Post by Pulpmariachi on Dec 22, 2005 0:15:14 GMT -5
There might be SPOILERS.
So if you ever wanted to see the raping of the Hollywood dream you probably need not look no further than this. It goes hand-in-hand with Quorth's "Has Hollywood Lost It?" thread.
It's story of movie mogul Griffin Mill played interestingly by Tim Robbins who is having a problem with a stalker. Mill works as a script guy-kinda-thing for a movie company. He is about to lose his job, having to answer to new guy Larry Levy (Peter Gallagher). Needless to say, he's not the happiest he's ever been and is just getting stressed out at EVERYTHING.
After a few threatening postcards (and plenty of scenes that reference the movie itself) Mill makes a guess that his stalker/person-threatening-to-kill-him is a certain writer he turned down a couple months back. He meets him at a movie (The Bicycle Thief) and have a few drinks afterwards. While the writer is drunk and making those drunken empty threats that should go ignored, Mill decides to kill the writer.
Now he has a murder on his conscience, and nothing less than two pretty scary cops: Whoopie Goldberg and anther guy who looks remarkably like David Lynch (actually it's Lyle Lovett). Piled on top of that, like the little cherry atop ice cream mountain, he has found himself as fallen in love with the writer's girlfriend.
Typical Hollywood mogul.
Essentially the film is a murder/thriller, but it's also a dark comedy, a satire upon the Hollywood system, best scene (I mean seen) at the end with a British filmmaker pitching and making his movie that's going to reflect REALITY. It's the AMERICAN TRAGEDY. Needless to say, it gets butchered with such stars in the leading roles as Bruce Willis and Julia Roberts.
Speaking of which, the film is LOADED with cameos. Just off the top of my head there's Anjelica Houston, John Cusack, Cher, and Nick Nolte. Not only is it fun to try and find these guys, but they actually add to the realism of the Hollywood studio. I credit this to Robert Altman's influence.
Altman keeps everything under control, shooting the movie like a film-noir (that's in color). It's a typical movie of his, where people are talking at the same time, we're frequently looking through windows, having the main discussion going on in the background while Burt Reynolds talks about God knows what in the foreground.
It's a pretty decent movie, almost discouraging to be involved in the studio system. But it's good.
***/****
So if you ever wanted to see the raping of the Hollywood dream you probably need not look no further than this. It goes hand-in-hand with Quorth's "Has Hollywood Lost It?" thread.
It's story of movie mogul Griffin Mill played interestingly by Tim Robbins who is having a problem with a stalker. Mill works as a script guy-kinda-thing for a movie company. He is about to lose his job, having to answer to new guy Larry Levy (Peter Gallagher). Needless to say, he's not the happiest he's ever been and is just getting stressed out at EVERYTHING.
After a few threatening postcards (and plenty of scenes that reference the movie itself) Mill makes a guess that his stalker/person-threatening-to-kill-him is a certain writer he turned down a couple months back. He meets him at a movie (The Bicycle Thief) and have a few drinks afterwards. While the writer is drunk and making those drunken empty threats that should go ignored, Mill decides to kill the writer.
Now he has a murder on his conscience, and nothing less than two pretty scary cops: Whoopie Goldberg and anther guy who looks remarkably like David Lynch (actually it's Lyle Lovett). Piled on top of that, like the little cherry atop ice cream mountain, he has found himself as fallen in love with the writer's girlfriend.
Typical Hollywood mogul.
Essentially the film is a murder/thriller, but it's also a dark comedy, a satire upon the Hollywood system, best scene (I mean seen) at the end with a British filmmaker pitching and making his movie that's going to reflect REALITY. It's the AMERICAN TRAGEDY. Needless to say, it gets butchered with such stars in the leading roles as Bruce Willis and Julia Roberts.
Speaking of which, the film is LOADED with cameos. Just off the top of my head there's Anjelica Houston, John Cusack, Cher, and Nick Nolte. Not only is it fun to try and find these guys, but they actually add to the realism of the Hollywood studio. I credit this to Robert Altman's influence.
Altman keeps everything under control, shooting the movie like a film-noir (that's in color). It's a typical movie of his, where people are talking at the same time, we're frequently looking through windows, having the main discussion going on in the background while Burt Reynolds talks about God knows what in the foreground.
It's a pretty decent movie, almost discouraging to be involved in the studio system. But it's good.
***/****
