abbafan
My Random Thoughts and Opinions
Profile
My name is Greg. I'm a 36-year-old who lives in Waynesboro, VA. I enjoy a wide range of interests, and recently I've been involved with blogging on MySpace, but it's a bit limiting. Looking forward to sharing my views and maybe hearing some feedback.
Age: 39
Age: 39
Gender: M
Location: Waynesboro, VA
Top 10 Best Movies of All Time: Starting at #1: United 93, The Color Purple, Steel Magnolias, Schindler's List, Jesus of Nazareth, The Gospel of John, Au Revoir Les Enfants (Goodbye Children), Superman Returns, Mitt liv som hund (My Life as a Dog), Romeo & Juliet (1968).
Favorite Music Artists/Groups: ABBA, Gladys Knight (with or without the Pips), Anne Murray, The Supremes (with or without Diana Ross), Diana Ross, Agnetha Faltskog, Frida (Anni-Frid Lyngstad), Jonny Lang, Kenny Wayne Shepherd, Hanson, Patti LaBelle, Dionne Warwick, and many more.
Favorite Music Styles: Classical, Pop, R&B, hard rock...just about any style except thrash metal, death metal, and industrial metal.
Favorite TV Shows: Smallville, Battlestar Galactica (classic or modern version), Commander-in-Chief (though it's canceled), The Golden Girls, all the Star Trek shows except Enterprise..
Sign: Virgo (although it doesn't mean a hill of beans)
Favorite Movie Quote: "You know how to whistle, don't you? Put your lips together, and blow." Bacall to Bogart, "To Have and Have Not"
Favorite Actor (Male or Female): Gene Hackman
Favorite Comic Book Character: Wonder Woman
Top 10 Worst Movies of All Time : Starting at #1: William Shakespeare's Romeo + Juliet, Last Resort, Happy Campers, Superman IV, Godsend, Boogeyman, The Grudge, Hide and Seek, Dream a Little Dream, Dreamcatcher.
Favorite Authors: Agatha Christie, Sue Grafton, Herman Wouk.
Favorite Books: The Winds of War, War and Remembrance (I've read them both 3 times each).
Favorite Song: Midnight Train to Georgia by Gladys Knight & the Pips
Political Affiliation: Independant (I'm a moderate...I'm not a Republican or a Democrat)
Religious Affiliation: Protestant Christian
Marriage Status: Single, and definitely looking
Type of Mate Desired: Female and breathing
Best Habit: I say what I feel.
Worst Habit: I say what I feel.
Languages: French, and a bit of Swedish
Best Star Trek Movie: Star Trek: Nemesis
Worst Star Trek Movie: Star Trek V: The Final Frontier
Favorite Movie Series: Star Trek, James Bond, the Pink Panther, Superman, Batman
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DVD Reviews: "School Ties" (1992)
Posted 8/9/2006 7:55:44 PM
"School Ties"
1992
starring Brendan Fraser, Chris O'Donnell, Matt Damon, Ben Affleck, Amy Locane
directed by Robert Mandel
A friend of mine at work recently let me borrow "School Ties." I'd never seen it, but I found it a good diversion. A good, not great, movie.
The story concerns David Greene (Fraser) who goes to a prestigious Boston school in the 1950's. He's smart, talented, great at football, and absolutely fair to everyone around him. He also hides the fact that he's Jewish. Early in the movie, we see him get into fights over his ancestry, and he wins every fight he gets into apparently. Going to this new school is exactly what he wants as he's from a lower-middle class family, and it means a great deal to him. All he wants to do is fit in, and to do that, he never mentions his faith. None of the other classmates suspect. Along the way, he falls in love, plays quarterback, gets phenominal grades, and makes a lot of friends. Things start to go wrong when one of his classmates, played by Damon, gets jealous as David betters him in all areas--by getting the best grades, taking his place on the football team, and eventually taking his girl (who wasn't really attached to him in the first place). His "cover" is eventually blown, and it causes a rift between all concerned.
First of all, the performances are first rate. The cast is populated with some of the best actors around. This was a jumping-off point for them, and all of them have since made big names for themselves. Catching them at a time when they were still young and fresh is a joy to see. Fraser has always been underestimated as an actor, and here he's just sincere enough in his role as David to show that he's more than just a pretty face. Damon overdoes it a bit as the spoiled brat getting by on his looks and his family reputation, and he has a tendancy to chew the scenery a bit too much. His best work is when he's one-on-one with Fraser before finding out that David is a Jew. The scene with just the two of them talking by the lake on the campus is believable and worth the time, but as the plot moves on, Damon irritatingly overacts nearly to the point of being hammy. The others in the cast, Affleck and O'Donnell, are a bit non-descript, but they carry themselves well. More should have been done with these characters, especially Affleck, who's pretty much non-existant to the plot. Locane holds up well, too, though she also could do more than just be a plot point.
Speaking of the plot, it's okay, but it suffers from being a bit heavy-handed at times. The theme is anti-Semitism, and it's an important subject to be sure, but sometimes director Robert Mandel (with a script by Dick Wolf and Darryl Ponicsan) does have a tendancy to beat the viewer over the head with the point at times. The Jewishness of Fraser is not illustrated very well. Basically, it's told directly to us instead of being shown. The opening scene is an early example of this. Fraser is called out in public by a gang member who bluntly states he hates Jews. Later, Damon's character and Fraser's exchange words over anti-Semitic slurs. Only once do we see David actually practice his faith, and then extremely briefly. Too much is given in dialogue when showing the viewer would have gone much further and been more enriching. Still, the likablility of the cast and the ample chemistry between them make the movie very watchable, and the moral is still important no matter how pedestrian it seems at times.
The music by Maurice Jarre is servicable, if not very distinguishing. Set design and photography are also good if not spectacular.
As for the DVD itself, the copy I have doesn't have any features whatsoever. The movie is shown in widescreen format. Sound is available in one's choice of 5.1 Surround, English Dolby, or French Dolby sound. There's a scene selection. It would have been nice to at least had a commentary or interviews with the cast, but this is one of those early Paramount Pictures DVDs which were notorious for being as bare-boned as possible. If I find a special edition somewhere, I might buy it.
In all, "School Ties" is a good picture with a worthwhile moral to teach. With some tightening up on the acting and a more subtle script, it could have been a great movie, but I don't think anyone will be majorly disappointed with it. I'd recommend it for sure.
Ratings
Movie: B-
DVD: D-
Posted 8/9/2006 7:55:44 PM
"School Ties"
1992
starring Brendan Fraser, Chris O'Donnell, Matt Damon, Ben Affleck, Amy Locane
directed by Robert Mandel
A friend of mine at work recently let me borrow "School Ties." I'd never seen it, but I found it a good diversion. A good, not great, movie.
The story concerns David Greene (Fraser) who goes to a prestigious Boston school in the 1950's. He's smart, talented, great at football, and absolutely fair to everyone around him. He also hides the fact that he's Jewish. Early in the movie, we see him get into fights over his ancestry, and he wins every fight he gets into apparently. Going to this new school is exactly what he wants as he's from a lower-middle class family, and it means a great deal to him. All he wants to do is fit in, and to do that, he never mentions his faith. None of the other classmates suspect. Along the way, he falls in love, plays quarterback, gets phenominal grades, and makes a lot of friends. Things start to go wrong when one of his classmates, played by Damon, gets jealous as David betters him in all areas--by getting the best grades, taking his place on the football team, and eventually taking his girl (who wasn't really attached to him in the first place). His "cover" is eventually blown, and it causes a rift between all concerned.
First of all, the performances are first rate. The cast is populated with some of the best actors around. This was a jumping-off point for them, and all of them have since made big names for themselves. Catching them at a time when they were still young and fresh is a joy to see. Fraser has always been underestimated as an actor, and here he's just sincere enough in his role as David to show that he's more than just a pretty face. Damon overdoes it a bit as the spoiled brat getting by on his looks and his family reputation, and he has a tendancy to chew the scenery a bit too much. His best work is when he's one-on-one with Fraser before finding out that David is a Jew. The scene with just the two of them talking by the lake on the campus is believable and worth the time, but as the plot moves on, Damon irritatingly overacts nearly to the point of being hammy. The others in the cast, Affleck and O'Donnell, are a bit non-descript, but they carry themselves well. More should have been done with these characters, especially Affleck, who's pretty much non-existant to the plot. Locane holds up well, too, though she also could do more than just be a plot point.
