Terms of Endearment Tagged Articles at Cinematical

It's official: more actors need to die. Debra Winger figuratively kicking the bucket in Terms of Endearment, or Jimmy Durante literally kicking the bucket in It's A Mad Mad Mad Mad World ... Harold Sakata reaching for his unfortunately uninsulated derby in Goldfinger, Bugs Bunny grabbing for Oscar gold after being mortally wounded by Elmer Fudd in Tex Avery's short "The Wild Hare" ("It's gettin' dark, Doc ... gasp, choke"). One of my favorites: James Mason making it until daybreak during an entire movie-long death scene in Odd Man Out, or the death by, eh, inspiration in Hot Fuzz.

The list goes on at Gawker.com, where a poll got a lot of people talking. Male posters aired out plenty of excuses for crying in movie theaters like whipped little girls. One correspondent has a likely explanation for shedding his unmanly tears at the end of Armageddon: "a piece of meteorite got in my eye." I know how he felt. Ambient radiation made my eyes run when Spock got broiled at the end of The Wrath of Khan. And all that Middle Earth pollen played hell with my sinuses right when Boromir keeled over, begging apology with his last breath. What's your own favorite demise? Cinematical's Monika Bartyzel lists her 7 best here, from an '07 column, mentioning one time Steven Seagal didn't pull through. Incidentally an outfit called movie deaths.com insists on that the one 100 percent rating is the demise of the pugnacious black knight (above) in Monty Python and the Holy Grail. Get out the kleenex and weigh in ...

Over at Hollywood Elsewhere, Jeff Wells goes off on an eHarmony article about movies that make guys cry, specifically for including Love Actually, which Wells calls "repulsive." Leaving aside for the moment the more pressing question of why Wells happened upon an article on eHarmony to begin with, the list actually does include a few films that are definite tearjerkers, but some of them are over-the-top obvious -- Brian's Song, The Natural, Rudy, The Pride of the Yankees, Rocky (Seriously? Who cries at Rocky?) and Old Yeller, the most stereotypical "it's okay for guys to cry over this one" film ever.

The list loses some credibility points with me for including sapfests like Love Actually and Terms of Endearment, but overlooking Once -- when they play "Falling Slowly" for the first time, I bawl my eyes out -- but moderately redeems itself with the inclusion of Schindler's List, To Kill a Mockingbird, and my all-time fave cry-your-eyeballs-out flick, The Iron Giant. I guess it's true (however much it may be a stereotype) that guys and chicks are moved to tears over different things.

Over on Movie City News, LexG had a thought-provoking post under BYOB last Friday on which of the highly buzzed films of this excellent movie year will actually be remembered down the road. LexG posits that the best test of whether a film will stand the test of time among the film crowd is "whether it's directed by a world-class, etched-in-stone AUTEUR." Much interesting debate ensues in the comments: 1983 -- which do you remember more fondly? The Dresser or Vacation? Which is more revered, Fight Club or Green Mile? LexG argues that There Will Be Blood, Eastern Promises and Sweeney Todd are more likely to be remembered down the road than, say, Michael Clayton.

The discussion that follows is pretty interesting. Which are regarded to be the "best" years for movies (1939, 1975, 1983, 1997?) and which are the worst (the '80s in general?) Of course, it partly depends on what question you're really asking -- are the years and decades being evaluated by which films critics still regard as the best, or the ones they're most likely to pop into their DVD player again now?

I don't, as a general rule, rewatch movies a whole lot. Trying to stay on top of the current fare requires watching a lot of films as it is, especially staying on top of the indies, docs, and obscure foreigns; I just don't have time to rewatch films much. When I look back the movies that really made an impression at defining points of my own life, the ones that stand out are generally there for reasons of emotional attachment that may have nothing to do with how I would review the films critically.

ET, first and foremost, followed by Star Wars, Alien, The Goonies, Indiana Jones, Grease, Ghostbusters, Breakfast Club, Sixteen Candles, Dr. Strangelove, Terms of Endearment, Good Will Hunting -- these are some of the movies that I saw in theaters when they first came out to which I have a strong enough emotional attachment that I'll re-watch them. And course there's a plethora of older films that I had the pleasure of discovering for myself at various key points in my life, all of which, to one degree or another, influenced me growing into a film dork person who loves movies.

