Many people remember the Waco standoff that occurred a long time ago. What most people probably have ingrained in their minds is the 'cult leader' David Koresh and the images of the compound burning to the ground after a long standoff. A lot of people have the belief that Koresh was some kind of madman who thought he was God. He was accused of being a child molester and was credited for the breakdown and deaths of his followers. Furthermore, many people feel the cult committed mass suicide when the FBI stormed Mount Carmel Center and when the building was burning. Most people feel the cult was at fault for not agreeing with the FBI on reasonable terms. Most people feel the cult was brainwashed by Koresh and followed along with everything that he said. Nothing could be farther from the truth, because of strong evidence after the nightmare was over, and this one-of -a- kind documentary pretty much proves it!!

This documentary is one of the most balanced examinations at the situation that occurred. It is much more thorough and highly detailed than anything most people have received in the mainstream media. To the shock of many people, this documentary will reveal that is was the ATF, the FBI, and the higher levels of the United States government who were the ones who were unjust, cruel, and deceptive, and not David Koresh and his followers. What Korseh and Davidians were doing was just protecting their constitutional rights, and the higher powers completely violated and raped those rights. The AFT had no grounds to storm the compound; it was the AFT that shot first and they shot from the helicopters from above at unarmed men, women, and children!! What is even more shocking is the actions of the FBI when they entered the Mount Carmel. Watch it for yourselves and you will develop and new perspective on the U.S. government. There is infrared footage that clearly shows the FBI was shooting with machine guns at the men, women, and children in the burning compound. It will make your blood boil. It will make you really angry. It will make you wonder as to what kind of people run this country. Finally, it will make you wonder as to what you are being told on the news every night is the whole truth and nothing but the truth. This video is frightening and I highly recommend it if one can find it. This documentary does not need to be purchased; it can be watched for free on google video!


I really loved this movie. I thought it was very well done. The character interaction was wonderfully done as was the characterization. The actors were definitely believable. The plot was very deep and intriguing. Even though parts of it are a bit slow and sometimes a bit boring, it's definitely worth watching several times. The chemistry between the three main actors was great. If you don't want to watch it for that, then at least watch it for the drama between the characters. I mean, the whole thing was just 'Whoa!' It was like I couldn't look away. The whole movie grabbed my attention and kept my interest, even through the slow parts. I loved this movie and almost everything about it. I loved the ending because it was so interesting and, if you watch the movie a second time, makes perfect sense. But I'm not spoiling anything.


This was a funny movie. Just having seeing the Evil Dead trilogy not a week ago (and left wanting for more), I got as many Bruce Campbell movies as I could, including really bad ones. This one is funny, without being exceptional, but as sure as hell original.

I mean you've got mad scientists, superhuman cyborgs, half brain freaks, gypsies, ex KGB cab drivers, jealousy, murders of passion, love, romance, sex, action and what more, all with the same 6 actors :)

You really have to see it and enjoy it, I can't explain it in a text box. I guess it is not so much a cult movie as Evil Dead was, but it certainly has that Bruce Campbell touch I love. Ted Raimi lends a hand, Tamara Gorski looks both beautiful and interesting (she has gone a long way from the hooker in Friday the 13th) and Vladimir Kolev also shows a lot of promise as an actor, although he will probably be cast as secondary character in Hollywood movies his entire career.

Bottom line: funny movie. If you liked Evil Dead you'll like this, too.


Arnold once again in the 80's demonstrated that he was the king of action and one liners in this futuristic film about a violent game show that no contestant survives. But as the tag line says Arnold has yet to play! The movie begins in the year 2019 in which the world economy has collapsed with food and other important materials in short supply and a totalitarian state has arisen, controlling every aspect of life through TV and a police state. It's most popular game show is The Running Man, in which criminals are forced to survive against 'Stalkers' that live to kill them.

The movie opens with Ben Richards (Arnold) leading a helicopter mission to observe a food riot in progress. He is ordered by his superiors to fire on them, refusing to gets him knocked out and thrown in prison, in the meantime they slaughtered the people without his help. The government blames Richards for the massacre earning him the name 'Butcher of Bakersfield'. Eighteen months later Richards along with two friends William Laughlin (Koto) and Harold Weiss (McIntyre) breakout of a detention zone they worked in. They make their way to the underground, led by Mic (Mick Fleetwood). Mic quickly identifies Richards as the 'Butcher of Bakersfield' and refuses to help him, but his friend's convince him otherwise. They want him to join the resistance, but he'd rather go live with his brother and get a job. Soon he finds that his brother has been taken away for reeducation and a woman name Amber Mendez (Alonso) has taken his apartment. Knowing who he is she won't help him, but he convinces her, but is busted at the airport by the cops after she ratted him out.

Meantime, The Running man is having trouble finding good new blood for the there stalkers to kill. Damon Killian (Dawson) the shows host and one of the most powerful men in the country sees Richards escape footage and is able to get him for the show after his capture. Richards refuses to play, Killian threatens to use his friends instead of him, so he signs the contract. You'll love that part. But soon he finds they will join him as well and makes sure Killian knows he'll be back. The Runners begin to make there way through the Zones and fight characters that are memorable, Sub-Zero, Buzz Saw and many others. Eventually Richards is joined by Amber who suspected he was set up but was caught and thrown into the game too. Together they find the underground and make there way back to Killian and give him a farewell send off.

The running man is another one of Arnold's great movies from the 80's. The movie was apparently somewhat based on Stephen King's book of the same name. Some have said that the book is better. I'm sure it's not and I don't care anyway I loved the movie. As in all of Arnold's films the acting is what you would expect with classic one liners from Arnold and even Ventura gets a couple in. But without a doubt Richard Dawson is the standout in this film. Being a real game show host he easily spoofed himself and was able to create a character that was truly cold blooded. The whole movie itself somewhat rips on game shows and big brother watching you. Keep an eye out for them poking fun and some old shows, 'hate boat' among others. Also the cast was great besides Arnold, Koto, and Alonzo don't forget Professor Toru Tanaka, Jim Brown, Ventura and Sven-Ole! With all the reality TV nonsense that goes on it almost fits in better now, but I'm sure the Hollywood liberals would make it into a movie about the 'Evil Bush'. The new DVD had mostly poor extras meet the stalkers being the only redeemable one. Some how the ACLU managed to get some of there communism into the DVD and is laughable garbage that should not be anywhere near an Arnold movie of all things. Blasphemy! Overall for any Arnold fan especially we who grew up in the 80's on him ,you can't miss this. Its one of the first ones I saw back in the 80's and it's still great to this day. The futuristic world and humor are great. Overall 10 out 10 stars, definitely one of his best.


Kevin Spacey is without a doubt one of the best actors of the 90s. After his performances in The Usual Suspect, Se7en and American Beauty, you expect more and more from him. That is why Ordinary Decent Criminal is a huge disappointment.

Michael Lynch is the most artful criminal in Dublin who is never in a bad mood. His next heist becomes an obsession when his partners start questioning Michael's ability to plan everything perfectly, although this is the only thing he does when he isn't playing good father at home.

I guess, it's partly my fault for not paying enough attention to the thousand plot details which sadly turn out to be the 'essence' of the film. I gave the movie a chance by calling it a parody and.... well, parodies are always funny, no matter what they spoof or how they do it. So, it wasn't after all a complete parody on purpose. It's just a different con movie that desperately tries to be funny and fails.

Unlike some of his 'colleagues', Ordinary Decent Criminal depends too much on story development and logical continuity, forgetting what's the main reason, the viewer has picked this kind of movie - to be entertained. This is definitely not entertainment. It includes one of the most ridiculous scenes ever - the introduction of Michael's TWO wives. I don't know whether it's some kind of a mindless metaphor or strange, dark humor, but the chicks are sisters. Remember, Spacey's character has kids.

Ordinary Decent Criminal is complex and confusing. You are not waiting for a funny scene. Instead, you carefully follow the dialog, because there is a big possibility of losing yourself into the boring, pale universe, the film has inhabited.

Let's go back to Spacey. I wonder in what condition he has been, signing for that movie. It's not miscasting, but something much worse. An insult to his work in American Beauty, released an year before Ordinary Decent Criminal. The character Michael is eccentric and talkative. Spacey is almost pathetic at times. The only cure for this, is thinking of Lester Burnham and Roger Kint.

Writer, Gerrard Stembridge should definitely re-consider his screen writing abilities and be more objective this time. Because, the dialog is very weak and the scenes are often pointless. And we are still talking about a comedy.

Ordinary Decent Criminal is a really bad crime comedy which does not deserve your attention.


I saw this cinematic wretchedness in a dollar theater with a friend in 1979 (back when the tickets actually sold for $1). This is the only film I have ever walked out on (with my friend, while the idiocy that is the 'Laser Bra 2000' sketch was on screen). Evidently, my and my friend's reaction to the film was a common one. It is not that I found the film offensive (either as an 18-year-old or now), but rather that it is mind-numbingly stupid and patently unfunny, devoid even of the unintended humor that makes a Ed Wood film watchable. This is the real reason why NBC refused to air it, rather than a failure to comprehend Mr. Mike's 'vision' (unless, of course, his vision was to drive the film's backers into bankruptcy).

I remained surprised to this day that this film does not seem to have made any published '10 worst films of all time' list. It certainly makes mine. You have been warned.


North And South (1985): Patrick Swayze, James Read, Lesley Anne Down, Wendy Kilbourne, Terri Garber, Kirstie Alley, Genie Francis, Phillip Casnoff, Jean Simmons, John Stockwell, Lewis Smith, David Carradine, Inga Swenson, Jonathan Frakes, Wendy Fulton, Erica Gimpel, Tony Frank, Jim Metzler, Olivia Cole, Andy Stahl, William Ostrander, George Stanford Brown, Robert Mitchum, Morgain Fairchild, Johnny Cash, Hal Holbrook, Gene Kelly, David Ogden Stiers, John Anderson, Lee Bergere, Olivia De Havilland, Elizabeth Taylor, Forest Whitaker, Robert Jones, ....Director Richard T. Heffron, Teleplay...Paul F. Edwards, Patricia Green, Douglas Heyes, Kathleen A. Shelley.