Speaking of the plot, it's okay, but it suffers from being a bit heavy-handed at times. The theme is anti-Semitism, and it's an important subject to be sure, but sometimes director Robert Mandel (with a script by Dick Wolf and Darryl Ponicsan) does have a tendancy to beat the viewer over the head with the point at times. The Jewishness of Fraser is not illustrated very well. Basically, it's told directly to us instead of being shown. The opening scene is an early example of this. Fraser is called out in public by a gang member who bluntly states he hates Jews. Later, Damon's character and Fraser's exchange words over anti-Semitic slurs. Only once do we see David actually practice his faith, and then extremely briefly. Too much is given in dialogue when showing the viewer would have gone much further and been more enriching. Still, the likablility of the cast and the ample chemistry between them make the movie very watchable, and the moral is still important no matter how pedestrian it seems at times.
The music by Maurice Jarre is servicable, if not very distinguishing. Set design and photography are also good if not spectacular.
As for the DVD itself, the copy I have doesn't have any features whatsoever. The movie is shown in widescreen format. Sound is available in one's choice of 5.1 Surround, English Dolby, or French Dolby sound. There's a scene selection. It would have been nice to at least had a commentary or interviews with the cast, but this is one of those early Paramount Pictures DVDs which were notorious for being as bare-boned as possible. If I find a special edition somewhere, I might buy it.
In all, "School Ties" is a good picture with a worthwhile moral to teach. With some tightening up on the acting and a more subtle script, it could have been a great movie, but I don't think anyone will be majorly disappointed with it. I'd recommend it for sure.
Ratings
Movie: B-
DVD: D-
General Musings: Sorry I've Been Gone
Posted 8/9/2006 7:25:11 PM
Had a lotta stuff goin' on. But I'm back, and I've got a DVD review comin' up!
Posted 8/9/2006 7:25:11 PM
Had a lotta stuff goin' on. But I'm back, and I've got a DVD review comin' up!
CD Reviews: "Superman Returns" Motion Picture Soundtrack
Posted 7/23/2006 5:03:54 PM
If you like movie soundtracks (and I'm talking about actual orchestral stuff here, not those crappy ones that have pop music from bands you never heard of that played on a radio in a movie scene or, worse, soundtracks that say "inspired by the movie"), then go out and buy the soundtrack for the best movie of the summer, "Superman Returns."
John Ottoman is a name I'm not familiar with, unless he did the X-Men movies. I didn't care too much for them, so the music didn't leave much of an impression. He did, however, blow me away with this movie. (He was also co-editor, another reason he should get many, many kudos.) An orchestral soundtrack should be able to stand on its own away from the movie, and with the movie, it should compliment and not override a scene. There are only three composers I can think of for which this is true: Jerry Goldsmith ("The Omen," 5 of the "Star Trek" movies, "Supergirl"), John Williams ("Jaws," "Superman: The Movie," the "Star Wars" films), and John Debney ("The Passion of the Christ").
Now, I can add John Ottoman. Must be something about having a first name beginning with "J."
The score for "Superman Returns" lifts this often neglected form of entertainment to new heights. I've seen the movie 4 times, and I marvel at how someone knows what works in a scene. Ottoman accomplishes this daunting task most awesomely. His cues in the movie come at you left and right with pinpoint accuracy, elevating the already emotional scene to a place that can only be described as movie heaven. The CD starts where it should with "Main Titles," a new rendition of John Williams' original Superman theme, with a lot more brass and horns than in the original. Automatically, I wanted to hear more. (Note: for purists, the movie's opening credits feature a shortened version, but don't let that bug you.) The selections featured afterward stand on their own. My personal favorites are "Memories" (about Clark growing up in Smallville), "Reprise/Fly Away" (in the movie, just before the end credits), "Rough Flight" (Superman rescues a plane), and the elegant "How Could You Leave Us?" (Superman tries to reconcile with Lois and expertly uses the love theme from the first movie). Almost all of the tracks work in leimotifs from Williams' score, namely the themes from Krypton, the Lois love theme ("Can You Read My Mind"), and the main title. Ottoman wisely uses these only when needed, and 80-90% of the soundtrack is his and his alone. I didn't realize until reading the liner notes that this movie is the first time anything new had been done for Superman. The other movies just recycled Williams' score, fitting them into scenes to which they didn't belong. Not the case here. Ottoman uses those themes as a jumping off point to do his own thing. What's better is the fact that none of it is boring. I've listened to it several times already, and I find it as fresh now as when I first popped it in my car system.
As good as it is, however, there are a couple of things that are off, though my enjoyment of the music is not dimmed. The main one is a lack of the end credits, but the main title march is basically the same thing, so I guess that's why it's left off. Another is the fact that the main title doesn't match the opening credits--that's negligible. Also, I like a soundtrack that's arranged according to the scenes in the movie to heighten the memory factor. This one slightly rearranges the selections out of sequence, but the pieces compliment each other as they are, so that's just a quibble.
As a bonus, the CD comes with the 1st and 2nd trailers for the movie (my favorite is the 2nd), a behind-the-scenes of the making of the main title (which is exactly the same music as the movie, and it shows members of the cast attending the recording), and a trailer for the documentary, "Look Up in the Sky," which was released shortly before the movie (and is a must-have if you're a Superman fan). I had trouble playing the behind-the-scenes footage on my computer, but there's no guarantee these will work (I saw the same thing on YouTube at work).
All in all, an excellent soundtrack that compliments one of the best movies ever made. Superman's back, and have we missed seeing, and hearing, him.
RATING: A+
Posted 7/23/2006 5:03:54 PM
If you like movie soundtracks (and I'm talking about actual orchestral stuff here, not those crappy ones that have pop music from bands you never heard of that played on a radio in a movie scene or, worse, soundtracks that say "inspired by the movie"), then go out and buy the soundtrack for the best movie of the summer, "Superman Returns."
John Ottoman is a name I'm not familiar with, unless he did the X-Men movies. I didn't care too much for them, so the music didn't leave much of an impression. He did, however, blow me away with this movie. (He was also co-editor, another reason he should get many, many kudos.) An orchestral soundtrack should be able to stand on its own away from the movie, and with the movie, it should compliment and not override a scene. There are only three composers I can think of for which this is true: Jerry Goldsmith ("The Omen," 5 of the "Star Trek" movies, "Supergirl"), John Williams ("Jaws," "Superman: The Movie," the "Star Wars" films), and John Debney ("The Passion of the Christ").
Now, I can add John Ottoman. Must be something about having a first name beginning with "J."
The score for "Superman Returns" lifts this often neglected form of entertainment to new heights. I've seen the movie 4 times, and I marvel at how someone knows what works in a scene. Ottoman accomplishes this daunting task most awesomely. His cues in the movie come at you left and right with pinpoint accuracy, elevating the already emotional scene to a place that can only be described as movie heaven. The CD starts where it should with "Main Titles," a new rendition of John Williams' original Superman theme, with a lot more brass and horns than in the original. Automatically, I wanted to hear more. (Note: for purists, the movie's opening credits feature a shortened version, but don't let that bug you.) The selections featured afterward stand on their own. My personal favorites are "Memories" (about Clark growing up in Smallville), "Reprise/Fly Away" (in the movie, just before the end credits), "Rough Flight" (Superman rescues a plane), and the elegant "How Could You Leave Us?" (Superman tries to reconcile with Lois and expertly uses the love theme from the first movie). Almost all of the tracks work in leimotifs from Williams' score, namely the themes from Krypton, the Lois love theme ("Can You Read My Mind"), and the main title. Ottoman wisely uses these only when needed, and 80-90% of the soundtrack is his and his alone. I didn't realize until reading the liner notes that this movie is the first time anything new had been done for Superman. The other movies just recycled Williams' score, fitting them into scenes to which they didn't belong. Not the case here. Ottoman uses those themes as a jumping off point to do his own thing. What's better is the fact that none of it is boring. I've listened to it several times already, and I find it as fresh now as when I first popped it in my car system.
As good as it is, however, there are a couple of things that are off, though my enjoyment of the music is not dimmed. The main one is a lack of the end credits, but the main title march is basically the same thing, so I guess that's why it's left off. Another is the fact that the main title doesn't match the opening credits--that's negligible. Also, I like a soundtrack that's arranged according to the scenes in the movie to heighten the memory factor. This one slightly rearranges the selections out of sequence, but the pieces compliment each other as they are, so that's just a quibble.
