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I managed to see this movie on it's first day of screening in New York, back in 2000, just before I went back to Europe. 'Coyote Ugly' is a nice romantic comedy, perfectly fit for the generation who didn't grow up with 'Flashdance', Saturday Night Fever etc. Piper Perado plays the young aspiring song-writer who wants to get a major record-deal, write songs and then safely watch others perform her music. But then there's this little snag, called reality. Although the story is not very surprising it is solid and consistent told. We understand why she ends up on the bar dancing (no spoiler here). And at the same time we understand why her father is disappointed. A fine part played by John Goodman. At times their relationship reminded me of the one Madonna and Danny Aiello had in the 'Father Don't Preach' music-video. Father reluctantly sees his daughter grow up. And she only wants him to be proud of her. After I saw the trailer on television I immediately went to the REAL Coyote Ugly Saloon on 1st Avenue on which this film was based (unless there's another one, of course). The real bar is not nearly as flashy as it's celluloid counterpart. But they DO hose down annoying customers with beer and there IS dancing on the bar. However by the female customers, rather than the waitresses. But they do get fresh with you if you happen to order something they don't serve. (anything besides beer and Jack Daniels) And they do drink shots with the costumers. Funny detail is that in the movie is explained why they don't get drunk. I know, I know, we already have Flashdance. (Also from Bruckheimer) but I don't mind if this type of story is being updated now and then, right? Although the soundtrack could sound a bit more contemporary.
**An excuse to make a film full of women swaying seductively without a hint of softcore.** What can we say about a romantic film, with light touches of comedy, that spends most of its time showing us very attractive women in tight, short clothes, and bouncing around sensually in an atmosphere of mockery and debauchery worthy of a university graduation party? A lot of things. What leaves us no doubt? It is a film made with an openly and openly heterosexual audience in mind. Released in 2000, I don't know if the film would be possible today without being immediately accused of sexism and giving a stereotypical and sexualized image of women. Let's start by talking about the good things. One of them, perhaps the best, is the extraordinary soundtrack, which compiles excellent songs into one of the best non-original soundtracks of the decade: “The Right Kind of Wrong” and “Can't Fight the Moonlight” are so good that the entire we know them. The music is so important here that, in a sense, it is more of a music video than a film: the protagonist is an aspiring songwriter who tries to make it in the music market without much success, but who discovers that she sings well and becomes one of the main attractions. of a nightclub. The scenarios are convincing enough for us to believe them, especially if it is known that there really is a bar of this type in New York (in fact, it seems that others in the same franchise have already opened). Even so, there is so much exaggeration at parties that it is, in my eyes, difficult to believe in a certified and legal commercial space. Minimally decent editing, but sometimes lax, and cinematography that relies too heavily on red tones complete, on a less positive note, the more technical aspects of this film. In addition to the good songs, we have the beauty of the cast, with young and slender actresses, who make up for their inexperience with fantastic bodies and good dancing skills: Piper Perabo, Maria Bello, Tyra Banks, Izabella Miko, Bridget Moynahan and Adam Garcia. It's a shame that physical beauty doesn't translate into talent: as the cast wasn't chosen based on the actors' abilities, none of them offer an inspired performance. They are a bunch of complete scoundrels and the film, at this point, is very weak. In the interest of justice, it is imperative to save the renowned John Goodman, the only good actor here, who shows us what it is like to act in a character full of grace and quite comical. All of these, however, are mere stumbling blocks on the long road of a production that could, even so, be frankly good if it told us a good story. It is in the script and the story told that the film falls to the ground like an aspiring model who breaks both heels while parading. When watching the film, I asked myself over and over again where the hell the script was, because all that, that whole trip to the city, to a future in show business, is so absolutely cliché and has already been repeated so much that it is unacceptable. There is no substance. Then, all that sugary romance, without any chemistry, without any logic... it's too stupid, with stupid and unacceptably poorly written dialogues.
