Sleeper | SpoutBlog

10 Movie Homes We Wish We Could Own

By Christopher Campbell posted 6 months ago

For only $2.3 million, you can own a house featured in Ferris Bueller’s Day Off. It’s not the title character’s residence, though; it’s the home of “Cameron Frye.” You’ll recall this as the setting of the film’s ending, where Cameron’s dad’s Ferrari is accidentally hurled through the garage window and into a forest ravine.

While any memorable location from a favorite movie would be a treat to own, Cameron’s house from Ferris Bueller is desirable for the opportunity to relive that famous scene — perhaps with a less-valuable vehicle. In fact, we think the person who buys this home should turn it into a museum, a la the house from A Christmas Story, and offer visitors the chance to crash a disposable car into the ravine for whatever it would cost to maintain such an attraction.

The listing for this Highland Park, Illinois, property has inspired us to come up with ten more movie homes we wish we could own, whether as a dwelling or a plaything. What favorite film location would you want to live in?
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Classics, Lists

Single-Chick Indie Miracles

By Karina Longworth posted 2 years ago

It’s not quite 8:00 AM, but I have a candidate for Quote of the Day. From Michael Atkinson’s review of Broken English, newly released on DVD, at IFC News:

Posey-triumph and single-chick indie miracle that it is, Broken English may also be the most eloquent portrait of its subject demographic ever made, despite changing two-thirds of the way through into a slightly ditzy French-movie version of itself and robbing a little, in the end, from Linklater’s Before Sunset. While Sex in the City reruns are merely the idiot’s guide to lonely-girl anesthetization, Cassavetes’s feature-film debut is the true gem.

Whatever you think of Zoe Cassavetes’ film, it’s definitely had an interesting media life. Largely overlooked at Sundance, generally shrugged-over in its theatrical release, reclaimed late in the game by a handful of bloggers (including me) and now, finally, earning glowing reviews at the end of its media cycle. If theatrical distribution is now essentially a commercial for home entertainment sales (and I’m fairly sure Magnolia, English’s distributor, believes it is), than this is perhaps the best reception a film could ask for: the longer Broken English sits in the culture, the more positive attention it attracts. It’s a “sleeper” on a long-tail timeline.

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