Based on John Jake's successful paperback novels 'North and South', 'Love and War' and 'Heaven and Hell', this was a mini series on television from 1985 to 1987. Its success owed more to the success of 'Roots' a similar Civil War era/slavery soap opera televised about a decade earlier in the 70's. Patrick Swayze, at the beginning of his career and at the time he was doing many films like Dirty Dancing which would make him famous, stars as Orry Main, a plantation-born young man from South Carolina who sets off to West Point. Here he meets George Hazard (James Read) who is supposed to be the hated enemy, the Yankee North, but with whom he bonds closely. Soon, the Mains from the South and the Hazards from the North become friends despite the turbulent era leading to civil war. The theme of family, friendship and doing the right thing even when the nation was falling apart is at the heart of this otherwise soap opera full of action and romance. Clariss and Ashton (Jean Simmons and Teri Garber) portray sisters who become enemies when one of them marries Yankee Billy Hazard (John Stockwell. Garber's bitchy, seductive, manipulative, ambitious and evil Ashton is fun to watch on screen. Though the series didn't cover everything in Jakes' novels, what we see is a condensed version of it and they changed a few things to make it a sort of historical romance with history lessons attached. The characters find themselves in all the major Civil War scenes - Harper's Ferry where abolitionist and feminist Virgilia Hazard (Kirstie Alley) loses the love of her life, the ex-slave Grady, Fort Sumter, Vicksburg, Antietam, Gettysburg, Appomatox and we are privy to the White House where we see Abraham Lincoln (Hal Halbrook) battle out the war in his conscience, we meet all the prominent players including Lee, Grant, Sherman, Jackson and Davis. Several veteran Hollywood actors from the Golden Era - Robert Mitchum, Elizabeth Taylor and Olivia De Havilland have cameos and it's interesting to see them. This is not historical fact, it's historical FICTION and purely dramatized entertainment. But it's got cliffhanger endings and beautiful cinematography, costumes and locations. It is like watching an epic movie that runs longer than Gone With The Wind with with war scenes in it! The script may be bad at times and the acting may not be the best, despite the good casting. Swayze hams it up as does Terri Garber but some performances, like that of Kirstie Alley, James Read (as George Hazard)and Leslie Anne Downes as the beautiful and strong Madeline are really good performances. They shot in sets and in Southern locations.The music is enchanting and this is a feel good film in which we root for the good guys and watch the villains scheme and ultimately get their comeuppance. All fans of Civil War movies and the Jakes novels should watch this. It's available on DVD and VHS.


God! Where do I begin? From start to finish, I could not help to hate this movie. Vines? Vines that make cell-phone noises?! Oh yeah, I'm so scared - I'm going to rid the weeds of earth! Come on people! The plot went nowhere, When the group discovered the ruin, and the village people (no pun intended) came to warn them and brandished weapons in front of their faces, don't worry, Amy (Jena Malone) was there to take pictures! That whole scene really had me wondering why she didn't take pictures of her beau, Jeff (Johnathon Tucker), sawing off Mathias (Joe Anderson) legs. When the idiots first threw down the rope after Mathias, how the rope was at least ten feet from the ground, but how it eventually was able to be a mere two to four feet from the ground. I cannot begin to cover everything that was wrong about this movie, there is just too much to cover. I will say the graphics as far as the gore were terrific, but it amounted to nothing since the acting and script were so terrifically bad.


Steely, powerful gangster supreme Frankie Diomede (the always terrific Lee Van Cleef in fine rugged form) has himself arrested and sent to prison so he can rub out a traitorous partner sans detection. Fawning goofball small-time hood and wiseguy wannabe Tony Breda (an amiable portrayal by Tony Lo Bianco) gets busted as well. Frank and Tony form an unlikely friendship behind bars. Tony helps Frank break out of the joint and assists him on his quest to exact revenge on a rival group of mobsters lead by the ruthless Louis Annunziata (smoothly played by Jean Rochefort). Director Michele Lupo, working from an absorbing script by Sergio Donati and Luciano Vincenzoni, relates the neat story at a constant brisk pace, sustains a suitably gritty, but occasionally lighthearted tone throughout, and stages the rousing action set pieces with considerable rip-snorting brio (a rough'n'tumble jailhouse shower brawl and a protracted mondo destructo car chase rate as the definite thrilling highlights). Van Cleef and Lo Bianco display a nice, loose and engaging on-screen chemistry; the relationship between their characters is alternately funny and touching. The ravishing Edwige Fenech alas isn't given much to do as Tony's whiny girlfriend Orchidea, but at least gets to bare her insanely gorgeous and voluptuous body in a much-appreciated gratuitous nude shower scene. Riz Ortolani's groovy, pulsating, syncopated funk/jazz score certainly hits the soulfully swingin' spot. The polished cinematography by Joe D'Amato and Aldo Tonti is likewise impressive. A really nifty and entertaining little winner.


I thought the film could be a bit more complex,in a psychological sense perhaps, but the action and voice acting were top notch. The animation was heavy CG in many scenes, but very good ones at that. This is one of the Batman Returns/Forever type films, which include romances and the conflicts of Wayne and motives for dating. 007 fans would love this, and so would the females, great theme song! Wayne was portrayed very well in this film, and the Penquin was back to his true form, no mutant genes in him this time! I liked the fact Robin wasn't used too much, Tim Drake was just a good computer nerd, somewhat of an Indigo child or mind of the future.

The supporting cast was made up of some soap opera stars, decent talents and the characters were drawn to look like the voice actors too. Kelly Ripa was hilarious in this film.

I rate this below Phantasm, Return of the Joker, and Batman vs. Dracula, but liked the smarter script better than I enjoyed Subzero. 7/10


What were they thinking at 'Cannes'? One of the most irritating, films of all time. Every detail of this film, no matter how meaningless was shown. If I had to watch her put on those boots one more time I think I would have shouted. If the point of this film was to show how pathetic a life Rosetta had, then it was covered within the first fifteen minutes of the movie and then the credits should have been running. But no, we had to see countless redundant scenes over and over. The whole thing was filled with un-likeable and unsympathetic characters. They deserved the misery that was Rosetta. And to think I passed up 'Tumbleweeds' to see this over-hyped film of boredom. It was like watching grass grow, only that is more exciting.


This movie shows life in northern Cameroon from the perspective of a young French girl, France Dalens, whose father is an official for the colonial (French) government, and whose family is one of the few white families around. It gives a sense of what life was like both for the colonists and for the natives with whom they associated. It's a sense consistent with another movie I've seen about Africa in a similar time period (Nirgendwo in Afrika (2001)), but I have no way of knowing how realistic or typical it is. It's not just an impression -- things do happen in the movie -- but the plot is understated. The viewer is left to draw his own conclusions rather than having the filmmakers' forced upon him, although the framing of the story as a flashback from the woman's visit to south-western Cameroon as an adult provides some perspective.


A meltdown at a nuclear power plant causes a majority of people to turn into lethal, rot-faced, shambling zombies who naturally go on a grisly rampage. A ragtag handful of uninfected folks do their best to survive this grueling ordeal. Director/co-writer/producer Todd Sheets displays an appealingly sincere love and passion for go-straight-for-the-throat lively and gruesome horror fare: he maintains an unflagging snappy pace throughout, fills the screen with wall-to-wall crazy action, and thankfully keeps the terrible dialogue to a pleasing minimum. Moreover, Sheets certainly doesn't skimp on the gloriously graphic and excessive over-the-top splatter: this picture delivers a tasty truckload of flesh melting, evisceration, lots of gut munching, one dude has his heart yanked out, and there's even a nice impalement on a tree branch. Sheets earns bonus points for keeping the tone grim and nasty to the literal bitter end (for example, almost all of the main characters wind up becoming zombie chow). Granted, this flick has its fair share of flaws: the ragged editing, several ham-fisted attempts at pathos, and the largely awful acting from a rank no-name cast all leave a good deal to be desired. Top thespic honors go to the pretty and perky Kasey Rausch for her winningly spunky portrayal of the resourceful Daria Trumillio. Frank Dunlay likewise does well as rugged take-charge army veteran Ralph Walsh. Best of all, Sheets' sure grasp of an infectiously slambang sense of unrelenting headlong momentum and obvious affinity for the horror genre ensure that this remains a total blast to watch from start to finish.


Nothing I dislike more than a kung-fu movie that plays for laughs. It is the main reason I can't stand Jackie Chan (or his lookalikes). He was not always a clown, I must add. 'My Young Auntie' is slapstick martial arts of the worst kind. It is a perfect example of how the subgenre was brought down to the mud by endless silly antics and childish behavior. Unless you are 5-year-old, I really don't understand how anyone could find this kind of film funny. But humor is indeed a very subjective thing. Personally, I think this type of approach did permanent damage to the beloved subgenre. I did think leading lady Kara Hui was very good here. But I had such a hard time sitting through this one that I could not enjoy her fine performance. If you don't mind all the silliness, you might enjoy it. I know I didn't.


i was a projectionist while in the U.S.A.F. and remember this movie very well. we had just been set up with Stereo Sound!! o-o-o-o-o!! well, it Was a big deal in 1959. instructions came with the reels. the overture played while the projected curtain image was closed and i followed suit with the theater curtain closed too. for intermission the theater curtain was closed and after five minutes i restarted the movie with the projection curtain closed while music used as a curtain call to the second part. being the first stereo movie i had ever seen and being such a huge musical production i certainly enjoyed watching it every time i showed it for the run.


I normally only write reviews for movies I really hated or really liked. And, as you can probably tell from the number of stars up there, I didn't like it. By now, I assume you have read about the plot or maybe even seen the movie, so I'll skip the summary. Let's break this down, pros and cons:

Cons: The concept: The premise was set up to be interesting. Using Chaos theory as a theme was interesting. However, it wasn't carried out so well. Correct me if I'm wrong, but it seems to me that Chaos theory was kind of misrepresented. The event that occurred in the movie seemed more like contrived coincidence than anything. I guess the Butterfly effect was represented by the whole 'God(s) causes Tsunami to bring back statue.' The presentation comes off as really sloppy though. Some people call this intelligent, but it just seems to be another souped up action film.

