Vic Sage

And to dismiss our Dodger antecedents as just one of Fred's "childhood interests", is to dismiss the blue in the uniform.

Danielle hits the nail right on the head: ]Nothing is so American as baseball and apple pie, and it doesn't surprise me at all that stadiums around the country are being built in the vernacular of a bygone era: baseball uniforms are extremely similar to those worn when the game was created, fans still eat peanuts and popcorn, even non-fans sing that catchy song during inning changes (or commercial breaks). Americans hold nothing as sancrosanct as baseball and its visual cues, and the sport takes on meaning far beyond recreation for many fans. Not only does "ye olde" stadium architecture play into and reinforce this cultural tradition, it also provides a level of comfort and nostalgia. Think about it - Camden Yards opened in 1992, during an economic downshift that arrived on the heels of the ra-ra patriotic Reagan era. This national gloom, coupled with a push to revitalize post-industrial second-tier American cities, practically demanded safe, cozy, and traditional architectural symbols to house America's pastime. Despite economic surges since then, the majority of the stadiums mentioned in this article are in cities that are not growing. Industry isn't moving to Cleveland, or St Louis. Even in growing, economically healthy metropoli like NYC, San Francisco, Atlanta, baseball fans demand a certain level of tradition in their baseball watching experience - season ticket holders don't want architectural experimentation, or even glory. They want a ritual, nostalgia, and the fulfillment of an expectation that was instilled from birth. How many baseball fans are coaching their toddlers in these traditions at this very moment? The game has changed minutely in its history (and those changes are debated, often fiercely, to this day) and its architecture is no exception. This posting is not to defend the trend, but rather to situate a rebuttal in the current and historical American zeitgeist. We, of all nationalities, crave stability; in a constantly rocking world, we cling to those design elements that are most comfortable and constant. I can think of no more comforting to Americans than baseball. I thought Shea was a shithole. In fact, i didn't think much of it as a kid, either. Having gone to other stadia, including Yankees stadium, i always felt like i got the fuzzy side of the lollipop, as a fan. I was less interested in seeing a change in its exterior design than in the condition, amenities (or lack thereof), crappy sightlines, limited transportation access and chopshop location. While they've apparently done little about the location and access problems, the designs indicate a great improvement in sightlines and amenities. Which i'm very happy about. As for its general aesthetic, I agree with Danielle. Baseball is about the past, not the modern. And certainly they could've drawn on the retro-60s "world's fare" past, but I've got no problem with the Dodgers past. After all, the Dodgers and Giants abandonment was what led to the Mets coming in to existence. Many of its original players were former Dodger and Giant greats for that very reason. Gil Hodges' number is retired on the OF wall. If this "return" of an Ebbets-style aesthetic is the way the owner wants to reclaim that tradition, I've got no problem with it. I know it would have made my parents very happy, were they alive to see it. If that makes design-heads weap for the lack of architectural boldness, they can suck my Dixie Walker.

wasn't Hietpas a catcher? did i miss something?

None of the Beatles was from London... they were from Liverpool. And those are very different places. And John Lennon lived out his life and death in NYC, not London. In fact, there is nothing inherently, London-ish about the Beatles, other than they're both English. But the story of the Beatles is not about England. Its about leaving England. First, for Germany, then for the U.S. And musically, from the mersey beat to sitar psychodelia to a more mature sensibility. They were about constant transitions to something new, until they stopped. The movie is about the 60's in America, not the UK. The fab 4 came here, changing our music and culture (not single-handedly, but still), so Taymor naturally constructs a story about a Liverpudlian coming to NYC and becoming involved in our youth culture, witnessing the violence and radicalization of the times, and not only commenting on it but becoming involved in it. Jude's deportation problems in the story parallel Lennon's, too. And Jude's rejection of violence, acting instead out of love, is totally consistent with the songs sung to tell the story. So, Edgy, i completely disagree with you on this. Not to say this is a great or flawless movie... i don't think it is. Psychodelia is best digested in very small doses (so to speak), and this movie is a half-hour too long because of it. And it adds almost nothing except imagery that has become excrutiatingly cliched. And some of the performances and interpretations of the songs leave something to be desired. In fact, I have little interest in hearing the soundtrack of this movie. But on the whole, I felt that the love story at its heart is a genuine one, and it uses the songs to trace the development of their story, as well as parallel the times in which they lived, even tracking the lives of the Beatles themselve (including the final concert on the roof, which evokes the LET IT BE concert footage). I don't see the "shoehorning" problem... i see a narrative that rises organically from the songs.

