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<channel>
	<title>Obsessed With Film &#187; Feature Articles</title>
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	<link>http://www.obsessedwithfilm.com</link>
	<description>Movie News, Movie Reviews and Movie Trailers</description>
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			<item>
		<title>Malls on Film</title>
		<link>http://www.obsessedwithfilm.com/specials/malls-on-film.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/malls-on-film.php#comments</comments>
		<pubDate>Wed, 23 Sep 2009 21:12:44 +0000</pubDate>
		<dc:creator>Simon Gallagher</dc:creator>
				<category><![CDATA[Back to the Future]]></category>
		<category><![CDATA[Bill & Ted's Excellent Adventure]]></category>
		<category><![CDATA[Clueless]]></category>
		<category><![CDATA[Crank]]></category>
		<category><![CDATA[Dawn-of-the-Dead]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Mallrats]]></category>
		<category><![CDATA[Observe & Report]]></category>
		<category><![CDATA[Paul Blart: Mall Cop]]></category>
		<category><![CDATA[Terminator 2]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=26427</guid>
		<description><![CDATA[
“I felt impotent and out of control. Which I really, really hate. I had to find sanctuary in a place where I could gather my thoughts and regain my strength...the mall.”-Cher Horowitz, Clueless (1995)
In a wierd turn of events earlier this year, retail became the in thing. Contrary to the credit crunch/depression or whatever you want to call it this week, Hollywood turned its attention back to the humble shop (well that's if you can call row upon row of soulless, strip lit consumer havens a shop) with both Seth Rogen's Observe and Report (originally reviewed here), and Kevin James' Paul Blart: Mall Cop (see my review here) choosing the mall as their major settings. When you think about it though, the setting isnt exactly unprecedented- films as diverse as The Blues Brothers and Clueless have used it as an allegory for the American condition, and dealt with it accordingly (in the case of The Blues Brothers pretty explosively).

The American ‘mall’ or ‘shopping centre’, as we may know it on this side of the pond, is actually a staple in Hollywood cinema. Whether it’s a location for romance, comedy, action or violence, the shopping mall is a prevalent part of American culture. With ...]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Your Future is Digital</title>
		<link>http://www.obsessedwithfilm.com/movie-news/your-future-is-digital.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/your-future-is-digital.php#comments</comments>
		<pubDate>Mon, 21 Sep 2009 21:54:36 +0000</pubDate>
		<dc:creator>Simon Gallagher</dc:creator>
				<category><![CDATA[Digital Distribution]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Happy Birthday]]></category>
		<category><![CDATA[Harris Malden]]></category>
		<category><![CDATA[Matt Dentler]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[One Day Like Rain]]></category>
		<category><![CDATA[The Auteur]]></category>
		<category><![CDATA[The Team]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24657</guid>
		<description><![CDATA[Bear with me, it's a long one...



While covering the film festival a couple of months back, I had the pleasure of a meeting with Matt Dentler in Cannes to discuss digital distribution and the role websites like our own can play in the potential success of the model. One thing that became abundantly clear as I sat talking to Matt, and subsequently that all of our cinematic futures will in some way be digital.

Having sat on this article since my plane's wheels hit British tarmac, through a combination of the variously-faced monsters of temptation (I'm not an alcoholic I swear!) and a sincere desire to explore what the idea of a digital revolution, and its real implications for arguably the biggest cultural marketplace out there, I've decided it's now time to get into this debate.



Let me just get my own simplistic opinion out here: I think digital distribution is a welcome, and potentially invigorating new facet for the distribution marketplace, and I think it will do a lot of good. It isnt necessarily the best idea for all films, and it surely cannot be claimed as the future avenue for ALL distribution, but it is an opportunity with conceivably massive advantages ...]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Where&#8217;s the humanity?</title>
		<link>http://www.obsessedwithfilm.com/specials/wheres-the-humanity.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/wheres-the-humanity.php#comments</comments>
		<pubDate>Sat, 22 Aug 2009 22:25:41 +0000</pubDate>
		<dc:creator>Martyn Conterio</dc:creator>
				<category><![CDATA[Avatar]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[James-Cameron]]></category>
		<category><![CDATA[Sam-Worthington]]></category>
		<category><![CDATA[Sigourney-Weaver]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=25978</guid>
		<description><![CDATA[

I’d never been to an IMAX screening before. They’re massive screens aren’t they? Almost like an entire wall…a tsunami-like wave…where images threaten to pulverise the audience. And this seems to be James Cameron’s intentions for the 3-D release of his latest film Avatar. It is pure Cameron: loud, brash, macho, stupid and occasionally breathtaking. A publicity representative gave a little speech before the film and completely stone-faced said: “This could be the greatest film of all-time.”

