Most Wanted
Email here for additions & corrections.

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)

Mumble in the Jungle

The Guardian's Simon Hattenstone is calling Benicio Del Toro "Hollywood's finest mumbler since Marlon Brando. He is never better than when mumbling his lines. Except, possibly, when he has no lines to mumble at all. He loves nothing more than paring a script down to nothing. No one can grunt, wince or wheeze their way through a movie quite like Del Toro.


"Which makes his new film, Che, the perfect vehicle for him. In the movie, to be released in two parts (The Argentine and Guerrilla), Del Toro's Che Guevara grunts through 253 minutes of action. This is a walking, rarely talking, gun-toting revolutionary wheeze machine. His performance makes Che in turn one of the most boring and most captivating films I have seen." He doesn't really mean "boring." He just settled on that word as he punching the piece out. He trying to say "conventionally undramatic."

"Politician, writer, traveller, biker, doctor, guerrilla and poster boy: few people have a more fascinating story than Guevara. But director Steven Soderbergh and Del Toro as good as refuse to tell it. There is hardly any narrative -- we simply watch him hacking his way through the jungles of Cuba in part one and Bolivia in part two. It is a sublimely contrary piece of film-making. Only in the last minute does Soderbergh even attempt to humanize his protagonist as he reveals that he has left his four children at home.

"Hollywood trade paper Variety said Guerrilla had all the excitement of a military training documentary. And yet such is the physicality of Del Toro's performance, the way he inhabits Guevara, that you can't take your eyes off him."

Broadcast News<< previous | next >>Shame

Posted by Jeffrey Wells on November 29, 2008 at 12:11 PM

comment #1

scooterzz Author Profile Page says ...

i recieved the 'che' screeners on friday along with a cover letter saying that the film would be released as two seperate admissions on 1/9 'titled 'che part one' and 'che part two''....so, apparently, 'the argentine' and 'guerrilla' have been reduced to subtitles that won't be used in the national rollout....

Posted by scooterzz Author Profile Page at November 29, 2008 3:06 PM

comment #2

Scott Feinberg Author Profile Page says ...

Mark Ruffalo is a pretty good mumbler too...

Posted by Scott Feinberg Author Profile Page at November 29, 2008 3:26 PM

comment #3

oranthal james Author Profile Page says ...

Uh, yes Jeffrey, he does mean boring... And he's being way too kind.

Posted by oranthal james Author Profile Page at November 29, 2008 3:27 PM

comment #4

p.Vice Author Profile Page says ...

Somehow I feel like I've already seen this at least three or four times.

Posted by p.Vice Author Profile Page at November 29, 2008 4:47 PM

comment #5

LexG Author Profile Page says ...

I liked the movie, but directors and stylists REALLY need to work on getting WIGS down; You'd think after 95 years of cinema, someone could make a convincing wig or fake facial hair by now, but CHE suffers from a few too many dubious hairpieces; I realize it's not realistic given tight shoots and limited actor availability/working on two projects at once, but ACTORS SHOULD GROW OUT THEIR OWN HAIR whenever possible, because WIGS ALWAYS LOOK FAKE and destroy the verisimilitude of the picture.

For something like this, BDT should've grown out his hair for a year prior to shooting, then SS could've filmed all the long hair stuff first and then progressively had Del Toro's hair cut down and filmed in that order. Because Kyle McLachlan's piece in THE DOORS or Macy's in BOOGIE NIGHTS look downright real compared to Del Toro's STICK A BALLCAP OVER A FRIGHTWIG look in certain parts of GUERILLA.

Posted by LexG Author Profile Page at November 29, 2008 5:33 PM

comment #6

EnglishBob Author Profile Page says ...


"He'll flip ya. He'll flip ya for real!"

Posted by EnglishBob Author Profile Page at November 29, 2008 7:28 PM

comment #7

BurmaShave Author Profile Page says ...

Oh, is that the one about the hooker with the dysentery?

Posted by BurmaShave Author Profile Page at November 29, 2008 7:57 PM

Posted by D.Z. Author Profile Page at November 30, 2008 2:12 AM

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