Elizabethtown!
Also - I saw 'In Her Shoes' last night and it was sooo good, especially if you have a close relationship with a sister! Check it out.
Elizabethtown
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MelliJellyBean
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Elizabethtown
Being a Cameron Crowe AND Orlando Bloom fan, I can't wait to see this movie on Friday!
Elizabethtown!
Also - I saw 'In Her Shoes' last night and it was sooo good, especially if you have a close relationship with a sister! Check it out.
Elizabethtown!
Also - I saw 'In Her Shoes' last night and it was sooo good, especially if you have a close relationship with a sister! Check it out.
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MelliJellyBean
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http://www.elizabethtown.com
grr - the image was supposed to be a movie poster and i guess it changed on me. oh well. visit the site. i cant' wait to see this movie.
grr - the image was supposed to be a movie poster and i guess it changed on me. oh well. visit the site. i cant' wait to see this movie.
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Stars Come Out for Elizabethtown Premiere
From CMT.com
Film stars and celebrities from rock and country converged with hundreds of fans Sunday afternoon (Sept. 18) along Main Street in the small town of Franklin, Tenn., for the Nashville area premiere of writer-director Cameron Crowe's new film, Elizabethtown. Attending the event were actor Orlando Bloom (who stars in the film) and Kate Bosworth, along with Crowe and wife Nancy Wilson, singer-guitarist in the rock band, Heart. The screening at the Franklin Cinema also attracted LeAnn Rimes, Sara Evans, Kix Brooks, Craig Morgan, Wynonna, Clint Black, Dean Miller and several former and present members of Lynyrd Skynyrd, including Gary & Dale Rossington, Rickey Medlocke, Ed King and Artimus Pyle. The premiere included musical performances by Patty Griffin and the Atlanta-based band, I Nine. Actress Ashley Judd attended the post-premiere party.
View more photos from the Elizabethtown: Nashville Premiere at cmt.com
http://www.cmt.com/news/articles/150990 ... eann.jhtml#
Crowe Flies Home
Elizabethtown is a mess, not that its director should care.
By Robert Wilonsky
It happened almost with the first step off the airplane at the Toronto airport last month. Someone, a friend or merely a concerned stranger, would stop to warn you of impending peril. They would plead with you to avoid the danger ahead in Elizabethtown, the Cameron Crowe film that screened early in the Toronto International Film Festival and was greeted by critics with scornful laughter and derisive cheers. "Horrible," said one colleague, almost before my bags were in the taxi; "a parody of a Cameron Crowe film." Proclaimed another, well before the hotel was in sight: "People wanted to leave, to flee, but were riveted to their seats in utter disbelief and horror."
Such dire proclamations tend to have two results: Either you rush into the theater to giddily wallow in the carnage, or you walk in with such low expectations that you can't help but walk out wondering why all the doomsaying.
Alas, Elizabethtown, shorn of seventeen excessive minutes post-Toronto, is hardly a catastrophe -- hardly a thing bound to wreck a career or even an evening out. It's a mess, absolutely, more a collage than a narrative. It's terribly mawkish, too, as though the writer-director has wrung from his previous efforts every teardrop and poured them into a giant bucket in which he's chosen to take a long swim. And those who have claimed Elizabethtown is an act of self-parody aren't far off: Imagine Jerry Maguire turned up to eleven, with its "You had me at 'hello'" ending drawn out for the final thirty minutes -- a fourth act, literally, involving a son taking a road trip with a collection of CDs in the stereo and his dead dad's ashes in an urn strapped in the passenger seat.
But for all those flaws, Elizabethtown suffers only the sin of being too much a personal thing, which allows little distance for its maker, who will see not flaws or flubs, but only himself (and his family, whose story Elizabethtown tells) reflected off the screen. And how much you choose to damn it depends upon how little slack you choose to give Crowe, who once more offers up a fictional version of himself (this time, played by Orlando Bloom) to tell a variation of a true tale. Those who liked his earlier movies, specifically Say Anything ... , Jerry Maguire, and Almost Famous, will not love this, but they will forgive its flaws. To that audience, Crowe has earned that much, if nothing else.