As a bonus, the CD comes with the 1st and 2nd trailers for the movie (my favorite is the 2nd), a behind-the-scenes of the making of the main title (which is exactly the same music as the movie, and it shows members of the cast attending the recording), and a trailer for the documentary, "Look Up in the Sky," which was released shortly before the movie (and is a must-have if you're a Superman fan). I had trouble playing the behind-the-scenes footage on my computer, but there's no guarantee these will work (I saw the same thing on YouTube at work).
All in all, an excellent soundtrack that compliments one of the best movies ever made. Superman's back, and have we missed seeing, and hearing, him.
RATING: A+
CD Reviews: "Superman Returns"
Posted 7/23/2006 7:51:57 AM
I bought the soundtrack CD for "Superman Returns" yesterday. I'll have my review posted soon.
Posted 7/23/2006 7:51:57 AM
I bought the soundtrack CD for "Superman Returns" yesterday. I'll have my review posted soon.
Religious: Israel/Lebanon Conflict
Posted 7/18/2006 4:42:46 AM
Not to get too religious on you, but I have a Bible quote that seems extremely relevant.
"You will hear about wars and stories of wars that are coming, but don't be afraid. These things must happen before the end comes. Nations will fight against other nations; kingdoms will fight against other kingdoms. There will be times when there is no food for people to eat, and there will be earthquakes in different places. These things are like the first pains when something new is about to be born."
--spoken by Jesus
Matthew 24:6-8
Appropriate for the times, no?
Posted 7/18/2006 4:42:46 AM
Not to get too religious on you, but I have a Bible quote that seems extremely relevant.
"You will hear about wars and stories of wars that are coming, but don't be afraid. These things must happen before the end comes. Nations will fight against other nations; kingdoms will fight against other kingdoms. There will be times when there is no food for people to eat, and there will be earthquakes in different places. These things are like the first pains when something new is about to be born."
--spoken by Jesus
Matthew 24:6-8
Appropriate for the times, no?
Celebrity Passings: Red Buttons (1919-2006)
Posted 7/17/2006 4:20:20 AM
Another entertainer has left us. I remember Red Buttons from various TV appearances, but he had memorable roles in the movie "The Poseidon Adventure," and he appeared on the pilot episode of "Wonder Woman" in 1975 as a Nazi double agent. The following is from Wikipedia.org.
Red Buttons (February 5, 1919 – July 13, 2006) was the stage name of American comedian and actor Aaron Chwatt. He won an Academy Award as Best Supporting Actor for his portrayal of Airman Joe Kelly in Sayonara (1957), a rare dramatic role.
Early life and career
Chwatt was born in New York City. At 16 years old, Chwatt got a job as an entertaining bellhop at Ryan's Tavern in City Island, Bronx. The combination of his red hair and the shiny buttoned bellhop uniform inspired orchestra leader Charles "Dinty" Moore to call him Red Buttons, the name under which he would later perform.
Later that same summer, Buttons worked on the Borscht Belt; his straightman was Robert Alda. In 1939, Buttons started working for Minsky's Burlesque; in 1941, José Ferrer chose Buttons to appear in a Broadway show The Admiral Had a Wife. The show was a farce set in Pearl Harbor, and it was due to open on December 8, 1941. It never did, as it was deemed inappropriate after the Japanese attack. In later years Buttons would joke that the Japanese only attacked Pearl Harbor to keep him off of Broadway.
In September 1942, Buttons at last got his Broadway debut in Vickie with Ferrer and Uta Hagen. Later that year, he appeared in the Minsky's show Wine, Women and Song; this was the last Burlesque show in New York City history, as the Mayor La Guardia administration closed it down. Buttons was on stage when the show was raided.
1943 saw Buttons in the Army Air Corps. He was also chosen to appear in the Broadway show Winged Victory, as well as appearing in the Darryl F. Zanuck movie version. He later went on to join Mickey Rooney's outfit, and he entertained troops in the European Theater of operations.
Personal life
From 1947 to 1951, he was married to actress Roxanne Arlen, who would have been only 16 if her year of birth (1931), given by some sources, is accurate.[1] His next marriage was to Helayne McNorton, from December 8, 1949 until 1963. His last marriage was to Alicia Pratt, which lasted from January 27, 1964 until her death in March 2001. In 2000, Alicia Pratt was arrested for possession of marijuana in the company of another woman.[2]
Buttons had two children, daughter Amy Buttons Morgress and son Adam Buttons.
Career success
Red Buttons playing opposite Miyoshi Umeki and Marlon Brando in Sayonara
After the war, Buttons continued to do Broadway shows. He also performed at Broadway movie houses with the Big Bands. In 1952, Buttons received his own variety series on television - The Red Buttons Show ran for three years, and achieved high levels of success. His catch phrase from the show, "strange things are happening," entered the national vocabulary briefly in the mid-1950s.
His role in Sayonara was a dramatic departure from his previous work. In that film, he played Joe Kelly, a American airman stationed in Kobe, Japan during the Korean War, who falls in love with a Katsumi, a Japanese woman (played by Miyoshi Umeki), but is barred from marrying her by military rules intended to reassure the local populace that the U.S. presence is temporary. His portrayal of Kelly's calm resolve to not abandon the relationship and touching reassurance of Katsumi impressed audiences and critics alike; both he and Umeki won Academy Awards for the film. After his Oscar-winning role, Buttons performed in numerous feature films, including Hatari!, The Longest Day, Harlow, The Poseidon Adventure, They Shoot Horses, Don't They?, and Pete's Dragon. He also made many memorable TV appearances on programs including It's Garry Shandling's Show.
He became a nationally recognizable comedian, and his "Never Got A Dinner" sketch was a standard at the Dean Martin roasts for many years.
He is #71 on Comedy Central's list of the 100 Greatest Stand-ups of All Time.
Later life
Buttons died of vascular disease on July 13, 2006 at his home in the Century City area of Los Angeles. His spokesman says Buttons had been ill for some time and was with family members when he died. [3]
He was the advertising spokesman for the Century Village, Florida retirement community.
By coincidence, Buttons was the subject of a Jeopardy! clue on the day that he died.
Awards
Academy Awards
Won:
Best Supporting Actor (Sayonara, 1958)
Golden Globe Awards
Won:
Best Supporting Actor (Sayonara, 1958)
Nominated:
Best Supporting Actor (Harlow, 1966)
Best Supporting Actor (They Shoot Horses, Don't They?, 1970)
Posted 7/17/2006 4:20:20 AM
Another entertainer has left us. I remember Red Buttons from various TV appearances, but he had memorable roles in the movie "The Poseidon Adventure," and he appeared on the pilot episode of "Wonder Woman" in 1975 as a Nazi double agent. The following is from Wikipedia.org.
Red Buttons (February 5, 1919 – July 13, 2006) was the stage name of American comedian and actor Aaron Chwatt. He won an Academy Award as Best Supporting Actor for his portrayal of Airman Joe Kelly in Sayonara (1957), a rare dramatic role.
Early life and career
Chwatt was born in New York City. At 16 years old, Chwatt got a job as an entertaining bellhop at Ryan's Tavern in City Island, Bronx. The combination of his red hair and the shiny buttoned bellhop uniform inspired orchestra leader Charles "Dinty" Moore to call him Red Buttons, the name under which he would later perform.
Later that same summer, Buttons worked on the Borscht Belt; his straightman was Robert Alda. In 1939, Buttons started working for Minsky's Burlesque; in 1941, José Ferrer chose Buttons to appear in a Broadway show The Admiral Had a Wife. The show was a farce set in Pearl Harbor, and it was due to open on December 8, 1941. It never did, as it was deemed inappropriate after the Japanese attack. In later years Buttons would joke that the Japanese only attacked Pearl Harbor to keep him off of Broadway.
In September 1942, Buttons at last got his Broadway debut in Vickie with Ferrer and Uta Hagen. Later that year, he appeared in the Minsky's show Wine, Women and Song; this was the last Burlesque show in New York City history, as the Mayor La Guardia administration closed it down. Buttons was on stage when the show was raided.
