[ { "text":"This really should deserve a \"O\" rating, or even a negative ten. I watched this show for ages, and the show jumped the shark around series 7. This episode, however, is proof that the show has jumped the shark. It's writing is lazy, absurd, self-indulgent and not even worthy of rubbish like Beavis and Butthead.

It is quite possible to be ridiculous and still be fun -- Pirates of the Caribbean, the Mummy, Count of Monte Cristo -- all \"fun\" movies that are not to be taken seriously. However, there is such thing as ridiculous as in \"this is the worst thing I've ever seen.\" And indeed, this is the worst episode of Stargate I've ever seen. It's absolutely dreadful, and this coming from someone with a stargate in her basement.

Makes me want to sell all of my stargate props, most seriously.", "label":0 }, { "text":"I am a VERY big fan of Jenna Jameson, but this movie is horrible. At the time Jenna Jameson was married to Brad Armstrong and he was the director of this film and Jenna was the hottest porn star ever. So, of course, Brad tried to make as much money as he could off her by making this big budget porn film. Now I know why they don't make big budget porn movies anymore. In a fantasy world, porn stars could act, but this is the real world and they can't act. That's why there porn stars, if a women as beautiful as Jenna could act, then she would have tried to go into mainstream movies instead of porn. Just because your beautiful doesn't make you a movie star. A fine example of this is Traci Lords, when she was a teen thru her 20's she was one of the most beautiful, sexy women on earth. She made her move into low budget mainstream films and couldn't act. Where is she now? I gave it a 2 instead of a 1 rating just because Jenna is so hot, but there are better movies she has made then \"Dream Quest\". Come on Jenna, we don't want to hear you talk, as much as we want to see you have sex. Also, you Jenna, would have a lot more fans and more money in your bank account if you would have done anal on film.", "label":0 }, { "text":"Normally I would never rent a movie like this, because you know it's going to be bad just by looking at the box. I rented seven movies at the same time, including Nightmare on Elm Street 5, 6 and Wes Craven's New Nightmare. Unfortunately, when I got home I found out the videostore-guy gave me the wrong tape. In the box of Wes Craven's New Nightmare I found this lame movie.

This movie is incredibly boring, the acting is bad and the plot doesn't make any sense. It's hard to write a good review, because I have no idea what the movie was really about. At the end of the movie you have more questions then answers.

On 'Max Power's Scale of 1 to 10' I rate this movie: 1

PS I would like to correct Corinthian's review (right below mine). He says Robert Englund is ripping off lingerie, riding horses naked, etc. The guy that did those things was Mahmoud, played by Juliano Mer, not by Robert Englund.", "label":0 }, { "text":"Jason Alexander is a wonderful actor, but it's ridiculous to cast him as a cuddly romantic lead. The fact that he dances so well, croons so effectively, and throws himself into the part so completely somehow just made him seem all the more creepy. In his more cutesy moments (with the girl in the train station, in the final number with Rosie), I couldn't take my eyes off him he was so repellent. You keep expecting him to drop the nice-guy act and start snarling. Vanessa Williams was the real star, the only performance that was better than the 1963 movie. By the way, if you see a production of the stage musical, the 1963 movie and this 1995 movie, you'll see three versions that have more revisions (different songs, same songs assigned to different characters and in different situations) than any other musical I've ever seen.", "label":0 }, { "text":"This movie is a terrible waste of time. Although it is only an hour and a half long it feels somewhere close to 4. I have never seen a movie move so slowly and so without a purpose. This is also a \"horror\" film that takes place a lot of the time during daylight. My friend and I laughed an insane amount of times when we were probably supposed to be scared.

The only thing we want to know is why such a terrible movie was released in so many countries. It cannot be that high in demand.

The supermodel Nicole Petty should stick to modeling because although she is beautiful she lost her accent so many times in this movie, half of the time she is British and half the time she is American.", "label":0 }, { "text":"When the film began, I was shocked to see it was filmed using a cheap video camera! In fact, the camera shakes and looks worse than the average home movie. Even direct to DVD films should have production values better than this! Heck, a large percentage of the home videos uploaded to YouTube have better production values! All too often, the film seriously appears to be made by sticking the camera on a tripod and turning it on--with no camera person! Closeups and anything resembling camera-work are absent in some scenes where they might have worked and in others there are too many or poorly framed closeups. Yecch!

The film is about two gay men who want to become married. As if was made almost a decade ago, their only option was marrying in Vermont--times have definitely changed. However, the recent acceptance of gay marriage cannot in any way be attributed to this film--if anything, it set the gay marriage supporters back instead of helping as the movie stinks and never really tries to seriously address the issue. According to the film, religious people are one-dimensional idiots who carry Bibles EVERYWHERE and shoot people as well as wives who have gay husbands are narrow-minded when they learn their spouses have been living a lie--go figure. I'm sure glad it gives an honest chance to both sides on the issue!

The bottom line--nothing about the film shows any professionalism at all and I even hesitate to call this a film. It's more like a home movie and doesn't even merit a listing on IMDb or even inclusion on IMDb's Bottom 100 list of the worst rated films of all time. The acting is horrible, the writing is horrible, the direction (if there even is any) is horrible, the camera-work is horrible and the plot is horrible. It's a home movie!! There is nothing positive I can say about this in any way except that it makes the films of Ed Wood seem like Oscar contenders in comparison and I am sure the ghost of Mr. Wood is smiling every time someone watches this mess!

I don't care if you are gay or straight--this film is not worth your time and I don't know how they managed to create DVDs of it. I assume one of the actors burns them on his home computer during his free time! Seriously, this gives new meaning to the word 'bad'!

By the way, if the one lady in the film WAS a real lawyer, wouldn't the ability to read be an important prerequisite?! I'm just sayin'.

Finally, with gay marriage being such a serious and important topic, can't we have a film that's BETTER than THIS that addresses the issue?! This one, sadly, only invites laughter.", "label":0 }, { "text":"First of all, I ain't American or Middle-Eastern. Second of all, I don't have a religion. The closest thing to a religion I have are sports and movies. Henceforth, I believe I would be best served to supply an opinion of neutrality and free from bias.

Most of these short films are an utter disgrace. This dreadful event should be used to commemorated all those innocent people whom were murdered by \"some\" barbaric and uncivilized morons. Instead, most of what I saw in these short films were conceited attempts to score varied political points. Examples:

1) Ken Loach's segment. Sure, we are all sad that this dude had a hard life in his country but what has that got to do with the innocent victims of 2001? Two wrongs don't make a right?! Whatever! This film should have a subtitle for those who have trouble listening to a partially incoherent Chilean-English accent.

2) Most disturbing is Youssef Chahine's segment. It is obvious that he has trouble with logic. He justified the murders due to - America being a democracy and because some Americans voted the politicians in power, then all Americans in the end are responsible for the actions and decisions made by their leaders on the Middle-East. Helloooo! Is this guy for real?? Some Americans don't even vote! Some Americans don't even know where the Middle-East is; some don't even know what religion is practiced there; and majority don't know the real political issues that are played behind the scenes. ### Mr Chahine, the reason why we have all these problems in the world is because there are too many people with your kind of logic. The innocent victims in the Twin Towers came from around the world. The murdered firefighters, rescuers, office workers, by-standers and flight passengers have nothing to do with politics. And yet, we are not allowed to go about our lives because \"some\" people think everyone has to choose a side or a religion. We are perceived as fair game for the extreme politics.

3) The Israeli segment showed their own bombed victims. Another filmmaker using this event to push their own political agenda. Sometimes, it is not about you. Some people always think about the \"me, me, me.\" Sometimes, it is about other people.

4) Idrissa Ouedraogo's segment is a joke and another political point scorer. They obviously want money from the international community by highlighting their poverty. Blah, blah, blah.

This movie denigrates the memory of \"Sept. 11th, 2001\" victims.

The best thing for it is the TRASH CAN.", "label":0 }, { "text":"Personally I would advise people to stay clear of this movie. It's on the whole a bore to watch and the fighting is poorly choreographed. Slow and not very convincing. If you buy the Hong Kong Legends DVD release of this movie, then the only thing worth listening to is the Bey Logan audio commentary.

But in any case, since when has there ever been a Ninja film worth watching. I cannot think of one and frankly do not wish to.

Overall, when it comes to Movies, I have one golden rule: Avoid any films that contains the word 'Ninja'.", "label":0 }, { "text":"A singularly unfunny musical comedy that artificially tries to marry the then-cutting edge rock 'n' roll explosion with the middle-class sensibilities of a suburban sitcom. The result is a jarringly dated mish-mash that will satisfy none of the audience that went for the music, but will at least keep their parents sated.

A quick glance at the promo write-up on the back of the video release should give some idea of the content. Tom Ewell is a drunken agent, overplayed with so little comic ability you almost expect him to bellow \"hi honey, I'm home!\" The blurb sites him as \"So funny in 'The 7 Year Itch'\". It sounds almost like an excuse. What other film would sell itself on the fact that a leading player was good in something else? It reads like \"So funny in 'The 7 Year Itch' ... but he's rubbish in this\".

Mansfield, a beautiful girl with rumoured 50-inch assets, is, unfortunately, a bargain basement Monroe with all the acting ability and comic timing of a rotting haddock. Her wooden delivery combined with Ewell's OTT double-takes make this a comedy partnership from Hell. For her part, the sell gives us: \"[Jayne Mansfield] whose more obvious talents are the cause of many of the film's biggest laughs!\" As you can see, a movie sold on the idea that it's lead has a big chest is not the most sophisticated of things. Most of this \"humour\" is men literally falling over themselves, their glasses cracking upon site of Mansfield, etc. Only the Freudian nightmare of a milk bottle overflowing casts doubt upon its \"U\" certificate.

For the musical side, the most adenine of players are chosen. Would you really care to see Eddie Fontaine offer: \"I love your eyes, I love your lips, they taste even better than potato chips\" in a song called \"Cool It, Baby\"? Only the incendiary Little Richard breaks out of the MOR, though is forced to sing some of his more dad-friendly songs in a four-minute sequence. And how come all the acts sing without a single microphone? Attempted satires on the industry are broad and childlike in their conception.

Technically, the picture was quite advanced, with special effects (including a ghost-like Julie London) and deluxe color (Which now looks flat and artificial. In fact, with its reds that bleed and fake-looking flesh tones, it resembles a colorised movie). Direction, though, isn't outstanding, and the sound quality is also quite poor.

Perhaps it comes down to it being so old. A time when men still smoked on screen, sickeningly cute child actors made adult remarks and black servants only got to cook and dance. (All of which happen here). Yet Some Like It Hot, The African Queen, Ben Hur and many, many more stand as examples of films from the period that can still be enjoyed today, so the \"good at the time\" argument doesn't really stand up. At its heart The Girl Can't Help It is a cynical and patronising venture that doesn't bear close inspection. 4\/10.

", "label":0 }, { "text":"I know slashers are always supposed to be bad,but come on,what the hell is this?It's like a bunch of 10-year-olds saved their lunch money and started filming this by the end of their week.

Anyway,six young people all go to the same house to get killed off screen.We have the brainy one,the slut,the other slut,the black guy,the killer,stereotypes like that.After one gets eaten by a shaking boat,the others all get stalked by some guy who wears a mask the people at the poor box rejected.There's one pretty decent murder somewhere in the middle,but then it's back to even more boredom,and especially more false scares.Seriously,we actually know it can't be the killer when a person gets attacked because the guy sure loves to take his sweet time for everything.

After every character you expected to die dies,the standard ugly blonde chick and her soon-to-be-boyfriend eventually get captured by the killer(they get like,pushed down and then faint)and the killer reveals himself.I think the writers of this movie just took a blindfold and a pen and put it somewhere on the list of characters.The motive is just lame and don't even get me started on the damn secret.The killer then of course takes way too much time to explain everything(and then about ten minutes extra in which he slices up his own arm for some reason)and eventually gets overpowered by a guy with a gun.Hey,no fair!

Really one of the most awful movies I've ever seen.I could enjoy myself more by watching a Lindsay Lohan-movie,I swear.I mean sure,most 80's slashers sucked as well but at least they threw in some T&A.This movie just has nothing going for it.", "label":0 }, { "text":"I still can't believe that Wes Craven was responsible for this piece of crap.This movie is worse than \"Deadly Friend\".The plot is stupid,the acting is mediocre and the film is deadly dull.I don't know why Wes Craven hates his debut \"Last House on the Left\"-an absolute masterpiece of the genre and likes(probably)this turkey.Don't get me wrong,I really like some of his movies,but it was a real torture sitting and watching this.", "label":0 }, { "text":"There are movies like \"Plan 9\" that are so bad they have a charm about them, there are some like \"Waterworld\" that have the same inexplicable draw as a car accident, and there are some like \"Desperate living\" that you hate to admit you love. Cowgirls have none of these redemptions. The cast assembled has enough talent to make almost any plot watchable, and from what I've been told, the book is enjoyable.

How then could this movie be so intolerably bad? To begin with, it seems the director brought together a cast of names with no other tie than what will bring in the 20 somethings. Then tell them to do their best Kevin Costner imitations. Open the book at random and start shooting whatever is on the page making sure to keep the wide expanses of America from being interesting in any way. Finally give the editing job to your brother-in-law, because the meat packing plant just laid him off. He does have twenty years of cutting experience.

This movie now defines the basement for me. It is so bad, it isn't even good for being bad.", "label":0 }, { "text":"Burt Reynolds came to a point in his career where he appeared to just be going thru the motions. He'd show up, party with his friends on film, and take home a big paycheck. It didn't seem to matter to him that the product he was representing was pure crap.

No film epitomized this more than \"Stroker Ace\" which makes \"Cannonball Run\" look like a classic and \"Cannonball Run II\" look watchable. Save for a few race scenes there is absolutely NOTHING worth seeing here. Even the beautiful Loni Anderson hams it up so bad as a dumb blonde it's embarrassing.

If the thought of Burt hamming it up with Jim Nabors and dressing like a chicken sounds funny then this is your movie. Otherwise pick almost any other film comedy and it won't be any worse.", "label":0 }, { "text":"Revolt of the Zombies is BAD. There is nothing remotely entertaining about the movie. It is dull, lifeless, poorly acted, and poorly scripted. I've often complained that the original Dracula is a little slow for my taste, well this movie makes Dracula look like a roller coaster ride. The 65 minute running time seemed like 165 minutes.

The story: An expedition is sent to Cambodia to find the secrets of mind control through \"zombification\". One man finds the secret and uses it to make the woman he loves marry him. Once this happens, he releases the zombies under his control to horrific consequences. That's it. That's the whole story.

For most of the movie, I was trying to figure out where I had seen the male lead. He looked so familiar. I had plenty of time to think this over. Nothing was happening in the movie. Just before the \"zombies revolted\", it hit me. It was Dean Jagger. I had seen him recently as the General in White Christmas. This is how I \"entertained\" myself throughout most of the movie.

I'm just glad I didn't buy the DVD for this movie. King of the Zombies is on the other side and it's a masterpiece of film making compared with this movie. For what it's worth, I'll give it a 2\/10. (I won't go to 1\/10 because, believe it or not, I've seen worse.)", "label":0 }, { "text":"Murders are occurring in a Texas desert town. Who is responsible? Slight novelties of mystery and racial tensions (the latter really doesn't fit), but otherwise strictly for slasher fans, who will appreciate the gore and nudity, which are two conventional elements for these films.

Dana Kimmell (of FRIDAY THE 13TH PART 3 infamy) stars as the bratty quasi-detective teen.

*1\/2 out of ****

MPAA: Rated R for violence and gore, nudity, and some language.", "label":0 }, { "text":"I am not a big fan of horror films, and have only seen a handful of them (and none of the \"Halloween\"s or \"Friday the Thirteenth\"s) - but I can appreciate a frightening horror film not because of gore. And I'm pretty sure this isn't scary.

What's so spooky about a little plastic skull that pops up everywhere? In all of its appearances there are faraway establishing shots, so there's no real surprise in any of this film. (Not that a skull in of itself is that scary anyway, but . . .)

The plot concerns Claus Von Bulow's third cousin (John Hudson), who marries a Donna-reed look-a-like (Peggey Webber, giving one of the worst performances ever) who begins seeing skulls and hearing the mysterious screams of a group of peacocks on her husband's mansion. Did I mention that her husband lost her first wife in a mysterious drowning incident? OOOOH!!!! Wonder who did it!!!!

This is the same old plot about a rich boy trying to kill and\/or drive their wife insane. If you want to see a well-done version of this stuff, try \"Reversal of Fortune\". And BTW, Jeremy Irons is one hundred times more talented than John Hudson.

The MSTing was okay but nothing special; paired with the \"Gumby\" short, however, it makes for good viewing.

Two stars for \"The Screaming Skull\"; eight stars for the MST3K version.

And now, to paraphrase Mr. Von Bulow himself: \"How bad is this film?\" \"You have no idea!\"", "label":0 }, { "text":"The first one was different and funny. This attempt should have never left the studio. This movie does not make you laugh. It is a weak attempt at gross out humor. The movie picks out current and old movies to rip-off. This time the jokes seem used and overdone. The audience that I saw it with only re-acted to Hannibal dinner scene and was otherwise asleep.", "label":0 }, { "text":"Meaning: if this movie got pitched, scripted, made, released, promoted as something halfway respectable given the constraints (yeah, I know, Springer, sex, violence), where is He?

Reminded me of porn movies I saw in college, plot and dialogue wise.... shoulda just done something for the scurrilous porno market, showed penetration and be done with it-- would have made more money, the ultimate point of this exercise....", "label":0 }, { "text":"A sentimental school drama set in Denmark, 1969, \"We Shall Overcome\" offers a pathetic Danish take on US culture. Frits (Janus Dissing Rathke), a flower-power obsessed, naive 13-year-old, exits with half his ear hanging off from brutal master Lindum-Svendsen's (Bent Mejding) office. Lindum-Svendsen, a school director, portrayed as a fascistoid tyrant, has the local community in control. Lindum-Svendsen's gone too far this time, and with his father, recovering from a mental breakdown (sure, there wasn't enough drama already..), and overly stereotyped hippie music teacher Mr Svale ('Hi, call me Freddie'), Frits stands up for justice.

Tell you what. It's so unconvincing, over-(method-)acted, and so full of misery, that as a 'family' picture this grotesque -filled with clich\u00e9's- excuse for a movie fails miserably to convince non-Scandinavian audiences. Sorry, kind danish readers, to crash like this into your sentimental journeys.. But it's definitely NOT a tale about a 'boy becoming a man by fighting the system'. The boy never becomes a man, but rather remains a naive, big eyed cry-face. If you call a church of small minded small town folk, led by a dictator like cartoonish character \"the system\", I'm sorry if I'm missing something.

If you're into family pictures, go see Happy Feet instead..", "label":0 }, { "text":"What could have been an engaging-and emotionally charged character study is totally undermined by the predictable factor. Fox is OK as Nathaniel Ayers, the Julliard trained musician who dreams of playing with the Walt Disney orchestra until his bouts with schizophrenia drive him into the street and ultimately skid row. Looking for a good story to boost his flagging career, reporter Steve Lopez {Robert \"rehab\" Downey } gets to know him and tells his story. Taking every element of the classic \"how we hit the skids\" movies, borrowing very liberally from \"A Beautiful Mind\", taking the bogus \"feel good\" attitude of films like \"Rocky\"-you pick the sequel number-and whipping up too much 1930s style melodrama all that is left on the screen is a burnt out shell of a movie. It is corny, trite, utterly predictable and plays way too often on our sentiments. I hate to say it, but this is the kind of movie that, if you say you hated it, people will give you bad looks. I really wish I could say something positive about this film, but I really can't. The acting redeems it somewhat, but not enough for me to give it more than one star. Strictly made for TV movie stuff. Not worth your time.", "label":0 }, { "text":"As usual, on IMDb, going by the majority vote instead of the \"weighted average\" is far more indicative of the movie's entertainment value. In this case, the majority gives it a \"one\". How right they are! To start my review, I'll first admit that I am completely clueless as to why this movie is titled \"Alien Intruder\". It does involve space and even an \"alien\" (I suppose), but there's no rhyme or reason (at all) for anything in the long run, at least, no actual plot basis or resolution that I can make out anywhere.

There are quite a few scenes that are so atrocious (with regard to both the lines, the timing, and how they are spoken), that it far exceeds the weird feeling you get when watching similar really bad movies. I have no idea about that part near the beginning where an electronic Bugs Bunny seems to be ranting about something.

The \"plot\" solely involves an area of space known as the G-Spot, sorry, make that G-Sector...and a virtual reality program infected with some sort of alien(?) virus. I think it is alien since the image of the otherwise normal Ariel appears as a photographic negative.

For most of the movie, we see people getting shot with space weapons, falling out of lofts, and seemingly endless, pointless close shots of \"Where's Ariel?\", \"Can't find Ariel\" (pointless because most of the other shots INCLUDE interaction with Ariel, anyway - whatever) on a computer monitor. Commander Skyler (Billy Dee), sits and watches each fantasy of the convict's VR programs hoping to find this Alien virus and become one with it...??? Or maybe I missed something...

Billy Dee Williams took a few courses on \"how to act in despair\" prior to the filming of this. We know this because he spends a lot of time moving his fingers down over his face and looking mournful.

The docking scene with the nose of one ship going into the rear of the other was semi-hilarious at least, and provided for a laugh in addition to the early scenes where we see several shots of the ship as it is just spinning in a circle, looking much like a Lego experiment gone awry.

It seems everyone dies in this movie, so why bother? Even the VR females get killed, as if that is supposed to mean anything (especially since everyone else dies anyway)...outrageous.

Because of the money I save on groceries, I won't rant about wanting my money back that I paid for the DVD of this. The dollar that I saved on that bag of vanilla wafers paid for this reviewer's time.

I'll just add that the story itself, at least as a novel, and with far more detail added, could probably be quite interesting with the right author.

1\/10", "label":0 }, { "text":"Oh God,what an idiotic movie!Incredibly cheap with fake special effects(the creature is played by one guy in lame costume)and stupid plot.All dialogues are unbelievably bad and these actors(HA!HA!HA!)...they're simply ludicrous.For example I have never seen so annoying characters like in this junk(these dumb kids or pregnant woman with his husband and many more).All in all,this is a great entertainment if you're drunk.Avoid it like the plague.Am I drunk?I don't think so...", "label":0 }, { "text":"- Let me start by saying that I understand that Invasion of the Star Creatures was meant to be a parody of the sci-fi films of the 50s. I understand that none of it is to be taken seriously. The problem I have is that none of it works. A parody should be funny and this one just isn't. Not once during the entire runtime did I so much as crack a smile. In general, I am easily entertained, but I couldn't find a sliver of entertainment anywhere in Invasion of the Star Creatures.

- I knew I was in trouble right from the beginning. The two \"stars\" make their screen appearance with one of the lamest gags imaginable - a water hose they can't control that gets them both wet. These two come off as Bowery Boys wannabes. Why anyone would want to mime the act and persona of the Bowery Boys is beyond me. After the less than illustrious beginning, the movies goes on to feature comical chase sequences, dancing Indians, vegetable men, decoder rings, and other assorted unfunny bits. It's all just a complete waste of time.

- I bought this on the double feature DVD with Invasion of the Bee Girls. That movie is Academy Award winning stuff in comparison with Invasion of the Star Creatures.", "label":0 }, { "text":"OK - I ADORE this film...I will credit this movie - alone - for making me such a die-hard horror fanatic. I could never watch this movie alone. I've also heard many many stories of the effect it had in it's original release at the theatres , on its viewers. Incredible masterpiece.... Horrible , psychological stuff scares the pants off me .Oh bless their hearts, whoever made this awesome film. I love it. I thought the whole film was decent and interesting. This movie is SO scary - this is the scariest movie I have ever seen in my life! Not that what happens in the film and the idea of the film are not scary enough , but what always got me - was Brendan's fabulous acting. Best horror film EVER. Nothing can ever be this scary again. Halloween viewing at its evilest.", "label":0 }, { "text":"WOW what can i say. I like shity movies and i go out of my way to watch a corny action flick, but Snake Eater i would have rather had a nail driven into my pee hole while my grandma gave me a lap dance .Lorenzo Lamas, pfft more like Lorenzo Lameass this guy has as much acting ability as Bill Clinton has self control. It has all the goods to make a really bad movie even worse. Crazed Hillbilles YEP! needless tit shot (with a real weird scar) YEP! crappy soundtrack YEP! I wish i could give the movie -10 stars but 1 is as low as it goes. Seriously i think someone was playing a joke on me when i saw this it cant be real...... the worse thing THERE IS 2MORE SNAKE EATER MOVIES!...... guess its in demand.", "label":0 }, { "text":"If I hadn't been forced to watch this for work reasons I never would have made it past the first 10 minutes. And even then I admit I fast forwarded through parts. The '63 film version was vastly superior in all regards. Yes, I've read this one is more faithful to the original play, but what a wise thing it was for the writer to change the script in '63! It's overlong, it drags, the songs that are in this version and not in the film version are boring and unimaginative. The version of \"Kids\" in the '63 version was very funny and a true classic of sarcastic parent humor. In this version the Kim is way too old, the Conrad is *absolutely horrible* to behold (when someone ripped his shirt off him I shuttered in disgust...the director of this version has no idea what sexy is.). This Conrad can't dance, can't sing (he can't even stay in tune) and is simply repulsive. If Elvis Presley had really been like that his career would have been over before it began. As for the other actors, well I kept waiting for Alexander's toupee to fall off as he danced and Daly was totally over acting as Momma. See Stapleton's performance in the film version to see the same role properly executed by someone who understands comic timing. This TV version is nothing but a total waste of anyone's time.", "label":0 }, { "text":"It's not really about gymnastics; swap out the occasional training montages and it could just as easily be about archery, or microbiology, or a booger-flicking tournament. Instead, like every other Rocky\/Flashdance derivative that flooded the 80s market, it's about conquering adversity with stick-to-it-iveness, rendering all social\/personal realities irrelevant by your lonesome - with love interest standing by of course. Ronald Reagan top to bottom, in short; so as a piece of cinema it's down to the details. Some of the actors are quirky enough to liven things up - especially the love interest, brought to you by none other than Mr. Keanu Reeves, warming up for Ted; heroine Olivia D'Abo's hateful alkie dad and big-hair stepsister are more interesting than the sickly mom or her utterly inert bitch-nemeses\/teammates, one of whom appears to be made of porcelain. It's my instinct to be appalled by the comic-relief black guys, but on the other hand at least they're in the movie. But D'Abo doesn't quite convince with her awkward-girl shtick, and in the absence of any other narrative focus the lack of interest in the gymnastics themselves really does matter; it's all just bodies hurtling around, and not only is the outcome of the big tournament a foregone conclusion, it's all performed by an obvious double.", "label":0 }, { "text":"It's pretty bad when the generic movie synopsis has more information than the film itself. The paragraph-long \"plot summary\" written on the movie page has details I could not glean from watching the actual movie. I found myself constantly backing it up to see what details I had just missed which could tell me what the (bleep) was going on. Alas, to no avail--this movie leaves out monstrous pieces of the story, if you could call it a story. It's like they were trying to fool us into thinking that there was some kind of movie here, filming just enough so that there was the resemblance of a story and leaving the rest to our imaginations. Newsflash to the the creators: I paid to watch you MAKE a movie. I can sit home and imagine plots and story lines for free. And Rosario Dawson? This is somebody I've never paid enough attention to to be able to put the name to the face, and I can see why. She had one of the most artificial performances I have ever seen for a leading character in any movie, A or B. I figured okay, maybe she didn't really want the role, just got a hefty offer for a movie she wasn't into? Wrong. She was listed as one of the producers. Next time you produce something, don't book yourself as the lead if you can't act. If you really can, then create a decent character for you to become. Also, somebody here mentioned the white\/latino issue--yes, I hate to say it, but this movie does come across as an act of vengeance against white college-age males who wear baseball hats. That's what happens when there is nothing in the movie to endear the watcher to latino characters. The Adrian character seems like a cocky jerk who is no better than the story's antagonist. As for the Maya character, she didn't seem like a real person. Anyway I'm ashamed for Hollywood that this movie was even made.", "label":0 }, { "text":"Cheezy action movie starring Dolph Lungren. Lungren is a one time military man who has retreated into a teaching job. But the changes in the neighborhood and the student body have left him frustrated and he decides that he?s going to hang it up. Things get dicey when while watching over a bunch of students in detention some robbers take over the school as a base of operation for an armored car robbery. Its Dolph versus the baddies in a fight to the death. Jaw dropping throw back to the exploitation films of the late grindhouse era where bad guys dressed as punks and some of the bad women had day glow hair. What a stupid movie. Watchable in a I can?t believe people made this sort of way, this is an action film that was probably doomed from the get go before the low budget, fake breakaway sets and poor action direction were even a twinkle in a producers eye. Watch how late in the film as cars drive through the school (don?t ask) they crash into the security turret (don?t ask since it looks more like a prison then a high school) and smash its barely constructed form apart(it doesn't look like it did in earlier shots). What hath the gods of bad movies wrought? Actually I?m perplexed since this was directed (?) by Sydney J Furie, a really good director who made films like The Boys in Company C. Has his ability failed him, or was this hopeless from the get go and he didn't even bother? It?s a turkey. A watchable one but a turkey none the less.", "label":0 }, { "text":"It makes the actors in Hollyoaks look like the Royal Shakespeare Company. This movie is jaw dropping in how appalling it is. Turning the DVD player off was not a sufficient course of action. I want to find the people responsible for this disaster and slap them around the face. I will never get that time back. Never. How is it possible to create such a banal, boring and soulless film? I could not think of a course of action that would relieve the tedium. Writing the required ten lines is incredibly difficult for such a disgraceful piece of cinema. What more can you say than reiterate how truly awful the acting is. Please avoid.", "label":0 }, { "text":"Della Myers (Kim Basinger) is an upper-class housewife that lives in a private condominium in the suburbs with her twin children and her abusive husband Kenneth (Craig Sheffer). Della gives all the attention to the twins, neglecting their house and her appearance and upsetting Kenneth. On the Christmas Eve, she drives to the local mall in the night to buy wrapping paper for the gifts, and she does not find any parking space available. When she sees an old car parked on two spots, she leaves a message to the owner calling him \"selfish jerk\". When the mall closes, Della's car is hold by the driver of the old car and she is threatened by four punks \u0096 Chuckie (Lukas Haas), the Afro-American Huey (Jamie Starr), the Chinese-American Vingh (Leonard Wu) and the Latin Tom\u00e1s (Luis Ch\u00e1vez). When the security guard of the mall protects her, he is shot on the head by Chuckie, Della speeds up her car trying to escape from the criminals. However she crashes her truck nearby a forest while chased by the gang. She takes the toolbox and hides in the wood, fighting against the gang to survive.

A couple of days ago, I saw the trailer of \"While She Was Out\" and I was anxious to watch the DVD. Unfortunately the trailer is better than the movie, and I am totally disappointed with this dull and implausible collection of clich\u00e9s. Della Myers is presented as an insecure and neglectful housewife and inexistent as wife; the motherhood is her only interest in her concept of family. She is chased by four mean criminals but she defeats them with a toolbox that seems to be the Batman's utility belt. Therefore, the plot is so absurd that irritates. The gang of criminals is formed by the favorite clich\u00e9 of American movies, with an Afro-American, a Chinese-American and a Latin together with an American lord to be politically correct. Kim Basinger has a decent acting, but their children are too young for a fifty-five year-old woman. My vote is four.

Title (Brazil): \"Enquanto Ela Est\u00e1 Fora\" (\"While She Was Out\")", "label":0 }, { "text":"Seldom do I give up on a movie without seeing the entire show. This is particularly true when I have rented it on DVD. Syriana was one in which I did give up. Half way through I turned it off in bored disgust.

This movie is disjointed, boring, confusing and lackluster. The acting was dry and without credible portrayals. The general plot was good but developed in such an insipid and boring fashion that it failed to grasp my attention or interest. The multiple sub plots often failed to connect to each other and seemed more like random stories than an actual connected plot. Too bad such a serious subject and such great actors could create such a flop. I cannot imagine this movie receiving any nominations much less an award.", "label":0 }, { "text":"For a fan series, I must admit that Hidden Frontier is not at all that bad. But, reviewing this series can not be based on whether it is a fan series or not. The initiative in itself is commendable. The creativity as well. I reckon these are people with ordinary jobs, and a big enthusiastic heart for Star Trek. But, doing all this work. Pulling all these resources. Taking all this time, and still all those flaws.

First of all the acting, and the lines are awful. For most. The dialogs belongs in a 70's military show, not in Star Trek. The captain (Mr Squinty) looks like he is about to burst into laughter anytime. And most characters are just reading their lines. The directors should be aware of the fact that \"retake\" is not just a word in the dictionary. But I also guess that the series are made in the manner of \"Two Takes Frakes\", who directed many of the TNG episodes and movies Also, I could not help but think that most of the actors are typical Trekkies. Without going any deeper into that assumption.

My biggest concern regarding the whole project, is the quality of the releases. When they first decided to spend so much time, and resources on this series - why didn't they make it available in decent quality? Using the quick time format, with low low resolution is a waste of talent. Even the \"higres\" episodes is considered bad quality compared to the standard quality series are released in. Using Xvid codec, with a larger resolution and file size would have improved the experience massively. If band with problems was the issue, setting up a torrent tracker would have solved that.

Let's hope the crew decides to brush the series up, and perhaps release it on DVD, giving it the quality the project deserves.", "label":0 }, { "text":"I was watching this with one of my friends, who is a vampire freak, and I was extremely disgusted at the fact that this film exists. This film should be shown to prisoners of war, yes, it's that bad. Even John McCain wouldn't be able to sit through this. So why the 3\/10 rating? Because it had a vampire midget. Come on, what's more entertaining than a vampire midget? There's one scene in this film where John Savage gets laid by saying \"I want to feel human again,\" and the chick, being the brainless stripper slut she is, lets him \"feel human\". I wish I could \"feel human\" with Jessica Alba or Megan Fox. This is a movie for stoners. There is bright flashy objects and random movements. All in all, don't waste your money on this garbage. I got it for free when I was walking down the street with my friend and we saw a garbage barrel full of video tapes and a sign that said \"free\". So, in a way, I didn't get ripped off, but still...", "label":0 }, { "text":"I watched Cabin by the Lake this afternoon on USA. Considering this movie was made for TV is was interesting enough to watch the sequel. So, I tune in for the airing this evening and was extremely disappointed. I knew I wouldn't like the movie, but I was not expecting to be perplexed by the use of DV (digital video). The movie would have been tolerable if it wasn't for these juxtaposed digital shots that seemed to come from nowhere. I expected the plot line to be tied in with these shots, but there seemed to be no logical explanation. (WARNING: THE FOLLOWING MAYBE A SPOILER!!!!) The open ending in Cabin by the Lake was acceptable, but the open ending on the sequel is ridiculous. I can only foresee Return of Return to The Cabin by the Lake being watch able is if the movie was shown up against nothing, but infomercials at 4 o'clock in the morning.", "label":0 }, { "text":"For loyal Duran Duran fans who want to watch a good music video, skip this one. The producers decided to get creative and make this 80's video something of a sci-fi story, involving the evil Barbarella villain from which the band got its name.

What makes this idea fail is that right in the middle of some great 80's Duran Duran songs, confusing and annoying cut scenes take place showing the fictional antagonist trying to stop the band at one of their concerts. Not only is the good music repeatedly interrupted, but we have to suffer through some cheap spin-off story hosted by an evil Dr. Mario. It's almost too much to bear. 2\/10", "label":0 }, { "text":"Raymond Burr stars as an attorney caught up in the murder of his best friend (Dick Foran) thanks to his affection for his friend's wife (Angela Lansbury). This was a full year before he started doing Perry Mason, so the movie might be of particular interest to his fans if it was the inspiration for his casting.

There isn't all that much else here that's interesting though. Lansbury is always good, but her character here is very one dimensional and the motives for her crime in the mystery are totally obvious. There's an interesting performance by Lamont Johnson as a painter who's also in love with the \"femme fatale\", but the Burr character is pretty straightforward. It's frankly bizarre to see an actor like Burr doing these romantic scenes with Lansbury, and his halting delivery does not match his character here very well as it does in most films I've seen him in. There's no mystery at all really, and the whole suspense is supposed to be around the title of the film and the way that Burr's character is setting up the Lansbury character to implicate herself (double jeopardy prevents her being tried again for the original murder, presumably). He does so with a very large tape recorder which she doesn't notice when she comes into the room I guess.

A few perhaps unintentionally fun moments and basically the rest of the thing could have been done for TV.", "label":0 }, { "text":"well, the writing was very sloppy, the directing was sloppier, and the editing made it worse (at least i hope it was the editing). the acting wasn't bad, but it wasn't that good either. pretty much none of the characters were likable. at least 45 minutes of that movie was wasted time and the other hour or so was not used anywhere near its full potential. it was a great idea, but yet another wasted good idea goes by. it could have ended 3 different places but it just kept going on to a mostly predictable hollywood ending. and what wasn't predictable was done so badly that it didn't matter. the ending was not worth watching at all. sandra bullock was out of her element and should stay away from these types of movies. the movie looked rushed also. the movie just wasn't really worth seeing, and had i paid for it i would have been very mad. maybe i was more disappointed because i expected a really good movie and got a bad one. the movie over all was not horrifibly bad, but i wouldn't reccomend it. i gave it 2 out of 10 b\/c i liked the idea so much and i did like one character (justin i believe, the super smart one). and it also had some very cheap ways to cover plot holes. it was like trying to cover a volcano with cheap masking tape, it was not pretty. anyway, if you see it, wait for the $1.50 theater or video, unless you like pretty much every movie you see, then i guess you'll like this one.", "label":0 }, { "text":"Very much a film from the times -- extremely long sequences with no dialogue, bad flashbacks, and an almost entirely male cast. The two women who appear have a total of under 10 lines and exist only as romantic interests for men.

O'Toole is riveting whenever he speaks; unfortunately, he spends much of his time peering through shrubbery. Alastair Sims is always a joy to see but he, too, is terribly underused.

The film has one additional positive aspect, in that it depicts many aspects of British fascism and fascist sympathies (such as the casual appearance of the Mosley graffiti) that many people today are unaware of. Too many of today's films about WWII paint the Allies as all-good and the Axis as all-evil, when history tells us people are far more complicated than that!

This would be a good movie for when you're recovering from the flu and are bundled on the couch and not able to absorb anything too complex. If you just need something to pass the time while your electrolytes stabilize, this is the movie for you.", "label":0 }, { "text":"The film begins with people on Earth discovering that their rocket to Mars had not been lost but was just drifting out in Space near out planet. When it's retrieved, one of the crew members is ill, one is alive and the other two are missing. What happened to them is told through a flashback by the surviving member.

While on Mars, the crew was apparently attacked by a whole host of very silly bug-eyed monsters. Oddly, while the sets were pretty good, the monsters were among the silliest I have seen on film. Plus, in an odd attempt at realism, the production used a process called \"Cinemagic\". Unfortunately, this wonderful innovation just made the film look pretty cheap when they were on the surface of Mars AND the intensity of the redness practically made my eyes bleed--it was THAT bad!! Despite all the cheese, the film did have a somewhat interesting plot as well as a good message about space travel. For lovers of the genre, it's well worth seeing. For others, you may just find the whole thing rather silly--see for yourself and decide.

While by today's standards this isn't an especially good sci-fi film, compared with the films being made at the time, it stacks up pretty well.

PS--When you watch the film, pay careful attention to Dr. Tremayne. He looks like the spitting image of Dr. Quest from the \"Jonny Quest\" cartoon! Plus, he sounds and acts a lot like him, too.", "label":0 }, { "text":"The Good Earth is perhaps the most boring film I've seen in my life. The plot is slow and lacking. The acting is borderline comical. While I love Paul Muni, I can now say i have seen a film that does not do his true ability justice. The only saving grace I found with this film is it's production value. The use of hundreds of extras throughout the film creates a very believable and interesting environment. Also, the beautiful effects used to create the illusion of millions of wasps sells easily and was revolutionary at the time. Other than the production value I can say little else that is good or entertaining about this film.", "label":0 }, { "text":"Despite much style, flash, and glitter, this French musical fails to speak. The tunes are repetitive, predictable, and tedious. The story is uninteresting, as are the many characters.

People break into song and dance, without motivation or reason. Most of the cast wears phony looking wigs and hairpieces, and the sets look hopelessly studio bound.

To be honest, this video of the restored version was stopped before the end, so negative an effect it had on me. Certainly a shame, to have such a multi-talented cast in so feeble a final effort.

Goes to show, I guess, where followups (in this case, to the great classic, \"Umbrellas\") often do go awry. One cannot recapture, only recreate.", "label":0 }, { "text":"One would think (as I did), that with Steve Martin, Goldie Hawn, and John Cleese, a movie should be, at the very least, decent. These stars (especially Martin and Cleese) have produced some of the funniest works of comedy of all time.

Well, apparently I was grossly mistaken--this is single-handedly one of the worst movies I have ever seen. It boggles my mind how one joke after the other can be so profoundly unfunny. It pained me to watch these talented actors execute one of the most positively lame scripts I have had the misfortune to come across. Based solely on the big names, I remained hopeful for a long time through the duration of the film, but it consistently failed to provide any entertainment whatsoever.

Normally, both with movies and in life, I try to stay away from biased comments and broad generalizations. But with this film, it's hard not to let loose. I can count on one hand, perhaps even two or three fingers, major Hollywood productions that left me more bitter than this. This is easily one of the worst comedies ever made.

I tried to enjoy this---I really did. But The Out-of-Towners ultimately fails miserably. If you really want time-efficient entertainment, just take your money and watch it swirl as you flush it down the toilet. Just please don't watch this movie.", "label":0 }, { "text":"Someone actually gave this movie 2 stars. There's a very high chance they need immediate professional help as anyone who doesn't spend 30 seconds to see if you can award no stars is quite literally scary.

This film is ... well ... I guess it's pretty much some kind of attempt at a horrible porn \/ snuff movie with no porn or no real horrible bits (apart from the acting, plot, story, sets, dialogue and sound). I wrongly assumed it was about zombies.

Watching it is actually quite scary in fairness; you're terrified someone will come over and you'll never be able to describe what it is and they'll go away thinking you're a freak that watches home-made amateur torture videos or something along those lines.

I'm so taken aback I'm writing this review on my mobile so I don't forget to attempt to bring the rating down further than the current 1.6 to save others from the same horrible fate that I just suffered.

I worst film I've ever seen and I can say (with hand on heart) it will never, never be topped.", "label":0 }, { "text":"I watched Phat Beach on cable for a while and I sort of enjoyed it. The fat guy is the best character, as he seems to be a nice guy. The rest of the characters are just various stereotypes of young men and young black men. I like to watch these low budget movies that capture a period of time because they are almost like a documentary of the year's attitudes and fads. Phat Beach is also funny because the low-budget babes in this movie are strictly home-girls. Most low-budget movies have that \"local babe\" quality, and you can tell the babes in this movie were the local strippers and underwear models for JC Penneys. Some of them had so much cellulite hanging from their bikinis that it was funny to watch how the \"youngsters\" went wild over what was essentially some really over-used, high-mileage skank. There were some cuties too. That is the charm of these low-budget crappy movies. You will see a lot of doggies, and some real cuties! I checked up on some of them at IMDb and seven years later Phat Beach is their only credit. Too bad. It would be interesting if someone ever managed to do a \"Where are they now\" book on all of the cuties that have appeared in the history of movies and then were never again to return. What happened?? There are probably one or two young people in almost every movie who seem to have a lot going for them and yet years later when you see the movie again on TV you wonder \"what ever happened to X?\" Anyhow, this movie mostly blows, but it has some funny moments.", "label":0 }, { "text":"\"Sky Captain and the World of Tomorrow\" (an amazingly incovenient title) is simply a bad movie; it has no heart, no deep ideas, nothing very special about it. Yes, the CGI backgrounds look interesting, but the result is that the whole thing is shot in an annoying soft focus. Additionally, the movie uses music the same way as, say, \"Gilligan's Island\" or the Scooby-Doo cartoons-- IT NEVER STOPS. Terribly, simply terrible. There are no fresh ideas, either, just gobs and gobs and gobs and... etc., of bits taken from older movies and serials. There is no gatekeeper here, the movie just seems to exist because it can. Save your money and your time. Not entertaining at all.", "label":0 }, { "text":"Why do all movies on Lifetime have such anemic titles? \"An Unexpected Love\" - ooh, how provocative!! \"This Much I know\" would have been better. The film is nothing special. Real people don't really talk like these characters do and the situations are really hackneyed. The straight woman who \"turns\" lesbian seemed more butch than the lesbian character. If you wanna watch two hot women kiss in a very discreet fashion, you might enjoy this. Although it seems like it was written by someone who doesn't really get out in the world to observe people. Why am I wasting my time writing about it?", "label":0 }, { "text":"this movie was a horrible excuse for...a movie. first of all, the casting could have been better; Katelyn the main character looked nothing like her TV mom.

also, the plot was pathedic. it was extremely clich\u00e9 and predictable. the ending was very disappointing and cheesy. (but thats all i'll say about that).

the nail in the bag though, was a scene when Katelyn (jordan hinson) was supposed to be crying, but the girl couldn't cry on command! there were no tears streaming down her face, just a few unbelievable sobs. she is not a dynamic actress at all. she gave the same fake little laugh identical to that of hillary duff on lizzie Maguire (sp?). thats when the movie went from not-so-good, to just plain bad. it really looked like she was acting.

in a nutshell: this movie was really bad! it was kind of a mix of every clich\u00e9 kid movie from the 1990's that everyone's sick of--only worse!

i give it an 'F', because it was just so darn hard to sit through (b\/t\/w, i was babysitting when i saw it).

however, you may like it if your 9 or under. ;)", "label":0 }, { "text":"Happened upon a copy of this. Not mine and if I had spent my own money on this I'd be finding those responsible and demanding it back! All I can say is this would be a terrible student film. Any understanding of the medium of film is absent. Acting is god awful, the story would have been rejected from the original Twilight Zone series as unoriginal and lame, and the change in tone of the lead character's reaction to the 'ghost' is laughable.

I can only agree that the 'glowing' reviews of this film are from friends and family. I'm afraid it's not even entertainingly bad.

Amateur in the extreme!

Avoid! Avoid! Avoid!", "label":0 }, { "text":"Make no bones about it. There are a lot of things wrong with this movie. It's clich\u00e9d the whole way, not very funny, predictable, and illogical. Let's start at the beginning: characters. There's the boring, luckless guy - giving Stiller another notch in his boring, luckless guy belt - the allegedly wild, but in reality just fairly normal, love interest - whom Aniston plays well, but really needed no effort to do so - the fat, jovial friend, and then the assortment of clich\u00e9s: an annoying daredevil Australian guy, a confident Spanish guy, etc. The storyline: the beginning is slightly unusual, but thereafter goes into the standard any-movie style, with every plot turn as predictable as your average knock-knock joke. The biggest problem was that Stiller's character's \"development\" really seemed to come from nothing - like your average school play, the writers knew where he started and where he ended, but didn't put enough stock into properly telling the middle bit. Finally, the alleged 'jokes' were nothing but highly watered down versions of standard gross-out humour; there was a regulation chunder scene, sweaty fat men, etc.

In conclusion, the simple fact about this movie is that learning the meaning of the word 'shart' was the only good thing. Hamburg really dished up a dog's dinner here, and the sugar coating of Stiller and Aniston may have lured the viewers, but the taste left at the end was just as rancid.

Final comment: This film may have been dreadful, but Aniston still picked a better between-Friends-seasons movie than Kudrow's odious 'Marci X.'", "label":0 }, { "text":"A film so insecure the creaters perhaps hoped to milk an original film noir classic title, \"Farewell My Lovely\", thinking the gullible would assume it a remake. The characters are so foul and unappealing that it deserved its cold reception when first released. Time only adds to it its absurdity. Having none of the guile, cinematography, desperation or despair of classic noir it relied instead on a convoluted and senseless crime plot that would have easily resulted in several arrests within hours. As if that weren't enough it threw in an utterly sexless attempt at erotica in which at least one of the participants hadn't bothered to bathe in several days. This only made this mess all the more painful to watch. Find a good classic forties or fifties film noir instead of wasting two hours on this failure.", "label":0 }, { "text":"I do not even want to call this thing a film - it is a movie that should not have won any awards. The acting was horrible as were the silly scenarios. This is exactly the sort of film that so many folks think caters to an NRI audience but is in fact loathed abroad for its awkwardness and the overwhelming sense of \"trying\" throughout the movie.

I find it strange that so many actors conversant with the English language have such a hard time doing so convincingly in front of the camera. I'm sure many readers know what I am talking about - all those token English phrases thrown into a movie, in Hindi and in regional cinema for cool points. There are few Indian movies in which the English seems completely genuine - Being Cyrus was a recent one. Although not a great film, it was a good film and the language did not seem \"put on\".

I feel ashamed that P3 was awarded the NFA in 2005. The only semi-enjoyable parts of this rubbish were Konkana and a somewhat catchy background score. Other than that, do not even waste your time with this film.", "label":0 }, { "text":"This is a total waste of money. The production is poor, the special effects are terrible. In my country they had the courage to put this film on video named as \"The Mummy\" because of the success of Brendan Fraser`s film. I`m sure that you can find better horror movies.", "label":0 }, { "text":"Attack Force has a horrendous title, and can almost certainly be judged by it's awful cover, because the film is horrible! A mish-mash of plot lines, a choppy mess, and a horribly stagnated pace, make the film hard to watch start to finish. I managed this and I'm proud. As a fan of Seagal's work (mostly of his old days), it's painful to see him star in such tripe. True Seagal's last half dozen movies or so, have sucked a lot, but some of them at least had some redeeming features. Attack Force is a mess. From conception to delivery this film has undergone many changes, from an alien plot line, to the current one about a highly addictive super drug, about to be unleashed on the Romanian (the film has several settings, none of which are Romanian, but all look like Romania because they are in Romania!) populace. The film is tacked together with little regard for whatever state the original shooting script was. Plot-holes and loose ends are abound in the film that's for sure. That's been a problem in Seagal's last few films as well, but never has the result been so boring. There's a whole plot line about the water supply being poisoned with CTX (that's the drugs cool name) that is never resolved!

Of course in recent years the plot's haven't been the main draw in the Seagal canon so there was a big onus on the other departments, especially the action. Before I regard the action though, all the other departments are poor. The direction is poor, or perhaps better put, made to look poor. Who knows how director Michael Keusch originally intended this film? Between him finishing his job, the re-shoots by stunt man Tom Delmar, and the editing, a coherent auteur vision is completely lost. The best way to describe the film is that it's just all over the shop! The cinematography is dull, nearly inducing sleep, while the droning score (sounding like it was produced on the cheapest of cheap synthesizers) does nothing to excite matters. The cast too are poor, unable to salvage anything here. Seagal looks bored beyond recognition, and is dubbed through much of the picture, clearly when plot-points are being changed. He looks tired and overweight, and lethargic, unlike he's looked in previous pictures too (remarkable as the aforementioned have been key complaints in Seagal's recent pictures). The only redeemable cast member is Adam Croasdell as one of the villains, doing a slimy Brit routine. He seems to be a throwback to the alien plot line, because he's playing it inhuman. He seems like a cross between a body snatcher and a vampire (ditto to the lead villain played by some hot chick who appears on occasion, seemingly waiting for her husband\u0085 Dracula).

Finally the action. Well it's poor. Poorly conceived, poorly shot. There's not much either, and there's even less featuring Seagal. Stevo doesn't really bring out the stunt double here, because there's so little to do. There's even a lengthy (repetitive and boring) action scene on the hour mark that inter-cuts occasionally with little flashes of Seagal's stand in because clearly Seagal wasn't there while the scene was being shot, and they wanted to have him feature in the action scene. Seagal eventually appears in person to shoot two guys in the head. Seagal has a producers credit here and a script credit, but from what I understand the film has been altered behind his back to the current state it's in. Seagal will apparently not be working with these people again, or with Castel Studio's who continue to deliver horrifically sub-Nu-Image (that's saying something), material.

Overall this is one to avoid if you are not a Seagal fan. Seagal fans can also be safe in the knowledge that the big man probably won't want to do anything this bad again. Unfortunately his next film which has already been shot, with the same people, promises to be even worse than this. *", "label":0 }, { "text":"David Mackenzie's follow-up to the brilliant Young Adam wants to be a feel-good underdog story of a lonely voyeur who is trying to confront some psycho-sexual issues with his dead mother. It wants to be gritty, realistic, and mysterious. At the same time, it wants to be funny and nonjudgmental of its disturbed lead as he establishes himself as an adult.

To meet this end, the film tries hard to be youthful. Its poster has hand-drawn letters looking like that of Juno. Its original soundtrack is comprised of fast-paced indie rock which tries to convince the audience that Hallam is OK; just a little misguided. But strangely the film is anything but youthful.

Like Young Adam this film's central mystery concerns a drowned woman- in this case Hallam's mother. Young Adam keeps its mystery quiet, contemplative, and paced well enough to hit you with the truths as they come. Hallam Foe does the opposite. It foregrounds its character's psychosis so clearly and so early that he never really does anything outside his expected parameters. The opening scene is Hallam in his treehouse watching his sister fooling around with her boyfriend. Hallam swiftly interrupts, asserting his presence in the household. Here we see everything that Hallam will do for the rest of the movie.

The mystery surrounding his mother's drowning is whether it was suicide or murder by his father's girlfriend. The audience can never really trust Hallam because, besides being creepy, we think his obsession has led him close to insanity. This hindered the mystery element for me because Hallam is too sporadic to be relatable. Right when he's found some clues that would support his claim he runs away from home, at first it appearing to be looking for the police. Then he gets extremely sidetracked by a girl who resembles his mother, which frustratingly leads the story away from the mystery element.

While Jamie Bell does bring out some very endearing traits in his lost character, he was limited by the obviousness of his psychological needs. This movie is in no way mysterious, yet it is not blunt either. It tries to be realistic in dealing with such issues, but it adds a very self-conscious spunk which registers itself as quite the opposite. It goes for a soundtrack-heavy, Trainspotting attitude to help the audience root for a protagonist who scales buildings, picks locks, and camps out for the sake of voyeurism. These urban peeping tom adventures Hallam engages in are way too difficult for an inward-drawn country boy to engage in and they are not sexy, giddy, or pleasant. They are more neutral than anything; not propelling the character or story. Mackenzie makes you understand Hallam, yet he fails to build common ground.

He expects you to enjoy Hallam's trials and tribulations without much ideological justification. The film hinges on its audience's perspective on voyeurism\/the kind of person who engages in it. Obviously, most people would be disgusted by it. And Hallam Foe realizes that, but it does not let us see Hallam weigh the morality of his decisions. He goes from person to person, trying to fill his deep void. There is a particularly disturbing line from Hallam's love interest Kate where she drunkenly says \"I love creepy boys,\" perhaps asking the audience to do the same. The line tries to foreshadow her understanding of him (her motivation remains vague throughout) and tries to further us from judging him. It's not hard to like Hallam, but it is very hard to participate in his adventure- if it is even an adventure at all. All the while, the film tries to use its flamboyant soundtrack to mask its indecisive mood.

Great performances are weighed down by a film with a weak third act, muddy development, and needlessly ambiguous direction from Mackenzie. Recently this film was re-named for a US release, and for what reason? Not only is it more unappealing, but the hard truth is that the Hallam character never earns the title 'mister.'", "label":0 }, { "text":"I have walked out of about 6 movies my entire life. This was one of the worst movies I have ever seen. I don't know how I sat through an hour of it. I must have been in a coma that night. I saw it in the theatre when it came out 8 years ago. I couldn't even remember the name, but I knew that Penelope Ann Miller starred in it. It must have really affected me to be wasting my time commenting on it today. Yech! Vomit! Barf!", "label":0 }, { "text":"\"Why?\"

That simple question had to be on the lips of every single New Yorker during the 12 months of terror that David Berkowitz created in 1976-77. That same one word will surely become the same perplexing question 22 summers later as people exit theaters exhibiting the trite and exploitative \"Summer of Sam\".

Director Spike Lee attempts to weave the story of a pack of misguided thugs searching for the celebrated psychopath -- who paralyzed New York City for over a year -- with a stark and graphical depiction of the killings, the demons inside Berkowitz's head and the frustration of a futile NYPD manhunt. He presents an ensemble of despicable losers who hear their own \"barking dogs\" as they live lives devoid of love, honor and humanity -- no different than Berkowitz. Lee browbeats the audience in nearly every frame with \"not one of us are what we seem to be\". Often a critic of the white establishment, Lee perpetuates the stereotype by including a scene where Mira Sorvino, playing a newlywed with a cheating husband (John Leguizamo), hopes to have oral sex with a black man \"in the back of a big black Cadillac\". An Italian Mafioso tells a black detective that the famous Willie Mays' over-the-back center field catch was \"lucky\". Lee even makes sure to deliver the racist musings of one middle aged black woman who declares \"I'm happy it's a white man killing all these white people because if it were a black man killing all these white people - there would be the biggest race riot in NYC history.\"

Other than an outstanding opening pan shot of an arrival at a disco (reminiscent of shots from Martin Scorcese's \"Goodfellas\" or Orson Welles' \"The Third Man\"), this film has no soul, purpose or passion. He parades characters on the screen bereft of human decency. Although we learn nothing about the true victims of this horrible spree, Spike Lee seems to be saying New York City got what it deserved during that frightening, boiling summer over two decades ago.

\"How could anyone wreak such havoc on his beloved city?\" \"How could someone show such hatred toward his fellow man?\"

Are these appropriate questions for Berkowitz or Lee?

You decide.", "label":0 }, { "text":"This film is just plain horrible. John Ritter doing pratt falls, 75% of the actors delivering their lines as if they were reading them from cue cards, poor editing, horrible sound mixing (dialogue is tough to pick up in places over the background noise), and a plot that really goes nowhere. I didn't think I'd ever say this, but Dorothy Stratten is not the worst actress in this film. There are at least 3 others that suck more. Patti Hansen delivers her lines with the passion of Ben Stein. I started to wonder if she wasn't dead inside. Even Bogdanovich's kids are awful (the oldest one is definitely reading her lines from a cue card). This movie is seriously horrible. There's a reason Bogdanovich couldn't get another project until 4 years later. Please don't watch it. If you see it in your television listings, cancel your cable. If a friend suggests it to you, reconsider your friendship. If your spouse wants to watch it, you're better off finding another soulmate. I'd rather gouge my eyes out with lawn darts than sit through this piece of garbage again. If I could sum this film up in one word, that word would be: Suckotrocity", "label":0 }, { "text":"Just watched this after hearing about how bad it was and wanted to see for myself. Seriously, even if you read all the negative comments on here you will be nowhere near able to comprehend how awful this film actually is, although it has to be one of the most hilarious things I have ever seen! Never bothered to post a comment on here before, but this piece of crap really warrants it.

Firstly the entire plot is ridiculous and nonsensical. Brother of the lead character (either Ben or Arthur, I forget which is which, and frankly it's never very clear) wants to stop some kind of gay marriage by killing everyone in sight - because homosexuality is abhorrent to Christians, but apparently mass murder isn't. Then there's some other crap thrown in about one of the gay couple's ex-wife trying to force him to remarry her at gunpoint. This leads to nothing, but provides us with one of the funniest lines of dialogue in the whole \"film\" - \"I don't make sense? You don't make sense! That's who makes sense!\". Brilliant.

Then there's the acting, which is just atrocious. It must be seen to be believed. My personal favourite is the apparently stoned civil rights lawyer woman, who is clearly reading her lines off of something, yet still managing to mess them up. Enough said. The gay couple couldn't be less convincing. There's the vaguely attractive and completely gormless guy, and his boyfriend who looks like that little cartoon dough man of the bisto adverts. Only fatter. And less talented.

The \"film\" has also been filmed by someone who is incapable of holding a camera even remotely still, and the number of mistakes throughout is amazing. The whole thing kicks off with the fat main guy in bed with a pair of boots on. Yep.

But anyways, we all know how terrible this thing is, so I'd like to highlight some of the most priceless comedy moments that the \"film\" provides.

- When the fat guy sets the church on fire and then prances like a six year old girl across the car park to make his escape. Hilarious.

- Mildread! No idea what relation she is to the main characters - sometimes they know her, sometimes they don't, but she pops up in a couple of scenes nonetheless. Hilarious.

- The stoned lawyer. Already mentioned her, but she's so funny she's worth another mention.

- The evil brothers dinner of crackers that he lays on for his guests.

- The evil brother's anti-gay potion.

- The evil brother's cats.

- The ending, which I won't give away because it MUST be seen to be believed. I warn you though, make sure you're not eating at the time!!!! The tub of lard main character\/director\/producer gets naked. It's foul.

Basically, Ben and Arthur is indescribably bad, but unintentionally the most comical thing you'll see for a long time. Literally, nothing is good about this excuse for a film, the goon of a director even manages to make the opening credits into a joke by writing his own name about 15 times.", "label":0 }, { "text":"What's written on the poster is: \"At birth he was given 6 years to live... At 34 he takes the journey of a lifetime.\" Ami is an American-born Israeli who was diagnosed with Muscular Dystrophy disease at the age of one. At age of 34, after the love toward his 22 years old care-giver didn't go well, he decided to come to the US to face the doctor who said that he would have only 6 years to live. He wanted to show the doctor that he is still alive, and weights 39 pounds. Why? Your guess is as good as mine, even I have seen this film.

Obviously it's courageous to live when all he can move is his left index finger, but why does he have so much anger toward the doctor who diagnosed his disease 34 years ago? His doctor just told his mom that based on the medical history, people with his disease won't live long. What's the point of him showing up at old doctor's door for? Why is tracking down this old doctor in the US is a journey of his lifetime? There are so many things we might be interested in Ami's life: how can he make those animations with the movement of only one finger? How can he go through daily lives while totally depending on others? How did he out lived his doctor's prediction? How does he deal emotionally when other people look at him like looking at a strange creature? The movie told us none of that. Instead, the filmmaker got a van and set up a trip to let Ami to show up at his old doctor's door in order to show him that he is still alive. I thought it was a joke.", "label":0 }, { "text":"I have never posted a review before, but I had to do it for this film! This film is SO bad, I found myself trying to justify how bad it is by trying to think of it as kitsch or parody. But it ISN'T. It is truly, un-self-consciously BAD. This is a serious attempt that flops gloriously. Other reviewers have pointed out the film's many flaws, so I'll try not to repeat these, but I do urge you to see this film. Throughout it I was either speechless, literally gasping with disbelief, or rolling on the floor in hysterics. I haven't had so much fun watching a film in years. In fact, I'm going to try to get all my friends to see it because it's the kind of movie that needs to be shared.

My favorite parts: -- When Arthur auditions to be a go-go boy (his dancing is unbelievable) -- The gratuitous nudity (the director\/leading actor just had to get a nude shot in) -- The preacher's office with its cardboard and crayon rendition of Christ -- Of course, the famous wedding scene with the palm trees and the forgotten rings (what narrative function does this play?!?) -- The ex-wife's wrestling match with Ben to get possession of her gun -- The detailed sequence wherein Arthur kills the preacher; he apparently burns him up with this incredibly measly match -- Yes, the gay religious-fanatic brother with his bleached hair and WeHo fashions -- And, my favorite, the use of Joplin's \"The Entertainer\" as the opening soundtrack and \"Pachebel's Canon in D Major\" as the closing soundtrack! -- the list goes on and on -- a MUST SEE!!!", "label":0 }, { "text":"This TV production of 1970 starring Susannah York and George C. Scott is another proof of how difficult it is to adopt \"Jane Eyre\" to the screen, and how much can go wrong in doing so. It is true that the movie suffered in the transfer to DVD - some scenes which were complete in the original were shortened and so badly edited that there are striking continuity gaps and that even one crucial scene between Jane and Rochester starts in the middle of a sentence! But even if the editing were better, the film would not be. The script is bad, the portrayal of the characters is untrue to the novel and nearly all actors are miscast. As a consequence one does not have the feeling of watching an adaptation of Charlotte Bront\u00eb's novel at all. The problem is not only that a number of scenes are shortened or left out - this is the case with all the short adaptations - but that the remaining scenes do no at all capture the tone, the spirit, the atmosphere and the concept of the novel.

This Jane Eyre for example completely leaves out Gateshead and begins with Jane's arrival at Lowood. While this is perfectly all right, since some scenes must by necessity be left out, it is not understandable that, instead of using the time gained (so to speak) and thoroughly portraying Jane's friendship with Helen, the influence Helen has for Jane's development, the lecture in Christian stoicism that she teaches her, the film nearly exclusively concentrates on the physical ill-treatment of Helen, which is driven to absurd extremes in this adaptation. What Helen has to suffer is bad enough as described in the novel, but here Miss Scatchard is portrayed as a kind of sadistic prison ward, who deliberately wants to drive Helen to a premature death. And this is about all which happens at Lowood. If you compare that to the deep impact the years spent in Lowood have on Jane in the novel, one can only state with regret that the movie does not even touch the surface of that particular episode in Jane's life. And this is the problem throughout this adaptation: It rushes from scene to scene, very often without transition, and nowhere comes even near the essence of the novel. The dialogues are an odd mixture of made-up lines and lines from the novel, very clumsily patched together, and the scenes between Jane and Rochester are so shortened that both share only 5 minutes together on screen before they fall in love, and the little conversation they have contains nothing of the brilliance, the intensity and also the humour of the conversations between Rochester and Jane in the novel. But the scriptwriter not only did Bront\u00eb's language injustice but in addition managed to ruin her moral set-up with just one sentence. When Rochester and Jane go to see Rochester's wife after the would-be wedding, Rochester says: \"Yet I once loved her (his wife) as I love you now.\" The whole moral concept of the novel depends on the fact that Rochester is indeed an innocent victim of an amoral scheme and was trapped into marrying a mad woman whom he never loved, and that his effort to seek a true life partner is, if not sanctified by God's and man's law, yet understandable and forgivable! But this one sentence completely undermines Bront\u00eb's whole carefully constructed moral concept and turns Rochester into a dirty old man who wants a new young wife because his old one is of no use to him any longer.

From the errors regarding the script to the errors regarding the casting: Now I am by no means one of those who insist on physical resemblance between an actor and the literary figure he portrays, but by no stretch of imagination is it possible to picture lovely, blonde, blue-eyed and full-mouthed Susannah York as the novel's plain heroine. In addition, Ms York was in her thirties when the film was shot and looks it. Played by her, the novel's shy, reserved and inexperienced young Jane becomes a perfectly poised, graceful and mature woman, completely sure of herself and her deserts. I do not say that Susannah York does not play well and convincingly but the woman she portrays is not Bront\u00eb's Jane Eyre. To cast George C. Scott as Rochester must have been motivated by the desire to have a Rochester who looked old enough to make the 18 years difference in age between Jane and Rochester plausible. Scott looks as if he were around 50 but acts in various scenes as if he were 70.

To compliment the \"maturity\" of the leading actors all passion, desire and despair seems to have been deliberately wrung out of the script. The scene between Jane and Rochester after the wedding, the emotional climax of the novel, has become a calm, rational conversation between two middle-aged persons, at the end of which Rochester falls asleep. When Jane returns to him in the last scene, he is just as mildly pleased as a grandfather who has just been paid a visit in his old people's home by his favourite granddaughter. The only character who displays an appropriate amount of emotion is St. John, of all people. Ian Bannen plays him so passionately and his eager plea for Jane's love is so touching that one gets the impression that Bannen was modelling his St. John on the Rochester of the novel. But good though Bannen is, his St. John is just as far from the novel as York's Jane and Scott's Rochester. The only redeeming features of this very disappointing \"Jane Eyre\" are the locations and the score, and I would only recommend this production to those who want to watch and compare every single adaptation of \"Jane Eyre\".", "label":0 }, { "text":"I've read a few books about Bonnie and Clyde, and this is definitely MORE accurate than the Beatty\/Dunaway version, in that its costumes and locales echo actual photographs taken of the gang. Particularly well done is the death of Buck Barrow, and the capture of his wife Blanche. This actress looks looks exactly like the photographs taken that day of Blanche grieving over her dying husband. However, this movie is still Hollywood, and our anti-heroes stay pretty to the end, even after being shot full of holes (in life, Bonnie was badly burned in an auto accident the year before their famous ambush, and did not look like a perky cheerleader at the time of her death). The script is tedious, and the acting is poor, particularly the leads. Very disappointing. Stick with Beatty and Dunaway. Their's may not be \"the true story,\" but it's a great film.", "label":0 }, { "text":"One of the worst films I have ever seen. Got so bored that I switched it off midway through to watch the news. When I switched it back on, I fell asleep. The film starts with a dream, continues with a dream, and ends with a dream. Then there are a few more dreams in between. Come on, what is supposed to keep me interested in that? A film needs to have a reason to be interesting. The minute you felt the film was only a dream is when any sensible film-goer switches off. Ever had someone insist on telling you their dreams and what it means to them? This is it!!!

Absolutely awful.", "label":0 }, { "text":"I've been using IMDb for a few years now, but have never written any reviews before. However, this movie so disappointed me (even with a modest score of 6.4 at the time of writing) that I couldn't keep quiet anymore.

Noise is the story of a New Yorker (Tim Robbins)who is so perturbed by noise pollution that he takes on an alter-ego as a as a vigilante, \"The Rectifier\", and vandalizes any cars he finds with a car-alarm sounding.

I take the name of the movie to be somewhat of a misnomer. Although there are one or two instances of other sources of noise being addressed or mentioned, the only true focus of our protagonist is car alarms. Car alarms, car alarms, car alarms. There is really no other focus. When the movie tries to tie other examples of noise pollution to the problem of car alarms, it seems to be just thrown in to give merit to the actions of Robbins' character.

Yes, we're all annoyed by noise. Nobody likes the sound of car alarms. Of course we all have that internal urge to take a baseball bat to a shrieking vehicle, and this movie uses that fact, and pretty much that fact alone, to sell this movie. I say 'pretty much' because there is also a blatantly contrived sexual relationship (including a completely needless threesome) which is obviously thrown in for those movie-goers who need such things thrown in in order to enjoy a movie. Honestly, it's eye-rolling.

Robbin's character, very shortly into the movie, becomes completely unrelatable. It seems less that he decides not to put up with the noise anymore, and more that by focusing so much on the noise he has begun to lose his sanity. The first half of the movie is essentially the story of how he turns from just an angry, car-bashing dude into this hero of the little guy, The Rectifier. However... the transformation doesn't take place. He just renames himself.

I could go on for a while. Annoying generalized social commentary comes in every now and then to add to the pretentiousness of the movie, and the self-satisfied smirk which never quite leaves Robbins face doesn't help either.

Overall, I think it's very obvious what this movie is trying to be, as it's pretty much shoved down your throat, but in my opinion, it fails in a big way. Just one guy's opinion, cheers.", "label":0 }, { "text":"The greatest sin in life is being dull, and this movie is crashingly boring. its funny, its left out of his \"a life in film\" documentary. He goes from a long piece on \"Stardust Memories\" and then fast forwards to \"Zelig\". This little piece of cubic zirconia just isn't worth the effort.", "label":0 }, { "text":"SWEET SIXTEEN (1983) **\/***** 86 minutes Director Jim Sotos Cast Bo Hopkins, Susan Strasberg, Aleisa Shirley, Patrick Macnee, Dana Kimmell

Fifteen year old bad girl Melissa is new in a desert town and it isn't long before folks around her start dying off. The detective has to put together the clues with the help of his Nancy Drew good girl daughter played by Friday the 13th alumni Dana Kimmell. The local Native Americans are prime suspects since they seem to upset the prejudiced townsfolk. These events all lead up to the revealing of the killer at Melissa's sixteenth birthday party.

This below average slasher isn't too memorable. It has a made for TV feel, without much score besides the title character's own corny theme song which plays a couple times throughout. Lines like \"the killer will turn us into coleslaw.\" Fit into standard eighties slasher screenplays. Marci calls Melissa a bad name then somehow immediately they develop a friendship. Apparently Marci sees how hard it is to fit in because Melissa knows how to wear make-up. This movie would be hard-pressed to be made today with the main character being fifteen and the director inserting multiple gratuitous close-ups of her. The social commentary on Indians wasn't developed enough to be taken seriously. I am too surprised at the fairly high rating this movie gets. Both Sweet Sixteen and Ed Hunt's Bloody Birthday had the potential to capitalize on that time honored tradition of the birthday party to create an intense sequence of carnage but I feel failed to deliver. But on the bright side releasing obscure movies like this on DVD gives hope that others will follow.", "label":0 }, { "text":"I gave this movie a 2, and though I consider myself a science fiction fan, I found this movie very difficult to take seriously. It was on AMC one late night, and I'm glad I saw it for free. This movie is probably good for a few laughs, but not much more.

