Vic Sage

i finally got around to the EASTWOOD FILMOGRAPHY: viewtopic.php?f=11&t=14559

CLINT EASTWOOD: A selected filmography CLINTON EASTWOOD, Jr. was a studio contract player, TV star, movie star and mega-star, and ultimately a much lauded auteur and aging Hollywood legend. The master of tough guy stoicism picked up the mantel from his mentors, b-movie action director Don Siegel and the Italian romantic poet of stylized westerns, Sergio Leone, and carved out a unique career for over half a century. Clint is now over 80, but he was once a brash young contract player for Universal, unable to get a film career going in the US and so played a supporting role on the successful TV series �Rawhide� (1959-1966). The series was a hit overseas, too, so Italian filmmaker Sergio Leone cast him as the leading �man-with-no-name� in a trilogy of Spaghetti Westerns that made Eastwood an international film star (he claims he wound up getting the role because James Coburn, to whom the role was originally offered, wanted $25,000. Eastwood accepted the role for $15,000). Clint parlayed that success into some Hollywood leads in various western, cop and war films� some good, some bad and some ugly� until he hit it huge with again DIRTY HARRY. A Fistful of Dollars (1964) For a Few Dollars More (1965) The Good, the Bad and the Ugly (1966) Hang 'Em High (1968) Coogan's Bluff (1968) Where Eagles Dare (1968) Paint Your Wagon (1969) Two Mules for Sister Sara (1970) Kelly's Heroes (1970) The Beguiled (1971) Dirty Harry (1971) Eastwood used his newfound clout to coerce his first opportunity to direct, with the thriller PLAY MISTY, which was good enough to earn him more chances behind the camera (as long as he was in front of it, too). He followed it up with some more acting gigs in between acting/directing, including 2 mediocre DIRTY HARRY sequels and his 2 orangutan movies, which made a fortune. His best work of this period included OUTLAW JOSIE WALES, a spiritual rebirth of the genre, and the quirky little BRONCO BILLY about the nature of self-mythologizing, that was a theme that would come to occupy much of Eastwood�s later work. THUNDERBOLT & LIGHTFOOT is also a worthwhile caper film and HIGH PLAINS DRIFTER is a revisionist western with supernatural overtones, foreshadowing his subsequent work on PALE RIDER and UNFORGIVEN. Play Misty for Me (1971) [actor/ director] Joe Kidd (1972) [actor] Magnum Force (1973) [actor] Breezy (1973) [director] High Plains Drifter (1973) [actor/ director] Thunderbolt and Lightfoot (1974) [actor] The Eiger Sanction (1975) [actor/ director] The Enforcer (1976/I) [actor] The Outlaw Josey Wales (1976) [actor/ director] The Gauntlet (1977) [actor/ director] Every Which Way But Loose (1978) [actor] Escape from Alcatraz (1979) [actor] Bronco Billy (1980[actor/ director] Any Which Way You Can (1980) [actor] One of the biggest box office stars of the 1970s, it was no surprise that, by the 1980s, he had taken over the additional role of producing most of his own work, starting with the uninspired cold war thriller FIREFOX. Most of the films of this period were mediocre to bad, including 2 more DIRTY HARRY sequels, a lame team-up with fellow BO champ Burt Reynolds, mediocre actioners, and some intensely personal flops like HONKYTONK MAN and WHITE HUNTER. His notable films were the cop thriller TIGHTROPE, which explored the dark side of the heroic character, and BIRD his biopic of jazz great Charlie Parker. Firefox (1982) [actor/ director/ producer] Honkytonk Man (1982) [actor/ director/ producer] Sudden Impact (1983) [actor/ director/ producer] Tightrope (1984) [actor / producer] City Heat (1984) [actor] Pale Rider (1985) [actor/ director/ producer] Heartbreak Ridge (1986) [actor/ director/ producer / composer] The Dead Pool (1988) [actor] Bird (1988) [director/ producer] Pink Cadillac (1989) [actor] The Rookie (1990) [actor/ director] White Hunter Black Heart (1990) [actor/ director/ producer] The outright flops of CADILLAC, ROOKIE AND WHITE HUNTER put his career on the cutting room floor. But Clint returned with a roar, as he hit all the right notes with UNFORGIVEN, a western about the anti-heroic nature of the authentic western hero and a critique of his own screen persona. It was not only a huge hit, it became the moment when the critical community reassessed his career and dubbed him a master. His last starring role in someone else�s picture was IN THE LINE OF FIRE, a terrific cop thriller that knowingly explores the aging of the Eastwood persona, as do most of the films of this period. A PERFECT WORLD allowed Clint the opportunity to direct Kevin Costner in the lead, while he took a supporting role, and it�s a surprisingly moving film. MADISON COUNTY has no business being anywhere near as good as it is, considering the source material. But he ended the period with a few wan examinations of (and examples of) aging and decline, like TRUE CRIME, SPACE COWBOYS and BLOOD WORK. ** Unforgiven (1992) [actor/ director/ producer] In the Line of Fire (1993) [actor] A Perfect World (1993) [actor/ director/ producer / composer] The Bridges of Madison County (1995) [actor/ director/ producer / composer] Midnight in the Garden of Good and Evil (1997) [director/ producer] Absolute Power (1997) [actor/ director/ producer / composer] True Crime (1999) [actor/ director/ producer / composer] Space Cowboys (2000) [actor/ director/ producer / composer] Blood Work (2002) [actor/ director/ producer] Eastwood�s love of jazz and European cinema really begins to influence his filmmaking style by this point, as he focuses more on character than plot, more on lingering emotion than fast-cutting action, including his great later works MYSTIC RIVER, MILLION DOLLAR BABY, and GRAN TORINO. * Mystic River (2003) [director/ producer / composer] ** Million Dollar Baby (2004) [actor/ director/ producer / composer] Flags of Our Fathers (2006) [director/ producer / composer] * Letters from Iwo Jima (2006) [director/ producer] Changeling (2008) [director/ producer / composer] Gran Torino (2008) [actor/ director/ producer / composer] Invictus (2009) [director/ producer] He has said that GRAN TORINO is his last screen performance and, if so, he�s gone out on a great note. He�s got a supernatural thriller called HEREAFTER starring Matt Damon premiering at the NY Film festival in October and he�s got a J.EDGAR HOOVER biopic in pre-production. The former is a contemplation of death, and the latter (no doubt) will explore the psychosexual dysfunctions of an American �hero�, both themes consistent with his body of work. He has gone from b-movie bit player to most acclaimed auteur of his generation, with all the ups and downs of a Hollywood career in between. And he�s not done yet. * = oscar nomination ** = oscar win UPDATE: 2014 x- Hereafter (2010) (director/composer/producer) - Sort of meanders, but interesting contemplation of death and the hereafter; Matt Damon is solid x- J. Edgar (2011) (director/composer/producer) - DiCaprio is over the top in this overlong unsuccessful biopic x- Trouble With The Curve (2012) (actor/producer) - a pedestrian, forgettable baseball drama x- Jersey Boys (2014) (director) - adaptation of the Broadway musical (currently in post-production)