i guess i was the victim of hype, but i wasn't blown away. Random thoughts: - Yes, Bardem's psycho-killer is a great character, and Brolin is excellent, too. They're all great, in fact. Even Woody Harrelson in his little bitty part. - The Coens covered similar ground in their first flick, BLOOD SIMPLE, a Texas-noir made with alot more style and more fun. - Bardem walking around with that compressed air tank reminded me of Dennis Hopper's character, Frank Booth, in BLUE VELVET, sucking off a nitrous tank before going on his murderous psycho rampages. - Tommy Lee Jones' sheriff reminds me of the FARGO sheriff... grounded, sympathetic, smart. But he's given alot less to do. He seemed utterly peripheral until the last 20 minutes, when the filmmakers decided to make him the protagonist. A little late for that, guys. That, in a nutshell, was my problem with the ending. I'm ok with a story where [spoiler alert] the bad guy wins, or where the tight, chase structure of the narrative is purposefully undermined by a vague, philosophical, contemplative ending. But the shift in viewpoint seemed unearned to me, and unestablished by what preceded it, and so was frustrating and unsatisfying, in a narrative sense. Disclaimer: I didn't read the book, and I don't like the Coen Brothers. In fact, of their entire output, I really liked only MILLER'S CROSSING, and i liked only aspects of BLOOD SIMPLE, FARGO and RAISING ARIZONA. The rest either leave me cold, or inspire me to hurl rotten vegetables at the screen. But that's just me.

it was popular, but utterly mediocre.

Chuckie, you're certainly entitled to your opinion. But the depth of your ignorance on this topic is so profound, I've been rendered nearly mute. Nearly.

]Someone let me know once this becomes newsworthy in any fashion. Thanks. ="Fman99"]="Rockin' Doc"]Because he's PayRod, 99. When he speaks, the reporters just can't help themselves. Well, that explains why it's in the paper. Not why it's worthy of being there. it's "worthy" because the "worth" of news in our society is determined by its commercial value. Here's the syllogism: A-Rod is famous. A-Rod gives us an exclusive interview. Ergo, A-Rod's interview is not only "newsworthy", it should be the lead story on the back page. Any different determination of "newsworthiness" is oblivious to the time and place in which we live.

is he any relation to Amy Fisher?