The entire audience laughed. Quite audibly.

The fifteen minute clip introduces the character of Jake Sully (Sam Worthington) on a spaceship with a startling, albeit, much more expensive-looking set design reminiscent of Aliens (1986).



There’s even cryogenic sun-bed-type thing. And Sigourney Weaver plays a doctor!



The rest of the preview footage is set on the alien planet, Pandora and introduces the Na’vi beings who look, quite frankly, like they belong in an Xbox 360 game…or something like that. There are also dinosaur-type beasts and flying dragons too. It is all remarkable looking and yet strangely distancing. Asking the audience to emotionally invest in a story of cartoon-looking giant blue aliens…it is a bit mad, and I’m sure Cameron is holding some wonderful stuff back for the big release. ...]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>AVATAR And The Lack Of Imagination</title>
		<link>http://www.obsessedwithfilm.com/movie-news/avatar-and-the-lack-of-imagination.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/avatar-and-the-lack-of-imagination.php#comments</comments>
		<pubDate>Fri, 21 Aug 2009 00:01:37 +0000</pubDate>
		<dc:creator>Ray DeRousse</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=25927</guid>
		<description><![CDATA[By now, every fanboy on the planet has seen and dissected the new trailer for James Cameron's AVATAR. The overwhelming consensus is that it looks like a very complex video game, something that Cameron was definitely not looking to accomplish.

While I was underwhelmed by the supposedly "game changing" special effects, which looked disappointingly similar to every other CGI film we have endured over recent summers, I was most disappointed by what I perceived as a startling lack of imagination in the film. Going even further, we could say that filmed science fiction has yet to free itself from the shackles of reality the way novelizations can. In other words, AVATAR continues the lack of imagination found in almost all science fiction films.



There have been very few science fiction films that have given audiences something they have never seen or perceived before. Most science fiction films have been content to simply alter the everyday slightly, thereby creating a sense of futurism. Of all science fiction films, I would say these are the ones that significantly alter reality, perception, or utilize copious amounts of imagination:

1. METROPOLIS

2. 2001: A SPACE ODYESSY

3. STAR WARS

4. BLADE RUNNER

5. THE MATRIX

6. GATTACA

7. ROBOCOP

8. ALIEN

9. THE DAY THE ...]]></description>
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		<slash:comments>10</slash:comments>
		</item>
		<item>
		<title>Weird For The Sake Of Weirdness?</title>
		<link>http://www.obsessedwithfilm.com/movie-news/weird-for-the-sake-of-weirdness.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/weird-for-the-sake-of-weirdness.php#comments</comments>
		<pubDate>Sun, 09 Aug 2009 15:25:31 +0000</pubDate>
		<dc:creator>Ray DeRousse</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[Terry-Gilliam]]></category>
		<category><![CDATA[Tim-Burton]]></category>
		<category><![CDATA[Alice in Wonderland]]></category>
		<category><![CDATA[Celebrity Freakshow]]></category>
		<category><![CDATA[The Imaginarium Of Doctor Parnassas]]></category>
		<category><![CDATA[weird]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=25635</guid>
		<description><![CDATA[

Even though this story on Celebrity Freakshow is supposed to be a joke, the central idea behind it made me think about this issue I have with the works of Tim Burton and Terry Gilliam.

It's been bugging me ever since the recent debuts of the trailers for their upcoming films Alice In Wonderland and The Imaginarium Of Doctor Parnassas. Both films look highly imaginative, a quality sorely lacking in mainstream Hollywood these days. But am I alone in feeling a bit deflated at the sight of non-stop quirkiness? Is the weirdness inherent in the works of these two directors purposely imaginative, or simply on purpose?