Storyline: Is it just me, or does it seem that Kamal just threw this together to give him an excuse to play ten roles? The plot is extremely contrived; Govind kept losing the vial so many times in obscure accidents (his friend just happens to mix up the vial with a package he was sending to India, a crazy old lady just happens to throw the vial into an idol, half the cast just happens to unexpectedly meet up in the same hospital, and the case with the idol just happened to get mixed up with one that belonged to a famous singer.)

CGI: Oh god, the CGI. It was even worse than the special effects in Jaws 3, and those sucked. Right away, I could tell which parts were animated. Even my ten-year-old cousin knows that underwater cars don't look like that.

Stunts: Yes, I now that action scenes in Tamil movies aren't realistic, but the stunts in this one were horrid and actually distracted me from the story.

Make up: I have to admit, they did a better job than expected. I thought Kamal would be playing people with similar skin tones, so the two fake white guys and the fake Japanese Aikido guy caught me off guard. However, it was still pretty bad, I could easily tell which ones were wearing masks.

The songs: The music was distracting and out-of-place in many instances.

Asin: Her character was possibly the most annoying one in the movie. She was loud, ditsy, and obsessed irrationally about that idol. I actually found myself wishing she would die.

Plot holes and Fridge Logic: Let me get this straight: a lab monkey was smart enough to get past a password-locked door, but not intelligent enough to tell the difference between a bar of chocolate and a vial with a deadly virus in it. And then, an ex-CIA agent who's after the vial figures out it's headed for India. Instead of immediately following it, he marries a pole dancer first. A famous Punjabi singer with cancer checks into a small town hospital in the third world when he could easily afford the best medical treatment available. Furthermore, he gets shot in the throat with a bullet. You'd think he would be killed, but instead, the magic bullet has cleared his tumor. You read that right, a BULLET knocked out the tumor.

Pros... The Naidu Character: Possibly the only likable part of the movie was his comedy.


The premise for Circle of Two is an intriguing one. A forbidden love between a sixty year old painter Ashleigh (Richard Burton) and a fifteen year old girl Sarah Norton (Tatum O'Neill); and the question of whether such a relationship is acceptable given society's standards. The problem with Circle of Two, however, is that it fails to live up to its promise. Director Jules Dassin and Hedley should have put more thought into the screenplay. When I watched this film, I expected to learn something new about love and sexuality. Instead, I got boring dialogue, a pointless lecture on art, outings where Sarah seemed to have more fun away from Ashleigh, and a closing scene so artificial that its emotional impact was lost. This script makes good actors look bad. So one can imagine how the film's problems were compounded even further with the largely amateurish cast that Jules Dassin assembled. Tatum O'Neill was not in her element. I did not believe for a second that her character Sarah was in love with Ashleigh. Her performance seemed superficial, like a contestant at a beauty pageant. It was as though she forced herself to be happy, when the script required her to be happy, and to be sad, when the script asked her to be sad. The only scene I liked with her in was at the very end when she said nothing at all. That was probably the closest Tatum's Sarah Norton ever came to being real. But Tatum was not the only one at fault. Richard Burton's Ashleigh lacked the charm, the charisma and the complexity to attract even women of his own age, let alone a fifteen year old. The rest of the cast was also dismal. Even their arguing was unconvincing, because they waited to take turns. Who does that? Michael Wincott as the jealous ex-boyfriend Paul was probably the best thing in this film, but his role was small. To be fair to the actors, Dassin's direction let everyone down; but it is also true that a great movie goes beyond the script. Kubrick's Lolita did that with James Mason and Sue Lyon; Konchalovsky's Runaway Train went beyond the script with Jon Voight and Eric Roberts playing convicts. The directors of these films also knew how to use music to dramatize their films and reveal something about the characters in them. In spite of its own score (a combination of Antonio Vivaldi, Carl Off and Bernard Hoffer), Circle of Two never succeeds in doing that.

In conclusion, the idea of a forbidden love story between an elder painter and a teenage girl is a good one, but its execution in Circle of Two is terrible. In many ways, it is a shame that a controversial, Lolita-type story  which most film directors for understandable reasons would prefer to avoid  did not have receive more intelligent treatment; that a script which actors would have gladly rehearsed was not written; that actors, who were committed to their part or had the talent to make their characters real, could not be found; and that the director Jules Dassin (who did so much better with films like Rififi and Topkapi) did not have to will to put his foot down and say, 'Before we do any filming, we must rethink the love story and revamp the script.' The only silver lining is that one day an intelligent film about an elder painter and a teenager girl falling in love may one day be made. If such a film ever appears, this it will be surely spark controversy, debate and questions for many years to come.


I had heard interesting critics on this movie. I believed it was a love story but I wasn't sure what was the plot about. So, when I finally saw it, I found myself in the middle of a love relationship between the ex-con Isabel (Isabel Ampudia) and the junkie Rufo (Sebastián Haro). So, a love story but not probably what I was expecting.

The movie is focused on Isabel, as she struggles to get back into society. She doesn't want to return back to her neighborhood and she finds herself without a home or anywhere to go. So, while she just experiences those first hours of freedom after being released from jail she came across Rufo, an old acquittance of her which while she was in had become a junkie and lives on the streets. Not having where to go, and without money or feasible source of income, she decides to join Rufo on his residence: a covered area on a lonely street.

The story by itself is moving. It explains how the, impossible, relationship between Isabel and Rufo gets deeper until the the almost final twist of the movie.

Definitely, the movie is worth watching. Sebastián Haro is splendid in his role of the junkie. A person being able of both being an innocent and tender giving person and a ruthless street scum. Just depending whom deals him with. I believe his role.

On the other hand, I don't quite believe the role of Isabel Ampudia. Although the movie tries to show the bitterness inside her through several scenes, she is not capable to make me believe it. She is in a way too sweet and too honest for which might be expected of somebody on the same situation.

The movie tries to show a love on a desperate situation. It is a enjoyable movie. But the feeling I get when the movie ends is that Isabel, with the way of thinking and acting she has, would never have arrived to that situation. Her role, partly because of the script, partly because of the acting is difficult to believe.

I specially like the ending, and because of it I have raised my rating one or two points. I liked its bittersweetness and the fact of showing that sometimes, survival instinct is above other more spiritual considerations as love.

Summarizing, an interesting movie, but it lacked some punch to be a total 'must see'.


Excellent film. The whole picture was filmed in Budapest, so I feel proud. My little problem was that the trains in the film belonged to the Hungarian State Railways (MÁV), and it is plain to see that they were used in big train, not in the local railway - according to the story Chikatilo picked up his victims in local railway stations. Apart from this, the film is superb.


Apart from being a clever and well-marketed variation on the nowadays hugely popular horror genre and a splendid formula to attract potential new fans in general, I always somewhat considered 'Supernatural' as a massively giant homage towards the genre through the decades. Although not always noticeable to younger viewers and/or people who only have an interest in more recent horror films, each and every single episode contains a few obvious and subtler references towards classic and influential titles. From that point of view, it was only a matter of time before the writers would pay tribute to the 'creepy vehicle without a driver' type of films, and even more specifically the 70's milestones 'Duel' (Steven Spielberg's acclaimed debut) and 'The Car'. Being an avid fan of these two films, I enjoyed 'Route 666' a lot even in spite of its flaws and shortcomings. The episode opens tense and atmospherically on a remote Missourian road, where a black man is hunted down and eventually killed by a menacing monster truck with seemingly no driver behind the wheel. The victim's daughter, Cassie, happens to be Dean's ex-girlfriend and she calls the Winchester Brothers in for help. The brothers can't prevent two more similar 'accidents' before discovering the ghost-truck sudden presence relates all the way back to a racial dispute of the 60's, involving both of Cassie's parents as well as several more prominent inhabitants of the little town. Some of my fellow reviewers around here tend to label 'Route 666' as one of the weaker entries in season one, mainly because the script is too preachy regarding racial issues and shows a different and more emotional side of Dean's character. He's usually the strong silent type, whereas here he's confronted with unfinished romantic affairs from the past here. To a certain level I agree with the racism debate, but it didn't bother me that much, really. The writers eventually had to give an explanation to the presence of the ghost truck, and racial conflict is an acceptable one as far as I'm concerned. Concerning Dean's emotional vulnerability, I can only state it's admirable to see how the writers continuously attempt to provide depth and detail to the main characters. Dean's behavior towards Cassie sheds a whole new light on him, in fact. Besides, what really counts in this episode is the wondrously sinister truck and its virulent attacks. It's an impressive and overpowering vehicle, producing blinding lights and grisly engine noises. In case you worshiped the brilliant aforementioned 'Duel', you will definitely find some amusement in the compelling chase sequences depicted in 'Route 666'.


I remember liking this more than Nausicaa of the valley of the winds at an age when that tone of story was too serious for me. Laputa, whose title seems to have affected its release in the U.S. to avoid confusion to its wide Hispanic audiences, has the cartoonish knack of the director's debut production Conan. In fact, Pazu has the thick bones and immortal vitality of Conan--who jumped off a thousand stories carrying his girl in his arms and landed on his feet, then started running. This makes him the most animated and pleasing character to watch. The techie fans of Nausica may be disappointed by the flying bugs and the retro technology through out Laputa--the only exception may be the robot. Unlike Princess Mononoke and Valley of the Winds, the theme in Laputa is not directly connected to environmentalism. If it has a theme at all it's anti-warfare. The importance of living naturally--this is related with the flying castle, is dismissably shortly discussed, and not really followed through. Overall, I now regard the piece as being at an intersection between feel-good and corny.


This show is the worst show ever! Norris and his family write it, produce it, direct it, etc etc. The only reason I ever see it is because my goofy wife likes it. How many times can Norris fly though the air from plain sight to land a kick on an obviously blind villain? No trees, no building, just whoosh.....thin air. He ALWAYS solves the case or is the best at whatever skill there is. No co star ever gets the glory. Its all Norris. Its truly apparent that Norris is awful stuck on himself and will not allow anyone to one up him in any scene no matter what the content. Terrible acting, terrible script, terrible series.