1943 saw Buttons in the Army Air Corps. He was also chosen to appear in the Broadway show Winged Victory, as well as appearing in the Darryl F. Zanuck movie version. He later went on to join Mickey Rooney's outfit, and he entertained troops in the European Theater of operations.
Personal life
From 1947 to 1951, he was married to actress Roxanne Arlen, who would have been only 16 if her year of birth (1931), given by some sources, is accurate.[1] His next marriage was to Helayne McNorton, from December 8, 1949 until 1963. His last marriage was to Alicia Pratt, which lasted from January 27, 1964 until her death in March 2001. In 2000, Alicia Pratt was arrested for possession of marijuana in the company of another woman.[2]
Buttons had two children, daughter Amy Buttons Morgress and son Adam Buttons.
Career success
Red Buttons playing opposite Miyoshi Umeki and Marlon Brando in Sayonara
After the war, Buttons continued to do Broadway shows. He also performed at Broadway movie houses with the Big Bands. In 1952, Buttons received his own variety series on television - The Red Buttons Show ran for three years, and achieved high levels of success. His catch phrase from the show, "strange things are happening," entered the national vocabulary briefly in the mid-1950s.
His role in Sayonara was a dramatic departure from his previous work. In that film, he played Joe Kelly, a American airman stationed in Kobe, Japan during the Korean War, who falls in love with a Katsumi, a Japanese woman (played by Miyoshi Umeki), but is barred from marrying her by military rules intended to reassure the local populace that the U.S. presence is temporary. His portrayal of Kelly's calm resolve to not abandon the relationship and touching reassurance of Katsumi impressed audiences and critics alike; both he and Umeki won Academy Awards for the film. After his Oscar-winning role, Buttons performed in numerous feature films, including Hatari!, The Longest Day, Harlow, The Poseidon Adventure, They Shoot Horses, Don't They?, and Pete's Dragon. He also made many memorable TV appearances on programs including It's Garry Shandling's Show.
He became a nationally recognizable comedian, and his "Never Got A Dinner" sketch was a standard at the Dean Martin roasts for many years.
He is #71 on Comedy Central's list of the 100 Greatest Stand-ups of All Time.
Later life
Buttons died of vascular disease on July 13, 2006 at his home in the Century City area of Los Angeles. His spokesman says Buttons had been ill for some time and was with family members when he died. [3]
He was the advertising spokesman for the Century Village, Florida retirement community.
By coincidence, Buttons was the subject of a Jeopardy! clue on the day that he died.
Awards
Academy Awards
Won:
Best Supporting Actor (Sayonara, 1958)
Golden Globe Awards
Won:
Best Supporting Actor (Sayonara, 1958)
Nominated:
Best Supporting Actor (Harlow, 1966)
Best Supporting Actor (They Shoot Horses, Don't They?, 1970)
Celebrity Passings: Banard Hughes (1915-2006)
Posted 7/17/2006 4:17:11 AM
Another great one is gone. The following is from Wikipedia.org.
Barnard Hughes (July 16, 1915 – July 11, 2006), born Bernard Aloysius Kiernan Hughes[1], was an American character actor of theater and film.
Hughes became famous for a variety of roles; his most notable roles came after middle age, and he was often cast as a dithering authority figure or grandfatherly elder
Personal life
Hughes was born in Bedford Hills, New York, to Irish immigrants Owen and Madge Hughes. Hughes attended Manhattan College in New York City. Hughes was married to actress Helen Stenborg. They married on April 19, 1950 and remained married until his death. They had two children, Doug and Laura. [2]
Career
According to his son Doug, Hughes changed the "e" in his first name to an "a" to help his acting career on the advice of a numerologist[1].
Through high school and college, Hughes worked a series of odd jobs, including a stint as a dockworker and as a salesman at Macy's. He auditioned for the Shakespeare Fellowship Repertory company in New York City on the advice of a friend, and ended up joining the company for two years[1].
Stage roles
Hughes played more than 400 theatre roles, including the one for which he was perhaps most famous, in Hugh Leonard's Da. He won Broadway's 1978 Tony Award as Best Actor for his portrayal of the title role; he recreated the role for film in 1988.
Among his other notable roles:
Polonius to Stacy Keach's Hamlet
Dogberry in the New York Shakespeare Festival production of Much Ado About Nothing
An Off-Broadway performances in Uncle Vanya, directed by Mike Nichols
A Doll's House
Hogan's Goat
The Three Sisters
The Devil's Disciple, and
Translations.
Film roles
On screen, he appeared in Midnight Cowboy (1969) (which was the first (and only) X-rated film to win the Academy Award for Best Picture), and also appeared in such films as The Hospital (1971), Oh, God! (1977), First Monday in October (1981), Tron (1982), The Lost Boys (1987) and Doc Hollywood (1991).
Television roles
Hughes appeared on TV in such series as Naked City, Secret Storm, Blossom and Homicide: Life on the Street. He had a notable appearance on All in the Family as a Catholic priest doing battle with Archie Bunker, and won an Emmy for his portrayal of a senile judge on Lou Grant. He was the central character in three short-lived sitcoms, Doc, where he played a physician, Mr. Merlin, in which he played Merlin the magician mentoring a 20th-century teenager, and The Cavanaughs, co-starring Christine Ebersole, where he played the family patriarch. He sang Danny Boy on one episode (as per [1]).
Hughes also made a number of recurring appearances on daytime dramas including Guiding Light and As The World Turns.
Posted 7/17/2006 4:17:11 AM
Another great one is gone. The following is from Wikipedia.org.
Barnard Hughes (July 16, 1915 – July 11, 2006), born Bernard Aloysius Kiernan Hughes[1], was an American character actor of theater and film.
Hughes became famous for a variety of roles; his most notable roles came after middle age, and he was often cast as a dithering authority figure or grandfatherly elder
Personal life
Hughes was born in Bedford Hills, New York, to Irish immigrants Owen and Madge Hughes. Hughes attended Manhattan College in New York City. Hughes was married to actress Helen Stenborg. They married on April 19, 1950 and remained married until his death. They had two children, Doug and Laura. [2]
Career
According to his son Doug, Hughes changed the "e" in his first name to an "a" to help his acting career on the advice of a numerologist[1].
Through high school and college, Hughes worked a series of odd jobs, including a stint as a dockworker and as a salesman at Macy's. He auditioned for the Shakespeare Fellowship Repertory company in New York City on the advice of a friend, and ended up joining the company for two years[1].
Stage roles
Hughes played more than 400 theatre roles, including the one for which he was perhaps most famous, in Hugh Leonard's Da. He won Broadway's 1978 Tony Award as Best Actor for his portrayal of the title role; he recreated the role for film in 1988.
Among his other notable roles:
Polonius to Stacy Keach's Hamlet
Dogberry in the New York Shakespeare Festival production of Much Ado About Nothing
An Off-Broadway performances in Uncle Vanya, directed by Mike Nichols
A Doll's House
Hogan's Goat
The Three Sisters
The Devil's Disciple, and
Translations.
Film roles
On screen, he appeared in Midnight Cowboy (1969) (which was the first (and only) X-rated film to win the Academy Award for Best Picture), and also appeared in such films as The Hospital (1971), Oh, God! (1977), First Monday in October (1981), Tron (1982), The Lost Boys (1987) and Doc Hollywood (1991).
Television roles
Hughes appeared on TV in such series as Naked City, Secret Storm, Blossom and Homicide: Life on the Street. He had a notable appearance on All in the Family as a Catholic priest doing battle with Archie Bunker, and won an Emmy for his portrayal of a senile judge on Lou Grant. He was the central character in three short-lived sitcoms, Doc, where he played a physician, Mr. Merlin, in which he played Merlin the magician mentoring a 20th-century teenager, and The Cavanaughs, co-starring Christine Ebersole, where he played the family patriarch. He sang Danny Boy on one episode (as per [1]).
Hughes also made a number of recurring appearances on daytime dramas including Guiding Light and As The World Turns.
Celebrity Passings: June Allyson (1917-2006)
Posted 7/10/2006 7:53:13 PM
June Allyson (October 7, 1917- July 8, 2006) was an American actress, popular in the 1940s and 1950s.