The trailer for Parnassas shows Gilliam returning to the fantastical realms he explored in films like The Adventures Of Baron Munchausen and Brazil. It is to Gilliam's credit that these films are highly original works, full of creativity and whimsy.  But watching the trailer for Parnassas is like seeing a highlight reel of Gilliam's past works - hot air balloons, distorted perspectives, stilted performances, and chilly adventures.

To be fair, aside from Time Bandits, I've never really connected with any of Gilliam's films. He's a bit like the Pink Floyd of movies - technically brilliant, intellectually compelling, but cold and unengaging. And ...]]></description>
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		<slash:comments>6</slash:comments>
		</item>
		<item>
		<title>Do you really win an Oscar by trying to get yourself fired?</title>
		<link>http://www.obsessedwithfilm.com/movie-news/do-you-really-win-an-oscar-by-trying-to-get-yourself-fired.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/do-you-really-win-an-oscar-by-trying-to-get-yourself-fired.php#comments</comments>
		<pubDate>Wed, 01 Jul 2009 16:23:15 +0000</pubDate>
		<dc:creator>Matt Holmes</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Heath-Ledger]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[The Dark Knight]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24898</guid>
		<description><![CDATA[There's a insane story floating around the web right now, instigated by the late Heath Ledger's agent who has come out with the outlandish claim that Ledger was actually trying to get himself fired from The Dark Knight with his unique and "out there" performance as The Joker.

Which of course is utter insanity because simply put, you don't win an Oscar by trying to get yourself fired. No sir. That's not how it works. 



You watch his performance as The Joker, which I'm sure you all have a thousand times and you try and tell me that Ledger hasn't spent many hours locked away in a dark room all by himself (as reports at the time suggested) carving out this crazy character. The anxiety from playing The Joker killed the guy, remember?

If he was truly trying to get himself fired, there's far easier ways of going about it. Turning up late, not bothering, being an asshole on set, etc. 

Here's what Worst Previews have quoted from Vanity Fair...
According to Ledger's agent Steven Alexander and cinematographer/friend Nicola Pecorini, the actor had a pay-or-play deal on "Knight," which means that he would be compensated no matter how terrible he ends up being. This gave ...]]></description>
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		<slash:comments>8</slash:comments>
		</item>
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		<title>Oscars: Can&#8217;t pick the right five, so they hedge their bets with TEN Best Picture Noms!</title>
		<link>http://www.obsessedwithfilm.com/movie-news/oscars-cant-pick-the-right-five-so-they-hedge-their-bets-with-ten-best-picture-noms.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/oscars-cant-pick-the-right-five-so-they-hedge-their-bets-with-ten-best-picture-noms.php#comments</comments>
		<pubDate>Thu, 25 Jun 2009 08:58:14 +0000</pubDate>
		<dc:creator>Matt Holmes</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24705</guid>
		<description><![CDATA[An ill-conceived group of mediocre choices for last year's Best Picture Noms at the Oscars left out audience favourites and awards night ratings grabbers The Dark Knight, Wall*E and The Wrestler from having a chance at the coveted statue but from now on the Academy won't be so trusting to it's voters to get it right. Which of course they so often don't. 

According to a press release from President Sid Ganis which I saw at Variety, next year will see TEN BEST PICTURE NOMINATIONS voted, so instead of them actually picking the correct five, they will now be able to hedge their bets and pick ten, hoping that the extra choices will mean a box office smash and ratings winner will worm it's way in there. In truth though it means they now have twice as much scope to show how incompetent they are. 

This whole new direction completely devalues the whole meaning of the Oscars, and now the slogan "Nominated for Best Picture" will be twice as easy to get attached to your movie, and now worth half as much prestige. 



The reason the "Best Picture" tag has worked so well for all these years is that it influences the average everyday movie ...]]></description>
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		<slash:comments>18</slash:comments>
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		<item>
		<title>BATMAN 3: Worst Case Scenario</title>
		<link>http://www.obsessedwithfilm.com/specials/batman-3-worst-case-scenario.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/batman-3-worst-case-scenario.php#comments</comments>
		<pubDate>Tue, 23 Jun 2009 11:37:24 +0000</pubDate>
		<dc:creator>Matt Holmes</dc:creator>
				<category><![CDATA[Batman 3]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Top Stories]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24661</guid>
		<description><![CDATA[
Scenario:
You are the head of Warner Bros. Comic Book Movies are huge business but your track record of producing them hasn't been consistent or stellar, with the exception of Watchmen and the Batman franchise. You watch with envious eyes as Marvel position themselves to a platform where they can release as many as six movies per year in the very near future, if their blueprint for success turns out the way they have planned.

