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  #1  
Old 07-01-2010, 12:58 PM
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chelluversu chelluversu is offline
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That was the punchline... But I'd it true?
lol yes...yes it is lol
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Old 07-01-2010, 05:56 PM
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lol yes...yes it is lol
but is that true of Fleetwood Mac as well? I think that joke was an extension of the use of the soft rock "mix tape" throughout the movie. It tells us something about David Spade (who made the mix tape), the friends, the era in which they grew up (and seem to have remained somewhat stunted). Why soft rock? Why SO white? Interesting . . . given the multi-culti nature of hte friendships and relationships. Director Dennis Dugan is always sensitive in his music choices (the memorable use of "Girlfriend Is Better" in The Benchwarmers).
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Old 07-02-2010, 10:15 PM
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but is that true of Fleetwood Mac as well? I think that joke was an extension of the use of the soft rock "mix tape" throughout the movie. It tells us something about David Spade (who made the mix tape), the friends, the era in which they grew up (and seem to have remained somewhat stunted). Why soft rock? Why SO white? Interesting . . . given the multi-culti nature of hte friendships and relationships. Director Dennis Dugan is always sensitive in his music choices (the memorable use of "Girlfriend Is Better" in The Benchwarmers).
From what I've seen at the concerts (both SN and FM) I've gone to...yes. For as long as I've been alive-- 17 years...not that long but still lol-- the soft rock genre has been seen as "white people" music.

I wish I had finished watching the Benchwarmers... one day I shall.
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Old 07-02-2010, 11:12 PM
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Director Dennis Dugan is always sensitive in his music choices (the memorable use of "Girlfriend Is Better" in The Benchwarmers).
Maybe its just me, but- and I'm just spitballing here- if you direct "Problem Child" and any other number of critical disasters.. maybe we don't spend too much time analyzing said director's music choices? Just throwing it out there!
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Old 07-02-2010, 11:14 PM
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Maybe its just me, but- and I'm just spitballing here- if you direct "Problem Child" and any other number of critical disasters.. maybe we don't spend too much time analyzing said director's music choices? Just throwing it out there!
Do you always take your cues from "critics"?
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Old 07-03-2010, 01:35 AM
MikeVielhaber MikeVielhaber is offline
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Do you always take your cues from "critics"?
I do sometimes. If there's a movie that looks good, but then on rotten tomatoes it gets a horrible rating...I won't spend my $10 on it. My cut off is in the 50% range depending on how interested I was in the first place because, no, the critics aren't always right, but if there's a agreement among the vast majority of them that it's a bad movie then I take that into account.
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Old 07-03-2010, 08:44 AM
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When I was growing up and my friends and I or my family and I would watch Siskel & Ebert we would always laugh about how wrong they were. Times have changed.

Regardless of the quality of Grown Ups (it's number 10 on my list of ten fave movies this year; it's been a really good year), it has a joke. The joke is predicated on how the idea that Fleetwood Mac is the "whitest" music. I wanted to use that joke as an opportunity to discuss whether this is true of Fleetwood Mac. Interestingly, the person who turned me on to FM's music is Black. And also, lol, a professional film critic.
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"They love each other so much, they think they hate each other."

Imagine paying $1000 to hear "Don't Dream It's Over" instead of "Go Your Own Way"

Fleetwood Mac helped me through a time of heartbreak. 12 years later, they broke my heart.

Last edited by TrueFaith77; 07-03-2010 at 10:38 AM..
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Old 07-03-2010, 02:27 PM
michelej1 michelej1 is offline
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When I was growing up and my friends and I or my family and I would watch Siskel & Ebert we would always laugh about how wrong they were. Times have changed.
I didn't laugh at Roger and Gene's opinions, but I felt that I knew them so well, that I could discount or enhance their biases and tailor their review to my own opinion. There were things I knew they wouldn't like that I could be fairly sure would appeal to me and vice versa. Also, their divergences were such that how they stood in relation to one another told me more about the film than their words could.

The opposition was very informative. I still read Roger's reviews now, but without someone there whom I'm familiar with to go up against, I can't tell how closely his views will align with mine, the way I once could.

Michele
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