revised 3/24/08 update on comic book/superhero live feature adaptations currently in post-production: Iron Man (May 2, 2008) - POST-PRODUCTION dir Jon Favreau, with Robert Downey, Terrence Howard, Gwyneth Paltrow, Jeff Bridges, and Samuel L. Jackson as Nick fury. "Based on the Marvel Comics Character; Billionaire playboy industrialist Tony Stark makes weapons for the U.S. government. While out on a field test of one of his inventions, he is wounded, captured and forced to make weapons for the enemy. Instead, he fashions himself a crude power armor to save his life and facilitate his escape. When he returns home, he revises his armor and finds purpose as the Armored Avenger Iron Man!" The Incredible Hulk (June 13, 2008) - POST-PRODUCTION dir Louis Leterrier, script Zak Penn, with Edward Norton & Liv Tyler, Tim Roth, William Hurt. Bruce Banner (Edward Norton) living in shadows, scours the planet for an antidote. Upon returning to civilization, he is pursued by The Abomination (Tim Roth) -- a beast whose powers match The Hulk's own. Banner must call upon the hero within to rescue New York City from total destruction. Hellboy 2: The Golden Army (July 11, 2008) - POST-PRODUCTION dir/script Del Toro, with Ron Perlman. Guillermo Del Toro and Mike Mignola have both been stated saying that they would love to complete the Hellboy trilogy off with a third film. However, if Hellboy 2 does not suceed in the theaters, they will make sure the Two-Disk Special Edition will indeed have a proper and suitable ending to relieve any questions of a third film. The Dark Knight (July 18, 2008) - POST-PRODUCTION. Also being releases in IMAX version. "Batman (Christian Bale) raises the stakes in his war on crime in Christopher Nolan's "The Dark Knight." With the help of Lieutenant Jim Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart), Batman sets out to dismantle the remaining criminal organizations that plague the city streets. The partnership proves to be effective, but they soon find themselves prey to a reign of chaos unleashed by a rising criminal mastermind known to the terrified citizens of Gotham as The Joker (Heath Ledger)." The rumored third Batman film is to be called "Shadow of the Bat" and is likely to be released in 2011. Punisher War Zone (Sept 12, 2008) - POST-PRODUCTION dir Lexi Alexander, scr Holloway/Marcum, with Ray Stephenson replacing Tom Jane. "Waging his one-man war on the world of organized crime, ruthless vigilante-hero Frank Castle sets his sights on overeager mob boss Billy Russoti. After Russoti is left horribly disfigured by Castle, he sets out for vengeance under his new alias: Jigsaw. With the "Punisher Task Force" hot on his trail and the FBI unable to take Jigsaw in, Frank must stand up to the formidable army that Jigsaw has recruited before more of his evil deeds go unpunished." Will Eisner's "The Spirit" (Jan 16, 2009)- POST-PRODUCTION Writer/Director Frank Miller, with Gabriel Macht, Eva Mendes, Scarlett Johansson, Samuel L. Jackson. "Rookie cop Denny Colt returns from the beyond as The Spirit, a hero whose mission is to fight against the bad forces in Central City." The Watchmen (MARCH 6, 2009) - POST-PRODUCTION dir Zack Snyder, scrpt Alex Tse/ David Hayter; with Matthew Goode / Ozymandias, Billy Crudup / Dr. Manhattan, Jackie Earle Haley / Rorschach, Carla Gugino / Silk Spectre "Based on the landmark Alan Moore comic book series... In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot." -------------------------------------------- currently in pre-production: The Flash (2008) - PRE-PRODUCTION dir: David Dobkin / script David Goyer, Chris Brancato, Craig Wright While touring the crime scene lab of his uncle, Barry Allen, teenager Wally West is doused in chemicals after a lightning bolt strikes them, which enables him to run faster than any other human being on earth. Becoming the Flash, Wally sets out to protect the people of his city from the villainous threats that arise Sin City 2 (2008) - PRE-PRODUCTION aka "A Dame To Kill For"; Miller/Rodriguez "The film's plot follows multiple storylines: "A Dame to Kill For" is a prequel to "The Big Fat Kill", and follows Dwight (Clive Owen) and his former love Ava Lord (Rachel Weisz), who betrayed him and ended their relationship for a wealthier man. After Ava frames Dwight for the murder of her husband, he seeks to clear his name, with help from Marv. Another storyline follows Nancy (Jessica Alba) as she grieves the death of Detective Hartigan, after the events of "That Yellow Bastard". " Sin City 3 (2009) - PRE-PRODUCTION Miller/Rodriguez. On a dark night in Sin City, an ex-Navy SEAL named Wallace (Johnny Depp?)saved a young