2011 alone should see Spider-Man 4, Captain America and Thor, with possibly more TBA.

Marvel are winning the race but you have the Batman ace up your sleeve, a character who is possibly the most popular protagnist in the history of film. But you are starting to get nervous. Your director Christopher Nolan is seriously considering his future with the franchise, he may be ready to move on - you may be about lose your biggest asset. Christian Bale also begins to get cold feet too and is now confused over what is going on with the series.

You have given Chris Nolan 1/5th of The Dark Knight box office takings to make his science fiction epic Inception and to give him some time to clear his head as he ...]]></description>
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		<slash:comments>33</slash:comments>
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		<item>
		<title>50 Reasons why GHOSTBUSTERS Just Might be the Greatest Film of all Time&#8230;and one Reason why Maybe it Isn&#8217;t</title>
		<link>http://www.obsessedwithfilm.com/movie-news/50-reasons-why-ghostbusters-just-might-be-the-greatest-film-of-all-timeand-one-reason-why-maybe-it-isnt.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/50-reasons-why-ghostbusters-just-might-be-the-greatest-film-of-all-timeand-one-reason-why-maybe-it-isnt.php#comments</comments>
		<pubDate>Thu, 18 Jun 2009 08:48:05 +0000</pubDate>
		<dc:creator>Tom Fallows</dc:creator>
				<category><![CDATA[Blu-Ray Reviews]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[Top Stories]]></category>
		<category><![CDATA[ghostbusters]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24553</guid>
		<description><![CDATA[With the release this week of Ghostbusters (1984) on Blu-Ray....



and the new Ghostbusters Videogame coming on the 19th June...



Tom Fallows decided it was about time to see what exactly makes the movie great.

1. Bill Murray – this movie made him a movie star and allowed us such later delights as Groundhog Day (1993), Lost in Translation (2003) and Broken Flowers (2005).


 2. The Dialogue. Just transcribing the movie would enough reason why Ghostbusters achieves greatness. This list contains as many classic quotes as we could fit. i.e.
“You forget, Peter. I was present at an undersea unexplained sponge migration,” – Ray. See?
3. Ray Parker Jr’s Theme Song. All together now, “Who ya gonna call?”


4. Ivan Reitman – the movie proves that Reitman can direct a movie. If this went to court, and the prosecution produced Father’s Day (1997) and Evolution (2001) as Exhibits A &#38; B, then the defence would only need to show Ghostbusters to result in an instant dismissal.

5. Old Boy Heroes – in an age obsessed with youth, it’s nice to see four heroes old enough to be your dad.
6. “Generally you don’t see that kind of behaviour in a major appliance,” – Peter on hearing Dana Barrett ...]]></description>
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		<slash:comments>28</slash:comments>
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		<item>
		<title>Public Enemy #1 &#8211; Top Ten Gangster Films!</title>
		<link>http://www.obsessedwithfilm.com/specials/public-enemy-1-top-ten-gangster-films.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/public-enemy-1-top-ten-gangster-films.php#comments</comments>
		<pubDate>Mon, 15 Jun 2009 06:30:23 +0000</pubDate>
		<dc:creator>Gareth Bunkham</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Top Stories]]></category>
		<category><![CDATA[Top Ten Lists]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24423</guid>
		<description><![CDATA[

If you were to peruse any greatest films of all time list chances are you would find a ‘gangster’ film pretty high up there, battling it out with the Jedis, Sharks and Tim Robbins.

But who exactly would come out on top if the wise-guys squared off against each other? Who’d end up sleeping with the fishes and who would reign supreme as the big screen don? (I’m done with the clichés now…)

So to celebrate the release of the ridiculously awesome looking Public Enemies I thought I would compile said list, so here is a countdown of the Top 10 Gangster Films to ever hit the big screen and if you don’t like my list don’t put a horses head in my bed… Capiche?
(Okay, now I’m done…)
#10

The Untouchables
(1987)


Based on some of the most infamous figures in organized crime history, directed, and written, by two of cinema’s finest and starring some of the decade’s most bankable stars The Untouchables was always going to be a success, but Brian De Palma’s classic account of the battle between the legendary Al Capone and the relentless Eliot Ness still surpasses expectations.