The special effects are about average for the time period - not awful, but not great, either. Of course we know more about Mars now than we did back then, but we really can't hold that against this film. The main reason I did not like this movie is because of the story.

There were several parts of this movie that I wish would have been explored in a little more detail - the astronaut's injury\/condition, the city on Mars, the creature in the lake, etc. Overall, the movie is much like a lengthy episode of the 1960s version of The Outer Limits - complete with a cheesy ending.", "label":0 }, { "text":"Painfully bad Christmas film that has an equally painfully bad performance by Vince Vaughn, who is paying his usual frat boy self but this time for a children's movie but with out the wit or charm that is in his R rated films. Vaughn seems like he's on autopilot though most of the film and he keeps running into walls with his lackluster performance. After 30 minutes into the film, you would be in touch your inner scourge and say \"Bahumbag\" at how unfunny this film is and after another 30 minutes, you will want to walk out over how unbearable the film has gotten during that point. Out of all the actors involved in this mess, only Paul Giamatti and Rachel Weisz brings some life to there perspective paper thin roles and that's manly because they are both way too good of actors to be in this film. Paul Giamatti brings some depth and warmth to the character of Saint Nick himself but he's forced to Vaughn's level of juvenile behavior when they are doing their sad sibling infighting. You can see in Giamatti face that he's not having fun with his role and it painfully shows in certain parts of the film. Rachel Weisz brings a sense of fun and spirit to her role but she really does not have much of a character to work with and you can see in her face that she's well aware of that, so much so that she seems irritated in certain parts of the film. Fortunately for her, she's not in the film much at all and is able to save some face, unlike Giamatti, who looks like he's about to fire his agent by the end of the movie. The direction also feels uninspiring, like there is no feeling or flow to be had and this is a supposed to be a holiday movie but it ends up feeling like you are just staring at a fancy widow display that is being torn down.

I don't know what went wrong here but with only two actors involved (Giamatti and Weisz) trying their best to at least bring something to the table with a unfunny script they had to work with, spotty direction with no feeling for the subject at hand ( and this is a Christmas movie of all things) and a actor who just does not care about his performance (Vaughn), you have a very unevenly bad film that is very painful to watch.", "label":0 }, { "text":"If you are wondering where many of the conspiracy theories and paranoid ideas about the the UN, Israel, and international affairs come from, look no further.

This isn't a supernatural Hollywood film loosely based on some biblical passage. Instead, this movie was made by a company (Cloud Ten Pictures) with a political and religious agenda. As a movie, the end result at times more looks like clips out of a televangelism program (complete with family prayers and light breaking through church windows while harps are playing).

For mainstream viewers, it may be hard to believe, but many people believe in this stuff literally, as presented in the movie. And that, perhaps, makes the movie important. You probably won't find a more concise exposition of the bizarre views of a significant number of your fellow citizens. So, if you view it, view it as a social\/cultural document. If you are at all media savvy, you don't need to be warned about the unsubtle attempts at propaganda and manipulation in the movie.", "label":0 }, { "text":"This is a typical example of technically highly skilled directors of video clips\/commercials trying to do their first full feature length movie. On one hand the imagery, camera, lighting, CGI and even the sound are highly polished and have a truly \"expensive\" look and feel. Even the actors show a certain amount of potential - unto the point where even the best acting could not hide a bad plot.

In this case it is not a bad plot but hardly a plot at all.

So 50% of the dialog consists of \"What the hell was that ?\", \"What was that ?\" and \"What the hell was that ?\". In none of the cases any of the characters nor the audience is provided with the slightest hint of an answer though. In most of the other dialogues one gets the feeling that there never was any form of dialogue book and the actors had to freely improvise to a plot that wasn't ever explained to them.

The only reason why Skye Bennet's performance could be so good is that her character as an autistic girl didn't allow giving her these tragically horrible dialogue lines the other actors had to deal with. That way she was able to just show her acting talent which the rest of the cast couldn't even get close to. I mean there's not one actor in the world that could make up for a dialogue like this:

Ben: Is this real, huh ? Emily: Stop it. Ben: A mass psychosis, huh ? Jon: Somebody has to take control of this situation. Ben: This situation can't be controlled. Not by you, not by anybody. Emily: Not by you either. Ben: No

Got me goosebumps. But not for horror, more for the horrible attempt. In some moments I felt ashamed for the actors to have added this to their vita.

2 stars for the excellent technical work.", "label":0 }, { "text":"This Santa movie starts off strange and I think Santa might be a pedo. Instead of the usual elf toy makers, this Santa has apparently kidnapped kids from all across the globe and makes them sing a bit like characters from \"It's a Small World\"! I guess there are no child labor laws on the weird astral plane on which he lives (it's apparently NOT the North Pole and not on Earth)!! None of these kids seem very happy and I kept wanting to see commandos break in and rescue the tykes, though I guess for some of the third world kids, these working conditions were perhaps an improvement over local sweatshops. I sure hope that all they do is sing and make toys.

Then, the scene abruptly changes to Hell where lots and lots of demons dance about like they are in a Busby Berkeley musical. This fun in put to a stop by Satan who orders one of them, Pitch, to go to Earth to ruin Christmas!! Personally, I thought this movie already did that! The Devil and his imps are actually kind of cute--like Hot Stuff from the Harvey Comics but with cool evil goatees! Or, if you are Puerto Rican, like a vejigante mask with a goatee!

Somehow a poverty-stricken Mexican kid named Lupita, a group of jerky kids who want to mug Santa and some rich kid are key battlegrounds for the Devil and Santa!! So, if the Prince of Darkness (not Donald Trump, it's the OTHER Prince of Darkness) can somehow make her steal and be bad, he'll 'win'--what, we don't really know! In fact, as they root her on, you get the impression that the film makers intend Santa to be Jesus--as he has all these great powers AND fights the Devil over kids' souls! Later, Santa meets with his friend, Merlin. He asks him to make him a special powder that makes people dream nice dreams. Considering how much Santa laughs in the film (like a demented chipmunk), I assume he must use this drug A LOT! He immediately goes to see a blacksmith who makes him a magic key that opens ALL doors. Considering he keeps kids as his personal 'assistants', this magic key thing worries me immensely! During Santa's Christmas Eve ride, you see Lupita behave like a little angel--one problem down. Santa then takes time out now to take care of the rich kid whose parents are selfish jerks. He gives them some sort of crazy cocktail which magically solves their problems--two problems solved. This is a rare case where alcohol\/drugs HELP kids and solves problems! And as for the little muggers, he gives them coal! Frustrated with his losses to Santa, Pitch then tries to steal the sleigh (which is pulled by creepy animatronic deer). When this fails, he destroys Santa's stash of 'magic powder'! As a result, Santa can't become invisible to avoid dogs and gets treed. Uh, oh...how can Santa take a detour to the Betty Ford Clinic if he's stuck up a tree?! Will St. Nick get down from the tree and get the monkey off his back or will the devils win? If you care, tune in and see. However, be warned that the film is bat-crap crazy!

Technically speaking, the film is yecchy. While it is in color, it's really gaudy. The music is mostly done on an organ--which, along with bad singing from the kids, produces perhaps the worst soundtrack I've heard in recent memory. And the story is just incomprehensible and very, very, very creepy. Devils and a Santa that kidnaps kids is just plain creep-tastic. It's a film you should NEVER show to kids but makes a great film to watch with friends so you can laugh at it from start to finish!", "label":0 }, { "text":"First off, I have to say that I loved the book Animal Farm. I read it with my 9th grade class, and it was great. We also decided that watching the movie would be beneficial. The movie was so disappointing to me. The movie cuts out some characters, and misses a lot of the main points of the book. It skips around a lot, and doesn't explain anything in detail. If someone was watching this movie without having first read the book, they would be confused. The most disappointing thing in this movie to me, was the ending. The ending in the book was the most powerful, and in the movie, they changed it! It was supposed to be the pigs and men in an alliance and sort of \"melting\" together, but instead, the movie made it seem like the animals were going to rebel against the pigs. To sum up, I don't think that this movie captured the real meaning that Orwell portrayed in his book.", "label":0 }, { "text":"I have never commented on IMDb before, but I feel I have to after watching The Batman animation. Its absolute rubbish! Warner Brothers had the perfect animation series in Batman in the early 90s so what the hell are they doing trying to mess with the winning formula? I feel like writing a complaint letter to WB. The original animation was dark and brooding, exactly the way Batman was intended to be. WB had to mess this up with some tripe Batman of the Future. Now they produce this drivel. The Joker doesn't remotely resemble the Joker from DC comics. DC should sue. I urge everyone who agrees with me to email or write to WB and use people power to get back the original formula", "label":0 }, { "text":"If there has ever been a worse comedy than 'Gray Matters' I am unaware of it. The New York Jewish comedy's 'funny' premise is that siblings Sam & Gray are mistaken for a couple and so decide to fix Sam up with a girlfriend, only to find that Gray is equally attracted to their target - Charlie. The revelation that Gray is secretly gay is apparently only a surprise to her. There is a deeply offensive wedding sequence, a deeply embarrassing 'drunk act' from Moynahan and Graham, and a performance that would embarrass forests everywhere for its woodenness from Tom Cavanagh. Sissy Spacek demonstrates a complete inability to do comedy and will want this excised from her resume. Molly Shannon plays the homely friend with lumpen insouciance. Only Alan Cumming emerges with any credit but is seriously under-employed and given nothing with which to work. The whole disaster is cemented by Graham's bizarre eye-rolling performance culminating with the penultimate scene where she wears a comedy hat and an overcoat despite the scene being set in a lesbian bar. It is astonishing that this film was ever released it has no redeeming feature and should be avoided at all costs.", "label":0 }, { "text":"I will probably always go to see a Woody Alleb movie, as one never knows when he just might make a real return to his past greatness. Just one or two great moments or lines could make it worthwhile. sadly however this film just does'nt make it on any score. Saying thar actually makes me sad and even a little guilty. I'm sure my reaction is much like a lot of other fans of Woody, but what can one say? It's probably time for him to concentrate on his Clarinett, which in my opinion, he is rather quite good. Saying all of this, I'll still probably go to any new film Woody may come out with in the future. There's always hope and I'll continue to love and respect The WOODY!!", "label":0 }, { "text":"To say that Thunderbirds is a horrid, forced, in-your-face, ugly looking, nasty to listen to and painful to watch film wouldn't be saying enough. There are only two reasons I can think of why you'd watch this film: 1; you've seen Thunderbirds when you were young (like I did) and are curious as to what it is like but you will really only be watching to find out how badly they screwed things up. Or, 2; you're seeing it with someone under ten years old.

Thunderbirds manages to cock up everything it attempts. The list goes on and on but there are other more subtle, humiliating things that are painfully obvious when you think about it. From the off, Thunderbirds is wrong, wrong, wrong. The whole moral message and 'goal' is set up in an excruciating way: Jeff Tracy (A new low for Bill Paxton) tells his youngest son Alan he's not yet proved himself to be a Thunderbird after Alan randomly and stupidly decided to go down into Tracy Island's bowels to fire up Thunderbird One. The whole film is then a series of events and miss-fires consisting of Alan trying to prove himself whilst his father and other brothers are trapped in space aboard Thunderbird five.

The film relies on kid actors to carry the film: A 16 year old Alan Tracy (Corbet), a 16 year old Tin Tin (Hudgens) and a 14 year old Fermat (Fulton) who is Brains' son. To say that watching the 'adventures' they get up to is painful is an understatement. Frequently trying to act and utilise the script whilst combating the evil 'Hood' (Kingsley) in ridiculously unfunny and hammy ways acts as the entertainment for the duration of the film; it only differs when everyone's in a different location. Also, the whole 'mind control' thing was very tiresome and basically dragged the film down as it was overused and offered a way for our heroes to see a weakness in The Hood \u0096 forced and incidental.

I know that most 'film's for kids' these days try to integrate some sort of material for adults but in Thunderbirds it's done in a way that fetishises Lady Penelope. Sophia Myles plays Penelope and I think it's no coincidence she's a little older than the rest of the kids \u0096 at 24 years old, it's almost too good to be true. Her scenes are often highly charged and carry an erotic push. We see her in the bath, bubbles up to her neck watching TV; in comes her butler and sneaks a peek as she seductively changes channels with her wet, bare and bubble covered foot. Frequent shots of her massive, bright pink high heeled shoes filling the screen during various scenes: This first happens when she is actually tied up with the second happening during a fist fight with another woman! Twinned with this, her bright pink costumes that reveal just enough yet cover just enough are particularly outstanding as is the way she moves and talks with that posh, dominant, English accent; sounding like a commanding mistress (Well, she is LADY Penelope after all \u0096 and you'd better make sure call her that) The whole thing is laughable but the editing is so quick that the kids won't notice but it sure as hell is there.

The actual plot of The Hood doing all that he does just to rob a few banks is very bizarre, the characters that are his bodyguards: a geeky looking woman and hard bodied black man who gets agitated a lot. Are we supposed to be laughing at this? What about the fight scenes? Poorly choreographed stunts and what the hell was with the silly noises? It's utterly, utterly laughable.

The list goes on. The way Bill Paxton plays it all so seriously, like he was told they were doing it one way but it was made another, the way Ford motor company have their logo slapped all over the place. News bulletin: sponsored by Ford, the camera even moves to endorse Ford several times when cars are in shot, the way the CGI looks like something out of a computer game video clip \u0096 it's infuriating. The fact we are told to believe that a 16 year old girl can swim in the freezing Thames, against the current, rescue a downed monorail (monorail over the Thames!?), get back to the hatch and thus; save the day all the time holding her breath. It is absolute bull and the makers know it \u0096 I don't even know if a 10 year old would swallow it.

In short: avoid, avoid, avoid. Thunderbirds is infuriating, unfunny, poorly scripted and even the Rolls Royce was taken out and replaced by a flying car \u0096 everything that could go wrong, did go wrong.", "label":0 }, { "text":"i was disappointed. the film was a bit predictable and did not live up to the hype plastered all over the box. Having said that, the characters were well developed, the windego myth was used in a unique premise and the house was pretty spooky but it just missed for me. I kept waiting for that big AHHHHH or BOO! But it never came.

Furthermore the movie was plagued with poor filming of poor special effects. Thus showing to much of a bad thing and not using atmosphere and viewer imagination to create the horror and suspense. Try movies like Session 9 or the Cube if your looking for a low-budget but well conceived horror movie.", "label":0 }, { "text":"I used to LOVE this movie as a kid but, seeing it again 20+ years later, it actually sucks. Up The Academy might have been ahead of it's time back in 1980, but it has almost nothing to offer today! Movies like Caddyshack and Stripes hold-up much better today than this steaming dogpile. No T&A. No great jokes except for the one-liners we've all heard a million times by now.

I recently bought the DVD in hopes that it would be the gem I remembered it being. Well, I was WAY off! The soundtrack had only 2-3 widely-recognizable hits (not the smash compilation others had mentioned) and the frequent voice-overs were terrible. The only thing that was interesting, to me, was predicting what the character's lines were before they said them. Yep, I watched this movie that much back then!

The only reason I am writing this review is to give my two cents on why this movie should be forgotten, sorry to say. :(", "label":0 }, { "text":"What can I say? I ignored the reviews and went to see it myself. Damn the reviews were so right. What a waste of money considering it's budget.

Good thing, I went to see Kill Bill after this one.

To see a really scary movie, would be Crossroads!

Bottom line-- I like \"Girl in Gold Boots\" better than this crap.", "label":0 }, { "text":"i was intrigued to see how a little-seen 2008 film had somehow won the Oscar for best picture of 2009 and thus went to see The Hurt Locker. sadly, all i got for the two hours invested was the grim confirmation that this film had won awards purely for off-the-screen reasons.

the direction and visual style of this film is some of the weakest you will ever see. when it's not busy being yet another Bourne Identity homage with dire, annoying \"shaky cam\" visuals, it shows off all the hallmarks of a second rate daytime soap opera in terms of lensing.

the \"plot\" is threadbare, the characterizations are about as well developed as rejected Beetle Bailey comic strip ideas and the dialogue - on the instances where the film gives up on being \"minimalist\" and for no apparent reason turns one or two soldiers into right chatterboxes - is some of the worst ever recorded. in fairness, the actors do the best they can in the circumstances, just not enough to obscure how bad the project is.

the whole film has the feel of it being intended as some kind of \"mockumentary\" that they clocked was bereft of humour and thus re-edited as best they could so as to pass it off as a serious drama.

if you spend two hours on this film they are two hours you will never get back, and two hours wasted that you will regret for the rest of your life.", "label":0 }, { "text":"The interplay between the characters is a moral disaster. You end up disliking most of the characters and you don't particularly like any of them.

Even the two main characters played by David and Gwen are so badly written that you really don't care one bit about them. The movie has no plot, no direction and no purpose. The single redeeming quality of the movie was to treat it as a glimpse into the messed up lives of a few losers - and that's hardly stimulating even as an afternoon waste.", "label":0 }, { "text":"Quite possibly the worst movie that I have ever seen. When has Hollywood ever made a successful movie that attacked Republicans? Why don't they learn. The Dixie chicks haven't. These Lefties live in their own elite bubble interacting among themselves; oblivious to the fact that most of America is much further right than they are.

The best Hollywood productions are not partisan and are rarely political at all.

Dan Akroyd's imitation of Cheney was bad.

I would have thought Cussack could have landed better movies.

It wasn't funny.", "label":0 }, { "text":"There are some elements that save this movie from being a total catastrophe, but are overshadowed with bad acting, plot holes, deus ex machina thrown ins, stupid dialogs, weak script, and predictable clich\u00e9s...

What we have here is a horror movie with a storyline that goes nowhere for most of the time. A group of unlikely heroes including a black guy that gets it first (yeah, that clich\u00e9 seems to be still very much alive even in Finland), seem to have trouble trying to exit a mysteriously empty hospital. There are shrieking ghosts (very imaginative), zombies (at one point I thought at least they didn't use zombies, but they came), and Finnish glam-rock band with demonic make-up on, getting in their way. There is also some time-shift doodle present, but it adds up nothing to the storyline. Autistic girl and a hobo seem to have some deeper understanding of a situation, but they never spell it out to the viewer, or their confused friends. Their lines consist only of profound life lesson thoughts like: \"What happens will happen...\" or \"Light can't live in the darkness...\" or the ominous \"I need a red crayon... red crayon.\" So all this characters (including worried father and sweet doctor in distress types) end up doing is running around them dark floors, and from or mistakenly to the demons. Occasionally a ghost or a group of zombies show up, and if it seems a demon keyboardist can't spot a group of six people coming towards it, waving a flashlight and conversing, it was just pretending. And apparently this demon can break through walls without much hassle, but opening elevator door is beyond its capabilities.

In the end we even get a \"it was all a dream\" sequence twist. Or maybe it wasn't. Oh, boy I wish this movie was, and that kind that makes time seem to move faster so it all plays out in just 10 minutes or so...", "label":0 }, { "text":"#1 Vampires vs. Humans

#2 Military-reject roughneck squad as first responders to dangerous, unknown Vampire incursions.

#3 Sexy female Vampire on the side of the \"good guys\".

#4 Plenty of gore and action.

There are four (4) major plot devices that may help you decide if you want to watch this movie. If you want all four, then the next plot device may not deter you...

#5 In outer space.

That last one almost got me too, but I'm glad I watched. In a pile of terrible direct-to-video horror that is the Sci-Fi channel Halloween marathon... this movie is a breath of fresh air. It will stand-up against any of the other Sci-Fi channel offerings, and even against the other Vampire movie Natassia starred in (who keeps giving Uwe Boll money?).", "label":0 }, { "text":"This film really disappointed me. The acting is atrocious. Unbelievable. And it's about actors. The story is incredibly obvious: A group of independent actors stage a Passion Play and, in turn, they start to live out the lives of the characters they play. I've been watching a lot of movies lately, thanks to Netflix, and this is the first one I haven't watched all the way through in a long time. I felt I didn't need to see the end; we all know the end of this story.

For some, it seems, this \"modernization\" of the Gospels is either sacrilegious or enlightening. I cannot speak to any of this as I wasn't raised in the Christian church. That being said, I was raised in the US and I live in an increasingly Christian culture. I'm curious enough about Jesus and about the modernization of the religion, for better or worse. I haven't seen Mel Gibson's version, but I'm guessing that those who liked that one will like this, except for the most conservative. I just wish this was a better film.

Lots of these reviews praise Arcand's direction and especially the cinematography. I liked neither. The film itself is rather prudish and preachy. I didn't believe the characters' personae and I was never involved with their on screen lives. The play within the play is very much dated and would not, I think, carry it's own weight in a real time production. But that's beside the point. What I really needed for this to work would have been stronger development of the characters and the plot to support the philosophical and theological questions the film would like to be about. And the musical choices are obvious and unoriginal.

There were two examples of this that come easily to mind. Firstly, there is a reenactment of the parable of Jesus driving the money lenders from the temple: the lead actor, who has fallen for the woman who will play Magdalene and who is also a model and dancer, becomes enraged that she must debase herself by auditioning for a commercial (with a wicked producer and plenty of panting men in the audience) with her pants off. He trashes the place and chases them all out. I guess this is the level that the film wishes to reach. The romance between these two is entirely arbitrary and not at all emotionally realized and the scene is played out like a high-school rendering of Death of a Salesman, i.e., not well. Please stop hitting me over the head with this high-handed \"significance.\" The other is the relationship between the other female lead and the priest who has asked them to do the play and who, eventually, turns against them and betrays them to the nowadays-corrupt Church. Why. Why does she sleep with this guy. \"It brings him so much pleasure and me so little pain.\" Ah, the saintly whore and the lovable old coot. It seems to be just enough for Arcand to signify but not worth the trouble to enrich and enliven these characters. They are going through the motions and I'm reaching for the eject button.

Feel free to write me off as bored, jaded or just not interested. Feel free to watch this movie and see the Passion, in all its beauty, sadness and inspiration, delivered as an amateurish and gimmicky charade. Feel free to have all your preconceived ideas affirmed and see any shred of artistic integrity forsaken for monotonous drivel. But don't say I didn't warn you.", "label":0 }, { "text":"OK I'm not an American, but in my humble Scottish opinion Steve Martin is not, never has been, and never will be a funny man as long as our posteriors point in a southerly direction. Phil Silvers as Sergeant Bilko was a funny man, no doubt due to the skilled writers and directors and all the other talented team working characters in the series who contributed perfectly to one of the funniest and dateless situation comedies America has ever produced. How anyone could have the audacity to even attempt to replicate the Phil Silvers character is beyond me. To compound things the exercise was repeated in Martin's unfunny attempt to be Peter Seller's Inspector Clouseau, another abortive attempt, in my opinion, to rekindle a demonstrably unfunny career. Some of your contributers say 'Steve Martin puts his own stamp on the character', to that I would say 'balderdash' , his portrayals will be long forgotten when those of Silvers and Sellars will be treasured for generations to come", "label":0 }, { "text":"The Prophecy II, what's there to say about it? They've completely abandoned the originality of the first film, and simply made a Chris Walken splatter film. It's not even written by the original writer!

If you've seen Nr. 1 don't watch Nr. 2 it's a real disappointment...

If you haven't seen Nr. 1 don't watch Nr. 2! Go see Nr. 1 to experience something original and fun", "label":0 }, { "text":"Me and a friend rented this movie because it sounded really good. But we were wrong. First of the acting....wow...the acting was the worst, the effects were really bad as well, it seemed like a film a college kid made. The plot was pretty good, but it'd been done. The thing that ruined the movies the most were the actors. The main guy was the worst actor ever...it's a shame I'm even calling him an actor...The only good thing about this movie was it was so bad it was funny...so if you want a good laugh see it....but other than that...stay far away from this one. I usually love B list movies and such, but this one... I do not know how it was passed to even be put on video...this one is the worst I've seen..and I've seen some bad ones.", "label":0 }, { "text":"This move is about as bad as they come. I was, however forced to give it a 2 for the scenery. There are many great shots of the southwest including many in Monument Valley, one of the most breathtaking places in the US. It is also, starting with John Ford, one of the most filmed. In fact one scene with Kris and the girl was filmed on a place called John Ford point.", "label":0 }, { "text":"Liongate has yet to prove itself. Every single movie from lionsgate has been abysmal. i've tried and tried to give them more opportunities and they just keep slapping me over and over again. And Cabin Fever is definitely no exception.

I couldn't even pay attention to most of this movie it was so frustrating and bad.

here's the plot. Guy cuts up dead dog for some reason. Gets infected by random virus, transfers it to kids at a camp, kids start to get infected and die, town finds out about it and rather than help them, kills them. then the water is infected and everyone dies. the end.

Seriously, that's the whole movie.

all the characters are completely retarded, you don't care for any of them, and the one kid should have stuck with boy meets world. Me and my friend found that talking about how fat and bitchy our one classmate was to be far more enjoyable than paying attention to this movie. We did manage to make it all the way to the end while screaming bulls$@t, because this film will make you do that.

and i'm still confused by the random slow motion karate moves of the one random kid and how apparently everybody out in the country is completely retarded and hickish. And again, why did this dog attack the girl? why did the kid the hicks were trying to kill sit in a chair waiting for them to kill him? that was part of the two of their's plan? wow. best plan ever. i cannot believe this movie got a theatrical release. i could barely stomach the DVD, let alone have to sit in a theater not moving for an hour and a half. It wasn't scary, or funny, or cool, or anything. it's just a waste of 90 minutes that you could be using to...i don't know, plant a tree or something. it's more productive than this piece of garbage. The acting, special effects, and script are a joke. don't ever pick this up.

Cabin fever gets one nasty leg shaving scene, out of 10", "label":0 }, { "text":"To confess having fantasies about Brad Pitt is a pretty tough admission for an heterosexual to make. But what can I tell you? Maybe is that famous extra something that everybody talks about and makes a star a star. It crosses that barrier. It pulls you into unknown sensual and emotional territory. Brando had it in spades, Montgomery Clift, Gary Cooper, James Dean of course and in more recent times, Tom Cruise, Jude Law, Johnny Depp, Ewan McGregor and Billy Crudup. Women fell in love with Garbo, Dietrich, Katharine and Audrey Hepburn, Grace Kelly, Marilyn Monroe, Julie Christie, Charlotte Rampling, Meryl Streep, Vanessa Redgrave, Julia Roberts and very very recently Natalie Portman. But Brad Pitt has, singlehandedly, redefined the concept. He is the only reason to go out, get in the car, find parking, buy a ticket, popcorn and get into a theatre to see \"Troy\" If you liked epics in the \"Jupiter's Darling\" style you may enjoy this. But if you don't, go all the same, we want to keep Brad Pitt in business.", "label":0 }, { "text":"Dreck about three beautiful women in California who go to cover some festival (or something). All the hotels are booked so they have to spend the night in a creepy old house. What they don't know is that there is a creepy inhabitant there who likes to kill...

Yawn. Boring, pointless, utterly stupid \"horror\" film. Bach and her two buddies are certainly beautiful but the movie itself is dull dull DULL! Bach and her friends are no actresses--their faces are blank all the way through. The final \"revelation\" is laughably predictable and there's no blood or gore to keep you interested along the way. There is some expected gratuitous female nudity but that's not enough to save this. Boring, pointless and unknown (for good reason). A 1 all the way.", "label":0 }, { "text":"About 4 years ago, I liked this movie. I would watch it over and over and over. But now... I don't. Actually, I think this movie would have been great for Mystery Science Theater 3000. It has a bunch of comment-heavy actors (Macaulay Culkin, Christopher Lloyd, Patrick Stewart, Whoopi Goldberg), and a pretty cheesy plot. My favorite part is when Culkin is riding his bike and he comes across a gang and a gang member says, \"Hey, Tyler! Where ya goin'? The MOON??\" Also look out for the classic line, \"Do you have feeling in your toes?\"

On the other hand, it's better than \"The Good Son\".", "label":0 }, { "text":"Before I go on I have to admit to being a huge Bon Jovi fan. In fact thats what attracted me to the DVD case in the first place. I probably would have bought it anyway being such a big horror fan and having enjoyed the first Vampires title so much.

But this isn't half as good. Not even Jon could save this film for me. My main problem would be that it simply isn't scary. Apart from Jon's character Derek Bliss none of the other characters make an impression and you couldn't care less whether they die or not, especially the annoying vampire \/ drug addict woman. The female vampire simply isn't scary or sexy. Rather she looks like an anorexic 14 year girl, no wonder she is so desperate for blood then. Another huge problem is that everything is just \"too bright\". There is no atmosphere or sense of dread. I know the first Vampires being set in New Mexico wasn't exactly the twilight zone in terms of creepiness but yet it still managed to be dark and foreboding when it needed to be. This film has no tension like that.

The story is basically the same as before. Vampire wants Berzier's cross to be able to walk in daylight. However the story has less cool bits this time. There is no wow factor in knowing this is the master of all master - the original vampire, as in the first film. You really don't care who or what this one is. There is no army of masters. Instead she hides out in some old ruin which looks more like a Disneyland attraction then a creepy temple.

So there you have it really. Lack of scares, lack of atmosphere, lack of interesting story. A real let down for me personally.", "label":0 }, { "text":"This movie is about a female rape victim\/comic book writer from New York that decides to get away from all that awful big city glamor and move to a dirty, run down small town where she finds refuge in a single-wide trailer on a dirt lot in the middle of 12th and nowhere. The townspeople are mentally ill, yet so is she for inviting crazy men into her trailer. Annoying is the fact that she has the ability to do exactly the right thing to place herself in dangerous circumstance after dangerous circumstance. DB Sweeney's performance was high school at best. He's one of those kinda-cute young actors with a sweet grin. Unfortunately career has not been kind and mother nature has been right in tow. To the previous commentator stating that the acting was \"so real\", well I agree. Actually it wasn't acting. The two main characters really are pathetic, weak and incapable of making mature, healthy decisions. In brief, this movie sucks like no other, rent it to laugh at it. The real crime scene? The atrocious Wood paneling in the trailer - enough to make ME commit murder. And lastly, she's a artist\/writer, so couldn't she afford a double-wide trailer and something other than a sun-yellow Chevy Chevette for love of god!", "label":0 }, { "text":"Jochen Hick wrote and directed this little thriller of a suspense film based on the concept that the AIDS virus was a sheep virus mutated by the government to rid the world of gays and was apparently tested on convicts in the years before the outbreak of the hideous disease. Were it not for the poignancy of the concept of the film, this would fall into the category of the many films about the ruination of the world by a rampant non-prejudicial infective organism.

Stefan (Tom Wlaschiha) journeys from Berlin to San Francisco to investigate his father's scientific suppositions about the induced sheep virus and its effects of the convicts in whom it was infused. He meets with some disdain and resistance to a dead theory, but also encounters some folks who know of the theory and support his investigation. Simultaneously with his visit a series of serial murders takes place, each victim killed in a similar manner and each murder apparently accompanied by strains of music from Puccini's opera 'Turandot' which just happens to be opening at the San Francisco Opera. A police investigator Louise Tolliver (Irit Levi) and her companion cop (Kalene Parker) follow the murders while Stefan makes the rounds of the sex clubs and bars in San Francisco trying to locate men who may have been guinea pigs for his father's theory. He encounters a strange lad Jeffrey (Jim Thalman) with whom he has a cat and mouse attraction and a prominent Doctor Burroughs (Richard Conti) who seems oddly involved in the cast of suspects. How this all come to an end is the play of the film, a story as much about the search for self identity between Stefan and Jeffery as it is a case for investigation of murders.

While Tom Wlaschiha, Jim Thalman and Richard Conti do well with their roles (they are the only three who have any prior acting experience in the film!), the quality of the film sags considerably by the less than acceptable minimally talented Irit Levy and Kaylene Parker: when on screen the credibility of the story drops below zero. There are some small cameos by other actors that brighten the screen for the moments they inhabit, but in all the film is drowned by the incessant replay of 'Nessun dorma' as sung by Mario del Monaco from a recording o the opera - and that seems to be the reason for making the film! Good idea for a film and some good characterizations by the actors, but there is no resolution of the initial premise that started the whole thing. Grady Harp, February 06", "label":0 }, { "text":"This one is a little better than the first one. It still relies on a lot of its humor which basically keeps saying that the old Bond movies were not realistic. That wears thin after so many parodies. The girls were more interesting in this one.

There is a tremendous amount of total gross out humor. Hopefully one day real comedy will come back.", "label":0 }, { "text":"By now you should already know about this film, the Jessica Simpson \"bomb\" that pretty much went straight to video (limited, anemic theatrical run). Basically, Ms. Simpson's Katie travels from a small town in Oklahoma to visit her boyfriend, to surprise him, only to find him in bed with another woman. She is stranded, but has one friend (Rachel Leigh Cook, whom I wish we saw more often in film), who lets her stay. Katie ends up getting a job via two conniving co-workers (Penelope Ann Miller and the always amusing Andy Dick) who are just using Katie to get the president of the firm (Larry Miller) ousted. This is strictly a b movie, its not meant to be profound. Jessica Simpson is not a great actress by any means, but she is pretty much beautiful and never truly annoying. The film is watchable in that its not an abomination, but its throwaway fluff. In a cameo, Penny Marshall is funny (a subtle in-joke about Milwaukee made me chuckle), and there is a funny scene involving Norwegian priests (don't read too much into this). So, not horrible, but easy to skip. Your safe bet is to watch it on television if it ever does. Again, not good, but not a profound disaster.", "label":0 }, { "text":"For starters, I would like to say that I'm a fan of the American Pie series. Even though 'the naked mile' and this one are the two worst, this one seems to be the downfall of the whole series.

First of all, the best part of the film was that it was an American Pie film, which is always appreciated.

However, there are tonnes of bad things to say about this film. First of all, the story has a very stale 'arc' structure. First, there is the introduction of the characters, then the pledging of the beta house and finally the Greek Olympiad. Each of which has exactly 25 minutes of length. Apart from the general staleness of the plot, there is little to no character development, which makes a double whammy of a bad plot.

Apart from that, I deeply disliked the stereotyping in this film. That is, showing the jocks as the extremely cool, only-thinking-about-sex guys, and explicitly displaying the geeks as inferior. Also, it shows females only as sexual objects, and males as only wanting to treat the females as sexual objects.

Apart from that, the acting was also poor. With perhaps the exception of Steve Talley.

So, in the end, a generally horrid film, if seen from a critical point of view. If seen from a teen point of view, I guess that it's better, but this film is rated 18+ in most countries, so it shouldn't really be seen by minors.", "label":0 }, { "text":"The Education of Little Tree is just not as good as it could have been. Little Tree's education is about things like the circle of life and how you should look at a star to help you. Whatever happened to the three R's? Readin' 'Ritin' and 'Rithmetic? When the idiot back talks the teacher at the boarding school place he starts crying and talking to the sky. Oh my gosh. Sure, the lady was a little harsh, but then James Cromwell's character comes and takes him away, leaving the audience thinking that Little Tree was absolutely right. He should learn to adapt to new discipline. Those were the times! Talking to a star is not going to change a thing! Little Tree needs to learn that his adoring guardians are not always right.", "label":0 }, { "text":"I can't believe I've just spent one and a half hours watching such a weak film. If there is only one film you have to miss, this is the one.

Robert is a teenager whose father's died recently so he starts hanging out with some local anti-social teenagers and using drugs. All these make him subconsciously more violent and at last such subconsciousness explodes...

The first thing is that I don't think I can find any sense or trace of great ecstasy in this film, not in any single character. If the director considers what I saw in the last couple of minutes as great ecstasy, I have to say that that's not even close.

The use of cinematography is also not mature. Most of the time I couldn't see any facial expressions from the actors and I didn't feel the body language was sufficient enough to make an impact. Maybe the crew was just so tired that they fixed the camera there to include everything in the settings. Everybody happy except the audience.

The plot is particularly weak. There are a lot of unrelated scenes and talking which might be supposed to be related but they are really so random that you can never pull them all together, perhaps unless you're the one who wrote them.

In the one and a half hour you may find less than 5 minutes of real acting and all other time there are just people walking, talking and moving. So I really can't comment on acting here.

Nice choice of music in the last couple of minutes though. Maybe this is the only good thing.

I have never given a film a 1 but this film certainly deserves it (at least you laugh when you watch Scary Movies). This is a film about when a failed attempt to portray troubled teenagers meets extremely disturbed audience. Hope you fall into neither group.", "label":0 }, { "text":"Becky Harris plays the female shopper whose misfortune it is to be in the store at the wrong time and obviously ONLY purpose to be in this film is to supply a reason to wear out remote controls! Miss Harris seems to me to be in her fifties or older when she first comes on the scene. Once the red haired thug is done with her it becomes apparent that this is no AARP queen. If these are not some of the finest assets ever displayed on celluloid, I want someone to clue me in. Absolutely breathtaking in my opinion and I literally wore out my VHS copy capturing her charms. I would like to know if this movie is available on DVD.

The rest of this movie really is not worthy of mention. I was hoping to see something fairly convincing and intelligent, however I was disappointed on both counts. God Bless Becky Harris!", "label":0 }, { "text":"While watching this movie, I came up with a script for a movie, called \"The Making of 10 Items or Less\":

Producer: I've got good news and bad news. The good news is, we can get Morgan Freeman!

Writer: That's great! But what's the bad news?

Producer: We can only afford to hire him for one day. I guess we'll have to get someone else.

Writer: So we hire him for one day. A movie is an hour and a half long. A work day is eight hours long. I fail to see a problem.

Producer: But... he'll have to spend time getting into character.

Writer: So we have him play a character who is essentially himself.

Producer: But he'll still need to understand his motivation and all that. You're not saying we have him play a big-name actor that's doing a low-budget movie, are you?

Writer: Why not?

Producer: That's ridiculous! But fine, at least we'll have Morgan Freeman in our movie. And I guess we have to set the movie in Los Angeles too.

Writer: Of course.

Producer: This script is a load of crap. We'd better make money on this. Just in case, have Morgan Freeman's character plug Wal-Mart or Target or one of those stores, so at least someone will want to sell the DVDs.

Writer: Sure thing!

Producer: Wait a second... what's this about a tiny bodega with a \"ten items or less\" express lane?

Writer: Oh, I guess that is pretty weird. But we can't change the title now!

I doubt my script actually bears much resemblance to reality, but then neither did \"10 Items or Less\". This is a case of good acting, but bad writing, and I hate to see it happen. When watching an independent movie, you expect it to try to convey some sort of message. I think they might have been trying for the tired old \"don't let anything hold you back\" message that has been done to death in much better films. In any case, with \"10 Items or Less\", the only message I got was \"Look! Look at Morgan Freeman!\"", "label":0 }, { "text":"Although I rated this movie a 2 for showing a complete lack of effort in trying to create a quality horror film it was a 10 on the unintentional funny scale. I couldn't figure out what was going on in the movie or who the people were but I didn't care because I knew every scene was going to have something to make me cry with laughter. Dialogue is a minimum throughout the movie but I believe this is because they started filming without a script. The fact that there is no plot line makes the movie extremely versatile. It doesn't matter if you sit down and watch the movie from beginning to end or if you watch it in rewind you will be confused with enjoyment. I particularly like the scene in which the inmates are taking turns running around outside beating each other with sticks. I believe the doctor refers to this as treatment. Genius!", "label":0 }, { "text":"While the 3-D animation (the highlight of the show) did it's job well, most other elements fell flat. It was as though the filmmakers thought \"well, it's gonna be 3-D so we don't have to work that hard on the plot or character development.\" And the fact that it's a children's movie is absolutely no excuse. The public is drawn to three dimensional characters (Shrek, Nemo's Dad) just as much as they are drawn to three dimensional graphics. The only dimension any of the main characters showed was two dimensional Scooter who twists the plot from time to time with his compulsion to eat everything in sight.

And the absolute kicker? Buzz Aldrin's appearance at the very end (after watching a very robotic cartoon version of the same historical figure for an hour and half) comes on the screen and ruins everyone's good time by calling the film's main characters \"contaminants\" and announcing that the situation put forth on screen was actually an impossibility.

???!!!??? Did you just wanna tell the kids the Easter Bunny and Santa Claus don't exist while you're at it?", "label":0 }, { "text":"I saw the MST3K version of \"Deathstalker III\" and loved the movie so much -- even \"unmystied\" -- that I decided to watch the entire series of \"Deathstalker\" films. I bought I and II and settled down for a laugh.

Nothing about \"Deathstalker I\" was funny on any level and when the credits rolled I was embarrassed and regretful that I had bought it! Too much ugliness and nudity. I guess either \"DS 3\" was a much cleaner production or MST3K really edited a lot because I expected something similar, i.e. stupid and carefree and simple. I was wrong. Even at $6.99 it seemed a waste of money. I didn't even open \"DS 2\" as I will return it tomorrow. Now I'll probably just throw away this DVD as I can't return it and no one wants it -- including myself! So really, don't bother with this one. Even the nudity (lots of it, btw) is uninspiring and icky.", "label":0 }, { "text":"It is a pity that you cannot vote zero stars on IMDb, because I would not have hesitated! In fact I would go so far as to say that this film was in the negative stars.

I, like many others, bought this film thinking that because it has Michael Madsen in it, it could be good... No chance! This film was shocking! Imagine a movie length 'The Bold and the Beautiful', well, Primal Instinct did not even come close to that good, and I had previously thought that there would be nothing worse than a movie length 'The Bold and the Beautiful'.

Michael Madsen, how could you do this to us? The worst part is, I didn't fast forward a bit, I was hoping that at the end they would reveal that it was all some sort of sick joke, that they thought it would be funny to make us watch such a horribly bad film.

Where do I start...? Directing - Zero Stars, Screenplay - Zero Stars, Acting - Zero Stars, Cinematography - Zero Stars, Digital Effects - Zero Stars, Production Design - Zero Stars, Make-up - Zero Stars, Casting - Zero Stars, Editing - Zero Stars, Trailer - Half a Star, Graphic Design - Half a Star, DVD Menu - Half a Star.

However I think that it is very important to have seen bad films just so that you know what a really bad film is, so for that reason I am happy that I saw this film, just so that I have a bad film to put at the bottom of my list.", "label":0 }, { "text":"Gayniggers from Outer Space is a short foreign film about black, gay aliens who explore the galaxy until they stumble upon Earth. Being gay, their goal is to have a male-only universe in which all people are gay. Hence, when they discover women or \"female creatures\" live on Earth, they are at first terrified; eventually they decide to eliminate all women on the planet and liberate the male population.

An offensive title with a racist, homophobic and sexist storyline, albeit probably intended as a satire, give this film some shock value. However, there's little substance underneath. As another reviewer pointed out, there are few jokes besides the characters' names (eg. ArmInAss); I think I laughed once at one small gay joke. I think I got the point of the film quickly, a satire of bad science fiction, but after that I had had enough; I kept wanting the film to end already (and it is a short film!). Not brilliant or particularly well-written.", "label":0 }, { "text":"This is some of the worst acting I have ever seen. I love Almereyda's Nadja, but this is just absolute dreck. Aside from a few moments of interesting cinematography and music this film is just nonstop bad acting and dumb material. Jared Harris is particularly bad, but no one in this is remotely good. The plot is a joke, but not the haha kind. I don't even know if you can forgive movies that are this bad. Please erase the last hour and a half of my life. How did this director make Nadja and Another Girl Another Planet?", "label":0 }, { "text":"In the ravaged wasteland of the future, mankind is terrorized by Cyborgs\u0097robots with human features\u0097that have discovered a new source of fuel: human blood. Commanded by their vicious leader J\u014db (Lance Henriksen), the Cyborgs prepare to overtake Taos, a densely populated human outpost.

Only one force can stop J\u014db's death march\u0097the Cyborg Gabriel (Kris Kristofferson), who is programmed to destroy J\u014db and his army.

In the ruins of a ransacked village, Gabriel finds Nea (Kathy Long), a beautiful young woman whose parents were killed by Cyborgs ten years earlier. Now she wants revenge. They strike a pact: Gabriel will train Nea how to fight the Cyborgs and Nea will lead Gabriel to Taos.

Five-time kick-boxing champion Kathy Long has all the right moves in this high-speed adventure that delivers plenty of action. Also stars Gary Daniels (as David) and Scott Paulin (as Simon).", "label":0 }, { "text":"I have seen many, many productions of The Nutcracker. Now perhaps I viewed this movie from the tainted point of view of a theatrical director, but I was disappointed. I'm sure people in the specific business of ballet choreography find this production impressive but from a purely theatrical perspective I found everything from design to choreography to be lackluster and unbefitting of a \"motion picture\". None of the traditionally \"weird\" and impressive costumes looked like what they were supposed to be (i.e. the candies didn't look like candies, the rats didn't look like rats but rather like chocolate kisses,) the acting was weak, perhaps toned down too much for the screen, and the choreography just didn't do anything for me. This makes the entire show very satisfactory (at best), as if it were intended to not set itself apart from any other production. But remember, again, this is from the artistic perspective of a theatrical director, not a dancer or a choreographer, but a straight male theatrical director.", "label":0 }, { "text":"I am a back Batman movie and TV fan. I loved the show (new and old) and I loved all the movies. But this movie is not as great as some people were hopeing it to be. In my opinon, it is a big let down. I think the problem was it had no drama. Batman: Mask Of The Phantasm and Batman Beyond: Return Of The Joker had a lot of drama. and Batman & Mr. Freeze: Sub Zero had some drama too. Also, I think this movie is to light for Batman. The only scene that seems a little dark is the big fight with Bane at the end. Anyways, it's an ok Batman movie. But I would just rent it.", "label":0 }, { "text":"I like animated shows. I enjoy the Nick fare pretty much, including Hey, Arnold. But moving a TV show to the Big Screen isn't easy and this just didn't feel big enough. It was more like a long episode of the show, and it just didn't move along that well. Judging by the behavior of the kids we had with us, it didn't score that well with them either.", "label":0 }, { "text":"I should say right away that I checked the spoilers box only because I'm giving this comment the amount of thought proportional to what this mess of a movie deserves, and don't want to be held responsible for some plot point incidentally slipping out.

This comment will take the form of a tirade for the simple reason that I am still under the influence of this movie, having just watched it, and the unique effect this has renders one incapable of the sort of forethought and paragraph structure required for coherent, reasoned criticism. That is not a compliment. It isn't the narcotic effect of a truly hypnotic or thought provoking movie. The feelings it stirs up combine like some uncomfortable emotional Voltron, composed of a confusing mix of some form of rage, the vague desire to take a shower, the rudderless, sinking feeling of true betrayal one gets when they realize they have given 109 minutes of their lives into the hands of someone who would not only squander it, but do so in such a pompous, artless way. And I probably wouldn't have done anything super productive with that 109 minutes anyway! But even if I'd spent it on something trivial, like a power block of masturbation and online poker, I would have felt more fulfilled when all was said and done.

The problems with this movie are myriad, and in better times I'd articulate exactly what they were in a semi-adult fashion. But in keeping with what this movie deserves, I think I'll most likely stick to the realm of masturbation jokes and cartoon references.

The most irritating and terminal flaw is that while watching this movie one is keenly aware that the makers and participants think they are making a much smarter movie than they are. Demonstrating the depth of knowledge one could pick up in a one semester survey of Western art history at a community college or trade school, the art-jargon is piled on thick and from all directions, with much of it supplied by talk between our hero, the tortured detective Stan (Willem Dafoe, who I will forgive for this movie due to him being Willem Dafoe) and his accented antique dealer buddy Blair (Peter Stormare, taking a break from playing a sociopath for whom murder comes easy by playing a 2-dimensional plot device in a movie about a sociopath for whom murder comes easy). And talk they do. In fact, we are dropped into this story at a crime scene that may indicate the reemergence of a serial killer Stan thinks he killed years earlier, so all the back story is established partially through unclear flashback, but primarily through stilted conversations between Stan and his dealer, or Stan and his colleague, the unforgivably irritating Carl (Scott Speedman). And although I differentiate the character Carl (Scott Speedman) from the actor who plays him by using parentheses, I must admit that very early on in the film I despised this character so much that I actually found myself sincerely wishing harm on the actor portraying him (Scott Speedman). Not anything too fancy. Not death or paralysis, necessarily.. But maybe herpes? Or maybe a stage light could fall on him and crush his arm? This is a dangerous digression, but I'm not editing it out because I want to leave anyone reading this who's thinking about paying to see this train wreck of a movie with a clear impression of the horrible wishes and feelings it stirs in even the most peaceful man.

Well, I'm sort of running out of steam here.. over the course of writing this the sick feelings this movie brought up in a me have subsided, my head has cleared a bit. Realizing now that I'm still investing time in something related to this piece of sh!t is startlingly similar to waking up after a night of suicidally heavy drinking next to the heaving form of a still slumbering 200 pound college girl. Your first urge is a desperate desire to flee. This is natural.", "label":0 }, { "text":"This movie had good intentions and a good story to work with. The director and screenwriter of this movie failed miserably and created a dull, boring filmstrip that made me feel like I was back in Mr. Hartford's 8th grade Social Studies class -- way back in 67.

What a waste, will somebody please take this story and make a real movie out of it - the story deserves it.

Every time a scene had potential, all we were left with were a few clich\u00e9s, combined with black and white footage that they probably got from The History Channel to show the action. Shameful.

Ossie Davis was the only bright light in this dull fest. The other acting was incredibly dull - it fit in with the movie well and whomever played the Captain set a new low standard for line delivery.

However, if you are willing to accept all the numerous flaws in this movie and aren't concerned with being awed or entertained, but want to learn about the USS Mason, it is worth a watch.", "label":0 }, { "text":"I didn't think it was possible for a horror comedy film to fail so abysmally on both fronts....really awful. The fact that it doesn't take itself seriously (usually a good thing) works against it, primarily because the actors are so wooden you really would swear they are reading cue cards. On the upshot though.....the MST3K version, as always, has a few laughs....", "label":0 }, { "text":"This so-called \"documentary\" tries to tell that USA faked the moon-landing. Year right.

All those who have actually studied the case knows different.

First of all: there is definitely proof. When the astronauts was on the moon, they brought back MANY pounds of rock from the moon - for geological studies. These where spread around the world to hundreds of labs, who tested them. And they all concluded that they came from the same planet, not earth: because the inner isotopes of the basic elements are different from those found on earth, but similar to those calculated to be on the moon. I.E. the conspiracy theorists never studies anything: they only take the thing that fit into their theory and ignores the rest.

Another wrongful claim from them is that their was wind in the hangar where they shot the moon landing, I.E. the flag moves. There is a logical explanation: the astronaut moved it with his hand, so it moved. And what proves this: well, if the conspiracy theorists even studied the footage, they would see that the flag NEVER moves after the astronaut have let it be, I.E. the conspiracy theorists are bad-scientists, they cant study a subject properly, or only studies it until they have what they came for, so that they can make a lie from that, and make a profit (I.E. this so-called \"documentary\").

A claim says that it cant possible have been filmed on the moon because all the shadows come from different places, because there are different light-sources, the artificial lighting from the studio. Once again the conspiracy theorists are wrong (as usual), the same would happen in an earth desert at night, with no light-sources. But i doubt that any Conspiracy theorists have ever been outside their grandmothers basement for more than how many days a Star Treck-convention is held over.

The Conspiracy theorists are in denial, BIG TIME. They only see what they want to see. So they make up all these lies to seem important - that is a fact.", "label":0 }, { "text":"In this movie, Ch\u00e1vez supporters (either venezuelan and not-venezuelan) just lie about a dramatic situation in our country.

They did not say that the conflict started because of Ch\u00e1vez announcement firing a lot of PDVSA best workers just for political issues.

They did not say anything about more than 96 TV interruptions transmitted by Ch\u00e1vez during only 3 days in \"CADENA NACIONAL\" (a kind of confiscation o private TV signals). Each one with about 20 minutes of duration.

They did not tell us anything about The quiting announcement made by General en Jefe Lucas Rincon Romero, Inspector General of the army forces, who is a traditional supporter of Ch\u00e1vez. Even now, in despite of his announcement, he is the Ministro de Interior y Justicia. After Ch\u00e1vez return he occuped the Charge of Ministro del Defensa (equals to Defense Secretary in US).

They did not say anything about Ch\u00e1vez orders about shooting against a pacifical people concentration who was claiming for elections.

They did not say anything about the people in this concentration that were killed by Ch\u00e1vez Supporters (either civilians and Military official forces).

They present some facts in a wrong order, in order to lie.

They did not say anything about venezuelan civilian society thats are even now claiming for an elections in order to solve the crisis and Ch\u00e1vez actions in order to avoid the elections.

That's why i tell you.... This movie is just a lot of lies or a big lie.", "label":0 }, { "text":"When I heard the plot for this movie I simply had to see it, I mean whole cities being wiped out by killer tomatoes! Sadly the title is about as funny as it gets.

Led by Detective Dick Mason, a special team of military and scientists (including Greg Colburn who never takes his SCUBA outfit off and Lt. Finletter who is never pictured without his parachute trailing behind) 'Attack Of The Killer Tomatoes' is a parody of B-Movies, in particular Japanese horror of the 1950's. The film begins with a standard sized tomato being discovered by a women washing up in her kitchen before we find ourselves in a middle of a crime scene as the tomato has supposedly murdered this lady, and let me tell you it doesn't get any saner as the film progresses! To be fair there are a couple of funny moments, for instance anytime the Japanese scientist Dr Nokitofa speaks his voice is dubbed over in an American accent, or when disguise expert Sam Smith infiltrates the tomatoes 'hey, can somebody please pass the ketchup?'. Equally this film was probably a lot funnier in 1978 with the whole so bad its good concept. Unfortunately for 'Attack Of The Killer Tomatoes' spoof films such as the 'Airplane' and 'Naked Gun' series have been released and done this kind of comedy a lot better since.

The acting is atrocious; there is zero continuity in the editing and it just feels genuinely slow and lacking energy. For a parody film to work you need a lot of things happening at once, one gag after the over. The singing in the film seems pointless and the adverts for the furniture store that flash across the screen are damn right bizarre, even for this film. Ultimately, however, you can see why this film is a cult one; I can't see many people being indifferent to it. Unfortunately terrible would be the way I would sum this up.", "label":0 }, { "text":"Anyone that has see Tammuz's Child Eaters knows that this is a director that can do better. Let's hope it was not a case of too many hands in the pot (Telefilm anyone?)and that is was a case of second feature jitters. The characters are one dimensional and over used. The scenery is terrific however and showcases the Pacific Northwest beautifully.

The cinematography is great. Shot almost entirely outside, the images are crisp and beautiful. You can almost smell the wind blowing through the leaves.

Technically this movie is as sound as they come - it just lacks a heart.", "label":0 }, { "text":"I just finished \"Dark Chamber\" aka \"Under Surveillance\" and I'm stunned. Stunned, not by the film, but by some of the rave reviews I perused which influenced my watching it. The story was so ravaged by plot-holes and the majority of the acting so flat, categorizing it as a comedy seems appropriate. Seriously, I found myself shaking my head and laughing in bewilderment as I endured this movie.

Justin leaves the confines of living at home with a pain killer-addicted mom to go live with his cop father despite Mom's warnings that Dad is no good. When a young woman is found murdered, Justin becomes suspicious of the tenants who reside in the adjacent apartments. With the help of a couple pals, he installs covert cameras to keep tabs on these folks. As the truth begins to unravel, Justin uncovers an unexpected secret.

One positive point is that Felissa Rose is HOT! I would have generously slapped an extra star or two on here had she peeled down a bit, but no such luck. It would have been the film's potential saving grace. Eric Conley played Justin very adeptly, I thought, and I wouldn't be surprised whatsoever to see more of him in the future.

The general premise of the film, although plagued by clich\u00e9s, might possibly have worked had it not been for the ridiculously hollow \"performances\" of key cast members, most notably Alexandra Eitel (Kayla) and David H. Rigg (Justin's father). The horror! (pardon the pun).

I have nothing against low-budget films. Indeed, I believe independent film is our only hope for decent film making in the days to come. I'll cut low-budget films quite a bit of slack when it comes to special effects, lighting, even musical score and the overall picture quality. I don't give allowances, however, for stick figure acting and a swiss cheese lover's script. There are a vast number of competently-made low budget films out there. Sadly, this isn't one of them. I can't help but suspect that at least a few of the reviewers who have praised \"Dark Chamber\" here are in some way affiliated with its production.", "label":0 }, { "text":"Murder By Numbers is one of those movies that you expect is made-for-TV but isn't. Considering the only actor of any note is Bullock (although Michael Pitt seems to be moving onto bigger and better things), it isn't a great surprise that this movie quickly fades away from memory to be replaced by more important things. Like... remembering to lock your front door when you go out. Or putting clothes back on when you come out of the shower.

Bullock plays Cassie Mayweather, a cop with personal issues (don't they all). Together with her new partner (a wet-looking Ben Chaplin), she is called to investigate the murder of a young woman. Nothing unusual there except that the perps are a couple of teenage students who think they've planned and executed the perfect murder. As the investigation continues, a battle of wills emerges between Cassie and the main suspect Richie Haywood (Ryan Gosling).

The crippling issue here is that the two leads are hopeless. Bullock, though she is very nice to look at, is about as believable in the role of a hardened cynical cop as Rodney Dangerfield (actually, he'd be better!). Chaplin, for his sins, is a complete non-entity and I feel sorry that he has to put this film on his CV in his attempt to break into Hollywood. At least Gosling and Pitt, as the conniving sneering suspects, acquit themselves adequately. As if dodgy leads weren't bad enough, a story that would send anybody to sleep and a highly predictable (but illogical) ending shoot this film in the head before it has a chance to run.

\"Murder By Numbers\" has absolutely nothing going for it, even a pointless nude scene by Bullock wouldn't redeem it. Well, just a little but still not enough to save it. Forgettable, predictable and redundant - this is one film that isn't going to move the cop genre forward. As Cassie probably says on her next case, there's nothing to see here people. Move along, keep moving...", "label":0 }, { "text":"I already know that critics and some audiences say that it was a satire, there were numerous political and social messages, the names make refer to some other names etc. It might be. I cannot realize such things (I don't want to do anyway) because I am not interested in, I am interested in 'cinema'. As for the movie itself, again it is said that the movie is clever and dramatically powerful. I could not see anything which we don't see in monster movies except the scene which takes place in a office in the second half. Yes, that scene says somethings about humanity, but it does not make the movie brilliant. The movie is entertaining (mildly) and exciting in some moments or scenes, but no more than that. As for the biggest flaw of the movie, it is visual effects. It was just shocking, I could not pull myself together for a while, because I had expected a realistic monster, because it is not one of the old Gojira movies, it was made in 2006, but it was not. It is like if you don't believe that there is a monster, you cannot care about. If you agree with me about this, I highly recommend you Cloverfield that is extremely realistic. The design of the monster is not interesting, but at least planned, there is an effort. Dramatically powerful critique. Some critics talk about it as if it is a Kurosawa movie. Yes, it is rather a drama than a thriller or action, but it should not mean that it is dramatically powerful. I don't want to compare The Host with other monster movies, but I try to mean that The Host does not do something that other monster movies do not do. By the way, may be some people call the movie masterpiece because of their sympathy for Asian cinema. Yes, I like Asian cinema too, but this is the fact.", "label":0 }, { "text":"Poorly structured, badly written, loaded with cliches and flat dialogue. Not a single scene shines. The actors struggle with a painfully dull scenario that manages to completely avoid any surprises, plot twists or conflict. You know from the first ten minutes where it's going.

For a movie set in NY, it has almost no feeling for the city. There are a dozen other indie movies that manage to make it seem magical on a small budget. This one seems like it was shot in Toronto.

If you cast Natasha Henstridge, why dress her in baggy sweaters? Why make Vartan look boring and drab? Where's the attraction? I felt like I was watching a sub-par Christian movie of the week it was so asexual and moralizing.

Steven Feder's big success is that he convinced people to make this bland movie.", "label":0 }, { "text":"Many people thought that this is a good movie but I don't agree with them. At the beginning of the movie, a spaceship crushed on earth and some of the aliens escaped from the spaceship, then hey killed some people on the earth, but for no reason. Also, it is in a dark forest, I can't see anything on the screen, I can only hardly hear the sound.

After a few days, the predator came to the earth but no one had sent signals to him before that, he should not know what happened on the earth, so there is a contradiction. Finally, the predator found the headmaster of the aliens and killed it for no reason. He was not live on earth, t is none of his business about the things happened here. Lastly, the duration of the movie is only 90 minutes long, the summary is too short and it can't tell the reviewers about the story clearly.

In conclusion, I don't think this is a good movie.", "label":0 }, { "text":"OK..... This is the third in the series of carnosaur. Lets star with the dinosaur puppets! In the start of the film you cant See the Dino's cause when the body count starts you can only See the Dino's eye vision, pretty smart to hide the bad puppets! and maybe in 16 minutes forward on the film some special force team with Scott Valentine as the leader Rance, the team walks into the warehouse and then they begins to find body parts and dead body's after the Dino rampage, after a while some big box comes failing on the team and you can hear a velociraptor scream, pretty creepy!!! and then a black girl walks forward and now one blooper is found! It pops up a raptor hand and slashed her face but if you pause when the raptor hand comes you can See that its just a guy with a hand puppet!? WTF! The story is simple. 1. Some terrorist's attacks some truck cause they though It wash some weapons in there. 2. They where dead wrong it seams to be ten tons raptor and one giant t-Rex in there! How did the t-Rex fit in there??? 3. Rance and some nerds will kill the dinosaurs! Sadly some stupid blond girl told him to capture one of them alive=( 4. Holy Jesues the raptors have wheels on their feats! 5. The Dino's is now on a boat in the pacific. 6: Strange i didn't know that the t-Rex had a strange thing on hes neck??? 7. THE END. The film is good if you want a good laugh. 5\/10", "label":0 }, { "text":"This is a simple tale but it feels very manipulative. It lacks pathos for it does not leave a room for imagination or a personal thought or time for reflection.

The animation is well done but I feel like it is too presentational. I would have preferred more images from behind, more space in the background and maybe then this would not feel so kitsch to me.

But for a Hollywood style film it works OK but it is very derivative of Aardman films and this is bothering to me. Perhaps a longer film will test if this maker can do without the voice-over.

I think the voice over is too glib.", "label":0 }, { "text":"About the only thing I liked about this film is that there was JUST enough in it to keep me in my seat to the end... I kept thinking that maybe in the NEXT scene things would gel... Alas...

Those who like Gus Van Sant's films - especially his later ones - will probably like this. Personally, I find van Sant's films to be dull, pretentious and facile. Well, he was an executive producer for this film, so it is no surprise that the film could almost have been made by him - although personally I actually liked this better than van Sant's latest efforts (e.g. Elephant).

Contrary to many here, I did not think the film was difficult to understand or disjointed, I thought that above all it is a film that wishes to portray a certain mood - the mood of an adolescent moving slowly into the adult world - but so slowly that the changes are barely visible if at all. But I feel that the problem with the film is that \"mood\" is not enough... and not only that, but that the mood painted here is, to my mind, incorrectly chosen for the story that is supposedly happening. The dream-like quality, so closely linked to nature, is beautifully captured here, but it is a mood which belongs much more to a much younger child, one who really still does get totally caught up in watching nature unfold (waves on a beach, grasses and flowers, spiders etc). The rhythm of the film reminds me of my summers when I was about eight or nine. There is a LANGUOR to the film that is in opposition to what SHOULD be a very tense time in an adolescent life. When you are caught up in a crush on someone - or being the object of bullying at school - you are anything BUT languorous! There are only two moments that truly worked for me in the film...SPOILERS HERE - first when Logan drops the groceries and his mother throws a bit of a fit. The frustrations of an adult dealing with a klutzy kid - especially with no father present - seemed real to me.

The second, and ONLY part of the film with any tension to it, were the scenes where \"Leah\" (Logan's re-creation of himself) phones Rodeo and tries to seduce him into phone-sex. The first reason I liked it is because the person who did the voice-over of \"Leah\" was the most convincing actor in the entire film. (It made me think of Claire Danes from My So-Called Life ...the voice even sounded like Claire.) She and Rodeo had the only scenes that seemed totally believable between the kids. And what I especially liked was the fact that Rodeo only pretended to play along... it was perhaps the best moment in the film as - finally! - we got some character development.

All in all, a somewhat misplaced effort... we will have to see what he does in his next film before we can really say much about the director's possible talents. In the meantime, if he can get away from van Sant's influence, it might do him a world of good. Who is this director anyhow - one of van Sant's boy toys?", "label":0 }, { "text":"I like Brad Pitt enormously. He is an actor with brains and wit, not to mention face, pectorals and all the rest. Since I saw him in \"Thelma and Louise\" a thought has been bothering me, who does he remind me of? \"Troy\" did it for me. He is the new Brigitte Bardot. The differences are obvious of course. Male, American etc but Brigitte Bardot comes to mind nonetheless. He is so beautiful that he is at his most effective when he plays against it. \"Kalifornia\" \"12 Monkeys\" \"Fight Club\" \"Snatch\" His self deprecating humor makes him human, almost accessible. Fortunately \"Troy\" will soon be forgotten. Only still photographs with Pitt, semi naked in ravishing sprint positions will decorate the walls of legions of salivating fans. Strange, \"Das Boot\" is one of the great films of the second part of the 20th Century. What is Wolfgang Petersen doing directing this? Well, I suppose it would be very hard to say no at the chance of working with the new Brigitte Bardot.", "label":0 }, { "text":"The only thing that The First Power really has going for it is that it affords Jeff Kober an opportunity to play one of his lovely variety of psychotic villains that he's done so well in the last 25 years. Kober is a worthy successor to Lyle Bettger who specialized in those parts back in the Fifties.

But it's not enough, The First Power is a souped up slasher flick that has Lou Diamond Phillips wasted as an LAPD detective who has a specialty in catching serial killers. Kober is his latest catch, but Kober's in league with a lower power and they're going to team up and make Lou's life miserable for him. Even after Kober is given the gas chamber, his spirit comes back in all kinds of guises.

Mykelti Williamson is on hand as Lou's partner who meets a nasty end involving a demon possessed horse and Tracy Griffith as a psychic and Elizabeth Arlen as a nun with insights are around to help Lou. Will he succeed in battling forces from beyond?

By the time the film ends, you no longer care. Lou really got trapped in a turkey. Maybe the devil made him do this film.", "label":0 }, { "text":"These were over 80 minutes of semi unexpected boredom. First, I was wondering how it is possible to produce something like that. Then, reaching 70th minute I was convincing myself that it's only a few more minutes, and I lasted to the very end which I'm kinda proud of as I consider watching this movie as a great test for human's patience and crap tolerance. Was it worth watching at all? Well, as I wrote above, if you want to test yourself, give it a try and if you're strong willed enough, you may even last to the end... The movie lacks coherence and characters seem to have no common sense at all. All happenings in the movie, you can be sure you saw somewhere before, and they seem to be put in this movie just to fill the film reel.", "label":0 }, { "text":"Well then. I just watched an crap-load of movies--all with varying degrees of quality. I wasn't too sure about which one I wanted to review first. Then it hit me like a sack-a-rats: Rodentz. Warn people about Rodentz. This monstrosity stars nobody and is painfully dull to sit through. And it's about mutant rats killing people. Yeah... real freaking' original. \"Food of the Gods,\" or \"Willard\" anyone? Those were better than this, and that doesn't say much...

**POSSIBLE SPOILER**Okay here's the story: Inna laboratory the scientist and his plucky assistant are experimenting on rats and their laboratory is in a crappy neighborhood and crappy building and the plucky assistant's moronic friends show up drunk and everyone becomes food for the crazed rats and just about everybody dies and, oh yeah, there's one giant rat that looks crappy, but it gets killed, the end. There, all in once sentence! Spoiler, you say? Ppfff!! I beg to differ! The second we all realize that there's a giant rat, we all know it's gonna die eventually!!**END SPOILER**

Here's the breakdown:

The Good:

--Well, I watched it for free, but for everyone else... hmmm, no. There's nothing good here.

Didn't Hurt It, Didn't Help:

--Um... well. the gore was decent. --Very average cinematography.

--CG rats not as bad as they could've been in some shots...

The Bad:

--...and in other shots, the CG rats were pathetically cheap-looking. Look, if your film has a low budget, maybe you shouldn't rely on CG. Lesson to take to heart.

--The acting is extremely poor.

--The characters are beyond uninteresting--we have a mish-mash of clich\u00e9s and none of them are even done that well.

--Booooooooooooring.

--Been done before--plenty of times.

--Stupid story, just stupid.

--Giant rat looks like fat man in poorly conceived bear costume--that was kind of funny--but not funny enough to give this film any worth.

--Retarded, unrealistic, and boring dialog.

--All the college student rat chow people are drinking Tequila from huge plastic milk jugs--and yet they don't appear to be drunk for anything longer than a few seconds. Way to stick with continuity, guys.

The Ugly:

--This film is bad. Simply terrible. Worse than you might imagine. It's not even laughably bad like, for instance, \"Scarecrow\" (2002) or \"House of the Dead.\" Now those movies are crap you can enjoy. Even if they do make you stupider.

Memorable Scene:

--The lame action-movie ending, complete with uninjured heroes and explosion. Because it didn't feel at all like the rest of this monstrosity--but still sucked.

Acting: 2\/10 Story: 1\/10 Atmosphere: 2\/10 Cinematography: 4\/10 Character Development: 0\/10 Special Effects\/Make-up: 4\/10 Nudity\/Sexuality: 1\/10 (I was tending to my son occasionally during the film, so I may have missed it, but was supposedly in there) Violence\/Gore: 4\/10 Dialogue: 2\/10 Music: 1\/10 (average for the time) Writing: 1\/10 Direction: 2\/10

Cheesiness: 7\/10 Crappiness: 9\/10

Overall: 1\/10

Watch it only if you love rat and vermin-based horror films. Wait... Check that. Don't watch it. It's crap.

(www.ResidentHazard.com)", "label":0 }, { "text":"I've seen enough of both Little Richard in interviews and in performances and enough of poor Leon pigeonholed into these 50s\/60s musical bio pics to know that Leon was not the right actor for this role. Leon was so right as David Ruffin in The Temptations, but fails utterly to capture the essence of Little Richard in this film.

Actor Miguel N\u00fa\u00f1ez who played Little Richard in \"Why Do Fools Fall in Love?\" was a much more suitable choice, having pulled off the musician's powerful but effeminate persona.

If the performances are unconvincing then the film will be as well. And this is what has happened here. Glossed over or missed entirely are LR's forays into homosexuality and voyeurism. What \"The Temptations\" did so well in capturing the rise of the group, warts and all, this film misses by a wide mark.

What is going on with director Robert Townsend who started off so well with \"The Hollywood Shuffle\"? He's a talented, funny guy but hasn't delivered anything near that first effort.", "label":0 }, { "text":"Well I'll start with the good points. The movie was only 86 minutes long, and some of it was so bad it was funny. Now for the low points. My first warning sign came with an actual \"warning\" on the film. When it started the following \"warning\" was displayed: \"The film you are about to see contains graphic and disturbing images. Because contrary to popular belief being killed is neither fun, pretty or romantic.\" I should have saved myself the 86 minutes and turned it off then. The first words of the film were: \"I'm at the glue factory.\" It was some guy talking on his phone, and he was referring to a nursing home as a glue factory. I don't know why. So the basis of the movie is some kid is obsessed with the Zodiac Killer and starts imitating him. The budget for this film was at least 50 bucks and they must have used the cheapest cameras they could find. The acting was worse than me reading straight from a script. That's what is looked like they were doing. The script was horrible, and the big \"twist\" was that this guy who wrote a biography on the Zodiac Killer was actually the Zodiac Killer. Of course they tried to show this subtly but made it totally obvious within the first 10 minutes. Without any more painful details of the plot, here were some horrible highlights of the movie. They try to make the Zodiac Killer compare himself to an \"army of one\" because soldiers are really just murderers. Then they tried to make an attempt at \"Satanic Worship\" by showing some guys in black hoods in a meeting. The great \"computer hacker\" was able to get this kid's address when someone gave him the kid's name and phone number. For some reason he had to hack into the FBI to get someone address. I'm not sure why he didn't just look it up in the phone book or use whitepages.com. There was also a random allusion to 9\/11 for no reason. I also learned that no matter where you get shot, blood will come out of your mouth within seconds.

So if you like really bad acting, sub-par scripts, bad camera work and an obvious plot, you'll love Zodiac Killer!", "label":0 }, { "text":"Style but no substance. Not as funny as it should be. Not as deep as it wants to be.

This is another in the genre of films about the difficulties of filmmaking. A young filmaker is hired to finish a campy 60s sci-fi movie called Codename:Dragonfly. Think Barbarella, or Danger Diabolique.

But Jeremy Davies is an angst-ridden filmmaker. He's no hack he's an artist. The movie he wants to make is a diary of his life. Hardly original.