' I have wrestled with death. It is the most unexciting contest you can imagine. It takes place in an impalpable grayness, with nothing underfoot, with nothing around, without spectators, without clamor, without glory, without the great desire of victory, without the great fear of defeat, in a sickly atmosphere of tepid skepticism, without much belief in your own right, and still less in that of your adversary. If such is the form of ultimate wisdom, then life is a greater riddle than some of us think it to be.' Marlow in Joseph Conrad's 'Heart of Darkness'

It's difficult to make lyrical the subject of death in any work of art. Yet movies have recently made bold attempts to humanize it to the extent that it is embraced as a part of the cycle of all living things, and it can be chosen rather than legislated. 'Chosen' is the operative word for Alejandro Amenabar's Sea Inside, based loosely on the true story of the Galician sailor Ramon Sampedro. It is a drama about euthanasia without prejudice clothed in love, poetry, and friendship. If it sounds like Barbarian Invasions (2003), in which a cancerous professor says farewell to lifelong friends and loves before he takes his life, then you are right. In fact, Sea is better because it spends more intimate time with the protagonist before he goes, a remarkable feat with not one of those moments in the least dull or uninteresting.

Javier Bardem as Ramon has expressive eyes and commanding voice for the romantic quadriplegic, a combination of tough realist and poetic sufferer. Belen Rueda plays the disabled lawyer Julia, who becomes an imaginary lover for Ramon, increasing in radiance as her life degenerates with disease. Added to the already almost soap opera circumstance is Lola Duenas as Rosa, a blue collar visitor who initially tries to dissuade Ramon from seeking death but quickly falls in love with him. Talk about romanticizing disabilityThis guy has unbelievable luck attracting substantial women, and he can't move a finger. But talk he can, proving the ultimate argument about what women want: love that speaks, not just makes.

I will refrain from mentioning the major motion picture now up for an Oscar that features euthanasia as its climax in order not to spoil the experience for first timers. Sufficient it is just to say both films are successful in opening up both sides of a contentious subject without forcing a specific point of view. The religious right has a right to complain that the former film and Barbarian Invasions celebrate suicide; it has no right to accuse the beautifully balanced Sea Inside of the same.

'A life in this condition has no dignity,' Ramon says. The irony is he conducts himself with supreme dignity that makes anyone question his determination to end his life. 'The Sea Inside' is a formidable entry in 2004's Oscar nominations for best foreign language film.


Big Fat Liar is a great watch for kids of all ages, even adults. I had a great time watching this movie and recommend this to kids of 10 years and under. The laughs never end and the adventurous plot is pretty good too! Frankie Muniz is funny and Marty Wolfe is hilarious! Overall, a nicely made film for kids to enjoy and just have a great time.


In 1895, in a small village in Japan, the wife of the litter carrier Gisaburo (Takahiro Tamura), Seki (Kazuko Yoshiyuki), has an affair with a man twenty-six years younger, Toyiji (Tatsuya Fuji). Toyiji becomes jealous of Gisaburo and plots with Seki to kill him. They strangle Gisaburo and dump his body inside a well in the woods, and Seki tells the locals that Gisaburo moved to Tokyo to work. Three years later, the locals gossip about the fate of Gisaburo, and Seki is haunted by his ghost. The situation becomes unbearable to Seki and Toyiji when a police authority comes to the village to investigate the disappearance of Gisaburo.

'Ai no Borei' is a surreal and supernatural love story. The remorse and the guilty complex of Seki make her see the ghost of her murdered husband, spoiling the perfect plot of her lover. The cinematography is jeopardized by the quality of the VHS released in Brazil, but there are very beautiful scenes, inclusive 'Ringu' and the American remake 'The Ring' use the view of the well from inside in the same angle. The performances and direction are excellent making 'Ai no Borei' a great movie. My vote is eight.

Title (Brazil): 'O Império da Paixão' ('The Empire of Passion')


Worst movie of all time? Wow, whoa now. You cannot be serious.

Maybe it's all about what you expect a movie to do to you. I live in Oregon, so I got to enjoy the beautifully-filmed shots of familiar yet still amazingly beautiful Smith Rocks and other areas in Central Oregon (as well as the sweet cameo of our own Ken Kesey and Ken Babbs looking down on baby Sissy's cradle at the beginning of the movie). Those alone were enough to spur me to give the movie a better than 'average' score.

Or .... Maybe it's all about what expectations you have. Having read the book AGES ago, and thinking to myself 'goodness, no one could ever make a movie out of this interesting, quirky, weird book ... especially 20 years later, when mores (MORAYS -- can't put in the accent mark online) have changed' -- I was actually quite pleasantly surprised when I first watched the movie when it came out in 1994 and even liked it more today watching it again.

Sissy was exquisitely cast, and I don't care what you all say, I was also pleasantly surprised at Rain Phoenix's and John Hurt's performances. I am not a lesbian nor bi nor trans, but have met many folks who are similar to the folks they were supposed to portray -- and those 'real' folks kinda acted the same way as these actors acted. Stilted a bit, stage-ey -- always a bit 'on.' Gus Van Sant is one weird native Oregonian but by garsh he done a good job adapting this crazy book, IMHO.


A battleship is sinking... Its survivors, hanging onto a nearby liferaft, sit there doing nothing while we go into each of their minds for a series of long flashbacks.

Even though Noel Coward's name is the only one that you notice during the credits, everything that's cinematic in it is because of Lean. And on technical terms, its very good. David Lean just KNEW films from the get-go. There are many moments where Coward's studied dialogue takes a second seat and Lean's visual sense takes centre stage. Try the soldiers getting off the ship near the end, and that whole scene; the tracking shot towards the hymn singing, the scene where we're inside a house that gets bombed.

Noel Coward is one of the worst actors i've ever seen. He's totally wooden, not displaying emotion, character or humanity. You can see it in his eyes that he's not really listening to what the other performer is saying, he's just waiting for them to finish so he can rush out his own line.

7/10.

Its episodic, a bit repetitive, and the flashbacks overwhelm the story: there's no central story that they advance, just give general insights into the characters. Still, its an interesting film worth a watch - and a good debut for Lean. Its not a very deep or penetrating film, and its definitely a propaganda film, but its also a showcase for Lean's editing skills - its all about how the pieces are put together.


I have NEVER fallen asleep whilst watching a movie before.

I did with this one.

Avoid at all costs, give your time and money to a worthy cause instead.


Now, I watched this when I was hungover one Sunday and my auntie and uncle were visiting one day with my 2 cousins (one was 11, the other 9). We stuck on the TV and Passport To Paris had just started. My cousins both had said that they watch Two Of A Kind sometimes and I said they could watch the film if they liked. Since I was in no fit state to get up, I just stayed in the living room with them and ended up watching the film! I have to say, as a person who has no interest in those kinds of TV shows or films, I actually enjoyed it... it must have been the alcohol lol but I do admit, it would probably only appeal more to girls aged between 6 and 13, but it was a movie to pass the time. There's always a movie or a show that you don't think you'll like, but for a laugh, you enjoyed it.


I loved this movie. In fact I loved being an actress in this movie. Iwas featured as a pregnant teenager in the second half of the movie. You may remember me more clearly in the classroom scene when the werewolf was exposing himself on film. I was the female in the front row with my hands planted on my face in reaction to what we were watching on the movie projector. In fact they double took me a few times so it's hard to miss that mistake. Thumbs up to Full Moon High. Wish it come to cable soon. Cheryl Lockett Alexander Leesville, Louisiana I loved this movie. In fact I loved being an actress in this movie. Iwas featured as a pregnant teenager in the second half of the movie. You may remember me more clearly in the classroom scene when the werewolf was exposing himself on film. I was the female in the front row with my hands planted on my face in reaction to what we were watching on the movie projector. In fact they double took me a few times so it's hard to miss that mistake. Thumbs up to Full Moon High. Wish it come to cable soon. Cheryl Lockett Alexander

Leesville, Louisiana


There is not much to say about this one except that it is probably the worst of the early spate of zombie movies (I may get to watch another one, REVOLT OF THE ZOMBIES [1936], before the month is out). For all star John Carradine's intention of building an army in the service of the Third Reich with them, they are not seen to do much at all!; James Baskett (Uncle Remus from SONG OF THE SOUTH [1946]!) plays their leader, who also serves as Carradine's manservant. Black comic Mantan Moreland reprises his 'fraidy cat' chauffeur role from KING OF THE ZOMBIES (1941), as does the exotically named Madame Sul-Te-Wan as Carradine's housekeeper. Unfortunately for Carradine, his supreme achievement  the zombification of his wife  brings him all sorts of trouble: not only do her relatives turn up at his remote abode/lab to inquire into her sudden death (which means he has to fake a funeral service!) but she actually proves disobedient and indignant, eventually 'persuading' her fellow zombies to rise against their master!! Also involved is cowboy star Bob Steele (still best-known for his bit in Howard Hawks' THE BIG SLEEP [1946]) who plays a U.S. secret agent posing as a Nazi posing as a Sheriff! Thankfully, director Sekely would have much better luck with his next genre effort, THE DAY OF THE TRIFFIDS (1962).


I saw this one on the late, late, late, late show back when MST3K was just a twinkle in Joel Hodgson's eye. I had the privilege of seeing it without knowing exactly how bad it would be. I didn't know that a woman with an arrow in her chest could run 'to the ends of the earth' in about an hour and a half (thank God her father gave such specific directions) and then take days to make it back to the castle with help. I didn't know that a sword wielding barbarian-type could run into the forest and create a hanglider and flash powder bombs in under 30 seconds. I had no idea how disjointed a movie could be.

It's a bad thing children, a very bad thing. If you enjoy bad movies, go for it.


On the whole one wishes this was a better film, but it has enough flashes of intense power to make it worth while. Peck made this film during the same period that he made The Gunfighter, before he apparently decided he was a monument rather than an actor. A pity! He was a fine actor, perfectly willing to tackle characters that were not very likable, and to do them extremely well. The character he plays here is driven and, when necessary, ruthless. Given the mission the character has been assigned, and the 'men' with which to do it, those characteristics are essential.

Without being a spoiler, think of this film as an early, grittier example of The Dirty Dozen genre.

The dialog in this film is a bit ham handed but it is atmospheric and intense and definitely tells a story worth telling. It contains good work by all the character actors and even Barbara Payton turns in a credible performance.

This one isn't often shown on television so your local video store may be the only place to find a copy. Go ahead! Devote an evening to it. It is worth your time!