From the pen of David Mamet, The Untouchables tracks Ness’ struggle to bring down Capone ...]]></description>
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		<slash:comments>8</slash:comments>
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		<item>
		<title>So it&#8217;s back to the ALIEN and PREDATOR well again&#8230;</title>
		<link>http://www.obsessedwithfilm.com/movie-news/so-its-back-to-the-alien-and-predator-well-again.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/so-its-back-to-the-alien-and-predator-well-again.php#comments</comments>
		<pubDate>Fri, 12 Jun 2009 14:14:05 +0000</pubDate>
		<dc:creator>Michael Kaminski</dc:creator>
				<category><![CDATA[Alien]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[Predators]]></category>
		<category><![CDATA[Ridley-Scott]]></category>
		<category><![CDATA[Robert-Rodriguez]]></category>
		<category><![CDATA[Top Stories]]></category>
		<category><![CDATA[Top Story]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24408</guid>
		<description><![CDATA[UPDATE:

Just as this was to ready to post, news has flitered through from Bloody Disgusting that Neil Marshall (The Descent, Dog Soldiers, Doomsday) is in talks to direct Rodriguez's script for Predators at 20th Century Fox.

The movie is on the fast track looking for a July 2010 release.
If you hang around nerd circles these days, you might have heard rumors that a remake or sequel to Predator is in the works, and that a prequel to Alien is also in development. If you hang around nerd circles, you’ve probably also already encountered some debate between those who want to hang the money-hungry producers for trying to financially and artistically rape the two franchises and those who just can’t help but be curious about either of the two projects in the off chance that a deft hand at directing causes them to be watchable. But do any of these projects have any chance at existing, firstly, and then secondly, surviving?


Let’s just go over what we are dealing with here. The Alien project, though first rumored to be a remake, is apparently now a prequel film about the origins of the creature. The Predator project was first rumored to be a remake ...]]></description>
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		<slash:comments>5</slash:comments>
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		<item>
		<title>Mark Clark outlines his hopes for X-MEN 4!</title>
		<link>http://www.obsessedwithfilm.com/specials/mark-clark-outlines-his-hopes-for-x-men-4.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/mark-clark-outlines-his-hopes-for-x-men-4.php#comments</comments>
		<pubDate>Fri, 12 Jun 2009 09:03:24 +0000</pubDate>
		<dc:creator>Mark Clark</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[X-Men-4]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24374</guid>
		<description><![CDATA[Try and picture the scene, though in truth it’s not that hard; I’m exiting the cinema after sitting through X-Men Origins: Wolverine, the fourth in a diminishing line of X-Men movies (ok, after the first 2), and the one thought in my head is ‘so, I guess that’s that then!’.

I mean it takes some skill to turn one of the most fantastically entertaining bad-ass characters in the history of comics into a near parody, and a legacy of storytelling into a 1 hour and 45 minute dirge. Of course as a comics fan one has to appreciate the introduction of cool new characters like Deadpool and Gambit, but the film’s entire purpose seemed to be as a mini movie catalog – ‘hey, look what good stuff we can offer for your future entertainment’. Well, thanks but no thanks.



Nine years ago when Bryan Singer skillfully brought the X-Men to movie screes), anything seemed possible for the future of the X-universe; and when he followed it up in 2003 with the sequel defying greatness of X2 the genre entertainment immortality of the Singer X-Men trilogy was assured.