All the characters outside of Jeremy Davies filmmaker are as thin as rice-paper. Characters that might be interesting, such as his father, his doppelganger, or Jason Schwarzmann as a hack director are introduced and then shown the door without adding a thing.

This movie is full of eye candy but when compared to other films about filmmakers such as Stardust Memories or 8 1\/2 it pales in comparison. Those movies are funny, provocative with well-developed characters. Those movies have lessons that apply outside

The movie wants to be comic and campy but its just derivative and there is not one funny scene. The filmmakers describe it as a send-up but what's the satirical target? The actors say it's an homage but I think I would rather a full-length version of Codename:Dragonfly.

Coppola is clearly amused by the setting as is evident by the visual humor of the sci-fi movie within a movie. But he fails to share why we should be amused.

Outside of the sci-fi movie its just a mess. There are continuity errors, the filmmaker chooses a sci-fi weapon after its already been chosen. What?

Just because he has a scene were the filmmaker is confronted by the critics complaining about the lack of story, lack of a point, a scene where he admits empty cleverness does not mean that he has addressed those criticisms.

I guess if your Roman Coppola you can get away with making a movie about an angst-ridden idealistic filmmaker who doesn't know what he wants to say and so ends up saying nothing. In that sense it may be considered autobiograhical.

I would watch it at Circuit City on a wall full of TVs if I had a choice. Watch the 15-minute Codename:Dragonfly movies included on the DVD as extras and then send it back.", "label":0 }, { "text":"Absolutely nothing happens in this sloooow, annoying, thrill-less thriller directed by Amenabar's usual collaborator Mateo Gil. The film, which in some way deals with the effect of boredom and the quest for thrills, actually delivers none, and seems like an exercise in boredom. The only mildly suspenseful moment is the movie's climax, which takes about 30 seconds of the whole agonizing 100-plus minutes, and is resolved too simply. The plot lacks sophistication or credibility, and while the idea is original, the way the story unfolds is arbitrary and every plot device or twist is a result of outside interference (deus-ex-machina). The hero is always passive, everything happens to him without forcing him to show any initiative or resourcefulness. If you're fans of the genre, watch \"Tesis\" instead.", "label":0 }, { "text":"This film story is bad enough, which can happen in real life. I'm very can not understand when they show us this bad film. I say it was bad because there is some reason. 1. if Madonna was rich and can do everything she want, then why she falling in love with that bad man. 2. How can the story script is so weak? She was so rich, can do everything she want, but not dare to divorce her husband that is very impossible.

The words I LOVE YOU, it doesn't meant anything in this film.", "label":0 }, { "text":"Scary Movie 2 was a grave disappointment. Simply referencing movies, like Mission Impossible 2 does not lead to comedy. The movie opens well enough with a funny white people rapping scene and an excellent use of James Woods ands Andy Richter. The movie plummets from there unfortunately. The acting is awful. Tori Spelling looks and acts completely out of place. The movie looks hacked together and is surprisingly slow paced. Some of the longer gags in this snail paced movie, involving joints and a previously mentioned Tom Cruise movie, werent funny to anyone in my theater. The movie, thankfully, comes screeching to a halt at 83 minutes in a shockingly unfunny ending. (I say shocking because the ending does not even attempt to end with humor) I dont know what else to say except that is a sloppy rushed sequel done to make Miramax some more cash on the backs of dumb teenagers. Overall, a very poorly done movie.", "label":0 }, { "text":"Don't waste your time or money on this one. The half decent cast might fool you into thinking that this teen-thriller, whilst hardly about to break any records, might lightly entertain for 80 minutes.

It won't.

It won't make you scared, laugh, cry or even challenge your intellect. It will leave you wondering how on earth this movie ever finished production. Yes, it really is that poor.", "label":0 }, { "text":"Jack Black is an annoying character.This is an annoying indie movie for 14 year olds.Do I have to write eight more lines?Ana de la Reguera is dang fine to look at,as a Mexican nun who puts up with the rather forward and rude advances of Jack Black.This movie is a PG 13 version of an indie film.I really like a movie that has the courage to explore Mexican culture.This movie explores Mexican culture-deeply. I just choke on its cultural rudeness:Jack Black is just so rude. A white person like Jack Black is not my most valuable emissary into Mexican culture, as it were.Mexican Wrestling culture is not the most diaphanous venue a white guy, such as myself could seek.I suspect Mexico is more culturally opaque than Jack Black has presented here.

I think IMDb changed my review.Has anyone else had his review changed as well?Just a question.", "label":0 }, { "text":"i am 13 and i hated this film its the worst film on earth i totally wasted my time watching it and was disappointed with it cause on the cover and on the back the film it looks pretty good, but i was wrong its bad. but when i saw delta she was totally different and a bad actress and i really didn't know how old the 2 girls was trying to be i was so confused. the film was in some parts confusing and i didn't enjoy it at all but i watched all the film just to see if it was going to get better but it didn't, it was boring,dull and did i say BORING.and i don't think many other people liked it as well as me.boring boring boring", "label":0 }, { "text":"I've watched a few episodes of this show and have found certain elements of it to be rather interesting, considering medical facts that can be learned. But this is totally upstaged and wrecked by the neverending immoral relationships of the show's characters. Everybody seems to have slept with just about everyone, even during office hours, which is ridiculously unrealistic. There doesn't seem to be one solid, lasting marriage or relationship in the entire show - everyone is broken up and on the prowl - hardly a true reflection of all Americans. Indeed, there is a total lack of respect for marriage or monogamy and it's truly fulsome.

Then we are presented with endless little moral 'dilemmas' and they're generally solved in such a way that belittles anyone who doesn't agree with the all-knowing degenerate management and staff of the private practice. For instance, in one of the latest episodes we're presented with an exceedingly rare situation of a baby who is born with an uncertain gender and Addison absolutely refuses to perform the surgery because we're supposed to let the baby decide his gender later on. Anyone who disagrees with this is portrayed as immature and stupid.

And I think that anyone opposed to abortion would be offended by the way the show treats pro-lifers. Addison made the comment that no man was allowed to have an opinion on the issue and only one black character was given dignity for opposing abortion on moral grounds. The general feeling was that if you opposed abortion, you're a freak - hardly the popular sentiment in the US. Two of the main characters in the show nonchalantly mention that they had abortions when they were younger and had no apologies or regrets, in spite of the fact that research has shown women can undergo intense depression. What's more a young girl comes to the clinic for an abortion and then thanks the staff on the way out and someone talks about it as how they were helping this young person and it was like something to exult in. The script could have been written by Planned Parenthood.

All in all, this is a cheap show that lacks much of a future unless it decides to present more real relationships rather than just totally unbelievable soap opera relationships and far-fetched medical situations throughout the whole show.", "label":0 }, { "text":"The story behind this movie is very interesting, and in general the plot is not so bad... but the details: writing, directing, continuity, pacing, action sequences, stunts, and use of CG all cheapen and spoil the film.

First off, action sequences. They are all quite unexciting. Most consist of someone standing up and getting shot, making no attempt to run, fight, dodge, or whatever, even though they have all the time in the world. The sequences just seem bland for something made in 2004.

The CG features very nicely rendered and animated effects, but they come off looking cheap because of how they are used.

Pacing: everything happens too quickly. For example, \"Elle\" is trained to fight in a couple of hours, and from the start can do back-flips, etc. Why is she so acrobatic? None of this is explained in the movie. As Lilith, she wouldn't have needed to be able to do back flips - maybe she couldn't, since she had wings.

Also, we have sequences like a woman getting run over by a car, and getting up and just wandering off into a deserted room with a sink and mirror, and then stabbing herself in the throat, all for no apparent reason, and without any of the spectators really caring that she just got hit by a car (and then felt the secondary effects of another, exploding car)... \"Are you okay?\" asks the driver \"yes, I'm fine\" she says, bloodied and disheveled.

I watched it all, though, because the introduction promised me that it would be interesting... but in the end, the poor execution made me wish for anything else: Blade, Vampire Hunter D, even that movie with vampires where Jackie Chan was comic relief, because they managed to suspend my disbelief, but this just made me want to shake the director awake, and give the writer a good talking to.", "label":0 }, { "text":"When many people say it's the \"worst movie I've ever seen\", they tend to say that about virtually any movie they didn't like. However, of the nearly 700 movies I can remember ever seeing this one is one of two that I walked away from feeling personally insulted and angry. This is my first movie review, by the way, and I registered with IMDb just to rave at this movie's badness. I went to see it when it was in the theaters (myself and my two buddies were 3 of 5 people there), and after 15 years I can't remember very many specifics, but my attitude upon leaving the theater is still crystal clear.

---Spoiler alert---

Oh my, where to begin. Fat loser left at altar, goes on ski weekend, meets blonde bombshell who takes an interest in him, takes him home to meet the family, they're all cannibals and he's the main course, pathetic attempt at a dramatic escape, kicks all their butts and runs off with the brother's girlfriend, they live happily ever after. Puke. Firstly, the gags are so bad that it took me a while to understand that they were trying to be FUNNY, and that this was a COMEDY. The special effects, what few there are, look like they were done 15 years earlier. The big dramatic ending was so hokey and poorly acted that it was nearly unbearable to watch (he knocks out the entire cannibal family with rakes laying in the lawn, that stand up Tom and Jerry style when they step on them). I'm sure that there's much, much more, but I have no intention on seeing it again for a refresher.", "label":0 }, { "text":"I watched the first 15 minutes, thinking it was a real documentary (with an irritatingly overly dramatic \"on camera\" producer).

When I realized it was all staged I thought \"why would I want to waste my time watching this junk??\" So I turned it off and came online to warn other people. The characters don't act in a believable way. too much immature emotion. for a guy to travel half way around the world into a war torn country, he acted like a kid. and I don't believe it was because \"his character was so upset about the trade center bombings\".

very trite and stupid.

have you seen \"city of lost children\"? french dark fantasy film about a guy who kidnaps kids and steals their dreams... I liked it!", "label":0 }, { "text":"I really wanted to love this show. I truly, honestly did.

For the first time, gay viewers get their own version of the \"The Bachelor\". With the help of his obligatory \"hag\" Andra, James, a good looking, well-to-do thirty-something has the chance of love with 15 suitors (or \"mates\" as they are referred to in the show). The only problem is half of them are straight and James doesn't know this. If James picks a gay one, they get a trip to New Zealand, and If he picks a straight one, straight guy gets $25,000. How can this not be fun?! Take my hand, lets stroll:

The most glaring problem with this show is the bachelor himself. James is your typical young and successful gay guy with a nice smile and body, the one you'd probably give two glances towards at your local bar before grazing for greener pastures. Why they chose to cast James as the leading man is beyond me. God knows there's so many other hotter and vivacious homosexual men out there dying to be on TV.

Aside from his rather average physical appearance, James is about as interesting and exciting as a piece of chalk. Even as such, he has this arrogant, smugly condescending aura about him. However, if James were standing up against a blank, white wall he'd meld right into in it. I honestly can't recall a single interesting or noteworthy thing James said during the course of the show. He is THAT boring and forgettable. In fact, one of the mates flat out advised him he wasn't feeling a connection. I thought that was the best part of the show. Also, James speaks with an excruciatingly annoying lilt. Sound feminine or sound masculine, but don't ****ing segue tones in the middle of sentences...so painful to sit through. I hated him so much all throughout the show I kept thinking, \"Please choose a straight guy and humiliate yourself and your unfortunate looking hag\"

Then we have the suitors. A remarkably bland bunch of men who don't seem to care either way what is happening. Equally vapid, they seem to be indistinguishable from one guy to the next except, \"Hey that guy has blond highlights or oh that one has curly hair\" Again, astoundingly inept casting decisions seem to be the aim of this show. While it may be hackneyed to type cast roles, it would've been a lot more entertaining to watch than these amorphous drones. However, in all their banality they still manage to upstage James (which isn't all that hard to do anyway), slightly that is. You know you have a problem when some of the suitors are actually hotter and more interesting than the leading man. And the fact that the suitors seem to have more fun around EACH OTHER than with the leading man? Very sad.

Also, I just thought that Id point something mentioned on the message boards which I felt was actually true: the straight men are all hotter than the gay guys.

Don't get me wrong, Im not saying all the gay guys were ugly and boring, as a matter of fact I found some of them very cute. It's just that overall they were just BLAH compared to the men you'd see on shows like A Shot At Love with Tila Tequila or The Bachelorette.

I don't know how many times I hit fast forward during this show. I can accept a lead character as interesting as a cardboard box, I can accept the mundane, apathetic suitors but PLEASE for the love of God entertain me just a little. No such luck.

If you're expecting drama, intrigue, sexiness, or excitement you will be SEVERELY disappointed. The biggest \"drama\" comes from the fact that one of the suitors still may have a boyfriend in New York (How scandalous!). As titillating as that may be I guarantee you, that is the ONLY thing that remotely resembles any conflict on this show.

Sure there is the twist, but if you have any semblance of Gaydar in you, you'll easily discern who's who (it wasn't hard at all, I was only wrong once.) This show is stacking so much of its chips on the twist that it fails to deliver anywhere else.

We get to watch as James & Co plod along such exciting activities such as learning how to Western step dance, shopping for gifts, visiting a petting zoo, and gay karaoke. YAWN. Sure you have the occasional topless dancing but who cares when everyone is boring anyway. That's one of main problems with the show: NO ONE seems to be enjoying themselves--they are there just going through the motion trying mightily hard to appear to have a good time. And you really cant blame them since the events are all wildly unimaginative and lame.

Finally, the physical aspect is not there. There's no cuddling, no caressing, no kissing (!), no endearment of any sort. It's just \"Ok that was a boring date, Im gonna go back to my ugly, tacky wanna-be Sydney Operahouse dwelling (quick peck on the lips) CYA.\" This show is so ****ing prudish it's ridiculous. I can understand them not wanting to play up the perceived indiscretionary nature of homosexual men, but come the **** on. People who watch reality TV shows are gonna want more than standoffish hugs and curt kisses. This show refuses to compromise.

Sorry if this was long winded but I felt these were issues that needed to be addressed. I do commend Bravo for first putting up a show of this nature, but the staggeringly incompetent manner in which this show was handled is mind boggling. To summarize my three points: Boring + Boring + Boring = go do something else. You'll have more fun waiting at a doctor's office for an appointment, at least they have interesting magazines there.", "label":0 }, { "text":"Awful! Awful! Awful! No, I didn't like it. It was obvious what the intent of the film was: to track the wheeling and dealing of the \"movers and shakers\" who produce a film. In some cases, these are people who represent themselves as other than what they are. I didn't need a film to tell me how shallow some of the people in the film industry are. I suppose I'm at fault really because I expected something like \"Roman Holiday\".

I'm not a movie-maker nor do I take film classes but it appeared to me that the film consisted of a series of 'two-shots' (in the main) where the actors(!) had been supplied with a loose plot-line and they were to improvise the dialogue. Henry Jaglon makes the claim that he along with Victoria Foyt actually wrote the screenplay but the impression was that the actors, cognisant of the general direction of the film, extemporised the dialogue - and it was not always successful. Such a case in point was when Ron Silver made some remark which really didn't flow along the line of the conversation (and I'm not going back to look for it!) and Greta Scacchi broke into laughter even though they were supposed to be having a serious conversation, because Silver's remark was such a non sequitur. You get the impression too that one actor deliberately tries to 'wrong foot' the other actor and break his\/her concentration. Another instance of this is when a producer tells Silver to \"bring the &*%#@#^ documents\" (3 times). Silver looked literally lost for words. I have seen one other film which looked like a series of drama workshops on improvisation and that was awful too!

The fact that Jaglon was able to attract Greta Scacchi (no stranger to Australia), Ron Silver, Anouk Ami, and Maximilian Schell suggests it was a 'slow news week' for them. Peter Bogdanovich had a 'what-the-hell-am-I-doing-here' look on his face at all times and I expected to hear him say: \"Look, I'm a director and screenwriter - not an actor\" - which would have been unnecessary to state! Faye Dunaway seemed more interested in promoting her son, Liam. Apart from the jerky delivery of the dialogue, the hand-held camera became irritating even if it was for verisimilitude - as I suspect the \"natural\" dialogue was - and the interest in the principals became subsumed to the interest in the various youths walking along the strand trying to insinuate themselves into shot. That at least approached Cinema Verite. So that, along with the irritating French singing during which I used the mute button, made for a generally disappointing 90-odd minutes.

I think we should avoid apotheosising films such as this. Trying to see value in the film where it has little credit in order to substantiate a perceived transcendental level to it is misguided. There was really nothing avant-garde about it. It didn't come across as a work of art and yet it wasn't a documentary either. I know, it was a mocumentary but the real test is whether it is entertaining. I was bored out of my skull! It did have one redeeming feature: it pronounced 'Cannes' correctly so I gave it 3\/10.", "label":0 }, { "text":"I must say this movie is a Mork and Mindy knock off, when watching it i got the chills, I even wet myself a little. When that Korean guy with the spiders in his neck started kicking people i was like oh my lord Asian people smell and suck cause they eat dogs all the time. Any way back on track Chuck had a somewhat terrible performance and lacked the intelligence of a regular non robotic human being. Some people would compare it to his earlier days when he was a car wash analyzer and believed in the holy ghost and the ghost of Christmas past. This movie is so bad I put my new born child in a box and left it in Mr. Norris mailbox. He can raise my kid I'm not letting him into a world where he thinks chuck Norris is a karate expert Ill let him see what that hack is like in real life for the rest of his life.", "label":0 }, { "text":"I saw this in the market place at the Cannes Film Festival.

It's a real cheapo prod - nothing wrong with that but you have to make up for it with a bit of sex or gore or both.

Think Larry Cohen.

Sean Young is an interesting actor - well done to the producers for hooking her I guess.

The opening scene in the space-ship coming down is hilarious - you could picture all the crew hands shaking it around!

Ha ha - but I wish the people who made this well - at least it's not pretentious.", "label":0 }, { "text":"LIVE A LITTLE, LOVE A LITTLE is one of Elvis' weirdest movies. Part slapstick, part fluff, part surreal and part strange. Elvis meets up with a very off-beat girl with an annoying voice. She looks like Jennifer Aniston. Story doesn't make much sense as is the case with most Elvis Presley movies, and there a bunch of odd characters galore. Not much music in this one, but what there is I liked, although none are memorable. Strange continuity. Elvis and Michelle Carey go into her beach house at night, but a few minutes later a delivery boy comes in and it's stark daylight!! What?? That's about the essence of the movie. What?? Oh, two good things about the movie: A) Elvis looks great and B) the dog steals the show.", "label":0 }, { "text":"The fight scenes were great. Loved the old and newer cylons and how they painted the ones on their side. It was the ending that I hated. I was disappointed that it was earth but 150k years back. But to travel all that way just to start over? Are you kidding me? 38k people that fought for their very existence and once they get to paradise, they abandon technology? No way. Sure they were eating paper and rationing food, but that is over. They can live like humans again. They only have one good doctor. What are they going to do when someone has a tooth ache never mind giving birth... yea right. No one would have made that choice.", "label":0 }, { "text":"I saw this movie in my international cinema class and was grossed out from get go. This movie is nothing but one scene of blatant shock value after the next.

The 4th Man is about an alcoholic writer named Reve, who has visions of his in-pending danger. He meets up with a woman named Christine when giving a lecture at a local book club, and only decides to stay with her when he discovers how attractive her boyfriend is. To put it plainer, Reve likes the Dutch sausage. So Reve concocts a plan to seduce Christine's boyfriend so he can ultimately have sex with him. But its later discovered that Christine has had 3 previous husbands, who she all murdered. Now Reve and Christine's boyfriend could be \"THE 4TH MAN.\" The storyline makes sense with no plot holes. The editing and everything else that is technical about this movie is perfectly fine. The movie is just gross and I felt the need to vomit in some parts. Basically, this isn't my cup of tea.

The movie opens with Reve getting out of bed in JUST a t-shirt. So in the very beginning, you get to see Reve's lovely pecker flopping around as he walks around his cramped apartment in a hangover state. Later on he has a dream where his pecker gets cut off by a pair of scissors, and they do show it along with the blood fountain that ensues. Reve fondles a statue of Jesus and has homosexual sex in a mausoleum. Plus there's a lot of blood. More blood than all the Freddy Krueger movies combined.

Not that I have anything against \"shocking\" scenes, but this movie is just so blatant when it comes to shocking. The whole movie is revolved around the shock value.

So if any of this is your cup of tea, watch this movie. Otherwise, stay far far far far far away from this one. My mind is still scarred.", "label":0 }, { "text":"Well. Astronaut Steve West sits in a plastic space capsule, commenting that \"you haven't lived until you've seen the sun through the rings of Saturn\", all the while the obvious mid-day sunlight is streaming through the window, when suddenly he has a nose bleed. Next, West is back home in some secret hospital, a melting gelatinous mass who goes berserk and causes a chunky nurse to run through a fake glass door. Apparently, West \"gets stronger as he melts\", which makes about as much sense as anything in this hopelessly purile, adle-brained moovie. Then this dopey \"Army Brass\", who looks kind of like Coleman Francis (director of many bad moovies) tries to cover the info up, but goo man runs around killing everyone he sees because he is melting. He attacks a bickering old couple because he is melting. He makes one terrible actress scream and moan helplessly for about 10 minutes because he is melting. He is melting because he is melting. The fx by the slumming Rick Baker are supposed to be the star here, but they just look hokey. The film is poorly shot and everything looks so dark and muddled that it's very difficult making out what's what - not that it would help any. MooCow says who cut the cheese with this one?? :=8P ps - \"Didn't you get any crackers?\"", "label":0 }, { "text":"Lulu (Louise Brooks) works as a typist and is missing something in her life. She enters a Miss France contest against the wishes of her boyfriend Andre (Georges Charlia) and she wins. She sets off for the Miss Europe title leaving her boyfriend behind. She wins again but returns home to Andre because he has asked her to. Once back together, her life becomes mundane again so one night she writes a note to him and leaves to experience the fame that is waiting for her as Miss Europe. Andre follows her.....

This film is a silent film with a piano music-track all the way through. It is also sped-up so everything seems fast. Limited dialogue has been added on afterwards and it is very phony. The cast are alright bearing in mind that it is a silent film. The best part of the film comes at the end but the story goes on a little too long. After watching this, I'm not really sure what the big deal was over the looks of Louise Brooks - she has a terrible haircut that makes her face look fat. I don't need to watch it again.", "label":0 }, { "text":"I read the novel 'Jane Eyre' for the first time back in 1986. It was round that time that I saw the BBC-version with Timothy Dalton and Zelah Clarke. It was an excellent version and very much like the book. Years later, I laid eyes on this version and was horrified. William Hurt is totally miscast as Mr Rochester. Mr Rochester is a passionate character, where as William Hurt portrays him as a block of ice. The same goes for Charlotte Gainsborough. It was like watching two zombies together. This is story about love and passion, but I couldn't see it in this version. No, back to the BBC-version. A wonderful time is guaranteed.", "label":0 }, { "text":"I wasn't terribly impressed with Dante's 1st season offering in \"Homecoming\", it wasn't much of a horror story, but rather a smart political statement with the undead. Screwfly situation is the story of a virus unleashed on the world that causes men's sexual drive to replaced with murderous tendencies toward women. The episode starts out all right with a short film explaining the way the screw fly was killed of by scientists. Then there is short scene where a man is arrested when females bodies are discovered in his home. I assume this is supposed to show the beginning of the outbreak, but is unclear because this is never revisited. The episode go ons for a while introducing characters blah blah blah.It seems cool and mysterious but the episode stars to get worse and worse as it lurches forward until its sad and unsatisfying end. The worst episode. Well, except for chocolate.", "label":0 }, { "text":"I found this film to be quite an oddity. From the very get go I found it extremely hard to like this movie, and now after a little thinking about it I can pretty much pinpoint the reason why. Jean-Marc Barr, although I love him to bits (I think Zentropa is one of the best movies ever made) is quite miscast here, and although I can't figure for the life of me who would be better, I am sure someone could have taken his place quite easily and make this film work. Everything else is fine, except for the stabs at weak comedy (A Meet The Parents Joke is not really needed, filmmakers!) and I really like Richard E. Grant as the British Major. It just suffers from one thing.. Jean-Marc.", "label":0 }, { "text":"Well first off I'd like to add that I myself is somewhat of a historian so what I look for in a film that is based upon historical events is that it is actually based upon historical facts. But this is however not the case here. Sure the movie is entertaining and all but the fact that it isn't entirely based upon true facts is more than annoying. Hitler wasn't anti-semitic in his youth, he even worked for Jews before world war one. It was however during world war one and after that he formed his views about the Jews. His upbringing in this movie is also inaccurate, Hitler as a child wasn't a disturbed little brat. He had a more or less normal upbringing. Nothing is mentioned about his lost brothers and other important pieces that adds to the puzzle that is Hitler.

Robert Carlyle is a great actor but he doesn't really fit in the role as Hitler. Hitler wasn't as impossible and unstable as he is portrait-ed here. Under his younger years he was a charismatic person whom \"manipulated\" people through his charms. His unstable behavior and rage outbursts started in the turning point of the war.

I'd like to see a film about Hitler's life that is based upon real historical facts and not accusations. I really hate when people point a blaming finger at for example Hitler and others and tell inaccurate stories just to paint a picture of them as pure evil. It is much better to actually tell the story EXACTLY as it was so that everyone can learn what it was like! The ones behind this movie should have made some research before making this. Because it seems as if they didn't even know what really happened. Hitler wasn't even shot in the revolutionary march in Munch, his shoulder was ripped out of its socket.

It gives you more to see a good documentary than seeing this.", "label":0 }, { "text":"As others have said, \"No, Luciano\" is a more apt title or response to this movie title. For entertainment, the great opera singer should stick to singing.....not that he's a terrible actor. It's just that this movie stinks.

The first 25 minutes were fine - a nice family movie, as it were - but after that it's nothing but a boring soap opera.

Appropriately playing a singer, Pavarotti, as \"Giorgio Fini,\" loses his voice a few times and the doctor, \"Pamela Taylor\" (Kathryn Harrold) comes to the rescue. The singer then falls for the doctor, the doctor slowly falls for the singer, the two argue all the time and on and on and on it goes.

Pavarotti has a winning smile and is a likable guy. It's Harrold that spoils things and after watching her here I am not surprised she didn't become a star.

There is nice scenery in the movie to enjoy, good shots of San Francisco and Italy, at least in the first half of the film. I got bored and don't remember much about the second half of it.", "label":0 }, { "text":"This is a really bad film, with bad acting and a very boring pace Lorenzo Lamas is really cool though!. All the characters are just annoying (except Lamas), and there is absolutely no one to root or to care for!, plus the action is very boring. The film gives us 3 villains who were supposed to find menacing and disturbing when in fact there boring, laughable and just a bunch of morons that i wanted to shut up!, plus it looks very cheap and amateurish!. Lorenzo Lamas has a lot of charisma but he can't save this piece of crap, and believe it or not the opening was really cool, as was the ending, however the middle is incredibly boring, and got me to have the urge to press the fast forward button!, plus The dialog is especially laughable!.There is a cool bar scene that i really liked, but once Lamas heads to the dock it all falls apart, plus the scene where The villains torture Jennifer's family, and kills them were supposed to find it disturbing when it in fact is laughable!. This is a really bad film, with bad acting and a very boring pace, Lorenzo Lamas is really cool though!, however it is not enough, not recommended. The Direction is very bad. George Erschbamer does a very bad job here, with mediocre camera work, bland location, and keeping the film at a boring pace. The Acting is pretty bad (except for Lamas). Lorenzo Lamas is awesome here, and while he isn't required to act, he is quite fun to watch, and has a really cool character, and had a lot of charisma, however even he can't save this one,and he had no chemistry with the cast either! (Lamas Rules!). Josie Bell is terrible here, and while she's decent looking, she isn't very convincing and had no chemistry with Lamas. Cheryl Jeans is hot, but does not have much to do but scream and scared, she did okay at that.Robert Scott is INCREDIBLY annoying as the main villain, and wasn't menacing at all, he was laughable as were the other 2. Rest of the cast are bad. Overall Avoid! Avoid!, even if you do like Lamas (like me). * out of 5", "label":0 }, { "text":"Yes, CHUNKY, this is the nick-name that Donna Reeds' romantic lead played by Tom Drake tags her with! So lets get this clear right away. From her first ing\u00e9nue role in THE GET-AWAY (1941) too her last, DALLAS (1984-1985) Ms. Reed could NEVER be described as CHUNKY. Not this attractive and slim actress. Whose roles at M.G.M. seldom lived up to her talents.

Ms. Reed is supported by a cast of competent character actors, who unfortunately must flounder through this alleged 'screw-ball' comedy. Clearly M.G.M. was out of their depth making this type of film. A type better produced over at COLUMBIA, PARAMOUNT, RKO and even UNIVERSAL. Neither the 'touch' of Ernst Lubitsch nor the wit of Preston Sturges could save this film. A rather conventional romantic comedy that had all the markings of a pre-war (WWII) effort.

If Irving Thalberg had still been alive the screen-play would have either gone through a significant rewrite or never seen the light of day. It did fit into Louis B. Mayer's 'safe-zone' of none challenging family entertainment. A form that could not stand up to the post-war challenges of the 'DeHavilland Decision', loss of their theater chains, television and would contribute to M.G.M.s decline. Fortunetly for Donna Reed her best days are ahead of her culminating in FROM HERE TO ETERNITY (1953) and her Oscar win as Best Supporting Actress.", "label":0 }, { "text":"This film was terrible. I have given it the high score of 2 as I have seen worse, but very few.

From the clich\u00e9d start of having the end of the film at the start and going back to the start at the end this film used everything in the box of tricks used in film making just for the sake of it, like a kid with too many toys. There was the endless, boring repetitive narration, slow motion, freeze frame, flashbacks and merged images etc - none of which made a dull film any better.

It is called \"16 years of alcohol\", but there was little drinking or drunkeness and no depiction of withdrawal with the film jumping about all over the place with no coherent sense. The story was badly written and extremely pretentious and the direction was equally poor and it is a shame that people have put up further money for more films by Mr Jobson, previously know for being in a rubbish group and on TV making as much sense as this film does.

I found it a major struggle to see this to the end but in the hope of it getting better I carried on to the bitter but it really was a waste of time and I would have been better off not bothering.", "label":0 }, { "text":"For Daniel Auteuil, `Queen Margot' was much better. For Nastassja Kinski, `Paris, Texas' was much better. The biggest disappointments were from Chris Menges (`CrissCross' and `A World Apart' cannot even be compared with this one), and Goran Bregovic for use of a version of the same musical theme from `Queen Margot' for this movie (Attention to the end of the film). If this was an American pop movie, I would not feel surprised at all; but for a European film with more independent actors and director, a similar common approach about child abuse with no original insight is very simple-minded and disappointing. There are those bad guys who kidnap and sell the underage people. There are those poor children who hate people selling them and wait to be saved by someone. And finally, there is that big hero who kills all the bad guys and saves these poor children from bad guys. Every character is shown in simple black and white terms: the good versus the evil. Plus, from the very beginning, I could understand how the story would end. Is this the end of the history of child sexual abuse? I believe that the difficult issue of child molestation and paedophilia is much more complex than how it is portrayed in this not very original movie. I think this movie was not disturbing, but very disappointing.", "label":0 }, { "text":"Since most review's of this film are of screening's seen decade's ago I'd like to add a more recent one, the film open's with stock footage of B-17's bombing Germany, the film cut's to Oskar Werner's Hauptmann (captain) Wust character and his aide running for cover while making their way to Hitler's Fuehrer Bunker, once inside, they are debriefed by bunker staff personnel, the film then cut's to one of many conference scene's with Albin Skoda giving a decent impression of Adolf Hitler rallying his officer's to \"Ultimate Victory\" while Werner's character is shown as slowly coming to realize the bunker denizen's are caught up in a fantasy world-some non-bunker event's are depicted, most notable being the flooding of the subway system to prevent a Russian advance through them and a minor subplot involving a young member of the Flak unit's and his family's difficulty in surviving-this film suffer's from a number of detail inaccuracies that a German film made only 10 year's after WW2 should not have included; the actor portraying Goebbels (Willy Krause) wear's the same uniform as Hitler, including arm eagle- Goebbels wore a brown Nazi Party uniform with swastika armband-the \"SS\" soldier's wear German army camouflage, the well documented scene of Hitler awarding the iron cross to boy's of the Hitler Youth is shown as having taken place INSIDE the bunker (it was done outside in the courtyard) and lastly, Hitler's suicide weapon is clearly shown as a Belgian browning model 1922-most account's agree it was a Walther PPK-some bit's of acting also seem wholly inaccurate with the drunken dance scene near the end of the film being notable, this bit is shown as a cabaret skit, with a intoxicated wounded soldier (his arm in a splint) maniacally goose-stepping to music while a nurse does a combination striptease\/belly dance, all by candlelight... this is actually embarrassing to watch-the most incredible bit is when Werner's Captain Wust gain's an audience alone with Skoda's Hitler, Hitler is shown as slumped on a wall bench, drugged and delirious, when Werner's character begin's to question him, Hitler start's screaming which bring's in a SS guard who mortally wound's Werner's character in the back with a gunshot-this fabricated scene is not based on any true historic account-Werner's character is then hauled off to die in a anteroom while Hitler prepare's his own ending, Hitler's farewell to his staff is shown but the suicide is off-screen, the final second's of the movie show Hitler's funeral pyre smoke slowly forming into a ghostly image of the face of the dead Oskar Werner\/Hauptmann Wust-this film is more allegorical than historical and anyone interested in this period would do better to check out more recent film's such as the 1973 remake \"Hitler: the last 10 day's\" or the German film \"Downfall\" (Der Untergang) if they wish a more true accounting of this dramatic story, these last two film's are based on first person eyewitness account's, with \"Hitler: the last 10 day's\" being compiled from Gerhard Boldt's autobiography as a staff officer in the Fuehrer Bunker and \"Downfall\" being done from Hitler's secretary's recollection's, the screen play for \"Der Letzte Akte\" is taken from American Nuremberg war crime's trial judge Michael Musmanno's book \"Ten day's to die\", which is more a compilation of event's (many obviously fanciful) than eyewitness history-it is surprising that Hugh Trevor Roper's account,\"The last day's of Hitler\" was never made into a film.", "label":0 }, { "text":"I saw this in the summer of 1990. I'm still annoyed by how bad this movie is in 2001.

Implausible plot. You'd have to be a child to think this could happen.

I'm just really annoyed by it. Don't see this.", "label":0 }, { "text":"This movie is absolutely pointless, one of the good esamples how Malcom McDowall never got one decent role after Clockwork Orange. This one may be one of the worst though. No story, crappy special effects, shot in 4:3\/or even worse cropped on DVD, just avoid it ....", "label":0 }, { "text":"The Tooth Fairy is about the ghost of an old deformed witch that lures children to her house to get a prize for their loose tooth and then takes their lives. The first few minutes introduce you to the 1949 beginning of the legend of the tooth fairy and then switches to present day. The worn out horror plot is pretty much saved by the solid acting. They could have done without the Hammond brothers and a few other scenes, but overall the gore scenes were bloody but quick which had a minimizing effect. The eye candy is pretty good for both genders. Camera work is good. Dialog is fair but cheesy. I expected the film to be a bare bones, low budget, slasher with very few redeeming factors. I was surprised by the quality of the film.", "label":0 }, { "text":"Though I've yet to review the movie in about two years, I remember exactly what made my opinion go as low as it did. Having loved the original Little Mermaid, and having been obsessed with mermaids as a child could be, I decided I'd take the time to sit down and watch the sequel.

Disney, I've got a little message for you. If you don't have the original director and actors handy...you're just looking to get your butt whooped.

In the sequel, our story begins with a slightly older Ariel and her daughter, Melody. My first big issue was that Eric and the rest of the crew sang. Yes, I understand that Disney is big on sing-and-dance numbers, but really, that's what made Eric my favorite prince. He was calm, collected, and a genuine gentleman that knew how to have fun. And he DID. NOT. SING.

And then there's the villain. Oh, how could we forget the shivers that coursed down our spines whenever Ursula slunk onto the screen, terrifying both Ariel and audiences around the world? Unfortunately, that gene was not passed on to her seemingly useless sister, Morgana. Nothing was ever, EVER said about Morgana in the first movie; she just pops out of nowhere, trying to steal the baby. Oh, how cute. The younger sister is ticked off and instead of going after the trident, decides to kidnap a month-old baby. Gag me.

Other than being a flat character with no sense of originality in her, Morgana was just very unorthodox. The same plan as her sister, the same minions (who, by the way, did not scare anyone. I had a three year old on my lap when I watched this movie, and she laughed hysterically.) She had no purpose being in there; I'd like to have seen Mom be the villain. I'm sure she would have done a better job than Little Miss Tish over there.

King Triton held none of the respect he'd earned from me in the first movie, and don't even get me started on Scuttle, Sebastian and Flounder. Triton was a stern but loving father in the first movie, and in the second, it's almost like he's lost his will to knock fear into the hearts of his subjects. Scuttle, once a comic relief that made everyone laugh with his 'dingle-hopper' (yes, I'll admit it; I did call my fork a dingle-hopper from time to time after that). In this film, Scuttle's all but forgotten. A supporting character even in the first, he at least added something to the movie. He was rich with a flavor the others didn't have, and in the sequel, they all but stripped it from him entirely. Sebastian was still the same, but twice as worrisome as before. Disney, don't do that. Don't even try to mess with our favorite crab. Or our favorite little fat fish, who becomes a dad and has a multitude of very annoying children. He's fat, and he's bland, and he looks like he's going to flat line any second.

The walrus and penguin were unneeded, and after a while, you just start to resent everyone. Especially Melody, who has no depth to her whatsoever.

And one of these days, Disney, I'm kicking out of my life.

If I didn't love your originals so much.", "label":0 }, { "text":"Some very interesting camera work and a story with much potential. But it never comes together as anything more than a student's graduate thesis in film school.

There are two primary reasons for this. Fist, there is not a single likable character, not even a villain we might admire for his\/her chutzpah. Secondly, all the acting is awful - even from veteran Willem DaFoe. The ham is so plentiful here, you feel like you're at a picnic - but one of those wretched company employee picnics where you drink too much cheap beer and get your hangover before you even stop drinking. Then you eat an underdone hotdog and throw up.

All right, I'm being a little rough on a young director who might still go places - as I said, the camera work is quite good.

But I feel cheated - the blurb for this film suggests we will get to watch a \"Modern western\", and the DVD packaging has pictures on it that suggest this as well - but nobody actually connected to the film's making seems to know that this is the kind of film they're supposed to be making.

That betrayal is what hurts; but even without it, the fact remains that we don't like these characters, we feel embarrassed for the actors, the story is hopelessly muddled, and in the last analysis, we just don't care.

I took it out of the DVD player about half way through. but the rental store wouldn't give me my money back.

Now, that really hurts.", "label":0 }, { "text":"Now look, I won't lie to you, but I only got this movie for $3.99 from a friend because it had Danni Filth, the lead singer of the ever popular death metal band \"Cradle Of Filth\" in it. I expected of course violence and gore at its finest, as that is what Mr Filth can be portrayed as, amongst a plot line.

But dear god, I was oh so wrong. This movie seriously bites, big time. Being a low budget film (haha, wait, make that ZERO BUDGET), this obviously lacks the beautiful Howard Stern orchestra musical scores and the Spielberg special effects. Nope, it's all one camera, bad angles, and bad blood scenes.

Take for example when our star and violent fiend, Mr Filth, violently kills a mugger. A grab at the throat, and blood spits out, but oh my, it looks like there's a juice packet filled with fake blood in the man's shirt.

To you Cradle Of Filth fans: You'll hear two songs throughout the movie, but with the camera angles and shoddy filming, they drag the overall pleasure of the song DOWN.

My final comment: Steer well away from it. It's blood, gore, breasts, and hey, even a shoddy story to go with it. So if you like appalling violence, near no voices (yes, there's hardly any words in this movie), then by all means, buy it. But if shoddy movies isn't your thing, then avoid it. Don't waste your money.", "label":0 }, { "text":"The script is nice.Though the casting is absolutely non-watchable.No style. the costumes do not look like some from the High Highbury society. Comparing Gwyneth Paltrow with Kate Beckinsale I can only say that Ms. Beckinsale speaks British English better than Ms. Paltrow, though in Ms. Paltrow's acting lies the very nature of Emma Woodhouse. Mr. Northam undoubtedly is the best Mr. Knightley of all versions, he is romantic and not at all sharp-looking and unfeeling like Mr. Knightley in the TV-version. P.S.The spectator cannot see at all Mr. Elton-Ms. Smith relationship's development as it was in the motion version, so one cannot understand where was all Emma's trying of make a Elton-Smith match (besides of the portrait).", "label":0 }, { "text":"A good idea, badly implemented. While that could summarize 99% of the SciFi channel's movies, it really applies here. I love movies where a good back story is slowly revealed, and I like action movies, and I like all of the main actors, so this could have been great. However, despite some good acting, this movie fails due to Bill Platt's bad writing and directing.

Another review made the good point of needing to know where you're going so you can get there. This movie doesn't. It's put together in such a haphazard way that you know the words \"second draft\" are not in Bill Platt's vocabulary. There is one scene that is entirely unnecessary and could be removed without anyone noticing. This scene even begins and ends with them driving a car, so you could cut from one car scene to the other and never have missed the pointless scene in the middle.

This movie also had a strange habit of under explaining some details while over explaining others, some to the point where you can guess the entire \"plot\" up front. It also had a habit of aborting a fight early, probably just because they couldn't afford it. There are also a few laughably bad scenes where the \"plot\" is revealed on a computer and the final battle involving conveniently placed \"toxic adhesive\" (seriously, what *is* that?).

If you are a fan of Shiri Appleby, watch this movie because she's OK. She does manage to break out of her \"Roswell\" persona a few times and make for a good tough chick (but not always). John De Lancie plays the same character he plays in everything he's ever done since playing Q back in ST:TNG, so that's nothing new.

In all, I gave this movie a 4\/10 rating.", "label":0 }, { "text":"Three part \"horror\" film with some guy in a boarded up house imploring the viewer not to go \"out there\" and (unfortunately) gives us three tales to prove why.

The first story involves a young couple in a car accident who meet up with two psychos. It leads up to two totally predictable twists. Still, it's quick (about 15 minutes), violent, well-acted and well-done. Predictable but enjoyable.

The second involves a man on the run after stealing a large amount of money. His car breaks down, he's attacked by a dog and stumbles into a nearby clinic. VERY obvious, badly done and extremely slow. Even at 30 minutes this is too long. Good acting though.

The third is just barely a horror story. It involves a beautiful, lonely woman looking for Mr. Right. It has beautiful set designs, a nice erotic feel and a nice sex scene. But (again) predictable and not even remotely scary.

It ends very stupidly.

All in all, the first one is worth watching, but that's it. Tune in for that one then turn it off.", "label":0 }, { "text":"Absolutely putrid slasher film has not one redeeming quality. It has Camp Councellor Angela(Pamela Anderson..awful as the killer;her quips when she wastes people aren't even amusing)on the warpath slaying teenagers who act the least bit naughty or resist her pleadings for good behavior. We run the gamut of boring, clich\u00e9d killings such as the slashing to the throat to one kid looking for his Freddy clawed glove, a kid who gets a chainsaw, one girl who gets drilled, one who gets shoved into the crapper(filled with leeches), one who is roasted, etc.

It doesn't have one original idea to offer and is merely a waste of time. That is unless you want to see Valerie Hartmen's(who plays the slut Ally)tits. Most of the violence occurs off-screen so even that will not satisfy.", "label":0 }, { "text":"A question for all you girls out there : If a man you`ve never met before accidentally phoned you up on purpose and continued to do so at the most indiscreet moments would you be intrigued by him or so freaked out you`d phone the police ? Yeah that`s what I thought so I couldn`t swallow the idea of Marti Gerrard putting up with the unwarrented attention of Connor Hill

***** MILD SPOILERS *****

This is a really dumb story . Connor Hill`s wife is murdered and the plot revolves around the question is Connor phoning Marti so he can have an alibi ? But there`s a massive gap in logic here , couldn`t Connor have employed a hit man ? something the prosecution seem to have ignored . And wasn`t there any forensics at the murder scene ? So why does the whole trial rest on Connor phoning Marti at the time of the murder ? Dumb . Dumb . Dumb . And it`s as predictable as it is brainless .

My abiding memory of this film is that for someone who made the winter Olympics Marti Gerrard is a really crap downhill skier", "label":0 }, { "text":"The school nerd Marty (Simon Scuddamore) is sexually humiliated by a bunch of classmates and then is in a lab explosion (set by them also) where his face is scarred by acid. Years later all the jerks get invited back to the high school (since closed) for a reunion. What they didn't know is that Marty is inviting them back to kill them. Then a storm starts, they're locked in the school and Marty starts to take revenge.

Pretty silly. The murders are inventive and gory and there are some creepy atmospheric shots of the deserted school--but that's about it. The humiliations inflicted on Scuddamore are more than cruel (he's stripped, has his head dunked in a toilet AND gets burnt) and are just uncomfortable to watch. Considering Scuddamore committed suicide shortly after this was released make them almost impossible to view. Also this movie goes out of its way to have nudity. There is full frontal of Scuddamore (surprising for any movie) but one girl decides to take a bath alone...AFTER they know a killer is wandering around after them! And then there's the couple that has to have sex. This is the type of film where the killer seems to know where everybody is going to be and can teleport himself to them. It ends with a twist which had me groaning and rolling my eyes then ANOTHER twist which had me wanting to throw something heavy at the TV! The acting is bearable--not good, but bearable. Caroline Munro is in this too. She's a very beautiful woman but not much of an actress.

This gets a 3 for some effectively gory murders and atmosphere. Otherwise it's run of the mill and forgettable. Scuddamore's tragic suicide has given this film more attention than it deserves.", "label":0 }, { "text":"Good Folks, I stumbled on this film on evening while I was grading papers. My academic specialty is Anglo-Saxon literature, and I can say that no one has ever done the genre the honor it deserves. The Icelandic \"Beowulf and Grendel\" is the least offensive I have seen, and I did pay $3.00 for my copy. This Sci-Fi version ranks with the Christopher Lambert version. Yuck.

What didn't I like? CGI for one. Amazingly bad. More importantly is the faithfulness to the storyline, not to mention the stilted acting. I am used to both with all the versions I have seen.

Delighted Regardless, Peter", "label":0 }, { "text":"i didn't enjoy this movie at all.for one,i just found it crude and vulgar,for no reason.i also felt it's misogynistic(against women.)also,the movie really doesn't appear to be about anything,and i didn't find any of the characters likable.really,the there doesn't seem to be any point to it all.maybe i'm missing something,but for me,this movie is pretty much a waste of time,when i could have been doing something more productive and enjoyable.like using my face as a pin cushion.James garner is in this thing,as are C.Thomas Howell and Shirley Jones,and James Cromwell.all are wasted here,and i'm sure this was a low point in each of their respective careers.Jennilee Harrison(from the later years of Three's Company)is also in the movie,and it is nice to see her in a non ditsy role.but other than that,she can't rise above the mediocre script.for me,Tank is a 3\/10", "label":0 }, { "text":"This was one of the worst movies i have ever seen. The plot is awful, and the acting is worse. The jokes that are attempted absolutley suck. Don't bother to waste your time on a dumb movie such as this. And if for some reason that you do want to see this movie, don't watch it with your parents.", "label":0 }, { "text":"Ok, I wrote a scathing review b\/c the movie is awful. As I was waiting another review (for Derrida) of mine to pop up, i decided to check out old reviews of this awful movie. Look at all the positive reviews. They ALL, I say ALL, come from contributors have have not rated any other movie other than this one. Crimminy! and wait till you to the \"rosebud\" [sic] review.

Checkout the other movies rosebud reviewed and had glowing recommendations for. Oh, shoot!, they happen to be for the only other movies by the two writers and director. Holy Window-Wipers Batman.

Joe, Tony, you suck as writers, and tony, you couldn't direct out of a bad script. No jobs for you!

ALWAYS CHECK POSITIVE REVIEWS FOR A LOW RATED MOVIE!", "label":0 }, { "text":"this is a great movie. I love the series on tv and so I loved the movie. One of the best things in the movie is that Helga finally admits her deepest darkest secret to Arnold!!! that was great. i loved it it was pretty funny too. It's a great movie! Doy!!!", "label":0 }, { "text":"Anita and Me seems to be little more than an excuse for Meera Syal, the author of the novel and screenplay, to air her prejudices, grievances and general antipathy towards the English. The general sentiment of Indian superiority over the English in this film is foul.

The English people in this film are portrayed as overweight, violent, foul-mouthed, promiscuous, engaging in child neglect, stupid, uneducated, racist, ugly, eating poor food, and dim-witted -- tellingly, only by turning to Indian culture can the local priest be \"redeemed\" at the end of the film.

By contrast, the Indian family are beautiful, clever, educated, can speak many languages, are caring and loving parents, and grammar-school fodder. The film is so insidiously prejudicial that I am astonished the BBC funded it at all. Had it been the other way round, an English family in an Indian community depicted this way, the film would have been seen as racist.

There were a few moments where my eyebrow shot so far up my forehead, I thought it would lodge in my hairline. First, the gossip scene between the women at the Divali celebration -- undertext: the English are dirty and promiscuous -- and the men -- undertext: English women are prostitutes. Second, the meal with Anita where Neema's family lie to her about cutlery -- undertext: the English are so stupid, you can make them do anything.

But the underlying contempt towards anything English -- even English weddings are an object of scorn -- is evident all the way through the film. The character of Anita was drawn so appallingly -- almost the fallen woman trope -- that I finished the film feeling angry.

This is not a \"Bend it like Beckham\" where the humour is focused on loving exaggerations of a community's behaviour and customs from somebody within that community, and is a film about two girls from different backgrounds coming together. Instead, Anita and Me seems to convey that a form of cultural apartheid is inevitable, as the English are almost an version of the Indian Untouchable caste, and this is underscored by a thinly-veiled series of attacks upon the film's \"other\" community: the English.

I felt Anita and Me is a hate-filled, grievance-based piece of work. On that basis, the BBC should not have funded its production.", "label":0 }, { "text":"What a disappointment! I hated the mummy but this one was even worse! It was very tiring and unbelievable and at a certain point I found myself sighing and yawning all the time. I can't believe that people actually liked this movie. The role of Nicholas Cage wasn't very convincing. The whole movie felt like a grand tour around America's most wanted buildings. The never stopping flow of hints and combinations wasn't very convincing either. I stopped paying attention around 30 minutes. What was supposed to be a happy night out became a total disappointment. What a drag... I guess I've just seen too many movies to enjoy National Treasure.", "label":0 }, { "text":"This is a bad movie. Not one of the funny bad ones either. This is a lousy bad one. It was actually painful to watch. The direction was awful,with lots of jumping around and the green and yellow hues used throughout the movie makes the characters look sickly. Keira Knightly was not convincing as a tough chick at all,and I cannot believe Lucy Liu and Mickey Rourke signed on for this criminal waste of celluloid. The script was terrible and the acting was like fingernails across a chalkboard. If you haven't seen it,don't. You are not missing anything and will only waste two hours of your life watching this drivel .I have seen bad movies before and even enjoyed them due to their faults. This one is just a waste of time.", "label":0 }, { "text":"I wonder who was responsible for this mess. The jokes wouldn't have worked for gilligan's island. If this had gone to series, would there have been jokes about Auschwitz, or would Eva have to replace her oven, only to have Adolf suggest the kind that seats 50?? Another post compared this show to I love Lucy. The problem with this is that Lucille Ball was a genius at physical comedy and bizarre situations, and this mess was just plain badly done and an insult to my intelligence.

After the damage the Nazi's did to England and the number of people they killed, I would think the very concept of a comedy about Hitler would seem repugnant and most normal people would have killed this concept before any episodes were produced.", "label":0 }, { "text":"I really don't get all the adulation that this film has received. It's mawkish, unnecessarily manipulative and dodges many of the big issues - ie Nash's affairs and his predilection for having sex with men in public places. That, I suppose, in the context of a commercial Hollywood film is just about tolerable, but what's with all the praise for Russell Crowe's performance? The man just seems to shuffle about, clutching his briefcase and wearing a grungy hat and somehow that seems to qualify as fine acting? Anyone who has ever known a person with mental health problems will realise that Crowe's performance is little short of caricature. It is also rather offensive. And, dare I say, just on the right side of being truly terrible", "label":0 }, { "text":"I just watched this horrid thing on TV. Needless to say it is one of those movies that you watch just to see how much worse it can get. Frankly, I don't know how much lower the bar can go.

The characters are composed of one lame stereo-type after another, and the obvious attempt at creating another \"Bad News Bears\" is embarrassing to say the VERY least.

I have seen some prized turkeys in my time, but there is no reason to list any of them since this is \"Numero Uno\".

Let me put it to you this way, I watched the Vanilla Ice movie, because it was so bad it was funny. This...this...is NOT even that good.", "label":0 }, { "text":"Most movies I can sit through easily, even if I do not particularly like the movie. I am the type of person who recognizes great films even if I do not like the genre. This is the first movie I could not stand to watch. Cat in the Hat is the worst movie I have ever seen--and I've seen a lot of movies. The acting is okay (Myers is good as the cat, it's just that he is REALLY annoying). The silly songs the cat sings were boring and monotonous, even for the children in the audience. The plot drags on and on, and viewers must suffer through poor dialogue. The \"witty\" parental remarks are disgusting, not funny (I remember some awful comment about a garden hoe being compared to, well, a type of person people call a \"ho\"). Even though the movie is really short, it seemed to last FOREVER. Do not waste your time. I know small kids who hated this movie. If children can't stand it, I do not know how any adults can. I would like to fume more about this film but I do not even feel like wasting anymore time writing this review about it. I HATED IT! So, in summary, do not spend 90 minutes of your life watching this! See a GOOD movie!

1\/10 stars--the lowest review I have ever given a movie.", "label":0 }, { "text":"This film might have weak production values, but that is also what makes it so good. The special effects are gross out and well done. My favorite part of the movie had to be Chrissy played by Janelle Brady. She is super hot and also has a good nude scene. Robert Prichard as the leader of the gang is hilarious, as are the other members. This film is actually trying to make a point, by saying that nuclear waste plants are bad. 4\/10 Fair comedy, gross out film.", "label":0 }, { "text":"It's a pretty good cast, but the film has nowhere near the grace of the original Italian comedy \"Big Deal on Madonna Street\" Anyone looking for an entertaining caper film should visit the original. William Macy may be one of our greatest living actors, but here he's put to little use. And his role in the original was played by Marcello Mastroianni, so I sort of feel sorry for him trying to fill those shoes. Might as well try to imitate Bogart or a young De Niro. The art direction is rich and textured but brings nothing to the story, the extra bits they add to the story feel completely unnecessary and the things they take away are missed. Even starting the way they do seems bizarrely gratuitous and takes away from the surprise of the original. Sam Rockwell has his odd and genial charm and Luis Guzman has that odd charisma, but the love story part of the movie just seems clunky and flat. It's too bad nobody has figured out how to make this movie as well as it was first made, but then again it's too bad we live in a culture where we feel like we need to remake amazing things instead of simply learning to savor the originals.", "label":0 }, { "text":"What does the \" Executive producer \" do in a movie . If I remember correctly it's the person who raised the financial backing to make the movie . You might notice in a great number of movies starring Sean Connery that he is also the executive producer which meant Connery himself raised the money since he is a major player . Unfortunately it should also be pointed out that a great number of movies \" starring Sean Connery were solely made because he managed to raise the money since he's a major Hollywood player , it's usually an indication that when the credits read that the executive producer and the star of the movie are one and the same the movie itself is nothing more than a star vehicle with the story\/screenplay not being up to scratch

PROTOCOL follows the saga of one Sunny Davis a kooky bimboesque cocktail waitress who saves a visiting dignitary and as a reward gets made a top diplomat . Likely ? As things progress Ms Davis ( Who has problems being able to string two sentences together ) finds herself in more outlandish and less likely situations . When I say that PROTOCOL stars Goldie Hawn who is also the film's executive producer do you understand what I'm saying about the story\/screenplay not being up to scratch ? Exactly", "label":0 }, { "text":"I was very disappointed by this film for a few reasons. For the first half hour it's actually pretty decent. Although the acting isn't any better then that which you would find in a rap video, its kinda funny and the production value doesn't seem half bad. In fact I almost thought this would be almost as good as Perico Ripiao (another recent Dominican film) which turned out to be MUCH MUCH better than I expected. The plot for the movie revolves around not just cheating husbands but how women are viewed and treated in Dominican society as a whole, which makes for a good premise especially in The Dominican Republic. Unfortunately I don't think the makers of this film relies that a good movie is all about how you treat your subject matter, and they f'ing butchered the veal cutlet they had before them. About 30 minutes into the movie the roles of men and women are reversed after the main characters wife puts a kind of spell on him as a result of his cheating habits. Not only does this transition happen via what look to be cutting edge, space age, CGI effects dating to what I'm guessing would be the 70's, but the whole plot just goes down the drain. The rest of the movie is nothing but cheesy predictable situations, and clever one liners. To top it all off (and I guess I should warn you now **SPOILER ALERT**) it all turns out to be a dream. Oh my who didn't see that coming? Oh man I almost forgot the most ridiculous thing about the movie. Well after about an hour into it I start thinking \"\u0085hmmmm something just doesn't seem right about the sound track but what can it be??\" \u0085and then it hits me HALF OF THE MUSIC IN THE MOVIE WAS TAKEN FROM A VIDEO GAME CALLED KING OF FIGHTER 95.

When oh when DR will you give us a film we can call a work of art?!?! Perhaps a comedy to match France's Amelie, or an action flick to match Thailand's Ong-Bak, an animation as Akira was to Japan, a witty crime thriller as Layer Cake was to England, or a socio-awakening journey as Waking Life had here in the states.

...i would give it a 1 but i've seen much worse come out of DR, search Los Jodedores and you'll know what I'm talking about.", "label":0 }, { "text":"While the original First Blood had its far-fetched moments, it was at least exciting in parts. In Rambo: First Blood, Part II the emphasis is shifted very much onto comic-book action. Plausibility is totally rejected; logic nose-dives; Stallone becomes so impregnable that there can be no doubt he will succeed in his mission. Just like any other wish-fulfilment actioner of that time (e.g. Invasion USA, Commando, Red Scorpion), Rambo: First Blood, Part II cancels out its own opportunities for real excitement by presenting a hero too invulnerable to fear for. If you can tell from the word go that Rambo is going to wipe out hundreds of enemy soldiers, what is left to get excited about?

Imprisoned after the events of the first movie, John J Rambo (Sylvester Stallone) is offered a pardon if he will join a covert operation in the Far East. The year is 1985, and a mission is being arranged to find out if there are any American PoWs still trapped in the jungles of Vietnam. Rambo is encouraged to take the job by his old mentor Colonel Trautman (Richard Crenna), but the assignment is actually the brainchild of a government outfit fronted by Marshall Murdock (Charles Napier). Rambo's job is merely to head for a prison camp in the jungle and check out if it contains any American PoWs \u0096 if it doesn't, he is to rendezvous with a chopper; if it does, he is to get photographic evidence of their existence so that they can be rescued at a later date. Aiding him in his quest is a lady soldier with local knowledge, the beautiful and resourceful Co Bao (Julia Nickson). Sure enough, Rambo discovers that there are PoWs in the camp, but he exceeds his orders by rescuing one of them\u0085 when he reaches the rendezvous point, the rescue chopper abandons him on the orders of Murdock who, it seems, doesn't really want to find any PoWs because of the political and military implications. Rambo is captured by the enemy and tortured, but following an explosive escape he sets out to free the PoWs and get his revenge on the treacherous Murdock.

The few good points of the film come from Jack Cardiff's polished photography, Jerry Goldsmith's exhilarating score, and the sheer professionalism of the stunt team in performing various action antics. Beyond these scant pickings, the film is a failure. The actors are reduced to macho posturing, the plot rings false, the action sequences are soulless and suspenseless, the dialogue is absurd\u0085 even the violence becomes numbingly predictable. At the time of its release America was under the presidency of Ronald Reagan, a man with simplistic and near-hysterical anti-communist sentiments. For this reason, contemporary audiences lapped up this Commie-bashing shooting-fest as if it was the greatest movie of all-time, transforming it into an undeserved box office success. Thankfully times have changed \u0096 nowadays we can look upon it as a simple-minded action flick with a ludicrously high body count, ludicrously dumb politics, and a ludicrous hero.", "label":0 }, { "text":"Frank Sinatra plays a no-goodnik ex-soldier and frustrated writer, hard-living and hard-drinking, who returns to his Midwestern hometown and reunites with his estranged brother (Arthur Kennedy), now the town big-shot with a disinterested wife and headstrong daughter. Frank gets involved with gambler Dean Martin, uneducated flooze Shirley MacLaine, and has some run-ins with the law, but what he really wants to do is write and settle down with a good woman. Over-simplified drama verging on soap opera, with a role for MacLaine that is by turns overly 'colorful' and embarrassingly sentimental (her drunken belting on \"After You've Gone\" is however the film's highlight, and is expertly handled). Director Vincente Minnelli oversees it in straight-forward fashion, but he's in surprisingly glum spirits and most of the big scenes are flat or dense. The picture looks incredibly handsome in widescreen, with a nice eye for detail and composition, but the story and these characters are stuck in the dregs. ** from ****", "label":0 }, { "text":"I always found Betsy Drake rather creepy, and this movie reinforces that. As another review said, this is a stalker movie that isn't very funny. I watched it because it has CG in it, but he hardly gets any screen time. It's no \"North by Northwest\"...", "label":0 }, { "text":"I was willing to go with the original _Cruel Intentions._ It went along with the plot and stayed true to the characters of one of my favorite stories. However, this movie was, in my opinion, a crummy rehash with essentially the same story line and no clear character choices. I didn't honestly care what happened to any of them. The strongest part of the original story (Les Liasons, not CI) is the characters and their interactions, not the events themselves. I wasn't clear until I read the IMDB that this movie was meant to be a prequel, especially since the title includes a number \"2,\" I expected a sequel, but then determined that it must be a companion piece. Over all, I must say that this movie read, to me at least, like a soft porn version of Les Liasons. I was not impressed.", "label":0 }, { "text":"If I could i would give ZERO stars for this one, but unfortunately i have to give one...

There is no single scene I could laugh about... but the game didn't make me laugh either. So if you're some ill retarded folk, go to your local cinema, watch this movie and give it 10 stars, like some people here already did.

but for me... in a movie where children are shot dead to achieve humor... good taste goes over the edge... this was the third time i wasted my time to see a Boll movie and it was definitely my last!

0\/10... i'm ashamed of being from the same country as Uwe Boll!

PLEASE PLEASE KEEP HIM FROM MAKING MORE MOVIES!!!!!", "label":0 }, { "text":"This movie is terrible. Carlitos Way(1993) is a great film. Goodgfellas it isn't but its one of the better crime films done. This movie should be considered closer to THE STING Part2 or maybe speed Zone. Remember those gems! The only reason this movie was made was to capitalize on the cult following of the original. This movie lacked everything De Palma, Pacino and Penn worked so hard on. There wasn't a likable character and that is the fault of everyone responsible for making it. I hope RISE TO POWER wins every RAZZIE it possibly can and maybe even invent some new categories to allow it be a record holder. After I watched this S@*T FEST movie, I sat down and watched the original Carlitos way to get th bad taste out of my mouth. After watching this I wish Pachanga came and whacked me out of my misery.", "label":0 }, { "text":"the tortuous emotional impact is degrading, whether adult or adolescent the personal values shown in this movie belong in a bad psychodrama if anywhere at all. This movie has a plot, but it is all evil from start to end. This is no way for people to act and degrades both sexes all the way through the movie. teen killing - bad preteen sex - bad emotional battering - bad animal cruelty - bad psychological torture - bad parental neglect - bad the only merit if any is the excellent color shots of contrasting red, blond and green leaves a bad feeling for anyone that respects life and peace, what a bad mistake to make, or to watch... it is UGLY", "label":0 }, { "text":"The ghost of the Vietnam war has haunted the American psyche for thirty years now. If not because of the fact that tens of thousands of American soldiers went MIA in Vietnam, or the manner in which those who returned were treated, then because it was the first war that America could be said to have lost. Many men came home from the war a shadow of their former selves, and the original First Blood managed to provide a small insight into their problems as they attempted to rotate back into the world, as the saying goes. First Blood Part II, on the other hand, is little more than a fist-pumping mess that goes to illustrate how sore America can be, both in victory and defeat. Stallone puts in another sluggish performance as the titular Special Forces commando, while Richard Crenna attempts to hold up the serious actor quotient. Where it all comes undone is in the script, which didn't do any better when it was called Missing In Action and starred Chuck Norris. What little semblance of logic there was in the original is now gone, as the filmmakers decide to paint a big S on Rambo's massive chest.

The film picks up a little while after the end of First Blood. The film, that is - the novel didn't allow for the possibility of sequels. In this mediocre follow-up, Rambo has been put to work at what appears to be some sort of open-air mine. As he is breaking rocks and working up a sweat, a prison guard pulls him away to go and have a chat with Colonel Trautman, who advises him that his government is willing to offer him an early release if he goes on a covert mission. Rambo, never one to back down from a hard day's violent work, accepts, and is promptly shipped off to a covert base in what appears to be Cambodia or Thailand (I forget which). From there, he is commissioned to seek out a camp where American MIAs are supposedly being held, and photograph them. His mission quite clearly specifies that he is not to make any attempt to secure their release. Rambo being Rambo, however, has other ideas in spite of their possible political implications.

Of course, things go somewhat awry when it turns out that the people commissioning Rambo's work have more interest in making sure no American MIAs are found. It is the age-old conspiracy theory, and makes no apologies for exploiting the plight of many an American family that was left without a son during the ten years that the official Vietnam war had been raging for. Of course, with the Jingoism that was inherent in American society during the 1980s, they could not help but work in a plot tangent about the Vietnamese army being in bed with what appears to be a single battalion of Russians. Together, the two antagonists attempt to extract what information they can from Rambo, but it backfires upon them in an orgy of bullets, arrows, rockets, and destruction. About the only thing missing is the moment when Rambo drinks from a grail-like chalice and declares himself invincible.

To be honest, First Blood Part II is a well-photographed, and well-choreographed, action spectacle. The hand-to-hand combat with the larger Russian commander is one of the few battles in the film that has any dramatic tension whatsoever. The rest is simply a case of the lead actor and the director building a fantasy for Americans to pump their fist to. Fortunately, this fad of America \u00fcber alles action films soon died down when more introspective and intelligent war films such as Platoon began doing the rounds. Some of the kills shown here are quite creative, despite all the problems. The Vietnamese commander meets an end that many an action film villain would envy. The Russian commander bites it in a manner that is as spectacular as it is ridiculous. Only in a 1980s action film would one see a LAW being used from inside a helicopter. Sure, there have been action film clich\u00e9s rooted in contradictions of fact, but never this ridiculous before.

I gave Rambo: First Blood Part II a one out of ten. It is so bad it is ridiculous, and so ridiculous that it is often funny. One doesn't even need to have served in the military to know how stupid some of the action sequences are. The only risk it takes is in trying to make a stupid political statement with what is a heartbreaking subject for those directly involved. Keep the tongue firmly in the cheek, and it might be watchable.", "label":0 }, { "text":"Having watched 10 minutes of this movie I was bewildered, having watched 30 minutes my toes were curling - I simply couldn't believe it: The movie is really awful. In fact it is so awful, that I had to watch all of it just to be convinced(!). During this, I came to realize that it reminded me of a bunch of Danish so-called comedies from the 60's and 70's. The pattern is as follows: Take one extremely popular comedian, make a script putting this comedian in as many grotesque situations as possible, add a bunch of jokes (especially one-liners), and spice it up with a couple of beautiful young girls - film that, and you have a success! I wouldn't know if this movie was a success, but unlike the Danish tradition which died quietly (with a few great comedians) it seems that there is a market for this kind of movie in the US.", "label":0 }, { "text":"Very strange but occasionally elegant exploitation movie with no real story, but benefiting from its stunningly ravishing lead actress and a handful of nice, gruesome make-up effects. Daniella is a beautiful twenty-something girl, carrying with her the trauma of being raped at the age of 13. Nightmares and hallucinations lead her further into believing she's the reincarnation of a female ancestor who was said to be a werewolf. She kills her brother-in-law during a nightly encounter and gets submitted in a hospital. She escapes again, however, and randomly devours more men whilst on the run for police detectives, doctors and relatives. It's all pretty to look at and listen too (really great soundtrack), but the absence of plot and continuity become irritating quite fast. Luckily enough, leading lady Annik Borel rarely ever wears clothes and she fills up the boring moments by dancing naked around a fire. The film is too long, too weird and too forgettable. The biggest surprise comes at the end, when suddenly and out of the blue, director Rino Di Silvestro tries to make us believe that his movie was based on true facts. Yeah, right...", "label":0 }, { "text":"A group of models is seeking an apartment to live in, and are shown one by a local real estate agent. Unknown to the models and the agent, however, is that \"hell's threshold\" is in the apartment and when crossed, the demon \"Dethman\" is summoned to kill all those in his path. The story is told by Sam Bishop, a journalist who was accused of the murders.

Although I am a champion of low budget, microbudget, and independent films, I cannot praise this movie. The creators take pride in their 24-hour shooting schedule and at least one actor boasts on the DVD of his acting prowess, but I cannot wrap my head around this. Why make a film in 24 hours if an extra one or two hours of editing would make all the difference? And why pride yourself on acting that is poor, nonsensical and results in the bad delivery of a handful of lines?

Through much of the film, the models are being shown parts of an apartment by a real estate agent. The dialog is clearly ad-libbed because no scriptwriter could come up with such empty diction. The agent, also, clearly knows nothing about housing... she focuses on aspects of a home that no one could care about, incorrectly explains the heat source (didn't she see the radiator?) and says the vermin problem will be solved when they call \"the terminator\". Please, write a script -- some deviation is fine, but this was a mess.

And why were the girls moving in models? Their careers had no point in the plot, and this seems like a forced situation. At one point, an actress breaks character and says something to the effect of \"dude, they're going to be (upset)\" which sounded more natural than any other line, though out of place because of the other bad dialog.

The demon made no sense. I appreciated the attempt to explain how \"hell's threshold\" jumps to random places on Earth (including apartment fireplaces), but why not explain where the demon came from? His background involves a man whose love is killed by another man. How does this make you a demon? (Also, why did we need all these Victorian flashbacks with no dialog and glances across a field? It was overdone.)

The dramatic pauses between lines was awful. The Sam Bishop character was by far the worst, with the interviewer not far behind. Does every question require a pause, a funny face and a response... followed by a pause, a funny face and a response? I was so frustrated. To me, the only point was to drag the time out... but I'd rather have thirty minutes of good delivery than an hour of horrible delivery (and then more time is wasted by rolling through the same credits twice).

Who was the Sam Bishop character, anyway? Allegedly he \"saw\" all this and was accused of killing the girls, but yet at no point was he ever in the part of the tale with the girls. So how did he see them? And if he didn't, how did he know Dethman killed them? And if he didn't see Dethman, how does he know Dethman is the spirit of Apostoles? I was so lost... was there even an outline for a plot when this was written?

The only part I found enjoyable in this movie was a scene with one of the models in the bathroom. Not that it was really important or anything, but it was the only break from boredom I was given. I wonder what director Felix Diaz was thinking. His music is very good (see the DVD behind the scenes for his impromptu playing), but I wonder about his movie making skills. Although, by far the best part of the DVD was the trailer for his \"Superhero Excelsior\" (the trailer alone was better than this entire waste of time).

I am sorry I have to be so harsh. I'd like to think that this movie was a test of what can be done in 24 hours or maybe just an experiment for fun and the idea was never to make a quality film. But if \"Superhero Excelsior\" is any indication, Diaz can make quality... so why did he choose to avoid that here? Perhaps the world will never know.", "label":0 }, { "text":"The film-school intellects can drool all they want about the important (imagined) meaning of this film, but it's just that: intellectual drool. This film is creatively bankrupt, and some mistake it's endless self-indulgent wanking as substance. Yeah.

Obviously Godard wasn't a Stones fan. Too bad, because this could have been great. He's capturing the birth of this timeless song and he chooses instead to cover the music with some guy reading out of a True Detective mag or some such crap.

Then there's the endless shots of what looks like 60's librarians spray-painting words on people's cars. And then there's the seemingly neverending \"interview\" where the actress was brilliantly instructed to answer only yes or no to all the really deep and intellectual questions. There's some dude in a purple suit is reading more crap from a book, which goes on for, oh, only about 20 minutes. And black panthers or something in a junkyard.