woman, Esther, from killing herself. After a night on the town, she was kidnapped by mysterious people. May God have mercy on those who stand in Wallace's way... Justice League Mortal (2009) - PRE-PRODUCTION dir: George Miller / script: Kieran & Michele Mulroney Green Arrow, Green Lantern, and others of the JLA must deal with the explusion of Batman and the death of Superman at the hands of the monsterous Doomsday. Thor (2009) - PRE-PRODUCTION dir Matthew Vaughn, script Mark Protosevich, with Kevin McKidd (?) "Partially disabled medical student Dr. Donald Blake discovers his heretofore unknown alter ego, the Norse warrior, Thor." X-MEN ORIGINS: Wolverine (May 1, 2009) - PRE-PRODUCTION dir Gavin Hood; script David Benoiff, with Hugh Jackman, Brian Cox, Ken Watanabe. This is a prequel to the X-Men series. "The mutant known as Wolverine breaks off into his off spin-off film from the successful X-MEN! franchise. Hugh Jackman (X1, X2, Van Helsing) returns as Logan/ Wolverine-A mutant with regenerative powers, three claws on each hand and a skeleton all laced with the rare metal known as adamantium. Logan struggles to find the secrets to his past. After learning little information through the help of Charles Xavier (X2's Patrick Stewart), Logan takes his search even further by learning the full truth of his origin, while also heading in a bold, new direction." Billy Batson & the Legend of Shazam (2009) - PRE-PRODUCTION dir Peter Segal, script William Goldman, John August, Bryan Goluboff with The Rock as "Black Adam" Young Billy Batson finds himself gifted with the power of the wizard Shazam to fight against the forces of evil. With the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and speed of Mercury, he is the holder of the power of S.H.A.Z.A.M; he is Captain Marvel. ------------------------------ projects that have been announced or are in development: The Avengers (2009) -ANNOUNCED Writer Zak Penn When Captain America is awakened from an icey prison, and some of the greatest evils earth has seen are born, the Avengers go into action. Captain America, Iron-Man, Hulk, Wasp, Ant-Man and Thor. Will they be able to stop the likes of Loki and the Masters of Evil? Captain America (July, 2009) -ANNOUNCED script by David Self; director Nick Cassavetes; production is expected to begin by mid-2008 Based on the Marvel Comics character from the second World War, a mild-mannered young soldier named Steve Rogers volunteers for a special Super Soldier program for the US Army. Donning the colors of Old Glory, Captain America leapt into the hearts and souls of every American bringing hope and justice to a war-weary nation. Deathlok (2008) - ANNOUNCED Script by Raven Metzner, rewrite by David Self. A man unwittingly finds himself the subject of an experiment which slowly turns him into a cyborg, with computer and robotic parts replacing nearly his entire body... Ghost Who Walks, The (2009) - ANNOUNCED The Phantom, script by DeSouza Hands of Shang-Chi, The (2009) - ANNOUNCED dir W-P Yuen, script McKenna bros. Based on the Marvel Comics hero, a young Kung-Fu master learns his father is the world's worst criminal Iron Fist (2008) - ANNOUNCED dir Steve Carr, script John Turman, with Ray Park. "A martial artist fights evil with his consummate fighting skill backed with the ability to strike with a punch of superhuman force." Luke Cage (2009) - ANNOUNCED dir John Singleton, script Ben Ramsay, with Tyrese Gibson The comic book adaptation is about a former gang member who is framed for a crime he didn't commit. In prison, he volunteers for a medical experiment that goes awry, giving him superstrength and bulletproof skin. Using his newfound powers, Luke Cage escapes and becomes a hero for hire. Silver Surfer (2009) - ANNOUNCED dir Alex Proyas; scrpt JM Straczynski; a spinoff from FF 2 "After saveing planet earth, (Norrin Radd) The Silver Surfer must now race back to planet Zenn-La & stop Galactus from destroying his home world out of revenge for betraying him." Spider-Man 4 (2009) - ANNOUNCED script: James Vanderbilt Superman: The Man of Steel (June, 2009) - ANNOUNCED followup, dir Bryan Singer, with same cast as "Superman Returns". ------------------------------------- not much info: Ant-Man - IN DEVELOPMENT writers Edward Wright & Joe Cornish, and director Edgar Wright Ghost Rider 2 (2009) - ANNOUNCED. No info available. Green Hornet (2009) - ANNOUNCED. No info available. Metal Men (2010) - ANNOUNCED. no info Nick Fury (2008) - ANNOUNCED Sgt. Rock (2008) - ANNOUNCED. no info Sub-Mariner (2010) - ANNOUNCED. no info. Wonder Woman (2009) - ANNOUNCED Teen Titans (2009) - ANNOUNCED. no info. Witchblade, The (2009) - ANNOUNCED