Dissapointing action movie with an interesting premise: a young Mafia would-to-be killer (Chandler) must demonstrate to his boss that he is a good man for the service so he goes to California to take some lessons with a very known professional killer (Beluschi). First and most important task: to kill a young woman (Lee) that is a completely strange for all of them. But is she a easy target? The movie goes on and on based upon this principal idea but the result is just bad routine; even the weird twist at the end does not save the movie. Good performance by Chandler. I give this a 4 (four).


Patsy Kensit and some random Australian bloke star as a duo of wannabe tough coppers in the middle of investigating a series of art-gallery related murders, but in between they can still find the time to shoot juvenile shoplifters and suspect the brand new wife of the male cop of being adulterous. The serial killer suddenly isn't important anymore when the supposed lover of the wife (who's basically just a co-worker of hers) is found murdered and the male cop becomes prime suspect. 'Tunnel Vision' is a really dull, implausible and tension-free Aussie thriller that obviously imitates popular sex-thrillers like 'Fatal Attraction', 'Disclosure' and 'Basic Instinct'. The characters are extremely one-dimensional and pretty much every good-cop/bad-cop cliché is extendedly described in the script. The struggling position of police women in a corps full of men, the shoot-first-ask-questions-later mentality, alcohol problems through stress, etc etc Even the unhealthy eating habits of cops are a running gag. Yawn! Kensit really tries her best to make this film more bearable, but she lacks the credibility and talent of a real cinema heroine. The end-twist is more or less interesting (not at all original, mind you) but, by then, you stopped caring for the characters a long time already. The scenes filmed inside the sex clubs look ludicrously fake and Clive Fleury's directing is completely uninspired. What a total waste of time


If your a fan of Airplane type movies this is a must see! Set in the 1920's and 30's Johnny Dangerously has not only great actors but great lines. 'knock down dat wall,knock down dat wall and knock down dat #@$%#@$ wall.' 'You shouldn't hang me on a hook johnny' or 'Sounds like Johnnys getting laid'. Its definitely a spoof of the old James Cagney Movies and references them a lot. There's a great scene when Jhonnys walking down death row and has a priest set up for his escape. Listen closely to the fake priests readings, its pretty funny. Another great scene is when Dom Delauise plays the Pope. Watch his reaction to Johnny after he tips the Pope, a lot said without making a sound.I recommend this movie to all who love to laugh or are old movie buffs.


I remember watching this movie when I was young, but could not recall the title to it then going through horror movies I find it and think to myself 'that is the title?' This movie is a kind of combination disaster film/insect attack film with fewer notable stars in it. It is also somewhat boring too, as it has that television vibe to it where you can see the movie fade out for commercials and such. The plot has this sort of resort being invaded by ants. I think they were a bit disturbed by construction or something going on nearby, but do not quote me on that. The most memorable ant attack for me in the whole flick was the first one involving the kid who falls into the swimming pool after being swarmed and of course Summers attack scene too. What else stands out in this one is the very goofy ending where the survivors use cardboard tubes to breath through. In the end though like most television movies this movie is very tame and not very scary in the least unless you panic at the sight of ants.


If I could give this movie a negative rating I would. The humor is the cruelest I have ever seen in a film. Horrible things happen to good people and people who have already suffered horribly through no fault of their own. There are 2 plots, neither of which supports half of a film. Where is the 'depth' others see in this movie? That no good deed goes unpunished? That only the heartless can succeed? The film does start well and the black and white is very moody and well done. The acting is very good and convincing witch makes the cruel humor even more horrifying. If you think that the 3 Stooges are too nice to each other, if watching the beheading of a kidnap victim with a Bowie knife is a real thigh slapper, if you thought 'Schindler's List' was hilarious, then this movie is for you.


This tale set in Wellington, New Zealand suburbia (Tawa -home of the renowned Tawa College) is McCarten's first feature.

With a contemporary New Zealand flavour Via Satellite abounds with absolutely hilarious situations which develop in the (adult) family context. At the same time it manages to invoke intense emotions of sadness and despair.

One of the most moving and humourous movies of the year - not to be missed!


I'd completely forgotten about this film until now. This was the most blatant and worst attempt to demonise a hobby that I have ever seen. It's message seemed to be : 'Don't teenagers use their imagination; they might take games seriously, go mad and hurt people.' I can only guess that the unimaginative writers of this piece thought that D&D style games are form of evil ritual or arcane worship.


This is the latest entry in the long series of films with the French agent, O.S.S. 117 (the French answer to James Bond). The series was launched in the early 1950's, and spawned at least eight films (none of which was ever released in the U.S.). 'O.S.S.117:Cairo,Nest Of Spies' is a breezy little comedy that should not...repeat NOT, be taken too seriously. Our protagonist finds himself in the middle of a spy chase in Egypt (with Morroco doing stand in for Egypt) to find out about a long lost friend. What follows is the standard James Bond/Inspector Cloussou kind of antics. Although our man is something of an overt xenophobe,sexist,homophobe, it's treated as pure farce (as I said, don't take it too seriously). Although there is a bit of rough language & cartoon violence, it's basically okay for older kids (ages 12 & up). As previously stated in the subject line, just sit back,pass the popcorn & just enjoy.


I acquired this film a couple of years ago and on trying to find some info about it I found that even the mighty IMDb didn't have it listed. That should have been all I needed to know.

With Friends Like These is an anthology that plays like a collection of second rate Twilight Zone / Outer Limits episodes all linked together by a bus journey that never really seems to tie in with the rest of the film. Of the three stories, the only one that I gleaned any entertainment value from was the second episode in which a man (of sorts) grows out of the bacteria in a guys fridge. This episode wins points for a few spots of humour and it's bizarre premise. Other than that there is an episode with a talking car (bland and directionless) and an episode where a girl visits a very unique dating agency (my dog guessed the ending of this one).

As has been mentioned in other comments, the 18 rating is entirely unwarranted. There is nothing to offend here. If you're after a good horror anthology check out Asylum or the Creepshow films instead.


When I saw the Dentist, I thought it was very cool. But this movie is not for everyone, especially people who do not like gory scenes as the Dentist has lots of gory scenes. That's why it has it's R18 rating. It's about a beverly hills dentist Dr Alan Feinstone, who finds his wife Brooke cheating on him with the poolman. It's best to go to your dentist 'before' you watch this. But if you don't like going to the dentist already, then it's best not to watch this as you may be put off going for life. the Dentist has the best bloody revenge in it that I've ever seen. Who has ever seen a movie that has a dentist (Spoiler) pull out all his cheating wife's teeth and cut out her tongue with no anesthetic? Overall awesome flick, but not for everyone.


The author of 'Nekromantik', Jörg Buttgereit's second feature film, 'Der Todesking' is a powerful masterpiece. Centered around a chain letter originating from a group called 'The Brotherhood of the 7th Day', the movie shows 7 episodes, each consisting of one day during one week, where suicide is approached using different characters and situations all the while the letter is making it's rounds. Do not touch this one if you like Hollywood movies or musicals, enjoy happy or even remotely 'normal' movies or expect a movie to be good only, if it is focused on stage acting.

The nihilistic, avant-garde approach of Der Todesking well explains, why Buttgereit's movies in general were banned in Germany, their native country of origin, during the 80's and most of the 90's. Der Todesking is not really focused on the characters appearing on-screen, but the meaningless apathy or depression most people's lives consist of in general. Buttgereit does not find reasons to go on living, only reasons to stop, and in choosing how and when you die, you can also be the king of death, Der Todesking.

Buttgereit's movies are generally difficult to categorize and Der Todesking is no exception. Featuring the same crew and almost the same cast as all other of his movies, 'art film' would probably be the closest description every time. Der Todesking features an original method to shoot, create the mood and handle the central object in almost every scene. During one scene, the camera slowly, continuously pans in 360 degree circle, while a person lives in a small one-room apartment for a day. During another, Buttgereit uses sound and film corruption to depict the collapsing mental state of a man, while he dwells in his desperation. During a third, seemingly pleasant scene names, ages and occupations of actual people to have committed suicide are shown on-screen, supposedly warranting the ban in Germany for this particular movie.

Episode movies (and especially this one, as the scenes are only vaguely connected) generally suffer from incoherence, and Der Todesking is no exception. While all episodes have the same focus of inflicted death and it's consequences or subsequences in all it's variations, there are very powerful episodes, yet an episode or two might even seem like filler material, partly draining the overall power of the movie - still, the the jaw-dropping, immensely powerful intermissions depicting a decomposing body manage to keep the movie together and cleanse it from it's more vague moments back to the status of greatness. The general atmosphere is baffling, awe-inspiring, highly depressing and sometimes even disgusting - so much so that dozens of people left in the middle of the movie during a theater showing in a film festival I took part of.

This is one movie that does leave a lasting impression and I strongly recommend it for anyone looking for a special experience and something they will definitely remember in years to come. Not recommended for the faint of heart or show time fans, this is a small, different movie that truly raises feelings in the audience. Whether it be confusion, amazement or even hate, you aren't likely to be left cold by this, in my opinion the best, achievement of this small indie crew.

The main theme of the movie, 'Die Fahrt ins Reich der Menschentrümmer part I-III' was released in a limited 666-piece 8' vinyl edition, which is now much sought after. You still can get the classical masterpiece by getting 'The Nekromantik' soundtrack CD, which I highly recommend. The Lo-Fi synthesizer music in the movie is dark and quirky, almost illbient-like, makes an essential part of the movie's atmosphere, and is something you would very, very rarely hear otherwise. Much recommended!


The movie only enter the cinema in Indonesia this year (2007), two years after it's official release, and after many illegal DVD's had found its way to the public. Apparently the popularity of the illegal DVD's lead to the release into the theaters, with still public coming to watch.

The movie is a great epic, bringing Japanese culture into your house in an exiting way. In a sometimes humorist way, the story is told about a theater writer who writes a story for his theater, since the regular Kabuki theater plays is something he finds boring.

At first, the audience might be a little bit confused about which story we are following, but when the story unfolds, we see that the love between a male human and a female demon leads to a great story for a new Kabuki theater piece.

The audience is left in the dark if this is a story that is supposed to really have happened in Japanese traditions and mythology, but that doesn't matter.

The way the story is told with a love for theater, expression, vivid colors, humor and tragedy, makes this a great ride on the roller-coaster of Japanese cinema as well as theater.

Let yourself go completely when you watch this movie, try to see it in a cinema instead of on your television at home.