It almost sounds intriguing? Well, it's not.

But for unwashed film-school hipsters who don't care squat about the lost opportunities of having full access to the Stones bringing Sympathy for the Devil into the world and would rather hear some English guy reading instead whilst gazing at the covers of nudie mag's, this film's a real winner!

More accurately...maybe Godard just blows.", "label":0 }, { "text":"Gadar is a really dumb movie because it tells a fake story.It's too unrealistic and is a typical sunny deol movie that is aimed to bash Pakistan.The movie's aim is to misguide the viewers so they can think that Pakistan and it's government is bad but trying to hide their own flaws won't work.And all the songs and music of the movie are all bad.Most likely the Sikhs will love th movie cause they are being misguided.The movie sucks and sucks with power. I think only Amisha Patel was good in the movie. If i can give 0 out of 10 I would but the lowest is 1.Please save 3 hours of your life and do not watch this stupid boring movie .Disaster.", "label":0 }, { "text":"I'm gettin' sick of movies that sound entertaining in a one-line synopsis then end up being equal to what you'd find in the bottom center of a compost heap.

Who knows: \"Witchery\" may have sounded interesting in a pitch to the studios, even with a \"big name cast\" (like Blair and Hasselhoff - wink-wink, nudge-nudge) and the effervescent likes of Hildegard Knef (I dunno, some woman...).

But on film, it just falls apart faster than a papier-mache sculpture in a rainstorm. Seems these unfortunate folks are trapped in an island mansion off the Eastern seaboard, and one of them (a woman, I'd guess) is being targeted by a satanic cult to bear the child of hell while the others are offed in grotesque, tortuous ways.

Okay, right there you have a cross-section of plots from \"The Exorcist\", \"The Omen\", \"Ten Little Indians\" and a few other lesser movies in the satanic-worshippers-run-amok line. None of it is very entertaining and for the most part, you'll cringe your way from scene to scene until it's over.

No, not even Linda Blair and David Hasselhoff help matters much. They're just in it to pick up a paycheck and don't seem very intent on giving it their \"all\".

From the looks of it, Hasselhoff probably wishes he were back on the beack with Pam Anderson (and who can blame him?) and Linda... well, who knows; a celebrity PETA benefit or pro-am golf tour or whatever it is she's in to nowadays.

And the torture scenes! Ecchhhh. You'll see people get their mouths sewn shut, dangled up inside roaring fireplaces, strung up in trees during a violent storm, vessels bursting out of their necks, etc, etc. Sheesh, and I thought \"Mark of the Devil\" was the most sadistic movie I'd seen....

Don't bother. It's not worth your time. I can't believe I told you as much as I did. If you do watch it, just see if you can count the cliches. And yes, Blair gets possessed, as if you didn't see THAT coming down Main Street followed by a marching band.

No stars. \"Witchery\" - these witches will give you itches.", "label":0 }, { "text":"I quote Oedpius Rex because it is a tragedy that this film was even made!!!

This is one of the worst movies I have ever seen! I am in no way an Uwe Boll hater like most of the humourless people on IMDb!

Uwe Boll movies like Postal and Tunnel Rats are hilariously bad and therefore entertaining. But honestly, this movie was just horrible. I hated it so much that I'd give it a zero star rating if I could. The story is just crap! It spends four fifths of the film building the plot and then they have the middle which is just scenes of grizzly horrible tastelessly done murder! The finally end it with a \"villan wins ending\" which is totally acceptable but surely it could have been more tasteful than this!

I am not against Uwe Boll (like I said earlier) nor am I against violent movies! I f**king love violent movies! I loved the Saw movies, the Hostel movies, Tokyo Gore Police, The New York Ripper, the 28 movies, Dog Soldiers, My Bloody Valentine, Last House on the Left, Watchmen, Wolf Creek, every Tarantino movie, every Sam Peckinpah, even Cannibal f**king Holocaust! But this! OMFG!!!

This was just cruel, sadistic and perverted! And look at the movies I just listed! If I liked Cannibal Holocaust and not this then it must be bad! Uwe, don't go all dark again! You're funny when you are light hearted, just like Ed Wood. This was just an awful experience! I felt horrible all over after seeing this!

DO NOT WATCH!!!! AVOID AT ALL COST!!!!!", "label":0 }, { "text":"When In Rome is a definite improvement on Getting There. Getting There I found too predictable, contrived and slow, and to this day I still consider it as the Olsen twins' worst. However, while When In Rome isn't a terrible movie, it's not a great one either. If I had to sum it up in one word, I would say passable. It is good fun for teenagers, but I think adults won't find much to go on.

When In Rome does have its good points. Mary Kate and Ashley Olsen are actually quite decent actresses, certainly very pretty as well. I will admit when I was 10 or so, I really liked them, and in general I kind of like them still. And I have enjoyed some of their movies like Passport To Paris and New York Minute. Back on target, both girls don't do that bad a job, in fact they are very appealing. Plus their outfits are to die for, and the scenery of Rome is absolutely breathtaking. The soundtrack ain't half bad either.

However, where the film is brought down is in the plot and the script. The script is on the most part clich\u00e9d and has hints of deja vu. The plot, like most of the Mary Kate and Ashley movies, is very predictable, and anyone familiar with any other of the Olsen twins' work, will find some rather unoriginal elements to it. Most of the characters are cardboard thin, and you don't learn very much about them, and sometimes the pace is uneven. Sadly, the breathtaking scenery is spoilt by rather slapdash camera work, that looked rushed constantly.

All in all, does have its good points, and certainly watchable. However, for my taste, it is harmless and predictable teenage fluff. 4\/10 Bethany Cox", "label":0 }, { "text":"Apparently most viewer knows nothing about the history of Europe, including Germany, Hungary and the whole Central and Eastern Europe as well as the Hitler and Stalin Era. Nuremberg (and a lot of forgotten trials all over Europe) was a revenge and injustice of the winners. What do you think, why were not any American, British, French or Soviet defendants after the WWII? There were no American, British etc. war crimes? There were no Hiroshima, no Nagasaki, no Tokyo, no Dresden, no Hamburg, no Berlin, no Katyn and so on? The Germans had war crimes too, but in Nuremberg the justice was not a real consideration. The main point was: Vae victis! Germany must perish! (That was also a book title in America, 1941.)

This film is an awful, ignoble American brainwashing instrument, full of error, lie, propaganda, prejudice and injustice. And first of all: full of hypocrisy. But not surprisingly... Why wasn't enough the Nuremberg process itself? This film is a nightmare. Total darkness after 60 years! This darkness (and hate and narcissism and lack of self-criticism) is the real cause of the massacres in Korea, Vietnam, Cambodia, Serbia, Iraq and so forth. And there are no American war criminals... Bravo, America! Very clever. Even Stalin would become envious of it...", "label":0 }, { "text":"First off let me say that this has to be on the top of my list of boring movies. Nothing, and I mean nothing in this movie is even remotely thrilling. Most of it is very confusing and as it progresses you just wish it would end!! Some people want a movie that makes them \"think\" through the entire thing, to which I say...\"More power to you\"!! I on the other hand just want to be entertained. Which brings me back to this stinker, entertainment it is not. This movie is stupid and a complete waste of time. Seems that most here agree also. Most of this didn't make any sense, and by the time you think you have one scene figured out another lame scene comes around and....well I guess you see where this is going. Avoid, this one sucks....bad!!", "label":0 }, { "text":"This film is one giant pant load. Paul Schrader is utterly lost in his own bad screenplay. And his directing is about as comatose as it can be without his actually having been sleepwalking during the process.

The worst though is Woody Harrelson, whom I ordinarily like when he's properly cast. He plays \"the walker\", a homosexual man in D.C. who plays social companion to the bored wives of the Washington elite. He couldn't have been more one dimensional if he had been cut out of a magazine and bounced around in front of the camera on a popsicle stick. His \"southern accent\" is that \"off the rack\" version that decrescendos from the beginning to the end of every line he delivers, as though the heat and humidity of the South is still draining him of every ounce of energy he has. It is monotonous. But, his is not the worst accent in the movie. His \"boyfriend\", played by Moritz Bleibtreau, attempts to affect some kind of a Mid East accent that is so clumsy he can barely deliver the bad lines written for him. He is incapable of rolling his r's in spite of the fact that in real life he is German, and speaks several languages - one of them being Italian! That's kind of a good reason to cast someone else don't ya think?

From the story, to the screenplay, to the directing, to the camera work, to the performances by the leads, this movie is bad from beginning to end. The only tolerable moments in this film came from three supporting actresses: Lily Tomlin, Lauren Bacall, and Kristin Scott Thomas. Only these three managed to make it through this movie with their dignity in tact. In fact, all three are excellent, in spite of being trapped in a really bad film. Ufortunately, no one could ever be good enough to redeem this endless series of flaws. If you like these three actresses, watch them in something else. This movie is not worth your time.", "label":0 }, { "text":"This movie had potential, but what makes it really bad is Lindsay Crouse's acting. I've never seen her before in anything else and maybe there are some Crouse fans out there that like her in something else, but her performance in this movie is bad.

Her delivery is robotic. When she delivered her lines it appeared that she was trying to make sure she had the lines right and was simply reading off the list in her head. So, her voice has very little inflection. I can't believe someone that bad at acting was given a lead role in a movie. She has to know somebody in the biz.

Now I hate to be this mean about her, but the comment has to be \"this\" long and her performance is what sticks out more than anything else.

However, I liked where the story was going so I continued to watch it. The first part of the script has the makings of a good movie. But the end was disappointing as well. Maybe if her acting had been better, I would have liked it.", "label":0 }, { "text":"I remember when this came out a lot of kids were nuts about it. I guess I was a bit too old to get all excited and I was a fan of real martial arts films and always found this a bit cheesy.

In the early 90's we were swamped with programs such as this making kids feel like they could fight and be a power ranger or an equal to these kids on 3 Ninjas. I think eventually parents and film makers alike got sick of it because all we had in reality was abunch of kids going around punching and hitting everyone.

Many kids movies have some big point they're trying to make and its nice for your kids to watch and get the message, this one doesn't have any message at all...it just exploits a million difference things in less than 90 minutes.

The movie has no great visual qualities but would one expect it to? The acting is pretty bad. Victor Wong is a cool actor but it was embarrassing to see him here.. The short, fat, gimped eyed old fart as a powerful ninja that was just hilarious. The kids over acted way too much and the youngest ninja Tum Tum was maybe the worst kid actor I have ever seen.

The movie has a plot that anyone knows before they even read the review. 3 ninjas...yea you know they're gonna fight a bunch of bad guys and win obviously... Need I say more. Sorry if I spoiled it for anyone.

With all that said KIDS WILL LOVE IT. This movie is aimed at kids and only children could enjoy it. If you don't mind your kid seeing movies about kids fighting this is a good movie to let them see. If you don't mind allowing your children to see complete garbage that has nothing to do with real martial arts, real acting or reality period then you have found a movie for your kids... I say kids because I think even the girls will like it... I recall all the girls having a crush on Rocky.

2 out of 10 stars because I think you can make a movie for kids and still make it enjoyable for adults..this movie failed big time at that.. It is beyond cheesy and nothing original or unique and I would not allow a child of mine to watch it... Kung Fu the TV series is on DVD and there's tons of great Shaw Brothers films out there...Why not show your children things that will really entertain them and not make them dumb along the way, perhaps even teach them some moves and not just how to kick a man between the legs as grandpa did on 3 Ninjas...no no no...never kick a man between the legs ...never .. thats so unninja like.", "label":0 }, { "text":"I can't say this is the worst film of all time, but only because there are still some movies I haven't seen, yet! This has to be the most pretentious attempt at making a movie of all time! The director suffers from the same issues he had with \"There Will Be Blood\" (though he wasn't quite as bad in that film. The whole movie it feels like you're watching a guy trying to hard to impress beyond his abilities. It's like he sits in his little director's chair and thinks \"how would a great filmmaker handle this scene?\" He just doesn't have it in him. I don't know if this film could be saved by a great filmmaker. There were certainly some nuggets of greatness that could have been polished, but nothing was brought to ripen. The scene where all the characters are singing was the worst moment in cinema history. One by one as we see the characters singing, and I squirmed in my seat, I kept saying \"please, PLEASE, just don't have the guy on the brink of death singing, too!\" Sure enough, MASSIVE FAILURE!", "label":0 }, { "text":"The story is seen before, but that does'n matter if you can figure out to make a proper storyboard. It is clear that the director haven't spent his work on the storyboard. Alongside this, the cameraman spent far too much time leaning angles that do not match the message of the movie. The funniest is, however, if you take a look at the movie's website, you can read that it was on purpose that the director has chosen to make the film with bad camera angles. Because it remind us about hunting. But I have never heard of hunting with poor camera angles ;-) It will have 1 stars because the story is OK. It is a pity that Ti West, has not spent more time to review his story. It is as if the movie was more important than the planning. Because you have a camera does not mean you should make a movie right away... come. Everyone can make a movie, but not all will be just as good. So a word of advice to Ti West are: stop and labeling what you want. Use your time to start planning and not filming until everything has come down on a storyboard. You certainly have the ability and desire - so don't abuse your talent.", "label":0 }, { "text":"Oh, brother...after hearing about this ridiculous film for umpteen years all I can think of is that old Peggy Lee song..

\"Is that all there is??\" ...I was just an early teen when this smoked fish hit the U.S. I was too young to get in the theater (although I did manage to sneak into \"Goodbye Columbus\"). Then a screening at a local film museum beckoned - Finally I could see this film, except now I was as old as my parents were when they schlepped to see it!!

The ONLY reason this film was not condemned to the anonymous sands of time was because of the obscenity case sparked by its U.S. release. MILLIONS of people flocked to this stinker, thinking they were going to see a sex film...Instead, they got lots of closeups of gnarly, repulsive Swedes, on-street interviews in bland shopping malls, asinie political pretension...and feeble who-cares simulated sex scenes with saggy, pale actors.

Cultural icon, holy grail, historic artifact..whatever this thing was, shred it, burn it, then stuff the ashes in a lead box!

Elite esthetes still scrape to find value in its boring pseudo revolutionary political spewings..But if it weren't for the censorship scandal, it would have been ignored, then forgotten.

Instead, the \"I Am Blank, Blank\" rhythymed title was repeated endlessly for years as a titilation for porno films (I am Curious, Lavender - for gay films, I Am Curious, Black - for blaxploitation films, etc..) and every ten years or so the thing rises from the dead, to be viewed by a new generation of suckers who want to see that \"naughty sex film\" that \"revolutionized the film industry\"...

Yeesh, avoid like the plague..Or if you MUST see it - rent the video and fast forward to the \"dirty\" parts, just to get it over with.

", "label":0 }, { "text":"This must be one of the most overrated Spanish films in history. Its lack of subtlety and complexity and its total political correction make it really childish, with only good\/bad characters. The world is just not like this, and good movies show complex characters with opposite impulses, dilemmas, etc. However, what I HATE most about this film is Bola's friend's father. The director tries to teach us a good lesson: tattoo artists with shaved heads are not always bad guys, in fact they can be better than the average looking dad (wow, this is like... philosophy, or something). Thank you, Achero. I'll propose you for the Nobel prize of literature.", "label":0 }, { "text":"Omen IV (1991) was a bad made-for-T.V. movie. Since the 80's were over, I guess the executives were experimenting in meth (the drug of choice during the 90's) because there is no other reason to explain this travesty. Why did they even bother making this? A t.v. movie? What were they mulling over when this one came up on the idea board? Did they even think for a second that this movie would catch on as. Perhaps they thought it could make it as a series? We'll never know. But I know one thing. This movie was the major reason why I never bought the Omen trilogy. They should have knocked off a couple of bucks instead of putting out this \"extra\" disc.

Omen IV is basically a average American family remake of the first film. Instead of a snot nosed punk kid, we get the spooky girl who's a total brat to everyone around her. If the family had stronger parenting skills, then none of the demonic events that have transpired in the past films would have never occurred. These parents need to put their foot down and do some real discipline!

Not recommended, best to avoid at all cost!", "label":0 }, { "text":"When the folks at Kino Video assembled their fine \"Slapstick Encyclopedia\" collection, a multi-cassette selection of silent comedies, someone decided to kick off the first installment with ONE TOO MANY (1916), an obscure one-reel farce made in Florida starring the very young Oliver Hardy. As enjoyable as the set is over all, this decision was an unfortunate one, for ONE TOO MANY is a very poor film which almost discourages the viewer from watching further. Like any typical farce, this one involves deception inspired by greed, panic when plans go awry, and complications escalating to the point of absurdity, but unlike the good ones, ONE TOO MANY is incoherent, unfunny, and downright annoying. It's hard to tell at this point whether the hopelessly confusing plot is the result of missing footage or inept film-making, but whatever the cause, by the halfway point even the most alert viewer has no idea what the character relationships are or what is happening, and by the end one no longer cares.

The only point of interest here is seeing the 24 year-old \"Babe\" Hardy, who appears considerably heavier than he would a decade later when he teamed with Stan Laurel, but who is nonetheless full of youthful energy. In the opening scene, awakening with a hangover, Babe performs a highly athletic backward roll off a bed. Trust me, that's as funny as this movie gets. If you read this before seeing the first cassette of Kino's \"Slapstick Encyclopedia\" I suggest you fast-forward past this one and skip to the good stuff.", "label":0 }, { "text":"I really do not have any clue as to why some people find the power rangers television show even remotely interesting at all. The costumes are completely ridiculous and the people playing in them also look completely foolish at the same time. There is absolutely anything remotely interesting about the power rangers. This is just a higher priced television commercial designed to sell extremely cheesy plastic garbage to the unsuspecting children around the world. From the notes, I can see that it's been banned in the country of New Zealand and from what I have seen, I can agree with their decision. Avoid this show at all costs, it's terrible and ridiculous.", "label":0 }, { "text":"My friend's mom used to work at a video store and got to preview movies before they came out, so when she brought home The Convent, a horror movie, i couldn't wait to watch it. Given that it's supposed to be scary but is actually downright hilarious, I can say that in some weird way, I like this movie.

yes, the acting is bad, and yes, it's the cheapest movie i've ever seen, but it's so damn funny! \"WHAT, ARE YOU SMOKING CA-RACK?!\" i didn't know this movie even was ever released... i figured it was too bad...

Yeah, so... overall the movie is pretty bad (you gotta admit that much at least) but I promise you, you will get a good laugh out of it.

*this movie kinda sucks but it's good for a laugh... especially that guy that holds the 'dagger of despair'.. THE DAGGER OF DESPAAAAAAIR!", "label":0 }, { "text":"Well, it is hard to add comment after reading what is already here but I feel I must say something. I wasn't exactly looking for 'a splatterfest' as someone puts it or even 'blood and guts\/gore'. I have some respect for the victims relatives although I really felt the filmaker DIDN'T. -They were nameless, faceless and meaningless. Just a vessel for Dahmers sexual antics.

I watched this film with the kind of morbid curiosity that makes me think 'What makes a guy be a serial killer?' as well as wondering the specifics about the Dahmer story, of which I know very little. People here seem to think that the movie didn't have to cover the events of the Dahmer story.. I.E. his history, what happened when he got caught, the aftermath, etc but IT IS IMPORTANT! You see, I assume if you are American you WILL KNOW all of this. We do not all live in America. To tell this story about such a man as he obviously was, REQUIRES that at least SOME of the history and actual events are told\/shown. This doesn't mean blood and guts, there are ways of showing horrific things in a movie by implication or clever filming without resorting to gore. Without even touching upon some of what he did (I found out more about him reading the user comments on this site!), the movie felt like a void. A moment in time with very little substance. I would like to know if there is a film about the REAL Dahmer because with its lack of direction, VERY slow pace that NEVER changes, Strange portrayal of homosexuality and the VERY unfortunate lack of ANY attempt at an ending, this movie is POOR. I would not recommend to anyone that they waste the time it takes to watch it. A definite 1 out of 10 (for the acting!)", "label":0 }, { "text":"Cartoon Network seems to be desperate for ratings. Beginning with the cancellation of Samurai Jack, the network seemed hellbent on removing all the shows that made it so popular, such as the Powerpuff Girls, Dexter's Lab, Dragonball Z, etc. When the ratings started to plummet, CN began putting up some pretty mediocre shows. Though Total Drama Island\/Action and Chowder stand out because of their clever writing and audience-pleasing gimmicks, there are plenty of other shows that either terrible remakes (George of the Jungle) or rip offs of other shows, such as The Marvelous Misadventures of Flapjack, where the title character acts just like Spongebob, and then there's Johnny Test, which is something of a replacement for Dexter's Laboratory, though it's much more of a sheer rip off than anything.

The show's characters are clearly derived from Dexter's Lab, only this time the focus is on Johnny, a blonde (or fiery-haired) character who torments his twin sisters, Susan and Mary, who just HAPPEN to look just like Dexter, from the orange hair, to the glasses, the impossible technology. There is even a rival genius named Bling Bling Boy or Eugene, who appears to be sitting in for Mandark. Then there's Dookie, Johnny's best friend and talking dog, one of Dexter's...I mean, Susan and Mary's early experiments.

Dexter's Laboratory was probably one of the best cartoons on television, with its simple, but effective art style, lovable main character, and episodes that don't seem to be a long drag. Johnny Test is a lot different. The art style here isn't nearly as eye-pleasing. In fact, it looks absolutely awful. The characters have motivations that make them really annoying or repulsive. Like how most of the series' episodes consist Johnny and Dookie's quest for havoc on the neighborhood girl Sissy, whom Johnny secretly likes, or the twins' obsession over a boy next door. Seeing these two geniuses swoon at the sight of abs and the fact that Johnny appears to be someone you would NEVER want to associate with, there is no real connection between the viewer and characters.

One thing the series heavily exploits in its name is that Johnny is Susan and Mary's guinea pig for their experiments. These range from turning Johnny fat, ugly, monstrous, and even into a woman. The twins then help Johnny in whatever scheme he's planning in return for his services. Whenever there's an episode involving this kind of \"win\/win\" deal, it usually comes undone at the seems and those that doesn't come completely off the rails never ends satisfyingly.

The writing ranges from mediocre to horrid, however. The 'fat' episode constantly repeats \"It's Phat with a PH. There's a difference, you know.\" which is a line that should never be repeated, especially when the episode seems to PROMOTE child obesity, with Johnny becoming a famous star with money and videogames just by becoming fat.

Let's talk about how the show doesn't completely rip off Dexter's Lab. The show tosses in a lot of characters, from two Men-in-Black named Mr. Black and Mr. White, a military general who seems to need all his problems solved through Johnny and his sisters, and LOTS of super villains, though even here, the show again steals ideas for other sources, like a Mr. Freeze teenage clone, an evil cat with a butler who wants cats to rule over man (like the evil talking cat from Powerpuff Girls), a bumbling maniac mastermind, a trio of evil skater 'dudes' and even a Mole Man, which is probably the most clich\u00e9 villain in the media.

To top it all off, alongside its ugly animation and unlikeable characters, the voice acting is either passable (like the voices for Mr. Black and Mr. White) to just plain ear-splitting (Johnny, Dookie, and just about every villain in the show). The theme song seems to be the only catchy thing to this show, but then it was redone just a few episodes with a band that just ruined it.

So in the end, Johnny Test is not a good cartoon. Its horrible references and jokes about teen culture will dismantle little children's interest in the show, while its bright coloring, ripped-off characters, and dragging episodes will ruin the experience for teens. It's just another one of those crappy shows that Cartoon Network is over-promoting to trick people to watching it (like MTV toward rap). If you need a show that will satisfy your children for a half hour, you'd better stick to Spongebob, because Johnny Test is more of a \"test\" of patience than anything else.", "label":0 }, { "text":"Christopher Lee is one of my favorite actors! I'm trying to view all of his work. He has been known to single-handedly save movies with his presence. Unfortunately, this is not one of them. This movie suffers from a low budget and it's production values are disturbing. Please...for the love of Christopher....avoid this film!", "label":0 }, { "text":"Waldemar Daninsky (Paul Naschy) travels to Tibet and is bitten by a yeti, which causes him to become a werewolf. He is accidentally killed after he attacks his cheating wife and her lover, and is later revived by a female scientist, Dr. Ilona Ermann, who uses him in mind control experiments. Daninsky later discovers an underground asylum populated by the bizarre subjects of the doctor's failed experiments.

Upon hearing of Naschy's death from colleague Jon Kitley, I rummaged through my collection for a suitable film to watch. In my scramble, I found I own not one but three(!) copies of \"Fury of the Wolfman\". The film is of questionable video quality, the sound is dubbed in a mediocre fashion, the cinematography is sort of slapstick style at times. And the American versions have two love scenes removed. Quite frankly, without a remastered, uncut copy, I wasn't really getting the proper movie in all its glory.

This film claims to be the fourth in a long series about the werewolf Count Waldemar Daninsky. I suspect this is true, but you wouldn't know this from the film itself. The plot is confusing at times, and there's really no indication that this is a sequel. If you read the plot summaries on Wikipedia and compare them to what is printed on the box, you'll see that I'm not alone in my confusion.

Perhaps the film's shortcomings can be forgiven if we understand the production hell it went through. While floating around for years, it was only released in 1973, due to problems involved in finding a distributor. And Naschy said in his autobiography that the director, Zabalza, was an incompetent alcoholic, and that he hated working with him. Those really aren't light accusations, and I have no idea what Zabalza had to say on his own behalf.

Chances are, sooner or later you'll come across a low-grade version of \"Fury of the Wolfman\". It appears in a variety of three-packs and box sets, so you might accidentally acquire it and not even know. What really needs to happen is an American uncut version, with a decent sound and video mix, and the love scenes thrown back in. As far as I know, this does not exist. Let us honor Paul Naschy's legacy and get his films to a wider audience in a level of quality he deserves.", "label":0 }, { "text":"Good actors and good performances can't mask a pointless script, bad dialogue, and patterns of behavior spiraling into nothing you'd care about. The most interesting character is David Berkowitz. No character development - no growth, no interest, just some suffering for no particular reason, teaching us nothing and not even bothering to entertain.", "label":0 }, { "text":"Watching this movie was a waste of time. I was tempted to leave in the middle of the movie, but I resisted. I don't know what Ridley Scott intended, but I learned that in the army, women get as stupid as men. They learn to spit, to insult and to fight in combat, and that's also a waste of time (in my opinion). And, anyway, what the hell was that final scene in Lybia? Are they still fighting Gadafi or is it that it's easy for everyone to believe islamic people are always a danger?", "label":0 }, { "text":"...there's no one else watching the movie. My husband and I went to watch it last night. It's just a small theater, but there's usually a decent amount of people there. Not this time! My husband and I were the ONLY people watching Dragon Wars last night! Now we know why.

The movie was by far one of the worst I've ever seen. Yes, the CG was good, but that was it. The acting, script & dialog, directing, editing, etc. was God-awful! Since we were alone in the room, we felt free to talk during the movie. That is, we talked about how bad it was, that it reminded us of The Mighty Morphin Power Rangers, Godzilla, Mortal Combat AND The Lord of the Rings. It was like we expected to see Rita and Lord Zed portraying commanders of Sauron's army.

The creatures were ridiculous. You can't just introduce legions of dino\/dragon\/lizard things loaded down with cannons without explanation. The Lord of the Rings has a wide spectrum of characters, but it introduces and develops them over 3 movies, not in an hour and a half.

The scene transitions are horrible. I didn't fall asleep during the movie, but even though it was an overly simple plot, I found myself getting lost in the plot holes.

The characters were caucasian Americans, but spoke almost with broken English because of the badly written dialog in the script.

The final scene that could have redeemed some value of the movie...failed. Ethan didn't cry when Sarah died...though he hadn't known her for very long during THIS life anyways. He didn't seem too upset to be left in \"Mordor\", not knowing where he was or how to get back. We couldn't for the love of God figure out where he was or how he got there either, but if he wasn't upset we shouldn't be either.

Oh, and why did the dress that Sarah's spirit was wearing look like she borrowed it from Queen Elizabeth? One more thing...all 3 of the main hero characters were reincarnations brought back to finish the job. Sarah completes her task and moves on to the afterlife. Jack does this as well. Then why does Ethan get screwed? He's left alone, without the girl, without a map\/compass\/helicopter to help him get back. What's he supposed to do? Send smoke signals? And IF he gets back home, does he just go back to his job? He should have been given the same mercy of getting killed out of the movie that the other heroes had.

Don't waste your time or money on this movie. We only stayed til the end because we'd paid for it, but as soon as the credits hit, we were out the door.", "label":0 }, { "text":"2 stars, and I'm being generous. (minor spoilers) Look, this is a low budget zombie movie set in gangland Oakland. As the plot goes, a scientist wants to bring his dead brother back to life after being killed in a drive-by.

The main problem with this movie: what zombies?! All the \"zombies\" do is growl (which doesn't sound even remotely scary) and drip fake red blood from their mouths! No scary eyes, no decaying flesh, just a bunch of people growling pathetically and running around like idiots.

The cover is also misleading. There are only about 6 zombies in the whole film, so it's not like the whole \"hood\" is plagued with zombies or anything, it's just a few, and is contained in no time.

The acting actually is so bad it's hilarious. No one can act at all in this movie (except maybe one of the gang members) and it really seems like a bunch of friends got together, decided to cast their family, and made a movie one weekend.

Final note: since when do Doctors wear tracksuits?! Skip this one, please!", "label":0 }, { "text":"This movie has beautiful scenery. Unfortunately it has no plot. In order to have a plot there must be a conflict. This movie had none. It spent two hours painting a beautiful scene and failed to ever place any activity in it. The picture tries to be artistic but fails to pay attentions to the fundamentals of story telling.

If you love Montana scenery and fly fishing you will find some value in this film just don't expect a story. There isn't one.", "label":0 }, { "text":"We have a lake. We have an animated meteor crashing. We have a killer stop-motion dinosaur with flippers. Okay, so let's call this movie THE CRATER LAKE MONSTER. What else can we add? Hmm, two idiots called Arnie & Mitch to define the ultimate definition of \"comic relief\". We also got to have a sheriff who doesn't really do a damn thing in this film and whom nobody listens to. Aw crap, we're over halfway through the movie and we forgot to insert a bad guy! No worries, let's introduce some guy with a moustache, have him rob a store to indicate he's a bad guy, then have him pop up somewhere near the lake, have him chased through the woods and all this for the sole purpose of him ending up as dinosaur snack food. That should work.

A complete, clumsy mess, this film. Its logic will twist your mind to force laughter out of you. The first film to feature Dave Allen as a \"stop motion supervisor\". After this one, he joined forces with Charles Band for several years until the the mid-nineties, when Band ran out of money to pay him, I guess. The dinosaur effects are charming and the whole film is pretty damn unintentionally funny. Unfortunately, that's about the only good thing that can be said for it.

Good Badness? Yes. The mind-bending logic in the narrative should be enough reason to put it on the list. If not, Arnie & Mitch will do the trick. 3\/10 and 8\/10", "label":0 }, { "text":"I am truly beginning to believe that Seagal is on a mission to see how crappy his films could become.This particular movie was a complete and utter waste of time to see.My first complaint was the cover of the DVD where they have doctored his pic and made him look slimmer and younger when in the film he looks like crap.He has his big pot belly and double chin going for him and the most miserable and bored look on his face.

The whole plot was ridiculous to begin with and drawn out way too long.The whole film was leading up to the finale where Seagal and his team had to take on a bunch of people under the influence of a top secret military chemical adrenaline enhancer.There was way too much useless dialogue and not to mention the ridiculous and constant dubbing of Seagals voice even in the middle of a statement.The dubbed voice sounded like a man with a frog in his throat and was quite comical.

The fight scenes in the film were horrible.Half the time when Seagal fought you could not even see what was going on.There would be tight shots of him flapping his arms at the camera and then the person flying through a wall or something.It was reminiscent of the old Kung Fu series on television.They used way too much slow motion for the fight scenes.

I believe this is Seagals worst film to date and I am glad I did not purchase this film or I would have been very upset since I am a huge fan of Seagal the Aikidoist.The action star is quickly fading away and seems to be getting worse with every performance.", "label":0 }, { "text":"Ursula Andress' naked body is one of those things that make you believe in God. The other two women (especially the one who plays the maid) have great bodies as well. Then why is the higher grade that I can give to a film with such quality and quantity of nudity only 3 out of 10? Because, to get to Ursula's unbelievable body, we have to sit through a movie that is otherwise unfunny and boring (keep in mind that I watched the full 101-minute version, not the 78-minute American one which probably cuts out a lot of the extraneous material). In typical Italian-comedy tradition, most of the characters are exaggerated caricatures (the army freak, the \"latin lover\", the constant drunk, the naive maid) that are not funny, simply overacted. Final word: watch this, but keep your finger on the fast-forward button, you're gonna need it. (*)", "label":0 }, { "text":"I gave this a four purely out of its historical context. It was considered lost for many years until it popped up out of the blue on Showtime in the early nineties.

Moe is the straight man and Larry and Curly act as a duo. Spade Cooley has a couple of numbers. I guess it had something to do with working on a ranch. I'm not quite sure because the plot was so minimal nothing really sticks in my memory. I vaguely remember it being a western musical comedy. Even the Stooge's seem to be going through the motions. Overall there's nothing much really to recommend here.

If you're not a Stooge fan then don't bother. If you are a Stooge fan, then stick with the shorts.", "label":0 }, { "text":"I basically found Eden's Curve to be a very poorly constructed that made it difficult to watch. However, there is something I must say about how the director captured something about the atmosphere of the early 70's in the choice of settings and clothing. The \"back to the earth\" philosophy and the interest in sexual exploration and drugs that was not dramatically decadent, as portrayed in many later versions of the 70's was right on, as was the \"don't ask don't tell\" pseudo-liberalism of the fraternity made up of east-coast intellectuals, except that I would have thought this was more likely of a New England school rather than one in Virginia, where I imagine the \"good ole boy\" mentality still dominated even elitist schools like this one. Another thing I appreciated and could relate to is that this was a time when homosexuality was not linked so much to leathermen or drag queens and I appreciated some homosexual roles not related to these terribly overused images. I felt it was very unfortunate that \"gay culture\" took on certain standard forms in the 80's out of Castro and Christopher Streets and these defined the movement and left out huge numbers of gay men that were more subdued in their lifestyles. I appreciated the film mainly as a way of remembering a more natural way we were about our sexuality and personal relationships without \"the scene.\"", "label":0 }, { "text":"OK OK, it might be hard to put the entirety of a man's life in one film. Traditionally therefore, biopics focus on one or two significant parts in the subject's life. Now, Byron was a \"my week beats your year\" fellow, which makes selecting parts that are representative even harder. Furthermore, just as Byron's poetry is inseparable from his life, the man's life itself must be seen as a whole. Lifting parts out is not only not showing the whole picture, it's showing a different picture altogether.

Now, in short my review comes down to this: supposedly, Byron was indeed the \"my week beats your year\" prototype, a guy who lived so intensely that he indeed did more in his 15 or so active years than most do in an entire lifetime. True, he had setbacks and was a victim of the time and social setting he lived in - but in the end, this dude is supposed to be the prototype whose life we'd all want to lead, no? Well, I did NOT, at ANY moment, want to live the life depicted in this film. So it gets 3. Not for being so badly done (which, direction-wise, it more or less was), but more importantly for missing the point entirely in a flat plot.

Some more detail. Well, to over simplify things, a Byron bio should have two distinct episodes: 1. Post-first Europe trip: England and his rise to fame + marriage \/ 2. His life abroad. Now, the important thing is that the SECOND part should be at least as important as the first. Not only was it a lot longer, but the most significant change in Byron took place then. Furthermore, it's where he created his best works (Don Juan, the Vision of Judgement etc. - all the stuff that makes him *really* unique in English literature).

Instead, in this film (a) Byron's life never comes across as even remotely entertaining, (b) it only gets *worse* after he leaves England. They did two good jobs: first, they started at his return of his Europe trip (though a bit more of the actual trip would have been welcome as a prologue), second, they chose an angle, and they chose his incestuous love for Augusta (who is rather perfectly cast). The problem with this last thing is that they never let it go. True, Byron remained strongly attached to Augusta for the rest of his life, but, especially as he was such a mood swing person, the fact that his letters reflect that does not mean that at other times he might not have completely enjoyed life.

Anyway, the first part of the TV film should have ended with him leaving England. There's no doubt about that. The thing is: once abroad, a life of debauchery began (with the infamous Geneva period), but in Italy Byron also discovered a new life, both for his poetry (inspired by Italian comedy), already in Venice, and for himself when he found the Contessa Teresa Guiccioli and moved to Ravenna (afterwards, at the request of Shelly, with Teresa, to Pisa). In other words, he was also *liberated*. His mind and life opened up (and not only in the decadent sense), while England's closed further as it fell into the gravitational pull of the Victorian age. True, freedom was Augusta-less, but this bitter-sweet freedom tastes sour in this film. We see a lonely, bored snob getting older.

I mean, hell, Byron never thought much about his poetry, except when he finally found his own voice in Don Juan! Apart from poetic and romantic developments, his relationship with Shelly (and the down-break) should have been more documented. Also, it is in Italy in Ravenna that he gets involved with politics and revolutionary ideas. This is important, as it shows that the decadent romantic and ultimately escapist language and person of Childe Harold is changing into the more planted-in-life realistic and lighter passion of the language and person of Don Juan. Life and work are one. True, still a bit naive, but it's what got him to Greece! And the whole thing came full circle in Pisa, where Shelley's revolutionary spirit further ignited the spark. Missolonghi wasn't the bored snob suddenly looking for some action. It was the insights in Italy (the Gambas) stirring him into action. It can be a symbol for the man looking for some ancient-style battle excitement while the rest of Europe becomes fixed in the clay of modern reason and conservatism. But it wasn't just that, there was a true inspiration behind it. Meanwhile, Byron wrote massive amounts of Don Juan. True, his end is a bit sad, but it's not like he's worn out. THAT is the essence of Byron's life: he may have had some strong emotional attachments (2: Augusta and Teresa), but EVERY time he managed to reinvent himself truly. Meaning that he wasn't 'less' at the end of his life - no, he'd made a physical and mental JOURNEY that, at the time, few people were prepared to make.

I wonder. Why is it that so often the second period in Byron's life is overlooked? Because it had less obvious conflicts, as the man was finally coming to his own? In focusing our attention on the frustrated England years fraught with scandals, we show ourselves to be not much better than the English aristocracy at the time, which Byron so despised, and which, despite the fact that he had no choice, he *willingly* fled in 1816, to find a world that was modern and liberal enough to let him find the voice that would make him the first romantic plainspoken language poet and evolve from a self-obsessed snob to a passionate man moving onward with a cause.", "label":0 }, { "text":"I'm going to have to disagree with the previous comment and side with Maltin on this one. This is a second rate, excessively vicious Western that creaks and groans trying to put across its central theme of the Wild West being tamed and kicked aside by the steady march of time. It would like to be in the tradition of \"Butch Cassidy and the Sundance Kid\", but lacks that film's poignancy and charm. Andrew McLaglen's direction is limp, and the final 30 minutes or so are a real botch, with some incomprehensible strategy on the part of heroes Charlton Heston and Chris Mitchum. (Someone give me a holler if you can explain to me why they set that hillside on fire.) There was something callous about the whole treatment of the rape scene, and the woman's reaction afterwards certainly did not ring true. Coburn is plenty nasty as the half breed escaped convict out for revenge, but all of his fellow escapees are underdeveloped (they're like bowling pins to be knocked down one by one as the story lurches forward). Michael Parks gives one of his typically shifty, lethargic, mumbling performances, but in this case it was appropriate as his modern style sheriff symbolizes the complacency that technological progress can bring about.", "label":0 }, { "text":"......in a horror movie that is. Alright first off , lets start with Kate. Her main goals include getting laid by George Clooney, looking good and last but not least screwing everyone over. Gotta love her. She had about 3 amazingly good chances to finish off this sicko but ..... instead she ran. I mean she didn't wanna bring Guy out for 10 minutes and when she did it was too late. I mean the guy tried to rape her. I cant get into these movies where the main character is a sad idiot. I mean who honestly would have any sympathy for a guy who finishes off everyone she has meet in a night. The movie kept going on. And as a result lost all its credibility.", "label":0 }, { "text":"The number of goofs in this episode was higher than the first 9. They don't follow their own rules about spirits where destruction of the body makes the spirit dissolve. This one dropped a second body. That body, and Dean, drop about 20 feet from Sam but then they are right with Sam. Flashlights go out in an unlighted asylum, at night, and we can still see everything. It's night but light is streaming through the windows. A ghost that died in 1960's is making cell phones calls? Come on! There is no way Sam could get a psychiatrist to see him in the same day he makes an appointment and the doctor talks to Sam like it wasn't his first visit. Sam and Dean knew there were other bodies in the asylum and innocent spirits still lurking and didn't do anything to help them. That doesn't seem like a thing the Winchester boys would do. Oh and after crawling around on a dirt filled mattress and all around a nasty asylum the girls' makeup and hair is perfect and not a smudge on her white shirt.

While the implementation of this episode had problems the premise was good and a few times I was not creeped out but nervous as Dean sat reading Elicots' journal. I just knew that an object so intensely personal to the ghost would draw it to the person violating it's sanctity. Elicot didn't appear. Maybe that is a fault for such an important object or place (like Elicot's office) should draw the spirit when a living being touches or enters. When they separate I want to scream... 'that's how you die! Always stay together and watch each others backs!' but they don't listen to me :o The Elicot spirit and his special ability was a very nice touch. It's prime-time show but I do wish the horror of Elicot strapping one of his victims down and using anticipation of torture to creep us out further.

Especially because of the lighting goofs I gave this a 4. Sudden darkness or the flickering of the whole scene's lighting as the flashlight flickers is all that more terrifying. The lighter coming or the flashlight reviving and instantly a spirit is in their face is shocking. I understand the directors wants us to see his scene but then make a mention or obvious connection by Elicot touching an electric socket and the lights coming on. Have the characters respond to the fact an asylum with no power suddenly has lights in the one room. Blue white lights flickering as electric arcs just like Elicot's finger power.

Seriously, MCG could have done better.", "label":0 }, { "text":"I'm still trying to decide if this is indeed, the worst film I have ever seen - A very disturbing problem with this film is that real scientists are interviewed, but their footage is edited to make it look as though they support the ideas of the many BSers who populate this film. The BS to signal ratio of the interviews is about ten thousand to one - at the end, the interviewees seem to be saying, \"We want you to _think_ !!\", but they themselves are too lazy to do simple research about things they assert as fact.

If you feel that you are open-minded, and wish to expand your consciousness, please be open-minded enough to read some actual books about quantum theory: \"Einstein's Universe\", Nigel Calder (a slim volume, not a challenge), \"The Cosmic Code\", by Heinz Pagels. If you can't bring yourself to read a book, please don't complain to reviewers about being \"open-minded\".

To recap, this film is just unbelievably bad.

You know what's a really good film which questions the nature of reality? \"Thirteenth Floor\", directed by Roland Emmerich, with Craig Bierko, Gretchen Mol, Vincent D'onofrio. Smart, sexy, thought-provoking.", "label":0 }, { "text":"The movie is plain bad. Simply awful. The string of bad movies from Bollywood has no end! They must be running out of excuses for making such awful movies (or not).

The problem seems to be with mainly the directors. This movie has 2 good actors who have proved in the past that the have the ability to deliver great performance...but they were directed so poorly. The poor script did not help either.

This movie has plenty of ridiculous moments and very bad editing in the first half. For instance :

After his 1st big concert, Ajay Devgan, meets up with Om Puri (from whom he ran away some 30 years ago and talked to again) and all Om Puri finds to say is to beware of his friendship with Salman!!! What a load of crap. Seriously. Not to mention the baaad soundtrack. Whatever happened to Shankar Ehsaan Loy?

Ajay Devgun is total miscast for portraying a rockstar.

Only saving grace are the good performances in the second half. Ajay shines as his character shows his dark side. So does Salman as the drug addict.

Watch it maybe only for the last half hour.", "label":0 }, { "text":"A poorly written script with no likeable characters. As for it being a comedy, I forgot to laugh. It's about 2 conceited friends who scam to get women in too bed with them (no sex scenes) and another friend(who is semi-discustingly weird)who sometimes also scams but mainly is considered as being the guy who masterbates. The 3 friends separately meet and fall for the same woman (Amanda Peet). Somehow this is done without really any romance. The 3 guys stop being friends as they separately dated her. She scammed them out of their friendship because they scammed women. -- A bad movie", "label":0 }, { "text":"Just had to write that one liner, but it really is. I love the gangster genre and this is the weakest entry I've seen in recent years . I have praises for everyone involved in most aspects except the most important one, the script . It is a weak story about a petty criminal. No amount of fine acting or black and white film styling can make up for a total lack of substance. I love Kevin Spacey and I hear he's gonna do another film about the general. My advice is don't waste your time.", "label":0 }, { "text":"American film makers decided to make a film they think is Japanese. The characters all badly represented, the actors are not even Japanese and the set is cheap, unreal and definitely doesn't represent Kyoto in Early 20ties and 30ties. Who ever read the book understand that the script writers didn't add any extra value to differentiate the movie from the script. Worse, they even changed the original plot line with a few goofs. Rob Marshall is using for his two main characters two well known Chinese actors who joined before in crouching tiger hidden dragon. Marshall probably saw one Chinese movie and tho they represent Japanese culture. Seeing those two actors together again even makes the movies more ridiculous. Quentine Tarantino's last scene in Kill Bill #1 is ten times more Japanese made than that of this movie.", "label":0 }, { "text":"Having heard so much about the 1990s Cracker series without seeing any of them, I looked forward to this eagerly. Surely the combination of Jimmie McGovern and Robbie Coltrane could not go wrong. How wrong I was!

The polemics, backed by frequent, repetitive and violent flashbacks, were overpowering. The production tried to be super-modern, but the flashing boxes and even the childish font irritated. Robbie Coltrane sleep-walked through the two hours, coming up with unexplained and unlikely \"insights\", and the police were portrayed as one-dimensional bumbling idiots. As a result, the tension never built up and the next-to-final scene (no details for fear of spoilers) was as laughably bad a piece of TV drama as I have seen for a long time.

No, I don't want to see any more of these, but I will go back to the DVDs of the 1990s series to see if they match their reputation.", "label":0 }, { "text":"I'm a Black man living in a predominantly Black city. That being said, I have some major misgivings about Tyler Perry's work. I realize that some people out there feel the need to praise him, because he's Black and trying to portray a positive image about the culture. But, I honestly do believe that, were Perry White, this film would have had the NAACP, Al Sharpton, and Jessie Jackson all over his ass.

I have been forced to watch this movie one whole hell of a lot recently and each repeated viewing makes my blood boil. The characters are poorly written and acted. The jokes are so bad, I have to actually be told something is supposed to be funny. I'm just going to break this big pile of sh-t down.

Madea=suck. The character may have had some appeal, but it doesn't anymore. When the only thing she ever seems to do is smack around children and threaten adults with violence she is less than useless. She is unnecessary.

The situation with the wife beating fianc\u00e9 was horsesh-t. If a woman was so scared to death of her husband, why would she try to run away when he's sleeping in bed. Wouldn't it have made more sense for her to leave when he was at work. At any rate, the characters in this arc were so annoying and overbearing that I hoped he would throw her off the balcony and was royally ticked when he didn't.

Then there are the two lovebirds. A bus driver asks a woman out by harassing her while he's making his rounds. I couldn't believe it. I really couldn't believe when she agreed to go out with him even more. But, what takes the cake is that a grown man was reduced to tossing pebbles at a window and passing notes like a ten year old by a castrating mega bitch. I don't use this term lightly, but that woman only had two modes. Morose victim and psycho momma. No matter which of these two faces she showed, however, there was one constant. The bus driver wasn't going to get any. He even married her without sampling the goods--WTF!

Then there's the family reunion scene. Here we've got the mother load which includes implied incestual taboos, grinding for the sake of grinding, shirtless, overly musclebound, b-ball, plus the great taste of Maya Angelou. When those babes dragged their butts outside and called a meeting, was I wrong to wish that the oldest of them was claimed by a heart attack. All this crap is going on at the reunion, in laughably easy to separate groups, and then they ring a bell. When they do, everyone drops what they're doing and heads on over for a stern talking too, just like a pack of Pavlov's doggies--WTF!!

Then you have the final five minutes of the film. In it we see the abusive fianc\u00e9 get manhandled by his longtime victim and all around bad actress. There is an impromptu wedding where Black people are dressed like angels and are hanging from the ceiling--WTF!!! The only reason to watch it this far, besides testing your threshold for pain, is the hope that the second villain of this story gets her ass handed to her as well. Guess what, it doesn't happen. Instead, Perry takes the testicularly challenged way out and plays it safe, ending the movie on a tone of forgiveness--WTF!!

I'm pretty sure that, if given a day , I could probably write a doctoral dissertation on all the ways this movie sucks. Don't even get me started on the rest of Tyler Perry's films. I'm just going to say this. In my opinion, as a Black guy, D.W. Griffith's legacy lives on. The irony is that it is doing so through a Black man who will be praised for doing what Birth of a Nation did, selling us down the river. I only wish Perry's films were dudes so I could kick them in the nuts. Thanks a lot, dude!! What are you going to follow this up with in 2009, a comedy about the raping and savage beating of slaves in Colonial America?", "label":0 }, { "text":"If your idea of entertainment is watching graphic footage of people being run over by cars (you get to see a woman passing under the front wheel, being twisted as the car passes over her before she goes under the back wheel -- and they show it twice in case you missed it the first time) then this is the documentary for you. Admitedly I didn't watch any more of this very disturbing piece of voyeurism, but that was enough for me. Maybe the rest is even better.

I wonder how long it's going to take for television networks to start showing slush movies. Perhaps game shows based on self-mutilation might be nice.

I already know that there are disturbed people in the world and that horrible things happen. I don't need to see the proof on the TV masquerading as entertainment.", "label":0 }, { "text":"Corky Romano has to be one of the most jaw dropping and horrific \"comedy's\" ever made.

While the sometimes amusing Chris Kattan who pulled off a very funny performance in the hilarious 'Undercover Brother' his character in Corky is so stupid and so unfunny-which is a shame since the premise is a wonderful idea. To bad they ran out of them when they got to page 3 on the script.", "label":0 }, { "text":"Horrendous pillaging of a classic.

It wasn't written convincingly at all why Mary should develop such sympathy for Bates. He may be more stable until they start playing pranks with him, but he still doesn't help himself at all with his actions. (inviting a comparative stranger to stay alone with him in his until recently disused motel; telling the attractive young girl of his past mental issues; lying about the knives, etc... ) This, in addition to her previous knowledge should have kept Mary extremely wary of him, but this somehow doesn't happen just so they can play the 'mistaken-identity-murder-game later on. Which in itself is also ridiculous: 'So-and-so is the real killer - plus her as well - also him! There were too many contrived twists in order to slap a story on screen when the narrative didn't need extending.

It was good to see Perkins reprising his famous role again, but that's about the only small pleasure to be had. It's definitely not a patch on Hitchcock, and if you have no intention of even trying to get close then you shouldn't be bothering at all.", "label":0 }, { "text":"\"This story is dedicated to women,\" according to the introduction, \"who have been fighting for their rights ever since Adam and Eve started the loose-leaf system.\" When \"Politics\" was filmed, the Nineteenth Amendment, guaranteeing women the right to vote, was only a decade old. And, the film deals with the wielding of political power by women as a voting group. Advocating prohibition, and shutting down speakeasies, was a main concern for women at the time.

Good-natured Marie Dressler (as Hattie Burns) becomes politically active, after a young woman is shot and killed coming out of a speakeasy. She wants the liquor-selling joints closed; and, is drafted into a Mayoral run, after delivering a powerful speech at a women's rally. Ms. Dressler is supported by her tenants, best friend Polly Moran (as Ivy Higgins) and her stuttering husband Roscoe Ates (as Peter Higgins). Dressler's run for Mayor of Lake City draws opposition from men in town; so, Dressler orders the women to go on strike, denying them, \"everything\" in the \"parlor, bedroom, and bath.\"

The film sounds much better than it turned out. The humor, frankly, isn't too good; and, it features some unfunny and moderately offensive situations (\"You look like Madame Queen\" refers to an Amos and Andy character). And, the mixing of shootings and slapstick doesn't mix well, this time. Producers might have considered making the film more dramatic, focusing exclusively on Dressler and the characters played by William Bakewell (as Benny Emerson) and Karen Morley (as Myrtle Burns).

**** Politics (7\/25\/31) Charles Reisner ~ Marie Dressler, Polly Moran, Roscoe Ates", "label":0 }, { "text":"Okay, I've tried and I've tried, but I STILL DON'T GET this Guy Maddin thing. Tales From the Gimli Hospital left me cold, that movie about the Austrian villagers and the one about the Ice Nymph were pretty to look but lacking in the story department...and this nudie movie about abortion and hockey is just boring. I'm glad Maddin has an appreciation for silent film, but I dislike his films for the same reason I dislike the films of Quentin Tarantino: they're empty homages to better, more imaginative films--films that advanced the art form or broke new ground--and are all style and no substance. No amount of jump cuts and odd camera angles can disguise the fact that Maddin is an unoriginal David Lynch wannabe, though he DOES have one advantage over Tarantino: he generally doesn't write embarrassing dialogue, because most of his films rely on intertitles. The bottom line is, Maddin's schtick is clever clever film-making for aspiring film majors.", "label":0 }, { "text":"I felt that the movie was dry... very disappointing no plot..kept waited for something to happened and nothing did dry as a bone.. a wast of money.. One of Robins Williams worst films..if you don't believe me wait a few months it will be out on DVD because that seems to be a pattern for movies that don't do well in the theaters are out as rentals before the year is over... This is one you will not want to see or say why did I spend my money on that!. Plus for it being such a new movie there were only 8 people in the watching it.... This was on a Friday night the 9:50 showing. I also felt that it needed some more excitement or something to keep us awake. When they characters spoke in the movie the voices were also very low you could not hear what they were saying..", "label":0 }, { "text":"I can't say this is the worst movie ever made, but personally I think of it that way because when it was originally released in theaters, (1) the initial buzz was positive enough that my girlfriend insisted we go see it, and we actually STOOD IN LINE to get tickets, and (2) it's still the only \"serious\" film I recall where the audience started snickering at a certain point and basically laughed at the movie the rest of the way through. Once we reached the infamous (and interminable) snake fight scene, I think everyone gave up.

The only positive I can concede is the lush location shooting. Oh, and there's also Bo's breasts, although her acting is so wooden that the nudity is unerotic and doesn't rate much more than a Playboy pictorial.

The \"dramatic tension\" in this film is between Bo's terrible acting and her husband's horrible direction. The snake fight has to be one of the most incompetent \"action\" sequences ever filmed. However, this is one of those films that's bad enough, it may be worth watching on the level of unintentional humor. Definitely the worst film I ever paid to see.", "label":0 }, { "text":"This movie was disgusting. Their should be a warning that some sadistic nasty writer is attempting to make a name for herself before being held hostage for an hour and a half watching garbage. What is garbage? The misuse of peoples time, the misuse of energy, and the waste of whatever type of educational system that taught her how to read and write. Talia you are a sick demented loser. Your psychiatrist needs to prescribe stronger medications for your problem.

The acting and plot gave me no choice but to fast forward through the middle of the garbage. I ended up at a scene that was uncalled for. If you want to learn how to shock people watch a Larry Clark movie. I lost all respect for the entire cast of this movie \"no more support from me.\" How could actors or actresses sit on a set while such gross depictions of human behavior is manifested from the mind of a psycho? I feel sorry for all actors that took part in that scene. I think the devil now knows who the writer of this movie is; congratulations you won his attention.", "label":0 }, { "text":"This has to be one of the worst films I have ever seen without a doubt. The only thing interesting in this film is the cameo appearances from some great genre directors and King himself. The film has a great premise, but falls apart about 15 minutes into the story. I did like Madchen Amick in this film and think she could have a very good career in film.", "label":0 }, { "text":"I wasn't entirely sure what to expect from a Comedy, Drama, Fantasy, Sci-Fi genre, but, given the actors involved I thought I'd give it a spin. The tone of the film felt awkward, going through patches of each of the genres but never quite felt balanced, so eventually I gave up trying, and concentrated on the cinematography and individual performances, which I thought were good on the whole, considering each character had little depth because of the nature of the story (won't give anything away here). I have to say it felt a LOT longer than its 96 minute runtime, and not in a good way. In the end I was looking for closure, some measure of satisfaction but it didn't turn out to be the clever or ingenious piece I had hoped it would be. I think Tony mistakenly thought what he did do at the end of the film gave us that... but it was a tragic mistake to try and validate the previous 95 minutes with the ill-conceived conclusion. Ultimately I feel cheated. IMO it would have been better to let it stand without the \"ending\" as a piece of Art... just. Or... I may have missed the point completely :)", "label":0 }, { "text":"A scientist (John Carradine--sadly) finds out how to bring the dead back to life. However they come back with faces of marble. Eventually this all leads to disaster.

Boring, totally predictable 1940s outing. This scared me silly when I was a kid but just bores me now. I had to struggle to stay awake! With one exception, the acting is horrible. Such expressionless boring actors! Hopeless.

There are some good things about this: Carradine, despite the script, actually gives a very good performance. And there are a few mildly creepy moments involving a ghost of a Great Dane walking through walls. There's also one of the worst-looking knockouts in cinema history. Still, none of this is fun enough to sit through this. Avoid.", "label":0 }, { "text":"I am a great fan of the Batman comics and I became disappointed when I could no longer find Batman: The Animated Series on TV anymore. I was excited to learn that there was going to be a new Batman cartoon on TV. I watched the first episode the day it premiered and I was very disappointed.

First of all, the animation is very poor. It looks like a cheap, crappy Japanese anime. Then again, just about every modern-day cartoon is like that.

The character designs are even worse. Batman looks more like Birdman, Catwoman looks more like Chihuahuawoman, Bane looks more like a red version of the Hulk, the Penguin is a Kung-Fu master, Mr. Freeze is some undead thing with an iceberg on his head, and the Riddler is a Gothic Marilyn Manson look-alike (which is funny because I don't expect people who are obsessed with riddles and puzzles to be Gothic).

The worst character design is that of the Joker. They turned him into a monkey\/demented Bob Marley\/Kung-Fu fighter! The Joker is supposed to be Batman's deadliest enemy, but in this show he hardly poses a threat because his crimes are so stupid and pointless. In one episode his plan was to put his Joker venom in dog food! Oh, how evil! Batman is a fascinating and complex character because he is haunted by the deaths of his parents, which is why he fights crime. This version of Batman doesn't seem haunted by his parents' deaths and is not interesting at all. He's also not a detective, just a fighter. If there's an enemy he can't defeat, he won't study the enemy to find out their weak points like a detective would, he'll just build a giant fighting robot to defeat them. A lot of times this show doesn't even feel like a Batman show, just another brainless anime that's nothing but pointless fighting.

What I hate the most about this show is what they did to the villains. They've taken away everything that makes them likable and relatable and turned them into stereotypical evil bad guys. Man-Bat is the biggest example. In the comics, he's a tragic scientist who studies bats to find a cure for his deafness. When experimenting on himself, he accidentally transforms himself into a giant bat creature. In this show, he's a mad scientist who wants to purposely transform himself into a giant bat creature for no apparent reason. Just about all the villains are like that; none of them, with the exception of about one or two, have an actual motive for their crimes.

The worst characterization is that of Mr. Freeze. In the comics, Freeze was a just a mad scientist until the genius writer Paul Dini wrote the BTAS episode \"Heart of Ice\", which gave Freeze a new origin that made him a more tragic, three-dimensional, and likable villain. The episode was so popular that fans accepted it as his actual origin and it was even used in the comics as his origin. Even that crappy movie Batman & Robin used it as his origin. In this show, he's a petty jewel thief before becoming Mr. Freeze. After becoming Mr. Freeze, guess what? He's STILL a petty jewel thief! Great origin. No wonder they used it over the one Dini created.

As a Batman fan, I don't dislike this show just because it isn't like the comics because I also liked BTAS, the Batman cartoons that came after it, Tim Burton's Batman films, and obviously, the superb Christopher Nolan Batman films. None of them were 100% loyal to the comics, but they were still very good. The problem with this show is not that it's not exactly like the comics or BTAS, it's that it lacks any sort of depth that makes other Batman media so popular.

I've given this show so many chances, but the more I watch, the more I find that disappoints me. I miss the good old days back when Batman cartoons were something everyone could enjoy.", "label":0 }, { "text":"I am a kind person, so I gave this movie a 2 instead of a 1. It was without a doubt the worst movie that I've seen in a long time. There was very little plot and the deeper interesting areas that were touched upon i.e. what Jesus may really have wanted us to know, were glossed over and instead we were given heavy visual doses of sadistic punishment inflicted upon our heroine (Arquette). Total crucifixion in the first 15 minutes would have been more humane to both her character and the audience. The acting was barely there and the direction was uninspired. And, if I saw one more drip of water or dove flying toward the camera, I may have started screaming louder than Patricia.", "label":0 }, { "text":"It's not often I feel compelled to give negative criticism of a film; after all I often feel the maxim, \"if you don't have anything good to say don't say it at all,\" would be apt advice for the many naysayers we listen to everyday who nitpick at things we like. If it's all the same to you the reader though I feel compelled to point out that with the lone exception of Christopher Walken in a returning role as Gabriel this movie is pathetically HORRID. I say this to you to warn you in advance that even if you are a fan of Walken's deadpan delivery and style or liked the original \"Prophecy\" that you will be sorely dissapointed. If you buy it, return it. If you rent it, make sure it's only ninety-nine cents.

What's wrong with this movie? A full list would take too long to read and would bore you to tears, but a short summary would be the following: the once rather crystalline clear picture of the relationship between angels and mortals of the first film is ripped to shreds. Gabriel is turned from the rather morbid right hand of God he once was (and in this role he is WICKEDLY funny in the first) to little more than a thug for heaven. Since Walken is so good at playing heavies (we all remember Frank White from \"King of New York\") he is still enjoyable but the supporting cast is an unmitigated and unconvincing mess of mortals and angels alike who couldn't buy a clue for 50 cents. If you can figure out the plot you're a smarter man than I. One gets the feeling we wander aimlessly from scene to scene just to move the film along to Walken's next big line. By the end of the movie you're actually wishing he'd blow his horn and make the walls of Jericho fall on the people who made this un-natural disaster.

Bottom line - it's an insult to our intelligence that they made a sequel to this film in the first place. The original told the right story, answered the questions that should have been, and left alone the ones you were meant to ponder afterwards. There are no compelling reasons to follow these characters that was in the first - the priest who lost his faith, the little girl who kept the \"big secret\", the teacher who protected her children - even Lucifer himself was more interesting BY himself in the first film than all the other characters in the sequel put together. I feel sorry for anybody who sees this film and not the first because they'll probably never want to watch the original and that's a real tragedy.", "label":0 }, { "text":"Take a SciFi Original Movie and mix in a little alternative\/revisionist history, and you get \"Aztec Rex.\" Apparently Hernand Cortes, before conquering the Aztec empire, had to first conquer a Tyrannosaurus Rex and her mate. That's the thrust of this movie. Given the plot it could have really sucked; the fact that it only kind of sucked is a tip of the cap to the writers. There are a few problems. For starters, Cortes is played by Ian Ziering. Even with a black wig, Ziering as Cortes is about as convincing as Axl Rose playing Gandhi. And though Cortes conquers the indigenous peoples of Mexico, the Aztecs here seem to be played by an all-Hawaiian ensemble. Casting aside, the T-Rex(es) look reasonably good, though every time one of them gets shot it just oozed CGI. And they die too easily; I suppose if a T-Rex were around in real life they probably could be felled or at least wounded by some rather rudimentary, 16th-century weaponry. But it takes something away from the movie. There are also some graphic T-Rex-swallowing-human scenes, which is surprising, but in this context I thought they worked OK. There's plenty of action, and the whole colonization angle is prevalent throughout but doesn't overwhelm the dinosaur angle, unlike the other recent SciFi Original dinosaur movie \"Warbirds.\" Overall, a mediocre (but decent by SciFi Original standards) movie that rates a modest 4.", "label":0 }, { "text":"This has to be the worst movie I have seen. Madsen fans don't be drawn into this like I was. He is only in it for a maximum of five minutes. This movie is so bad that the only reason why you would watch it is if all the rest of the movies on earth as well as t.v. had been destroyed.", "label":0 }, { "text":"This movie was kind of interesting...I had to watch it for a college class about India, however the synopsis tells you this movie is about one thing when it doesn't really contain much cold, hard information on those details. It is not really true to the synopsis until the very end where they sloppily try to tie all the elements together. The gore factor is superb, however. Even right at the very beginning, you want to look away because the gore is pretty intense. Only watch this movie if you want to see some cool gore, because the plot is thin and will make you sad that you wasted time listening to it. I've seen rumors on other websites about this movie being based on true events, however you can not find any information about it online...so basically this movie was a waste of time to watch.", "label":0 }, { "text":"Description: Corny, utterly stupid and worthless. It's so cheap and lame, it'll make you wonder why these abnormally dumb people even wasted 2 months or so to spend a budget (I'm guessing this...) probably no more than 700 dollars to make this movie. It was just hysterical to watch with or without Mystery Science Theater. I am giving you the best advice in the world:

Spare yourself, spare your time, life, and money, by NOT--I repeat, NOT even ponder about whether you should see this movie. This movie is so corny, it'll make your face turn purple of outraged boredom. If you have a one-digit IQ, then be my guest and watch this absolutely despicable movie. You might actually admire it. (Like I said before, IF you have a one-digit IQ)

With about 12 actors of your own, a few puppets you bought at a garage sale, and of course cameras and music, I gaurentee you'll make a slightly more entertaining home video than this piece of absolute crap.", "label":0 }, { "text":"The writers and producers of this little outing have plummeted new depths of depravity. Did writer's block set in so badly, OR had ideas dried up so much, that they were forced to include a disgusting scene where a young woman defecates in the back seat of a van, and then promptly throws the excrement at the car behind (mind you at least this summarises what this film is worth). We had already been treated to one of the other women urinating over one of her friends at gunpoint, as well as numerous episodes of graphic vomiting; once would have sufficed... we got the message! This really is taking toilet humour to another level! Had the script and acting been better then I could have easily forgotten that I was watching a film shot entirely on low budget video. This was a fairly original storyline, with a clever (the only) piece of direction in that we only ever got to take the viewpoint from inside of the van; thus making it feel much more real. We never got to see inside any other locations, such as the store or the field where several of the women disappeared, and this could have added much needed tension.

The script was dire. Lines like: 'I don't feel too good... I want to go home' after one of the girls has been pursued by a psychopath; subjected to rape by a screwdriver and shot at, seem a little undercooked.

The acting was diabolical (apart from the maniac). Did all the main 5 actresses in this learn acting by taking a correspondence course during a long postal strike! The sound was so bad that I had to watch the entire film with the subtitles on.

The director seemed to have an easy job in this. It seems that the only direction he must have given was: 'Scream girls'.

AND AS FOR THE SCREAMING...... If you watch this please be sure to have some paracetamol at the ready!", "label":0 }, { "text":"I really can't believe this movie is not in the IMDB worst 250, it is absolutely terrible. When I originally saw it I remember talking about it in a college class and two other people had also seen it. We were all telling other class members not to see it because it was so horrible. By the time we were done some others wanted to see it just because they could not believe anything was as bad as we were saying it was. Don't be like them, just pass this by. I'm sure everyone involved with this movie would also prefer you never see them in this movie.", "label":0 }, { "text":"The guy did a lot of title design for a bunch of movies and I guess one day he said; I should pick a cheap scenario, try to put as much title in it as a can ( cause after all i'm a title designer ) and try to persuade people that this is in fact a movie. One of the worst i've even seen that's for sure. If you fell the urge to see nice titles, go check out some posters don't waste your time watching this.

It kinda ironic don't you think, did you saw the poster? the only part of his project that SHOULD had title work done have almost none !", "label":0 }, { "text":"Absolutely the worst film yet by Burton, who seems to be getting worse with each film he directs. A miserable script loaded with cliches is only the first of many objectionable aspects to this film. This is the kind of movie where every time something happens, you'll be sure to hear someone shout out \"he's lost his gun!\" or whatever it is to let everybody know. Carter is really awful and so is Wahlberg, who can't play this straight and be convincing. Very nice effects and photography, but poor music in the John Williams mold by Burton's crony Elfman. Heston appears in a nonsensichal scene to spout out his most famous catch-phrases from the first movie. Very poor results.

If anyone else out there also saw \"Sleepy Hollow\", they will probably have noticed, as I have, the declining quality of Burton's films. I've heard that this particular project was produced by others and that Burton was brought in as director, in which case his judgement should be questioned. But I think he has allowed any possible vision he might have had earlier in his career to slip; the evidence is there in the films. In \"Sleepy Hollow\", he couldn't decide what kind of movie he was making, whether it was a comedy or a real horror movie, and the population of british character actors (Chris Lee, etc.) made you also think it was kind of a monster rally film (those are never scary, as horror fans know). The movie couldn't succeed on either horror or comedy because it was so schizophrenic, and no style had been developed to smooth the two together. \"Planet of the Apes\" is much the same way, and the result comes off more like \"Total Recall\" or \"Tango and Cash\" than like sci-fi. He's also fallen into the rut of so many other \"big\" directors of trying to satisfy the entire possible audience. Word to Burton, if you're out there -- pick something and do it straight, or use some style to peice it all together (as in \"Mars Attacks\" or \"Beetlejuice\") or you might as well retire, because people like me that are fans of your movies will stop going.", "label":0 }, { "text":"This is the worst movie ever made. The acting, the script, the location, everything! I would have given it a little chance if there were attractive women in the movie, but even they were bad. You would think that a movie with the word \"beach\" in it's title would have good-looking women in it. Wouldn't you?", "label":0 }, { "text":"Well, I guess I'll have to be the one to say \"The Emperor has no clothes.\" When I saw this show listed for PBS last night I was both hopeful and apprehensive. I loved \"Morse\" (even going so far as to buy the complete DVD set) and felt that, while I always liked Kevin Whately's Sgt. Lewis character, the show WAS John Thaw, period! After watching the new \"Inspector Lewis\" (as it is billed here), I am more convinced then ever that I was right...Whately is fine (even though he looks awful (both badly aged and too fat), but he simply doesn't have the charisma to carry the show as did Thaw.

And as for his \"sidekick\" Fox, well...perhaps the reviewers here from England can understand what he's saying, but I for one mostly could not.

As for Ms. Innocent...all I can say is that I miss James Grout.

I'm sorry to say that they should have left \"Morse\" rest in peace.", "label":0 }, { "text":"i couldn't help but think of behind the mask: the rise of leslie vernon (a massively more amazing film) when watching this because of the realistic feel to it as well as the great innovative idea. this could have been a GREAT film. the acting is...from some of the actors alright. from others...it's downright horrible.

that aside the idea is great and the format is great. the story is pretty good as well, though suffering often from big blows to the logical mind.

nevermind that though right? it IS a horror movie after all.

i really want to see this remade...i really want it to be the fantastic film that it wants to be.

however (and you can't really fault the minds behind the movie for this) this is obviously built upon a shoe string budget. and the fx really hurt the film overall.

great movie. ...if you were to swap out for some better acting and slightly better fx.

whoever wrote it should keep going though, great idea here.", "label":0 }, { "text":"With this movie only running 61 minutes and nothing all that good on television, I decided to pop Revolt of the Zombies into the DVD to pass the time. Even while realizing the era from which it was coming, I was sorely disappointed. It started with the oddly upbeat quality of the opening score (what - no brooding music?) and then the rather slow moving opening sequences. Gosh, I figured a movie about zombies - even from the 1930s - would have SOME chills to it (White Zombie, with Bela Lugosi, certainly did) but this had none. Zero. It was scarcely even dramatic (except for the few moments with the burning eyes superimposed on the film to indicate the mesmerization of someone). Like the equally dull King of the Zombies, this movie may be an interesting curiosity to own, but nothing more.", "label":0 }, { "text":"After I got done watching this movie I was so upset that I had wasted 2 hours of my life. That's 2 hours I'll never get back. Ugh. When you start this you might think \"Wow this is really good!\" But rest assured that first impressions mean NOTHING. I was so excited about this movie until the dumbest ending I have ever seen. This movie is simply pathetic. The acting is bland, the story line is anything but original and there's nothing especially unique about this except that it's the WORST MOVIE EVER!!! DO NOT WATCH THIS MOVIE!!! WARNING!! DUMBEST MOVIE EVER YOU WILL BE SORRY IF YOU WASTE 2 HOURS OF YOUR LIFE ON THIS!!! 1\/10", "label":0 }, { "text":"My wife and I thought that with this cast and director, the movie would have to be at least worth watching. We were wrong. In fact, we gave up on it after 45 minutes. The idea that Crawford, Young and Tone are British but speak with American accents was, for me, impossible to get past -- hard to believe this is England when no one talks with a British accent. There is zero chemistry between Crawford and anyone, and to echo a previous comment, the idea that Cooper and Crawford suddenly declare their love for one another without any reason is ludicrous. There is no reason to care about any of the characters, which is why we threw in the towel halfway through. I found it hard to believe that Hawks directed this, as none of the actors spoke with the trademark Hawksian rat-a-tat delivery. So save your time, and skip this one.", "label":0 }, { "text":"First of all, the reason I'm giving this film 2 stars instead of 1 is because at least Peter Falk gave his usual fantastic performance as Lieutenant Columbo. He alone can get 10 stars for trying to save this otherwise utterly worthless attempt at making a movie.