20 out of 27 votes rate as "hot" to "smokin hot". The issue has been decided... deal with it, buckethead.

if all he wanted to do was get Clooney out of the car, he could've just had him stop to pee on a tree. Of course, then, the gesture that saves him isn't one of purity and beauty, but one of having to relieve himself. so that whole "redemption" thing gets lost. The fact that you didn't get the scene doesn't make it a "plot hole".

i couldn't make myself sit through the entire thing. I tried twice. It was just too awful.

RealityChuck wrote: On of Sondheim's better scores (he may write great lyrics, but he's a third-rate composer, and his best work is when someone else wrote the music)... You've said some stuff in the past that has made me scratch my head, or just shake it in vigorous disagreement, but this one is a topper.

lovvvvve this movie.

What... no love for MIDNIGHT EXPRESS, BIRDY or THE WALL? I'd take any of those over MISSISSIPPI BURNING, but that's just me.

I hate my team. No power, no saves and Andy Pettitte on my staff. fucking auto-draft.

Carlos Delgado - NO. he's finished and he's had neither the peak nor the career numbers to warrant serious discussion. Carlos Beltran - probably not. He'd have to play another 10 years, with at least 5 years at or near his 2006 level. And his injuries have been chronic enough to cast doubt on that happening. John Franco - An accumulator. IF Lee Smith isn't in, Franco doesn't get in. Johan Santana - way too soon to tell. Like any pitcher, his arm could fall off tomorrow. that being said, he's certainly had HOF type years so far. Billy Wagner - More dominant than Franco, but hasn't accumulated the numbers. In any event, he's not Gossage, Fingers, Sutter or even Lee Smith. While that shouldn't necessarily be the criteria, it probably is. David Cone - high peak, but no. Just not enough. Jeff Kent - definite maybe. One of the most prolific 2bmen of his generation. Jose Reyes - he has further to go than either Wright or Santana, but he could make it. Or not. David Wright - unlike Reyes, he doesn't have to continue developing. He just needs to keep doing what he's doing for another 10-15 years or so. But that isn't as easy as it sounds. And it sounds pretty hard.

its not the difference between .710 and .721 its the difference between Pagan's career .721 ops in the minors and Crisp's, .780-something, a substantial difference established over many years and many PAs. That indicates to me a clear difference in major-league potential, which bore itself out in the majors when Crisp had not 1 but 2 solid .800-ish OPS seasons as the starting CFer for Cleveland. Those seasons were 2 years ago. And, at age 28, to state those seasons are clearly in the "rearview mirror" after 2 injury-plagued seasons in Boston, is the only clearly "absurd" statement made in this thread. He's 28, not 32. And Pagan will be 27 this season. This is not an age for youth thing. This is an experienced, established producer over an inexperienced unestablished producer. If you want to argue that Crips is a whiny, lazy jaker, with injuries that make him suspect, then fine. make that argument. But, at his best, he's a better player than Pagan was, is or is likely to be. And maybe the $10m/yr isn't worth that difference. But i have zero confidence in Pagan, based on his last 8 years of baseball. And i have HUGE confidence that Alou will play no more than 80-90 games, and that Beltran is likely to miss time this year, too, with his knees, and Church has yet to have a full season as an everyday OFer. So if my ppriority is winning games, rather than holding down the payroll, then giving Crisp 450+ PAs this year as a 4th OFer instead of Pagan or Chavez makes me alot more cahhhnfident in our chances in 2008. I am not seduced by hot bats in spring training. but your mileage may vary.

i just got confirmation from "she who knows". The Sage clan will be in attendance on sunday.