thanks, i missed that one.

What, in the will ferrell "ouevre", suggests this movie would not be incredibly stupid? I mean dumb in that unique Ferrellian way. Here are his feature credits to date: The Other Guys (2010) Land of the Lost (2009) Step Brothers (2008) Semi-Pro (2008) Blades of Glory (2007) Stranger Than Fiction (2006) Talladega Nights: The Ballad of Ricky Bobby (2006) Curious George (2006) (voice) The Producers (2005) Wedding Crashers (2005) Bewitched (2005) Kicking & Screaming (2005) Melinda and Melinda (2004) Anchorman: The Legend of Ron Burgundy (2004) Elf (2003) Old School (2003) Zoolander (2001) The Ladies Man (2000) Drowning Mona (2000) Superstar (1999) Dick (1999) Austin Powers: The Spy Who Shagged Me (1999) The Suburbans (1999) A Night at the Roxbury (1998) The only movies on this list that might have the remotest chance of being classified as "watchable" are: * Stranger Than Fiction (2006) - An actual movie; by far the best movie he's been associated with * Elf (2003) family holiday comedy with some moments * Old School (2003) - genuinely funny ANIMAL HOUSE type frat humor, but he's a supporting player * Wedding Crashers (2005) - ditto; very small part And then there is his "trilogy of stupidity" that he wrote; Most either love or hate these, depending on taste (that is, whether you have any or not): *Step Brothers (2008) *Talladega Nights: The Ballad of Ricky Bobby (2006) *Anchorman: The Legend of Ron Burgundy (2004) And Blades of Glory (2007) is thematically linked to his these 3, though he didn't write it. He's obviously a talented guy, so why the terrible batting average? Bad management? Maybe, but alot of his terrible movies were hits, and some were projects he created. I think that his balls out commitment to the absurdity of his characters works well in a tv sketch about a cow bell player or a cheerleader, but is ultimately grating and unsustainable for 2 hours of storytelling. He is best in small doses, as an added flavor, rather than the main ingredient.

They're not the Yankees.

Vic Jr. is at the game today with his camp group. He's the one wearing a Mets fanclub hat. Everybody wave. Hi Matty!

Jeff, the fans need to know you care, for real. They need to know you are in charge. They need to know that you have a plan. They need to know you are as fed up with the losing and bad acts as they are. show us the plan, Jeff. SHOW US THE PLAN!

As much as i hate the cards (since `85), i also hold a grudge against the Reds since the Harrelson / Rose fight in 73. So i have no horse in this race. But i hate mouthy primadonnas who think their words should have no consequences. Stick it in his ear, Tony.

yeah, i don't think that Frenchy has said anything particularly inflammatory, and i don't think he'd be disruptive or uncooperative if he were on the bench. Nor do i think his agents have done anything agents aren't supposed to do. i just find it hilarious, in that really not funny kind of way, that they are making public pronouncements about Frency being prepared to go somewhere else to play every day, as if (1) he deserved to, and (2) such a place even existed on this side of the rainbow.