She was born Ella Geisman in the Bronx, New York City to Clara and Robert Geisman. Her father, whose original surname was Van Geisman (a Dutch name), was from West Virginia and worked as a janitor, separating from Allyson's mother during her childhood and leaving the family. Allyson was brought up in near-poverty. After a childhood accident, she took up both swimming and dancing as therapy, and made her Broadway chorus-line debut in 1938 in the musical "Sing Out the News." After her appearance in "Best Foot Forward" in 1941, she was selected for the 1943 film version, and followed it up with several other musicals, including "Two Sisters from Boston" (1946) and "Good News" (1947). She also played straight roles such as Constance in "The Three Musketeers" (1948), the tomboy Jo in "Little Women" (1949), and Glenn Miller's wife in "The Glenn Miller Story" (1953).
On August 19, 1945, Allyson caused Hollywood studio chiefs some consternation by marrying Dick Powell, who was 13 years her senior and had been previously married to Mildred Maund and Joan Blondell. They had two children, Pamela Allyson Powell (adopted) and Richard Powell, Jr., and remained married until his death on January 2, 1963, which led to Allyson's effective retirement from the screen. Following Powell's death, she went though a bitter court battle with her mother over custody of son Ricky and Pamela. Reports at the time revealed that writer/director Dirk Summers, with whom Allyson was romantically involved from 1963 to 1975, was named legal guardian for Ricky and Pamela as a result of a court petition.
Members of the nascent jet-set, Allyson and Summers were frequently seen in Cap d'Antibes, Madrid, Rome and London. However, the relationship did not last and she married briefly to Glenn Maxwell. She was married to David Ashrow, a dentist turned actor, from 1976 until her death.
Dick Powell had been a major television player with his own production company, Four Star, owning several network shows. When he died, Allyson was left very well off and didn't need to work. She occasionally made appearances on talk and variety shows, but gained newfound celebrity in the 1990s as spokeswoman for Depend adult undergarments. Her name made the headlines again when actor-turned-agent Marty Ingels publicly charged Allyson with not paying his large commission on the Depend deal. Allyson counter-charged that Ingels was harassing her with dozens of phone calls daily and nightly.
For her contribution to the motion picture industry, June Allyson received a star on the Hollywood Walk of Fame at 1537 Vine Street.
Death
June passed away at her home in Ojai, California, with her husband of nearly 30 years, David Ashrow, at her side. She died of pulmonary respiratory failure and acute bronchitis after a long illness.
(The above information is from Wikipedia.org.)
Posted 7/10/2006 7:53:13 PM
June Allyson (October 7, 1917- July 8, 2006) was an American actress, popular in the 1940s and 1950s.
She was born Ella Geisman in the Bronx, New York City to Clara and Robert Geisman. Her father, whose original surname was Van Geisman (a Dutch name), was from West Virginia and worked as a janitor, separating from Allyson's mother during her childhood and leaving the family. Allyson was brought up in near-poverty. After a childhood accident, she took up both swimming and dancing as therapy, and made her Broadway chorus-line debut in 1938 in the musical "Sing Out the News." After her appearance in "Best Foot Forward" in 1941, she was selected for the 1943 film version, and followed it up with several other musicals, including "Two Sisters from Boston" (1946) and "Good News" (1947). She also played straight roles such as Constance in "The Three Musketeers" (1948), the tomboy Jo in "Little Women" (1949), and Glenn Miller's wife in "The Glenn Miller Story" (1953).
On August 19, 1945, Allyson caused Hollywood studio chiefs some consternation by marrying Dick Powell, who was 13 years her senior and had been previously married to Mildred Maund and Joan Blondell. They had two children, Pamela Allyson Powell (adopted) and Richard Powell, Jr., and remained married until his death on January 2, 1963, which led to Allyson's effective retirement from the screen. Following Powell's death, she went though a bitter court battle with her mother over custody of son Ricky and Pamela. Reports at the time revealed that writer/director Dirk Summers, with whom Allyson was romantically involved from 1963 to 1975, was named legal guardian for Ricky and Pamela as a result of a court petition.
Members of the nascent jet-set, Allyson and Summers were frequently seen in Cap d'Antibes, Madrid, Rome and London. However, the relationship did not last and she married briefly to Glenn Maxwell. She was married to David Ashrow, a dentist turned actor, from 1976 until her death.
Dick Powell had been a major television player with his own production company, Four Star, owning several network shows. When he died, Allyson was left very well off and didn't need to work. She occasionally made appearances on talk and variety shows, but gained newfound celebrity in the 1990s as spokeswoman for Depend adult undergarments. Her name made the headlines again when actor-turned-agent Marty Ingels publicly charged Allyson with not paying his large commission on the Depend deal. Allyson counter-charged that Ingels was harassing her with dozens of phone calls daily and nightly.
For her contribution to the motion picture industry, June Allyson received a star on the Hollywood Walk of Fame at 1537 Vine Street.
Death
June passed away at her home in Ojai, California, with her husband of nearly 30 years, David Ashrow, at her side. She died of pulmonary respiratory failure and acute bronchitis after a long illness.
(The above information is from Wikipedia.org.)
General Musings: This is Fun!!
Posted 7/7/2006 6:10:46 PM
Thanks to everyone for their comments! All of you make me feel welcome (at least right now...wait 'til I throw some politics in here). I'm glad I've started this blog. So many interesting people. Gotta go now, but I'll see ya' soon!
Posted 7/7/2006 6:10:46 PM
Thanks to everyone for their comments! All of you make me feel welcome (at least right now...wait 'til I throw some politics in here). I'm glad I've started this blog. So many interesting people. Gotta go now, but I'll see ya' soon!
General Musings: I'm Baaaack!
Posted 7/7/2006 4:51:01 AM
(Now you know how the family in "Poltergeist" felt...)
Sorry I haven't posted in several days. When I started this blog, I was on vacation from my crummy job, and then I had to go back (kicking and screaming, I assure you). But while I had a few moments this morning, thought I'd post a review of "Transamerica" for you. I'll be posting this weekend, hopefully. See ya' soon!
Posted 7/7/2006 4:51:01 AM
(Now you know how the family in "Poltergeist" felt...)
Sorry I haven't posted in several days. When I started this blog, I was on vacation from my crummy job, and then I had to go back (kicking and screaming, I assure you). But while I had a few moments this morning, thought I'd post a review of "Transamerica" for you. I'll be posting this weekend, hopefully. See ya' soon!
DVD Reviews: "Transamerica"
Posted 7/7/2006 4:47:19 AM
"Transamerica" starring Flelicity Huffman, Kevin Zegers, Fionnula Flanagan, Burt Young, Elizabeth Pena, Graham Greene...directed by Duncan Tucker
"Transamerica" didn't play around my area, as far as I know. I heard good buzz about this movie, so I was very curious. I've never seen Felicity Huffman (from TV's "Desperate Housewives") act before, but I've seen Kevin Zegers do some good work (namely "The Incredible Mrs. Ritchie") and some terrible work (any "Air Bud" movie he starred in, but it wasn't his fault). So, when it came out on DVD, it was worth a look. I guess the reason it didn't play around here was that it's basically a gay-themed movie, sort of, with a transsexual as the main character. I don't care, as long as the characters are believable and the story is well-done.
Unfortunately, this movie has no idea what it wants to be. There are a lot of ideas about it's identity thrown around. It's a road movie, a gay movie, a father-son movie (in a way), it's a "my-parents-don't-get-me" movie...but there's no cohesion. It was even marketed as a comedy, though there's hardly anything funny about it except for a few scenes that offer a couple of chuckles. There's no question of the talent, I have to say. The characters are sound. Felicity Huffman, with some terrific cinematic make-up, is believable as a man whose about to undergo the final step in making himself a woman. The way Huffman carries herself and the vocal tones she uses really made me believe she was born a man (something you can't say if you've seen her on TV!) Kevin Zegers does very well playing his/her son who sells himself for drugs and has aspirations of making it as a gay porn actor. But the movie doesn't do much with either of this. The main plot concerns Huffman ready to finally become a full woman. As he/she anticipates going to the West Coast to do so, he/she receives a call from his/her only child (Zegers) who is in jail. His/her therapist (Elizabeth Pena in a throwaway role) tells him/her that he/she can't have the operation until he/she bonds with his/her son. (That's it! I'm referring to the character with feminine pronouns from now on!) She poses as a church woman out to help him because she doesn't think he can handle the truth--that she's really his father. (Come on now--he does men for drugs and wants to be a porn star. How could he not handle that??) They then go on the road and have small adventures along the way. Most of the trip was boring and didn't add up to much, except when Huffman's character finds a man (Graham Greene, who does his best with another throwaway role) who actually likes her. Burt Young and Fionnula Flanagan play her parents who let the two of them stay in their house after their car is stolen. These are the only really interesting scenes in the movie, but instead of letting us see this kind of dynamic between the characters, we get a useless road movie that goes on forever without really getting anywhere. The ending of the movie is also one of those open-ended affairs that doesn't give even a hint of resolution. Things are left hanging way too much. I know this happens in real life, but this is a movie, people. Some kind of resolution is necessary after having sat through all of the drivel. Instead, the ending feels like the director said, "Okay, I'm out of film. We'll just stop here." Bad, bad directing. The music was only adequate, not great, but at least it wasn't intrusive or mismatched with the scenes. (Dolly Parton has a great song that's played over the end credits, but it doesn't really have much to do with the movie.)