Which year (or decade) do you think had the best movies? And what are some of your personal faves?

Friday night I got the opportunity to attend a talk with three of my writing heroes: "The Jack Oakie Celebration of Comedy in Film featuring Judd Apatow, James L. Brooks and Larry Gelbart." James L. Brooks is one of the major reasons I started writing. I saw Terms of Endearment when I was a little kid and sobbed like...that little kid in Terms of Endearment. I have seen Broadcast News fifty times, and consider it perhaps the finest romantic comedy ever written. As Good As It Gets is a modern classic, I loved I'll Do Anything, and even have a soft spot in my heart for Spanglish. Oh, plus The Mary Tyler Moore Show, Taxi, and the guy has been with The Simpsons from day one! No further questions, your honor.

Brooks' incredible skill of seamlessly blending laughter and heartbreak clearly made a huge influence on Judd Apatow (although from reading all the articles about him, you'd think Apatow invented the practice). Like Brooks, Apatow did a lot of television work (the classics Larry Sanders Show, Freaks and Geeks, and Undeclared), and lately he's written and directed two of the best film comedies of the decade -- The 40 Year-Old Virgin and Knocked Up.

Larry Gelbart wrote Tootsie (with Murray Schisgal) -- one of the greatest screenplays ever penned, comedy or otherwise. That script earned him an Oscar nomination, as did Oh God! He earned Emmy nominations for writing, producing, and directing episodes of the classic sitcom M*A*S*H, and his writing career spans more than 50 years.

These three dudes on one stage, plus little cameos from the likes of Garry Shandling, Leslie Mann, and Jonah Hill. It was quite a night. Apatow kicked off the evening by sharing that he had been in that very theater as a boy, to see Steven Spielberg's notorious flop 1941. "I thought this was about comedy," quipped Gelbart.

Jean-Claude Van Damme's blue beret-wearing ways did not appeal to the masses, but this doesn't mean that Capcom won't try again. Over the past year, a new foray into the video game world of Street Fighter has been in the works. The last news came in July, when a script review was out. This time around, the focus will be on tough girl fighter Chun Li and her quest for justice -- she seeks revenge for the murder of her father. Now screenwriter Justin Marks is doing "a polish," and Variety is reporting that the production has tapped its director -- Andrzej Bartkowiak.

The director has some martial arts under his belt with Romeo Must Die, as well as some experience with video game adaptations -- he's the name behind Doom. Bartkowiak is also an experienced cinematographer -- having a hand in everything from Terms of Endearment and Twins to Dante's Peak and Lethal Weapon 4. So he's got the experience, but considering the fact that Doom actually grossed less than the first Street Fighter, which was about a decade earlier, what's the point? Usually when franchises or flicks are freshened, there's some sort of hope behind it. Christopher Nolan made many giddy with excitement when he took over Batman, and he delivered. What on earth can we expect, or hope for, with this project?

Ah, Mother's Day. The one day a year when Mom gets to chill and take it easy, and everyone else gets to shower her with love, affection, and gifts. Whether you're a mother yourself, or you're just in this world because you have one, what better way to spend Mother's Day weekend than by kicking back with one of these memorable Mother's Day flicks?

• The Call Of Cthulhu - The H.P. Lovecraft Preservation Society, a group of dauntless fans that created the brilliant, Cthulhu-themed musical, A Shoggoth On The Roof, have created the ultimate fan film, an incredible tribute to the writer whose work seeded modern horror favorites like Re-Animator and From Beyond. Shot like a 1920's era silent film, the 47-minute feature is technically amazing, shot (in black-and-white), lit and performed like an authentic film of the period would have been (although it would have horrified people of the time right into Arkham Sanitarium.) Considered Lovecraft's most famous story, the story of a man who inherits a collection of documents detailing the ghastly Cthulhu Cult, it is very faithfully adapted, not to mention super-efficient. The title cards are in the viewer's choice of an astonishing 24 different languages, and the lush, symphonic score can be played in hi-fi and the kitschy-fun, lo-fi "Mythoscope". A skillful build and an extremely satisfying payoff (think creature design King Kong '33 style) add up to one of the smartest horror films of recent memory.