One critical point though: the soundtrack is sometimes a little bit annoying. Though most of it is great music, there are a few moments in the movie that I think they should have chosen some more dramatic music. But maybe the fact that the story contains moments of humor made the director choose for lighter moments in music as well.


For those of us that lived thru those weeks of filming in town and around the Valley - lest we not forget the tedious days of road closures and 'film-making'. As a reminder to those that live here - locales include Boulder Creek, Bonny Doon, Davenport, Big Basin. etc. The bank was the BC firehouse; chase scenes included Moon Drive off Hwy 236, Empire Grade Rd, and Hwy 1.

Production: Jeffrey Jones was the most approachable, Matt Broderick was above us all - even back then. As far as the film goes - a joke of a script and even a bigger laugh regarding acting and plot - but who cares at this level. A nice time capsule for those that enjoy our coast and valley scenery.

Additional notes; Joe's Bar (Jed's Tavern in the film), original name of the film was Welcome to Buzzsaw - the Old Erba's parking lot was the town square, the backyard shots were off of Grove Street in Boulder Creek; turn off the thinking cap and see a few actors in their early days.


Superb editing, outstanding acting, especially by Epatha Merkerson, and highly enjoyable musical soundtrack. This film reaches back to the 40's to comment on the racial lifestyle differences and some effect of desegregation while it weaves the true story of a truly admirable and fantastic lady.

The actor portraying the young Terrence Howard character does a wonderful job reflecting the life and times of his upbringing in the small upstate New York town. The audience laughed, cried, and erupted in applause for the film and its director.

Soon to be shown on HBO (Feb 7, I believe) - fire up the TIVO and enjoy a great story!


This movie is definately one of my favorite movies in it's kind. The interaction between respectable and morally strong characters is an ode to chivalry and the honor code amongst thieves and policemen. It treats themes like duty, guilt, word, manipulation and trust like few films have done and, unfortunately, none that I can recall since the death of the 'policial' in the late seventies. The sequence is delicious, down to the essential, living nothing out and thus leading the spectator into a masterful plot right and wrong without accessory eye catching and spectacular scenes that are often needed in lesser specimens of the genre in order to keep the audience awake. No such scenes are present or needed. The argument is sand honest to the spectator; An important asset in a genre that too often achieve suspense through the deception of the audience. No, this is not miss Marble... A note of congratulations for the music is in order A film to watch and savor every minute, not just to see.


What can be said, really... 'The Tenant' is a first-class thriller wrought with equal amounts of suspense and full-blown paranoia. It's an intricately-plotted film--every detail seems included for a reason--even though the plot seldom makes sense, and much of it is never even addressed in an objective manner. Therefore we are left with the increasingly unstable Trelkovsky (Polanski)--a meek Polish man who has obtained an apartment due to the previous tenant's suicide--to guide us through a world of escalating fear and uncertainty. After an apartment-warming party thrown by a group of obnoxious coworkers, Trelkovsky comes under increased, seemingly inexplicable scrutiny by the fellow occupants in his building; the rest of the film chronicles his mental deterioration and gives us a thorough mindfu*k on par with the later efforts of David Lynch. 'The Tenant,' however, is more brooding and sinister, laced with unexpected comic relief, fine performances, and a truly haunting score. It's a movie that's better experienced than described, so hop to it.


Most of the positive comments posted here are as verbose as the movie! It takes a long-winded bore to appreciate a wordy and boring film, one supposes. Some have merely called the film 'contemplative', meaning slow and devoid of plot, however, one Dutch reviewer hit the nail on the head: this is an important event turned into a dull film whose tone is set in the very first scene. Here a young couple is being shown an apartment by a Realtor who, predictably, talks non-stop and regardless of what else is going on. So does just about every other character!

The only silences in this picture are dream sequences--1930's Soviet propaganda snippets--and they are also its most interesting parts. This tells you something about how watchable the rest of the movie is.

The device of filming most of the scenes in extreme closeup--as if one were looking through a crack in the blinds--gets old fast.


I found this an awfully disappointing experience! But I have appended a better option of similar style at the foot of this entry.

This 'Felicia's Journey' is intriguing. It has drama. But it is full of stereo-types!

So it ONLY serves judgemental temperaments without concern for truer justice & fairness & truth, beyond black 'n' white judgements that fit 30-second ads of 'NEWS' that dot our multimedia experiences everyday, especially news bulletins, true or misleading in such depictions!

It is SO EXAGGERATED, it reminds me of the fairytale of 'Little Red Ridinghood'! Consider the innocent young girl with no identification crossing borders questioned by a guard but freed without any evidence to venture on in search of her 'Romeo' who didn't give her an address VERSUS the pathetically inept lack of substance in the raspy voice of the 'helping hand' befriending her with his unlikely story fabricated by the layer!

It seems to suit the directors & management team that no-one has faith or prays to God, even in their times of desperation!

So in these early settings, it orchestrates & tells much of what is to come! A nightmare journey that betrays the essence of substance without fairytale resolution, without truth or integrity or credibility! ...Then one twist & it's all over. What a disappointment! If you want to see a MUCH superior movie that investigates similar themes with MUCH more credibility, with much more powerful insight, watch the 1983 Paul Cox/Norman Kaye 'Man of Flowers' movie!!!

Unlike here, you will NOT be disappointed!


I saw this in a sneak two days before the official opening, and I must say I was extremely disappointed. And I have to put the majority of these problems on the decision to cast Claire Danes in the lead role. Depending on what you think about Danes, she was either horribly miscast, or is so far in over her head that she should be the early favorite for the 2007 Razzie for Worst Actress. I think we were supposed to be sympathetic to her. Instead, she is completely unlikeable. The other 'great' actresses do an OK job, but certainly don't light up the screen. Out of all the 'great' actresses in this movie, I'd say the one who did the best job was Natasha Richardson. Streep is barely in the picture, and only appears near the very end.

Horrible screenplay as well. It comes off more as them reading lines than truly being 'in character.'


If you are viewing this show for the first time, you may start wondering if you are in an alternate reality. Colorful and imaginative characters? Entertaining dialogue? Plots that seem to have some depth to them, even creating atmospheres of suspense and drama at times? I mean, this is a syndicated children's show right? This is the same venue that has brought kids such drek as 'Pokemon', 'Pepper Ann', 'Mighty Morphin Power Rangers', and 'VR Troopers' (please note that three of the titles mentioned above are crass Japanese exports, courtesy of the Fox Network and Saban Entertainment). Don't worry, you are just sampling some of the quality fare that was available to kids during the late 1980's and early 1990's. Some examples of this period would be 'Transformers', 'Garfield and Friends', 'Captain Power', and 'C.O.P.S.' (a cartoon NOT to be confused with the live action show on Fox). Besides these prime examples, Disney also returned to syndicated programs for kids, coming up with a lineup called 'The Disney Afternoon'. Aside from a dumbed-down show called 'The Gummi Bears', early shows like 'Darkwing Duck', 'Duck Tales', and 'Chip 'N Dale's Rescue Rangers' gave credence to the Disney animation teams that were also turning out theatrical classics like 'The Little Mermaid', 'Beauty and the Beast', 'The Rescuers Down Under', and 'The Great Mouse Detective'. But above all these wonders shines 'TaleSpin'. The premiere of 'Plunder and Lightning' was a two-hour thrill ride, and won an Emmy. Much to my delight, the rest of the episodes were up to par on the promise of the premiere.

While I enjoy the plots and dialogue, I guess for me the greatest attraction are the characters. There's Rebecca Cunningham, an independent female, but still fallible; Kit Cloudkicker, full of pre-teen angst and optimism; Louie, with his loyalty and support; Frank Wildcat, the most entertaining engineer since Scotty on the original 'Star Trek'; Molly Cunningham, cute and witty, but with some depth that most child characters don't have, and of course in the middle of it all, there's Baloo, whom I would describe as a slobby version of James Bond. This is because whenever there's trouble, Baloo saves the day with the assistance of his sleeker-than-most, fastest-of-all Sea Duck (Read: James Bond's Aston Martin). Of course every great show has to have great villains, and TaleSpin doesn't disappoint here either. From the megalomania of businesstiger Shere Kahn, to the vain and always failing air pirate Don Karnage, to the hilarious and inept Soviet-satirized Thembrians. The animation is good, the music appropriate, and the episodes are (for me) the finest that children's programming has ever had to offer. Great fun for the WHOLE family!


I saw this at the premiere in Melbourne

It is shallow, two-dimensional, unaffecting and, hard to believe given the subject matter, boring. The actors are passable, but they didn't have much to work with given the very plodding and unimpressive script. For those who might have worried that Ned Kelly would be over-intellectualised, you can take comfort in the fact that this telling of the story is utterly without any literary depth at all, told entirely on the surface and full of central casting standards. However, it doesn't work as a popcorn film either. Its pacing is too off-kilter and its craft is too lacking to satisfy even on the level of a mundane actioner.

I very much doubt Gregor Jordan could sit back and say to himself 'this is the best I could have done with the material'.

Ned Kelly is a fascinating figure, and equally so is the national response to him. Possibly folk genius, possibly class warrior, possibly psychopath and probably all these things, he has dominated Australian true mythology for over 120 years. Once again, his story has failed miserably on the big screen.

Such is life.