The DVD is actually better than the movie itself. A lot of decent special features. The behind-the-scenes is better than watching the movie, if for no other reason than the actors and director act like they're making a masterpiece (now that's funny). There's a bloopers reel that's okay, if not great, and a theatrical trailer that makes a better impression than the film (I wanna see that movie). I haven't yet listened to the commentary or seen the feature conversation with the director and the stars, but I'll bet it's just as funny as the behind-the-scenes thing. There's also a video for Dolly Parton's end-credits song, "Travelin' Through," though it's only a standard video that's not as good as the song itself.
To sum up, "Transamerica" is a movie that wants to say so much, but there's no cohesion to allow it to say much of anything. Except for Young and Flanagan, the secondary characters are totally wasted. The two leads, however, are given the unhappy task of carrying this movie, and it's a credit to them that they are able to do so without falling flat on their faces. To be fair, there's enough chemistry between Huffman and Zegers that there are a few good moments between their characters, and they are engaging enough to want to keep watching to the end to see what happens to them. But with the terrible ending, you'll be highly disappointed. (I also have to note that if you're squeemish about sex on screen, particularly with same-sex relations, there are a couple of scenes featuring Zegers that you might not like. One of them was necessary to further the plot and acceptable, but the other, which occurs about halfway in, could have been cut without hampering the plot at all.) This is not a really terrible movie, thanks to the two lead actors, but it's also not a very good one.
Rating...Movie: C- (and that's being generous)/DVD: B-
Posted 7/7/2006 4:47:19 AM
"Transamerica" starring Flelicity Huffman, Kevin Zegers, Fionnula Flanagan, Burt Young, Elizabeth Pena, Graham Greene...directed by Duncan Tucker
"Transamerica" didn't play around my area, as far as I know. I heard good buzz about this movie, so I was very curious. I've never seen Felicity Huffman (from TV's "Desperate Housewives") act before, but I've seen Kevin Zegers do some good work (namely "The Incredible Mrs. Ritchie") and some terrible work (any "Air Bud" movie he starred in, but it wasn't his fault). So, when it came out on DVD, it was worth a look. I guess the reason it didn't play around here was that it's basically a gay-themed movie, sort of, with a transsexual as the main character. I don't care, as long as the characters are believable and the story is well-done.
Unfortunately, this movie has no idea what it wants to be. There are a lot of ideas about it's identity thrown around. It's a road movie, a gay movie, a father-son movie (in a way), it's a "my-parents-don't-get-me" movie...but there's no cohesion. It was even marketed as a comedy, though there's hardly anything funny about it except for a few scenes that offer a couple of chuckles. There's no question of the talent, I have to say. The characters are sound. Felicity Huffman, with some terrific cinematic make-up, is believable as a man whose about to undergo the final step in making himself a woman. The way Huffman carries herself and the vocal tones she uses really made me believe she was born a man (something you can't say if you've seen her on TV!) Kevin Zegers does very well playing his/her son who sells himself for drugs and has aspirations of making it as a gay porn actor. But the movie doesn't do much with either of this. The main plot concerns Huffman ready to finally become a full woman. As he/she anticipates going to the West Coast to do so, he/she receives a call from his/her only child (Zegers) who is in jail. His/her therapist (Elizabeth Pena in a throwaway role) tells him/her that he/she can't have the operation until he/she bonds with his/her son. (That's it! I'm referring to the character with feminine pronouns from now on!) She poses as a church woman out to help him because she doesn't think he can handle the truth--that she's really his father. (Come on now--he does men for drugs and wants to be a porn star. How could he not handle that??) They then go on the road and have small adventures along the way. Most of the trip was boring and didn't add up to much, except when Huffman's character finds a man (Graham Greene, who does his best with another throwaway role) who actually likes her. Burt Young and Fionnula Flanagan play her parents who let the two of them stay in their house after their car is stolen. These are the only really interesting scenes in the movie, but instead of letting us see this kind of dynamic between the characters, we get a useless road movie that goes on forever without really getting anywhere. The ending of the movie is also one of those open-ended affairs that doesn't give even a hint of resolution. Things are left hanging way too much. I know this happens in real life, but this is a movie, people. Some kind of resolution is necessary after having sat through all of the drivel. Instead, the ending feels like the director said, "Okay, I'm out of film. We'll just stop here." Bad, bad directing. The music was only adequate, not great, but at least it wasn't intrusive or mismatched with the scenes. (Dolly Parton has a great song that's played over the end credits, but it doesn't really have much to do with the movie.)
The DVD is actually better than the movie itself. A lot of decent special features. The behind-the-scenes is better than watching the movie, if for no other reason than the actors and director act like they're making a masterpiece (now that's funny). There's a bloopers reel that's okay, if not great, and a theatrical trailer that makes a better impression than the film (I wanna see that movie). I haven't yet listened to the commentary or seen the feature conversation with the director and the stars, but I'll bet it's just as funny as the behind-the-scenes thing. There's also a video for Dolly Parton's end-credits song, "Travelin' Through," though it's only a standard video that's not as good as the song itself.
To sum up, "Transamerica" is a movie that wants to say so much, but there's no cohesion to allow it to say much of anything. Except for Young and Flanagan, the secondary characters are totally wasted. The two leads, however, are given the unhappy task of carrying this movie, and it's a credit to them that they are able to do so without falling flat on their faces. To be fair, there's enough chemistry between Huffman and Zegers that there are a few good moments between their characters, and they are engaging enough to want to keep watching to the end to see what happens to them. But with the terrible ending, you'll be highly disappointed. (I also have to note that if you're squeemish about sex on screen, particularly with same-sex relations, there are a couple of scenes featuring Zegers that you might not like. One of them was necessary to further the plot and acceptable, but the other, which occurs about halfway in, could have been cut without hampering the plot at all.) This is not a really terrible movie, thanks to the two lead actors, but it's also not a very good one.
Rating...Movie: C- (and that's being generous)/DVD: B-
General Musings: Answering Comments
Posted 6/30/2006 1:27:47 AM
I've gotten a lot of comments on my blog already. I love it!! Instead of answering everyone individually, I'll try this blog this time to give some general answers.
1) Yes, I'm a child of the 70's, so I like a LOT of 70's music (hey, I even like disco--sue me). I'm a big Motown freak, so my favorites include the Supremes (sans Diana Ross), Marvin Gaye, etc. I also think the Jackson 5 was cool, and I liked Michael Jackson before 1980, but I really can't stand anything ("Thriller" included) after that. I'm also big on music going back to the 20's, and I love almost anything except death metal, thrash metal, and industrial metal. Rap is okay, though I'm not a big fan, and only recently have I been giving Eminem a listen, though I don't really like his hate rantings or the language too much. And ABBA? NO ONE is as big an ABBA fan as I am. I even started learning Swedish (which is not easy, by the way) because I have some solo CDs by Agnetha and Frida that were recorded in Swedish. How's that for a fan?