We can always dream. What we did get was the not completely terrible, but certainly classic ...]]></description>
		<wfw:commentRss>http://www.obsessedwithfilm.com/specials/mark-clark-outlines-his-hopes-for-x-men-4.php/feed</wfw:commentRss>
		<slash:comments>9</slash:comments>
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		<item>
		<title>Big Willy Style: A Profile of Will Smith</title>
		<link>http://www.obsessedwithfilm.com/movie-news/big-willy-style-a-profile-of-will-smith.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/big-willy-style-a-profile-of-will-smith.php#comments</comments>
		<pubDate>Mon, 08 Jun 2009 14:57:38 +0000</pubDate>
		<dc:creator>Simon Gallagher</dc:creator>
				<category><![CDATA[Bad Boys]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[Seven Pounds]]></category>
		<category><![CDATA[Small Screen]]></category>
		<category><![CDATA[The-Pursuit-of-Happyness]]></category>
		<category><![CDATA[Will-Smith]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24298</guid>
		<description><![CDATA[Following the release of Seven Pounds a fortnight or so ago (see Ray's full review here), it seems an appropriate time to look into the career of the man who is generally held as the Golden Boy of Hollywood. I present to you the first in my new Actors in Profile segment: I'm not concerned about what they put their dicks in, or who they're wearing, this is purely about the careers of the mighty and the much-loved from a purely filmic side.



Will Smith

	Highest Grossing Film: Independence Day (£817m)
	Debut Movie: Where The Day Takes You (1992)
	Highest Fee: £28m (I,Robot)

Clean as cut glass rapper turned sitcom star turned Hollywood megastar is hardly a familiar model for career progression in the most fickle of industries, but Will Smith has turned his adaptability and all-round showmanship into a fine art. Gone are  ludicrous outfits and pronounced overacting of the Fresh Prince years, replaced with the familiar dependableness that goes hand in hand with the particular brand of affection associated with the Golden Boy tag.

Considering Smith's later career choices, his role in Where the Day Takes You could be torn from the pages of another actor entirely- the film is as dark as Smith has been associated with: the ...]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>Be Cool</title>
		<link>http://www.obsessedwithfilm.com/specials/first-look-at-freemans-mandela-damons-pienar-in-eastwoods-invictus.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/first-look-at-freemans-mandela-damons-pienar-in-eastwoods-invictus.php#comments</comments>
		<pubDate>Mon, 08 Jun 2009 12:35:16 +0000</pubDate>
		<dc:creator>Matt Holmes</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[John-Travolta]]></category>
		<category><![CDATA[Pulp Fiction]]></category>
		<category><![CDATA[Quentin-Tarantino]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24328</guid>
		<description><![CDATA[Everytime I watch Pulp Fiction, I'm immensely fond of a two minute tracking shot expertly directed by a still rookie Quentin Tarantino, as we follow Vincent Vega (John Travolta) around the 50's nostalgic diner of Jack Rabbit Slims with some amusement as he suggests some genuine recognition to the sights around him. 



Elvis signing on stage, Doris Day talking to customers, Marilyn Monroe serving drinks, a red car that looks suspiciously like Grease Lightning. 


When watching this scene you have to remember that in the early 90's, Travolta was at the lowest point of his Hollywood career (yes even lower than 2003's monumental failure Battlefield Earth).

The effect of the 1980's on him when he said "No" to things he should have never said "No" to (An Officer and a Gentlemen, Fatal Attraction) and "Yes" to thinks he should have ran a mile away from (Two of a Kind, Perfect, an ill informed sequel to Saturday Night Fever directed by Sly Stallone), had left him unmarketable and disjointed with Hollywood. 

He decided to give up the job entirely at one point to take up flying. Just about the only movie he could be bothered to make in the years before he met Quentin for Pulp Fiction were ...]]></description>
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		<slash:comments>5</slash:comments>
		</item>
		<item>
		<title>James Cagney: The Real Public Enemy</title>
		<link>http://www.obsessedwithfilm.com/specials/james-cagney-the-real-public-enemy.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/james-cagney-the-real-public-enemy.php#comments</comments>
		<pubDate>Mon, 08 Jun 2009 08:39:21 +0000</pubDate>
		<dc:creator>Martyn Conterio</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[James Cagney]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24302</guid>
		<description><![CDATA[At the finale of White Heat (1949) the psychotic, mother-fixated gangster Cody Jarrett is surrounded by the police atop a giant gas tank in a chemical factory. He yells defiantly: ‘Made it, Ma!  Top of the world!’  And with that, is blown to kingdom come.

At 50 years old, New York City-born actor James Cagney, synonymous with the classical American gangster picture had truly made it back to the pinnacle of the industry.



For a man who excelled playing tough guys, petty criminals and gang leaders, it is surprising to discover his route into Hollywood was via dancing and choreography.  Cagney’s repertoire of villains chasing the American Dream have reverberated well beyond his own lifetime, whereas other actors have become curiosities or simply forgotten.   A roll-call of once famous stars such as Paul Muni, Edward G. Robinson and George Raft may produce blank stares from film students and modern day audiences.