Elizabethtown isn't a journal entry -- Crowe is an entertainer, not a confessor -- but it's close enough; it tells the story of a son going to Kentucky to claim his father's corpse, as Crowe had to do shortly after the release of Say Anything ... in 1989. In this slightly altered version of the truth, hotshot sports-shoe designer Drew Baylor (Bloom) is fired in disgrace from his cushy gig by his Zen-nasty boss, played by Alec Baldwin (who else?). Drew is all set to kill himself, using an inventive contraption consisting of a sharp blade affixed to an exercycle, when his sister (Judy Greer) phones with the bad news that their old man died in Kentucky while visiting kin. Drew postpones his suicide long enough to hop a flight to Elizabethtown (just outside Louisville), during which he meets deceptively perky flight attendant Claire (Kirsten Dunst), who, apparently, has the largest CD collection this side of Cameron Crowe. She will, of course, save Drew from himself; she had him at "welcome aboard."
In Elizabethtown, a Norman Rockwell painting illuminated by sunsets and filled with the sound of chirping cicadas, Drew meets his old man's wacky assemblage of relatives, old friends, and army buddies, played by such folks as TV chef Paula Deen, long-ago "New Dylan" folk-rocker Loudon Wainwright III, and All the Real Girls' Paul Schneider as cousin Jessie, whose claim to fame is that his broken-up band almost opened for two original members of Lynyrd Skynyrd in 2000. Also there, in a small role, is Susan Sarandon as Drew's mother, who flips just a little after her husband's death. Drew, dressed in Jerry Maguire's hand-me-down black sports coat and T-shirt, drifts through Elizabethtown like a detached zombie, unable to cry over his old man's death and unable to connect with the relatives who fawn over him like a prodigal son.
This all sounds so much like Garden State transplanted to the Bluegrass State, but Elizabethtown doesn't have the glossy sitcom sheen of Zach Braff's directorial debut. It's far more rough and ragged, less a linear story than a compendium of scenes set to the Elton John, Tom Petty, Ryan Adams, and My Morning Jacket songs Crowe was listening to when he wrote the film. In a way, it's like Almost Famous, Crowe's movie about his mom's reaction to his decision to become a rock journalist -- a collection of charming stories stitched together to give them emotional weight, when all they want to do is soar like three-minute pop songs that drift in and out of a perfect moment that can't possibly last.
There are wonderful moments here: Dunst telling Bloom they're "substitute people," killing time with the wrong people till the right one comes along; Sarandon tap-dancing away her bottled-up grief; Schneider getting to sing "Free Bird" at a memorial service, with My Morning Jacket as his backup band. And when taken individually, they earn their smile or their heartbreak. But it's just a little too much of too much; you want to tap Crowe on the shoulder and plead with him to rein it in. Yet also know it's impossible, because as much as this is supposed to be a movie for the audience, it's actually just for him, the writer and director and son saying goodbye to his dad.
From CMT.com
Film stars and celebrities from rock and country converged with hundreds of fans Sunday afternoon (Sept. 18) along Main Street in the small town of Franklin, Tenn., for the Nashville area premiere of writer-director Cameron Crowe's new film, Elizabethtown. Attending the event were actor Orlando Bloom (who stars in the film) and Kate Bosworth, along with Crowe and wife Nancy Wilson, singer-guitarist in the rock band, Heart. The screening at the Franklin Cinema also attracted LeAnn Rimes, Sara Evans, Kix Brooks, Craig Morgan, Wynonna, Clint Black, Dean Miller and several former and present members of Lynyrd Skynyrd, including Gary & Dale Rossington, Rickey Medlocke, Ed King and Artimus Pyle. The premiere included musical performances by Patty Griffin and the Atlanta-based band, I Nine. Actress Ashley Judd attended the post-premiere party.
View more photos from the Elizabethtown: Nashville Premiere at cmt.com
http://www.cmt.com/news/articles/150990 ... eann.jhtml#
Crowe Flies Home
Elizabethtown is a mess, not that its director should care.