2) I'm glad to see at least one reader who likes politics. I may be only 36, but I pay attention. I don't vote party because I don't really trust either side. I try to vote for who I think will be the best choice. That's local, state, or federal levels. A leader? Well, I never was a fan of George Bush, senior or junior, but I have to admit, in the last election the American people had to choose between two total morons for President. I didn't want either of them leading this country, and though I voted, I knew I wasn't making the best decision, but it wasn't my fault. It wasn't even the lesser of two evils. I could have closed my eyes and voted without knowing who I voted for (which I should have done) because no matter who I voted for, I was voting for a complete and utter idiot. I long for the day when we can have a compassionate, honest, and intelligent choice. I wish we could have a difficult time voting between two such people instead of the utter boobs we usually get. But the good kind only get shown on TV ("Commander-in-Chief") and in the movies ("Air Force One," "Deep Impact"). Still, I'm glad someone out there is willing to comment and discuss. I hold no wrath for someone just because he/she has an opinon. Just be sure to back it up with honest facts and not say "just because." Nothing can be lazier than that.
See you all soon!
Posted 6/30/2006 1:27:47 AM
I've gotten a lot of comments on my blog already. I love it!! Instead of answering everyone individually, I'll try this blog this time to give some general answers.
1) Yes, I'm a child of the 70's, so I like a LOT of 70's music (hey, I even like disco--sue me). I'm a big Motown freak, so my favorites include the Supremes (sans Diana Ross), Marvin Gaye, etc. I also think the Jackson 5 was cool, and I liked Michael Jackson before 1980, but I really can't stand anything ("Thriller" included) after that. I'm also big on music going back to the 20's, and I love almost anything except death metal, thrash metal, and industrial metal. Rap is okay, though I'm not a big fan, and only recently have I been giving Eminem a listen, though I don't really like his hate rantings or the language too much. And ABBA? NO ONE is as big an ABBA fan as I am. I even started learning Swedish (which is not easy, by the way) because I have some solo CDs by Agnetha and Frida that were recorded in Swedish. How's that for a fan?
2) I'm glad to see at least one reader who likes politics. I may be only 36, but I pay attention. I don't vote party because I don't really trust either side. I try to vote for who I think will be the best choice. That's local, state, or federal levels. A leader? Well, I never was a fan of George Bush, senior or junior, but I have to admit, in the last election the American people had to choose between two total morons for President. I didn't want either of them leading this country, and though I voted, I knew I wasn't making the best decision, but it wasn't my fault. It wasn't even the lesser of two evils. I could have closed my eyes and voted without knowing who I voted for (which I should have done) because no matter who I voted for, I was voting for a complete and utter idiot. I long for the day when we can have a compassionate, honest, and intelligent choice. I wish we could have a difficult time voting between two such people instead of the utter boobs we usually get. But the good kind only get shown on TV ("Commander-in-Chief") and in the movies ("Air Force One," "Deep Impact"). Still, I'm glad someone out there is willing to comment and discuss. I hold no wrath for someone just because he/she has an opinon. Just be sure to back it up with honest facts and not say "just because." Nothing can be lazier than that.
See you all soon!
Movie Reviews: "Superman Returns" (2006)
Posted 6/29/2006 7:35:22 AM
Thought I'd start off my blog with a review of the new film "Superman Returns." Here goes...
"Superman Returns" 2006
starring Brandon Routh, Kate Bosworth, Kevin Spacey, Parker Posey, Frank Langella, Sam Huntington, James Marsdon, Eva Marie Saint...cameos by Noel Neill and Jack Larson...directed by Bryan Singer
My expectations for "Superman Returns" were high, probably higher than for just about any other movie. Both "Superman: The Movie" (1978) and "Superman II" (1980) were the ultimate in superhero movies, and really still are. But though I did like "Superman III" (1983), it just wasn't up to par with the first two, and the less said about the awful "Superman IV: The Quest for Peace" (1987), the better. (Gene Hackman and Christopher Reeve are the sole reason to watch it, but it makes my top 10 worst movies ever made.) "Batman Begins" (2005) was an excellent movie that showed if you treat the material respectfully, you can come away with a superb and wonderful experience to share with everyone. Did I like "Superman Returns?"
You bet your sweet behind I did!
This movie, which is based on Richard Donner's excellent 1978 adaptation of the Superman comics and the 1980 sequel, is all that I hoped for, and even much, much more! This movie really should be called "Superman III" as it references the first two in subtle ways and builds on both with a flair not seen in any other sequel I can think of at the moment. (The third and fourth movies, as well as 1984's "Supergirl," are ignored, and this doesn't bother me at all.) Everything from the opening credits right down to the last frame of the movie (before the end credits) is a true homage to the first, and greatest, superhero ever, while at the same time, it's original, gripping, and it even choked me up a couple of times. Not only that, it took the Superman legend and added a few new wrinkles to it that can be built upon for many sequels to come. In fact, this franchise has the potential now to become bigger than James Bond!
All of this is due to Bryan Singer. An admitted Superman fan and reverent of the first two films, Singer has brought together acting talent and storytelling that cannot be equalled in this genre. I wasn't a huge fan of the first X-Men movie, but I did like its first sequel, and Singer's only other movie I'd seen was his adaptation of Stephen King's "Apt Pupil," which I've had to watch a few times to appreciate it, though it's still not a great movie. But he shows remarkable talent here in "Returns" to make up for any missteps he's made before. The budget for this movie, I understand, was astronomical, but I think they got more than their money's worth. On the surface, the thing is stunning to look at, frame by glorious frame, but it's really the story that makes this movie soar. After five years searching his Kryptonian heritage, Kal-El (Routh) returns to Earth to retake his place in society. After reconnecting with his adoptive mother (Saint), he goes back to Metropolis and resumes his duties as Clark Kent, mild-mannered reporter for the Daily Planet. He resumes his friendships with Perry White (an excellent Langella) and Jimmy Olsen (Huntington, who practically steals his scenes), and especially Lois Lane (Bosworth), who is now dating Perry's nephew (Marsdon) and has a five-year-old child. Unsettling to say the least. But Supes is soon embroiled in a fight with his old arch nemesis, Lex Luthor (a scenery-chewing Spacey), who is still very obsessed with beachfront property, and he's willing to steal an old widow's money and kill Superman to get it. (Watch for a cameo by Adventures of Superman alum Noel Neill as the widow at the beginning of the movie. From the same series, Jack Larson has a cameo as a bartender.) That's all I can tell about the plot 'cause there's LOTS of surprises in store.
Routh handles the main role so well, it seems like he always was Superman. His Clark Kent is done well, also. Both interpretations are drawn from Christopher Reeve's performance, and it's hard not to see Reeve a couple of times as if he never died. But Routh makes the role his own, and there are definite touches which are only his that he brings to the screen. Bosworth is a good Lois, though the only flaw in her performance is not hers--she just doesn't look old enough to be that seasoned of a reporter. The rest of the cast fills out their roles very nicely, even though they don't get nearly enough screen time. It's understandable. This isn't a comic book where the characters can be stretched out over time, and the story is about Superman finding his place in the world after his long absence, so the other characters can't be the focus. Maybe they can become a bit more prominent in the sequel (there's just gotta be another one!) Clark Kent's character doesn't get as much play as I would have thought, but this is negligible. Spacey has really done the unthinkable. Gene Hackman is my favorite actor of all time, and I thought he was brilliant as Lex Luthor in the movies before, but Spacey slices, dices, and juliennes his scenes as the evil one with such a glee in his eye that you almost forget anyone ever did this character before now. He does appropriate Hackman's comic flair in a couple instances, but make no mistake--this is a darker Luthor than we've even seen on Smallville. Movies like this are only really as strong as its antagonist, and Spacey pulls it off with more flair than I've ever seen. Darth Vader would cringe in fright from this Luthor!
The music is awesome. I forget the composer's name, but he uses John Williams' original score from the first movie quite well (how can you honestly have a Superman movie without it), though he has some nice original pieces sprinkled throughout the movie, even his own Superman theme in a couple of places. It's subtle in comparison with the bombastic Williams' score, but not wimpy and perfectly suited to this version. The opening credits are an homage to the first film, which I still like watching after all these years. The zooming titles with Williams' music still sends chills down my spine. I'm glad Singer didn't fall into that stupid trap of putting the credits at the end of the movie. Sometimes it's okay, but I think they overdo it nowadays. ("Batman Begins" didn't even show its title 'til the very end. How stupid is that?) Though I don't want to really spoil it, I do have to mention that the movie ends with Routh flying into space and smiling at the camera like all the Reeve movies before it. It's a nice way to end what I now consider the best Superman movie ever conceived and filmed. Kudos to every member of the cast and crew. Ladies and gentleman, you have made a masterpiece. Pat yourselves on the back, take a well-deserved rest, and please come back to make a sequel!