The late 1920s and early 1930s saw America in the grip of a great economic depression.  Gangsters owned the streets and ruled the pay-packets of officials: from beat cops to the upper echelons of city administrations.  It being an era of Hoovervilles, illegal booze joints, racketeering and murder, ...]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>Tom Rothman Must Die</title>
		<link>http://www.obsessedwithfilm.com/specials/tom-rothman-must-die.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/tom-rothman-must-die.php#comments</comments>
		<pubDate>Thu, 28 May 2009 23:38:02 +0000</pubDate>
		<dc:creator>Ray DeRousse</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Unfiltered Lens]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24117</guid>
		<description><![CDATA[This world makes me sick. It's filled to the brim with indecent and unending horrors that squash your dreams and turn your stomach. Every day we are forced to stare at hideous injustices like warfare, poverty, crime, and Miley Cyrus. But the most revolting thing in this world - lower than the fly-riddled fluke shit of a pedophile's rotting corpse - is Twentieth Century Fox head honcho Tom Rothman.



Mr. Rothman has one of the greatest jobs on Earth - he works for the richest studio in Hollywood's dream factory. Basically, whatever Rothman imagines can become reality. He earns millions of dollars a year to spend hundreds of millions of dollars a year making feature films. It's a pretty nice gig.

So why does he insist on producing the most vapid, pointless, and artistically bankrupt films in the history of the medium? Rather than create films that break new ground or forge new pathways, Rothman continues to remake the back catalogue of Fox, or turn toys and board games into movies. It's bewildering.

Rothman held the previous record for most unimaginative production slate in Hollywood history; almost everything currently in production is either a remake or a sequel/prequel. Do we really need another ...]]></description>
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		<slash:comments>14</slash:comments>
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		<item>
		<title>Discovering Stanley Kubrick</title>
		<link>http://www.obsessedwithfilm.com/specials/discovering-stanley-kubrick.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/discovering-stanley-kubrick.php#comments</comments>
		<pubDate>Sat, 23 May 2009 04:22:27 +0000</pubDate>
		<dc:creator>Ray DeRousse</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Unfiltered Lens]]></category>
		<category><![CDATA[Kubrick]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24069</guid>
		<description><![CDATA[

Last week I gave myself a gift that has been occupying my time. I bought The Stanley Kubrick Director's Series collection from Warner Home Video. The set contains the last five films of Kubrick's life, minus the poorly-received BARRY LYNDON - 2001:A SPACE ODYSSEY, A CLOCKWORK ORANGE, THE SHINING, FULL METAL JACKET, and EYES WIDE SHUT.

I had seen most of these films at some point in my life, but none in many years. Amazingly, I have never owned a Kubrick film in any form. I must admit, placing this set in my collection is much like owning an original Monet. It is art.

Here are my thoughts on these films:

2001: A SPACE ODYSSEY - Beautiful, profound, boring, annoying, joyous. The film defies explanation because it refuses explanation. Concepts and ideas are painted with forms, light, and images; words are irrelevant. The special effects still work because they are not treated as special; rather, they are crafted as a series of iconic images that are just as symphonic as the overlaid score. It is science fiction distilled and purified.

A CLOCKWORK ORANGE - This is like a mixture of DR. STRANGELOVE and 2001. It is comical, yet realistically futuristic. MY favorite aspect of ...]]></description>
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		<slash:comments>12</slash:comments>
		</item>
		<item>
		<title>Five Reasons To See DRAG ME TO HELL</title>
		<link>http://www.obsessedwithfilm.com/specials/five-reasons-to-see-drag-me-to-hell.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/five-reasons-to-see-drag-me-to-hell.php#comments</comments>
		<pubDate>Thu, 21 May 2009 23:22:41 +0000</pubDate>
		<dc:creator>Simon Gallagher</dc:creator>
				<category><![CDATA[Bruce-Campbell]]></category>
		<category><![CDATA[Cannes 2009]]></category>
		<category><![CDATA[Drag-Me-To-Hell]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Sam-Raimi]]></category>
		<category><![CDATA[Small Screen]]></category>
		<category><![CDATA[Top Stories]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24057</guid>
		<description><![CDATA[