By Robert Wilonsky
It happened almost with the first step off the airplane at the Toronto airport last month. Someone, a friend or merely a concerned stranger, would stop to warn you of impending peril. They would plead with you to avoid the danger ahead in Elizabethtown, the Cameron Crowe film that screened early in the Toronto International Film Festival and was greeted by critics with scornful laughter and derisive cheers. "Horrible," said one colleague, almost before my bags were in the taxi; "a parody of a Cameron Crowe film." Proclaimed another, well before the hotel was in sight: "People wanted to leave, to flee, but were riveted to their seats in utter disbelief and horror."
Such dire proclamations tend to have two results: Either you rush into the theater to giddily wallow in the carnage, or you walk in with such low expectations that you can't help but walk out wondering why all the doomsaying.
Alas, Elizabethtown, shorn of seventeen excessive minutes post-Toronto, is hardly a catastrophe -- hardly a thing bound to wreck a career or even an evening out. It's a mess, absolutely, more a collage than a narrative. It's terribly mawkish, too, as though the writer-director has wrung from his previous efforts every teardrop and poured them into a giant bucket in which he's chosen to take a long swim. And those who have claimed Elizabethtown is an act of self-parody aren't far off: Imagine Jerry Maguire turned up to eleven, with its "You had me at 'hello'" ending drawn out for the final thirty minutes -- a fourth act, literally, involving a son taking a road trip with a collection of CDs in the stereo and his dead dad's ashes in an urn strapped in the passenger seat.
But for all those flaws, Elizabethtown suffers only the sin of being too much a personal thing, which allows little distance for its maker, who will see not flaws or flubs, but only himself (and his family, whose story Elizabethtown tells) reflected off the screen. And how much you choose to damn it depends upon how little slack you choose to give Crowe, who once more offers up a fictional version of himself (this time, played by Orlando Bloom) to tell a variation of a true tale. Those who liked his earlier movies, specifically Say Anything ... , Jerry Maguire, and Almost Famous, will not love this, but they will forgive its flaws. To that audience, Crowe has earned that much, if nothing else.
Elizabethtown isn't a journal entry -- Crowe is an entertainer, not a confessor -- but it's close enough; it tells the story of a son going to Kentucky to claim his father's corpse, as Crowe had to do shortly after the release of Say Anything ... in 1989. In this slightly altered version of the truth, hotshot sports-shoe designer Drew Baylor (Bloom) is fired in disgrace from his cushy gig by his Zen-nasty boss, played by Alec Baldwin (who else?). Drew is all set to kill himself, using an inventive contraption consisting of a sharp blade affixed to an exercycle, when his sister (Judy Greer) phones with the bad news that their old man died in Kentucky while visiting kin. Drew postpones his suicide long enough to hop a flight to Elizabethtown (just outside Louisville), during which he meets deceptively perky flight attendant Claire (Kirsten Dunst), who, apparently, has the largest CD collection this side of Cameron Crowe. She will, of course, save Drew from himself; she had him at "welcome aboard."
In Elizabethtown, a Norman Rockwell painting illuminated by sunsets and filled with the sound of chirping cicadas, Drew meets his old man's wacky assemblage of relatives, old friends, and army buddies, played by such folks as TV chef Paula Deen, long-ago "New Dylan" folk-rocker Loudon Wainwright III, and All the Real Girls' Paul Schneider as cousin Jessie, whose claim to fame is that his broken-up band almost opened for two original members of Lynyrd Skynyrd in 2000. Also there, in a small role, is Susan Sarandon as Drew's mother, who flips just a little after her husband's death. Drew, dressed in Jerry Maguire's hand-me-down black sports coat and T-shirt, drifts through Elizabethtown like a detached zombie, unable to cry over his old man's death and unable to connect with the relatives who fawn over him like a prodigal son.
This all sounds so much like Garden State transplanted to the Bluegrass State, but Elizabethtown doesn't have the glossy sitcom sheen of Zach Braff's directorial debut. It's far more rough and ragged, less a linear story than a compendium of scenes set to the Elton John, Tom Petty, Ryan Adams, and My Morning Jacket songs Crowe was listening to when he wrote the film. In a way, it's like Almost Famous, Crowe's movie about his mom's reaction to his decision to become a rock journalist -- a collection of charming stories stitched together to give them emotional weight, when all they want to do is soar like three-minute pop songs that drift in and out of a perfect moment that can't possibly last.