This movie easily makes my top 10, which will need revising now. Even the original didn't do that, though I highly value it. If you only see one movie the entire year, or even the decade, go see "Superman Returns." If you don't like it, you were in a different theater watching something else.
Up, up, and away...!
Rating: A+
Posted 6/29/2006 7:35:22 AM
Thought I'd start off my blog with a review of the new film "Superman Returns." Here goes...
"Superman Returns" 2006
starring Brandon Routh, Kate Bosworth, Kevin Spacey, Parker Posey, Frank Langella, Sam Huntington, James Marsdon, Eva Marie Saint...cameos by Noel Neill and Jack Larson...directed by Bryan Singer
My expectations for "Superman Returns" were high, probably higher than for just about any other movie. Both "Superman: The Movie" (1978) and "Superman II" (1980) were the ultimate in superhero movies, and really still are. But though I did like "Superman III" (1983), it just wasn't up to par with the first two, and the less said about the awful "Superman IV: The Quest for Peace" (1987), the better. (Gene Hackman and Christopher Reeve are the sole reason to watch it, but it makes my top 10 worst movies ever made.) "Batman Begins" (2005) was an excellent movie that showed if you treat the material respectfully, you can come away with a superb and wonderful experience to share with everyone. Did I like "Superman Returns?"
You bet your sweet behind I did!
This movie, which is based on Richard Donner's excellent 1978 adaptation of the Superman comics and the 1980 sequel, is all that I hoped for, and even much, much more! This movie really should be called "Superman III" as it references the first two in subtle ways and builds on both with a flair not seen in any other sequel I can think of at the moment. (The third and fourth movies, as well as 1984's "Supergirl," are ignored, and this doesn't bother me at all.) Everything from the opening credits right down to the last frame of the movie (before the end credits) is a true homage to the first, and greatest, superhero ever, while at the same time, it's original, gripping, and it even choked me up a couple of times. Not only that, it took the Superman legend and added a few new wrinkles to it that can be built upon for many sequels to come. In fact, this franchise has the potential now to become bigger than James Bond!
All of this is due to Bryan Singer. An admitted Superman fan and reverent of the first two films, Singer has brought together acting talent and storytelling that cannot be equalled in this genre. I wasn't a huge fan of the first X-Men movie, but I did like its first sequel, and Singer's only other movie I'd seen was his adaptation of Stephen King's "Apt Pupil," which I've had to watch a few times to appreciate it, though it's still not a great movie. But he shows remarkable talent here in "Returns" to make up for any missteps he's made before. The budget for this movie, I understand, was astronomical, but I think they got more than their money's worth. On the surface, the thing is stunning to look at, frame by glorious frame, but it's really the story that makes this movie soar. After five years searching his Kryptonian heritage, Kal-El (Routh) returns to Earth to retake his place in society. After reconnecting with his adoptive mother (Saint), he goes back to Metropolis and resumes his duties as Clark Kent, mild-mannered reporter for the Daily Planet. He resumes his friendships with Perry White (an excellent Langella) and Jimmy Olsen (Huntington, who practically steals his scenes), and especially Lois Lane (Bosworth), who is now dating Perry's nephew (Marsdon) and has a five-year-old child. Unsettling to say the least. But Supes is soon embroiled in a fight with his old arch nemesis, Lex Luthor (a scenery-chewing Spacey), who is still very obsessed with beachfront property, and he's willing to steal an old widow's money and kill Superman to get it. (Watch for a cameo by Adventures of Superman alum Noel Neill as the widow at the beginning of the movie. From the same series, Jack Larson has a cameo as a bartender.) That's all I can tell about the plot 'cause there's LOTS of surprises in store.
Routh handles the main role so well, it seems like he always was Superman. His Clark Kent is done well, also. Both interpretations are drawn from Christopher Reeve's performance, and it's hard not to see Reeve a couple of times as if he never died. But Routh makes the role his own, and there are definite touches which are only his that he brings to the screen. Bosworth is a good Lois, though the only flaw in her performance is not hers--she just doesn't look old enough to be that seasoned of a reporter. The rest of the cast fills out their roles very nicely, even though they don't get nearly enough screen time. It's understandable. This isn't a comic book where the characters can be stretched out over time, and the story is about Superman finding his place in the world after his long absence, so the other characters can't be the focus. Maybe they can become a bit more prominent in the sequel (there's just gotta be another one!) Clark Kent's character doesn't get as much play as I would have thought, but this is negligible. Spacey has really done the unthinkable. Gene Hackman is my favorite actor of all time, and I thought he was brilliant as Lex Luthor in the movies before, but Spacey slices, dices, and juliennes his scenes as the evil one with such a glee in his eye that you almost forget anyone ever did this character before now. He does appropriate Hackman's comic flair in a couple instances, but make no mistake--this is a darker Luthor than we've even seen on Smallville. Movies like this are only really as strong as its antagonist, and Spacey pulls it off with more flair than I've ever seen. Darth Vader would cringe in fright from this Luthor!
The music is awesome. I forget the composer's name, but he uses John Williams' original score from the first movie quite well (how can you honestly have a Superman movie without it), though he has some nice original pieces sprinkled throughout the movie, even his own Superman theme in a couple of places. It's subtle in comparison with the bombastic Williams' score, but not wimpy and perfectly suited to this version. The opening credits are an homage to the first film, which I still like watching after all these years. The zooming titles with Williams' music still sends chills down my spine. I'm glad Singer didn't fall into that stupid trap of putting the credits at the end of the movie. Sometimes it's okay, but I think they overdo it nowadays. ("Batman Begins" didn't even show its title 'til the very end. How stupid is that?) Though I don't want to really spoil it, I do have to mention that the movie ends with Routh flying into space and smiling at the camera like all the Reeve movies before it. It's a nice way to end what I now consider the best Superman movie ever conceived and filmed. Kudos to every member of the cast and crew. Ladies and gentleman, you have made a masterpiece. Pat yourselves on the back, take a well-deserved rest, and please come back to make a sequel!
This movie easily makes my top 10, which will need revising now. Even the original didn't do that, though I highly value it. If you only see one movie the entire year, or even the decade, go see "Superman Returns." If you don't like it, you were in a different theater watching something else.
Up, up, and away...!
Rating: A+
Hi, Everyone!
Posted 6/29/2006 7:25:20 AM
Hi to everyone out there. I'm gonna give this blog a shot. Please feel welcome to make any comments you like, as long as there's no racism involved, and please keep the language from being too rough. I look forward to sharing my opinions from time to time, so please respond. I like healthy debate, especially political in nature, even if your position on something is not the same as mine. I feel there's room for all. I also like reviewing movies (in theaters or on DVD), music, TV shows, etc.
Glad to be a part of this. Have a great day.
Posted 6/29/2006 7:25:20 AM
Hi to everyone out there. I'm gonna give this blog a shot. Please feel welcome to make any comments you like, as long as there's no racism involved, and please keep the language from being too rough. I look forward to sharing my opinions from time to time, so please respond. I like healthy debate, especially political in nature, even if your position on something is not the same as mine. I feel there's room for all. I also like reviewing movies (in theaters or on DVD), music, TV shows, etc.
Glad to be a part of this. Have a great day.
FeedBack
Glory
8/11/2006 6:05:14 AM
Sending you wishes for a great day! Hey, speaking of Brandon Fraiser movies ... have you seen "Still Breathing"? I like that movie, even if the female is a bit stiff ...
Glory
8/10/2006 8:02:16 AM
Good morning! Thanks for the friend invite.
abbafan
7/7/2006 6:09:31 PM
My favorite ABBA song is either "The Visitors" or "Mamma Mia." It depends on my mood. The first one I ever learned how to sing was "Money, Money, Money." I still have the original 45 with "Crazy World" on the B-side.
8/11/2006 6:05:14 AM
Sending you wishes for a great day! Hey, speaking of Brandon Fraiser movies ... have you seen "Still Breathing"? I like that movie, even if the female is a bit stiff ...
Glory
8/10/2006 8:02:16 AM
Good morning! Thanks for the friend invite.
abbafan
7/7/2006 6:09:31 PM
My favorite ABBA song is either "The Visitors" or "Mamma Mia." It depends on my mood. The first one I ever learned how to sing was "Money, Money, Money." I still have the original 45 with "Crazy World" on the B-side.
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