I was initially all fired up at reading one poster's comment that Andrew Stevens in this movie gave \"the performance of his career.\" To me, it was the abysmal performance by Stevens that absolutely ruined this movie, and so I was all prepared to hurl all sorts of insults at the person who made the aforementioned comment. Then I thought to myself, what else has Stevens done? So I checked and, you know, that person was absolutely right. In the 17 years since this Columbo movie was made, apparently every one of the 33 projects that Stevens has been in since then has been utter crap, so it is doubtful that anybody has even seen the rest of his career.

If you like Columbo, see every other of the 69 titles before watching this one. Do yourself a favor and save the worst for last.", "label":0 }, { "text":"Superficically, \"Brigadoon\" is a very promising entertainment package. Gene Kelly and Vincente Minnelli, the team behind \"An American in Paris\", are reunited with a lot of the great craftsmen and women behind their previous collaborations. Gene's leading lady is Cyd Charisse, one of the best dancers of 40s\/50s cinema, and unlike the generally superior \"It's Always Fair Weather\" this film gave them the chance for not only one but two dances. Lerner and Loewe were the rising team behind such future hits as \"My Fair Lady\" and Minnelli's musical masterpiece \"Gigi\"; Lerner and Minnelli had already demonstrated their sanguine collaborative juices on the excellent \"American in Paris.\"

What happened along the way? Why is the movie itself such a stupid bore? Minnelli himself didn't want to do the movie, despite his previous warm artistic and personal relationship with Lerner. Maybe it was because the movie's innate conservatism was just a bit too much of two steps forward for MGM and one step backward for Vincente Minnelli. But once trapped in this assignment like the denizens of Brigadoon are trapped within its city limits, Minnelli strove to turn it into something that would be entertaining in a specifically distracting, if not liberating way. The ultimate result is truly horrific to behold.

While aiming for the naive charm of previous Minnelli hits like \"Cabin in the Sky\" and \"Meet Me in St. Louis\", the plaid-tights wearing inhabitants of Brigadoon can conjure up none of the illusive nostalgia of those never-have-been locales. Its whimsy doesn't even match up to the glossy luster of \"Yolanda and the Thief\" or \"The Pirate\" because the highlands settings seem at the same time too specific for such an exotic fantasy and too generic for real human emotions. The only people in Brigadoon who I at least can relate to are the malcontented man who tries to escape and the unfortunate fellow-traveler played by Van Johnson who accidentally shoots him. The general proceedings in the township of Brigadoon itself are too arcane and provincial even to be attributed to a backwards form of Christianity: they seem positively pagan in their aspect. For example, in exchange for Brigadoon's immortality, the honorable and most generally \"good\" pastor of the town has sacrificed his own place in the supposedly blessed refuge.

At one point we're assured that \"everybody's looking for their own Brigadoon.\" Suffice it to say the box office for this picture confirms my own suspicion that most of us aren't looking for this kind of quasi-queasy paradise. The premise itself is ridiculous and almost insultingly patronizing, but could work if the players were perfect. But Kelly himself is the most patronizing thing about the movie, and Charisse is horribly miscast as a virginal optimist in much the same way as Lucille Bremer was miscast in \"Yolanda and the Thief.\" Van Johnson does his best version of the classic Oscar Levant sidekick to Kelly (even lighting 3 cigarettes at one point like Levant in \"AIP\"), and he provides a lot of amusing moments. But it says something in itself if the best part of a big budget extravaganza with all the best talents of MGM is a tossed-off Van Johnson performance.", "label":0 }, { "text":"Even though many people here praises this movie, I have to warn you. It has no logic whatsoever. I think that Basinger does a decent job at acting, but you can't make a thriller if there is a great lack of realism.

This scene paints a good picture for you of the movie : while Basinger is pursued by murderous thugs she decides to sit down and gaze upon a picture she finds from her pocket. The picture is from her daughter and it reads \"we love you mommy\". Who does something like that ? What the eff? And believe me when I say that it is not nearly as stupid as some other scenes of the movie. Someone stated that this is a \"hidden gem\". Well, I have to strongly disagree, this movie has stayed hidden for a reason. And it's not a gem. Oh, and please, I don't even want to start commenting about the red toolbox. It hurts my brain :D Usually the lack of logic does not bother me if it is in small amounts, but this movie basically is made possible only because of the lack of logic. But, i still give it a 4 because even though it is embarrassingly flawed in logic, it has certain mood that kept me watching till the end.

So if you choose to watch this, you know you have been warned.", "label":0 }, { "text":"Set in South Africa, a young black guy tries to land a part in a 'gangsta' movie. But with no knowledge of street life, he's told to find out what that life is really like or he won't get the part. He manages to work his way into a gang led by an old friend of his from school and his chances of appearing in the film decline as he commits crimes to be accepted. But for the gang's leader, the burgeoning disaster of his new friend's life suggests a golden opportunity to do something better with his own.

While that may sound relatively interesting, it's anything but. The first half of it is incredibly meandering and tedious, while the \"hijacking\" only takes place towards the end with some very poorly executed low speed car chases. In those \"chases\", only two police cars are used, both of which are early 90's Nissan Sunny's. Not only would these be rather cheap to pick up (and I find it rather hard to believe they'd be using such mundane old cars in South Africa in the year 2000), but as far as I can remember, there's only 2 involved and none of them get a scratch once. The car chases are very badly shot, with distant and badly timed camera angles and minimal traffic on the roads, and they're all over in around 2 minutes at maximum as you're supposed to believe that a very small kid is actually a highly skilled driver who can easily evade the police despite the driving being pedestrian and utterly unexciting. This now leads me onto the characters and the acting, which are equally bad. The aforementioned kid who drives the car, looks about 13 years old and supposedly is extremely skilled at losing the incredibly inept police. Everybody else is equally unconvincing, so much that they even look bored at times themselves.

At the closing scene of the movie, our main character (\"Sox Moraka\") is asked by the gang leader to steal a car from a car park. While having trouble opening it, the Police arrive and ask him what he's doing and he replies by telling him it's their car. After a brief argument they try to arrest him and he then holds the Police at gunpoint and jumps back in their car. After he's in, the Police return fire and in turn he gets wounded. After another pathetic chase sequence, they decide to abandon the car and set it alight to destroy any evidence. What follows here is one of the most downright laughable and hideously awful special effects I've ever seen. When the car \"explodes\", superimposed flames suddenly appear from every window with awful sound effects that aren't even in time. It's so badly done and so phony looking that it's hard to even put it into words, and really needs to be seen to be believed. If you watch it in slow motion it looks even funnier. I've seen better effects than this in murder reconstruction documentaries. The car is a Volkswagen Golf MK2 GTi. Something that wouldn't be worth a huge amount at all, and they seriously couldn't afford to destroy it with a real explosion? I'd love to know how large the budget for this movie was. It feels so cheap that I'm surprised it made it outside of South Africa, and even more surprised it made it to a DVD release.

I know it's not a big budget Hollywood production. I know it's meant to depict gangs in impoverished townships of South Africa who steal cars from the middle class in and sell the parts on the black market, but with the laughable effects, poorly executed car chases, awful acting and ludicrous characters, any sense of reality is completely lost.

Overall, I most certainly do NOT advise you to watch this. If you want to have a laugh and see one of the most poorly done, low budget messes of amovie ever created, then I'd recommend it for that, and only that.

It is a wretched, poorly made, poorly edited, poorly paced and tedious piece of low budget drivel that fails on all counts. I've seen many South African movies, including lots of cheap NuImage\/Nu-World action pictures, and despite their cheesiness, they're far better than this on all counts.", "label":0 }, { "text":"I suppose if you like pure action... you'll find it here. I suppose if you find a gorgeous blonde designed to be screwed... find it here. I suppose if you want to find a couple of extra baddies, headed by 1-2 extra, EXTRA baddy bosses who meat a nasty end... you'll find it here.

Overall, routine stuff, and the good guys come out on top big time under extra-ordinary circumstances.

What I marvel most at... How the good guys armed only with pistols, can kill dozens of bad guys with machine guns who are shooting at them at point blank range... and missing. The goodies even get time to reload their pistols amid the hail of machine guns bullets.

Ho-hum!!!", "label":0 }, { "text":"I watched this on a weekend afternoon as there was simply nothing else on, it would have been more entertaining to chew off my feet and probably less painful. I urge anyone to watch this just to see how turgidly awful a movie can be, surely it was deliberate. I cringed at every futile attempt at humour carried out in such a childish, unrehearsed, badly executed way that it was beyond belief. This is the movie that makes Spiceworld look like Goodfellas, think I am exaggerating? Well give it airtime and think again. Dreadful, utterly dreadful. If this wasn't a prank then the director and anyone else responsible for this should be removed and promptly shot after being forced to watch this film again.", "label":0 }, { "text":"Had I checked IMDb BEFORE renting this DVD from Netflix, I'd have a couple of hours of my life back. I'm frankly suspicious when I see that a film's director also wrote it. In this case, according to the credits, the same guy was \"writter and director\" - unfortunately, an indication of the overall quality of this production. There were a few interesting moments (e.g., Judy Tenuta's scene reminded of her early comedy routines touting Judy-ism) which led me to rate this two stars rather than one. Those moments, however, were few and far between ... and I almost did not get to see them because the opening sequence was nearly incomprehensible to me, not to mention reprehensible in its violence. I admit I went back to watch that part again to see if I had missed something that would help me figure it out once I'd seen the whole thing. Nope, though I at least recognized who the characters were who would turn out to be important later. The \"spinning camera\" technique was overused and essentially pointless. I found myself talking to the TV screen: \"What?!?\" or \"For goodness sake, get ON with it!\" Not recommended.", "label":0 }, { "text":"First off, let me say that I am a great believer in Fanpro stuff. I see it as a way to continue a good show long after it has been cancelled. Star Trek Voyages and Star Wars Revelations are examples of decent efforts. So I have a soft-spot for fanpro stuff that means I'll overlook things that I would ordinarily slate badly.

So on to ST: HF. Well, first off the good things. Enthusiasm is a major part of making any show believable and, for the most part, the crew of the various ships all seem to be having a good time with their roles. Next, the effects aren't bad for a home-brew effort, with nothing to make you really wince. The stories aren't too bad either. Nothing particularly innovative, but solid enough stuff and at least there are ongoing story-arcs.

But it has a lot of faults.

First off, although they quite obviously HAVE to rip-off Star Trek footage, set backdrops, music and effects, I see no reason why they proceeded to rip off virtually every other sci-fi musical score ever made. Everything from Aliens to Starship Troopers rears it orchestral head at one point or another. Likewise, much of the footage is from other movies, dutifully CGI'd over to make it look different. The Grey warships, for instance, though disguised, are quite obviously Star Destroyers from Star Wars. And the station is also rather obviously Fleet Battle Station Ticonderoga from Starship Troopers. Likewise, sound effects from various Star Wars movies appear in space battles between fighters, as does animated over footage. In one scene in either first or second season, I think, you even see two TIE fighters fly past during a battle, which hardly does your suspension of disbelief any favours.

Acting varies from the reasonable to the hideously painful to watch. Everyone does improve as the seasons progress, though, but expect to grimace at the screen a lot, especially in the early seasons. They've also made some interesting acting choices. Let's just say that the food replicators on this show seem permanently set to \"cake\" and leave it at that.

Make-up effects are generally quite effective on the whole. But they really ought to mercilessly club to death the person who decided to use cheap Ferengi and Cardassian masks for anything other than background use or \"passing\" shots. They are just beyond unrealistic. Every time I saw one of these (apart from trying not to laugh too much) I kept expecting the unfortunate soul wearing it to pull out a gun and announce that \"This is a stick-up!\" In one scene a \"Cardassian\" actually talks whilst wearing one of these. Not only do the lips not move, but the mask doesn't even have an opening where the mouth should be. Someone needs to be slapped hard for that. Couldn't they have taken a craft knife to it, for goodness' sake! There are also some well-done, but unintentionally funny make-up jobs, such as the Herman Munster look alike.

The writing, though coherent, is nothing new. Instead the script runs like a continuation of DS9, with the ships heading out from DS12 on various missions. The new enemy, \"The Grey\" aren't very menacing and the plot line involving them is effectively a reworking of the Borg threads. i.e. Starfleet meet the Grey, the Grey are hugely powerful, Starfleet barely escape with their lives, then through technology they begin to find ways to combat the enemy etc etc. All done before with the Borg.

Another bone of contention is the dialogue. Star Trek writers have long had the ability to write \"insert technobabble here\" into a script. It usually means an exposition of the latest plan to combat the enemy using \"quantum phase discriminators\" or \"isolytic charges\" etc. In other words, nonsense that tells you that they are on the case and a resolution is at hand.

The words are just gibberish really. I've no problem with this, but where ST:HF makes a mess of it is where they include real-world comments into this concept.

Tactical advice such as \"We need to regroup\" sounds good, but not when uttered by trio of characters already standing in a group. Likewise when asked what the situation is, a tactical officer is heard to reply \"We count three battleships\". He actually needed to count them? C'mon! I expected the questioner to ask him \"Are you sure?\" or \"Can you double check\". But my all-time favourite comment is this:

Captain: \"Can we establish two-way communication?\"

Comms officer: \"No, we can only send and receive..\"

Well, duh!.....

Having said all the above, the show does improve as it goes along. Seasons 1 and 2 are pretty bad, 3 shows an improvement but 4 & 5 are where it starts to get noticeably better. Season 6 so far looks quite reasonable.

I do have a problem with their choice of media for the shows though. Quicktime sucks, quite frankly and the sooner they move to divx\/avi format the better. Some of us like to actually take our downloaded shows and watch them on decent size screen and not peer at a tiny QT window on a computer monitor. Not only does Quicktime make this difficult, but the 320x180 resolution the shows are in does not scale at all well. In fact, it makes the shows pretty unwatchable, like they were a tenth-generation VHS tape copy. The least they could do was to include a hi-res downloadable option.

Anyway, the show has promise, and I'm even beginning to like some of the characters. But that's 40 episodes on, so I'm not sure this says that much about character development at all.

But what can you say, it's free....

PS: Out of 28 votes, 19 people rated this show as a 9 or 10. Hmmmm... were we watching the same show? Or are you 19 all three year olds?", "label":0 }, { "text":"I'm one of the millions of Columbo addicts all over the world and just watched this,the episode that started it all, on British Channel 5. It IS fascinating to think what sprung from this so-so movie and I can only marvel at whoever spotted the massive potential of \"Columbo\" and added all the little touches that make it such a marvellous & classic series. That said, this particular movie is not as good as the rest (except for the embarrassing final episode & the patronising British episode). If Columbo had been made as per the original 'pilot' it certainly would NOT have gone on for very long, or be watched and loved world-wide. In this film Lt Columbo is smartly dressed, drives a normal car, has a partner, doesn't talk about his alleged relatives and comes across as quite aggressive. There's also none of the cat-and-mouse chemistry between Columbo and \"the villain\". Watchable, but only for the novelty of seeing how Columbo started out.", "label":0 }, { "text":"This foolish, implausible tale is redeemed only by the opening scene in which a hard-boiled police detective delivers some nearly-audible lines confirming our greatest fears: He is dead. Perhaps the film would have been saved had the director forgone the dazzling star power of A. Martinez in favor of this sadly-anonymous actor who filled the screen for a brief moment. That a no-name hack-tor off the street could salvage such a dishwater film is no less likely than a villain committing murder by dropping stones into a quarry for an unsuspecting diver. His moment is brief; his promise is immense. Perhaps we will be treated to more screen time by this obscure thespian if there is ever a sequel to this ill-advised film.", "label":0 }, { "text":"This is one of the worst movies I have ever seen. However, the little slave girl, Alice and Jared Harris imitating Christopher Walken is what makes this movie entertaining. Alice's smoking, drinking and uncanny way of showing up when her name is called is strange and interesting. I have to applaud Jared for his Christopher Walken imitation, and Christopher Walken for allowing this to be in the movie.", "label":0 }, { "text":"I haven't seen this, & don't plan to see this movie or any other that includes Lindsay......unless & until \"poor little rich girl\" straightens out her life for a 2 year period beginning with her most recent arrest in July 2007.

In fact, I don't know anyone that has gone to see ANY of Lindsay's recent movies. I rather imagine 2007 will be the high water mark in her movie making career, until she cleans up her act. All of the recent publicity has only hindered her movie making career, if she has any further aspirations to make any more movies

Up to this time, movie producers have actively sought Lindsay for roles in their upcoming production. Now, Lindsay will probably have to go to auditions & actually compete for ANY role. Her reputation is currently \"poison\" & quite possible could have a negative effect on box office ticket sales on any movie she is in.

Sooooo....now Lindsay is going to have to deal with \"not being wanted\".....is she going to be able to handle this?

I wonder if even Jay Leno will want to have Lindsay back on his TV Show?

All of the foregoing is merely my OPINION. I have no inside information.", "label":0 }, { "text":"So far Nightmares and Dreamscapes has been erratic and disappointing. The first segment, directed by Brian Henson, may have offered little in the way of groundbreaking storytelling or real scares, but at least it was well-directed, suspenseful, and visually interesting, with solid acting by William Hurt and very impressive special effects for a mini-series.

However, the second story in the series was just dreadful, and not in the good way. The screenplay is bad, requiring the shallow, unlikable protagonists to act illogically in order to move the plot, and having characters ramble on endlessly for the purposes of clunky, unnecessary exposition. The acting is overdone and unconvincing, and I felt far more empathy for a cold-blooded killer in the first story than for the newlywed couple in the second. The director used a million tricks to try to make the narrative spooky, but with the amateurish acting and writing, the end result looks like a freshman-year film school project, with camera moves for their own sake, and little in the way of plot or tension.

If the rest of the series continues like this, I'll be sorely let down. I look forward to William H. Macy's installment, and hope he gets a decent director and screenwriter for his segment. So far the quality is far too inconsistent to predict either way.", "label":0 }, { "text":"Sometimes laughter in the middle of a horror film is a signal of its greatness. I remember the nervous laughter from the audience in the re-release of The Excorcist\u0085 really nervous laughter. It punctuated just how freaked out we all were watching the voice of Satan coming out of a 12 year old girl. In the case of the 2006 remake of the 1972 cult classic The Wicker Man however, it made me think that this new Wickerman is about as scary as the South Park character, Scuzzlebut, the friendly forest monster with TV's Patrick Duffy for a leg and a celery stalk for an arm who's favorite hobby is weaving wicker baskets.

3 years ago a friend of mine in Hollywood told me that he heard that Nicolas Cage was going to do a remake of the film. I started laughing and my friend (Keith) got mad at me touting Nicolas Cage as a great actor. I just didn't think that he could pull it off and unfortunately for moviegoers I was right. Gone is the realness, the outstanding original music, the originality, the creepiness and the wonderfully powerful dialogue. Instead we have horror movie clich\u00e9s, affected acting and changes to the storyline that make any believability fall apart. Like many of the countless Hollywood remakes we have been inundated with lately this feels like we are watching 4th graders on a playground \"playing Wickerman\".

The original film takes place on a remote Scottish Isle where a Scottish police officer is lured there to find a missing young girl named Rowan Morrison. In the new spin a California cop (Cage) is lured to an island of the coast of Washington state by his ex-girlfriend to find her missing daughter. She sends a photo and the missing daughter looks exactly like a young girl he tried to save in a fiery crash not long ago. The crash still haunts him in part because the girl's body was never found. Yet even after he gets a letter with her picture in it that connection is completely cast aside as he heads north, alone, to help his ex-girlfriend find her daughter. He arrives to find an island full of actors pretending to be the descendants of Wiccans, many of whom seem like they didn't get call backs for roles in The Village. And like The Village it isn't long before you realize there is nothing to be afraid of here. Not even the cloudy eyed blind sisters who speak in unison.

I think that the opportunity in Hollywood to make great amounts of money on a film often comes at great expense to the artistry. I think someone like Nicolas Cage who is in so many films these days loses touch with the magic that film can be when it gets to the point where he has a personal chef on the set preparing his snacks. We needed a bad re-make of the Wickerman like we needed yet another '9-11' movie. I'm starting to wonder if Nicolas changed his surname from Coppola because he wanted to or because he was pleaded with to do so.", "label":0 }, { "text":"You have to admire Brad Sykes even if you don't particularly want to, a man who churns out budget horror after budget horror to less than enthusiastic receptions. But keeps on doing it all the same. Even the half-hearted praise than surrounds his Camp Blood films is given grudgingly and I'm as guilty of this as anyone. Brad normally manages to throw something interesting into the mix, a neat idea, a kooky character, whatever, but without the funds to take it further than base level, he relies on the audience to cut him some slack and appreciate it for what it is and what it could be. Joe Haggerty gives a spirited and very funny performance as Ebenezer Jackson and its a credit to Sykes that he can sense that this oddball turn is going to work within the framework of the film. Coming to a multiplex near you, in a parallel universe, somewhere.", "label":0 }, { "text":"One of the most disgusting films I have ever seen. I wanted to vomit after watching it. I saw this movie in my American History class and the purpose was to see an incite on the life of a farmer in the West during the late 1800's. What we saw were pigs being shot and then slaughtered, human birth, branding. Oh and at the end there was a live birth of a calf and let me tell you that the birth itself wasn't too bad, but the numerous fluids that came out drove most people in my class to the bathroom. The story itself was OK. The premise of the story is a widow and her daughter and they move to the west to be a house keeper of this cowboy. They live a life of hardship and it is an interesting a pretty accurate view of life in the West during the late 1800's. But if you have a choice, do not see this movie.", "label":0 }, { "text":"this movie is made for Asian\/Chinese market, targeting particularly fans of Jay Chou, one of the biggest music star in Asian.

Jay Chou is a very talented song writer\/singer. He is mediocre as an actor, although he did appear in several big-budget productions (\"initial D\", \"Curse of the Golden Flower \"). Amazingly, he won both golden horse (taiwan) and Hong Kong film awards for \"initial D\".

The supporting cast are very well chosen, which appeals basically everyone from China. The cast including many famous movie\/TV actors, singers, even sport commentator (Huang Jianxiang from China). However, they were not given enough time to show their talents.

The biggest mistake is that Chu took over both director and writer position. He has a reputation of making shallow and brainless movies based off non-coherent scripts. With his poor directing and lam story, the whole talented cast, fancy vision effects and tones of production money was wasted.

However, the terrible movie successfully cashed in over 10 million dollars, maybe even more in Asian, which made this one of the biggest box office success in Asian.

The bottom line is: you can watch this movie only if you want to see how money and talents are wasted, or if you are simply accompanying your kids who are fans of Jay Chou.", "label":0 }, { "text":"There are a lot of pretentious people out there who will pretend that this is endowed with some kind of beautiful meaning, and that ignorant fools like me don't 'get' it. Obviously this means that we should stick to Hollywood dross.

It has every, a-hem, artistic clich\u00e9 in the book - I guess it is good that the director is one of the chosen few. Almost a self parody drowning in its own pretense.

The director of the (almost equally embarrassing) movie 'Ratcatcher' returns with another piece wallowing in artistic nonsense; it is difficult to understand and apparently is a study of alienation. The best way to describe this film is alienating for its viewers.", "label":0 }, { "text":"This mess is so bad it doesn't even qualify as horror.

Debbie Rochon's talent is completely wasted in this film. She is not even the villain. The rest of the actors look like porno wannabes and the plot is so lame I won't even mention it.

Do yourself a favor and skip to the end credits to hear upcoming band TwoMarlowe perform \"Better Than Sex\" it's total 80's Disco candy song. Nice up tempo song about Gambleing & Sex. Way more entertaining than \"Bleed\". Put it this way, When one has the equipment to copy videos, but decides only to record the song at the end of movie, you have a really \"BAD\" movie.", "label":0 }, { "text":"I hate to throw out lines like this, but in this case I feel like I have to: the American remake of THE GRUDGE is by far the worst film I have seen in theaters in the last 5 years. There, I said it. And now that I have gotten that out of my system, please let me explain why.

\"When someone dies in the grip of a powerful rage, a curse is born. The curse gathers in that place of death. Those who encounter it will be consumed by its fury.\" That is the premise of THE GRUDGE and I will admit it sounds intriguing. Unfortunately, the filmmakers take it no further. Those who encounter the \"curse\" are indeed consumed by its fury and that is all you get. You want more? Well too bad. Some critics and fans are pointing out that the sole purpose of THE GRUDGE is to scare you. The problem is that when there is no plot to speak of, creepy images and sounds can only go so far. Director Takashi Shimizu, pulling a George Sluizer and remaking his own original film(s), valiantly attempts to build atmosphere in the first hour \u0096 by repeating the same scene over and over and over and over. It pretty much unfolds like this:

-person walks into house

-something flashes by the camera and\/or a strange sound is heard

-person goes to investigate

-sound starts to get loud

-person sees a ghost

-loud scream and\/or cat screech

-cut to black

Before the audience is even given a hint of plot, this exact same scenario unfolds 5 times in the first hour. The first time was actually somewhat creepy. Each subsequent use became laughable as the film went on. By the time the end of the film rolled around, my friend and I were laughingly wondering if this scene would end \"with a loud scream and a cut to black.\" We were never proved wrong.

The film has no liner storyline, instead unfolding in a series of vignettes that leave the audience jumbled. I have no problem with non-linear storytelling when it is done right. The film jumps from time period to time period with no rhyme or reason. I haven't seen a movie in such a state since the opening of the theatrical version of HIGHLANDER 2. And this storytelling technique mars any sort of mystery that film could have possibly had. If you already know the ghosts have scared two characters to death, how is it shocking when their bodies are found in the attic? And why should we care when a detective tries to investigate the mysterious disappearances when we already know what happened to everyone?

Obviously greenlit the second the American version of THE RING made $15 million its first weekend, THE GRUDGE is nothing but calculated imitation disguised as an actual movie. The scariest things about THE GRUDGE are that it made $40 million dollars its first weekend and some people consider it the \"scariest movie ever made.\" I wonder what happens to those who get consumed by the fury of paying to see THE GRUDGE?", "label":0 }, { "text":"This game has the(dis)honor of being the first game that I have stopped playing right in the middle of and felt like smashing into bits and then burning. Congratulations. FIRST and LAST Tomb Raider I will ever play I assure you.

Plot: Just typing that word made me laugh. There isn't one. Neither is there character development. We finally have a girl heroine who can take care of herself,who isn't a *beeping*mary-sue,but unfortunately she dresses like a slut and her breast are huge. They had to attract the sexist boy gamers you see. Anyway all she does is go in tomb after tomb shooting things as she goes along. Why she does this I have no idea. I had subtitles on and the t.v. as loud as I could and I still didn't understand a damn thing. The development(or lack there of) for her, her two friends and the*villains*were laughable. There also will be levels that you have to go through that do-not give you any hint on what you have to do next and you literally will be in most of the boring as hell tombs for HOURS trying to figure out what the hell you are supposed to be doing. There is one course(out of two) in particular with her on a motorbike(Believe me it is not at all fun)that you will be on for ATLEASE an HOUR with NO save point in sight. That means you get hit by the other motorist and guys in vans shooting at you or you hit a tree you start the hour long trek OVER.

Boss Stupid F*ck: You know lets makes the levels very long, have basically no save points, have no story, no character development, give no variety in game play, have most of the music on the longest levels ear-bleeding,and give no hints whatsoever to the player so they can stay even longer in a place instead of getting to the nonexistent plot.

Stupid F*ck one: Those sound like bang up ideas.

Stupid F*ck two: I concur. Who needs character development ,plot, or unboring game-play.

Todd: I'm sorry sir,but these ideas seem like they will extremely p*ss the player off.

Boss Stupid F*ck: Shut up Todd. You're fired.

Game-play: All she does is shoot. Of course she can flip while SHOOTING, jump while SHOOTING, or kick while again SHOOTING.But flipping, jumping, and kicking does not erase the fact that all she is ultimately doing is SHOOTING. BORING!!!!!!!!!!!!!!!!!!!!! Music: The intro music is extremely beautiful. I love listening to it. The in game music goes from tolerable to wanting to cut your ears off.

Visuals:Considering this game was made in 2006, I was expecting the visuals to blow me away.Well I was blown,but definitely not in a good way.

Bottom-line: This game is a plot-less, no character development mess with a barely dressed unmarysuish(THANKFULLY)young women in the lead that goes through boring tombs for some boring reason(what that might be I couldn't tell you)with unimaginative shooting gameplay. STAY FAR AWAY FROM THIS B.S.!!!!!!!!It's gets two stars for having a women who isn't a damsel in distress(No matter how scantily clad she might be) and the beautiful into music.", "label":0 }, { "text":"as an inspiring director myself, this movie was exciting to watch with criticism in mind. Shot with low end digital camera probably with 35mm adapter for DOF. The editing is good acting decent, sound effects aren't too over the top. I would have give it a 7 for an indie film, but the story aren't that interesting. It's more on the drama side, character developments than a horror flick.

It's not for those who wants to get spooked startled frightened grossed out, or sit down with popcorn to just enjoy.

honestly this movie would be good if we were still in the 50's

This movie is about a family who has a dry field, and that is just that.", "label":0 }, { "text":"There's really no way to beat around the bush in saying this, Lady Death: The Motion Picture just plain sucks. Aside from the fact that the main character is a well endowed blonde running around Hell in a leather bikini with occasional spurts of graphic violence, the movie seems to have been made with the mentality of a 1980's cartoon based on a line of action figures. The bad guy himself even talks like a Skeletor wannabe, has the obligatory inept henchman, and lives in a lair that looks to have been patterned after the domain of the villain from the old Saturday morning Blackstar cartoon. Just don't expect any humor other than the sometimes howlingly bad dialogue. At other times it feels like the kind of anime tale better suited to hentai, yet there is no sex, no tentacle rape (Thank goodness!) and very little sex appeal, this despite the physical appearance of the title character. There is simply no adult edge to this material, unless you count the half-naked heroine and bloody deaths. Essentially, what we have here is a feature length episode of She-Ra, Princess of Power, but with skimpier clothes and more gore.", "label":0 }, { "text":"After a fairly lengthy partially pixelated nude shower scene, we're off to the races for this \"Blair Witch Project\"-esquire horror film about three girlfriends venturing to a desolate cabin deep in the woods to get away from their hectic lives for a girls' weekend out and smoke pot. They meet two guys who seem friendly enough, so they drink and tell ghost stories, until late in the movie some of them get picked off.

This is a fairly slow movie, with needlessly drawn out 'suspense' scenes, the bad acting can't carry the myriad of scenes where nothing happens but mindless banter, and the movie as a whole is a dud, a deathly-boring dud at that. Nothing at all happens until the last half hour and when it did I was to numb to really care.

Eye Candy: Ashley Totin shows T&A; Evy Lutzky gets topless briefly; and Jennifer Hart shows her right tit

My Grade: D", "label":0 }, { "text":"Pathetic... worse than a bad made-for-TV movie. I can't believe that Spacey and Freeman were in this flick. For some reason Morgan Freeman's character is constantly talking about and saying \"pussy\" when referring to NSync boy's girlfriend. Morgan Freeman calling women \"pussy\" is just awkward... What the hell were the people behind this film thinking? Too many plot holes to imagine combined with the horrid acting, confusing camera angles, a lame script and cheap background music made this movie absolutely unbearable.

I rented this flop with low expectations.... but... well... it really sucked.", "label":0 }, { "text":"Without question, the worst ELVIS film ever made. The movie portrays all Indians as drunk, stupid, and lazy. Watch ELVIS's skin change color throughout the film.", "label":0 }, { "text":"Good films cannot solely be based on a beautiful garden and a hill top. Surprised to see it has won two awards. Extremely overrated. I first saw that kind of films from China, visually stunning BUT also with really something captivating to say, well, more than 10 years ago and I'm sure there are still more coming up. This is not one of them, I'm afraid.", "label":0 }, { "text":"This sci-fi adventure is not the best and by no means the worst. I agree with the statement that bad sci-fi is comical. Bizarre pink tinting and unusual special effects make this a favorite for the late, late, late show viewers. Space explorers on the planet Mars fight off strange giant amoeba-like monsters and other strange creatures. Pretty cool.

The cast includes Les Tremayne, Naura Hayden, Gerald Mohr and Jack Kruschen. Get comfy and enjoy. Don't feel bad if you nod off for a moment. I agree with adding this to the list of cult classics to not miss.", "label":0 }, { "text":"Before watching this film, I could already tell it was a complete copy of Saw (complete with the shack-like place they were in and the black guy wanting someone to break his hand to get out of the cuffs). MJH's name on a movie would typically turn me away (ugh, can we say GROSS?!), but I still wanted to give it a try.

Starting out, I was a bit interested. The acting is absolutely horrible and I found myself laughing at almost each reaction from the characters (especially the man that played \"Sulley\"). MJH was even worst, but I continued to watch.

However, the ending was the biggest joke of them all! I seriously sat in shock thinking \"THAT was the ending?! Is this a comedy?!\".

I thought this pile of crap was funnier than the \"Scary Movie\" spoofs and that is REALLY saying something!", "label":0 }, { "text":"OK, I have watched the original French version. But I can't imagine this being better with subtitles.

All I have to say that this is the most boring movie I have seen in a long time. There are almost no redeeming qualities to this film. That's why I can't understand all the positive reviews. It might be realistic in a sense but some real stories are best left untold.

I usually like slow paced movies as long as it serves the purpose of the movie. Tarkovsky's Solaris is extremely slow paced but it allows introspection and sets the mood of the film for example. But in this case, the movie is just filed with mindless dialog that manage to tell us little about the characters. None of which I could identify with or care for. In a lot of the scenes I found myself thinking: \"When are they going to shut up\"? The acting was pretty bad. Not in an overacting obvious kind of way. But It seems none of the actors cared about their characters and they all looked like they wanted to be elsewhere in most of the scenes. This might be due to the uninspired dialog they were given. Also the whole flow of the movie felt quite mechanical. Going from one scene to the next. It seems this movie was just written (badly) but never directed.

This is one of the few films that I can say generated no emotional response from any of the scenes. No suspense, no fear, no anticipation, no sorrow, no introspection, no intellectual stimulation, no interest what so ever.

A perfect example of what I call an anti-movie.", "label":0 }, { "text":"I saw this film in its premier week in 1975. I was 13 years old and at that time I found it adequate and somewhat fun. I then came to discover the WORLD of Doc Savage through the Bantam novels of the old pulp magazine stories. I had no idea before any of this of the realm of Doc, but I fast became one of the most avid Doc Savage fans you could ever meet. I read (and still own) all of the Bantam books, I started going to comic book cons (along with Star Trek and Doctor Who and all manner of geeky fat kid events) and had a wonderful time with each adventure I took with Doc and the ORIGINAL Fab 5. Philip Jose Farmer's Book - The Apocalyptic Life of Doc Savage became a bit of a bible for me and to this day I have very fond feelings regarding my Doc phase. In so saying I have to admit now years later that this film really missed the boat. It is a film that did not know what it wanted to be when it grew up. The screenplay was infantile and bore little resemblance to the pulp story. These stories from the 30's were short and if one looked at Lester Dent's (AKA Kenneth Robeson) outline for writing them, they broke down into PERFECT 3 act dramas that screamed for screen treatment. One would have thought that with George Pal and Michael Anderson at the helm, it would have turned out better. The spoof elements miss the target and the more serious moments almost get there, but then fall short. It is interesting to watch though in that they hired second-string character actors (guys that had really been only bit players and extras before this film) who all acquit themselves very well. Paul Gleason of course has gone on to be a fine utility player in all facets of entertainment and Bill Lucking is a television perennial. All the rest have fallen off the map sadly. I do wish to own a copy of this film as it is the only movie version of my hero, but I fear I will not watch it much as it is too painful. I would say 0 but I give it 2 out of 10 instead for some of the period art direction (Doc's answering machine at the end was a nice touch) and the cast of 3rd stingers getting a moment in the sun.", "label":0 }, { "text":"Let me start off by saying that I didn't watch this movie at first with high expectations. It was recommended to me by a friend with mediocre taste in movies, and \"MTV\" was pasted on the front cover so I was not expecting much. What i was expecting was a tear-jerker, overly dramatic but at least effective.

I was wrong.

Firstly, let me start off that I had never read the book nor watched any other versions of the movie.

The acting was my main gripe with the film. By god is it AWFUL. The main girl is pretty mediocre, but when compared to the rest of the cast she's Maryl Streep. The main \"Hero\", Heath, is just plain awful. He can sing decent sounding clich\u00e9d songs, but that's about it. His acting broke the 'sad' moments by being so bad at points that I just burst into laughter. The Isabel girl was pretty godawful too, and the brother was just a flat character that was played by an actor that couldn't display emotion whatsoever. And when he tried to, it failed miserably. Neil Patrick Harris was the only decent actor, playing Edward, although it's obvious the direction was bad because even he did not live up to what I've seen him do. Oh, and the father wasn't half-bad to my memory, but he was in the movie for such a small amount of time I can hardly remember.

The story itself was not very good. More breakups than you can imagine. Predictable story (Until the ending, which I barely understood). EXTREMELY one-sided characters with no real depth to them... Overall just not interesting or compelling, nothing we've never seen before done MUCH better, and nothing worth watching here.

The ending is suppose to be a tearjerker. It did nothing of the sort. The ending isn't built up at all, it almost feels like an afterthought. In fact, I had to ask my friends WHY the ending actually happened, which when they explained it to me I must have had a look on my face of \"Wait, when did they say that? What?\". Never a good sign. The editing was probably the worst I've seen, though I do understand the fade-ins-fade-outs are done because this was originally made for TV, but that's really no excuse.

Overall, the movie is just garbage. I'm a sensitive guy, I cried during two episodes of the Simpsons. I never cried during this crap, not even close. Really, this movie is not worth your time. If you really want to see a tearjerker look elsewhere.", "label":0 }, { "text":"Man has been to the farthest reaches of the earth and now he is traveling to new worlds. But with new worlds come ancient evils... the vampires of space. And not just a handful but entire tribes. In this film (which I saw as \"Bloodsuckers\" but I guess also goes as \"Vampires Wars\") we see what happens when the imperialist earthlings meet the imperialist vampires.

I will make this review very short because it's undeserving of a good review. The best I can say for this film is it has a good cast of b-list and upcoming stars. Natassia Malthe was Quintana, and was far more attractive here than in \"Bloodrayne 2\". Michael Ironside is Muco, and is always a fan favorite (as I say, he's the poor man's Jack Nicholson). And we even get Carrie-Ann Fleming as \"Damian's wife\", who horror fans will now recognize as the eponymous Jenifer from Dario Argento's \"Jenifer\". So this movie, as bad as it is, isn't without some names attached... but the same can be said of Uwe Boll's work.

The concept of the military tracking and killing vampires in space isn't necessarily a bad idea, but it easily falls into the realm of \"cheese\" and this film falls hard. The acting, especially from the vampires, is over the top and I just didn't find the explanations of their existence very convincing. Worst of all, the vampire tribes have the names \"Voorhess\" and \"Leatherfaces\". I understand this was supposed to be a clever reference for the horror fans, but it wasn't clever at all. It just sounded dumb and out of place (unlike the much more subtle references in James Gunn's \"Slither\", such as naming stores after lesser-known horror directors).

That's all I want to say. If you can stand lots of cheese (on this day I couldn't and I'm from Wisconsin) and want to see average actors with poor costumes fight vampires in space (although \"space\" looks a lot like any other forest on earth) check this one out, if you can find it. I don't personally recommend this when you can watch other cheesy vampires films (Jon Carpenter's \"Vampires\") or other cheesy space movies. Or maybe even some good ones. But, hey, do your thing.", "label":0 }, { "text":"I've seen a lot of stupid plotlines in my time, but this one is among the worst. After catching some disease in space, an astronaut comes back to Earth and starts melting. He then goes on a rampage, killing people (how is beyond me; I just watch them, I can't explain them.) This is the kind of movie that shouldn't have been made in the first place.", "label":0 }, { "text":"Did anyone read the script. This has to be some of the worst writing and directing of the entire year. Three great actors, Paul Giamatti, Rachel Weisz and Miranda Richardson couldn't pull this one out. About two-thirds it looked like Giamatti eyes were saying, I can't believe I signed the contract. It's not the worst movie I ever saw, but it's on the really really bad Christmas movie list. Not enough lines, but what else can be said? Okay, the movie just doesn't move with Vaughn's con-man dialogue, his character is just a creepy guy that you just can't get past. It was just a lackluster walk through, that no one seemed to be able to get into.", "label":0 }, { "text":"Another wonderful Patterson book made into an incredibly awful movie. If the big budget movies don't work then why make a low budget made for t.v. movie that's 10 times worse! I am desperate for a good movie that will do ONE of his books justice!", "label":0 }, { "text":"This is, without a doubt, the single worst movie ever created. There's no arguing here. This is it. End of story. The story is juvenile and sub-moronic, looking like it was created by a three-year-old fascinated with dinosaurs. The entire concept is just plain dumb. It's inconceivable how someone could possibly come up with something so stupid and think it was entertaining. The jokes are also completely lame. If you haven't seen this movie yet, consider yourself lucky. If your morbidly curious as to how bad this movie is, please don't make me describe it. Words can't express how completely awful this movie is. This isn't just bad as in being a bad movie. Even those have cohesion, if not entertainment value. This. . . This is. . . Ugh! Think of the worst story ever told and multiply its badness level by 5,000, and you still haven't come close to how awful this movie is. After giving Pokemon the Movie one point, giving this movie one point seems like nothing short of charity. That's how bad it is. Did the producers and directors even take film classes? Because this is a perfect example of how not to make a film. It looks like some amateur high on paint thinner made this film. If you rented this, please take it back and ask for a refund. And don't even think about renting it again.", "label":0 }, { "text":"Hollywood now has officially gone too far and I really hope that this travesty of a motion picture creates a genuine backlash against their crap machines, in spite of the good box office returns. If you are an industry person reading our comments looking for hints on what to do next, STOP. Stop making our TV shows into these repellent, stupid, money grubbing waste of time movies that suck. By doing so you are proving one thing: Hollywood is out of ideas, and going to see the movies they churn out only perpetuates the cycle of disgust. What's next -- You guys gonna go & ruin The Bionic Man??

The film is just plain wrong, and manages to get the most stupid, simple fact of the show totally incorrect by forgetting (or ignoring) that Tom Wopat & John Schneider's Bo & Luke Duke were *REFORMED* moonshiners. They had been busted, learned their lesson, gone straight, and were there to help people and be good neighbors who just happened to shoot dynamite tipped arrows from hunting bows & drive like Steve McQueen. Denver Pyle's Uncle Jessie was also the moral center of the family, always insisting that the Boys do good, even at their own expense or embarrassment while he made sandwiches and coffee for when the chores were done. They always did the right thing and had a sort of earnest naivet\u00e9 about them that was quite appealing. We wanted to be more like them than we were, sorta. My favorite gimmick from the show was how they always buckled their seat belts before roaring off, which was apparently too moral for this film.

By transforming the Duke family into a pack of leering, wisecracking, criminally minded, redneck baiting, misogynistic losers the movie has no moral standpoint, where the show was all about how honest or incorruptible the Dukes were -- Are the Duke boys in this movie supposed to come off as good guys? I wanted to punch them both in the nose. They seem to have a lot of free time on their hands that could be spent doing chores back at the farm and end up pursuing less than noble ends, if not acting like a pair of 14 year old boys who haven't grown up. There should be no marijuana use, no gawking at buxom, nubile coeds & their breasts, no shenanigans involving the Brothers in da Hood. All of it looks like the work of a marketing consultant who took a poll at the mall of what 14 year old boys like to see in movies. The problem being that 14 year old boys cannot possibly remember the show, IMHO shouldn't be seeing this movie either, and the parents who might feel nostalgia for the show will be disgusted by what the writers, director & producers did to our collective memories just to part us from our money, which is exactly how I feel. What were they thinking???

And boy did they *EVER* get Daisy wrong. Jessica Simpson all dolled up like a Pamela Anderson mall slut may be the only reason for anyone to see this disgrace, but you can service your needs just fine downloading some promotional stills of her, printing them up & pinning them to the wall in a restroom. She is hardly in the film at all (which is the movie's only saving grace), and the ten minutes or so they used her was STILL excessive. Catherine Bach's Daisy may have had the same kind of shorts, and long legs that make people feel funny just looking at her, but the Daisy she played was a *PERSON*. The pratfalls she elicited by simply being who she was had an almost natural ring to it. She remains one of the most outrageously sexy pop culture icons ever created but there was somebody at home. And most importantly she was a sweet, caring person who couldn't help it if the guys went Ga Ga over her.

By contrast, Jessica Simpson appears phony, contrived, made up, costumed, posed, aloof, bored, out of place, and I don't think she even looks that great in the outfit. She doesn't look like a person but a plot device, conjured up during a deal with someone representing her agent. Ms. Simpson would be well advised to fire that person immediately and pretend like the whole thing never even happened. Whatever the joke was, she isn't in on it and is disgracefully exploited for T&A. If that's all she wants from her career, executive produce the sequel if only to ensure yourself enough screen time at least, because this effort was just pathetic.

The bottom line is SKIP IT. For the cost of two tickets and a Slurpee to go you can pick up one of Warner Bros. excellent box set collections of the original shows on DVD and the entire family can watch them together. That was why it worked. The only real purpose I can see in the film might be it's future use as an interrogation tool at Guantanamo Bay. Twenty minutes of this & they'll be singing a choir.

1\/10, and I mean it. And STAY THE HELL AWAY FROM THE BIONIC MAN, you schnooks.", "label":0 }, { "text":"I wasted 5.75 to see this crappy movie so I just want to know a few things:

What was the point of the dog being split in half at the beginning of the movie, the disease had nothing to do with being split in half.

What was the point of dragging Karen into the shed, she already totally infected her room, they could have just locked her in there where she would have been safer.

Why would the Hermit be running around the forest asking strangers to help him when he could have just asked his relative, the hog lady, to take him to the hospital?

Why didn't any of the characters bother to walk into town to get help when things started getting bad, are they all really that lazy?

Even if Paul was threatened by the guy w\/ the shotgun for peeping on his wife, Paul could have just sent Jeff or Bert back to the house to ask for help. the girl he loves is deteriorating.

What was the point of the box?

Why did Jeff go back to the cabin after he left when everyone else was getting infected, if he was that big of a jerk to leave in the first place wouldn't he have just gone back home?

If the police went to all the trouble of gathering up the kids and burning them on the fire pit, why did they throw Paul halfway into the river, it wasn't even necessary for the plot because the water was already contaminated.

Who makes lemonade out of river water, that crap has dirt leaves and bugs in it. Why couldn't the two kids have just use the tap water, it was contaminated too, so the stupid ending would still work.", "label":0 }, { "text":"During the first 3 seasons Fairly Odd Parents was as tasty as hard candy, bright and sweet and addictive. Now it's as tasty as Pepto-Bismol. And unfortunately Pepto-Bismol is what you'll need after viewing the more recent episodes, where all the sweetness has been replaced by insults and violence resulting in no laughs. Cosmo, once one of the more endearing Nick characters, has devolved into an abusive unfunny cretin that the cast of Family Guy wouldn't even want to know. Timmy has become a selfish arrogant jerkwad that Bart Simpson would happily beat the snot out of (and given Timmy's snottiness, that would take a lot of beating). And poor Wanda...a real charmer who's become the victim of her husband and godchild, she's now labeled a \"nag\" for caring about the well-being of others. Plus Cosmo's stupidity causes pain to everyone else but he's never punished for it, nor does he learn any lessons. Which pretty much sums up Butch Hartman's attitude towards kids: they're crude, vulgar and not too bright. Thank god this crummy toon has been cancelled, along with Butch Hartman's darling, Danny Phantom. At least Butch got what he deserved - unlike Cosmo.", "label":0 }, { "text":"After watching this on the MST3K episode, I have to wonder how many movies this film borrows from. It seems to combine elements of Logans Run, Farenheight 451, Final Sacrifice and at least several others. At one point I was really expecting Cris Makepease to call Lee Majors ROWSDOWER.

I wonder if the director has any clue how many holes there are in the plot. like the fact that, even though gas is unavailable, there is plenty of it in abandoned gas stations, and the stations are located close enough together to keep an F1 race car going all the way across the country.", "label":0 }, { "text":"Though Frank Loesser's songs are some of the finest that Broadway has to offer, they're bollixed by Joseph L. Mankiewicz' lethargic staging and uninspired presentation--when it's over it barely feels like you've watched a musical. Mankiewicz doesn't seem to know how to present Loesser's challenging but tuneful melodies for maximum effect: for example, one of the best numbers, the showstopping `Adelaide's Lament', concludes by having Adelaide (Vivian Blaine) belt out the finale while sitting on a chaise lounge; and Stubby Kaye's faux-spiritual `Sit Down, You're Rockin' The Boat' has his backing choir sitting in folding chairs while he simply stands there. Mankiewicz zaps all the fun out of everything by letting static scenes go on too long and his dialogue (adapted from Abe Burrows' stage book) has none of the wit that his films like `All About Eve' have. Part of the blame has to go to the leads, just about all of whom are miscast: Marlon Brando looks bewildered as to why he's in a musical, Frank Sinatra plays way too nice a guy and has none of the edge which makes him so essential (the songs are not tailored to his style) and Jean Simmons barely registers the way a Shirley Jones might. Only Blaine, as the lovelorn showgirl Adelaide, commands our attention like a Broadway pro should. The colorful art direction is by Joseph Wright and Howard Bristol created the flashy sets.", "label":0 }, { "text":"\"The Incubus\" is a mix of the good (an interesting murder mystery), the bad (a disconnected script, a sloppy resolution, badly made attack scenes) and the weird (strong incestuous overtones, a strangely sleepy and stiff performance by John Cassavetes - was that character really meant to be so \"wacko\"?). Not nearly as offensive as it's reputed to be, but not particularly successful, either. (*1\/2)", "label":0 }, { "text":"I just saw this film yesterday.

My girlfriend wanted to see it only because of Richard Gere.

I feel I wasted my time and money and told my girlfriend it's the last time we go to see a film just because a certain actor\/actress is in it. I hope she learned the lesson because I had trouble keeping her in her seat. As of me, since I paid already, I wanted to see the end at least, just in the hope something good would turn up, but I didn't hold my breath, and luckily so cause I would have been a victim of the film just the same.

This is not a black and white film, it's a black and black one. The main character (Richard Gere) is almost as bad as his registrants, and all sex offenders are portrayed as unredeemable hard core criminals and the bad ones among them were really very very bad. Speak of a clich\u00e9 and the exploitation of a typical US phobia.

Richard Gere's acting was good as usual but the blond girl that's supposed to replace him was wishy washy at best. Totally unconvincing for the job.

The film tries to exploit a popular theme and gives it a cheap, dramatic, and sensational turn that just is unreal. They just use sex offenders as an excuse to indulge in cheap violent acts of murders, vigilante beating, rape and torture - something that almost seems gratuitous. They even have a wolf attacking people in the film - how low can you get.

I gather the film won't come out in the USA and will go straight to DVD. That's were it should have stayed in other countries too, but because it's Hollywood and Richard Gere they just had to show it. Believe me, without Gere, the film is not even worth a B-series movie.", "label":0 }, { "text":"Welcome to movie 17 on the chilling classics 50 pack. Where we'll see, That's right. Another movie that makes absolutely no sense. Seriously, this movie had me so confused at the end, i thought i was rewatching \"At Dawn they Sleep.\" The plot seems simple enough....well that is until 3 seconds into the movie where a girl supposedly killed a cat and then...um.. explodes? i have no idea what happened. and that was BEFORE THE TITLE SCREEN. That's really sad when i can't even tell what happened in the first 3 minutes.

Anyway it stars a photographer with a big mustache who finds this girl after dumping his other girlfriend on the way to take pictures of something somewhere. so we get there but not before somebody steals their jeep to drive it 200 feet out of the way towards a town. suspicious? nah. so they decide to stay at this deserted village with one old lady. and then blah blah stuff happens and blah blah talking. The guy with the mustache goes out in the fog for some reason even though the old lady tells him not to. He gets lost and then finds his way back.

Oh, i forgot to mention this is all after an incredibly pointless 20 minutes of them staying in the house of a guy who looks like that buggy eyed guy from casablanca. Then they leave. There's really no point to this scene. It's really just padding. if you cut it out no one would have noticed or cared.

But sadly, that was actually the best part of the movie. wait. let me rephrase that. REALLY sadly that was the best part of the movie. because the rest is so confusing that i had to look on IMDb to find out what happened. But of course no one else knows so i'm SOL.

Seriously, the last 30 minutes of the movie were some of the most mindscrewing moments i've ever seen on film. They dressed her up in a dress, he gets kidnapped, then released, he runs back to the house, then at the end the witches are in the house and it ends? seriously. i have hardly ever been so confused in a movie. i mean, as bad as movies such as \"War of the Robots\" are, at least they MAKE SENSE. this movie doesn't even make the ATTEMPT to be coherent. the ending was as confusing as the end of \"At dawn they sleep\" and the plot was much more boring. This movie gets a 1 just for its sheer \"i have no idea what happened in this movie\"ness. \"Witches mountain\" gets 1 confused movie watcher out of 10.", "label":0 }, { "text":"Some of the worst, least natural acting performances I've ever seen. Which is perhaps not surprising given the clunky, lame dialog given to the one note characters. Add to that the cheap production values and you've got a movie that doesn't look like it even belongs on television. One doesn't expect much from a Lifetime movie, especially one this old, but this is nearly unwatchably bad.

Plot-wise, it's a dreadful, clich\u00e9d romance of a type even Harlequin would consider beneath them. It's possible to guess how the remainder of the movie will go by simply watching the opening couple of scenes. Surprise, the only female character who gets any focus and the mysterious stranger end up falling in love.", "label":0 }, { "text":"Despite an overall pleasing plot and expensive production one wonders how a director can make so many clumsy cultural mistakes. Where were the Japanese wardrobe and cultural consultants? Not on the payroll apparently.

A Japanese friend of mine actually laughed out loud at some of the cultural absurdities she watched unfold before her eyes. In a later conversation she said, \"Imagine a Finnish director making a movie in Fnnish about the American Civil War using blond Swedish actors as union Army and Frenchmen as the Confederates. Worse imagine dressing the Scarlet O'Hara female lead in a period hoop skirt missing the hoop and sporting a 1950's hairdo. Maybe some people in Finland might not realize that the hoop skirt was \"missing the hoop\" or recognize the bizarre Jane Mansfield hair, but in Atlanta they would not believe their eyes or ears....and be laughing in the aisles...excellent story and photography be damned.

So...watching Memoirs of a Geisha was painful for anyone familiar with Japanese cultural nuances, actual geisha or Japanese dress, and that was the topic of the movie! Hollywood is amazing in its myopic view of film making. They frequently get the big money things right while letting the details that really polish a films refinement embarrassingly wrong. I thought \"The Last Samurai\" was the crowning achievement of how bad an otherwise good film on Japan could be. Memoirs of a Geisha is embarrassingly better and worse at the same time.", "label":0 }, { "text":"Phantasm ....Class. Phantasm II.....awesome. Phantasm III.....erm.....terrible.

Even though i would love to stick up for this film, i quite simply can't. The movie seems to have \"sold out\". First bad signs come when the video has trailers for other films at the start (something the others did not). Also too many pointless characters, prime examples the kid (who is a crack shot, funny initially but soon you want him dead), the woman who uses karate to fight off the balls (erm not gonna work, or rather shouldn't) and the blooming zombies (what the hell are they doing there, there no link to them in the other Phatasms). Also there is a severe lack of midgets running about.

The only good bits are the cracking start and, of course, Reggie B.

(Possible SPOILER coming Up)

To me this film seems like a filler between II and IV as extra characters just leave at the end so can continue with main 4 in IV.

Overall very, VERY disappointing. 3 \/ 10", "label":0 }, { "text":"Sure I've seen bad movies in my life, but this one was so bad that I actually became angry in the theater. I wanted my money back. I wrote to the director asking him to refund my movie ticket, of course I didn't receive a refund (or even a reply) but it's the point that matters. On a scale of 1-10 I give this movie a -42. Why did the \"Jeep\" (Chevy Blazer??) stop running from being hit with a bat? Why did they hit the \"Jeep\"(Chevy Blazer?????) with the bat in the first place instead of cracking the bum's skull? The plot was thin, the movie filled with obvious clich\u00e9s, and certain parts of it just didn't make any sense.", "label":0 }, { "text":"Im the type of person who always goes 2 to horror section when I'm picking a film, so i picked five across the eyes, i was disgusted with this film and thought there was no story line and no point that you could enjoy it,it made my skin crawl to think that people like to watch films that just encourage violence for the hell of it it was low budget and very rubbish! i think i could of done better myself. i think that it was the worst film i have ever seen in my life and you should not bother to watch it the actors were rubbish the camera was awful the picture was bad and the sound was not up to scratch, i think it was a little bit like a cheep rip of off the baler which project and it has not worked at all it was foul.", "label":0 }, { "text":"'Major Payne' is a film about a major who makes life a living Hell for his small group of boys in the marines. This film does not really have a lot to offer, but it provides several hilarious moments that are well-worth a watch. Don't expect it to be a memorable film, however. Just expect to laugh your way through the film and at the expense of other people. The confrontation between Major Payne and the chubby boy were hilarious, and that's really all I remember about the film except for the boys wanting revenge on Major Payne. Again, it is not a great film, and it is probably best watched on a rainy day when you need some laughter.", "label":0 }, { "text":"Ohhh the brutality, ohhhhh the dying breed, ohhhh the sense of loss, ohhhh the prejudice! Jeez, when are all you whiney revisionists going to stop analyzing Westerns for crying out loud? S**t happens. If it offends your socially engineered sensibilities then go back to the comfort of your Meryl Steep collection.

Boring, tedious, and very tiresome waste of celluloid-particularly in light of Coburn\/Hackman\/Bergen's presence. Nothing interesting or intriguing here, unless you are obsessed with 19th century desert dentisty. May have been a little better without the constant diversion of the out-of-place mexican guy with the bad tooth. A monument to the stupid ultra-left creeping sensitivity of the 60\/70's. Virtually impossible to sit through the entire film. I think I'd rather have my eyes stapled open for the entire Lucky Luke\/Trinity series. 4 Horses\/10-all deader'n hell.", "label":0 }, { "text":"Based on one of the books by Gabriel Marquez and it might be brilliant literature, this cinema-adaption really sucks as it's more like fighting against sleep rather than enjoying some cinematographic delices. The story is about an old couple whose son died and living a life that is heavily dominated by poverty, and wherein the main character is a cock that hopefully one day brings some money for a forthcoming cockfight. I am in no mood to spill more words on this useless pretentious piece, just perhaps that you can see Salma Hayek in here, but sitting 90 minutes in front of your screen for just that? No gracias.....", "label":0 }, { "text":"Of course I was watching BG. I loved S1, I liked season 2, season 3 was OK, and loved the final one. Yay, there is a spin-off show! I didn't know about this at all, one of my friends told me about this. I was really excited.

I watched the first 3 episodes... What a piece of rubbish! Teenage girl drama fest. There is no science fiction... well, hardly any. At the end of every episode we can catch a glimpse of a Cylon. That's all. Who cares this? Did they decide that the next show's target audience will be females under 18? Boring religious nonsense talking, moaning, bitching... and some more.

It is just sad that there is nothing out there at the moment to watch. Stargate ruined, BG over...", "label":0 }, { "text":"Warning Spoilers following. Superb recreation of the base in Antarctica where the real events of the film took place. Other than that, libelous!, scandalous! Filmed in Canada; presumably by a largely Canadian crew and cast. I caught the last half of this film recently on Global television here in Canada. Nothing much to say other than how thoroughly appalled I was at what a blatant piece of American historical revisionist propaganda it is; and starring Susan Sarandon of all people! I can only assume that Canadian born director Roger Spottiswoode was coerced to make the USAF the heroes of the film when in fact the real rescuers where a small private airline based in Calgary; Kenn Borek Air.", "label":0 }, { "text":"This might be the worst film ever made, and is possibly worth seeing for that reason alone. Streisand is laughably unbelievable as a young woman posing as a man in order to study Judaism. The soundtrack is torturous, featuring Barbara belting out some of the weakest blather ever put to film. And don't even get me started on the plot. You will actually get more chuckles out of this film than many comedies because it is soooooooo terrible. The rampant ego of Streisand, thinking she could somehow raise this stinker to Oscar heights, led to this disaster. I'm pretty sure the novelist, Isaac Bashevis Singer, hated this film and never forgave Streisand. I can't blame him. This movie is like watching a car wreck in slow motion for two hours with the soundtrack of 'The Sound of Music' being played backwards on an old turntable. It's truly that bad. I'm amazed that anyone from Streisand enjoyed this movie on the level that it was intended.", "label":0 }, { "text":"Whoa. In the Twin Cities, we have a station that shows a \"Big Bad Movie\" Monday through Friday. Tonight's nugget was a film with Carrie Fisher called \"She's Back\" about a really annoying woman who ends up getting murdered when thugs break into her house. Bea (Beatrice) comes back to haunt her husband. She wants him to seek revenge on her killers, hence \"she's back\". And she won't let him rest until he does so. She irritates him endlessly... and the viewers, too! This movie is truly one of the worst movies I've ever seen. Hey, I like bad movies, though (my fave movie is Xanadu). I was really shaking my head throughout the whole film, wondering who thought this would be a good idea for a movie. Bea is just so annoying. The plot is silly; the acting is bad; the story... well, you get my drift. Anyway, if you wanna see a really bad movie - really really bad movie, check this one out. You won't be disappointed. Heh.", "label":0 }, { "text":"We have reached the ceiling of implausibility with this movie. Basically, Dinosaurs come aboard this ship piloted by some weird old fart named Neweyes(which I needed after I watched this movie). Apparently, Neweyes hears the wishes of children everywhere and decides that he should grant the wish of children that Dinosaurs be brought into modern times to be seen by everybody for shameless exploitation. The dinosaurs eat this stuff that makes them smarter(Too bad the screenwriters didn't have it). By the way, does it seem weird that out of ALL the wishes of the children in the world, Neweyes grants the wish of bringing Dinosaurs to modern times? Why not grant the wishes of kids to stop famine? Disease? War? I mean come on! Doesn't Neweyes have anything better to do with all this power he has??? Finally, when the Dinosaurs get to modern times they start singing, dancing and wrecking havoc(basically the kind of thing you might see on a bad LSD trip, I mean where else could you see a T-Rex playing golf and jumping on a balloon of Spider-man?). They end up in the circus and Neweyes Brother Screweyes(???) makes the kids that have befriended the dinosaurs sign a blank contract. Why? Why would kids sign a blank contract??? Screweyes says that if the dinosaurs take some...\"Brain-Drain\" That he will let the children go. The dinosaurs instead of tearing apart the evil Screweyes limb from limb, give in and agree to his terms. What?! This is stupid! They could have just menaced him, made him drop the contract, eaten it then walked off with the kids. I think the filmmakers were trying to show that violence is bad, which is a moot point when finally the dinosaurs escape and a bunch of crows envelop Screweyes and apparently completely eat him. Oh yeah, that's not violent at all! We're back makes no sense, it's not fun, it's goofy, it's stupid, poorly written and contains some of the biggest plot holes ever committed to film. Even for a kid's film... this is BAD.", "label":0 }, { "text":"I wanted to give Drawing Blood the benefit of the initial doubt. The opening moments, with a naked woman sprawled out and an painter, Diana, about to paint her and then sucking her blood to drain out so she can use it for her art, give the impression that this could be a kick-ass artsy-vampire flick. Turns out this initial impression turns out false. Oh, Troma, the mark of some kind of lack of quality: sometimes they'll offer up something that is trash but funny and with at least some competence to the junk-food craft (or, sometimes not). This is a case where it's not even a whole lot of fun to watch since its attempts at humor (i.e. the protagonist's father is an old vaudevillian who does Jimmy Durante impressions?) are weak at best, and any unintentional laughs are undercut by Sergio Lapel's bargain basement direction.

And it's not without him trying, oh Lord no. He does try a lot, which is a big part of the problem. He and his producers had money for lights, sure, but the way they're used in the movie made I, a former student filmmaker and aspiring director, sulking in my seat: if I saw this in a theater I would have to blind my eyes in many instances, and would wonder whether or not his DP understood really the basic 3-point lighting set-up. While this, along with a very lackluster sound design (or just lots of random loud humming like in the art gallery scene), shouldn't be something that comes to attention during a Troma release, it should be something *basic* that a filmmaker can tackle even if the script isn't very funny or scary (and it isn't) or if Lapel does a weird mixture of songs placed at bizarre moments.

It's not a good movie by any stretch, and perhaps if you're a vampire die-hard (or just a vampire period) it might have some appeal as a low-rent bargain basement alternative to Near Dark, or as a slight improvement over, say, 1972's Blood Freak. You have better ways to waste your time, overall.", "label":0 }, { "text":"Funny that I find myself forced to review this movie, but here I am.

I am reviewing it, because just recently, I have had the chance to witness the revival of R.C. Sheriff's play \"Journey's End\" on stage in New York, at the Belasco Theatre, starring Hugh Darcy, Boyd Gaines, Jefferson Mays and others, as well as being masterfully directed by David Grindley.

I left the theater shattered. I am not exaggerating, I was flabbergasted. After almost two and a half hours of a recreated and very claustrophobic depiction of soldier's life in the trenches of the Somme (I speculate), during World War One, brought to life vividly, by everyone involved, I came out of the theater with the shakes.

Mind you, I am not easily shocked, nor am I too sensitive. I am a stage actor and a director myself, so I know the buttons being pressed to achieve certain effects, both emotionally, as well as psychologically.

But what I had just witnessed, came so much to life, that I had chills in my spine as I left.

None of these emotions came to life, while watching \"Aces High\", the movie based on this play and even adapted for the screen, in cooperation with R.C. Sheriff himself, shortly before he died.

The screen adaptation takes place in the skies over France. So, gone is the claustrophobic ambiance to start with.

The only plus of the movie, are the aerial battle scenes, which look dated in their special effects, compared to today's standards, but still very valid in the flying tactics adopted on screen.

Granted there had been a couple of screen adaptations of \"All Quiet on the Western Front\" by Erich Maria Remarque, which takes place in trenches, and not in the sky, but that was the \"German\" vision on things, if one would like to be picky on such things.

\"Journey's End\" is just the other side of the medal, and would have made it into a great movie, if they had left it alone and intact.

The transfer on DVD is poor, even though in Widescreen and adapted for 16:9 TV screens, the quality of the film itself is that of a movie theater. Nothing more, nothing less. It sports various defects, such as minor scratches and dots, although the copy, for the rest, is clean.

If you want another WWI movie in your collection, especially for those who love and enjoy to see aerial battles among old-timers, then this is a picture for you. But I rather would suggest \"Von Richthofen and Brown\" as an alternative, although that too, is a movie filled with inaccuracies.

For the rest of you, who love good acting and drama, I would leave this one out. Buy the play. Go watch the play, if you have the chance to get a decent revival of it near you, but keep off this would-be adaptation.

It is an anti-war movie, granted, but the weakest I have ever seen in my lifetime ever.

The presence of actors such as Trevor Howard, Ray Milland, Richard Johnson and John Gielgud, is just a bluff, since they are just seen in very weak and very brief cameo roles throughout the movie.

McDowell, the very talented Christopher Plummer, Simon Ward and Peter Firth, all deliver very weak performances, not due to their lack of skills, but rather due to lack of true and solid direction.

There are too many gaps in it, and as said before, it drags itself to the dubious end. Dubious because in the original play, none of the men we come to know and sympathize with, stay alive. They are all killed in a fatal and futile mission. In the movie they all die, except Malcolm McDowell, who manages somehow to stay alive another day, being the wing commander of the unlucky bunch, just to receive another three pilots to fly and die for another lost cause.

The end of the play leaves a bare stage in total darkness. You just hear the cannons roar, the machine guns rattle, and grenade impacts throughout the theater. Then, suddenly, total peace and silence. The curtain comes up. Lights. And here they all are. Lined up, standing straight and rigid. Obedient corpses...

Far more interesting and far more shocking than \"Aces High\" finale, which is also dragged by the hair.

It is up to you to judge.

For me, if I had the money and the contacts to do so, I would take the play and develop it, the way it was meant. Adding here and there some action scene in the field, just to visualize the \"outer\" horror and slaughter going on in the \"vasty fields of France\", around the men involved, but then, just strictly concentrating on what is going on, in that tiny \"shack\" at the edge of sanity and the world...

Want such a movie?

Then ask for it.

This is not it.", "label":0 }, { "text":"One of the worst films I have ever had the displeasure of sitting through, Killer Tongue is a horrible melange of the worst elements of The Rocky Horror Picture Show, Brain Damage, and Pulp Fiction. Designed primarily to offend, apparently, but so inane that only the most hidebound conservatives would be taken in by it.", "label":0 }, { "text":"I can't really say what I think about this movie, its against the guidelines, I've watched many many films, and this has got to be the worst one yet, Extremely low budget, I'm guessing all the money went into the slaughter house scenes, cause I could of did a better job with a b&w 8mm camera and a crew of monkeys. It was so bad I registered just to leave a comment, cause I had to tell someone, movie rental place wasn't enough. But this is my 2 cents worth, I suggest borrowing it from some poor sap who rented it and watch it yourself. Cause i sure wouldn't waste the money on it myself again. Now i leave you with this comment. I hope your not made at the rental place when they wont refund you your money .. =)", "label":0 }, { "text":"You know what you are getting when you purchase a Hallmark card. A sappy, trite verse and that will be $3.99, thank you very much. You get the same with a Hallmark movie. Here we get a ninety year old Ernie Borgnine coming out of retirement to let us know that as a matter of fact, he is not dead like we thought. Poor Ernie, he is the poor soul that married Ethel Merman several years ago and the marriage lasted a few weeks. In this flick, Ernie jumps in feet first and portrays the Grandpa that bonds with his long lost grandkid. We have seen it before. You might enjoy this movie but please don't say that you were not warned.", "label":0 }, { "text":"From the start, you know how this movie will end. It's so full of clich\u00e9s your typical NRA member will not even like this movie. I give it 2 out of 10, only because of the acting of William Benton. I can't believe people voted 6+ for this movie. It's so biased towards a 'certain point of view' (once a thief...). People aren't born bad. Neither are they born good. They are born with a clean slate. It's society, parents and education what makes them who they are. And if they take the wrong turn, somewhere down the line, it certainly isn't going to be the American penal system that gets them back on track! Anyway, avoid this movie like the plague. I bet you have better things to do with your time than waste it on this piece of crap.

", "label":0 }, { "text":"I didn't really expect much from \"The Night Listener\" and I actually never heard of it until I saw the cover in the videostore. However, the movie is very effective when it comes to building up suspension and tension. On occasion it drags a little, but it actually helps to keep you wondering what's going to happen and more importantly: when. As the movie progresses, the character played by Robin Williams gets dragged into some kind of \"cat and mouse\" spiel to the point where he becomes obsessed with finding out the truth and existence about a 14 year old abused kid that no-one seemed to have ever seen in person. The Night Listener is an interesting story, which is great in building up the suspense throughout the movie and you're pretty much kept in the dark of who is lying and what's real. However, in the end it kind of disappoints and doesn't live up to the potential it could have had. It doesn't really give you a detailed or plausible explanation about the other main character, which would have been helpful and interesting.", "label":0 }, { "text":"It's a bad movie, it seems like there is only 5 police in HK, they were not using there gun and this makes me feel like a Jacky Chan's movie. All the time they were using their gun to point at the suspect only. When they finally use their gun is when they kill each other, what a funny movie. In The movie, it's like all the good guys died without a reason.