What with the coverage we have already given Drag Me To Hell in the run up to its release, it seems a little pointless to offer my official thoughts from Cannes in the usual manner, so instead you get this...
1. It's pure thorough-bred Raimi
If Spiderman was Raimi's Hollywood opus- the moment the fan-boy got big boots, Drag Me To Hell is the moment he returned to his true calling. Everything about this film screams Raimi, from the writing to the design of Mrs Ganush and the other various demonic presences. It's one for the fans who might have been turned off as the Spiderman films progressed, believing their God to be moving too far into irredeemably consumer-friendly territory. The best thing that can be said in that case is that Drag Me To Hell is what The Evil Dead Trilogy would have been (minus Bruce Campbell of course) had they been made after Spiderman, and that being the case, I now fully welcome the potential fourth edition to the series, since Raimi wont necessarily have to move so far away from the fondly-held low production quality of the originals...
2. It has the Evil Dead's gore with Hollywood money behind it
I've ...]]></description>
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		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>The Top Ten Time Travel Films of All Time</title>
		<link>http://www.obsessedwithfilm.com/specials/the-top-ten-time-travel-films-of-all-time.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/the-top-ten-time-travel-films-of-all-time.php#comments</comments>
		<pubDate>Wed, 20 May 2009 22:09:24 +0000</pubDate>
		<dc:creator>Gareth Bunkham</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Top Stories]]></category>
		<category><![CDATA[Top Ten Lists]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=23929</guid>
		<description><![CDATA[

The concept of time travel has long been a popular theme to explore in modern entertainment. There have been a plethora of literary entries, TV has recently seemed in love with the concept, with the likes of Tru Calling, Journeyman, Terminator: The Sarah Connor Chronicles and of course Lost using time travel in their narratives, but what about the big screen attempts to explore this phenomenon?

There have been many different incarnations of the theory of time travel over the years (I even wrote one myself at uni) and people seem to have a real love for the subject, possibly because time travel asks the question of What if…? Something we all do at some point in our lives…

…But I’m digressing into deep and meaningful territory here, so let’s move on!

With the recent release of Time Crimes on DVD, a whole bunch of time travelling going on in the new Star Trek and a new Terminator instalment right around the corner what better time to have a look at the top 10 time travel films of all, err… time.

(And yes, that is a Jean-Claude Van Damme film at number 8!) 


#10 Time after Time (1979)
It was a tough call for tenth ...]]></description>
		<wfw:commentRss>http://www.obsessedwithfilm.com/specials/the-top-ten-time-travel-films-of-all-time.php/feed</wfw:commentRss>
		<slash:comments>18</slash:comments>
		</item>
		<item>
		<title>The Tarantino Problem</title>
		<link>http://www.obsessedwithfilm.com/specials/the-tarantino-problem.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/the-tarantino-problem.php#comments</comments>
		<pubDate>Wed, 20 May 2009 18:49:00 +0000</pubDate>
		<dc:creator>Ray DeRousse</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Unfiltered Lens]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=24035</guid>
		<description><![CDATA[Think about those directors you would consider to be the greatest of all time. For myself, I would choose Stanley Kubrick, Steven Spielberg, Martin Scorcese, and Alfred Hitchcock. They are all directors with a signature style, yet the stories they tell are always front and center. Even a directorial style as eccentric as Kubrick's manages to work in service to the story.

And that is my basic problem with Quentin Tarantino, and the instantly ejaculatory praise he regularly receives from fanboys and the media. He doesn't deserve the immense praise he receives because he doesn't care about telling an engaging and complete story.



Let's look at Tarantino's meager output in the fifteen years he has been making movies:

RESERVOIR DOGS - His first film contained electric dialogue and dynamic shot selection that kept the viewer's eye off the low production values. Unlike CLERKS, Tarantino made his low budget film look professional and intentional.

PULP FICTION - His one true masterpiece. This is the film that catapulted him to the level of automatic auteur. It has style up to its eyebrows, yet the characters and situations are engaging. It also helps that there is an underlying point to the snappy dialogue and mixed-up structure.

JACKIE BROWN ...]]></description>
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		<slash:comments>60</slash:comments>
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