I know i loved this movie when i was 12-14 years old. Now that i am 24 i watched it again, and i wished i hadn't. Because all the things i laughed at when i was younger, is no longer funny. so this is an hour and a half without fun. For me the jokes were lame, not funny or just too childish. So the same thing i loved about the movie when i was a kid, is now the things i don't like about it. Besides not being funny it is not actually believable at all. The evil character is very poorly done but i guess that is the kind of movie it is. And the last 20 minutes of the movie is pretty lame with bad fighting sequences and so on... But if you are young you will probably love it. I rate this movie 4/10


The summer of 1979, when this flick was a staple on that new movie medium called HBO, was Gas Line Summer & Iranian Hostage Crisis Summer. A change of mood was about to end low-budget, loner-on-a-mission car films, although 'Smokey & the Bandit' kept need-for-speed flicks going as live-action Roadrunner cartoons for a few more years. 'Corvette Summer' is as quirky as any earlier movie like 'Vanishing Point' or 'Dirty Mary, Crazy Larry,' if lighter & sexier than most. Just-graduated, high-school automotive genius Kenneth (Hamill) hitchhikes to Vegas in pursuit of the car theft ring that ripped off his Shop Class masterpiece, a super-custom, right-hand-drive Vette. In the spiritual limbo of the I-15 desert (see 'Fear & Loathing in Las Vegas') he gets into a custom van (yes, this was the tail end of the van craze, too) tricked out as a mobile bordello & driven by sassy, aspiring hooker Vanessa (Potts), on her way to Sin City to make her, well, whatever it is ambitious hookers make. VANessa, get it? Shy, innocent Kenneth is in way over his head in Vegas, with only his all-American resolve & his new friend to help him, although the hard-edged young call girl is predictably less world-wise than she first seems. Why, in the 'I am Woman' age, Vanessa invested her talents, money & future in the world's oldest but least dignified profession over, say, college or even hairdressing, can be explained by young men who'd like to think that all women at least consider the joys of that career path. Remember the target audience, right? Hamill is a good choice for the whitebread Kenneth (the car doesn't even belong to him personally, but to his school), who won't be deterred from his goal by violence, money or even love--until he finds out why the car was really stolen. Potts acts with style & energy but Vanessa is too incredible for any but the most credulous testosterone machine to buy into. The bad guys are made surprisingly human, especially by the always-fine Brion James. But there's not much action & this isn't the kind of movie that can be carried by dialog, plot twists or Heavy Themes. You could always reach up, turn the TV dial & plug in your 'Pong' console. The similar but meaner Chris Mitchum vehicle 'Stingray,' which appeared at about the same time, featured lamer acting but more skin, speed & mayhem. The best features of each film might have produced a Vette movie worth remembering. Thus the Trans Am was left to rule the box-office muscle car showroom. Another forgotten car movie brought back from the dead by 'Speed Channel's' fine weekend series, Lost Drive-in.


Bo is Jane Parker, whose long-lost anthropologist father (Richard Harris, in the worst role of a very inconsistent career) is in Africa studying something or another. She tracks him down (how?) and he tells her of the natives' stories of a giant monster whose nightly howling can be heard throughout the jungle. Turns out to be the Ape Man himself (Miles O'Keeffe, who has the film's best dialogue), who rescues her from bad guys and falls in love with her, leaving them just enough time in this agonizing two hours to romp naked while a horny monkey looks on and cheers. Normally I'm very open-minded to varying opinions about any film, but this is the sole exception. This is the worst film ever made. If you don't agree, you haven't seen it. (Notes: Newsday called it 'unendurable,' which is the best one-word summary I can think of. The Maltin Movie Guide comments that they almost had to think of a rating lower than BOMB.)


As always, controversial movies like this have mixed reviews. You either love it or you hate it, and not everyone will like this movie. This shows the perspective of the killers, which is something I personally feel is something important to consider. You may hate them, you may claim to understand them and feel as though you can relate, but regardless this movie will make you think about school shootings from a different perspective.

The movie is shot entirely using a hand-held camera, something that I think works quite well as it makes it more realistic. It is told completely from the killers point of view, from their 'missions' to family outings, all leading up the big day 'Zero Day' in which they are planning on a massacre at their school. Zero Day does not offer answers, but merely presents a glimpse at the lives of two troubled young boys and lets the audience decide for themselves. Our feelings towards the boys are something mixed between sympathy and hatred, but yet we are left confused as to why two ordinary young boys would do such a thing. They are shown to be surprisingly normal, typical teenage boys leading ordinary lives, and if we didn't know what they were planning we wouldn't expect a thing (They make it clear throughout the whole movie that no-one else knows about their plan)

The acting is extremely good considering the two actors are complete unknowns. We can only hope to see more work from the both of them in the future. Despite how this is a fictionalized movie, one cannot help but notice the obvious similarities to Columbine. Calvin and Andre are scarily similar to Eric Harris and Dylan Klebold, (not so much in looks, but in manner) As someone who has researched Columbine very extensively, I could see the similarities and it is almost certainly based on it.

The actual massacre is shown through surveillance cameras at the school and is one of the most chilling things I have ever seen. I was completely in shock after seeing it, and its a feeling that stays around for a while. It is very realistic and well-done, and it is very difficult to watch.

All in all Zero Day is an excellent movie, and I think everyone should at least check it out. In the past, we have always simply branded killers 'psychopaths' and assumed that either they were biologically wired for disaster or had media influence, but as Zero Day shows sometimes the motives are deeper than that, and we can never truly understand why tragedies such as school shootings happen until we have seen it from the perspective of the killers.


A great movie. The movie was even better then the commercials put on. And believe it or not it was very very inspirational. I really think anyone who walks out of the movie at the end will be inspired one way or another.

It was kinda corny at the very beginning, but quickly picks up. I laughed. I laughed very hard on some parts. The acting is basically above average, nothing special, but better then average. I can safely say it was the second funniest movie to come out this summer (1st funniest being CLERKS II). So after all of that I give it a 7/10 (a high seven, but not quite an eight).


I can't believe that so much talent can be wasted in one movie! The Gingerbread Man starts of on the right foot, and manages to build up some great expectations for the ending. But at some point the movie turns into one of the worst stories I've ever wasted my time on. It's just so unbelievably how the bewitched Mallory Doss manages to pull Kenneth Branagh's character around by his nose. The movies climax is as uninteresting and flat as a beer, which has been left out in the sun too long. The Gingerbread Man is probably the worst Grisham-movie ever and this isn't changed by the fact that talented stars crowd the movie. Don't waste your time here!


Homeward Bound is a beautiful film. Y'know the part where Shadow falls down the ditch... thingy, I *cried*, considering I was only six, I cried! it takes a lot to make me cry! The dogs and the cat are excellently trained. A nice family movie, *not* for completely hardened non-fluffy people or animal-haters but could for soft-as-crap a.k.a. people like me.

A good film overall, 10/10!


I gotta admit it, I love horror films...especially 80s slasher films. Hell, I even love cheese like Sleepaway Camp and Night of the Demons. But, I didn't think much of this movie. The death scenes weren't very well done, the CGI was terrible, and the acting was ho-hum. Worst of all was the story which didn't make sense at all. I'd say save your money but chances are, if you want to see this movie...you're going to anyway. I didn't hate it...it's just not very good. Overall, it's just another bland, lifeless horror film that lacks life (it's no surprise that this one was on the shelf at Dimension for over a year after it was completed).


Blackadder 3 is probably the Blackadder series that people have least heard of - it has basically the same principles as the second and fourth ones and has nothing revolutionary in it. But it is still great - a fiery Duke of Wellington and a fat foolish Dr Johnson (writer of the first dictionary in England) make this series one to be reckoned with. There are still more hilarious one-liners to be delivered in this series, and it brings out the humour in a lesser-known era - in historically accurate and enjoyable episodes. Blackadder's third outing is not the most famous and well-known of the lot, but Rowan Atkinson's role as a butler to a stupid prince is a funny and effectively done one, and Hugh Laurie is at his best in this series. Very good! 9/10


I am a big fan of the Spaghetti Western Genre, and I usually also like most of the cheaply made ones. Infamous Director Demofilo Fidani, however, is rightly known for some of the cheapest, trashiest, and, well, worst contributions to the genre. The plots of Fidani's movies were usually very weak, and since his talent was quite limited, he usually tried to sell the movies by adding famous Spaghetti Western names like 'Django' of 'Sartana' to the titles. I the particular case of 'Giù La Testa... Hombre' of 1971 he just took the title of Sergio Leone's 'Giù La Testa' (aka. 'Duck You Sucker') and added 'Hombre'. The movie can be found under various titles ('Fistful Of Death', 'Western Story'...), I personally bought it under the name 'Adios Companeros', which this movie shares with another Fidani film with almost the same cast, 'Per Una Bara Piena Di Dollari', which is also entitled 'Adios Companeros' in the German language version.

The plot is rather weak, it basically follows a guy named Macho Callaghan (Jeff Cameron) and his involvement with two rivaling outlaw gangs lead by Butch Cassidy (Jack Betts) and Ironhead (Gordon Mitchell).

The leading performance by Jeff Cameron is, kindly stated, not very convincing. Neither did I find Jack Betts very good as 'Butch Cassidy'. B-movie legend Gordon Mitchell, however, is always worth a try, and although he probably wasn't a very good actor, I always found his performances in the Spaghetti Westerns quite funny and original, and he actually saved some of Fidani's movies (such as the rather crappy 'Django And Sartana... Showdown in the West').

There is one very funny and original thing about 'Giù La Testa... Hombre' - the great Klaus Kinski is playing a priest! I could have imagined Kinski in any role, but before seeing this movie I would never have guessed that anybody would cast him as a priest. Kinski is, once again, great, although he has only little screen time, and one scene, where he breaks up a fight, is probably the only good scene in this. One more interesting thing about this film is that the legendary director and king of sleaze Joe D'Amato did the cinematography.

'Giù La Testa... Hombre' is a cheap, crappy film, but nevertheless, it has some funny moments. Being a Spaghetti Western enthusiast, I found it fun to watch, but if you're not, never mind this movie, or watch it only for the purpose of seeing Kinski play a priest. 3/10


Probably because this is Columbia's first film in color, the colors look different specially in the indoor scenes. They seem to be stronger, sharper and the result is a bit unrealistic, but very pleasing. Randolph Scott is the sheriff, a good guy but the real star of the movie is a very young Glenn Ford, who is an outlaw that wants to change. Evelyn Keyes is the woman that starts falling for Ford and Claire Trevor is the Countess that runs the saloon. There is a funny character called Nitro that does not think twice before blowing it. I particularly enjoyed two moments of the film, one when there is a tremendous horse stampede and you see thousands of horses, there was no computer to help at that time, so I presume they must have gathered all those horses, no easy task. Another moment is the final shootout, technically very good. There is also quite a fistfight. Seeing this western made in 1943 with such great action scenes, makes you come to a sad conclusion: They don't make them anymore. Would they be able to in case they wanted? I have my doubts.


After watching this movie once, it quickly became one of my favorites. As different events happen in the movie, you change your mind about Prot, back and forth, until the end and even after. The movie is very thought-provoking and a must-watch!!