They story line of the movie also sucks, the story jump here and there and bored people. But if you wanted to see a bloody movie, I think this is only a OK type of movie, I think U.S. made zombie movie is more bloodier than this one", "label":0 }, { "text":"Hubert Selby Jr. gave us the book \"Requiem For A Dream\" and co-wrote the screenplay to Aronofsky's movie of it. That movie succeeded on every level by delivering an intimate, and unbiased portrait of the horrors of the characters lives and the vices that destroyed them. \"Last Exit To Brooklyn\" still has the vice and the multiple characters living sad lives, but it hardly does them the same justice Aronofsky did.

The film seems laughably anti-gay at times. Especially when in the film homosexuality equals death. One gay character gets stoned, is launched skyward by a speeding car, and lands dead on the pavement. Another is crucified and still more are simply beat up. Another exaggerated piece of shock value, that might actually have been compelling if it were done well, are scenes of the union workers literally doing battle with the strike-breakers. Who'd have thought a drama about Brooklyners would feature action sequences and truck explosions?

The director, Uli Edel has a skill level like that of a TV director, but he is far below the cut for real movies. The film is clunky that can't even seem to settle on a genre. Lake is given a useless role that any mannequin could have filled and Baldwin only seems to know how to look stupid in his equally meager part. And then comes Jennifer Jason Leigh as our lead, a loathsome hooker named Tralala (believe it or not, I'm not joking). Her performance is nothing great and the fate of her character is dirty to say the least. Poor use of color and composition make it look cheaper than it is, and also takes the \"real\" edge off the more provocative bits. A failure.", "label":0 }, { "text":"I've seen (far too) many flicks from this company - this one is about middle of the pack. One the good side, its a bit more stylized and under control than some of their fare - less of the sophomoric attempts at humor and more adherence to story (for what its worth). Many of their titles, like Sexy Sixth Sense, are buried by baaaad performances and an amateurish sensibility. On the other side, I found the simulated sex scenes not as hot as some of their other flicks (like Vampire Vixens, Gladiator Eroticus, Spiderbabe or Mistress Frankenstein).

Misty Mundae is always a 10 on the peter meter, as is Darian Caine. I found Barbara Joyce hot in a school-marm kinda way, and Ruby LaRocca a sexy little hottie.

Watch this with the remote firmly in your (free) hand, on a night when you need a break from porn. Don't waste your time wanting to check the story - you've got better things to do w\/ your life. It is not a movie, it's pure T&A, but not bad by that standard.", "label":0 }, { "text":"Why do I watch movies like this ? - other than I have some weird misguided masochistic belief that one day I will find a true gem amongst all this dross I can't think one one good reason. This movie was dross from start to finish - but semi-hilarious dross. Where else but in a bad Italian dubbed movie could you find heated exchanges of surreal mangled English like this one between a honest military type and the sinister chief of a secret X-files like organisation dedicated to hiding \"The Truth\":

Man in Black: Silence is best for us until we are able to prove that the UFOs have no bellicose motives.

Military Type: In any event I find your interference abusive.

Man in Black: Whoever has to impose his will is.

I rewound the DVD (you know what I mean) a good half dozen times and I still can't make those lines mean anything sensible. My other fave line was:

\"We can be quite hard on those who contravert our interests.\"

It's English Jim, but not as we know it.

The other highlights of this dull plonker of a movie for me were the totally spaced out acting of the photographer character at the start. Saddled with the worst haircut EVER in the history of everything, the man just wandered around looking like a stunned fish in a bad wig till kidnapped and forced to look at a piece of Plexiglas by some aliens. The aliens are most effectively not seen as a POV shot - hand held camera with a fish-eye lens - sort of spooky the first time but, used over and over again it lost its power (incidentaly, if it is a Point of View shot, it means the aliens always walk out of rooms backwards for some reason).

The film was set in \"England\". This meant the Spanish Italian set designers put some British number plates on a couple of English cars and put a Union Jack on our hero's press card... and that was about it. No other attempt to make it look like the UK at all.

Favourite moment? When the Foley artists didn't notice that characters they were foleying (is there such a word?) were no longer walking on gravel but were now on the lawn so their feet kept on making loud \"crunch! crunch!\" noises. Other than that, another total waste of 90 minutes of my life. I hope they prove those UFOs have no bellicose motives soon...", "label":0 }, { "text":"No wonder this movie never saw the light of day. The timing was of the release was awful. The Gong Show had already \"jumped the shark\" by the time the movie came out, so who would pay money just to see a few of the censored clips from the original run of the show? And the show clips are just a tiny bit of this pathetic, 90-minute whine by Chuck Barris about how hard his life was as host of the show. Did he really expect we would feel sorry for him and his messed-up millionaire life? Did he really think we even wanted to KNOW about his life? (Obviously so, since he later wrote his weird autobiography about his career as a CIA operative.) Did he think the gag of having everyone, everywhere audition for him would stay fresh for 90 minutes? Or the network executive hounding him at every turn? This might have worked as the plot for a 30-minute sitcom episode, but not as a full-length movie. However, it was nice to see Rip Taylor, Gene Gene, and the Unknown Comic again (although, to make the movie \"spicy,\" they included only his most vulgar routines). And as someone else has pointed out, this is Phil Hartman's first significant movie part (even though it lasts only a minute). Note his name is spelled HARTMANN in the credits, which is the name he was born with. You can't miss his voice and facial expressions, even though he's much thinner and younger than in the SNL days. Ed Molinaro (Hill Street Blues) also has a tiny part; one of his first after leaving the soap world.", "label":0 }, { "text":"I am not so much like Love Sick as I image. Finally the film express sexual relationship of Alex, kik, Sandu their triangle love were full of intenseness, frustration and jealous, at last, Alex waked up and realized that they would not have result and future.Ending up was sad.

The director Tudor Giurgiu was in AMC theatre on Sunday 12:00PM on 08\/10\/06, with us watched the movie together. After the movie he told the audiences that the purposed to create this film which was to express the sexual relationships of Romanian were kind of complicate.

On my point of view sexual life is always complicated in everywhere, I don't feel any particular impression and effect from the movie. The love proceeding of Alex and Kiki, and Kiki and her brother Sandu were kind of next door neighborhood story.

The two main reasons I don't like this movie are, firstly, the film didn't told us how they started to fall in love? Sounds like after Alex moved into the building which Kiki was living, then two girls are fall in love. It doesn't make sense at all. How a girl would fall in love with another girl instead of a man. Too much fragments, you need to image and connect those stories by your mind. Secondly, The whole film didn't have a scene of Alex and Kik's sexual intercourse, that 's what I was waiting for\u0085\u0085. However, it still had some parts were deserved to recommend. The \"ear piercing \" part was kind of interesting. Alex was willing to suffer the pain of ear piercing to appreciate kik's love. That was a touching scene which gave you a little idea of their love. Also, the scene of they were lying in the soccer field, the conversation express their loves were truthful and passionate.", "label":0 }, { "text":"I often feel like Scrooge, slamming movies that others are raving about - or, I write the review to balance unwarranted raves. I found this movie almost unwatchable, and, unusual for me, was fast-forwarding not only through dull, clich\u00e9d dialog but even dull, clich\u00e9d musical numbers. Whatever originality exists in this film -- unusual domestic setting for a musical, lots of fantasy, some animation -- is more than offset by a script that has not an ounce of wit or thought-provoking plot development. Individually, June Haver and Dan Dailey appear to be nice people, but can't carry a movie as a team. Neither is really charismatic or has much sex appeal. They're both bland. I like Billy Gray, but his character is pretty one-note. The best part of the film, to me, are June Haver's beautiful costumes and great body.", "label":0 }, { "text":"I look around in the video store still in shock how Steven Seagal with his track record of Bad action movies can still have 3 movies hit the shelves in less than a Year.Attack force being the 3rd no less promised the first-time entrance into the Sci Fi Genre for our ever widening Seagal.Visions of bad movie entertainment flashed before my gullible eyes.Sadly this is not the case one bit with no entertainment and a movie as bad as they come.

Seagal rebounded a tiny bit with the Trashy-but enjoyable Shadow Man last time we saw him.However Attack force has to be his absolute worst movie ever!Don't argue for out for a Kill,Ticker,or even Black Dawn folks.This is the bottom of the Septic tank here.

Anyone who says this is Steven Seagal's return to form should be forced to write a 100 page essay on the word Taste.

Seagal is yet another agent\/I'm a supreme bad-ass yet again named Lawson wants revenge for the killing of his Team that leads him to a nefarious plot to distribute a really bad drug to the unsuspecting public.Not to mention the dealers are not from around here.

The whole Production from Directing to the acting is poor.Was this movie shot in the Dark?Its gotta be the most poorly lighted movie since Howling 2.The action is terrible and very badly done.

The Producers have also unwisely decided to do what the fans hate the most:throw in stunt double after stunt double and horribly dubbed Steven Seagal.Who seems to show little enthusiasm here.Can ya blame him?

While it has been said that Attack Force was not the movie Stevie signed on for(originally Harvester)and surely has to be better than Attack force.The post-production tampering has not made it more coherent and made Seagal look worse.I feel bad for Directer Michael Keusch and writer Joe Halpin as they are gonna be judged forever for the ill-advised production re-shoots.

So Now This leaves Seagal in the impossible position to come up with something to atone for this mess.But after seeing how bad Attack Force has turned out do we really want him to make another movie?", "label":0 }, { "text":"I just rented this today....heard lots of good reviews beforehand. WOW!! What a pile of steaming poo this movie is!! Does anyone know the address of the director so I can get my five dollars back???? Finally someone bumped \"Stop-loss\" from the 'Worst Iraq War Movie Ever' number one spot. To be fair, I don't think there are any good Iraq war movies anyway, but this was REALLY bad.

I won't get into any technical inaccuracies, there's a hundred reviews from other GWOT vets that detail them all. If the director bothered to consult even the lowliest E-nothing about technical accuracy however they could've made the movie somewhat realistic....maybe. I guess the writer should be given the \"credit\" for this waste of a film. He or she obviously hatched the plot for this movie from some vivid imagination not afflicted with the restraints of reality. Does anybody but me wonder what the point of this movie was? Was there a message? Seriously though.....WTF????

I'm pretty amazed at all the positive reviews really. This film is hard to watch as a vet because of all the glaring inaccuracies but even if one could overlook that, the plot sucks, characters are shallow (to say the least) and the acting is poor at best. It's ironic, I suppose, that this movie is supposed to be about Explosive Ordinance Disposal, because it's the biggest bomb I've seen this year.", "label":0 }, { "text":"this show is one of the worst shows of ALL TIME! absolutely no original jokes and they're always a year late. like in 2009 they will finally say something about Michael Vick's dogfights. all of the cast members are people who wanted to be on S.N.L but had to go to the lowest of the low, mad TV.its an hour of mad magazine jokes witch aren't funny to begin with, told by terrible John Stewart wanna bees. so if you have any problem tell me id love to hear the opinion of the 3 people who watch this show. family guy put it well \"Osama bin Ladin was hiding in the one place no one would look, the cast of mad TV. There is a reason why no one watches the show.", "label":0 }, { "text":"Wow, i'm a huge Henry VIII\/Tudor era fan and, well, this was .... interesting. The only one I watched was the Catherine of Aragon one. And wow...just wow. I've seen bad acting before, but this reached new heights. When the actress who played Catherine was umm.. crying? she wails and screams and i have to admit i rewinded many times... many, many times .... funny, funny stuff. The only person who even showed any slight sliver of talent was the actress playing Anne Boleyn (i might be prejudiced though, i do have a slight obsession with Anne Boleyn, she was a really facinating woman, read up on her, it's worth it!) Also, i have read a lot about the Tudor time period and i think that the characters weren't very acurately displayed, they were all very stereotypical. Only see this movie if you are prepared to see a very important time period, and the important lives of those involved turned into a laughing stock.", "label":0 }, { "text":"This movie should be shown to film school students as an example of what NOT to do. The original kicked some major tire squealing butt, this horrible disaster breaks the cardinal rule of Bruckheimer films, which is: we all know they suck, but they have great action. This film has NO ACTION. This film is BORING. Where are the cars? Where are the chases? Where's the tension? Where's the suspense? Where's the rush? Where!!?? This isn't really a movie at all, it's a bad commercial. 50 cars in 24 hours? That is wrong. They have 3 days to steal them, the ad is wrong. How bad is that? The leads acting is stiff, wooden and forced. The villain, the cop, the others...who cares. They utter their pointless lines, they serve the illogical plot. They slog through it the best they can as the music video director says \"don't worry we'll make a lot of fast cuts and no one will notice how bad the film is\" or \"we'll fix it with lots of loud music\" The \"script\" isn't really a script at all, it's more like a list of cliches with an ending that is a total ripoff of: -------Warning - possible spoiler------ 5------4-----3-----2-----1------ The Fugitive. The biggest crime of all is the underuse of Vinnie Jones, man....this is the baddest, coolest mofo since Jules in Pulp Fiction. And what do they do!? They make him a mute who's hardly in the film! Make Vinnie the main villain and he could have saved the film. How could they have been so dumb? How? How? Why? The original film is very entertaining with a cool trick at the end that gets the driver away. The original has a great 40 minute chase that delivers! Go find the original. Or if you're craving some real car chase action go rent RONIN. The chases in Ronin raised the bar by which all other car chases will now be judged. Bruckheimer and Cage had all that money, all those resources, all that experience, and they can't even come close to matching a film made 25 years ago for $250,000? How can that be? You feel like you got ripped off after seeing this movie. Where I was once excited to see Coyote Ugly, Remember the Titans and Pearl Harbor, now I say: God help us all.

", "label":0 }, { "text":"This was disappointing. It started well enough but as it went on and lost every opportunity to soar, it fell flat. Maria Schrader's acting is dreadful, never seeming to mean what she says, or even knowing what she says until she says it. She showed no genuine emotion at all, not for her beloved goy, or her mother's story. When with Lena she seemed to have little more than an academic interest in Lena's story. There never seemed to be a real relationship between Lena and her mother except her mother seemed to be having a good time at the wedding, which isn't much. The supposed parallel between Hannah's \"mixed\" romance and her mother's relationship with her father was as clich\u00e9 as they come, and failed miserably anyway. The wedding was completely unconvincing and a dumb finish. The climax of the protest was uninspiring, and no matter what Lena had or had not done to influence the outcome, she would surely have shown some complexity of feeling at the time, a haunted look, an inexplicable ambivalence. In fact, none of the characters in the film had any depth or spark. It was very hard to care about any of them, even little Ruth. Everything with Luis was a distraction. (Why did she dis him so when on the phone from the hotel? There was no context or explanation whatever for that.) If every reference to him was removed it wouldn't be noticed.

A simple story made confusing by poor character development (who was whose mother, again??) weak acting, and directing that made everyone look like they were acting. You could almost hear \"quiet on the set!....\" I started thinking this was worthy of a 7, but as the film went on it dropped rapidly to a 4, then earning a 3 after the silliness of the wedding scene. This was about as cold and sterile a movie as I have seen. A terrible waste of a good story.", "label":0 }, { "text":"Obvious attack on Microsoft made by people who don't appear to understand intellectual property or market economies generally.

Loony liberal tim robbins plays a painfully obvious caricature of bill gates, and is a cartoonish corporate villain ordering murders right and left.

While microsoft may engage in some anticompetitive activity at times, it's unlikely they actually murder people. Therefore, the film is over the top and ridiculous from the beginning.

The \"deeper\" point is apparently that major tech innovations should be free to the public, and not subject to intellectual property laws. However, this ignores the fact that most major innovations would never have been developed if not for the market incentives (and rewards) provided by intellectual property.

It's one thing to be opposed to anti-competitive conduct -- that's common sense. It's quite another to be opposed to market competition in the first place, which is what the film's mantra (\"knowledge belongs to mankind\") represents.

Yet another example of Hollywood being completely out of touch with reality.", "label":0 }, { "text":"When I first started watching this movie I was looking for some kind of subtle metaphors but it soon dawned on me that this movie was indeed about people on a train. The interactions between people are like those you can see any day on the street and when in occasion there is a slightly more interesting situation the dialogue becomes stilted and boring. Its not that I don't get how this film is trying to portray the way people interact, it's just that in this film they are very boring. If you want to see and analyse these kinds of relationships you'd be best to actually go out and buy a train ticket and look at the people on the train with you. It is realistic but you wouldn't go to a movie to watch a film about you sitting there watching the movie.", "label":0 }, { "text":"How good is Gwyneth Paltrow! This is the right movie for her... too bad she's completely out role. I haven't read the book by Jane Austen, but I can't believe it is so superficial and the characters aren't much more than caricatures. It wasn't probably that easy to reduce in 2 hours of show about 600 pages of the book, but I had expected more than just seeing old pieces of furniture and tea cups. I was taking a sigh of relief every time I saw an actor who didn't overstep the mark of overacting (a couple of times).", "label":0 }, { "text":"In spite of its impressive cast and crew pedigree Gingerbread Man crumbles early and often. The plot is unrealistically convoluted, the actors sport bad accents and director Robert Altman's participation amounts to collecting a pay check. Once again he has assembled an impressive cast (Like Woody Allen, everyone wants to work with Altman)that this time around to the letter is miscast. But that's only part of the problem.

Kenneth Branagh is Rick Magruder a high powered Georgia lawyer who in the film's heavy handed opening scenes manages to get himself preposterously seduced by a mysterious catering company waitress who convinces him she is in grave danger from an ex-husband and a loony dad. With red flags everywhere the astute lawyer plods on even managing to get his children in harms way. Fights of gun and fist follow along with a requisite car chase and if that's not enough there's a hurricane thrown in for the ridiculous finale.

Branagh plays MacGruder with a mealy and unconvincing Southern accent. Running around in a trench coat in all kinds of weather he's blind to the obvious in order to keep the story going. Hipster Bob Downey Jr. is every bit as bad as a P.I. but with a little more emphasis on the bad accent. Robert Duvall as the old man is Boo Radely all growed up en crazier than a bed bug serving some thick slices of ham but at least his twang is plausible. The female leads (Embeth Davidtz, Darryl Hannah, Famkhee Jansen)are lean leggy and unemotive. Even the celebrity lawyers doing cameos (Vernon Jordan) are wooden with the few throw away lines they have.

In addition to paying little attention to his actors, Altman's mise en scene dripping with Spanish moss is murky and shapeless, his action scenes comic book. It lacks his offbeat touches and observations (he does inform the viewer that the Stars and Bars still wave in Georgia)that make a well done Altman so unique. Unfortunately, Gingerbread Man is Altman at his worst, even if the pay is the same.", "label":0 }, { "text":"I usually don't walk out of a movie, but halfway thru I did. This movie promised something different, but I kept thinking haven't I seen that before? Spoiler Alert! Back in 1, the spaceship crashes and lands on earth, well, all these years later, with a super adult on board no less, this thing still manages to burn up and crash! What, this advanced civilization can't seem to develop landing gear? For an industry that's so liberal, we get to see another Woody Allen movie, no blacks please! Superman runs around saving people, making sure he sticks to Europe and the US, don't go into darkie areas please. Maybe I could stomach this about 30 years ago, but now now.", "label":0 }, { "text":"This movie had a IMDB rating of 8.1 so I expected much more from it. It starts out funny and endearing with an energy that feels spontaneous. But before the movie is half-way through, it begins to drag and everything becomes sickingly predictable. The characters in the office were delightful in the first third of the movie, but we get to know them a little too well; they become caricatures, not real people at all. This is the same story I've seen hundreds of times, only told here with slightly different circumstances. The thing is, I could stomach another predictable love story if only the dialog weren't so stale!

The only thing that could be worse is if the characters had inconsistent and unbelievable motivations, and unfortunately that was also the case with Dead Letter Office. Hopefully this movie will end up in the Dead Movie Office soon.", "label":0 }, { "text":"I'm embarrassed to be writing this review. I say that because those of you reading it will know that I sat through the whole thing and that is embarrassing to admit even to strangers. But I just had to warn those who read the viewer comments on IMDb before they watch a film not to watch this one. It's the least I can do. This is a bad movie! Trust me. The plot is goofy. The acting is amateurish. And the directing, camera work, sets, costumes, etc. are all second rate. Let it go.", "label":0 }, { "text":"After a lively if predictable opening bank-heist scene, 'Set It Off' plummets straight into the gutter and continues to sink. This is a movie that deals in nasty, threadbare stereotypes instead of characters, preposterous manipulation instead of coherent plotting, and a hideous cocktail of cloying sentimentality and gratuitous violence instead of thought, wit or feeling. In short, it's no different from 90% of Hollywood product. But it's the racial angle that makes 'Set It Off' a particularly saddening example of contemporary film-making. Posing as a celebration of 'sistahood', the film is actually a celebration of the most virulent forms of denigrating Afican-American 'gangsta' stereotype. The gimmick this time is that the gangstas are wearing drag. Not only does the film suggest that gangsterism is a default identity for all African Americans strapped for cash or feeling a bit hassled by the Man, it presents its sistas as shallow materialists who prize money and bling above all else. Worse, 'Set It Off' exploits the theme of racial discrimination and disadvantage simply as a device to prop up its feeble plot structure. Serious race-related social issues are wheeled on in contrived and opportunistic fashion in order to justify armed robbery, then they're ditched as soon as the film has to produce the inevitably conventional ending in which crime is punished, the LAPD turns out to be a bunch of caring, guilt-ridden liberals (tell that to Rodney King), and aspirational 'good' sista, Jada Pinkett Smith, follows the path of upward mobility out of the 'hood and into a world of middle-class self-indulgence opened up for her by her buppie bank-manager boyfriend. 'Set It Off' illustrates the abysmal state of the contemporary blaxploitation film, pandering to mindless gangsta stereotypes and pretending to celebrate life in the 'hood while all the time despising it. While the likes of 'Shaft' and 'Superfly' in the 1970s might have peddled stereotypes and rehashed well-worn plots, they had a freshness, an energy and an innocence that struck a chord with audiences of all races and still makes them fun to watch. 'Set It Off' wouldn't be worth getting angry over if wasn't a symptom of the tragic decline and ghettoisation of African-American film-making since the promising breakthrough days of the early 1990s.", "label":0 }, { "text":"I don't think anyone sitting down to view this film would be expecting anything remotely appearing like a classic ghost story but you have to ask yourself when it's over if you were ever scared. This doesn't really work on that level but the cast does try hard and the film doesn't tack on one of those happy endings. Story is about an American couple who travel to Kyoto, Japan so that Ted Fletcher (Edward Albert) can write a book and he brings along his wife Laura (Susan George) and their daughter Amy (Amy Barrett). Their friend Alex Curtis (Doug McClure) who works at the American Consulate helps them find a house to live in and he finds one that is haunted. About 140 years earlier in the same house a Samurai found his wife cheating on him and he kills both of them and then commits suicide. Their ghosts still inhabit the house and when the Fletcher's arrive it doesn't take long before strange things start happening.

*****SPOILER ALERT*****

At times the ghosts inhabit the bodies of the Fletcher's and they start to act like the Japanese people that they were before and Laura starts to flirt with Alex which leads to an affair. Meanwhile, Ted starts behaving more strict and after he pours soup down the throat of Amy he goes to ask a Monk for help. Unfortunately the ghosts get Ted, Laura, and Alex to play out their death scene like it happened 140 years earlier.

This film was directed by Kevin Connor who is known as a good television director but he has made horror and science fiction films before and has worked with McClure on some of them. While this never comes close to being scary or developing atmosphere it does have two things in it that I liked. First, it doesn't have one of those sappy endings where the couple embrace after defeating the demons. Instead, it ends in a very bloody fight where everyone succumbs to the evil of the ghosts. Secondly, it has Susan George in the cast! I've always been a fan of hers even though she has appeared in mostly schlock but her performances are always top notch. Also she usually appears nude which she does here in two separate scenes and while she doesn't have classic features she does have a unique tomboy like look about her and it's one of the reasons why she was so popular. But after appearing in silly films such as this I think it led to her getting out of the business or working only sporadically. This isn't a bad film but it's never convincing and watching the ghosts scurry around when the Monk gives an exorcism is practically worthy of a giggle or two. The bottom line is that this is silly and I hope George decides to resume her career.", "label":0 }, { "text":"This movie was terrible. The first half hour is much like a... well, apologies for the lack of articulation, but it was simply a bad version of A Clockwork Orange. The first scene is almost photocopied from one of the first in Clockwork! Supposedly it was a tribute, as per the appearance of the Clockwork poster on the protagonist's wall, however \"ripoff\" is the more appropriate word. The movie felt as though it was torn right from the Kubrick classic, only filmed through a new director's eyes. A blind director. Unfortunately when it stops its massacre of Kubrick's work, the film gets even worse. As another commentator said, the deepness of this film is just shoved down your throat. Arrogant, self absorbed and ultimately meaningless drivel.

Perhaps the protagonists ramblings would touch a nerve if there was any actual character development in this movie. I felt absolutely nothing for this guy. And I'm an alcoholic, so I figure that if anyone might be able to feel anything for him, it would be me. Awful character development, dialogue and plot.

The worst part about this movie is the title. For a film called \"16 Years of Alcohol\", the alcoholism is hardly a factor in the flick. See first paragraph - it was such a butchering of A Clockwork Orange I can't get over it. A more suited title would have been \"16 Years of Violence,\" or, even better, \"A Clockwork Banana\".

Just do yourself a favor and avoid this movie. If you disregard my advice and take it out anyway, drink. Trust me.", "label":0 }, { "text":"I've seen the first of the dwarf-Movies and sometimes I had little fun watching it. There are many famous TV\/Comedyactors appearing in the first part and presented, in fantasy costumes, typical little episodes of their Stand-Up-Program and exactly that is the problem the second movie has to struggle with. Everything was already there....nothing new to obtain. You're familiar with most of the often boring and dumb \"jokes\" and you always feel like their goal was to put in every Comedylooser of the last decade who wants to get back on stage. There's nothing important about the story: typical fairy-tale story of Rumpelstiltskin, without any importance. I expected something like that but that's nothing I could complain about. I'm actually complaining about the lazy story writers who had an entire background story; their only business was to get many jokes and parodies inside but they didn't get it anyway. This crap is except the great appearance of Helge Schneider a total waste of time and money.(if you don't like him then remove 2 points of my evaluation) If you like to save your money and get bad jokes then watch the crap that's broad casted every Friday evening on SAT1 or RTL for free. I'm sure you will recognize some \"laugthers\" I saw last night in cinema.", "label":0 }, { "text":"Anyone who has seen 'Shine',Scott Hicks film of the heartbreaking yet ultimately joyful life of the pianist David Helfgotts; will I am sure realise that 'The SOLOIST' is very poor in comparison.It is as slow as a lullaby( I took five breaks answering emails just to wake up). The depiction of the homeless area way over the top and extremely self indulgent, on a par I fear with the awful beach battle depiction in Joe Wrights other disaster Attonment. .J Fox performance was an extremely poor example of acting and lacked credibility from the offset.Downey on the other hand; although struggling with a badly paced film, still manages to charm,9Is it me or is he turning into George Clooney in more ways than one?). Comparing both these well known so called 'STAR'actors though is unnecessary as the light that shines brightest as far as acting is concerned must be that of 'shine's' Geoeffry Rush who's brilliant performance definitely SHONE far brighter in my sky. With both 'Attonment' and 'The Soloist' the written word wins far more prizes for empathy of subject. Read the book and articles or wait for the DVD its bound to be in the bargain basement soon.", "label":0 }, { "text":"I was looking on Imdbs bottom 100 because i thought id never seen anything as bad as plan 9 from outerspace or Roller Ball remake, I was wrong. Ben and Arthur has beaten both.

This out of the many countless amount of movies I've seen is the number one worst film on the i ever saw. Bad Directing ,Bad Characters ,Horrible Acting ,Horrible story There's a reason nobody but Sam ever says anything positive about this film. Sam was a horrible annoying actor but his directing was so bad he may just overthrow Ed Wood.

The Director should be ashamed of his work unfortunately i have to give it at least 1 star but it deserves - to be continued stars.", "label":0 }, { "text":"I absolutely fail to see what is funny in this film. The humor seems to be destined for corpses. It's slow. The story is too simple to be true. The characters do not raise much sympathy, a few non-important characters aside. Nothing surprising happens. What did the writers of this script think? \"Oooo funny! Let's make some old lady's high on pot! Let's make them.... giggle! Let's make them... behave like little children!! Oooo, yes, that's absolutely brilliant and original!\"

This film has irritated me most from all the films I've seen in the last five years.", "label":0 }, { "text":"No spoilers here but I have been a fan since Waking the Dead started but the last series, of which only 3 have been on so far is awful. The stories bear no resemblance to the original idea of the series. I found these 3 in the last series jaw droppingly ludicrous. As a BBC licence payer, after the show I rang BBC complaints to pass on my disappointment. I'm amazed that actors of the calibre of Trevor Eve and Sue Johnstone didn't object to the story lines. These actors have been with these characters for 8 seasons, surly they can see it's lost all direction. It's a good job it is the last series or the next series may start with the team investigating the death of Father Christmas!

Paul Bentley, West Yorkshire, England.", "label":0 }, { "text":"It's interesting at first. A naive park ranger (Colin Firth) marries a pretty, mysterious woman (Lisa Zane) he's only known for a short time. They seem to be happy, then she disappears without warning. He searches for her and, after a few dead ends, stumbles upon some of her abused childhood and sleazy recent past, which may include criminal activity. And then, it seems the filmmakers didn't know what to do with the story. The beginning, while not as suspenseful as it sounds, is at least watchable. Then it ceases to be interesting or even make much sense. And the ending is so lame, so dull, and so devoid of any excitement or intelligence, you'll think the screenwriters didn't know what to do with it and got bored trying. What a sorry waste of a good idea!", "label":0 }, { "text":"I suppose that any novel that's as much of a downer as Moby Dick would not find much favor with Depression era audiences who had enough of their own troubles. But any resemblance to the classic Herman Melville novel is a pure coincidence.

In fact half of the film is a prequel to the main story as we know it, not that too much of it was kept for the film. We first meet Ahab Creely (he's got a last name and a brother) as one happy go lucky soul with two legs and intentions to marry Joan Bennett who is Father Mapple's daughter. That brother Derek, played by Lloyd Hughes, also wants to marry Bennett.

John Barrymore is Ahab in an over the top performance. Barrymore had not quite mastered the sound cinema and he gave out with all the silent era histrionics plus a stage voice that would have shaken the rafters of any movie theater this film was playing in.

We see Ahab lose his leg to the great whale Moby Dick and I have to say the amputation scene was pretty gruesome. Of course this was all before the Code. Still I'm sure 1930 audiences shuddered.

After that the story of Ahab's hunt for the whale that he thinks made him unsightly in Joan Bennett's eyes. That is not exactly Melville's motivation, in fact there are no women characters in Moby Dick as he wrote it.

One of the things Melville did was invest the crew of Ahab's ship the Pequod with personalities. Other than Queequeg the cannibal harpooner the names are there, but not the personalities. Starbuck and Stubbs might as well be Smith and Jones.

I'd see this version of Moby Dick strictly for curiosity and nothing else.", "label":0 }, { "text":"I don't really post comments, but wanted to make sure to warn people off this film. It's an unfinished student film with no redeeming features whatsoever. On a technical level, it's completely amateur - constant unintentional jump edits within scenes, dubbing wildly off, etc. The plot is completely clich\u00e9d, the structure is laughable, and the acting is embarrassing. I don't want to be too harsh: I've made my share of student films, and they were all awful, but there's no reason for this film to be out in the world where innocent fans will have to see it.

Safe assumption that - much like the cast - positive comments are filmmakers, friends, and family.", "label":0 }, { "text":"Bestselling writer George Plimpton(Alan Alda)takes on an assignment for Sports Illustrated. He is to go incognito to the Detroit Lions training camp and try out for a position as third string Quarterback. He is quickly found out by the team members featuring Alex Karras and Mike Lucci. The entire team finds it amusing to cause stumbling blocks in the writer's determination to Quarterback for a series in a real game.

This movie is Alda's debut and also helped Karras leave the gridiron for acting. Besides the 1968 Detroit Lions, the cast also includes \"Sugar Ray\" Robinson, Roy Schieder and Lauren Hutton.

Alex March directs this story based on Plimton's book.", "label":0 }, { "text":"I am always wary of taking too instant a dislike to a film. Look at it a month later and you might see it differently, or dig it up after 50 years in a different continent and some cult followers find something stylistically remarkable that went unnoticed at first. After sitting through The Great Ecstasy of Robert Carmichael at its UK premiere, it came as no surprise to me that I found the question and answer session afterwards more interesting than the film itself. Shane Danielsen (Artistic Director of the Edinburgh International Film Festival), aided by the film's director and producer, gave a spirited defence of a movie than received an overall negative response from the audience. Edinburgh Festival audiences are not easily shocked. Only one person walked out in disgust. The criticisms of the film included very articulate and constructive ones from the lay public as well as an actor and a woman who teaches M.A. film directors. This was not an overly 'shocking' film. There was a degree of uninterrupted sexual violence, but far less extreme than many movies (most actual weapon contact was obscured, as were aroused genitals). The audience disliked it because they had sat through two hours that were quite boring, where the acting standards were not high, where the plot was poor, predictable and drawn out, and where they had been subjected to clumsy and pretentious film-making on the promise of a controversial movie. Metaphors to the war in Iraq are contrived, over-emphasised and sloppy (apart from a general allusion to violence, any deeper meaning is unclear); and the 'fig-leaf' reference Marquis de Sade, as one audience member put it, seems a mere tokenistic excuse for lack of plot development towards the finale.

We have the story of an adolescent who has a certain amount going for him (he stands out at school for his musical ability) but takes drugs and hangs out with youths who have little or nothing going for them and whose criminal activities extend to rape and violence. When pushed, Robert seems to have a lot of violence locked inside him.

The film is not entirely without merit. The audience is left to decide how Robert got that way: was it the influence of his peers? Why did all the good influences and concern from parents and teachers not manage to include him in a better approach to life? Cinematically, there is a carefully-montaged scene where he hangs back (whether through too much drugs, shyness, a latent sense of morality or just waiting his turn?). Several of his friends are raping a woman in a back room, partly glimpsed and framed in the centre of the screen. In the foreground of the bare bones flat, a DJ is more concerned that the girl's screams interrupt his happy house music than with any thought for the woman. Ultimately he is a bit annoyed if their activities attract police attention. The stark juxtaposition of serious headphones enjoyment of his music even when he knows a rape is going on points up his utter disdain in a deeply unsettling way. Robert slumps with his back to us in the foreground.

But the rest of the film, including its supposedly controversial climax involving considerable (if not overly realistic) sexual violence, is not up to this standard. Some people have had a strong reaction to it (the filmmakers' stated intention: \"If they vomit, we have succeeded in producing a reaction\") but mostly - and as far as I can tell the Edinburgh reaction seems to mirror reports from Cannes - they feel, \"Why have programmers subjected us to such inferior quality film-making?\" Director Clay Hugh can talk the talk but has not developed artistic vision. His replies about holding up a mirror to life to tell the truth about things that are swept under the carpet, even his defence that there is little plot development because he didn't want to do a standard Hollywood movie - all are good answers to criticisms, but unfortunately they do not apply to his film, any more than they do to holding up a mirror while someone defecates, or wastes film while playing ineptly with symbols. Wanting to try and give him the benefit of any lingering doubt, I spoke to him for a few minutes after the screening, but I found him as distasteful as his movie and soon moved to the bar to wash my mouth out with something more substantial. There are many truths. One aspect of art is to educate, another to entertain, another to inspire. I had asked him if he had any social or political agenda and he mentions Ken Loach (one of the many great names he takes in vain) without going so far as to admit any agenda himself. He then falls back on his mantra about his job being to tell the truth. I am left with the feeling that this was an overambitious project for a new director, or else a disingenuous attempt to put himself on the map by courting publicity for second rate work

Andy Warhol could paint a tin of soup and it was art. Clay Hugh would like to emulate the great directors that have made controversial cinema and pushed boundaries. Sadly, his ability at the moment only extends to making high-sounding excuses for a publicity-seeking film.", "label":0 }, { "text":"I was bored, around 10pm, so I watched this movie. And I could not stop laughing. Everything was so ridiculous. The way the kids were acting like they were older than 11 just cracked me up. One of the kids had a ring, that supposedly killed people after 3 or so years. It gave me the impression that he wanted to be a gangster.

It's pretty hard to take little kids seriously, especially when it has to do with eating worms. They act like everything is such a big deal, like if Billy (the main character) doesn't eat the worms then the world will end.

This is a good movie for little kids (excluding the fact that a 5 year old says 'penis'), but not for teens or adults who don't want to waste their time.", "label":0 }, { "text":"This film deserves another bad review. Consider one reviewer extolling the film's virtues that include 'no sex, violence or gore.' Uh, excuse me. The very set-up of the film has us watching as Cody's young comrade, with love of life and who has everything to live for is blown to bits leaving Cody holding his lifeless, bloody body. And, given the nature of war we know that Cody has seen horror on almost a daily basis. So much for those viewing this film with such rose glasses that the violence which defines Cody's persona is erased from viewer memory.

Sans any family of his own Cody, like John Rambo, roams the country on his bike making the long trek to hometown USA in the guise of some place called Nevada City. No mention, no realization of the clear fact that Cody is damaged goods. We know this since his CO practically declares him so as he order Cody to 'get some rest' away from the death and destruction of war. This explains, as none seem to notice or care, Cody's obvious 'flat' effect. It is not bad acting. It is the flat effect of post traumatic stress disorder. Not guessing here, remember his CO ordered him off the battle field.

How about that 'accidental' kiss as noted by another review. The fall was an accident, the kiss was not. How exactly was Cody 'respecting' Faith by hitting on her knowing full well she was spoken for? Now that was a non-family value moment. A moment which is then announced to the immediate universe as if posted on YouTube. Of course faith's lapse of fidelity as well as Cody's 'coming on' to a woman who plans to marry another is received in the spirit of the Xmas season, all CHEERING their cheaten' hearts and lips.

We know little about Faith's fianc\u00e9 except that she professes her love for him, she takes no longer than a nano second to accept his proposal (could have waited if any second thoughts), he is generous, he loves her to death, the family has nothing really against him, he believes marriage is based on compromises and the two have never discussed post marriage plans. No evil doers here.

Asner is a fine actor given over the hill dialogue like 'we love you son....' 'You are part of our family' literally days after they have met a stranger named Cody. And the 'band of brothers' speech where the phrase was above all never intended to apply to virtual strangers off the battle field.

Bottom line: This film is cotton candy Xmas fluff that betrays itself in major ways. Most grossly when it applauds Cody's disrespect for Faith by physically hitting on her knowing full well she is spoken for. By re-defining family as we know it to wit: accepting a virtual stranger as a full fledged loving member of the family because we all 'love you.' How many of you have done that or know anyone who has done that. NOT.", "label":0 }, { "text":"I rented this horrible movie. The worst think I have ever seen. I believe a 1st grade class could have done a better job. The worse film I have ever seen and I have seen some bad ones. Nothing scary except I paid 1.50 to rent it and that was 1.49 too much. The acting is horrible, the characters are worse and the film is just a piece of trash. The slauther house scenes are so low budget that it makes a B movied look like an Oscar candidate. All I can say is if you wnat to waste a good evening and a little money go rent this horrible flick. I would rather watch killer clowns from outer space while sitting in a bucket of razors than sit through this flop again", "label":0 }, { "text":"I watched this movie purely for the setting. It was filmed in an old hotel that a friend owns shares of. The plot was predictable, the acting was mediorcre at best, the scares were all gross-outs, not true scares.

I don't remember much of the plot, and I think that's because there wasn't much of one to remember. They didn't even use the hotel to it's fullest potential...The beaches are fantastic and the hotel is situated on a peninsula. At low tide, you can walk almost 1\/4 mile into the bay, which is actually an eerie sight first thing in the morning or late at night when the wind is howling through the cracks.

The best way to see this movie is with the remote in your hand so you can fast forward through the action (and I'm using that term loosly)scenes and pause at the beauty of the surroundings!", "label":0 }, { "text":"I watched this film, along with every other adaptation I could get my hands on- including seeing plays- in preparation for some academic research. The cinematography is very moving, as is the music. Unfortunately all of the life was taken out of the story. I have never seen such an awful portrayal of Mr. Rochester. All of his most fundamental traits are gone. Where is his wit? Where is his passion? Scott's Rochester more closely resembles Rochester's foil, St.John, than the character from the novel. In fact, the actor playing St.John in this adaptation played a passionate St.John while Scott is content to smash things or just stare at the ceiling (which he does all the time). I have no idea what they were thinking. I would like to give this film a slightly higher vote based on the wonderful music and cinematography but I honestly can't bear to see this film for too long because of George C. Scott's performance.", "label":0 }, { "text":"I would love to have that two hours of my life back. It seemed to be several clips from Steve's Animal Planet series that was spliced into a loosely constructed script. Don't Go, If you must see it, wait for the video ...", "label":0 }, { "text":"'The Hills Eyes II', one of the most pointless and blatantly stupid sequels to come around in some time, is 90 minutes of incompetent film making at its finest. Or worst, however you choose to look at it. While 2006's 'Hills' remake was one of the year's best, and truly frightening, horror films, this sequel takes every spark out of what made that such an accomplishment. Part 2 never gets off the ground, and neither does its mind numbing dialogue. Worst of all, it's not that scary.

2006's remake followed a family who find themselves in the middle of the New Mexico desert, deserted, and one by one being picked off by deranged and sadistic hill people. People who, as a result of the military testing the atomic bomb on their land years ago, have become who they are. Surviving off travelers who wander into the region. The sequel puts audiences in the same desert, now occupied by the military as they covertly investigate the hills and what might have happened to that poor family. When a group of military trainees are brought to the campsite, they find it deserted with no signs of life. A grim reality soon befalls them, as they come to the realization that they're not alone. And the bloody fate that was handed to many before them will soon become their destiny.

It doesn't take a genius to realize that 'Hills' has no legitimate reason to exist. But because last year's remake was received well both at the box office and by critics, it came to no surprise that a sequel would be rushed into production while there's still money to be earned. There's no rhyme or reason to it this time around, just an unbelievable and ridiculous set-up to pave the way for thoughtless characters, unoriginal killings, a non-existent story, and slipping interest. Originally, director Alexander Aja made Craven's cult classic into a remake that was a unique and thoroughly disturbing experience. One that gruesomely crossed the line on more than one occasions. Its frank display of violence, sadistic torture, well-rounded characterization, and white-knuckled suspense were all effectively used to shock and repulse audiences. The second time around, it's rehashed hand-me-downs. There's no style, no grit. It tries to build up tension by dismembering bodies, when all it really does is make for a been there, done that kind film, where even the gore seems tame compared to more recent bloodbaths.

It's a sad state of affairs when deformed mutants who capture women for breeding purposes fails to keep your attention. It's a bore, nothing more. 'Hills' has no bite. Despite a jump or two here and there, there's nothing very scary about this by-the-numbers horror flick. It feels like something you'd see on the Sci-Fi channel, only with some F-bombs, a blood splatter here and there, a rape, and a graphic birth scene that's more gross than shocking. It's cheap. And with 'Hills', you reap what you sew. With no effort given, you can't expect anything in return.

Replacing Aja with Martin Weisz as director was the film's first big mistake, all he does is drain the film of any sort of emotional resonance. But even more shocking is the uncharacteristically bad script penned by Wes Craven and his son, Jonathan Craven. You ask, how bad could it possibly be? This is the kind of dialogue that makes any comparison look like Shakespeare. Craven has had his fair share of clunkers in the past, but I'd never expect something like this from him. It's so unintentionally funny, you have to wonder, is Craven playing a joke on this? Or did he dump this one on his son after the studio payed him off? The film's characters are one-dimensional talking heads with no emotions or common sense. The acting is just as bad. The only character who may win you over is 'Napoleon' Napoli, the scrawny kid who doesn't fit in with the others. Even the deranged and instinct-driven villains, who we might have found some favor with in the deepest of our thoughts a year ago, are met with indifferent. You don't hate them, you don't like them. You honestly couldn't care less. Just like this movie.

Even if you were giddy with fear during 'The Hills Have Eyes', as I was, you'll have a tough time finding anything to enjoy in this piece of garbage. It's as generic as generic gets, and there's absolutely nothing here we haven't seen done many times already. I can't express this enough, avoid 'The Hills Have Eyes II' like the plague. It's frightless, unoriginal, frantic, and a bore. Stick to the remake or Craven's original vision. Because if you don't walk out after the first thirty minutes, don't say I didn't warn you.", "label":0 }, { "text":"-SPOILES- Lame south of the border adventure movie that has something to do with the blackmail of a big cooperate executive Rosenlski the president of Unasco Inc. by on the lamb beachcomber David Ziegler who's living the life of Reilly, or Ziegler, in his beach house in Cancun Mexico.Having this CD, that he gave to his brother James, that has three years of phone conversations between Rosenlski and the President of the United States involved in criminal deals. This CD has given David an edge over the international mobsters who are after him.

The fact that James get's a little greedy by trying to shake down Rosenlski for 2 million in diamonds not only cost him his life but put David in danger of losing his as well. Ropsenlski want's to negotiate with David for the CD by getting his ex-wife Liz to talk to him about giving it up, Rosnelski made a deal to pay off her debts if she comes through. David is later killed by Rosenliski's Mexican hit-man Tony, with the help of a great white shark, who just doesn't go for all this peaceful dealings on his boss' part.

Tony had taken the CD that Liz left for his boss at a local hotel safe and now want's to murder James, like he did David, and at the same time keep the CD to have something over Rosenlski.

David who had secretly hidden the diamonds that James had on him at the time of his murder is now the target of Tony and his men to shut him up for good. David also wants to take the diamonds and at the same time give his boss Rosenlski the impression that the CD that David had is lost but use it later, without Rosenlski knowing who's behind it,to blackmail him.

The movie \"Night of the Sharks\" has a number of shark attacks in it with this huge one-eyed white shark who ends up taking out about a half dozen of the cast members including Tony. David who's a firm believer in gun-control uses knives high explosives and Molotov cocktails, as well as his fists, to take out the entire Tony crew. Even the killer shark is finished off by Tony but with a hunting knife, not a gun. When it came to using firearms to save his friend and sidekick Paco a girlfriend Juanita and his priest Father Mattia lives from Tony and his gang guns were a no-no with David; he was more of a knife and spear man then anything else.

The ending of the movie was about as predictable as you can make it with David thought to be killed by the one-eyed shark later pops up out of the crowd,after Rosenlski was convinced that he's dead and leaves the village. David continues his life as a free living and loving beachcomber with no one looking to kill him and about two million dollars richer. to David's credit he had his friend Paco give Rosenski back his CD but under the conditions that if anything happened to him his cousin, who Rosenlski doesn't know who and where he is, will shoot his big mouth off and let the whole world know about his dirty and criminal dealings.", "label":0 }, { "text":"I picked up this movie with the intention of getting a bad zombie movie. But I had no Idea what I was getting myself into.

I started the movie and soon I had been pulled into a world of pain and visual torture.

I finally know what hell is like. It's this movie. For eternity. This movie has no value. It didn't even really have a plot. There was stuff going on in each scene but no overall explanation why anything happens.

Instead of watching this movie I suggest that you line the nearest blender with oil and try and stuff as many bullets in it as you can. You will find that the outcome to be far more pleasant than this movie.

Don't even watch it. Not even to see how bad it is. I beg you. If you watch it, then it means they win.", "label":0 }, { "text":".... this movie basks too much in its own innocence. It doesn't tell a story; it's more a big time snooze fest. While the actors are all personable, the story is so trite and goes nowhere. I think Victor Rasuk has great charisma, but deserves a real film from a real storyteller.", "label":0 }, { "text":"Rural family drama--with perhaps a nod to \"Ordinary People\"--concerns a young boy who withdraws into himself after fatally wounding his older brother in a shooting mishap. Despite downbeat subject matter (given mercilessly glum treatment by director Christopher Cain), there are some dynamics in this sad story worth exploring. Unfortunately, the isolated farming atmosphere and the reluctance of the adult characters to take charge of the situation render the film a stultifying experience. What with Robert Duvall, Glenn Close, and Wilford Brimley in the cast, the movie is nearly a small-scaled reunion of \"The Natural\". Too bad this project didn't get the necessary talent behind the camera to really eke out a gripping, memorable picture. *1\/2 from ****", "label":0 }, { "text":"Grieving couple move to a cabin on a mountain after the loss of their daughter, discovering that there may be ghosts haunting the place, restless spirits of past occupants who committed suicide. Julie Pyke(Cheri Christian)blames husband Allen(Greg Thompson)for the horrible death of their daughter due to leaving the door unlocked and the marriage has deteriorated because of it. Julie remains in a zombie state, eliciting next to no emotion, remote and numb, only photographing a nearby abandoned prison, finding a startling image of a ghoul girl clinging to the bars of a cell. Though Allen doesn't see anything out of the ordinary, Julie continues to take pictures and we can recognize that something isn't quite right. A local handyman, Jim Payne(Scott Hodges), a rather distant fellow who harbors a secret becomes a dangerous threat when it is revealed that his dead mother might have something to do with the haunts occurring to the Pykes. Meanwhile the neighbors who sold the Pykes the cabin find themselves victims as well, alcoholic Mr Booth's abuse to his wife coming back to haunt him. Allen will conduct an investigation into the history of his cabin, attempting to unravel the mystery about the place.

Plenty of ghosts moving about in the background in this somber supernatural tale with practically every character miserable. Cheri Christian remains so vacuous and lost, it's incredibly hard to connect with her despite the fact that you understand her plight. The acting, as is often mentioned, remains frustrating because none of the characters exactly are easy to latch on to. I guess it's supposed to be this way, under their circumstances, but the trouble I had was never being able to properly embrace the Pykes due to their constant state of aloofness. Cheri comes off as cold and detached, as I figure a mother would tend to be when you lose a child in such a way, but the icy nature left me pleading inside to embrace her which I just never could. I think the right performers, even if the characters are going through an emotional turmoil, can grab the hearts of their viewers, if a humanity reaches out to us..in this movie's case, the leads are unable to do so, for whatever reason. It could've been me, I don't know. I wanted to care for them, but nothing in the characters tugged on my heart strings. Anyway, as the film continues, Allen slowly uncovers certain truths and must defend himself against his wife who has convinced herself that their daughter is among them and she won't lose her little girl again. Jim, the unstable neighbor who believes that to stop the hauntings plaguing the area he must kill the Pykes, becomes a vital threat. The ghosts remain a central part of the movie, their presence, particularly Jim's mother, established throughout, off in the distance. The finale reveals all of them as Allen must find help for his wife while trying to thwart Jim's mission. I had a hard time getting into this one due to my unease with the leads and their characters.", "label":0 }, { "text":"\"In 1955, Tobias Schneerbaum disappeared in the Peruvian Amazon. One year later he walked out of the jungle...naked. It took him 45 years to go back.\" Supposedly, \"Keep the River On your Right\" is \"a modern cannibal tale\". In reality, anyone looking for some insight into cannibalism will be sadly disappointed. The first half of the movie is more like a travel log of New Ginuea, mostly touting the native art. The second half relies on still photos of a Peruvian cannibal tribe, but really that's about it. Unless of course, you are interested in home movies of a Jewish wedding, or Schneerbaum introducing his former male lovers. I give up. Big disappointment and not really \"a modern cannibal tale.\" - MERK", "label":0 }, { "text":"\"Shadrach\" was not my favorite type of movie. I found it overly sentimental and the acting was below par. Harvey Keitel and Andie MacDowell were good but some of the other actors weren't at all believable. I also did not believe that Paul's parents would go away and leave him with the Dabney family, especially when they had a housekeeper living in the home. Their social classes were too far apart to consider this believable. It seemed the Dabney's lifestyle was too exaggerated. There was a scene in the beginning of the movie that showed Andie MacDowell getting out of a car after having sex with someone. Who was it? Her son? What was the scene supposed to show us? Why was the scene even included? It had nothing to do with the rest of the movie and was in fact never alluded to again. It seemed gratuitous and not fitting into the story at all. There were too many inconsistencies in the movie for me. The story concerning Shadrach was nice but I wasn't convinced that the Dabneys would have been as kind and generous as they were portrayed.", "label":0 }, { "text":"Spoiler: Bunch of passive-aggressive people having family reunion. The script has them saying and doing things people would never do, at least anyone with a shred of decency. The hero falls for a woman he sees as his soul mate at a bookstore the day of the reunion, unaware she will show up as his brother's girlfriend at the reunion. He tries to defer to his brother's claim, but she, knowing our hero is clearly infatuated with her, teases him mercilessly by wearing sexy clothing and behaving like a stripper, rubbing all over the brother in a ruse excuse that she is showing him how to stretch. At one point, she actually disrobes and gets into a shower with him. He tries to cover his eyes. His heart is breaking. She thinks it's funny, until she suddenly decides she doesn't want the brother and leaves the reunion.

The movie really drags. The audience coughed and fidgeted its way through the long haul. The writing is unintelligent and unbelievable. We almost walked out, but kept thinking surely something would happen that would perk things up, but nooooo. All the lovely reviews must have been written by paid shills, out to dupe poor suckers like me into seeing crap like this. Comparing it to Little Miss Sunshine??? Jeez. Shame on them, the writers, the actors, the producers, and the theaters for letting anything this bad make it to the screen!", "label":0 }, { "text":"Maybe television will be as brutal one day. Maybe \u0084Big Brother` was only the first step in the direction Stephen \u0084Richard Bachmann` King described the end point of. But enough about that. If I spend too much words talking about the serious background topic of this movie I do exactly what the producers hoped by choosing this material. It's the same with \u0084The 6th Day`. No matter, how primitive the film is, it provokes a discussion about its topic, which serves the producers as publicity. Let's NOT be taken in by that. The social criticism that is suggested by that plot summary is only an alibi to make it possible to produce a speculative, violent movie, more for video sale than for cinema.

I didn't read the book. I don't dare criticising Stephen King without having read him, but when I saw the film I thought they couldn't make such a terrible film out of a good book: In a typical 1980s set with 1980s music and some minor actors Arnold Schwarzenegger finds himself as a policeman running away from killers within a cruel TV show. The audience is cheering.

Together with \u0084Predator`, this is definitely Schwarzenegger's most stupid movie. 2 stars out of 10.", "label":0 }, { "text":"Tromaville High has become an amoral wasteland of filth thanks to the aftereffects of the nearby nuclear plant's accidental release of toxic waste.

Unrestrained chaos crammed with absurd violence and crude behavior. Rather horrible, obviously intended to be, mess of a film with the filmmakers cutting loose the reins allowing the untalented cast free reign to ham it up. Craft was far down Troma's list of objectives for this gory sleazefest. The honor society are punks with eerie face paint jobs and wacky outfits. The German teacher who becomes a member, through a \"toxic kiss\" has the streaks down one side of her face that really gave me the creeps.The toxic monster, which dispatched the ANNOYING punks towards the end, is pretty cool, though.

Kind of movie trash connoisseurs will embrace wholeheartedly.", "label":0 }, { "text":"The movie was to be shown here in Bangkok with all the fanfare and even in the theater, it failed miserably.

Apparently the story writer just don't hold water. Something was definitely missing. In my opinion people must have a reason why they watch it other than historical glimpse of the past. Accuracy of history is not what we look for in entertainment.

The movie just lack any substance. The only way to do this movie right was somehow make changes where it stands as some kind of a legend instead of just a story. And a legend will have certain elements that tries to tell you something that people have forgotten through time, such as the meaning of sacrifice, nationalism, etc. It is called the central theme.

The movie fails to answer, why would I watch it anyway?

At least some strange legendary Flying Elephants, psychic king, or the eccentric king such as \"The King and I\" would have been lovely, something would have added greatly to the movies' appeal. I guess there was no appeal other than a plain vanilla movie.

Once you got the appeal, then the story is the next thing we concentrate on. In marketing terms, we call it \"must see\". Upon hearing the title of the movie people would say, Oh, I must see it. Now where's the appeal in Kingmaker? Why not just redo the title and call it, \"How NOT to be a King?\" and make a black comedy of the old Siamese days, to the style of \"Dr. Strangelove\". That would have been much more interesting. Narrative-like experiences of the foibles of the King from first persons goofs off would have made the movie extremely funny.

Most movies today have that \"must see\" appeal, such as Spiderman, Men X, these titles speak for themselves. If they don't have familiar characters, some other movies such as, The Island, had an appeal itself when the advertising asks \"Do you still believe there is an Island?\".

Or for the movie, retitled \"How NOT to be a King\" might ask the question, \"So do you still WANT to be a King?\"

Parhat", "label":0 }, { "text":"Not an altogether bad start for the program -- but what a slap in the face to real law enforcement. The worst part of the series is that it attempts to bill itself as reality fare -- and is anything but. Men and women that dedicate their lives to the enforcement of laws deserve better than this. What is next, medical school in a minute? Charo performing lipo? Charles Grodin assisting on a hip replacement? C'mon...show a little respect. Even the citizens of Muncie are outing the program as staged. Police Academy = High School Gym? Poor editing (how many times can they use the car-to-car shot of the Taco Bell in the background?), cheesy siren effects (the same loop added ad nauseum to every 'call' whether rolling code or not), and last, but not least -- more officer safety issues than you could shake a stick at.

If I want to see manufactured police work and wise-ass fake cops, I would watch RENO 911.", "label":0 }, { "text":"Spoilers of both this and The Matrix follow.

I liked the original Matrix a great deal. It was not a deep movie, despite Fishburne's attempts to philosophize, but it was fairly well paced, fun, and I have a soft spot for Hong Kong fights.

In the original, Neo was the secret life of the rather unhappy cube worker Anderson. By day, corporate drone, and by night, brave hacker. Eventually, he eventually is forced to choose between these lives by his actions - does he become an outlaw fighting the machine, or does he go back to the safe, forgettable world he started in. Interestingly, he discovers that once one is shorn of illusions, life rather sucks. He has his girl by his side and his boon companions, but he eats processed swill, dresses in sweats, and lives in a truly skungy bit of machinery. Still, the truth makes him free.

At least part of the fun of that first movie lay in the \"what if it were me\" questions raised in the viewer's mind. What if _I_ were capable of the impossible? What if I were \"The One\". It does not even matter that much what you are The One example of, with a cool title like that.

Further, agent Smith made a wonderful bad guy, as he embodied all of the fear of authority that we carry with us. He was as unstoppable as a terminator, and as merciless.

At the end of the Matrix, Neo must return to the Matrix to share his good news of freedom.

This movie fails to completely to carry through on the ideas of the original movie, and it does so with such lack of gusto, such poor scriptwriting and such poor editing that I cannot believe they had planned these changes. When the dialog is at a fifth grade level, with various long words dropped in randomly, I find it hard to believe that they understand what they are saying.

My short list of characterization failures:

The Oracle goes from mildly helpful, if deceitful to utterly obstructionist without any real reason.

Major \"personalities\" of the matrix are introduced without need - the keymaster, for example, was a cute idea, but just not that interesting a character.

Fishburne loses his \"advisor\" role, and gets nothing to replace it with.

The people of Zion are not particularly likable, nor would you really _want_ them running the world.

Special effects problems:

The fight scenes are pointless and intermitable. In The Matrix, you felt Neo could lose, and that he had to become something greater in order to survive. In The Matrix Reloaded, he is merely the viewpoint character of a particularly poorly plotted video game.

The fight on the freeway looked quite fake, and not that interesting.

Pacing problems.

As I mentioned above, the fight scenes were interminable.

The rave went on too long - everyone in my row at the theater was looking at their watch. Not because we mind good dancing and good orgies, but because we did not know about the people pictured, nor did we care.

Whatever hack wrote the creator's soliloquy should be blacklisted from the business. It meandered, used words that the scriptwriter clearly did not understand, and was a waste of time and a pacing killer. The creator's speech could have been done in a tenth the time, and with more peril as \"Zion exists to give rebels a place to go so they do not destroy the Matrix. There are now too many people who do not believe; the matrix is in danger of crashing and killing every person hooked up to it. Further, the earth cannot support even the people in Zion, let alone these others. You may choose one person from Zion to form the new Zion, while I wipe the memories of the people currently in the Matrix.\"

Instead, we got a long, drawn out bunch of twaddle. If someone argues that it is deep, ask for a transcript, and try breaking down the sentences. Each one is too long by several clauses, and uses words with clearer, shorter synonyms.

So, in summary, not worth seeing.

I have seen the third one, and despite what a number of reviewers have said, skip it. It does not save this turkey.

The reviewers who feel that the second and third movies were \"deep\" should go see some truly deep movies. Perhaps read a book or two on rhetoric and debate, and perhaps a bit of philosophy. This movie is just not hard to understand, but it is hard to stomach.

Scott", "label":0 }, { "text":"This film aka \"the four hundred blows\" is a mistranslation.Faire les 400 coups\" means\"to live a wild life. As a French,I'm stunned when I see the popularity of this good ,but by no means outstanding film. 1.It's not the first film of the \"nouvelle vague\" move;check Agnes Varda's \"la pointe courte\",(1956)Alain Resnais's \"Hiroshima mon amour\"(1958),Claude Chabrol's \"le beau serge\"(1958) are anterior .Historically,\"les 400 coups \" comes after. 2.The \"nouvelle vague\" was sometimes ponderous and hard on their predecessors:Overnight,Julien Duvivier,Henri-George Clouzot,Claude Autant-Lara ,Yves all\u00e9gret and a lot of others were doomed to oblivion.THis selfishness and this contempt is typically \"nouvelle vague\".You 've never heard (or read) the great generation of the thirties (Renoir,Carn\u00e9,Gr\u00e9millon,Duvivier already,Feyder) laugh at ,say,Maurice Tourneur or Max Linder.So,thanks to Truffaut and co,some people will never discover some gems of the French fifties or forties(Duvuvier's \"sous le ciel de Paris\",Autant-Lara's \"douce\",Yves All\u00e9gret's \"une si jolie petite plage \" and \"man\u00e8ges\").THe novelle vague clique went as far as saying that William Wyler,Georges Stevens and Fred Zinemann were worthless! 3.\"Les 400 coups \" is technically rather disappointing:it's very academic ,the story is as linear as it can be,the teachers are caricatures,and the mother Claire Maurier delivers such memorable lines as (you've got to be a French circa 1960 to understand how ridiculous it is): Well ,your father 's got only his brevet (junior school diploma)and,as for me ,I've got only my high school diploma!You've got to know,that circa 1960,hardly 10%of the pupils had the HSD in France! Antoine Doinel should have been proud of his mother after all!She wants him to have diplomas,who can blame her? 4.Compared to the innovations of \"Hiroshima mon amour\",which features a brand new form,and a new \"fragmented \" content,\"les 400 coups \" pales into significance.Truffaut will master a new form only with the highly superior \"Jules and Jim\", helped by the incomparable Jeanne Moreau. 5.The interpretation is rather stiff;Jean-Pierre L\u00e9aud ,arguably listenable when dubbed in English ,is still decent,but he will soon degenerate into the most affected of his generation. 6.The topic=stolen childhood had better days,before (Julien Duvivier's \"Poil de carotte\" ,Luis Bunuel's \"los olvidados\") and will have after (Maurice Pialat's \"l'enfance nue\",Kenneth Loach's \"Kes\") I do not want to demean Truffaut,his movie is not bad,but,frankly,French movie buffs,prefer \"Jules and Jim\" \"l'enfant sauvage\" (a film honest ,true and commercially uncompromizing to a fault)\"l'argent de poche\"(as academic as \"400 coups\" but much more funny)or his nice Hitchcock pastiche \"vivement dimanche\".

", "label":0 }, { "text":"### Spoilers! ###

What is this movie offering? Out of control editing and cinematography that matches up with a terrible plot. It is sad to see Denzel Washington's talents go wasted in trashes like this.We are certainly hinted how the Mexicans cannot save themselves, outside forces needed, possibly militaristic, American ones. And we know the father is a shady character, he is a Mexican after all, unlike the wife who appreciates Creasey more because he is American. He killed all of them thinking she died. And did she? Of course, she won't, she is a young kid and you are not supposed to hurt the sensibilities of the Hollywood fan. The trade off scene was the only thing that prevents me from rating it below the \"implausibly successful\"(as some critic pointed out)'Taken'. The nausea of such movies will take time to go. It is in the rating of such movies that we have to doubt IMDb's credulity.7.7 for a movie like this and 7.0 for My Own Private Idaho. Go figure! Mine will be in the range of 3.5-4.0", "label":0 }, { "text":"This film is absolutely horrific. One of the worst movies I've ever seen. The story does nearly not exist, the characters are full of stereotypes and the Special-FX only make you laugh. The only remarkable thing about this movie is the guest appearance of the Rapper Coolio as some kind of police officer.

If this film was supposed to be a comedy I didn't quite get the point. If you want to watch this movie: please get yourself drunk first and then prepare for some good laughs...especially when the first Special-FX appear on the screen.

But if you like trash movies made on the cheap: this film is a must-see for you.", "label":0 }, { "text":"The worst movie I have seen in a while. Yeah its fun to fantasize, but if that is what you are looking for, I suggest you see Brewsters Millions. This was just terrible and corny and terrible at being corny. Unless you are five or like terrible movies, don't see this one.", "label":0 }, { "text":"This movie is truly brilliant. It ducks through banality to crap at such speed you don't even see good sense and common decency to mankind go whizzing past. But it doesn't stop there! This movie hits the bottom of the barrel so hard it bounces back to the point of ludicrous comedy: behold as Kor the Beergutted Conan wannabe with the over-abundance of neck hair struts his stuff swinging his sword like there's no tomorrow (and the way he swung it, I really am amazed there *was* a tomorrow for him, or at least, for his beer gut). Don't miss this movie, it's a fantastic romp through idiocy, and sheer bloody mindedness! And once you have finished watching this one, dry the tears of joy (or tears of frustration at such an inept attempt at storytelling) from your eyes because some stupid f00l gave these people another $5 to make a sequel!", "label":0 }, { "text":"This documentary (or I should say mockumentary) is the perfect example of how ridiculous can the people be, when they have full enthusiasm on something like that. Honestly, I hate Cryptozoology. It is unscience, it just destroy it. However, something positive in this was the visual effects (dragons were beautiful), but some of the information in this mockumentary was totally fake, and that is really disappointing because it was coming from scientists, so that is the reason why it deserves a 1 of 10 and not a 0. An example of false information would be the hydrogen idea: It is true that, according to Chemystry, the hydrogen is produced in the stomach but it is impossible to be produced in that proportions, so in that case, you need a good explanation of what really happens in a dragon stomach. There are a lot of substances whit hydrogen in the nature but not the necessary to aloud an animal like that to fly, and the hydrogen does not appear from nothing, so it is impossible. Anyway, there is actually something worse, the idea of the platinum: This element is more difficult to find than gold, and I cannot explain myself how dragons survive depending of that. It is ridiculous, they present dragons like creatures with low chances of conquering the planet Earth, but off course at least that explain why they got extincted. Probably cryptologist's call themselves scientists, but they are not. People like them say lies like in this mockumentary, and what is worst, some people buy them. But I do not think that a person who cares about Science would believe in dragons after watching this. Those fake scientists waste their time.", "label":0 }, { "text":"As someone who was staggered at the incredible visuals of \"Hero,\" I was anxious to see this film which was billed as being along the same lines, but better. It also featured an actress I like: Ziyi Zhang. Well, I was disappointed on both counts. I bought the DVD of this film sight-unseen, and that was a mistake. It was not better.

I realize these flying-through-the-air martial arts films are pure fantasy but this story is stretched so far past anything remotely believable it just made me shake my head in disappointing disbelief. A blind woman defeating hundreds of opponents? Sorry, that's going a little far. Also, the major male character 'Jin\" (Takeshi Kaneshiro) was so annoying with his dialog, stupid look on his face and stupid laugh, that he ruined the film, too.

Despite the wonderful colors and amazing action scenes, this story - to me - just didn't have an appeal to make it a movie worth owning. This film is no \"Hero\" of mine!", "label":0 }, { "text":"I have nothing against a fast-paced fright-flick, but this Stephen King-derived nonsense is too freshly-scrubbed, too bright and modern. The plot, about a new teenage boy in a small town who is a \"Sleepwalker\"--sort of a cross between a vampire and a werewolf--and who feeds on the blood of female virgins, begs for a more mysterious, ambiguous treatment. This thriller is given an inappropriately colorful look and feel, with hardly any atmosphere. The kids are predictably pretty and energetic, but the big plus is Alice Kridge as the boy's mother; Kridge, from \"Ghost Story\", never broke out of the filler-female mold, and it's a huge loss that she hasn't been used more. Her performance is creepy and intense, and gives hint that \"Sleepwalkers\" might've been a much better film with a different focus and tighter direction. It's too over-the-top and commercially-driven, with an uneven tone that swings wildly from thriller to comedy to drama. Stephen King pops up in a cameo, as do real-life directors John Landis and Tobe Hooper. *1\/2 from ****", "label":0 }, { "text":"I was one of those \"few Americans\" that grew up with all of Gerry Andersen's marvelous creations. Thunderbirds was a great series for the time and would have made a great action\/adventure movie if only the writers could have figured out where to target it.

I expected it to be a romp, but I did not expect it to aim at such a low age group. Like Lost in Space, this could have been both visually stunning and exciting. It should have focused on more action\/adventure and the goal of the original series... saving people in trouble.

Instead, it focused on Alan saving the day instead of his brothers (who were cast too young anyway vs. the original). The breakout part was Lady Penelope and Parker. I didn't care too much for the characters in the original, but I was grateful for them in the movie. They stole the show!

I always enjoyed Thunderbirds more for the high-tech than the stories, and even that did not get enough screen time as far as I was concerned. I would have enjoyed seeing more of the cool gadgets.

But then, I'm just a big kid... ;)", "label":0 }, { "text":"Hmm, Hip Hop music to a period western. Modern phrases like \"cool\" and too many others to keep track of. \"The sistahs are in tha house\"!?French manicured nails on hard riding girls. Microphone packs CLEARLY visible on Li'l Kim's back. I just can't go on with the litany of errors made by the director and editors.

The acting isn't as bad as I've ever seen. The women did well enough with a poor script.

It was weird hearing Louis Mandylor speaking in his native accent.

The girls are beautiful. The costumes fabulous albeit completely incorrect. I just can't believe they would dumb down what could have been a great story. I would feel offended to believe that this movie was loaded with such trappings that it would play well in the inner city.

", "label":0 }, { "text":"A truly muddled incomprehensible mess. Most things in the film look more or less like 1987, but then there are futuristic things just thrown in, like the policeman's ray gun. And that car! The director seemed to be in love with colored lights. The only really notable performance was the girl who played Valerie, but since there was no cast listing, I don't know which actress that was. This one is worth missing. Grade: F", "label":0 }, { "text":"This film was so amateurish I could hardly believe what I was seeing. It is shot on VIDEO! NOT film! I have not seen the likes of this since the early 70's, when late night networks showed movie of the week 'horror flicks' shot in......video. It looks like a bad soap opera, and that is paying it a compliment. Some of the actors give it their best shot. Michael Des Barres does okay with what he is given to do, which is to act like a sex addict out of control. I can't say that it is pleasant to watch.

Nastassja Kinski as the therapist sits in a chair for practically the entire film, with very little variation in camera angles. I can't fault her for someone else's poor blocking, but she is totally unbelievable in her role. Her little girl voice works against her here. And I consider myself a Nastassja Kinski fan. She is certainly ageless and exotic, but she's outside her range with this.

Alexandra Paul is pathetically overwrought. Every line she delivers is with three exclamation points. Someone must have directed her to scream at all costs. Why would Michael Des Barres want to have sex with such a raging shrew?

Finally, Rosanna Arquette as the sweet, maligned wife comes off okay, and probably the most believable of the bunch. But that is not saying much.

This has to be the worst film I have seen in years.", "label":0 }, { "text":"I am a huge, huge fan of John Cusack, Samuel L. Jackson, and Tony Shalhoub. I'm slightly less fond of Stephen King, but I like some of his work.

This said, I should have LOVED 1408.

***POSSIBLE SPOILERS AFTER THIS POINT****

I walked in eager. I walked out disappointed.

This is not the fault of the actors. Shalhoub and Jackson both have very small roles because the premise of the movie puts Cusack in the \"guy in a locked room\" scenario.

This wasn't a BAD movie, but I can't call it a good one either. It was a muddied mess that had moments of \"ouch, that's just WRONG,\" combined with moments of \"ouch, that's just painful,\" and moments of \"oh, now THAT'S just unfortunate\" with very little continuity-connectivity between them. Eislin's father shows up once, and there's no seeming connection to the rest of Mike's personal life that we see displayed while he tries to survive the room.

A previous commenter described the Olin\/Enslin argument as worth watching, and I very much agree. But other than that, aside from some clever musical cues (the room almost playfully torments Enslin a little bit, and gives him one chance to get out before upping the ante...at which point it gives him the one-hour countdown clock and the titular line from the Carpenters \"We've Only Just Begun.\") it's mostly \"stuff jumps out at you when you least expect it!\" type horror that was fun when I was fourteen, and surrounded by friends my age, clutching each other in the summer while Jason stalked Camp Crystal Lake.