I'm in for the 5/31st game and i'm still "iffy" for lunch on the 16th. I'm going to try and make it. I might have to bring my kids again (against my better judgment).

I'm happy to see Angel Pagan having a hot Spring, but lets look at some facts: Angel Pagan: (27 in July) had a career OPS in minors of .710, in over 2700 plate appearances during 8 seasons (from age 18-25). In 348 PA in the majors over the last 2 seasons, he's put up a comparable OPS of .721 There is nothing in this career that says to me: "whoa, this is our LFer of the future. Lets hold on to him!" Now lets look at Coco Crisp: Despite 6 years of major league experience, he is still only 28; in the minors, he put up a .783 OPS over 1800+ PAs during 6 seasons (age 19-26). In the majors, he's put up a .738 OPS over 2800+ PAs (6 seasons), but in his peak performances measured by 2 seasons with the Indians, he produced an .800 OPS as a fleet, gold-glove caliber CFer with some pop. Not only are Crisp's averages better than Pagan (in the minors and the majors), his potential peak is higher and their ages are close. The one reservation is a recent history of injuries. And, of course, there is his price tag. But with Alou out (and likely to be out again, periodically, throughout the season) and with Beltran's balky knees, I'd be much happier to see Crisp on our bench than hope Pagan's ST rampage will carry over to the regular season. Crisp is just a better player. He was in the minors. He was in the majors. He is today and is likely to continue to be better for the forseeable future. Is he $10m/yr better? Separate question, but that shouldn't be an issue for this franchise.

It's a cop movie to me. The setting is just a part of the story. Though I can see why that's objectionable. I don't like the idea of burning down the World Trade Center all over again just to tell Nicholas Cage's story, and I don't like sinking the Titanic just to tell some ditzy upstair-downstairs romance. But i don't think it was just story backdrop to Parker, because he so often examines social themes in his movies, as i tried to describe above. If all he wanted was to tell a compelling police procedural, you don't need to re-write history to do it. That he DID use the historical events around this racially-charged pivotal moment of the civil rights era suggests it was central to his point, not just a context or backdrop. The fact that you perceive it basically as a cop movie is, to me, just an example of how he failed to make his point, not that he wasn't trying to make one.

Speaking of racism, Dublin ain't part of the UK. wow. you got me. I was off by 85 years or 50+ miles. Sorry. But last i checked, those in the UK and those in the Republic of Ireland were still of the same race, despite their history of trying to kill each other. So, im not sure how my error in referencing a city in southern Ireland with regard to Parker's "UK roots" is deserving of your disdainful and cavalier "speaking of racism". Or were you just being a clever lad? As for MISSISSIPPI BURNING, it was about alot of things... about 20 minutes too long, for one But a major story element was how the federal government responded to racism in the south, in the wake of the murder of young civil rights workers Chaney, Goodman and Schwerner in 1964. So perhaps a "study of racism" isn't the best short-hand description, but it is certainly applicable. But i suppose i could have instead described it as the fictionalized account by a foreigner who overstates the heroism of the feds during this era, while reducing the black community to nameless victims suffering with dignity, waiting for the white liberals from up north to save them. But no matter the description, its overheated hokum.