There are wonderful moments here: Dunst telling Bloom they're "substitute people," killing time with the wrong people till the right one comes along; Sarandon tap-dancing away her bottled-up grief; Schneider getting to sing "Free Bird" at a memorial service, with My Morning Jacket as his backup band. And when taken individually, they earn their smile or their heartbreak. But it's just a little too much of too much; you want to tap Crowe on the shoulder and plead with him to rein it in. Yet also know it's impossible, because as much as this is supposed to be a movie for the audience, it's actually just for him, the writer and director and son saying goodbye to his dad.
Musicians feel a bond with Crowe
Gary Rossington at the Nashville, TN premeire of "Elizabethtown"
The Knoxville News Sentinel
By BETSY PICKLE
The "Elizabethtown" premiere brought out a couple of musicians who feel a special connection to Cameron Crowe.
Lynyrd Skynyrd's Gary Rossington has fond memories of Crowe dating back to when the director was a writer for Rolling Stone magazine.
"He came with us one time on a tour to Japan and wrote about it," recalls Rossington, who notes that Crowe uses one of Skynyrd's signature songs in "Elizabethtown." "I'm just looking forward to this movie and hearing 'Free Bird' in it and all that stuff. It'll be fun."
While Crowe's films are famous for their effective use of songs, Rossington misses his cue to name one of them as a favorite movie soundtrack.
"I like 'Forrest Gump,' and we were in that," he says. "I think my favorite would be 'Hard Day's Night' 'cause I'm a Beatles fan."
Bonnie Bramlett, who sang with Ike and Tina Turner as an Ikette in the '60s and with Delaney and Bonnie and Friends in the '70s, is a big fan of Crowe and especially of "Almost Famous."
"It was my era," she explains, standing along singer-daughter Bekka Bramlett. "I actually made up the word 'band-aid.' In the real world, during that time, that was my word. I made the distinction between groupies and 'band-aids.' "
So, has anyone else seen Elizabethtown? I missed all the talk about it until recently.phjrsaunt wrote:Honestly, I'm not much of a movie fan, but I'll go this one because of THIS movie star:
Paula Deen was on Great American County and mentioned it. (Her Capt. Groovy sounds like a sweet man!)
Read her story here:
http://www.ladyandsons.com/paula.php
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Key Lime Lee
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Sam
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Have not seen it or heard of it until now......and I normally disregard what the critics say about movies.
I either like a movie or I don't and it has nothing to do with someone reviews of it.
IMNSHO most movie critics are often wrong, and looking at the money some movies pull in that the critics have trashed, I would say that proves them wrong and no one really listens or cares about what they say and their concepts of what is good or excellent or sux, seldom have nothing to little to do with reality.
Also IMNSHO, Anyone and everyone can be a critic in some shape or form. Why let someone else decide for you?
I either like a movie or I don't and it has nothing to do with someone reviews of it.
IMNSHO most movie critics are often wrong, and looking at the money some movies pull in that the critics have trashed, I would say that proves them wrong and no one really listens or cares about what they say and their concepts of what is good or excellent or sux, seldom have nothing to little to do with reality.
Also IMNSHO, Anyone and everyone can be a critic in some shape or form. Why let someone else decide for you?
Roll with the punches, play all of your hunches...come what may...
POW-MIA, YOU ARE NOT FORGOTTEN!!!
SUPPORT OPERATION JUST CAUSE!!!
http://www.ojc.org/
POW-MIA, YOU ARE NOT FORGOTTEN!!! SUPPORT OPERATION JUST CAUSE!!!
http://www.ojc.org/
I don't let anyone decide for me but I often ask friends with similar tastes for their opinions and read reviews before purchasing a CD or attending a movie. Yes, ultimately whether I like something or not is up to me but there's nothing the matter with going in with a somewhat informed opinion. Case in point, I don't think I've heard a single negative review from either friends or critics about Walk The Line. After having seen it his weekend I must say I agree, it was one of the best (if not the best) movies I've seen this year.