The rest of the movie was \"let's make him relive some of his most painful experiences\" mindgaming, with \"let's animate the paintings in creepy ways\" clich\u00e9 cheesiness.

******END SPOILERS*****

I expected better from this movie with Stephen King's name attached to it, as well as the actors I mentioned above.

We never find out the origin of the evil. We never get to see the evil defeated, though we can presume maybe it was defeated.

And the ending was just a jarring \"What?!\" moment.

Wait for it to come on cable. I wouldn't have minded paying for it as a matin\u00e9e, but I'm feeling a bit shortchanged for having paid opening night prices for it.", "label":0 }, { "text":"\"House Of Evil\" aka \"Dance Of Death\" of 1968 is the first of four infamous and odd last movies starring the great Boris Karloff and directed by Jack Hill and Juan Ib\u00e1nez. Unlike \"Snake People\" (1971), \"The Incredible Invasion\" (also 1971) and \"The Fear Chamber\" (1972) which were all released after Karloff's death in 1969, \"House Of Evil\" was released in 1968, when Karloff was still alive. \"House Of Evil\" is regarded by many as the worst of these four movies, which are without doubt all rather crappy, but definitely have their entertainment value as the unintentional comedies they are. I personally prefer \"The Fear Chamber\" and \"House Of Evil\" over the other two, simply for the reason that the lack of the slightest logic is even more extreme, and since there is no suspense whatsoever in any of the movies, the lack of logic increases the unintentional fun factor.

The odd story (I don't know if I can really call it a 'plot') is set somewhere in Europe in the 19th century. After some girls are murdered and found with their eyes ripped out, Mathias Morteval (Karloff), an enthusiastic organ player, invites his few remaining relatives to his bizarre mansion, which is full of eerie toys. His kinfolk includes Lucy Durant (Julissa), who is engaged to one of the police inspectors investigating the murders.

I won't give away more of the story, but I can assure you that it is quite bizarre throughout the movie. There are some very funny moments, especially some things Karloff's character says. Boris Karloff was without any doubt one of the most brilliant and important icons of the Horror genre who ever lived, and he manages to award this odd movie with a tiny bit of his greatness, and although (or because) his role is (due to a poor script and and directing) in no way scary, it looks like he deliberately plays it with a sense of humor. Just like in the movie's successors \"Snake People\" and \"The Fear Chamber\", the female lead is once again played by Julissa.

Most of he supporting performances are hilariously amateurish, the cinematography is terrible and the locations and sceneries are beneath contempt. The storyline lacks the least bit of logic and the dialogue often does not make the slightest sense. It is the poor story and dialogue, however, that makes this movie so entertaining to watch. \"House Of Evil\" may be an extremely crappy attempt of a movie, but it is certainly as (unintentionally) funny as it is bad. Fans of Ed Wood's movies should be very amused, I personally found it hilarious. Crappy but entertaining nevertheless, and definitely worth watching since there's Boris Karloff in it and due to the fun factor. 3\/10", "label":0 }, { "text":"I almost drowned in CHEESE watching this movie. In fact I could not even finish it. I want my money back. One more of Hollywood's feeble attempts to come up with a new idea. Good thing I keep a bowl of lemons in the fridge. Just in case. They should of gave Nic Cage a hat and a bull-whip. Swashbucklin'. Cage's performance in Raising Arizona or Leaving Las Vegas beats this \"lemon\". People who are completely and totally marketed(and most of them are) should love this movie. If this film had been animated, I would have taken it more seriously. I would of rather paid to see a completely stupid movie that did not try to hide it. In my opinion, this was a incredibly stupid movie and it made a even more incredibly sad attempt to try and hide that FACT.

All the SHEEP seem to love it though.", "label":0 }, { "text":"Primal Species comes from B Movie legend Roger Corman and as such everybody who watches this needs to realise that this is a Low Budget B Movie and it knows it.

A bunch of terrorists high-jack a Lorry and kill an entire army doing so, they believe it to hold uranium, but No..... It contains two Dino's with a taste for Human Flesh... Then a Crack team, who might as well be called Delta Force get called in.

OK, This ain't Jurassic Park, and Yes The Dino's are never clearly seen because it's obviously a guy in a Costume that's not too dissimilar to Barney the Dinosaur - only slightly LESS terrifying,but come on guys this had about 1% of Jurassic Park's Budget and as such does what it can.

Does this deserve to be in the bottom 100?....HELL NO!!! I think the nearly half of voters who give this a 1 - are being WAY WAY overly harsh, it's much closer to a 4... it's actually a lot better than a whole host of other movies not in the Bottom 100, and has a similar production value to a Sci-Fi Channel Production. (again Movies which get a overly harsh time from critics here on IMDb)

The acting is as expected in a B Movie although none of the actors take it that seriously, neither does the script

All in All it's an enjoyable B Movie - Not for Film Snobs

** out of *****", "label":0 }, { "text":"I was looking forward to seeing Amanda Peet in another good role after recently renting \"The Whole Nine Yards\"--easily worth the rental, by the way--but this wasn't it.

I remembered that the trailer for \"Whipped\" was somewhat funny and the plot about three oversexed New Yorker twenty somethings all falling for and getting manipulated by the charming Ms. Peet was worth a shot. So, I convinced two friends one afternoon to come see this movie with me. This review is my penance.

In the first act we have the three lead studs, recounting their conquests in a diner. What should have been funny, or at least telling, comes out rather pathetic. Was there any redeeming quality about the three men and their encounters that we were supposed to get out of this?

[And while I don't mind movies that are cheerfully vulgar, I kept wondering why no one in the diner turned around when the studs talk loudly about sexual and scatalogical details. They do this every week at the same diner? You would think someone would complain. Oh, wait, I forgot: two other diners do notice in one scene. But this is just a setup for a punchline. Everyone else in the diner is deaf.]

The second act has the three studs all falling for Mia and then developing brain rot, failing to ask each other or her about what's really happening between the four of them. And I kept asking myself, as the studs keep acting like they have been, what redeeming qualities does she see in them to stick with them longer than one date? Does she start out with brain rot? I kept hoping for Eric's character, the married buddy, to become something more than simply the annoying punching bag in this act. His role is clearly to dispense advice on being married. But why do they even bother to talk to him when they won't talk to each other? And his advice? Sheeesh!

The third act resolves what plot there is but by this time I was looking at my watch. My friends told me they were still waiting for something genuinely funny to happen and I had to agree. The Scene That Explains All was adequate and managed to explain all of the questions and mysterious dialogue bits throughout the movie but we were just checking them off a list. (\"Oh, okay, that's why Brad had that happen and Jonathan says this and...\")

What laughs we made were from the stupidity of the plot than at anything amusing. Even the outtakes during the credits weren't very funny. Ultimately I was left with nothing except a desire to warn people away from this movie.

Rating: 3", "label":0 }, { "text":"Carrie Fisher has stated on more than one occasion that she made this movie during a period of her life when she had a heavy cocaine problem, and she doesn't remember very much of it. That would explain why she made this film, but it doesn't explain why anyone else in the cast or crew did; I can't believe that EVERYBODY had a coke problem. This has to be one of the absolute worst movies ever made, and that's saying something. The blame can't be laid at the feet of \"director\" Tim Kincaid or \"writer\" Buddy Giovinazzo, as it is obvious that this picture wasn't written or directed by anyone. Apparently it just spontaneously came together, as there is little evidence of coherency, consistency, design, plot, sense, intelligence or anything else. What is really amazing is that there were some actual professionals who were involved in this glop. Co-star Robert Joy has done good work in other films, and composer Jimmie Haskell and cinematographer Arthur Marks are both industry veterans, Marks also having been a director, and not a bad one. Why they got involved in this steaming pile of offal is beyond comprehension. Tim Kincaid, the alleged \"director\", has made quite a few low-rent sci-fi and horror films, and, having seen most of them, I can tell you that not a one of them is any good. This one, though, is by far the worst thing he's ever done, and that is a major accomplishment on his part. Everything, absolutely EVERYTHING, about this movie is 12th-rate--at best. The cinematography is terrible, the acting is laughable, the \"special effects\" make \"Plan 9 From Outer Space\" look like \"Spider-Man\", the story is trite, derivative and stupid. Don't waste your time even looking at the video box cover, let alone renting it. A complete, utter, annoying, total dud.", "label":0 }, { "text":"I recently watched this film at the 30'Th Gothenburg Film Festival, and to be honest it was on of the worst films I've ever had the misfortune to watch. Don't get me wrong, there are the funny and entertaining bad films (e.g \"Manos \u0096 Hands of fate\") and then there are the awful bad films. (This one falls into the latter category). The cinematography was unbelievable, and not in a good way. It felt like the cameraman deliberately kept everything out of focus (with the exception of a gratuitous nipple shot), the lighting was something between \"one guy running around with a light bulb\" and \"non existing\". The actors were as bad as soap actors but not as bad as porn actors, and gave the impression that every line came as a total surprise to them. The only redeeming feature was the look of the masked killer, a classic look a la Jason Vorhees from \"Friday the 13'Th\". The Plot was extremely poor, and the ending even worse. I would only recommend this movie to anyone needing an example of how a horror film is not supposed be look like, or maybe an insomniac needing sleep.", "label":0 }, { "text":"A youth gets a bad hair day, goes out on a hill, and falls into where he can't escape. Then, he meets MR. ATLAS, a \"mythological\" dude from 2,000 years ago as his very best friend, and an Arnold Schwarzenegger look-and-sound-alike. His Herculean strength helps the boy out of danger, and later adjusts to modern life. So what's the big deal? This is the lousiest idea for a \"family\" outing! Either way, this one shouldn't have been attempted at all, really! Our fictional character of might and brawn is nothing more than a typical stranger who appears ordinary to the rest of the universe. To add to the blasphemy is the lack of anything new or appealing, and before you know it, there is some attempted violence that doesn't qualify this as \"family\" entertainment. The scene where Atlas complains of his undershorts is gaggling, though. Just spend a nice, quiet afternoon in the park for a change.", "label":0 }, { "text":"MAKE A 0 YOU SACKS OF German STAPLES! well, when i started to watch this sack of crud, it was a Sunday afternoon, and i was just looking for stuff on show time. I was introduced to a hot naked babe, and like any guy (im a guy, the e-mail is my sisters...) i was happy. But then they threw it all to the dogs, spit on it, lit it on fire, and peed it out. You wanna know how? THE DUMB CHICK TALKED! The dialog throughout the film was just horrible. sounded like something my 2nd grade bro could wright. The violence was nice for some scenes, but some was just totally moronic. The scene in the pit were he gives the guy the knife... dumb moron! To sum it up, this is pure cinema barf drenched in the chocolate syrup known as nudity, and topped with the cherry of horrible acting as only a porn star could deliver.", "label":0 }, { "text":"This movie has not aged well. Maybe it's just the impact and artful characterization, acting, and directing that we've seen with The Sopranos, but I just viewed Prizzi's Honor for the first time, on DVD, alone.

The experience of watching it with an audience 24 years ago must have been quite different, but I have to say, I was just appalled at the ending. Not just the violence of it, but the mere idea that somehow this would be a satisfying ending.

I enjoy a good shocker, but this seemed so out of character... Also, when was this move supposed to be set? The cars all seemed like they were from the 1960s, and yet the World Trade Center towers {completed in 1973} were clearly visible in many cityscape scenes.

Another way in which the film has aged poorly is the mere idea that a passenger could travel coast to coast with a knife on his person.

Somehow, mid-1980s audiences found this film charming and funny. Mid-eighties, meet the late oughts: only of you can live.", "label":0 }, { "text":"I am a great fan of David Lynch and have everything that he's made on DVD except for Hotel Room & the 2 hour Twin Peaks movie. So, when I found out about this, I immediately grabbed it and...and...what IS this? It's a bunch of crudely drawn black and white cartoons that are loud and foul mouthed and unfunny. Maybe I don't know what's good, but maybe this is just a bunch of crap that was foisted on the public under the name of David Lynch to make a few bucks, too. Let me make it clear that I didn't care about the foul language part but had to keep adjusting the sound because my neighbors might have. All in all this is a highly disappointing release and may well have just been left in the deluxe box set as a curiosity. I highly recommend you don't spend your money on this. 2 out of 10.", "label":0 }, { "text":"Whoever made this nonsense completely missed the point. Jane is a silly comic strip to titillate without being sleazy.

This giant mess tries to be funny and exciting but is just a shambles. There is not one decent performance in it..even the usually reliable Jasper Carrott is painfully unfunny.

The American bloke whose name escapes me is just as rubbiush as he was in flash gordon.

Maud Adams tries as a villianess but she is a bit long in the tooth for this type of thing. All of these things would not matter if the girl was sexy or funny or likable.She is not. Kirsten Holmes faded into obscurity after this and so much the better.

I've flushed more entertaining things than this down the toilet. Avoid", "label":0 }, { "text":"Remember the good ol' animated batman show from the 90's? The one that people praised? The one that people of all ages could all appreciate? The one that showed batman as a real detective instead of the Hulk in a bat suit? The one that had villains you could relate to? The one that had villains with real motives?

Well clearly, Warner Bros. doesn't. Hence this dreck.

Honestly, do these people know anything about batman? Have they even looked at a batman comic before? Do they know Batman's meant to be a 'detective'? Putting together 2 clues does not make you a detective! That makes you a slightly intelligent monkey!

This is the basic layout for an episode:

Penguin steals something. 'Opening credits'. Batman finds dead giveaway of where he is. Batman goes there and get's into trouble. Commercial. Batman finds obvious\/ stupid way out of it. Penguin escapes. Penguin does something obvious again. Batman follows. They do kung-fu (by the way everyone, and i mean EVERYONE know's kung-fu for some reason). Batman punch's penguin. he get's knocked out. goes to arkham. (Note: it's usually a different villain every episode)

Well as you may have noticed from that, Batman's not a great detective. \"Joker left this piece of cotton candy on the ground, maybe he's at the old amusement park\"! Yeah maybe, he was there the last 6 times.

And I've already mentioned this but, EVERYONE KNOWS KUNG-FU! EVEN PENGUIN! what where they thinking? (probably because it's from the people who made that Jackie Chan animated series)

What's really upsetting is that the show is just action. No smarts. None. If batman needs think, he'll use technology, then do some kung-fu.

But hey, let's not forget the villains. Afterall, what would batman be without his rogues gallery?

Well first off, I gotta say, kudos for originality. I don't think other batman media would have envisioned joker and a dread-locked monkey man, riddler like an emo, and poison ivy as a minor (which is kind of confusing when you think about, isn't her sexuality meant to be her main strength?)

What's even more crap however is that, every character is now a 2-Dimensional, stereotypical crook.

E.G.

Killer Croc wants to flood Gotham for no reason.

Man-Bat is a power hungry mad scientist who is obsessed with bats for some unexplained reason.

Penguin just wants to steal everything. For no reason.

noticing a pattern here?

But the most insulting has got to be Mr Freeze.

Do you remember the Emmy award winning 'Heart of Ice' episode from Batman: The Animated Series? The one that gave Mr Freeze motives for his crimes? The episode that was so good that it was used in the comics over his original back story (mad scientist)? The one that made him a victim, with a goal? Hell, even Batman & Robin acknowledged that, using that as Mr Freezes origin in that P.O.S. movie.

Well this series says \"F#ck that\" and makes Mr Freeze a jewelry robber before his accident, with only wealth in his mind, then gets frozen and gives him the power to make things cold. He then continues to steal jewels for no reason, while saying sh!t lines like \"Have an ice day\".

Maybe they did watch Batman &Robin after all.

But hey, look on the bright side. This series makes you feel nothing for the villains so that means that you're a good person. Good for you.", "label":0 }, { "text":"When I saw the previews for this movie, I didn't expect much to begin with - around a second rate teen horror movie. But wow, this movie was absolutely awful. And that's being generous.

First of all, the casting for the movie was terrible. You feel no sympathy (or for that matter any morbid feeling) for the characters. The acting was so terrible that I was just simply waiting and hoping for the God-awful thing to end.

Secondly, there are points in the movie that had absolutely no relation to the plot whatsoever. Can somebody please explain to me why the girlish-looking boy starts screaming \"PANCAKES!!!\" at the top of his lungs while going into Jackie Chan moves I've never seen before, and even further biting the guy who has the virus? Why does the father of the kid proceed to get angry with the virus-infected guy, and go on a redneck hunting spree to find him? I was left with a feeling of such confusion and utter disbelief that I literally said out loud, \"Where the hell did that come from?\"

I just simply couldn't believe what I had seen. I really thought I had seen some bad movies, but I have to say that Cabin Fever tops them all. This movie made me want to puke and then puke again. Then blow my brains out.

Please, save yourself an hour and a half and do something more productive. Watching grass grow, perhaps, is a proper alternative.", "label":0 }, { "text":"The films of UPA are surprisingly well rated on IMDb despite the fact that the animation quality is light-years behind that of Looney Toons, Disney and MGM at their prime. Sadly, due to rising costs in making pretty cartoons with high frame-rates and lovely backgrounds, the UPA style (which debuted about 1950) began to dominate in the late 50s and 60s. After all, the films were dirt cheap to make and they'd received several Oscars to \"prove\" that the cartoons were now mainstream. So as a result, lousy animation was becoming the norm and this trend wasn't reversed until the 1980s.

This UPA film is one of the early ones. The characters are very simply drawn (any simpler and they would have used stick figures) and the backgrounds were ugly--simple line drawings with colors added in a very slap-dash manner (often with a sponge and rarely completely filling the items).

As for the story, it's a jive story with a strong jazz style attitude. Some will love this, others will just find it very, very loud. It's the traditional \"Frankie and Johnny\" story and because of the shootings and all, it's probably not a great film for the kids. Heck, because of the animation and jazz, it's not a particularly good film for me, either! Some will read my review and no doubt think I am a crank (which I am, to a degree). However, I love animated films and a little of this minimalistic UPA style goes a very, very long way and you can't seriously consider them great works of art--just very, very quickly made cartoons. Ignore the Oscars and try watching some classic cartoons or something--anything else!", "label":0 }, { "text":"It wasn't notable enough to be truly horrible, it was just incredibly lame. The story was not half bad, but the execution was just horrendous.

To start with, it moved too fast for us to emotionally get involved with what was going on. It was just paced badly. The dialog was so utterly un-sparkling, just flat and boring.

And the characters, cripes almightly, they made Deadpool boring. How the hell do you make Deadpool boring? He wasn't even funny. He wasn't crazy. He was just an annoying guy with a couple of swords he did not even know how to use properly.

Gambit was boring. And since when did he have telekenisis to make the cards just float and fly around, or super strength to leap hundreds of feet into the air? And what the heck was up with all the stupid helicopter moves? I mean, we know they are mutants, but they still exist within the realm of physics. A round bo staff is not a helicopter blade, you cannot fly by twirling super-duper fast. Which Gambit wouldn't be able to do anyway. Nor Deadpool, especially when using it as a replacement for real fight choreography.

And this film stands as proof that wire work should only be used by fight coordinators who know WTH they are doing, and know better than to use it in every. single. shot. as a replacement for real fight choreography.

Three of the most physical fighters in Marvel comics (Logan, Creed, and Wilson), and some of the worst fight choreography I have ever seen in recent film memory. It was as if the stunt coordinator just shrugged his shoulders and left it all up to the special effects guys.

And then you had the break out, with all these mutants who did nothing. Even mutants who had been shown in their cells to have powers (nice to see a Quicksilver nod), did f-all when they got out. Only Emma-really-lame-for-this-film-Frost and Cyclops did something.

And since when was Logan so pretty? And the stupid, \"The bullet will take his memory away.\" Don't you think Xavier and the X-Men would have noticed the big freaking bullet holes in his adamantium skull when they X-rayed him in X1? I felt sorry for Liev Schrieber man, he actually brought in a good Sabretooth considering the script. He made one of Marvel's more simple super villains feel real. But he could not save the film from it's own epic lameness.

Seriously, this was \"Daredevil\" level of suck. Decent story, good actors, absolutely horrible execution.", "label":0 }, { "text":"This movie is mostly chase scenes and special effects. It is very weak on plot. Most of the computer talk was just mumbo-jumbo. I watched this because I was a big fan of the original War Games movie which was based mostly on computer fact and real computer terminology. This movie had none of that. Most of the computer scenes were not only impossible and highly unrealistic of real computers and networks, but just lame. It is like it was written by somebody who has no comprehension of real computers.

The ripley game was lame and was essentially just an arcade game. No real hacking, so what was the point? Movie was boring. Lame sequel.", "label":0 }, { "text":"I passed this one on the shelf a few times, looking at the myriad of huge positive quotes (with tiny names) on the front and wondering if I was missing something. The other night it was on one of the movie channels, and I tuned in. I missed nothing.

I must admit that I only watched the first 30 minutes. Perhaps the movie becomes comedy gold after that. Given the slow, plodding pace and complete lack of laughter in the first 30, I seriously doubt it.

The lead character starts the movie in classic \"I don't know how to start my movie\" style, with a long, tiresome monologue about how he doesn't want to get sued. It's not funny. It's not even remotely funny. Others have commented on the \"San Franclisco\" bit; ok, a small chuckle the first time he says it. Then he grinds it into the ground, smiling at the camera like it's the funniest thing ever written. Get over yourself. In fact, I think the talking to the camera bit was the reason I instantly disliked the film. Don't assume familiarity with your audience. Familiarity is _earned_, much like respect.

From there you basically have a fat whiny guy talking in a very effeminate way about his dull life as a temp. I didn't realize he's Jewish; it's a discredit to Jewish comedians to call this \"Jewish humor\". It's just unfunny humor. Just because you're Jewish doesn't mean you have a knack for the comedy. A WASP, Spalding Gray, does a better job of self-analytical humor than this guy, so obviously it's not about ethnicity.

If one of the bits I had seen had worked, I might have stuck around. But some schlub going on about how much he loves the names of the women he works with, then listing them for five long minutes, doesn't make a great movie.

This is an obvious attempt to capitalize on the popularity of \"Office Space\". Don't let yourself become a victim of target marketing. Just say no to \"Haiku Tunnel\".", "label":0 }, { "text":"This is one of the worst films I've ever seen. I looked into it mainly out of a morbid curiosity since I loved the novel, and I wish I hadn't. I turned it off after a little less than an hour, though I wanted to turn it off after five minutes. I wish I had. It disregards the novel a lot and changes all sorts of factors. Unless the film managed to redeem itself in the last 50 or so minutes (which would be impossible) I would in no way recommend this. Its an insult to one of the greatest writers of the 20th century. I don't think, as many people say that it is, that \"The Bell Jar\" is necessarily unfilmable, but this particular rendition could have been done without. I'd almost like to see this one day in the hands of a director and screenwriter who can do it justice.", "label":0 }, { "text":"Jack Black can usually make me snicker simply by breathing, but in this movie...

Besides the direction, writing, lack of plot, constant mugging (aided and abetted by constant straight-on camera shots), and a .050 joke batting average, it was still an utter waste of time. The idea sounds promising, but what potential there was gets wasted with an utter lack of comedy and some of the worst direction I've seen this side of you-tube.

I kept hearing that this film portrayed Mexicans very negatively. While that's no doubt true, I really don't think this movie is meant to be racist. I think that's it's more a result of a \"creative\" team desperately trying to find something funny in this mess. You can almost hear them crying out from behind the camera: \"Hey look, it's an ugly Mexican! Laugh, people! Please, for the love of all things tenacious, LAUGH!\"

But put the racism charges aside. When you get down to it, it's anyone who plunked down good money and time to watch this pile of leftover refried beans that should be offended, IMO.", "label":0 }, { "text":"When thinking of the revelation that the main character in \"Bubble\" comes to at films end, I am reminded of last years \"Machinist\" with Christian Bale. The only difference between the two films is the literal physical weight of the characters.

An understated, yet entirely realistic portrayal of small town life. The title is cause for contemplation. Perhaps, we, the audience are the ones in the \"Bubble\" as we are given no payoffs in the films slim 90 minute running time. Audience reactions were often smug and judgmental, clearly indicating how detached people can be from seeing any thread of humanity in characters so foreign to themselves. These characters are the ones people refer to as those that put George W. back in office for a second term.

It's sobering to consider how reality television has spoiled our sense of reality when watching an audience jump to their feet for the exit as soon as the credits role. This film has it's merits, and is deserving of consideration for the things it doesn't say outright.", "label":0 }, { "text":"I picked this movie up to replace the dismal choice of daytime television and to go with my thirst for femme fatales. Well, for the previous, it is better than daytime television....though I'm not sure how much.

It does have its points but after about the first 20-30 minutes, the good points pan out and one comes to the conclusion that they are watching a made for TV movie that was put together with not much time to make something that will hold together. In short, a terrible Sci Fi channel type movie.

It has its points such as the future is dirty, like \"Blade Runner\" showed ..... of course, this is no \"Blade Runner\". The Captain looks, sort of feels like actor Robert Forster, the kind of person one might want to be around.

But unfortunately, it rather ends up feeling like a bad \"Andromeda\" rehash where the muscle of the crew consists of poor copies of the smart gunners of \"Aliens\", the mystic is vampire Willow sexually intensified, and the new Captain might as well be like Jan-Michael Vincent running around on \"Danger Island\" in the \"Banana Splits\"; he only put on the uniform with the epaulets; he's got very little right to it. All of them running around with their version of force lances inside a ship that looks very much like the 'Eureka Maru' as they are fighting a class of 'people' who occupy the universe and are broken up into several different tribes or sects of different evolutionary qualities.......just like the Nietzcheans in \"Andromeda\".

It might have a redeeming feature with Michael Ironside, but after a while, one gets the feeling that he took the part as a hoot! He probably had fun doing it, but it doesn't help the movie much.

It's ..... \"okay\". Okay in the way that one might watch the DVD once without turning it off; if they watch it with commercials, they will probably change the channel. One might watch it once .......... but a few hours later, be wondering what it was that made them watch it all.

For me, that was the femme fatale ............. when she was fighting.", "label":0 }, { "text":"So there's an old security guard and a guy who dies and then there's KEVIN, the world's biggest wuss. Kevin wants to impress his incredibly insensitive, bratty, and virginal girlfriend AMY. As he returns from work to... a random house... he finds his \"friends,\" the sexually confusing red-shorted KYLE and the truly revolting sluttish DAPHNE. They are soon joined by Daphne's boyfriend, the trigger-happy sex-crazed macho lunkhead NICK. And there's the title creatures, horrid little dogeared puppets who kill people by giving them their heart's desire. Kyle's heart's desire is to mate with a creepy, yucky woman in spandex. Nick's heart's desire is to throw grenades in a grade school cafeteria-- I mean nightclub. Kevin's heart's desire is to beat up a skinny thug with nunchucks. Amy's heart's desire is to be a disgusting slut. Daphne's already a disgusting slut, so she doesn't have a heart's desire. Along the way a truly hideous band sings a truly odd song. The hobgoblins randomly go back to where they came from then blow up. \"Citizen Kane\" cannot hold a candle to this true masterpiece of American cinema.", "label":0 }, { "text":"I'd have to admit that the draw of this movie is director Eduardo Sanchez, who helmed the wildly popular and successful Blair Witch Project. Besides, this is an alien movie of sorts, and sounded something like Stephen King's Dreamcatchers, one of those movies that the critics hated, but I enjoyed.

But nope, unfortunately I felt that for the most parts, Altered is a waste of time, so I shall keep this review short. Premises are always promising, and Altered's no different. It tells the story of a group of men who experienced strange encounters when they were younger, and as usual, others will take you as a nutcase imagining stuff. Stories about alien abduction always have to deal with probes into the orifices, so I shall not go into details, but you get the drift it's damn uncomfortable, and something you'd like to forget.

What if you're given a chance for revenge? That is, you manage to successfully hunt down, and capture one alive. What will you do? For this group, it's a gleeful payback time, or so they thought. And this is where the movie begins to develop into a snoozefest, with bad, uninspiring dialogue, and even worse acting. Even if it's low budgeted, there aren't many redeeming factors, be it strength of storyline, or any help from the cast in making their characters just a tad interesting. It's the standard cardboard fare from a vanilla plain script, coupled with some cheap scare tactics employed.

What's good though is the makeup. Much effort has been put into making some of the stuff which I shan't mention, because that'll spoil just the few elements of what makes this movie tolerable. Other than that, there are the usual cheap special effects, blood and gory moments which is nothing you've never seen before.

Watch this only as a last resort. Compared to the other monster movie in town - Feast, this one is less fun, and takes itself too seriously. Bogged down by an uninspiring direction, you've been warned.", "label":0 }, { "text":"If you are looking for eye candy, you may enjoy Sky Captain. Sky Captain is just a video game injected with live performers. The visials are nice and interesting to look at during the entire movie. Now, saying that, the visuals are the ONLY thing good in Sky Captain.

After ten minutes, I knew I was watching one of the worse movies of all time. I was hoping this movie would get better, but it never achieved any degree of interest. After thirty minutes, the urge to walk out kept growing and growing. Now, I own over 2000 movies and have seen probably five times that number. Yet, this is only the second movie I felt like walking out of my entire life.

Acting---there is none. The three main performers are pitiful. Jude Law (also in the other movie I wanted to walk out on) is just awful in the title role. I would rather sit through Ben Affleck in Gigli than watch Law again.

Paltrow tries SO hard to be campy, that it backfires in her face. The last article I had read said that Paltrow is thinking of staying home and being a mother rather than acting. After this performance, I would applaud that decision.

Story---Soap operas are better written. The story behind Sky Captain starts out bad and gets continually worse as it progresses.

Directing---none. Everything was put into the special effects that story, acting and directing suffer greatly. Even \"the Phantom Menace\" had better acting and that is NOT saying a great deal.

I would have to give this movie a \"0\" out of \"10\". Avoid paying theatre prices and wait until video release.", "label":0 }, { "text":"This one is bad. A really bad and boring crime movie that has nothing out of the ordinary in it. A series of crimes, the killer that you do not see throughout the whole movie, the classic investigations. And also the classic tale about a cop who figures out what's going on and isn't believed by anyone, so he has to fight by himself to reveal the truth. Not too much in this one. Vote: 4 out of 10.", "label":0 }, { "text":"C'mon guys some previous reviewers have nearly written a novel commenting on this episode. It's just an old 60's TV show ! This episode of Star Trek is notable because of the most serious babe (Yeoman Barrow's) ever used on Star Trek and the fact that it was filmed in a real outdoor location. Unlike the TNG and Voyager series which were totally confined to sound stages.

This use of an outdoor location (and babe) gives proper depth and an almost film like quality to a quite ordinary episode of this now dated and very familiar show.

Except a few notable exceptions i.e \"The city on the edge of forever\" , \"assignment Earth\" and \"Tomorrow is Yesterday\" The old series of Star Trek needs to be seriously moth-balled and put out of it's boring misery. Half a dozen good episodes from 79 is quite a poor batting average.

This is typical of the boring stuff Gene Roddenberry produced back then actually, contrary to popular belief where some people worshiped the ground he walked on, he actually made a LOT of rubbish! He doesn't deserve to be spoken of in the same breath as Irwin Allen for example.

Just look at the set of the bridge of the Enterprise from a modern point of view. They used wobbly plywood for the floor, cafeteria chairs with plastic backs and cheap cardboard above the instrument panels. You can clearly see the folds in the paper ! Every expense spared or what !", "label":0 }, { "text":"Remember the chain-smoking channeler exposed on 60 Minutes a few years ago? This is her. Lots of folks reviewed this movie without checking the bona fides of the filmmakers. The producers have been using phony \"word of mouth\" promotions very successfully without disclosing the financial and philosophical underpinnings for this piece of marketing tripe. If you believe in channeling, reincarnation, new age dreck and day-old baloney, this film is for you. If you want a discussion of quantum physics or reality, look elsewhere. The purpose of this movie is to convince you that Ramtha isn't a wacko, so you'll give her a bunch of your money. If you can tiptoe through the Ramtha website without howling in disbelief, then maybe you'll think the bucks you dropped on this infomercial for insanity was well spent. ", "label":0 }, { "text":"I saw this movie on Mystery Science Theater 300. It sucked so much. If I hadn't been watching it on MST3K, I probably would've thrown it out the window. The characters were incredibly lame and it didn't provide much of a plot in my opinion.", "label":0 }, { "text":"I didn't have HUGE expectations for this film when renting it for $1 at the video store, but the box at least showed a little promise with its \"killer cut\" of \"more gore! more sex!\" Can't go wrong there! Well... needless to say, the box is a fraud. How in the hades did actors and actresses of this caliber sign on for a film this low?

It all opens with a drunken college girl walking out of a frat house or some other building like that and saying some useless crap to her boyfriend (?) as a camera on a bad steadicam follows her. Then she gets chased by some dude in a clear plastic mask and grabbed by another. They slit her wrists for no real reason and you can see when they \"cut\" her that someone drew the cuts with what looks like a crayon.

From there, repeat the same theme of the girl getting chased\/killed unbrutally by two guys for about 84 more minutes. Add in one tit shot. That is Soul Survivors.

I wouldn't have had a problem with this film had the box not frauded me into renting the flick. If I rent a bad film that claims to have more violence and sex.... I want more violence and sex! One full frontal shot in 85 minutes from a chick who is clearly androginous and gore that would not scare a child does not cut it. If this is the Killer Cut, what is the Theatrical Cut?! Of course, I doubt this garbage was actually put into theaters in the first place. Shame on the actors in this film. I could see them making their screen debuts in here because they have not done anything before, but they were all established before this was released. I don't know if it was filmed before they had all been established and the studio sat on the film until they were semi-big names or not. But what i want to know is.... they really spent $14 million on this film?!", "label":0 }, { "text":"The basic plot in this movie isn't bad. A lady makes it big and comes back to her alma mater to be adored. But, despite good acting by Robert Young and Eve Arden, the movie is a mess. The blame for this I place on either Joan Crawford or the director or both, as her performance is just awful. Instead of being a real person, she does a wonderful impersonation of a deer caught in the headlights. In other words, she stares off into space and has a \"golly I am SOOOO stunned\" expression. After just a few minutes it really became annoying for me. Now this is certainly not the only Crawford film I dislike for her performance, as she had done more than her share of overacting--in films such as JOHNNY GUITAR or many of her later films, such as BERSERK! My advice is to try a different Crawford film--there certainly were better.", "label":0 }, { "text":"Beautiful attracts excellent idea, but ruined with a bad selection of the actors. The main character is a loser and his woman friend and his friend upset viewers. Apart from the first episode all the other become more boring and boring. First, it considers it illogical behavior. No one normal would not behave the way the main character behaves. It all represents a typical Halmark way to endear viewers to the reduced amount of intelligence. Does such a scenario, or the casting director and destroy this question is on Halmark producers. Cat is the main character is wonderful. The main character behaves according to his friend selfish.", "label":0 }, { "text":"I was browsing through Netflix and stumbled upon this movie. Having fond memories of the book as a child, I decided to check this out. This is a movie that you should really pass on.

It is just not worth seeing. It is very boring and uninteresting. I feel that it would even be that way to small children. It has no magic that the book contains. This movie is not horrible, but you will just find yourself not caring ten minutes into it.

There are moments that just come off as weird. The witch character is not very good. The family acts like it is no big deal that these odd things are happening. I know this is a kids movie, so as an older audience we must not look too deeply in things, but the whole movie just feels like it was written and produced by people who have never had any movie making experience before.

The DVD that I had began skipping in the final moments of the film, and instead of trying to fix it I just turned it off and sent it back to Netflix. I really didn't care how it finished. Skip this film and read the book instead.", "label":0 }, { "text":"Lethargic direction ruins an otherwise compelling period story that stars the wondrous Zhang Ziyi, in an excellent role as a woman who joins an extremist group in 1928 China, just prior to the Japanese invasion of Manchuria, and reunites with a former lover who is now working for Japan. Every bit of drama and forward motion of the story is sucked dry by director Ye Lou's somnambulist directorial style. Characters stand still staring at each other for long minutes, saying nothing, hand-held cameras hold forever on faces showing interminable reactions way longer than they need to, edits repeat the same reaction is triple redundancy. We know nothing about the characters as the story begins and are given little new information as the story progresses, only silence and static shots of lovers who don't speak, who interaction through silent dances but share no apparent emotional intimacy. A very sleep inducing film.", "label":0 }, { "text":"I'm Irish and I've been living in Denmark for a while so I was looking forward to going home last week so I could see Intermission. And I will go on record as saying:

THIS FILM IS AWFUL.

It is not quite as bad a something like \"The Most Fertile Man in Ireland\" but it definitely does not stand up there with other Irish films such as The Commitments, I Went Down or Michael Collins.

Some aspects of the film are actually quite funny, such as Colm Meaneys American-style garda. But the film itself is shot completely wrong. The bouncing around of the camera and the constant zoom-in, zoom-out tries to give the film an edgy look as if it were a gritty drama. But it isn't. This is an Irish Lock, Stock and Two Smoking Barrels and it should be shot like this. It should have smooth movement from one shot to the next. The film just looks sloppy and thrown together.

The performances are okay, given the awful script. A friend of mine said to me like it was like they just followed Colin Farrell around Dublin for a week. He gives a decent display as a Dublin Dirtbag, but it no way compares to his performances in Minority Report, Tigerland or Phone Booth. The best performance was from Dierdre O'Kane who plays a sexually frustrated middle-aged woman who has just been dumped by her bank manager husband for a younger woman. I think she should leave her god-awful stand-up and focus more on her acting.

All in all, its does in no way live up to the expectations put on it by the Irish press or deserve to be even considered as one of the best Irish films ever.

I'm expecting a backlash from these comments because most people I have spoken to have said it was great. But before you reply, ask yourself: Would think so highly of this movie if it was set in England or America?", "label":0 }, { "text":"I really hate this retarded show, it SUCKS! big time, and personally I think it is insulting to fairy kind (if you believe in fairies that is); I mean the people who had come up with such crap 'ought to have their heads examine huh? and also there is a LOT of craziness (the evil school teacher, which I think is getting really old) and also stupidity (the boy's parents and fairy godfather) in this show - two of the things that I dispised and loathe in the WHOLE world (especially stupidity).

Overall, I say that this show is so f*****' annoying and should not be seen by prying eyes at ALL (it would make'em bleed to death)!", "label":0 }, { "text":"I've tried to watch this so-called comedy, but it's very hard to bear. This is a bad, narrow-minded, clich\u00e9-ridden movie. Definitively not funny, but very much boring and annoying, indeed. Bad script, bad acting. It's a complete waste of time - and there remains nothing more to say, I'm afraid.

1 out of 10 points.", "label":0 }, { "text":"Sadly,this is not 'the best British gore film since hellraiser', though the DVD cover claims this, which is what tricked me into buying it. It is, however, an homage to many of the great horrors of old, films from most notably the Amicus stable.

Cradle... is shot on mini dv, which though we all know has more of a TV feel than a movie, can be done so much better. Every scene, set and shot looks like it has been lit in exactly the same way (standard key, fill, rear setup), which only enhances the cheap look of the finished piece. The gore content is, quite frankly, laughable. From the opening shots where we see a man's obviously foam rubber head torn apart, through to tacky cheap prop hammers, the creature effects and the terrible cg, there was nothing in there that impressed me at all.

The acting is abominable, from the near-comatose detective to the brummie dwarf, via Dani Filth, the least convincing horror movie bad guy I have ever witnessed. Each of the substories is more formulaic than the last, and the sets get worse and worse as the movie runs. Look out for the 'Mental Asylum' - a Georgian semi detached house with a bad cg sign outside, and the most bizarre (and not in a good way) padded cell I have seen.

It took me four attempts to get to the end of the film without my attention wandering (nay, running) away at any available opportunity. I actually found myself dusting at one point while the film was running.

It does, however, mark one of the last known appearances of Emily Booth's breasts, which I guess is one (um, two) things it has going for it. Once that's out of the way though, it is all downhill.

I've heard people say good things about Alex Chandon, and I would love to believe them, but on this evidence I'm not likely to. If you want a decent homage to Amicus, avoid this and go for the League of Gentlemen Christmas special instead.

Currently battling it out with Blair Witch 2: Book of Shadows for the title of worst film I have ever seen.", "label":0 }, { "text":"Motocrossed was fun, but it wasn't that great. I guess I just didn't understand a lot of the Motocross racing \"lingo\" (and there was A LOT of that in the film)! The plot wasn't what I expected from the Disney Channel previews, so that could account for some of my disappointment.", "label":0 }, { "text":"Needed an excuse to get out of the house while paint dried - left the movie after an hour to return and watch the paint dry.

I don't recall ever walking out on a movie before, but I really tried to stay. The script was not up to the cast and just kept \"going and going\" badly - come on! Uma Thurman doing this stuff? Fairly lame special effects. These were older characters and actors doing superficial horny 20-something lives - just sort of annoying and wrong feeling.

This review is base only on the first hour - it might have gotten better. I just had to get home and see if the paint dried a darker shade than when it went on.", "label":0 }, { "text":"This movie is an insult to ALL submariners. It was stupid. It appeared to have been written by monkeys. The acting was absurd. If this is the view most people have of the Navy, then I weep for our defense. This movie was awful. I put it below \"Voyage to the Bottom of the Sea\" as far as submarine movies go. Gene Hackman must have really needed rent money to do this crap. Denzel Washington must have been high. Little in the plot makes any sense. And the ending. For a mutineer to be rewarded for his crime? Only Hollywood would think of this garbage. If you haven't figured it out yet, I didn't like it. And if it wasn't for all the pro comments, I would not have bothered to post.", "label":0 }, { "text":"Overrated and only for those people in their 20's whom wear particularly thick rose tinted glasses, who never actually saw it in the first place because they were to young. Awful animation, dialogue and a tired narrative. A real product of the 80's, the novel gimmick of a puzzle TOY (thats right, TOY not the absurd, pretentious and child alienating \"collectors action figurine\"), sold on the back of a poor cartoon and other paraphernalia, only matters to those who bought the TOY when they were \"actual\" children in the period of '84' to '87'. It Has become cult because of those same adults are to immature to let go of their memories. Avoid.", "label":0 }, { "text":"Everyone involved with this project should be ashamed as to the result of their efforts. Oh. I laughed a coupe of times , but I laughed a couple of times during Schindler's list also. They really screwed up a good premise.", "label":0 }, { "text":"This is by far the worst adaptation of Jane Eyre I have seen. It is uncertain whether or not the writer of the screenplay ever read the book by Bronte. George C Scott is ridiculous and bumbling as Rochester -- when not just plain old acting angry. Susannah York has the most dated 1970's hairstyle I have ever seen in a Victorian movie. The characters hardly speak to each other, so the rich banter enjoyed in the book that is the basis for their deep intellectual and abiding love, is gone. The ending is ludicrous.

Please, rent the Timothy Dalton version instead. It is so true to the book, it's like having the novel read aloud to you. Dalton is superb as Rochester. G. C. Scott is laughable.", "label":0 }, { "text":"This piece ain't really worth a comment.. It's simply the worst \"horror\" movie i have ever seen. The actors are bad as bad can be and the whole plot is so silly it nearly made me cry. Shame on you I say!!", "label":0 }, { "text":"Having watched both the Lion King and Lion King II and enjoyed both thoroughly. I thought Lion King 1.5 might be worth watching. What a disappointment ! Disney must be getting desperate for revenues.

Especially now that they lost the deal with pixar.

Basically, they just picked up some bits of footage that were left on the editor's floor (or garbage can) and glued them together to make a

quick buck. Unlike LK I & II, both of which had strong story lines.

This movie hardly has a story at all. While the characters and animation are always fun to look at, there is simply not enough material here for a movie. Some of the bits could have been good 2nd disk fillers on the original offerings.

Disney - Shame on you for putting this trash out to make a quick buck!

Next time take the time and effort and put our an enduring work.", "label":0 }, { "text":"I realize that living in the Western Plains of Wyoming during the 1900s was brutal, in fact, it probably is still brutal today, but was it monumental enough to transform into a seemingly \"made-for-TV\" movie? Also, women's rights were still budding in this nation during this time, so to find an independent woman determined to start fresh in this harsh territory, and still show the realism of the era \u0085 would it make for good viewing? Honestly, I don't know. I have thought about this film for the past two days, and I still can't seem to muster the strength to say that it was a horrible film, yet I can truthfully tell you that it wasn't the greatest I have ever seen. From several hodgepodge styles of acting, to two mismatched actors playing devoid of emotion character, to some of the most gruesome PG rated scenes to ever come out of late 70s cinema, it is hard to fully get a good grasp on Heartland. Was it good? Was it bad? That may be up for you to view and decide yourself, but until then, here are moments I enjoyed and desperately hated!

This film continues to be a struggle in my mind because there were some very interesting scenes. Scenes where I wasn't sure what the director was doing or which direction he was headed, but somehow still seemed to work well as a whole. I thought the story as a whole was a very interesting, historical tale. I do not know much about living in Wyoming, especially during the early 1900s, so this film captured that image in my mind. The thought of very cold winters, no neighbors for miles upon miles, and this Polaroid-esquire view untouched by corporate America. It was refreshing to witness and sheer breathtaking to experience (though the television). There were scenes that really stood out in my mind, like the cattle-branding scene, the pig slaughtering scene, and the saddening homesteader that didn't survive their journey, that just brought a true sense of realism to this story. Director Richard Pearce did a great job of bringing the view of Wyoming to the viewers, but I am not sure he brought decent players to accompany the view.

While I will constantly compliment the scenery of this film, I had trouble coping with the actors that seemingly walked on the set and read their lines from cards on the side. Rip Torn seemed out of place in his role as Clyde Stewart, a loner that somehow finds a connection with Conchata Ferrell's Elinore Randall. The two as actors have no chemistry at all. Their scenes that they share together are pointless and honestly void of any emotion. The pregnancy scene nearly had me in stitches because of the way these two \"veteran\" actors portrayed it. The brave Elinore does what she has to do to get the child out of her, while Clyde gives an approving nod when she is done. This is love? Was it supposed to be love? I don't know, I think with stronger characters we would have seen a stronger bond, but with Torn and Ferrell, it felt like two actors just playing their parts. Other scenes that just seemed to struggle in my mind were ones like when the frozen horse \"knocks\" on the door for food or shelter, the constantly fading and growing compassion that Clyde had for Elinore's daughter (I just didn't believe it), the lack of true winter struggle, and the entire land scene. The land scene especially because I needed more explanation on what Elinore was doing, why she was doing it, and why Clyde would build her a house if they were married! It was these simple events that if taken the time to explore, would have made for a stronger film.

Overall, I will go middle of the road with this feature. There were definitely elements that should have been explored deeper, such as the relationship between these two strangers and the ultimate homesteading goals of Elinore, but they were countered with some beautiful scenes of our nation. These panoramic scenes which, in the span of 100 years, have changes from vast mountains to enormous skyscrapers. While there were some brilliant scenes of realism (starring cattle and pigs), I just felt as if we needed more. Depth was a key element lacking in this film, which was overshadowed by marginal acting and a diminishing story. Pearce could have dove deeper into this untapped world, but instead left open loopholes and clich\u00e9d Western characters. Ferrell carried her own, but Torn was completely miscast. Decent for a viewing, but will not be picked up again by me.

Grade: ** out of *****", "label":0 }, { "text":"Perhaps one of the worst teenage slasher films I ever did see. I'll start with the bad points of t he movie, which pretty much covers the entire film. First of all, something no one can avoid: TERRIBLE ACTING. I swear they picked up some random kids off the street based on how they looked. Secondly, BAD\/UNCONVINCING CHARACTER WORK\/DEVELOPMENT. You hardly even know half the kids who are killed in here. All you figure is that they deserved it one way or another. The scarecrow's character was overdone, and a cheap rip-off of the other great fantasy killers such as Freddy or Pinhead. Next: BAD DIALOG: The Scarecrow was full of horrid one-liners that would make you laugh, only because it was so terrible. Lines like \"Let's go find some small animals to torture!\" really just leaves you with an eyebrow raised. Last but not least: Next off: BAD CASTING. How old was the guy who played Lester? Like 30? The back of his head was balding for God's sake. There is much more I could say about this film, like it's cheap special effects, it's \"high school film class\" effort, but the point is understood. It's just bad film making at it's worst. As for what I found to be \"good\" in the movie: -Entertaining for those with low, low, LOW standards -Would help put insomniacs to sleep. -A very cheap laugh, or even a giggle.", "label":0 }, { "text":"I saw this at an arty cinema that was also showing \"Last Days\" and some Charlie Chaplin films. Based on the quality of the other features, I decided to give \"Immortel\" a chance. I nearly walked out of this movie, and I LIKE science-fiction! The story is set in a futuristic New York city, filled with Blade Runner-style sky advertisements and some similar debates about cloning\/synthetic humans. Unfortunately, the screenplay was not condensed enough for an hour-and-forty-five-minute movie. Three groups exist in this world: humans, artificial humans, and Egyptian gods. The artificial humans seem to have the upper hand and control the politics of the city. The humans are slaves and are used for eugenics and organ donation. The Egyptian gods have a floating pyramid (modeled on the Great Pyramid of Khufu, and complete with a deteriorated exterior, leaving a smooth \"cap\" on the pyramid. Wouldn't a floating futuristic pyramid be in perfect condition?). The pyramid rests above the city and nobody on the ground understands what it is or why it's there. I won't bore you with the so-called plot, but there is lots of unnecessary gore and many gross-out scenes. The film, as I said, looks to have been influenced by Blade Runner, and perhaps also by The Fifth Element and The Matrix. At the end of the film credits were listed thank-yous to the United Kingdom, France, and Italy. The film is FRENCH, but uses British actors who don't speak French. Hence, it is obvious that their French dialog has been dubbed. This is a distraction, and I also thought that switching back and forth between real humans and animations quite distracting. It doesn't help that the animations are poor--no better than a video game. Skip this one.", "label":0 }, { "text":"I watched the film recently and it poorly resembles the book is based on. I blame this on poor screenplay and direction. Some parts were forcibly introduced (the gay rape scene) for no apparent reason. I actually read the book after watching the movie and some 20 years or so after reading it for the first time. I found it hard to read and somewhat clumsy. Too many disparate ideas introduced for no benefit at all... other than sensational parts for the time. As it covers stuff that was deemed 'sensitive', to say the least, during communism, I can see the fascination it produced at the time. That isn't the case anymore though or maybe I see things differently now or a bit of both. The film tries too much to cover many aspects from the book, the result being a concoction of scenes that may make some sense to someone who read the book. Even so this is a film that is difficult to watch and maybe should have never been made.", "label":0 }, { "text":"

Not only do alien visitors look exactly like furry armpitted human woman and not only are alien visitors able to perfectly speak English (with an Australian accent) they ALSO call their stars by the SAME names our Earthly astronomers have given them!

And topping all that off, all alien life knows just how mean, evil, wasteful and destructive us humans are. And they're quite willing to tell us just how bad that is.

If you ever have the chance to see this movie, don't. Well, unless you suffer from insomnia or the choices are this movie or exploratory surgery without anesthesia.

This movie tries to get a moral, ecological point across but only succeeds in making you yawn and pray it ends soon.", "label":0 }, { "text":"LAGE RAHO MUNNABHAI is really a disappointing movie . I have seen the first part of MUNNABHAI and it was really good but this one really make u bore n disappoint u.......................................

This movie really waste yours time and money . I went with my friend to this movie on the first day of its release and v both get bore in cinema-hall......................................................

Role of CIRCUIT was very small n useless n this movie . I think SANJAY-DUTT cut down the role of ARSHAD VARSHI........................

Character of the movie is also not well define like the previous one .this movie show u the result of OVER-CONFIDENCE .........

The ideas of MAHATMA is also not define and confusing..................

A REALLY VERY BIG DISAPPOINTMENT", "label":0 }, { "text":"I'll say one thing about this film: there are no lulls. You can't get bored watching this. The problem is that it is TOO intense. There is too much action and it NEEDS lulls! That is the risk you take in modern action films. You want it interesting but not overdone. This is way overdone.

Even though the acting is fine and features a couple of \"names\" in Gary Busey and Roy Scheider, it still has the feel of a \"B\" film. The best part of it is Scheider's dialog: the only \"A\" part of this \"B\" film.

The rest of the story is strictly Rambo mentality but did have a few standout scenes. One in particular was a very innovative scene featuring land mines. That was memorable. Not enough of the other scenes were to make this a keeper for long.", "label":0 }, { "text":"This movie was probably the worst movie I have ever seen. Here are the things that immediately jump out at me: 1. The woods were more like hills in Los Angeles with a couple trees and brush. Not scary whatsoever. News flash, if you are filming in the Southern California area, big bear is only an hour away. They actually have trees there.

2. The writing was absolutely without a doubt the worst dialogue I have ever experienced. Every possible line in the movie was unoriginal, clich\u00e9, or just plain stupid. For instance the name of the camp is \"camp blood\" (lame), the name of the clown is \"the killer clown\" (lame). What is a clown doing in a forest anyway? Was that the only mask they could find? 3. The last but certainly the least was the acting. Absolutely the worst group of actors and actresses ever assembled. A virtual cornucopia of shitty lines and poor acting. Worst part by far was when then randomly flash back to this fat foreign girl getting naked for a a photograph. It's a really long scene and I guess she was supposed to be sexy, but she was NOT. Also, and this was one of the few enjoyable parts of the movie for me, was this tool who is supposed to be \"athletic.\" For instance when he is bored in the movie he grabs a couple rocks and starts doing curls with them. Then later on he is supposed to be running for the clown and it is immediately clear with his very \"girl like\" run, that he is quite far from athletic. Oh and to the girl who played Kat, good Lord stop singing. That song you sang for the credits makes me want to kill myself.

If for some reason you do see this movie, I would at least recommend watching the special features. The group of jackasses who made this film talk about it as if it is this really original story. In fact one of the girls actually says that she let some of her friends read the screenplay and none of them could predict the ending. Apparently she hangs out with special kids.", "label":0 }, { "text":"No doubt Frank Sinatra was a talented actor as well as a talented singer. After all, very few actors nowadays can get a scene just right in one take, and that was pretty much Sinatra's modus operandi on set.

I feel that as the 1960's wore on, the quality of the man's films really started to tank. The Tony Rome detective series was nothing short of trying to compete with Dean Martin's Matt Helm series which came out at the same time. Perhaps even a James Bond competition, but nothing really worked for Frank during these years. His personal life in shambles, his music fading out...Sinatra appeared more like a throwback to the 1950's. The last great Sinatra film of this period was probably Von Ryan's Express in 1965.", "label":0 }, { "text":"This film is stale, and misses the mark. It is far off compared to the 89 Batman that it tries to coppy. That women singer whats her name can not act, and we see why her film carrier died. Notice how this film died in the box office no one see this film on tv either. My uncle and dad were expecting Batman, and the films impression is more like Cop Rock. Not worth renting 3\/10", "label":0 }, { "text":"I think its time for Seagal to go quietly into the night. What I have just seen makes all his direct to video releases in the last few years look like his early 90's smash hits in comparison.

A secret bio lab is making a new kind of drug that jacks up a human's adrenaline system to the point where they become psychopathic killers or something. Somehow Seagal is supposed to stop the infection or its the end of the world...or something. Seagal also went through hit squads like jellybeans, every time I look up he was commanding a new face so it kinda got hard to follow character development as well I know Steven's athsma prevent him from yelling at the top of his lungs but even so why is he constantly being dubbed by people who sound nothing like him? Usually the films plot and action sequences can save it from being a total waste of time but this was not even close. Like I said, it was more of a horror movie with a lot of blood and shank stabbing rather than straight up fighting. The problem was it wasn't really scary and Seagal looked completely out of place because the infected people were supposed to have speed of light movement yet the 40 year old 280 lb Seagal killed them all singlehandedly? I guess the lone highlight of the movie was the first 20 minutes where the new recruits ask Seagal to come to the strip club with them.

2 out of 10", "label":0 }, { "text":"this movie has lot of downsides and thats all i could see. it is painfully long and awfully directed. i could see whole audience getting impatient and waiting for it to end. run time is way over 3 hrs which could have been edited to less then 2 hrs.

transition between stories is average. most people confessed being on seating expecting something better to come out.

its funny only in pockets. ambitious project and a below par execution. govinda does a fair job, anil kapoor disappointed me, rest we as expected. if u r expecting anything close to babel or love actually then its no where close.", "label":0 }, { "text":"he was my hero for all time until he went along with {if you can call it a movie} I went to the show to watch it and come out and not just asking for me money back but asked for double the money thats how bad my hero's acting and the hole thing was.............I can't believe that Steven Segal's career has hit so low that he has been reduced to making 4th rate films with 5th rate secondary actors. I watched this moving expecting to see him beet the crap out of some people the way he usually does. When he is reduced to using a single judo chop between the shoulder blades to take out an opponent and the guy falls like a ton of bricks something is wrong.

The plot is unbelievable as a movie, and even if you excuse the visuals, and had read this story as a novel, you'd be left wondering why you had even picked up the book.

Steven Segal goes through the motions and seems as if he is only doing this because he is under obligation. He shows no effort and no enthusiasm, and in some scenes he doesn't show up at all.

I hate to repeat other peoples comments, but the use of stock footage for cut scenes and for visuals of the aircrafts in flight is pathetic. The condition of those scenes chopped in, is shaky and scenes themselves seemed to have deteriorated over time. The zappruder film showing President John F Kennedy being assassinated is steadier and cleaner.

My honest opinion is to tell you not to waste your time seeing this movie, it is not up to the standards of his work in the glimmer man or exit wounds. I read one review that said the movie had a 12 million dollar budget (Segal being paid 5 of that) and that the movie still came in under budget. I must concur.

It is no wonder that this is a direct to DVD movie, as no conscientious theater owner would play this movie .", "label":0 }, { "text":"Maybe it's the dubbing, or maybe it's the endless scenes of people crying, moaning or otherwise carrying on, but I found Europa '51 to be one of the most overwrought (and therefore annoying) films I've ever seen. The film starts out promisingly if familiarly, as mom Ingrid Bergman is too busy to spend time with her spoiled brat of a son (Sandro Franchina). Whilst mummy and daddy (bland Alexander Knox) entertain their guests at a dinner party, the youngster tries to kill himself, setting in motion a life changing series of events that find Bergman spending time showering compassion on the poor and needy. Spurred on by Communist newspaper editor Andrea (Ettore Giannini), she soon spends more time with the downtrodden than she does with her husband, who soon locks her up in an insane asylum for her troubles. Bergman plays the saint role to the hilt, echoing her 1948 role as Joan of Arc, and Rossellini does a fantastic job of lighting and filming her to best effect. Unfortunately, the script pounds its point home with ham-fisted subtlety, as Andrea and Mom take turns declaiming Marxist and Christian platitudes. By the final tear soaked scene, I had had more than my fill of these tiresome characters. A real step down for Rossellini as he stepped away from neo-realism and further embraced the mythical and mystical themes of 1950's Flowers of St. Francis.", "label":0 }, { "text":">>>>>>>>>>>>> >>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>> >>>>>>>> >>>>>>> With their no holds bar cruel offensive humor, sure enough to offended anyone, you would sure think this would be a laugh riot! ............wrong. Worest movie since Open water. Don't be to surprised if you completely miss this movie upon release date as I'm sure it wont do very good at all at the box office. This movie had a lot of Potential but fell to little to short. No enough character development, awkward actors and The upside of this movie was nudity. Boobs. Amazing. If I had to see this movie again, I myself would go POSTAl. <<<<<<<<<<<< <<<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<<<<<<< <<<<<<<", "label":0 }, { "text":"This movie is a bad to alright rip off of Friday the 13th. The movie is about a killer named Bernie who kills people around a camp councilor training camp. He kills people because the camp councilor training camp is on land that was owned by his father, and when the police came to forcefully take his fathers land they accidentally killed his mother (Another F13th take off). The intro is seeing Bernie killing his first victims. Then we are introduced to a family going camping in the same woods, soon after they arrive they are joined by a strange old man who likes talking about his son. Later we learn that his son is Bernie and that he has him locked up in the back of his caravan after having broken him out of a mental institute. He sets Bernie after the family so they can take their stuff and then the chase is on.

This Movie is only recommended to those who enjoy B grade 80's Slashers.", "label":0 }, { "text":"I saw this movie the other day in a film school class, and I hadn't seen an Almodovar movie before but went in expecting it to be good. Unfortunately, it turned out to be a pointless film with only a couple of laughs mixed in with two hours of sheer boredom. High Heels is just a collection of random scenes that might have worked in their own separate movies but together don't add up to any kind of meaningful whole at all.

Or so I thought. Then, the next day, my film professor spent the entire class period explaining all of the movie's hidden little details, like how the mural depicting stereotypical flamenco dancers in the background of the drag queen scene is some kind of commentary on the lack of identity that Spain as a nation has developed under fascist rule. Apparently, the whole movie is chock full of clever little visual tricks and references like this.

Great, but you know what? It's still a bad movie. It takes more than depth and complexity to make a good film--you still need to give the audience a reason to keep paying attention, something to interest the viewer enough to actually care about all the subtle tricks. High Heels gives us strange, off-beat characters but keeps them in mostly mundane situations recycled from other movies, and Almodovar doesn't seem to be using them to make any kind of point. What is the significance, for example, of the Hitchcockian surprise character revelation that occurs towards the end of the film? Why is that even in there? Just to surprise us?

There is one funny scene that has to do with a news broadcast. And that's it, that's the only entertaining moment. The rest of the movie is just nonsensical filmic references and visual cues that apparently exist only for the sake of showing us how smart Pedro Almodovar is. But no matter what my film professor says, it takes more than self-indulgent trickery for a movie to be good.", "label":0 }, { "text":"The Lack of content in this movie amazed me the most. First i though that people was going to compare this to Rock On! but i'm really surprised myself to say that this was worst than Rock On! So-so story Horrible cast Ajay Devgan Jamming with Salman Khan and Asin you gotta be kidding me. The music was Okay Khanabadosh was the track of the movie the rest was bad! Vipul Shah hasn't still learn from Singh is King's critically bashed comedy. Now Asin.. where do she come from sorry for Asin's fan out there but she suck*d big time in this movie seriously bad acting she didn't look good at all overdose of make-up! My final verdict go watch Aladin with your family instead wasting your time here.", "label":0 }, { "text":"Nothing positive to say. Meandering nonsense, huffing and puffing with a \"message\". New Russian (post-Soviet) films can be very good (Cuckoo comes to mind), yet many have the bouquet of cardboard and the aftertaste of asbestos (Nochnoi Dozor would be a good example). This is a \"dozor\" type of emptiness. Acting would be horrible if not for the saving grace of utterly unappealing direction and incompetent editing that sometimes is so awful that it distracts from the impotence of the actors. Special award to the cameraman for making sure that every shot is shaky (would someone please realize that Blair Witch has had its 15 seconds of undeserved fame?) and takes are geared towards attention-deficit pre-teens who subside on CounterStrike and masturbation. The female lead poses and tries to look seductive too often, male antihero need a diction coach (although genetics aren't bad: rather expressive eyes.) One (middle) finger for this irrelevant pile of non-art. Anyone who reviews this positively better be a (distant) cousin of the \"auteurs\".", "label":0 }, { "text":"The subject matter seems pretty dated today. Adapted for TV from Rona Jaffe's book; we trip and stumble through a fantasy existence. Four college students get deeply involved playing a live version of the board game Mazes and Dragons (based on Dungeons and Dragons). One player, a young Tom Hanks, enters the fantasy world too deep. His co-players must come to his rescue and save him from self inflicted harm.

David Wallace, Wendy Crewson and Chris Makepeace round out the game's foursome. Support cast is made up of veteran actors like Murray Hamilton, Vera Miles, Anne Francis and Susan Strasberg.

At this date, it seems lumbering and tame. But the highlight of watching is seeing Tom Hanks between his \"Bosom Buddies\" salad days and his big splash in SPLASH on the silver screen. The youngest of viewer will get most enjoyment.", "label":0 }, { "text":"Not long enough to be feature length and not abrupt enough to a short, this thing exists for one reason, to have a lesbian three-way. There are worse reasons to exist. One sad thing is that this could have made a decent feature length movie. Misty fits snuggly into her outfit and is a very cocky girl and when people are so infatuated with a game character, like Lara Croft, that they make nude calenders of her, you know that a soft-core flick is set to explode. Unfortunately, this is pretty pathetic. Especially the painfully fake sex scene between Darian and Misty, where you can see her hand is fingering air. Watch this if you just can't get enough of Misty or Ruby, who makes a nice blonde and has zee verst jerman akcent ever.", "label":0 }, { "text":"Within the first few minutes of this Dutch thriller, we learn that Krabbe is a gay alcoholic writer who sleeps sans underwear, fantasizes about murdering his roommate, tries to steal a magazine from a news stand, and lusts after a studly young man he meets at the train station. And he's the hero of this nonsensical movie that is all dressed up (except for Krabbe in at least one scene too many) but has nowhere to go. The basic plot is very simple but is dragged out to nearly two hours before reaching a pointless conclusion. Verhoeven has a nice visual flair but resorts to scenes of wild hallucinations, overt symbolism, and gratuitous gore when he runs out of ideas.", "label":0 }, { "text":"This low-grade Universal chiller has just been announced as an upcoming DVD release but, intended as part of a collection of similar movies that I already had in my possession, I decided to acquire it from other channels rather than wait for that legitimate release. Which is just as well, since the end result was not anything particularly special (if decently atmospheric at that): for starters, the plot is pretty weak \u0096 even though in a way it anticipates the Vincent Price vehicle THEATRE OF BLOOD (1973)\u0085albeit without any of that film's campy gusto. What we have here, in fact, is a penniless sculptor (Martin Kosleck) \u0096 whom we even see sharing his measly plate of cheese with his pet cat! \u0096 who, upon finding himself on the receiving end of art critic Alan Napier's vitriolic pen one time too many, decides to end it all by hurling himself into the nearby river. However, while contemplating just that action, he is anticipated by Rondo Hatton's escaped killer dubbed \"The Creeper\" and, naturally enough, saves the poor guy's life with the intention of having the latter do all the dirty work for him in gratitude! Although it is supposedly set in the art circles of New York, all we really see at work is Kosleck and commercial painter Robert Lowery (who keeps painting the same statuesque blonde girl Joan Shawlee over and over in banal poses \u0096 how is that for art?) who, conveniently enough, is engaged to a rival art critic (Virginia Grey) of Napier's! Before long, the latter is discovered with his spine broken and Lowery is suspected; but then investigating detective Bill Goodwin gets the bright idea of engaging another critic to publish a scathing review of Lowery's work (I did not know that publicity sketches got reviewed!!) so as to gauge how violent his reaction is going to be! In the meantime, Kosleck deludes himself into thinking that he is creating his masterpiece by sculpting Hatton's uniquely craggy \u0096 and recognizable \u0096 visage which, needless to say, attracts the attention of the constantly visiting Grey (we are led to believe that she lacks material for her weekly column)\u0085much to the chagrin of both artist and model. Bafflingly, although The Creeper is fully aware of how Grey looks (thanks to her aforementioned haunting of Kosleck's flea-bitten pad), he bumps off Shawlee \u0096 who had by then become Goodwin's girl! \u0096 in Lowery's apartment and, overhearing Kosleck talking to (you guessed it) Grey about his intention to dump him as the fall guy for the police, sends the slow-witted giant off his deep end\u0085even down to destroying his own now-completed stony image. Curiously enough, although this was Hatton's penultimate film, his name in the credits is preceded by the epithet \"introducing\"!", "label":0 }, { "text":"Always enjoy great films which deal with the super-natural and the deep thoughts of the Spiritual world. However, this film just turned me off as far as its production and direction. There is nothing to go into deep discussion about what this story has to tell; all I can say is that it was a big waste of time and effort to put it on the big screen. The actors, namely: Mark Addy, Thomas Garrett, gave an outstanding performance in his native land England, and we have seen him in \"Still Standing\" a TV Series. Heath Ledger, played the real wicked dude and we have recently viewed him in \"Brokeback Mountain\",'05, gave a great supporting role. Shannyn Sossaman, (Mara Sinclair), did a good job of seducing a priest from a church not recognized by any faith. Don't waste your time, you will be sorry!", "label":0 }, { "text":"So the other night I decided to watch Tales from the Hollywood Hills: Natica Jackson. Or Power, Passion, Murder as it is called in Holland. When I bought the film I noticed that Michelle Pfeiffer was starring in it and I thought that had to say something about the quality. Unfortunately, it didn't.

1) The plot of the film is really confusing. There are two story lines running simultaneously during the film. Only they have nothing in common. Throughout the entire movie I was waiting for the moment these two story lines would come together so the plot would be clear to me. But it still hasn't.

2) The title of the film says the film will be about Natica Jackson. Well it is, sometimes. Like said the film covers two different stories and the part about Natica Jackson is the shortest. So another title for this movie would not be a wrong choice.

To conclude my story, I really recommend that you leave this movie where it belongs, on the shelf in the store on a place nobody can see it. By doing this you won't waste 90 minutes of your life, as I did.", "label":0 }, { "text":"This was one of the most boring movies I've ever seen\u0085 I don't really know why\u0085 Just your run-of-the-mill stories about guy who is about to get married, and starts to fancy someone else instead. Story has been told a thousand times. Nothing new or innovative about it at all.

I don't really know what was wrong with this film. Most of the time when these kinds of actors\/actresses get together to make a film that have already been made a million times before, it's really entertaining. There are usually little clever thing in them that aren't really in any other. For some reason, this one just doesn't hold your attention. You can pick out some funny parts, or clever ideas in it, but for some reason they're just not funny, nor clever in any way\u0085 I wish I new how to explain it, but I don't\u0085 Just don't waste your time on this one\u0085", "label":0 }, { "text":"This movie could had been an interesting character study and could had given some insight on its subject but real problem with this movie is that it doesn't have any of this in it. It doesn't give any insight-, or solutions to the problem. It's just the portrayal of 'old' male sex addict and the problems this is creating for his every day normal life and family. Why would you want to watch this? It's all so totally pointless and meaningless.

It also really doesn't help that the main character is some wrinkly 50+ year old male. You'll have a hard time identifying yourself- and sympathize for him. He just seems like a dirty old playboy, who is an a constant hunt for woman and sex. He has all kinds of sexual intercourse's about 3 times a day with different woman and not just only with prostitutes.

It also doesn't have a bad visual style, though it all feels a bit forced. But nevertheless it's all better looking than most other direct-to-video productions. Who knows, if the film-makers had been given better material to work with, the movie would had deserved a better faith.

The story really gets ridicules at times. There are really some pointless plot-lines that are often more laughable than they were obviously supposed to be. I'm talking about for instance the whole Ordell plot-line. Things get worse once they movie starts heading toward the ending. Also the whole way the story is being told, cutting back and forth between the events that happened and the main character's sessions with his psychiatrist feels a bit cheap and simple.

But as far as bad movies are concerned, this just isn't one of them. It's not really any better or worse than any other random straight-to-video flick, with similar concepts.

Still seems weird and quite amazing that they managed to cast Nastassja Kinski and Ed Begley Jr. in such a simple small insignificant production as this one is. Guess they were really desperate for work and money.

4\/10", "label":0 }, { "text":"OK so there's nudity, but hey, there's free porn on the internet for whomever likes it. And its just silly how they forced tits into every frame. I mean i was embarrassed, not from the nudity but from the far-fetchessness of the producers\/writers of this piece of crap.

The movie is NOT funny at all, its just extremely predictable all the time. There is no plot, no dramatic content at all. This is way waay worse then the other pie-films and they arnt that great either:) If you're really drunk or maybe a 13 year old buy who are really obsessed with tits this might be acceptable, otherwise not.

May it forever roth align with crap of the same magnitude with regards Erik the questmaster flash MC", "label":0 }, { "text":"In 1972, after his wife left to go her own way, Elvis Presley began dating Linda Thompson. Miss Thompson, a good-humored, long haired, lovely, statuesque beauty queen, is charted to fill a void in Elvis' life. When Elvis' divorce became final, Linda was already in place as the legendary performer's live-in girlfriend and travel companion until 1976.

This is a gaudy look at their love affair and companionship. Linda whole-heartedly tending to her lover's needs and desires. And even putting up with his swallowing medications by the handful and introducing her to her own love affair with valium. At times this movie is harsh and dark of heart; a very unattractive look at the 'King' and his queen.