COYOTE UGLY IS AWESOME
'Coyote Ugly' is solid cheese and I'm here for it. There's nothing all that noteworthy to say about this, you'll either enjoy it or you won't; I doubt there's much middle ground. For me, it works. It's well paced and well acted, the music is well chosen too - s/o LeAnn Rimes. I'm pretty sure I've seen this before when I was younger, so long ago that I hadn't had it logged on here. I can't say I totally remembered it whilst watching, though many of the scenes did feel familiar and I recalled the main cast. Speaking of which, Piper Perabo is good as lead. Maria Bello, John Goodman and Adam Garcia are also solid. Just discovered that this has the same director as Kangaroo Jack. David McNally really made these two classics and ducked out of the industry, what a rockstar.
A girl who's sick of the social strictures of junior high is transformed into a grownup overnight. In this feel-good fairy tale, teenager Jenna wants a boyfriend, and when she's unable to find one, she fantasizes about being a well-adjusted adult. Suddenly, her secret desire becomes a reality, and she is transformed into a 30-year-old, but adulthood, with its own set of male-female challenges, isn't as easy as it looks.
When megalomaniacal White Goodman, the owner of a trendy, high-end fitness center, makes a move to take over the struggling local gym run by happy-go-lucky Pete La Fleur, there's only one way for La Fleur to fight back: dodgeball. Aided by a dodgeball guru and Goodman's attorney, La Fleur and his rag-tag team of underdogs launch a knock-down, drag-out battle in which the winner takes all.
While escaping from a foiled robbery attempt, three thieves find themselves surrounded by police at a New Orleans bar-only they're not the people the police are searching for.
This drama centers on Hank Chinaski, the fictional alter-ego of "Factotum" author Charles Bukowski, who wanders around Los Angeles, CA trying to live off jobs which don't interfere with his primary interest, which is writing. Along the way, he fends off the distractions offered by women, drinking and gambling.
When Gabriel and Emilie meet by chance, he offers her a ride, and they spend the evening talking, laughing and getting along famously. At the end of the night, Emilie declines Gabriel's offer of "a kiss without consequences". Emilie admonishes him that the kiss could have unexpected consequences, and tells him a story, unfolding in flashbacks, about the impossibility of indulging your desires without affecting someone else's life.
When a promised job for Texan Michael fails to materialize in Wyoming, Mike is mistaken by Wayne to be the hitman he hired to kill his unfaithful wife, Suzanne. Mike takes full advantage of the situation, collects the money, and runs. During his getaway, things go wrong, and soon get worse when he runs into the real hitman, Lyle.
A mouthy and feisty taxicab driver has hot tips for a green and inept cop set on solving a string of New York City bank robberies committed by a quartet of female Brazilian bank robbers.
During WWII, a teenage boy discovering himself becomes love-stricken by Malèna, a sensual woman living in a small, narrow-minded Italian town.
Out drinking one night after a fight with her boyfriend, three men brutally rape Sarah Tobias in a bar while people watch and cheer. District Attorney Kathryn Murphy takes the case; however, she allows the rapists to receive a mild sentence. A distraught Sarah decides to seek punishment for the men who witnessed and encouraged the rape. To get justice, Sarah must take the stand and revisit the night of her attack.
Downtrodden writer Henry and distressed goddess Wanda aren't exactly husband and wife: they're wedded to their bar stools. But, they like each other's company—and Barfly captures their giddy, gin-soaked attempts to make a go of life on the skids.
Two guys, handsome William and his side kick Luke have just started their trip through the beautiful California desert when they're kidnapped by the notorious Psycho Mike, The Kern River Killer. Securing their escape through hilarious means and the aid of an old friend they soon stumble into a small desert town where unbeknownst to them a mysterious tall Blond Man and his sadistic henchmen are killing people to create a Legion of the dead. Here's where it gets tricky. William falls in love with Geena, the beautiful waitress at the local restaurant and Luke spins out of control hormonally. The restaurant is suddenly attacked by the LEGION and the tall Blond Man gives an ultimatum to hand over Geena within two hours or he will personally come in to get her. What is the mysterious secret that Geena and the Blond Man share? The clock ticks as the ultimatum draws near. The fight against evil has just begun...