Cards are winning again today, 6-0 in the 7th. If i was LaRussa, instead of starting Wainright today, I start Blake Hawksworth, and tell him to put the first pitch of the game directly into Phillips' ear. then, when LaRussa and Hawksworth are thrown out, Wainwright comes in to "relieve', and Tony the tiger manages from the lockerroom. And i keep doing that every game against the Reds. I'd happily pay the fines.

A Misch is as good as a simile.

... to a team where he will "play every day". http://www.nj.com/mets/index.ssf/2010/08/mets_outfielder_jeff_francoeur_1.html where would that team be... AAA? Mexico? Land of Oz?

i only flipped D-wright and Ike because: 1) David is ice cold, 2) Ike hits RHers, and 3) it breaks up the lefties a bit

Martinez batting 2nd? Really? What, is it the consistent contact he makes or the blazing speed, or the lack of power (so bunting isn't as big a deal)? Or the fact that none of that describes him? Reyes-SS Thole-C Pagan-CF Davis-1B Wright-3B Carter-LF Martinez-RF Pelfrey-RHP Tejada-2B

i would certainly agree that Omar has EXPOSed the Mets... to perpetual mediocrity, a resentful fanbase and pundit ridicule.

John Cougar Lunchbucket wrote: Yeah, I was a little surprised that they went to Tejada when things looked most desperate. But shirley, Wright's recent radical slump is a killer and Beltran, whom I'm reluctant to blame as an individual, has been terrible and shouldn't be batting 3 or playing CF. And of course, Pagan's been our most solid all-around player all year long. I'm also coming around to batting Castillo/Tejada 9. Here's my inital redesign for garbage time: Reyes Thole Pagan CF Wright Davis Beltran LF Martinez RF Pitcher Castillo/Tejada 2B That's pretty much the lineup i was pushing for here: viewtopic.php?f=1&t=14391 ...except without Tejada and Martinez, cuz they weren't on the roster at that point. Not that it matters all that much, but it would at least make things a little more interesting.

overrated, convaluted, unsatisfying. Actually, the action was ok. But its just a mindfuck movie with no apparent purpose. In fact, i had the opposite view of Spitter above on just about every point, including Cotilliard. If you want to experience real "what is reality" SF, read a Philip K dick novel. Start with MAZE OF DEATH. You'll never be the same. but this? tedious bullshit, with some tasty frosting.

top jockeys EARN the right to ride the best horses after they've demonstrated an ability to get more out of mediocre horses than their competitors. As to Edgy's point... amen, brudda. Loyalty to and from players is shown by demonstrating an ability to consistently put a team in its best possible position to win, not by playing favorites. I forget which famed manager described it this way, but summarizing his point: There are 3 kinds of guys on every team: those that love the manager because they are playing every day, those that hate the manager because they're not, and those who don't give a shit about the manager one way or the other... And the secret to managing is keeping the 2nd group away from the 3rd group.

It's not about the post-season, exactly. For me, rooting for a .500 team means i have an even chance of tuning in to a win or a loss for any given game (putting aside the quality of the opposition for a moment). And since i have come to a point in my life where the losing causes greater pain than the winning causes joy, it is an unacceptable level of play for me to watch more than just barely enough to continue checking in on them from time to time. The risk / reward ratio needs to be higher for me to continue watching regularly, and certainly higher to go to the expense and inconvenience of attending. I'm not happy about this situation, but its the way it is for me.

metsguyinmichigan wrote: my brother directed and edited a sports video about the 500 home run club in 1988, hosted by Bob Costas and Mickey Mantle. http://www.amazon.com/500-Home-Run-Club-VHS/dp/6301683005/ref=sr_1_fkmr0_1?ie=UTF8&qid=1280945525&sr=1-1-fkmr0 At the time he made the documentary, there were only 14 guys who had done it. Hey, I have that! Sweet. The documentary goes through Schmidt in 1987. Eddie Murray made it obsolete in 1996. The last 10 guys in the club all played through the "steroid era" (arguably Murray did, too, though its unknowable at this point). Which, if any, do we think did it clean? who goes into the HOF, and who doesn't?

my brother directed and edited a sports video about the 500 home run club in 1988, hosted by Bob Costas and Mickey Mantle. http://www.amazon.com/500-Home-Run-Club-VHS/dp/6301683005/ref=sr_1_fkmr0_1?ie=UTF8&qid=1280945525&sr=1-1-fkmr0 At the time he made the documentary, there were only 14 guys who had done it.

Fman99 wrote: I voted for all of em. Send em all packing. No offense Edgy, you were in the line of fire. ditto.

fetch mah chainsaw, boys...

francoeur for farnsworth. c'mon, lets make it happen.

Seriously, Hessman so belongs on this squad. why, was he a serial killer in a former life?