Two things -- too long and totally lacked credibility. This movie didn't make any sense and was excrutiating to sit through. I am usually pretty patient, but man... It just doesn't keep your attention at all! I think I am being nice here even! You keep thinking it's almost over only to find out it's still got another half hour! Good actors.


The China Syndrome is a perfectly paced thriller and not slow or boring at all, as some people tend to say. The transitions from one scene to another are great and the tension build up in the film will keep you on the edge of your seat for the entire two hours. Jack Lemmon is great, as always, as the somewhat nervous plant operator and Jane Fonda succeeds again in bringing some real emotions into the story. You can see this film as a political statement of the time, or just as an intelligently made thriller. Either way it is definitely worth watching.


Anyone who does not find this movie funny, does not understand simple comedy. This movie is not a complex comedy, it is full of one liners, and sight gags, and will make anyone who wants to laugh, laugh... The alien who is doing a Nicholson impression will crack you up!


It's hard to comment on this movie. It's one of the few movies Dimension actually has not shelved (it's hard to come up with a reason why) and it was rushed into a an unimpressive 500 theaters it's opening day. Maybe Dimension was afraid of how people would respond to a swamp creature using his tow truck to pull a house apart piece by piece.

Ray Sawyer is just a tow truck driver, until he rescues a Voodoo priestess from a bad car accident, and in return, he gets attacked by a bag full of snakes and drowns. At the morgue, Ray comes back to life, and stalks a group of teenagers who witnessed the awful crash occur.

What brings this movie down is it's paper thin characters. I didn't care for one moment about any of them. Also, the dialog was less than ho-hum. Also, it was very predictable. Characters did the typical stupid horror movie character things, like check creaky noises, call out people's names, and trip on a rock while being chased. I also could immediately pick out who the final girl would be. And why did the camera have those quick white flashes whenever somebody died or whenever the killer was shown?

What's good? Well, there is an impressive suspense scene where the killer walks underneath swamp waters to get to his victims and a tense sequence where the final girl must camouflage herself with bunch of other dead bodies while the killer looks on.

But other than that, It's another August/September disappointment. I was looking forward to it, but I did not get what was expected.


I know when you buy a used (oops, excuse me, previously viewed)DVD for $5.99 you shouldn't have very high expectations, but even that was a steep price for this poor boxed disc.

I will give the producers credit for providing a complex challenge for the viewer . . . to determine which is worst, the acting, the scripting, the camera work, the special effects . . . they all pretty much tie for just plain terrible. Oh, it has the absolutely WORST faked car crash ever used in a motion picture anywhere.

Now all this is pretty serious ridicule for a movie fan who proudly features 'Police Academy', 'Naked Gun', 'National Lampoon's Loaded Weapon' and a host of other campy discs in his collection. But, at least those folks know that ones tongue should be planted firmly in ones cheek, the cast of PW, unfortunately use their tongues in an attempt to deliver inane dialogue. And, although it is almost beyond my belief, the movies characters seem to think they might actually be doing something of value. A back room pornographer would be ashamed to release this mess.

Oh . . . lucky me bought the worst video ever made at the same time . ..'Fraternity Demon' . . . maybe the name should have given me a hint.


This movie is unbelievably ridiculous. I love horror movies, but this is the worst one I've ever seen. I am a huge fan of gore, but most of the deaths in this movie aren't shown. It just shows us the already dead bodies, and the only death scenes that they actually show in this movie are terrible. The graphics look so obviously fake. The actors are awful as well. There is no real emotion from any of them. Not only did I waste my time watching this piece of sh*t movie, but I had to subject myself to actual footage of animals being beaten during the beginning of it. If I could rate this a -10, I would. F*ck this movie. It's crap.

Don't watch it.


Let me set the scene. It is the school holidays and there is absolutely nothing at the movies. I am with my friend deciding what to see. We look for a movie that is starting soon and 'The Grinch' comes up. We buy tickets not knowing what to expect. What we got was a roller coaster of fun.

Jim Carrey (who may I add is my No.1 actor in the whole world) was absolutely magnificent as the Grinch in this Ron Howard's best movie (next to Apollo 13). The way that this movie was made, the scenery, the actors, the props and the music was just amazing. It really brought this childhood movie to life.

The story is based upon the story of the grinch. As we all know the Grinch is a horrible person who just can't stand christmas. He lives high above whoville and has never mingled well with the townfolk. But one little girl is going to change The Grinch's look on life and on others in a drastic way.

Cindy Lou Who (played by adorable new actress Taylor Momsem) meets the Grinch as finds the kind part of him straight away. She attempts to break the barrier and to help the Grinch move in and mingle with the towns people.

All up this movie is a barrel of laughs for the whole family both kids and parents. A SOLID 10/10. Well done Jim.


Not often have i had the feeling of a movie it could be visionary. But clearly this movie has the seed of a premonition.

We should not tend to be alarmists and see armageddon in something because it seems to fit our emotions of the moment. But, didn't we say this of '1984' ? Had James Orwell known the Internet becoming reality not long after 1984; In fact it was in 1994; he might have reconsidered writing his story the way he did. Hindsight rewarded.

It doesn't matter. What DOES matter is that we often regard ourselves as superior to our surroundings but indeed become emotional about a 'love apple' when necessity knocks at our door. A snapshot of ourselves at old age.

Whatever the time-line will prove to be for us, I know for a fact we haven't seen the beginning of it yet.


Riff Randell is a wildly, obsessed fan of the rock group; The Ramones and so are most of the students in the school. But a new tyrant of a principal, Ms. Togar thinks rock 'n' roll is a bad influence on the students, especially the music from The Ramones. So, when Riff finds out they're performing in town, she skips class for a couple of days to get tickets for herself and her friends. But when Ms. Togar discovers why she really took those days off she confiscates the tickets. While, this is happening Tom Roberts is totally love struck over Riff, but Riff's friend Kate Rambeau feels the same way about Tom. But Riff has her eyes set only on the lead singer Joe Ramone and hopefully in getting to that concert to get them to play her song.

Fun! Fun! Fun! Yep, that's right 'Rock n Roll high School' doesn't drift away from it main focus a boisterously, daggy romp! It wasn't what I was expecting, that's for sure. Everyone participating in this dandy project looks like they're having a great time and the relaxing nature of it shows on screen with the energy providing such a glowing spirit, which makes it a priceless experience. That's not to say I think its art and the plot is as pointless as can be. But watching this passionately, crazy ride that escalates into some good harmless high jinks, I just couldn't wipe the grin off my face. It's tacky, very cheesy, densely chaotic, but damn it's funky-dory!

This low-budget, b-grade feature from producer Roger Corman and John Dante who was co-writer ( and plus he co-directed some scenes when director Allan Arkush was hospitalised on the last day shoot). Is basically a glorious homage on the rocking 1950s flicks by sticking with the fruitful clichés and throwing into the stew the teenage rebellion tag because of the generation gap between them and the adults (who always know best). These features might not be particularly fresh, but they do rack up some appeal because of the dynamically, gusto treatment. The film has just one thing on mind, to go out on a bang! And they manage to do that. Courtesy of 'The Ramones', who play themselves. Really, you could say its one big trendy video clip, since it's all about the Ramones well, most of it anyway. I see a lot flack towards The Ramones' acting ability. These are musicians not actors, which means it's not about their acting here, it's the music we're suppose to dig. They're here to perform! Which, they deliver in that front with some kick ass tracks that peppered the film to create a totally upbeat vibe. Especially, their flamboyant concert performances. The buzzing soundtrack also had some killer tunes from some other artists such as Devo, The Velvet Underground, MC5, Fleetwood Mack, Eddie and the Hot Rods and Alice Cooper. But these jumping tracks fitted in well with the carefree feel and even the score was worked in rather well. Especially in the scenes involving Ms. Togar with the score grasping the right mood that surrounds her mind set. The playful mood of the film is pretty much like a roller coaster ride with such a racy pace between the electrifying tunes and comical segments ranging from scattered slapstick routines to it's sometimes clever, tongue-in-cheek dialogue. Thrown in for good measure is a variety of light and heavy gags, which I found very pleasurable and it gave it such a wider range to express itself.

What else gave the film an added boost had to be the divine PJ Soles (better known for her performance in Halloween), who gave such a bang up performance as the peachy Riff Randell. Other exemplary performances were Dey Young, as the extremely cute Kate Rambeau, Vincent Van Patten as the gawky Tom Roberts and the go to man Eaglebauer who's stupendously played by Clint Howard. Also some top drawer Corman regulars pop up with great send up performances by Mary Woronov who's excellent as the demanding Ms. Togar who's pushing her unfair reign on the students, Paul Bartel as Mr. McGree and a small support role from Dick Millar towards the end. The enthusiastic acting is pretty campy, but that goes down well with the material and there's a certain likability stemming from these characters, but we totally despise Ms. Togar and her hall monitor goons.

There's no beating around the bush here when I say 'Rock 'n' Roll High School' is an intoxicating hoot, of a rad time!


Jane Austen would definitely approve of this one!

Gwyneth Paltrow does an awesome job capturing the attitude of Emma. She is funny without being excessively silly, yet elegant. She puts on a very convincing British accent (not being British myself, maybe I'm not the best judge, but she fooled me...she was also excellent in 'Sliding Doors'...I sometimes forget she's American ~!).

Also brilliant are Jeremy Northam and Sophie Thompson and Phyllida Law (Emma Thompson's sister and mother) as the Bates women. They nearly steal the show...and Ms. Law doesn't even have any lines!

Highly recommended.


'Two Hands' is a hilarious Australian gangster movie set in really sultry Sydney. I bet tourists never envisage Sydney and Bondi to look like it did in this film: all sweaty bodies, oppressive nighttime and gangsters in nylon shorts and jandals. Heath Ledger plays an amateur boxer with an eye on becoming part of the local King's Cross boss's gang. He looked rather magnificent in his green wife beater and blue patterned budgie smuggler. A sweaty tattooed bod does become him. I always had him down as a 'Home & Away' boy, and he has been in that soap, which is a little sweatier than the Weetbix-insipid 'Neighbours'. The film is really worth watching for its combination of sardonic humour and nasty violence - the drowning scene is expected to give me nightmares soon. Totty awards: Country girl love interest city brother and tattooed streetkid.