Most Wanted
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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)

Thou Shalt Not

On top of his other allegiances, The Day The Earth Stood Still director Scott Derrickson is an avowed Christian. Which has clouded his vision. Everyone agrees that Michael Rennie's Klaatu in the original 1951 film is a Christ-like figure (his adopted earth name is John Carpenter -- i.e., J.C.) but how Derrickson sees Keanu Reeves' Klaatu in the same light is beyond me. For most of the film Reeves seems barely cognizant of moral or emotional distinctions in people, and he's decided from the get-go to murder the human race in order to save the planet earth -- an understandable thought from an earth-firster but hardly a Christ-like determination.

Jellyfish<< previous | next >>SAG Nom Stunners

Posted by Jeffrey Wells on December 18, 2008 at 7:48 AM

comment #1

SDG Author Profile Page says ...

I don't understand the point you're trying to make. You seem to be saying that Derrickson is an avowed Christian, which clouds his vision, because Keanu-Klaatu is strikingly un-Christlike, but Derrickson fails to see this, because Derrickson must regard Keanu-Klaatu as Christlike, because Derrickson is an avowed Christian. How does that follow?

Maybe Derrickson clearly sees that his film is about a less Christlike Klaatu than the original, precisely because he is an avowed Christian. Maybe the fact that Derrickson is an avowed Christian doesn't mean he specifically wanted and tried to make Klaatu as Christlike as possible -- maybe he wanted a more ambiguous figure. (Note the intentional ambiguity in Derrickson's last film as to whether certain phenomena were supernatural or psychological, and whether the priest was guilty or not guilty of negligent homicide.)

Maybe the portrayal of Klaatu reflects a collaborative vision of the screenwriter and the star as well as the director. Maybe it's your vision that's clouded (by religious antipathy?) in assuming that un-Christlikeness on Keanu-Klaatu's part must be due to Derrickson's "clouded" vision, which in turn must be due to his avowed faith.

Now, if Keanu-Klaatu were overtly and excessively Christ-like -- and if this constituted a dramatic problem in the film -- then you might have a case. Then you could argue that Derrickson's Evangelical fervor had hampered his art.

As it is, I can't see that you even have a cogent point, let alone a case. It looks to me like you're going after Derrickson's faith because you're going after Derrickson's faith -- not because Derrickson's faith is a creative problem in the film.

P.S. Don't forget that the original Klaatu, Christological parallels notwithstanding, was also strikingly un-Christlike in ways. We are talking about a being whose solution to evil is irrevocably handing over temporal authority to an absolute police office.

Posted by SDG Author Profile Page at December 18, 2008 2:56 PM

comment #2

allstar397 Author Profile Page says ...

Obama likes Jesus too, wonder if you'll start slamming him for it if things dont go as planned early on.

Posted by allstar397 Author Profile Page at December 18, 2008 4:34 PM

comment #3

paige Author Profile Page says ...

Derrickson's and Keanu's Klaatu is ever so much more Christ-like than he was in the original film. Christians who have seen both films should be able to distinguish this. As the God of the Old Testament was a wrathful God, and that God was The Word - Christ - before he was born of man, the world was condemned. We were under the law, the law of sin whose punishment is death. Keanu's Klaatu represents a before and after Jesus. He was empathetic to the human condition *after* he was born as a human being and dwelt among us. Klaatu took the infliction of the bugs into his own body in order to heal Helen and Jacob, and then he died - his body died - he returned to his previous form. Light. Energy. It is movie hyperbole of course but this time around it is so much deeper. I am surprised there has not been whole articles written about this fascinating portrayal.

Posted by paige Author Profile Page at December 20, 2008 6:06 PM

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