Alan Parker: selected filmography UK writer/director Sir Alan Parker has had an impressive output over the last 30+ years. He has employed a powerful visual style and a keen musical ear to explore socio-political themes, establishing a unique directorial voice. Though he worked in advertising like his fellow Brit pals, the Scott Bros. (Ridley & Tony), Parker came from a background of words, not pictures. He was an advertising copywriter, not a photographer, but he went on to direct commercials, too, through the 1960s-70s, before directing some TV in the UK, and then breaking thru with his first Hollywood feature. Bugsy Malone (1976) (director/writer) - Parker's quirky debut is a gangster musical comedy, performed all by kids, including Scott Biaio and Jodi Foster. While it didn't make much of a commercial splash in the U.S., it got some props abroad and showed that Parker was a director with a strong visual style and a knack for staging music on film. * Awards: Cannes (golden palm -nom), Bafta (direction -nom; screenplay- won) Midnight Express (1978) - Parker broke through, both commercially and critically, in this collaboration with Oliver Stone. An intense thriller depicting conditions in a Turkish prison, it forshadowed Parker's later socio-political dramas. Again, his stylish imagery and use of music (this time, Moroder's oscarr-winning score) is integral to the action. *Awards: Oscar (director-nom), Bafta (director), Cannes (golden palm- nom), Golden Globe (director- nom), DGA (director- nom) Fame (1980) - this hit musical about HS kids in NYC spawned a tv series, a stage musical and became a pop-cultural touchstone. Again, the music, visual style, socio-political plot elements are all here. *Awards: Bafta (direction -nom) Shoot the Moon (1982) - all the action here is emotional; the story of a marriage's dissolution, with great perfs by Albert Finney and Diane Keaton. A more intimate and quiet type of movie for Parker. But, like many of his later films, its a sad, bitter tale *Awards: Cannes (golden palm- nom) Pink Floyd's "The Wall" (1982) - This Wagnerian rock opera of emotional pain, socio-political themes and wild imagery, is pure Parker... for better or worse. Personally, i dig it. Birdy (1984) - 2 friends, back from Vietnam, are wounded in different ways -- 1 physically, 1 emotionally. A great use of Peter Gabriel score, backdrop for the emotional pain of the Vietnam war era, allows the imagery to soar. This may be Parker's best film (certainly his best non-musical). Music, kinetic images, political themes. check, check, check. *Awards: Cannes (golden palm- nom / jury prize -won) Angel Heart (1987) (director /writer) - a 50's era Horror/Film noir, with Mickey Roarke as a P.I., with a past he's unaware of, and Robert DeNiro is the devil, which seems like type casting to me. All in all, the sum is less than the parts would indicate. Mississippi Burning (1988) - Parker's social conscience finally runs amok in this heavy-handed study of racism in the early-60s south. It was acclaimed and successful, but i can't stand this kind of filmmaking. *Awards: Oscar (director-nom), Bafta (direction -nom), DGA (director- nom), Golden Globe (director- nom) Come See the Paradise (1990) (director/writer) - Parker explores yet another era of American racism -- WWII and the U.S. internment camps for Japanese-Americans. More moral fervor, alas. *Awards: Cannes (golden palm- nom) The Commitments (1991) - Ahhh. this is more like it. Parker returns to his UK roots to make this musical about working-class Dubliners putting together a great soul band that ALMOST makes it. Now THIS is the way to deal with social issues on film, Sir Alan. And of course the musical sequences are terrific. Right up there with BIRDY as best Parker film. And, unfortunately, his LAST good film as well. "Do you not get it, lads? The Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So say it once, say it loud: I'm black and I'm proud." *Awards: Bafta (direction, picture), Golden Globe (picture- nom) The Road to Wellville (1994) (director/writer/producer) - this leaden comedy about a health farm deserves its anonymity. Somebody should have told Parker he was going wrong, but with Parker now serving as the director, writer and producer, there was nobody there to do so. Evita (1996) (director/writer/producer) - Parker returns to music, politics and imagery, but with markedly less impact, perhaps because the musical itself is a piece of crap. *Awards: Bafta (screenplay- nom), Golden Globe (director- nom) Angela's Ashes (1999) (director/writer/producer) He adapts McCourt's novel of pre-WWI Ireland with all the punch of a Rey Ordonez. The Life of David Gale (2003) (director/producer) - Parker's indictment of capital punishment deserved its slow death. At age 64, with many solid credits and a knighthood behind him, there doesn't appear to be much left in the tank for Sir Alan. Still, i would love to see him adapt the recent Tom Stoppard play, ROCK N ROLL, since there aren't too many directors around who can handle the music, the politics and the literary pyrotechnics of this Stoppard work.