colin Farrell and think we have yet to see him at his max. But what intriugues me more than the mooted reasons for the oft postponing of its release is Ed Norton. Is he behind it? Or is he, yet again, going to sabotage the film a la nearly everything else he has been in? Interestingly, the only film I think he has utterly, utterly thrown his weight behind is Fight Club. Great script and a great director who doens't take crap from actors. Maybe that is what Norton needs.

Posted by The Pope at June 28, 2008 12:43 PM

comment #7