Don Johnson is absolutely awful as Elvis. Over acting to the hilt is not attractive. Stephanie Zimbalist lacks the classiness of Linda, but does the job pretty well. Supporting cast includes: John Crawford, Ruta Lee, and Rick Lenz. Watching this twice is more than enough for me, but don't let this review stop you from checking it out. For most Elvis fans that I have conferred with, this is not a favored presentation.", "label":0 }, { "text":"This movie proves that you can't judge a movie by the awesome artwork on the DVD cover. It also goes to show that you should learn more about a movie before you buy it (or get it for someone at Christmas). The beginning of this movie actually looks somewhat promising. Well, until you meet the characters. Pumpkin Jack (the old guy from down the street) brings the college co-eds a book full of witch's spells that he leaves at their annual haunted house (where the movie takes place). After that there is some drinking, fighting, and soft core porn. Then the action of the movie finally takes place after over an hour.

Overall, Hallow's End was predictable, unsuspensful, and reminiscent of a soft-core porn. This movie is probably best viewed with a group of friends who have nothing better to do, as it is a good movie to make fun of. And for first-time viewers, it is really fun making predictions of the order of people who die.", "label":0 }, { "text":"I'm all for the idea of a grand epic of the American Revolutionary War. This ain't it. (And for that matter, neither was the Emmerich\/Devlin\/Gibson THE PATRIOT. But I digress.)

I saw this film at a publicity screening at the old MGM Studios (now Sony) just before it came out. The audience had high expectations for this expensive period piece, written by veteran Robert Dillon, directed by the esteemed Hugh Hudson (of CHARIOTS OF FIRE fame), and starring Al Pacino.

But it didn't take long for people to start squirming in their seats, whispering derisive comments about Pacino's horribly misconceived accent -- he was supposed to be an American frontiersman of Scottish ancestry(!) -- and that of Nastassja Kinski, who was supposed to be recently emigrated from England(!!). Then the story started and it all went downhill fast.

Motivations were muddled, dialogue was atrocious, events had no historical or political context. What there was of a plot lurched forward on absurd coincidence; by the second or third time that alleged lovers Pacino and Kinski stumbled into each other it had become a bad joke. Donald Sutherland gave an unhinged performance as a British officer\/pederast. His accent was all over the map too. I guess there weren't any English actors available.

Lots of people left. Those who stayed tried to stifle giggles, then openly guffawed. I stuck it out -- I figured that at least the battle scenes might be good. I was wrong. Inexplicably, Hudson chose to film them with hand-held cameras, not even Steadicam, the jerkiness giving a misplaced newsreel 'authenticity' which ruined the sense of scale.

There was a semi-famous TV reviewer in the audience a few rows ahead of me: (the late) Gary Franklin of Channel 7 Eyewitness News. I could tell he was peeved by the behavior of the rest of us. And sure enough, on his TV segment the next day he gave the film a '10' on his notorious 'Franklin Scale of 1 to 10', while remarking churlishly about the louts who'd disrupted the screening the night before, who clearly didn't know art when they saw it. What a buffoon.

After this disaster, Pacino didn't star in another film for almost 4 years. Hugh Hudson's career never recovered. You can't say I didn't warn you.", "label":0 }, { "text":"GUERNSEY (Maria Kraakman - Belgium\/Netherlands 2005).

The mousy Maria Kraakman plays Anna, a woman in her thirties, who finds out her husband (Fedja van Huet) is cheating on her but she doesn't dare to confront him. She painfully avoids any confrontation with human beings, her parents as well as her sister, so we have a main character in a feature film that doesn't do much at all. We barely know anything about her background or her motivations. Just a woman who seems to be stuck in a blind alley, not just during this difficult episode of her life. She obviously suffers from something, but why do we in the audience have to suffer as well?

I almost gave up on cinema after seeing this unwatchable mess. These were a very dull and painful 90 minutes. Normally I try to avoid wasting energy on bad film making. I'll take the beating and roll with the punches, but in this case a fair warning is in place. How on earth did Nanouk Leopold get funding (in large part from publicly financed funds) for this turkey? Obviously, there was no script to speak off. It could be compensated by an ingenious filmmaker with cinematographic ideas or a cast with only a little more appeal. None whatsoever, just a vaguely defined concept, \"I want to do something from a woman's point of view\". The result is an insult rather than a tribute to a female perspective on life.

To make things worse, there's not an interesting shot to be found in the entire film. I cannot think of a cast who could have spiced this one up, but Johanna ter Steege is a (small) light in the dark, if possible with this dire lack of material. I'm trying to imagine how Leopold tried directing Maria Kraakman: \"Maria, look at the horizon, we'll film you for three minutes, just express sadness\". A perfect cure for insomnia. Get a copy and watch this late at night, guaranteed too put you to sleep.

Camera Obscura --- 1\/10", "label":0 }, { "text":"A great concept gone wrong. Poor acting, even worse writing....After watching the first two episodes I was wondering why it ever made it to season two. The characters are forgettable, the writing is poor, the sets are just OK. The special effects are simply sad - so much better has been made in the same time-frame - where is the money going on this one? The first episode starts out interesting then goes downhill fast - the precept of the whole show is just silly. Now don't get me wrong, I am a huge Sci-Fi fan and 'geek' - but this show simply doesn't cut it. As I said in the beginning, I am truly surprised it made it to season two - so much better has been canceled after only one season (Jake 2.0 for example). This show was just bad.", "label":0 }, { "text":"I really wish that when making a comedy, the people actually tried to make it funny. This is a film that you can sit through, but nothing is special about it. After watching it, you will say that it was alright. It was not boring to watch, but gave the audience no jokes to laugh at. Entertainment should mean that you actually get something more than an o.k. story. This movie wanted to be \"Tootsie\", but instead it failed.

I gave it a 1 out of 10.", "label":0 }, { "text":"\"Carriers\" follows the exploits of two guys and two gals in a stolen Mercedes with the words road warrior on the hood hightailing it down the highway for the beach with surfboards strapped to the top of their car. Brian (Chris Pine of \"Star Trek\") is driving and his girlfriend Bobby (Piper Perabo of \"Coyote Ugly\")has shotgun, while Brian's younger brother, Danny (Lou Taylor Pucci of \"Fanboys\") and his friend--not exactly girlfriend--Kate (Emily VanCamp of \"The Ring 2\") occupy the backseat. This quartet of twentysomething characters are living in a nightmare. Apparently, a viral pandemic--which co-directors & co-scenarists Alex Pastor and David Pastor tell us absolutely nothing about--has devastated America. Naturally, the lack of exposition shaves off at least fifteen minutes that would have slowed down this cynical melodrama about how humans degenerate in a crisis and become their own worst enemies.

This lethal virus gives you the shingles and then you bleed and die. Most everybody runs around wearing those white masks strapped to their nose and mouth by a thin rubber band. Initially, this foursome encounters a desperate father, Frank (Christopher Meloni of \"Runaway Bride\"),and his cute little daughter Jodie (Kiernan Shipka of \"Land of the Lost\") blocking the highway with their SUV. Brian swerves around Frank when he tries to waylay them, but in the process, the oil pan in their Mercedes ruptures and they wind up on foot. Reluctantly, they hitch a ride with Frank after they seal Jodie up in the rear of the SUV. She wears a mask over her nose and mouth and it is speckled with blood. Frank has heard that doctors are curing ailing people at a hospital and they head to it. Sadly, somebody has lied to Frank. The hospital physician is giving the last couple of kids some Kool-Aid that will put them out of their misery. The cure did not improve their condition. Everybody else in town is dead. Kate tries without success to get a dial tone on every phone. Frank realizes that there is no hope for his daughter and he lets the heroic quartet appropriate his SUV and take off.

Indeed, \"Carriers\" qualifies as a relentlessly depressing movie about the effects of a pandemic on four sympathetic people who degenerate into homicidal murderers to protect themselves. They reach a country club and frolic around on a golf course until another four show up in suits and masks with pump-action shotguns. Incredibly, our protagonists manage to escape without getting shot, but Brian has a scare when he almost falls into the water with a floating corpse. Eventually, they discover that one of them has become infected. Later, as they are about to run out of gas, Brian blocks the highway like Frank did at the outset. Danny tries to stop a pair of older Christian women driving the car. Danny lies that his pregnant wife is about to give birth and he needs their help. Brian throws caution to the wind and blasts away at the ladies with his automatic pistol when they refuse to help them. Brian catches a slug in the leg from the passenger, but he kills her.

No,\"Carriers\" is not a beer & pizza movie that you can either laugh off or laugh with because the humor is virtually non-existent. By the end of this 84-minute movie, our heroes have turned into villains who only care only for themselves and their plight. Chris Pine makes quite an impression as fun-loving Brian and his energetic performance is the only reason to hang with this hokum, while the only other well-known actress, Piper Perabo, is relegated to an inconsequential girlfriend role. As Bobby, she makes tragic the mistake of showing compassion to a dying little girl and pays an awful price. It is a testament to Pine's performance that he can change his character to the point of putting himself before others. Essentially, Pine has the only role that gives him the ability to pull a one-eighty from happy-go-lucky guy to heartless guy.

The two directors are Spanish brothers, and they never let the momentum flag. Since there is no relief in sight, \"Carriers\" sinks into predictability. \"Irr\u00e9versible\" cinematographer Beno\u00eet Debie does a fantastic job with his widescreen lensing and as unsavory as this road trip becomes, Debie makes it look like a dynamic film. Aside from the lack of a happy ending or closure in any sense of the word, \"Carriers\" suffers because it is so horribly cynical. The scene when the German shepherd attacks Danny conjures up the most suspense, but even it could have been improved. Unfortunately, the Pastor brothers do not scare up either much tension or suspense. By fade-out, you really don't care what happens to anybody.", "label":0 }, { "text":"Oh, this is so bad, it is funny. The only way one could explain something like this is a porn party with drugs that resulted in the resolution to make a movie just for fun. I mean: you get to see porn actresses topless, having sex, then killed by human mutants. There is plenty of gore, including the classic \"something is wrong with her, oh no, it's half the person she used to be\" and the accidental murder caused by panic. But you can also find funny stuff like intestines pulled through someone's ass and a guy running in the woods then finding himself decapitated by a wire tied between two trees (that makes a metallic doiiing sound afterward, like in cartoons). Somehow there is a market for people going beyond porn, they really need to know what's inside an actress, mere genitals are not enough. Therefore you get to see plenty of summary autopsies on slain bimbos. There is NO dialog. Jenna and Chasey have really small parts and I really wonder what Richard Grieco wanted when accepting a role here. I think this is a film one must watch with the button on fast forward and watch only the juicy stuff, just to be reminded of the old school C class horror movies.", "label":0 }, { "text":"There is something kind of sad about seeing someone who is so good at doing something try to do something very different ... and end up being mediocre. I was thinking about Jordan playing baseball, but the same applies to Steve Martin.

This movie is reasonably well acted and directed, but the script is a stinker. Martin did a great job adapting a classic story into a comedy in \"Roxanne\", but this effort to bring a Victorian drama to the contemporary scene smacks straight into a wall of implausibility. If you want to see an old story updated with some style, best to rent \"Great Expectations\".", "label":0 }, { "text":"Lorenzo Lamas stars as Jack `Solider` Kelly an ex-vietnam vet and a renegade cop who goes on a search and destroy mission to save his sister from backwoods rednecks. Atrocious movie is so cheaply made and so bad that Ron Palillo is third billed, and yet has 3 minutes of screen time, and even those aren't any good. Overall a terrible movie, but the scenes with Lorenzo Lamas and Josie Bell hanging from a tree bagged and gagged are worth a few (unintentional) laughs. Followed by an improved sequel.", "label":0 }, { "text":"What's with Indonesian musical movies? Never have I seen Indonesian musical movies like the ones made in Bollywood. They miss the spirit of the story and just a bunch of 'what they called' poetic lines.

This story about love of two kids who are separated and then meet again after a few years of changes has no special remarks. It's a simple story plot (but it's quite focused though) with 'meant to be' musical story lines here and there.

Confusing characters that should be saved by brilliant acting are neglected. The main actress may try to live up the character, but it's the best that she could do, trying. As for the casting, I don't feel the necessity to put a Balinese student in that story and of course, that's not the only unnecessary characters.

The strange thing is, why would I want to watch this movie? Maybe because of the mangoes...", "label":0 }, { "text":"Germans think smirking is funny (just like Americans think mumbling is sexy and that women with English accents are acting). I had to cross my eyes whenever the screen was filled yet again with a giant close-up of a smirking face. One of those 'housewife hacks corporate mainframe' tales where she defrauds a bank by tapping a few random keys on her home PC which is connected only to a power socket. The director obviously loves the rather large leading lady. Can't say I share his feelings. There's quite a funny bit when the entire family sit in front of the television chanting tonelessly along with the adverts. Apparently this review needs to be one line longer so here it is.", "label":0 }, { "text":"It's 1982, Two years after the Iranian Embassy Siege which involved the dramatic SAS Rescue from the Balconys, and with a War with Argentina over the Falkland Islands currently taking place, what better film to make than a Gung-Ho \"SAS\" Film that re-creates the Iranian Hostage siege, whilst using Britains Number one action hero of the day, Lewis Collins. throw in Edward Woodward and a few other Well known actors and you've got a winner on your hands?...Well maybe not! The film itself doesn't make the situation serious enough, whilst the acting is quite second rate. it's like a Movie long episode of \"The Professionals\", but without the formula. This film goes nowhere fast and is quite predictable. Maybe Cubby Brocoli watched this film and decided to ditch Lewis Collins as a Touted James Bond Replacement for Roger Moore. Watch it if your a fan of Lewis Collins or SAS stuff in General, if not, save your time.", "label":0 }, { "text":"This film is really something of a curate's egg, good in parts. In contrast to other reviewers, I found that the main fault with it is its inability to draw in the viewer's interest in the characters and the plot. I sat through it because I'm interested in rock'n'roll and the dynamics of bands, but if I were to evaluate it purely on the basis of its merit as a movie, I would have to give it the thumbs down, with a few caveats: Jason Behr is good in the part of John Livien, and quite convincing as a rock singer; the narrative regarding his childhood trauma is unclear, although we are given hints in Livien's well-acted relationship to his parents, but his behaviour is ultimately bizarre to the viewer (which it shouldn't be). Nevertheless the idea of using a stage persona to solve inner conflicts is interesting, albeit not novel nor fully explored as a theme in this film. The allusions to John Lennon were irritating, but I confess I'm not a Beatles fan. At any rate, Livien and his band reminded me more of Oasis than the Beatles, in the sense that there was something derivative about them. Another frustrating thing about the movie was the way it opened up with some interesting - albeit middlebrow and high-school level - philosophical musings of the lead character, but left the threads of his thinking there, only to pick them up again in the middle of the film very briefly, when Livien says, \"before God, there was music\" (ever seen that ad for Tia Maria in the 1990s, \"Before time, there was Tia Maria\"? That's what sprung to mind anyway); it seems an idiotic conclusion, and the viewer has no idea how he reached it, but he's entitled to it. Fortunately his bassist and friend, played ably by Dominic Monaghan, seems to acknowledge the fallacy of this thinking when he responds \"You don't know that\".

In all, the limited strengths of the direction and the plot could go either way on future projects, into pointless banality or into an interesting and more mature perspective.", "label":0 }, { "text":"In reviewing this film I can only go by my experiences as a weekend warrior doing my basic training in July, August, and September of 1971 in that garden spot of the earth, Fort Polk, Louisiana. Take the High Ground was not anything like I remember basic training.

But one has to remember at the time this was post Korea which ended in a stalemate, but it was a conventional war as we knew them. It was not Vietnam, a jungle guerrilla war where we kept pouring draftees into an endless pit. The draft at that time was an unwelcome, but accepted as still necessary for the country's defense.

Richard Widmark is a veteran of Korea now assigned state side to train the troops to go overseas. The film is about one of his training cycles and the men of the platoon he has to train. They're the usual kind you would find in just about any war film from the previous decade.

One thing I will praise Take The High Ground for is the fact that MGM recognized our army was now an integrated one with the presence of William Hazard as a black recruit in the platoon. It was in keeping with the spirit of the times which were a changing.

But I will say that a recruit like Russ Tamblyn would have been cured of his smart mouth from day one. Richard Widmark would have not risked death or becoming a eunuch in order to give Jerome Courtland confidence with a weapon. And no way would have he worried so much about Robert Arthur deserting. He's have just let the MPs deal with him.

Of course being shot in and around Fort Bliss and El Paso, Texas did give Take the High Ground good authenticity. But view it as an army recruiting film and you can certainly understand why the government so eagerly gave cooperation back in the day.

I do remember the drill sergeants having their little conflicts which you could pick up on when you weren't worried about them getting on your case for something which was 95% of the time. But there ain't no way that Karl Malden would have slugged Widmark out in the open during training in front of several witnesses among the recruits. Both would have realized that would have undermined authority, something the military just doesn't let happen.

I wish I could have said something better about Take The High Ground because I certainly like its talented cast, it's talented director Richard Brooks, even the silly theme by Dimitri Tiomkin and Ned Washington, fresh from their Oscar a year before for High Noon. The film actually got an Oscar nomination for Best Screenplay and story by Millard Kaufman. It must have been for Kaufman's vivid imagination.", "label":0 }, { "text":"Relative to other Columbo movies, this can only be rated a 1 (awful). I seriously do not understand what the other reviewers have seen in this appalling train-crash of a film. It was only through morbid fascination that I continued to watch it - to see what bizarre or inept decision the director would make next.

Another reviewer suggested that it was Falk's only directorial outing because it interfered with his acting role. In fact, I think the real reason lies with the studio bosses, who must have been horrified when they saw what he had done with their money. It's a wonder they didn't murder HIM.", "label":0 }, { "text":"Clocking in at an interminable three hours and twenty minutes, \"Salaam-e-Ishq\" is a pretty but superficial comic soap opera from India that regales us with six interwoven tales of romantic love (which is at least four tales too many in my estimation).

Filmed like a cross between an MTV music video and a Super Bowl beer commercial, the movie is a sprawling mishmash of exotic settings, dazzling colors, sexy showgirls, high-stepping song-and-dance numbers, dream and fantasy sequences, winking character asides, corny dialogue and way-over-the-top comical performances - all pretty much standard-issue stuff when it comes to Bollywood happenings these days. It's an exhausting chore just trying to keep all the characters straight as they dance, prance and preen their way through the incomprehensible storyline.

There's plenty for the viewer to feast his eyes on here - not least of all all the drop dead gorgeous women - but he'll need the patience of Job to get him all the way through it.", "label":0 }, { "text":"Skullduggery is a strange, strange film based on the novel \"Ye Shall Know Them\" by Vercors. To unleash criticism at the film feels really unkind, since it is a movie that deals with earnest themes like humanity, and pleas for upright moral standards and tolerance. But in spite of its honourable intentions and its well-meaning tone, Skullduggery simply isn't a very good film. For me, the main problem is the terribly disjointed narrative which can't make its mind up how best to convey its message. The first half of the movie is like watching a standard jungle expedition flick of the Tarzan ilk; later it teeters into sci-fi fable; by the end it slips into courtroom melodramatics. The differences in tone between each section of the movie are too great, too jarring, to overlook. They stick out like a sore thumb and remind you constantly that you're watching a muddled, disorganised movie.

An archaeological expedition into the jungles of New Guinea is led by adventurer Douglas Temple (Burt Reynolds). One of the main archaeologists involved in the excursion is attractive lady scientist Dr Sybil Greame (Susan Clark). After an arduous trek they stumble upon a tribe of strange ape-like creatures. These primitive, long-lost people are covered in hair and have survived for centuries without being in any way touched or influenced by the developments of modern man. There is some evidence that they may the ancestors of early man \u0096 the \"missing link\" in the evolution of apes into humans. Or perhaps a race of humans who simply look and behave differently from usual? Or even a race of animals that have begun to develop human characteristics? The archaeologists call the tribe \"the Tropi\" and are initially thrilled by the implications of their discovery. But things take a devastating turn when nasty opportunist Vancruysen (Paul Hubschmid) declares his intention to exploit the tribe and their idyll on behalf of developers. He questions whether the Tropi are truly \"human\" and takes his argument to the courts, where he hopes to be granted legal backing so that his own greedy ambitions can be continued.

This was a very early film in Reynolds' career, and he actually unbalances this movie by acting like he's in a comedy while the rest of the cast take it all very seriously. Not that Reynolds can be blamed \u0096 he has an impossible role, asked to play a charming adventurer who really belongs in a Tarzan flick. His character and the film are not relevant to each other. Clark fares much better as the earnest lady archaeologist, and there are nice supporting roles for British actors Edward Fox, Alexander Knox and Wilfrid Hyde-White. A major shortcoming in Skullduggery is the lame and ineffective make-up used to give the Tropi their strange hairy appearance. Rather than making the actors look like believable hominoids, the stuck-on hair merely makes them look unintentionally comical\u0085. and that's just not the right idea. We're meant to feel great sympathy for these creatures, but that's awfully hard when they look so unconvincing. Skullduggery is a failed attempt to tell a story that could have been poignant, philosophical and stimulating. The honourable intentions are there for all to see, but the end result doesn't do them justice. A worthy failure it might be but a failure nonetheless.", "label":0 }, { "text":"Worse than the rating it has been given. This is a typical SciFi movie nowadays: bad to awful acting, a script that is poorly written, and shoddy direction. From the opening scene where DeMille is burying his set to the end, this movie is terrible. In the beginning scenes this movie has Moses (which was Charlton Heston in the DeMille film), Pharoah (Yul Brynner) and Nefretiri (Anne Baxtor) overlooking a boy burying a box in the sand. The characters that were to represent the three aforementioned icons were awful and had to resemblance to the people they were to \"supposedly\" be. The fact that this is in the desert away from civilization is hilarious when someone is hurt and they are all yelling for an ambulance. The screenwriter obviously is oblivious to the fact that there are no ambulances in the middle of the desert. I was sorely disappointed that Morena Baccarin decided to do a film of such low quality.", "label":0 }, { "text":"Considering the risk of showing same-sex relationships before the late 1980's, Personal Best could have done better to play the same-sex relationship between Hemingway (Chris Cahill) and Donnelly (Tory Skinner) as a more than experimental phase of Cahill's life.

It seems to me that the creators of this movie threw in the same-sex relationship between two fairly attractive women in order to attract viewers. Also consider the 90 seconds of exposing the crotches of several women jumping backwards over a high jump pole. This random scene had VERY LITTLE relevance to the movie and it appeared as though this was done merely to keep the audience interested in this bland movie. I suppose the producers were trying to counteract the boring plot and the even more boring setting of the movie (the 1980 Oregon Track and Field Competition).

This review may seem harsh, but it is the truth. The exploitation of young Muriel Hemingway's body and the same-sex relationship ruined any credit that I would have given to this film.

Pepper Thompson", "label":0 }, { "text":"I really, really didn't expect this type of a film outside of America. How anyone can take the subject of sexually abusing children and turn it into a \"thriller\" is just sick. Auteuil (whom I had previously admired) going around like some sort of child-saving Rambo was ignorant and insulting to all the children being sexually exploited around the world.

What's doubly depressing is that the stunning and ground-breaking film \"Happiness\" came out the year BEFORE this film. Menges and his cohorts should be ashamed of themselves. It's admirable to read some of the comments by the more intelligent viewers out there. They were able to see the shoddy and ridiculous handling of this topic. Those of you who think this is great cinema display a disgusting amount of ignorance and you need to watch \"Happiness\" to open your minds to the true horrors of pedophilia.

Do you think your child is more likely to be kidnapped and sold into sexual slavery or be molested by a neighbor, teacher, friend or even a relative? Hmm...I wonder. If they are going to make a film about international child slavery of whatever kind they owe it to everyone to make it realistic and emotionally involving instead of this button-pushing crap. 1\/10", "label":0 }, { "text":"WOW, finally Jim Carrey has returned from the died. This movie had me laughing and crying. It also sends a message that we should all know and learn from. Jeniffer Aniston was great, she will finally have a hit movie under her belt. If you liked liar liar you will love this movie. I give it 9\/10.", "label":1 }, { "text":"Good old black and white Graham Greene based people in dangerous times doing heroic and mysterious things. Hardly a shot fired or a punch thrown and a hundred time more interesting than the glop that's being minted by Hollywood today. Bacall lights up the screen of course and Boyer is entirely engaging. They don't make movies like this any more.", "label":1 }, { "text":"This is a complex documentary that shows many things about early Gay life. To put it in perspective it was when Gay was the word used for the homo-sexual revolution, and not just Gay as a descriptor. Or is it still used that way today? I believe most of the film comes from circa 1968 to 1989. It was released in 1993, so it's been around.

I was touched by the documentaries capturing of one man's love for another over a 20 some odd year period. A love expressed in ways that only true love can be. There are many scenes of incredible empathy and pain, along with scenes of joy and pleasure. There are scenes of life as a homo-sexual and life as a gay. The film itself was a work of love, and I believe it to be a diamond.

At the very least one will get out of this film an understanding of the devastating impact of AIDS. As I write this, I am thinking how much earlier this film seems to me to have been set. The advances in medical, political, and social sciences and culture that have taken place since this film was set (some 15 years ago) are amazing. However, obviously, in the case of the disease of AIDS itself, we are not done yet. Heck I guess we aren't done on all fronts.

Anyway, it's just a pretty darn good documentary. I'd encourage anyone that feels that they don't quite understand gay life, gay issues, or the devastation of AIDS to watch this film.", "label":1 }, { "text":"Much about love & life can be learned from watching the folks at THE SHOP AROUND THE CORNER.

Ernst Lubitsch had another quiet triumph added to his credit with this lovely film. With sparkling dialogue (courtesy of his longtime collaborator Samson Raphaelson) and wonderful performances from a cast of abundantly talented performers, he created a truly memorable movie. Always believing in playing up to the intelligence of his viewers, and favoring sophistication over slapstick, the director concocted a scintillating cinematic repast seasoned with that elusive, enigmatic quality known as the \u0091Lubitsch touch.'

Although the story is set in Budapest (and there is a jumble of accents among the players) this is of no consequence. The beautiful simplicity of the plot is that any great American city or small town could easily be the locus for the action.

Jimmy Stewart & Margaret Sullavan are wonderful as the clerks in love with romance and then with each other - without knowing it. Their dialogue - so adeptly handled as to seem utterly natural - perfectly conveys their confusion & quiet desperation as they seek for soul mates. Theirs is one of the classic love stories of the cinema.

Cherubic Frank Morgan has a more serious role than usual, that of a man whose transient importance in his little world is shattered when he finds himself to be a cuckold. An accomplished scene stealer, he allows no emotion to escape unvented. Additionally, Morgan provides the film with its most joyous few moments - near the end - when he determines that his store's newest employee, an impoverished youth, enjoys a memorable Christmas Eve.

Joseph Schildkraut adds another vivid depiction to his roster of screen portrayals, this time that of a toadying, sycophantic Lothario who thoroughly deserves the punishment eventually meted out to him. Gentle Felix Bressart has his finest film role as a family man who really can not afford to become involved in shop intrigues, yet remains a steadfast friend to Stewart.

Sara Haden graces the small role of a sales clerk. William Tracy is hilarious as the ambitious errand boy who takes advantage of unforeseen developments to leverage himself onto the sales force.

In tiny roles, Charles Halton plays a no-nonsense detective and Edwin Maxwell appears as a pompous doctor. Movie mavens will recognize Mary Carr & Mabel Colcord - both uncredited - in their single scene as Miss Sullavan's grandmother & aunt.", "label":1 }, { "text":"Well, I guess I'm emotionally attached to this movie since it's the first one I went to see more than 10 times in the cinema ... helping me through my master's thesis, or rather keeping me from working on it!

But on watching it again several years (and many many movies) later - what a well-crafted little gem this is! I've never seen Gwyneth Paltrow in a more convincing performance, and Jeremy Northam is the perfect Mr Knightley - where does one meet such a man??? <<>> Sophie Thompson's turn as Ms Bates is virtuoso acting of the finest (oh, napkins, sorry!) and the rest of the cast is no disappointment either - Toni Colette brings a lot of Muriel to her Harriet, and Ewan McGregor is convincingly charming - and Alan Cumming and Juliet Stevenson are the perfect \"impossible\" couple!

Of course the sets and costumes, and the beautiful soundtrack contribute a lot to the feelgood, almost Hobbiton-like atmosphere of the movie - although as far as cinematography and art decoration go, it's almost a case of visual overload. Very very pretty, but a little more austerity might have conveyed a better sense of period. But the good thing is, the movie doesn't take itself too seriously, and there is plenty of fun - and some pretty cool editing - that keep it from sinking into saccharine Merry Old England mode.

My particular favorite is the ball scene - some beautiful acting and directing here, and the concluding dance summarizes the relationship between Emma and Mr Knightley just beautifully. Pity that the final proposal scene goes on for just a little too long - cut two shots (I can think of exactly which ones!) and it would have been much more in keeping with the rest of the movie.

Gosh, I just realize (by reading the imdb listings) that I've seen Jeremy Northam in at least three movies without even being aware that it was him - seems he's got a lot more going for him, as an actor, than just being a gentlemanlike English heartthrob! Hmm, guess I need to pay my video store a visit...

Lovely movie. My favorite Jane Austen adaptation so far - though perhaps Ang Lee's Sense and Sensibility is, strictly speaking, the better movie, this one is closest to my heart - and I've certainly seen it many more times! Watch it if you can - and don't be too hard on its little imperfections.

", "label":1 }, { "text":"This is NOT as bad a movie as some reviewers, and as the summary at the IMDB page for this movie, say it is. Why? First is the fact that in 1984 the movie makers were daring enough to confront, as one of the plot elements, the issue of domestic violence -- so reviewers who complain about the plot are sadly missing one of the main points! Second, without the plot element of Prince's movie relationship with his abusive father, the musical climax wouldn't work as well as it does -- so those reviewers who say that only the music is good have, once again, missed one of the points -- specifically, WHY it is so good...because all of the music in this film has a plot element backdrop that makes the music more effective. Third, give this movie a break! For first-time movie producers and director, this is just not that bad! There are far worse movies out there by accomplished movie people!! And last, the reviewers who say that the music is \"good\" have also missed the point -- check out the range of stylistic musical treatments, the variety, the musicianship, and the stage performance of Prince -- truly one of a kind, going musically where no one else was going during the 1980's, and with a style seen in the work of other artists (clothes and movement: which costuming elements came first, Michael Jackson's or Prince's? Also, see if you can spot the splayed fingers sweeping in front of the eyes that Prince does in this movie, long before Quentin Tarentino's \"Pulp Fiction\"). As the sum of its parts, not a bad movie at all.", "label":1 }, { "text":"La Teta y la Luna is a symbolic spain film. Everything that in this film occurs has a symbolic meaning. It is totally different to the usual movie that one has access.

This film is good but it will be good only for the people who want look for the meaning of everything in the film's tale. I must advice that this is not a sample film.

Please enjoy!!!", "label":1 }, { "text":"If the movies are to be believed, Chinese ghosts are much prettier and more mischievous than their Western counterparts. The storylines of the three 'Chinese Ghost' films are largely identical, but the direction is excellent and the detail and colour is such that it's not a huge problem. As always, humour is an integral part of the film, accompanied, of course, by a great deal of mugging. For those who haven't encountered the 'Chinese GhostStory' trilogy yet, this film offers an interesting departure from the Western horror\/ghost genre; for those who have, another enjoyable romp in the Chinese ghost world.", "label":1 }, { "text":"This movie really surprised me. I had my doubts about it at first but the movie got better and better for each minute.

It is maybe not for the action seeking audience but for those that like an explicit portrait of a very strange criminal, man, lover and husband. If you're not a fan of bad language or sexual content this really is not for you.

The storyline is somewhat hard to follow sometimes, but in the end I think it made everything better. The ending was unexpected since you were almost fouled to think it would end otherwise.

As for the acting I think it was good. It will not be up for an Oscar award for long but it at least caught my eye. Gil Bellows portrait of a prison man is not always perfect but it is very entertaining. Shaun Parkes portrait of Bellows prison mate Clinique is great and extremely powerful. On the downside I think I will put Esai Morales portrait of Markie.

Take my advice and watch this movie, either you will love it or dislike it!", "label":1 }, { "text":"There are few movies that appear to provide enterntainment as well as realism. If you've ever wondered about the role of snipers in modern war, take a look at this one.

I just loved the scene where hundred soldiers get shooting at the jungle, no-one quite sure where that shot came?

And, they nicked one scene to Saving Private Ryan, so it has to have some merit in the scene.

", "label":1 }, { "text":"Olivier, Kosentsev, Richardson, Coranado, Zefferelli, and Almerayeda have all directed Hamlet but Branagh's the only one who got it right.

This is the only film of \"Hamlet\" that contains the full four hours of William Shakespeare's masterpiece and gives a unique feel to the whole story.

Not many directors could pull this off without boring their audience but Branagh's skillful use of bravora film style and stunt casting allows people to see the importance of the scenes that are usually cut out.

Examples of this include Gerarde Depardue as Ranyaldo whos entire purpose in the film was to simply say \"yes my lord\" as Polonius asks him to spy on Leartes. This also included Billy Crystal as the grave digger, Robin Williams as Osric, Jack Lemmon as Marcellous, and Charlton Heston as the actor.

Branagh's performance of the Act 4 scene 4 soliloquy (Which again is usually cut out) is nothing short of c cinematic marvel as the camera slowly pulls back as the intensity grows. It is a scene that literally made me want to jump out of my chair and start applauding.

Branagh is the only film maker that understood the importance of every scene in this film and knew how to convey that importance to the general audience.

This is a must see for everyone who enjoy's good story telling, brilliant acting,and incredible direction. All of these part of William Shakespeares greatest triumph.", "label":1 }, { "text":"For a long time, 'The Menagerie' was my favorite 'Star Trek' episode though in recent years it has been eclipsed by 'City on the Edge of Forever.' What I used to prefer about 'Menagerie' was that it's more hard-core Star Trek with this fascinating back-story to the then-current Trek storyline. I still think it's fairly ingenious the way Gene Roddenberry incorporated the original pilot into a two-part episode. Though the 'new' part of the story is largely an excuse for Kirk and a few others (and us) to watch the pilot, the idea of Spock being court-martialed is a clever one. You can poke holes in the plot if you want. For instance, given the Talosians' mind-control abilities and Captain Pike's condition, why is it even necessary to physically bring Pike back to their planet? And there are other confusing questions about Pike and Commodore Mendez... best to not think too hard about the details and just enjoy ST's only two-parter.", "label":1 }, { "text":"

Filmed just after the war, this story was made in order to highlight Anglo-American relations after the war. It ended up receiving the honour of being the first Royal Premiere after WWII.

Remarkably the film tangles together the Royal Air Force, Sigmund Freud Psychology, the Founding fathers of America and various others up the long stairs (special effects in its infancy) and beyond the heavenly gates without losing any of its integrity.

Although sounding absurd, this clever script leads and dances the viewer between heaven and earth with the skill of a mountain goat and a presents a charming ease rarely matched in cinema since.

Be prepared to have your heart warmed by this sweet, innocent and charming love story. Roger Livesey acts like a man possessed to steal the show!!!!

British Cinema should cry when it remembers how good it used to be in those early post war years.

", "label":1 }, { "text":"There's perhaps a special reason why The Fox and the Child hit a special note in my heart. Having just said goodbye to my new fianc\u00e9e - of oh...one day - for an unknown period of time, I was a bit overwhelmed with varying emotions and was suffering the fallout from putting on the brave face she needed to see.

I watched a few movies and TV shows, but my interest darted from what I was leaving behind to what is out there and what I haven't seen. For that, I have this movie to thank.

Being a nature lover and having heard about the film beforehand, I was sure I was going to like it anyway. But I didn't just like it, I loved it.

The technical mastery is astounding. How did they do it? How did they capture the animals in the way they did?? It's just wonderful.

The moral of the tale is a good one and while the ending is oh so French and ambiguous, it's a happy\/sad one. Again, it caught me a bit off-guard. As a man who usually keeps his emotions to himself, the ending was tough going while on a plane full of people I would be seeing for the next 15 or so hours! Perhaps it's because the ending made me think back to what I left.

But for those few hours on the plane, I was happy to see something new and original. And that's life. Sure, there are those things you love and feel comfortable around...but the great outdoors holds many a mystery. So the next time I see something out of the ordinary while out in the open; I'm going to explore it, observe it and embrace it. That's precisely what happens in this movie and that's precisely what you should do with this darn good movie\/nature doc too. 8\/10

P.S. It's two months on from the plane journey. We still don't know when we'll see each other again, but we will.", "label":1 }, { "text":"This is one of those movies that, after watching it, you will keep thinking about and coming back to even months after viewing. The acting is spectacular for starring two children (I usually hate movies with whiny kid acting). Bill Paxton is awesome, his directorial debut is even better than what I expected of an actor whose most memorable line is \"Game over, man! Game over!\" (from the movie \"Aliens\").

The best part about the movie is the dichotomy between those scenes where the actors play a family, and when they are doing their \"work.\" It really makes the movie believable and memorable.

Keep it up, Bill. I'll be waiting for more movies I\"m sure to love!", "label":1 }, { "text":"Director\/writer Andr\u00e9s Waissbluth worked seven years to complete this two hour film about the crime underground in Santiago, Chile, and perhaps that is one of the reasons the resultant film seems episodic and in need of editing. OR, maybe this is the technique of a director who shows a fine sense of film noir storytelling.

Two brothers - Silvio the elder (N\u00e9stor Cantillana) and Victor the younger (Juan Pablo Miranda) - have moved to Santiago from their home in Temuco after their parents' death and Silvio works to support Victor's education. On Victor's seventeenth birthday Silvio takes the virgin out to the clubs where he encourages Victor to lose his virginity with one of the club's stripper\/prostitutes. In a tender scene Victor must face his nascent impotency while Silvio is out on the club floor impressing the 'owners' with his potential for hire.

Silvio goes to work for the 'gang' as a bodyguard\/henchman and makes good money to support Victor's schooling. But Victor has eyes for one of the dancers at the club named Gracia (Antonella R\u00edos) and begins to woo her, dropping out of school incurring Silvio's angry disappointment. Gracia just happens to be the squeeze of the club gang's leader Don Pascual (Alejandro Trejo) who is Silvio's boss! Gracia is the glue that holds this tale together as she is the paramour of Victor, Silvio, and Don Pascual and the consequences of this bizarre m\u00e9nage a trois has deadly results. Through a means of re-telling the story through the eyes of Victor, Silvio, and Gracia we grow to understand the vulnerabilities and the cracks in each character that allow for the downfall that results.

Sound like a Chilean Pulp Fiction? Well, it is and it is filmed in a brutally colorful, dark manner that includes a lot of frontal nudity (both female and male) and provocative sexual encounters. But in the end the sensual aspect of the director's vision is what drives this film, playing on the debutante virginal psyche against the hardcore professional sex worker with success. The cast is fairly strong, especially Antonella R\u00edos in the demanding role of Gracia. There are enough twists and turns and replays of incidents you think you understood the first viewing but that change dramatically in impact when told through the eyes of a different character. Bordering on two hours, some judicious editing would have helped the impact of the film. In Spanish with English subtitles. Recommended for those who like the edgy film noir style and the art of South American cinema. Grady Harp", "label":1 }, { "text":"Lexi befriends Jennifer, a thin, intelligent girl at her new school. Lexi's parents have just split up. Soon, Jen tells Lexi of her eating disorder, and the two begin dieting and exercising together. They both are in the school's volley ball team. Lexi's mum becomes aware of her daughter's illness, as she is losing lots of weight. Lexi is admitted to hospital. She is diagnosed with Anorexia nervosa, and is made to gain weight. Her father visits her in hospital, and orders a feeding tube. She is better and is allowed out of hospital and she tells her mum that Jen has bulimia. This leads to the two falling out, as Lexi's mum tells Jen's mum her suspicions.

At a party Jen is hit by a car, and because her heart is weak it kills her. Lexi's condition worsens, as she blames herself for her best friend's death...", "label":1 }, { "text":"I haven't yet read Kurt Vonnegut's Mother Night (though I've read other books of his, all outstanding pieces of satire and game-changing novel pieces). After seeing Keith Gordon's film adaptation of his book, it will be an immediate must-read in the near future. It's the kind of material that I'm sure if it wasn't made in 1995\/96 as a film, it would be picked up right away today in the time period when many period post\/present-Holocaust\/WW2 movies are quite popular. Except that this is much darker, though even more resonant, about the nature of playing roles and the real underlying horror of living with life after war than say The Reader. It's about the very real danger of pretending in wartime, which is what being a spy in WW2 is really all about.

It would be one thing if Mother Night had a script with a lot of emotional depth and complexity about the moral choice and constant role- even after the war ends- for Howard W. Cambpell (Nick Nolte), which is does. But it's also just a really strong feat of cinematic technique. Keith Gordon is not someone I usually think of as a director of really strong material (more-so I think back to him as an actor, oddly enough featured briefly with Vonnegut himself in Back to School), but this is a revelation. He takes the story of Campbell as a story of a fractured life: a German propaganda master (the \"only American left in Berlin\"), who is actually a spy for the Americans but can never have his identity revealed, and was before a playwright who really belonged to \"a nation of two\", himself and his wife (Sheryl Lee). It follows him from his prison cell, awaiting trial in Israel in 1961, as he writes his memoir and tells of his disillusionment about being a 'pretend' Nazi, and then in 1960 in semi-hiding in a New York apartment, which is where the bulk of the film takes place.

Mother Night can be quite heavy, like on a level one might associate with the Pianist, but on another more emotional-cerebral level than the stark poetry of that film. Gordon, by way of Vonnegut, is trying to give us a strong look at a man who has nothing, except the memory (and then later a weird transposition) of his long lost love in a \"sister\" who has come back to him in NYC, so he's left to his own devices when he befriends a painter (Alan Arkin, very very good here), and then is found out as a Nazi-in-hiding by a white supremacist newsletter, leading wackos to his apartment. On the surface this should be just a straightforward spy story, but not a thing is straightforward. The 'something' of this man's life is staggering, but it's ultimately of his own choosing. Campbell is one of those characters that could be analyzed for hours on end, but the same conclusions might be reached (and, in a way, mirrors the line Goebbels said): the bigger the lie, the more people believe it. That is except for the select few who started the lie and know its secret and power.

But oh, it would be one thing if it were just a wonderful and tragic-comic tale, or another if it were featuring some really fantastic performances (which is does: Nolte is at his very best here, and Sheryl Lee, who we might remember from Twin Peaks as Laura Palmer, stuns in multiple roles, especially in the scene when she reveals she's not 'really' Helga). It's also a gorgeously shot film, with brilliant lighting and shots that reflect the state of mind of the character, or just the starkness or sickening colors of the time (watch the scene where an old Campbell watches a film of his younger self spouting out a rant, the juxtaposition of faces is great). And the music selections rise the level of tragedy. It could be argued some of the music is too much, but at other times it elevates the material past its own usual dramatic dimensions and makes it operatic, solemn about human nature.

It's not always an easy film to take emotionally, and some of the twists do have that tinge of \"whoa\" as in any spy story. But it's the subversion from Vonnegut that sticks through, the way of taking appearance and performance, of life imitating art imitating life imitating death, and making it into something worth remembering. I have no idea just yet if the book is better than the film (or the other way around), but at the moment it's hard for me not to recommend this to anyone looking for a masterpiece of post WW2\/holocaust storytelling.", "label":1 }, { "text":"I felt compelled to write a review for Space Cobra as it has received a good score of 7.3 stars but only a few of the reviews at the time of me writing this were particularly positive. A strange situation and hopefully my positive review will point people towards this old and mostly forgotten Anime movie. Space cobra is the funky tale of a smuggler and rogue who becomes involved with the three sisters of an ancient and dead planet and an evil force who wants to harness the planets powers. This is an old movie and the animation shows, but what it lacks in modern sophistication it makes up with an abundance of charm. Space Cobra is very much geared to a western audience and very easy to watch. There are few if any references to specific Japanese culture and great for Anime novices to watch and enjoy. Space Cobra himself is witty and likable. I cannot say how much of this is due to the English dub or the intentions of the maker, but this is one of the few Japanese comedy characters that I find truly funny. The style is very sixties Barbarellish with a fantastic soundtrack by Yello. The style is colourful and imaginative and there is constant action to move the story along. The strangest aspect of this movie is how it begins as a comedy and ends on a very downbeat dramatic note. I cannot think of another Anime or general movie that has been able to do this so seamlessly and convincingly. You barely realise that it is happening, but it is done so subtly and seems perfectly natural. You also really feel the characters went on a journey and they're lives were changed by the whole experience. Check out if you can.", "label":1 }, { "text":"Noll's comfortable way of rolling out blunt comments, often with expletives, to describe things that he is more knowledgeable about than most is quite refreshing. There is one other character in the film that constantly tries to verbalize complicated issues, using more language than necessary. This guy should never have been given a Thesaurus. Cut to Noll and you know you're in for a treat!

The way the pioneers of big wave surfing are portrayed is very evocative of a \"lost era\". Nevermind the fact that no one knows how these guys made a living, much less took care of issues like medical care. The use of old film clips throughout was masterfully done.", "label":1 }, { "text":"I swear when I first saw this movie,I cried my eyes out! A STAR IS BORN is the movie that lets you know what love is really like despite the obstacles John Norman (Kris Kristofferson) and Esther (Streisand) face. You also experience what it's like to lose a love like that by the end of the movie. Streisand and Kristofferson have such great chemistry together and the music is fantastic! When Streisand sings With one more look at you\/Watch closely now, it's just pure magic! This movie made the song Evergreen one of my favorites,and Queen Bee is such a fun song. Also I love the fashion of the '70s (except Streisand's afro. Besides that,she's a beauty.). A Star is Born is my number one favorite movie. This movie is a pleasure to watch and is a heart-breaker at the end.", "label":1 }, { "text":"A prequel to the re-imagined Battlestar Galactica series, from the same creative team Ronald D. Moore and David Eick as well as new series co-creator Remi Aubuchon. Caprica is set in the twelve colonies some 58 years prior to the events of Battlestar Galactica. The new series in addition to its human drama also chronicles the key steps in the development of what would become the Cylon race.

The pilot and the series are set to follow two families; the Graystone's which include Daniel (Eric Stoltz) a computer genius and corporate tycoon and his equally brilliant but rebellious daughter Zoe (Alessandra Toreson), while the Adama's include Joseph (Esai Morales) a lawyer and his son William the future Admiral of Battlestar Galactica.

Like Battlestar Galactica the series includes some great experienced actors in Eric Stoltz, Esai Morales and Polly Walker as well as some very talented relatively new actors including Alessandra Toreson and Magda Apanowicz.

For fans of Battlestar Gallactica there are similarities and continuities with that series but it is also very different. In the pilot at least the science fiction elements are definitely present but are smaller part of this series. The scenes on Caprica while reflecting a more technologically advanced society also have retro feel, this is achieved through some of the architecture, the costumes and the way it is shot.

While the look and feel of the two series have some substantial differences some of the themes will seem very familiar, religion is again very important here, while the racial theme rarely touched on in BG is far more important. We also touch on terrorism the existence of a soul and whether or not a machine can have one, as well as issues related to crime and government.

The pilot has been released direct to DVD in an extended and unrated version prior to airing on TV, the series is set to start in 2010.

Like Battlestar Galactica this series is filmed in Vancouver", "label":1 }, { "text":"I enjoyed this film. It was a joy to see a version so close to the vision of Peter O'Donnell.

A number of people have disliked the film, but it has to be seen in context of the origin story that it is. The film uses flashback to show the young Modesty and the events that shaped her into the woman that she became. Before the Network. Before Willie Garvin.

The pace is a trifle slow, and for my taste not enough tension is developed in the present day scenes. However this is acceptable just to get such a faithful version.

If you like Modesty Blaise, you will enjoy it even with its faults, if you just want an action flick with car chases - forget it.

It has the feeling of being the first of a franchise, but as I have never seen it promoted anywhere, I suspect there will be no more to follow. Sadly.", "label":1 }, { "text":"wow, how can I even discuss this movie without tears coming to my eyes? It was surely the highlight of my year--nay--my life. As if the raptor graphics weren't amazing enough, the award-winning editors continued to use the exact same shot throughout the entire movie, even when the background didn't actually match up with the setting of the scene. Wow, what genius. And while the movie is full of plot-holes (for instance, a few clips of a t-Rex type animal where a raptor should be and one key moment where Pappy finds a torture chamber, screams \"Colin's a girl!\" and runs out) I will never forget the brilliance that is Raptor Planet. Thank you Sci-Fi for another classic.", "label":1 }, { "text":"The thought of Sarah Silverman having her own show worried me at first. The films she has appeared in were not very funny and her humor is a bit off. However, I was very surprised to see her true colors shine in this Comedy Central gem. I could possibly put her on par with the likes of Amy Sedaris in Strangers with Candy -- Sarah's character is a true sociopath, very comparable to Sedaris' Jerri Blank.

The one downfall of this show is its supporting cast. Her sister's character is good; Funny at times, but ultimately meant not to steal Sarah's show. However, the rest of the cast is extremely sub-par in comparison.

I'm glad, though, that Comedy Central has given Sarah a chance to show her unique and crazy sense of self and humor.", "label":1 }, { "text":"This, despite not being the original - it began life as a play in Central Europe - has weathered the several incarnations that followed (MGM's own remake with period songs In The Good Old Summertime, the Broadway show She Loves Me, even the excellent theatre revival in Paris a couple of years ago) and remains the definitive version and the one they all have to beat. Several previous commenters have identified the contributing factors that make it so successful and memorable not least being the prevailing fashion in 30s and 40s Hollywood for lavishing attention and detail on ensemble playing rather than just two leads as so often happens today - try, for example, removing Ugarte, Ferrari, Renault etc from Casablanca and yes you'd still have Rick and Ilsa and Viktor Lazslo but they'd just be frosting without the rich cake mixture below. Jimmy Stewart and Maggie Sullavan WERE both ideal and irreplaceable leads but how much brighter they shine when their performances are reflected in those of Frank Morgan, Felix Bressart, Joseph Schildkraut and Andy Hardy's Sara Haden and this is BEFORE we factor in that Lubitsch 'touch'. Okay, maybe they WERE a tad more naive, innocent even, in that Jurassic Age but how many genuine film lovers, sated with scatology, screwing and in-your-face sex, turn back to those days of Stories, Style, Slickness and Skill and wallow in great movies like this one. By far the best thing about this technological age is not CSI but DVD that can at one and the same time make these classics available to nostalgics and show the Matrix freaks how the big boys used to do it.", "label":1 }, { "text":"I would just like to say, that no matter how low budget the film is, it needs to be shown throughout this world the point to these movies. We don't read that much anymore, instead people want to see movies. Having this series out on DVD, has made me want to read the whole series, and want more. PLEASE MAKE ALL 8 MOVIES. Please don't change any of the characters either, it ruins the effect. Because I have grown to love the actors who have played the characters. PLEASE MAKE ALL 8 MOVIES. I want to see the message, and watch the message that these books and now movies are here to portray. We don't get that enough anymore. AWESOME JOB!!!", "label":1 }, { "text":"This is a really interesting movie. It is an action movie with comedy mixed in. Foxx teams up with comedian Epps in this movie to give it a comedic spin. It will keep you wondering whats going to happen to Foxx next. It was a well shot movie, the director used the right colors in this movie(dark blue colors) to give it the right kind of feel. Kimberly Elise also starred in this movie and it is always a pleasure to see her on the big screen. She plays her role well. Even Jamie Kennedy is in this movie. It's worth seeing it you haven't seen it. It's definitely worth having if you are a Jamie Foxx fan. It deserves more credit than it is actually given.", "label":1 }, { "text":"In the Old west there are always the men who live breathe violence and the women who hold their breath. A famous \u00a8town tamer\u00a8 named Clit Tollinger(Robert Mitchum) comes hired by the citizens to rid the gunslingers ( Leo Genn, Claude Atkins, among others), Baronland's hoodlums. There he meets the blacksmith (Emile Meyer) , his daughter (Karen Sharpe), her boyfriend(John Lupton), the marshal(Henry Hull) and the Saloon owner (Ted De Corsia). Clint as lawman is appointed deputy to bring peace and puts some cartels saying the following : \u00a8 Warning , wearing of guns or other weapons in town is banned. Check all hardware at the marshal's office \u00a8. Clint finds his ex-girlfriend, a local madame (Jan Sterling) in charge of the Saloon girls( Angie Dickinson, Barbara Lawrence, among them). But the town council afraid the raw methods carried out by Clint . At the end the kingpin landowner appears and attempts to murder Tollinger with his own hands.

This is a tremendously exciting story of a sheriff-for-hire who had only one more killing to go. It begins as a slow-moving Western but follows to surprise us with dark characters and solid plot. The tale is almost grim , a pacifier comes to a town just in time to make sure its citizenry but later the events get worse . The highlights are the burning at Saloon and the climatic showdown at the ending. Phenomenal and great role for Robert Mitchum as avenger angel and bitter gunfighter, he's the whole show. Vivid and lively musical score by Alex North (Spartacus, Cleopatra), Atmospheric cinematography in black and white by Lee Garmes. The motion picture is stunningly realized by Richard Wilson (Al Capone , Three in Attic) who made good Western as \u00a8Invitation to a gunfighter and \u00a8Zane Grey\u00a8 episodes. Watchable results for this offbeat Western.", "label":1 }, { "text":"John Carpenter's Halloween is quite frankly a horror masterpiece. It tells the immortal story of escaped mental patient Michael Myers, who returns to his hometown on Halloween night to stalk and kill a group of babysitters.

This was the first and without doubt the best in the Halloween franchise. Carpenter shows great restraint in pacing the story very slowly and building likable characters; unusual for a horror picture.

Even more unusual is the non-existence of blood and gore, and yet it remains the scariest Halloween to date. Get that!

Halloween marked the film debut of Jamie Lee Curtis and a defining point in the late great Donald Pleasance's career. A true classic.", "label":1 }, { "text":"I like the good and evil battle. I liked Eddie in this movie better than any movie he has ever done. He wasn't The smart, cocky, know it all he usually plays. He shows heart and a more humble humor. The fact that it shows there are stranger things in Heaven and on earth than we can think of gives me hope.", "label":1 }, { "text":"It is a great movie. i sow that some people think that this might not be based on a true story. No matter this !!, the movie is great, and all u can think is not why a balloon with a mermaid on it ends up flying in the mermaid town and so on, instead thinking that \"a little girl's wish came true\", and this means that all our peaceful dreams will come true if we trust in us, and do all in this world to make them true. The little girl (Desi - in the movie), and her mom, were the best actors i've been seen in a long time. Good for they, for all actors, all for the director. If someone can tell them this, please tell them, \"A 25 year guy from Romania says thank you for making this movie\".", "label":1 }, { "text":"Another powerful chick flick. This time, it revolves around Diana Gusman who is always getting into fights at school. Instead of getting expelled, she takes her anger elsewhere, to the boxing ring. She trains to be a boxer and there she meets featherweight Adrian and begins to fall in love with him. This movie has a powerful message of taking your dreams and going with them even if someone doesn't believe in you (in this case, her dad doesn't believe in her). That alone makes the movie worth the price. Enjoy", "label":1 }, { "text":"This is a extremely well-made film. The acting, script and camera-work are all first-rate. The music is good, too, though it is mostly early in the film, when things are still relatively cheery. There are no really superstars in the cast, though several faces will be familiar. The entire cast does an excellent job with the script.

But it is hard to watch, because there is no good end to a situation like the one presented. It is now fashionable to blame the British for setting Hindus and Muslims against each other, and then cruelly separating them into two countries. There is some merit in this view, but it's also true that no one forced Hindus and Muslims in the region to mistreat each other as they did around the time of partition. It seems more likely that the British simply saw the tensions between the religions and were clever enough to exploit them to their own ends.

The result is that there is much cruelty and inhumanity in the situation and this is very unpleasant to remember and to see on the screen. But it is never painted as a black-and-white case. There is baseness and nobility on both sides, and also the hope for change in the younger generation.

There is redemption of a sort, in the end, when Puro has to make a hard choice between a man who has ruined her life, but also truly loved her, and her family which has disowned her, then later come looking for her. But by that point, she has no option that is without great pain for her.

This film carries the message that both Muslims and Hindus have their grave faults, and also that both can be dignified and caring people. The reality of partition makes that realisation all the more wrenching, since there can never be real reconciliation across the India\/Pakistan border. In that sense, it is similar to \"Mr & Mrs Iyer\".

In the end, we were glad to have seen the film, even though the resolution was heartbreaking. If the UK and US could deal with their own histories of racism with this kind of frankness, they would certainly be better off.", "label":1 }, { "text":"A pretty average movie but a brave one from Ms Hawn to promote this vehicle as Exec Producer & as a starring vehicle. Although she ends up vindicated, she is willing to portray herself as the dizzy bimbo. How many other A listed actresses have subjected themselves to butt injury pratfalls since this movie? Not many. Does this mean the female butt cannot be funny? Goldie surpasses other actresses as she has maintained a screen persona & ventures in projects other won't. Sandra Bullock occasionally goes there,for example, Miss Congeniality but Nicole Kidman would never cop the pratfall. A wonderful performer. Great to see some of my favorite actors, Chris Sarandon & Cliff DeYoung notably.", "label":1 }, { "text":"National Lampoon's Class Reunion is a classic comedy film from the early 80's which combines unique characters, lots of laughs, and some great music from Chuck Berry. When Walter Bailor is absolutely humiliated by his classmates at their high school graduation he seizes the opportunity to get his revenge at his class reunion. One by one he stalks his classmates who include an innocent blind girl, a horny fat guy, the high school beauty, the king of all preps and even the ugly old lunch lady who served up slops to all the kids during highschool. This film has a sort of scary element in it and it has a few brief scenes of sexuality so I wouldn't recommend it for young children but it's a great movie for teens. If you are looking for a movie with a beautiful score, complex characters or killer special effects you might not love Class Reunion. If you want to sit down for 90 minutes and have some great laughs and a lot of fun (and who doesn't) then this movie should be on your movies to see list. ++", "label":1 }, { "text":"Oh, where are you going, my little one, little one...

Turn around and you're two, turn around and you're four...

I remember these shows when they were first broadcast on Disneyland. I remember sitting there, electrified by Werner Van Braune's explanations of rocket science. I watched as history, science and humor were all interwoven in an engrossing story of possibilities.

That was fifty years ago. And the shows are back in the Disney Treasures series, and what a treasure they are. I watched them last night and tonight with my 8 year old daughter, who at first would not even come in the room, but later changed her mind when she saw they were partly animated. As she watched I watched her, and by the end she was nearly as engrossed as I had been.

Turn around and you're a young wife with babes of your own...

Sure, some of the predictions about reaching the moon were wrong. But there is a lot of information that is still quite accurate, and the overall presentation is still impressive. I found myself thinking my daughter's teacher might want to show them to her class, not only as a 50 year old artifact, but also as fun and easy to understand lessons in history.

Turn around, turn around, turn around and again...you're wondering how much has really changed in 50 years.", "label":1 }, { "text":"I love the movies and own the comics, the comics are different then the movie but still I'd give it: 10 out of 10. It was awesome. If the movies got anymore awesome. I would have her babies. And I am female. Read the comics you won't regret it. Yes in this movie since Brian P. the artist for her died we don't get nearly as good artistic work. I mean seriously don't get me wrong these people did great, but different versions for different people. Different Strokes for different folks as the saying goes. Any guy who doesn't go bonkers over her is insane, or does not like women, or you know just plan insane. If I could count on my fingers how in love and how many times I have read the comics I would run out of fingers for sure, but hey there is always toes.", "label":1 }, { "text":"Overall this movie was excellent for its time and will be interesting for many more generations to come. Although the plot is not 100% accurate to the book most everything is correct. The movie does skip far ahead and does miss some important parts. I found the book and ready and immediately wished that they had made a movie (because I hadn't found out about the movie yet) but later I found the movie in a bargain bin at Wal-Mart and decided to buy it and see if it was what I had expected. Overall I give this movies a 7 out of 10 for its good parts (relative accuracy and overall making sense) and for its bad parts (large time skips and small but noticeable inaccuracies).", "label":1 }, { "text":"I think part of the reason this movie was made...and is aimed at us gamers who actually play all the Nancy Drew PC games. There's been a lot of movies lately based on video games, and I think this in one of them.

So this movie does not follow any book. But it does follow parts of the games. I buy and play every Nancy Drew games as soon as it comes out. And the games are from HerInteractive and are for \"girls who aren't afraid of a mouse!\" And some of these games actually won Parents' Choice Gold Awards. They are not only fun but you can actually learn a thing or two while playing.

I took two of my step children with me to go see it and they loved it! The 10 yr. old had started playing her first Nancy Drew game a day before I took her to see the movie, and she was having so much fun playing the game I thought she would enjoy the movie as well. And I was right...she not only loved this movie but couldn't wait to get home to finish her first game and start another one.

My other step daughter is only 7 and she also loved the movie but she is still a little to young too play the games yet, but she enjoys watching her sister play at times just to see what's going on.

The games are based for children 10 yrs and older. All the games usually get pretty descent reviews and are classified as adventure games. For more information on the games just check out HerInterative Nancy Drew games. So personally I thought the movie was pretty good and I will buy it when it comes out on DVD.", "label":1 }, { "text":"To anyone who might think this show isn't for them, please give it a try. Network television has degenerated into shows that are clones of clones or are reality based shows featuring some often unreal people. This show is a return to family oriented TV where the emphasis is on learning some life lessons, learning what real friends and family are about, and maybe even learning a little bit about our national pastime. Jeremy Sumpter is one of the most appealing young actors in show business today, and he is perfectly cast as the young, slightly naive new batboy for the fictional New York Empires (great name!). Dean Cain, Christopher Lloyd, Mare Winningham, and Kirsten Storms round out the main cast, and they are all exceptional. This show deserves a chance to catch on and be seen. Hopefully it will stick around for a few seasons and we can watch Pete Young (Sumpter's character) learn and grow.", "label":1 }, { "text":"If in the 90's you're adapting a book written in the 50's, set the bloody thing in the 50's and not the '90's. See, 40 year old mores and values tend not to play as well, or ring as true, that far down the road. It's a simple rule that Hollywood habitually keeps violating. And that's the problem with this film. It should have been set in the era it was written in. You'd think that would be a no-brainer, but nooo. I'd elaborate, but bmacv's comment spells it out quite well. I'll limit my commentary to Rachel Ward. She looks like she dieted her ass completely out of existence for this role. As a result, she looks like a crack ho' on chemotherapy, and is about as sexy as a gay leather couch in drag. I found her \"I could die at any moment\" look quite disconcerting, and it greatly detracted from her supposed \"hotness\" and the \"sexual tension\" the film intended to create. Other than that, the film was quite good; a 7+ out of 10.", "label":1 }, { "text":"Vanilla Sky is a 2001 remake of the 1997 movie Abre Los Ojos (Open Your Eyes). And in my opinion, a much more human and emotional version. Tom Cruise plays David Aames, a selfish egomaniac who takes other people's emotions for granted, and thinks only of himself. Jason Lee plays Brian Shelby, David's best, and in many ways, only friend. Penelope Cruz plays Sofia Serrano, Brian's girlfriend whom accompanies him to David's birthday party. Cameron Diaz plays Julie Gianni, David's occasional bed buddy. Kurt Russell plays Dr. Curtis McCabe, a psychologist interviewing David. All of their interactions, and the consequences of them, make Vanilla Sky one of the most emotional, and complex thrillers ever made. I won't explain anymore of the plot, because it's far more compelling, the less you know. Ignore all people that call this film too confusing to follow. If you pay attention, you won't be confused. The film is very complex, but not confusing. And in my opinion, one of the best movies ever made.", "label":1 }, { "text":"My parents took me to this movie when I was nine years old. I have never forgotten it. I had never before seen anything as beautiful as Elizabeth Taylor. (She was twenty-two when she made Elephant Walk) Remember, I'm nine, so the feelings aren't sexual, I just couldn't see anything else on the screen. I just wanted to sit at her feet like a puppy and stare up at her. She has begun to show her age, (She's almost seventy-four) but I still believe her to be one of the most beautiful and breathtaking women to ever have lived.

I have seen the movie several times since, and it is a sappy melodrama. What saves it is, of course, Miss Taylor's beauty, magnificent scenery, the very impressive elephant stampede, and a well-made point on human arrogance in the face of nature.

All in all, a well-spent couple of hours watching the movie channel or a rented video.", "label":1 }, { "text":"I've seen this film literally over 100 times...it's absolutely jam-packed with entertainment!!! Powers Boothe gives a stellar performance. As a fan of actors such as William Shatner (Impulse, 1974) and Ron Liebmann (Up The Academy, 1981)I never thought an actor could capture the \"intensity\" like Shatner and Liebmann in those roles, until I saw Boothe as Jim Jones! As far as I'm concerned, Powers Boothe IS Jim Jones...this film captures his best performance!!!", "label":1 }, { "text":"It's been a long time since I saw this mini-series and I am happy to say its remembered merits have withstood the test of time.

Most of the components of 'A Perfect Spy', the adaptation of LeCarr\u00e9's finest novel, in my opinion, are top-drawer. Outstanding aspects of it are the musical score and the masterful screenplay, the latter written by Arthur Hopcraft who was also, I believe, the screenwriter for 'Tinker Tailor Soldier Spy' with Alec Guinness a few years before.

The actors are mostly very good, some superb, like Alan Howard's Jack Brotherhood and Ray McAnally's Ricky Pym. Peter Egan is fascinating to watch because his face changes with every camera angle. The passage of time and the effects upon the physical appearances of the characters is very believably done. So much so that I wondered exactly how old Peter Egan was at the time of filming. The only jolt comes after the character of Magnus Pym is transferred from the very able hands of a young actor named Benedict Taylor to those of a noticeably too-old Peter Egan, just fresh out of Oxford. But this is a minor and unimportant seam in the whole.

Egan has trouble being convincing only when the text becomes melodramatic and he needs to be \"upset\" emotionally, ie cry. None of the actors have a very easy time with these moments, aside from the wonderful Frances Tomelty who plays Peggy Wentworth for all she's worth and steals the episode with ease.

Jane Booker is annoying as Mary Pym. She has part of the character under her skin but often displays an amateurish petulance that diminishes her as a tough cookie diplomatic housewife, which Mary Pym is. R\u00fcdiger Weigang is splendid as Axel, amusing, ironic and brilliant. I also enjoyed Sarah Badel's camp turn as the Baroness.

The British view of Americans is vividly rendered in some dryly hilarious scenes. When the Yanks have come abroad to confab with Bo Brammell (head of MI6) the American contingent are portrayed as empty-headed buffoons who appear to have memorized a lot of long words out of the Dictionary and spiced them liberally with American jargon and psycho babble, much to the bemused scorn of the English.

The humor and sadness are subtly blended. LeCarr\u00e9 has a knack for mixing disparate elements in his stories and Hopcraft has brilliantly captured the melancholy, yet wistful, atmosphere of the original.

Not a perfect production (what is?) and yet the best of the LeCarr\u00e9 adaptations to reach film or television to date.

Highly recommended to all spy-thriller lovers and especially LeCarr\u00e9 fans. DVD available from Acorn.", "label":1 }, { "text":"I just saw this movie today with my children (son, 10 and daughter, 4.5) at the 3rd Annual Roger Ebert Overlooked Film Festival. After the film the children in the audience were allowed to ask questions to the Director, Tian-Ming Wu. He (through a translator) told several stories about his life and the making of the film.

All tangents aside, both of my children really enjoyed this movie. Of course, I had to paraphrase many of the subtitles for my daughter, but much of the film is visually self-explanatory.

I won't give anything away, but the bottom line is that this film is SO MUCH better than 95% of the Hollywood crap (especially children's films) out there.

Cheers.

p.s. There is a \"real\"\/original King of Masks who can\/could do 12 masks at once. The actor in the movie trained and learned to do up to 4 masks at a time (then they would cut and change to 4 new masks).", "label":1 }, { "text":"*** Spoilers*

My dad had taped this movie for me when I was 3. By age 5, I had watched it over 400 times. I just watched it and watched it. And I still do today! It has a grim storyline, a lamb's mother is killed by a wolf--a very emotional scene--and wants to become a wolf, like him. After years of training, the lamb is made into a really REALLY evil looking thing. He and the wolf travel to his old barn, but he cannot kill the lambs, no matter how much he wishes to. He ends up killing the wolf, but is no longer seen as a lamb by his former friends, and can't return to his previous way of life.

The art is beautiful, the songs are..well, okay, and the voice acting is better than some things today.

All in all, you just *have* to see this movie, it is a great masterpiece. Although, it's very hard to find today.

", "label":1 }, { "text":"People forget that there have been several King Kong ripoffs- Congo, King Kong Vs. Godzilla, King Kong (1976), they all ripoff one another, but YETI stands on its own. It only borrows one element from King Kong and that is the animal's attraction with one female.

The YETI myth is based on Bigfoot (not like King Kong)and archeologists have been fascinated it, at one time they did exist,but there is no scientific data to prove it.

This movie is hard to find ,but its worth watching it. The first time I watched it was on \"Elvira's Mistress of the Dark Shows\" in the early 1980's. It sent chills down my spine as a kid, especially when the YETI got mad. I saw it again, around 1:00am on ABC about 2 to 3yrs ago. Seeing it again made me appreciate it more, it has some overall good effects (for its time) and the story involves a mute boy and his dog, and an evil businessman person who wants to kill the YETI for his own purposes. Also the music is pretty cool,its very YETI like. :-)

Gianfranco Parolini and the Yetians creates a great monster like atmosphere.

Vote 7 and half out of 10.", "label":1 }, { "text":"Warning! Spoilers ahead!

SPOILERS

I've seen movie in German, so it might be, that I missed some clues.

Despite some weakness in the plot, it's a movie that came through to me. I liked especially Lexa Doig's acting. Sometimes I got impression, that she *is* Camille. But I can't stop wondering, what happened at the end with Bob, Cassie and baby. I belive, she, after initially being set on Bob, eventually ended up loving him and regretting what happened with his brother and being forced to lie to him. Otherwise it's a bit strange, that she would carry his baby and love it. It's up to viewer to decide - and I don't like such endings. Dean Cain was as good as ever, Eric Roberts .. well, I've seen him better but also worse.

I believe that the film is more an analysis of human relations and reacting in unexpected situations than a crime story.

Bottom line is, I liked it very much.", "label":1 }, { "text":"That's what t.v. should be. And Pushing Daisies lives up to those expectations. A beautifully crafted and well-designed show, Pushing Daisies is one of the few shows left on prime-time that has integrity, is good for the entire family and sparks your imagination. It's not about the normal action, sex, money or murder angles of every other show on t.v. It's a show that makes you think and laugh, but although the basic plot may seem impossible, the concepts are real to us all. Wanting something you can't have, hoping for someone to want us, running away from your past and searching for family, even in the most unlikely of places, etc...

I realize that ABC has basically canceled this wonderful show at this point, and will most likely replace it with some show beyond the point of integrity. I suppose everything does come back to money... it's too bad that there are now no other shows on ABC that actually make you feel good after watching.", "label":1 }, { "text":"It was such a treat when this show was on because it was such a fresh, innovative, and original show. This makes every show I've ever watched look plain boring. The moment the first episode aired I was entranced and I became attached to all the characters so easy (which usually never happens because I always hate a few characters). It is a pity this show won't have a third season, because it has to be one of the best shows I have ever seen and that isn't exaggerating my feelings for the show at all. Nothing can ever replace Pushing Daisies, because what could ABC possibly find to replace this show? This is easily the best show on television.

I came for Kristin Chenoweth and I stayed because I fell in love with the entire show.", "label":1 }, { "text":"I recorded this ages ago but only got round to watching it today. I have been ill so had run out of stuff to watch! I am so glad I saw it, and which I could erase my memory and watch i again for the first time. This movie is so wonderful! It reminded me very much of Fried Green Tomatoes At The Whistlestop Cafe.

The story goes back in time and at the end of the movie we see what the connections are. Some people have said this is a kids movie. I disagree - it may be made by Disney and many characters are children, but I am 23 and I LOVED it! There were moments when my spine tingled. The story is unlike any other film these days, full of adventure. I have just ordered the book from amazon, can't wait!", "label":1 }, { "text":"This Chinese movie made me feel so many similarities with members of a culture I don't belong and are far from. In an almost Buddhist approach, the film helps one to relate to each character, and to the happiness of doing the simple routine things.

All actors are brilliant, and Xu Hzu exudes kindness and wisdom, yet also vulnerable and mean. Er Min, the retarded brother, shows us that intelligence and wisdom are not equal, and that wisdom comes to and from the most disparate persons in this universe. A different China, this is far from the Chinese realism, yet, it has lots of humanity and realism of a different kind.

Get it. You won't be disappointed.", "label":1 }, { "text":"The selection of Sylvester Stallone to perform the protagonist by Renny Harlin is commendable since Stallone is that sort of tough and craggy person who had earlier rendered the requisite audaciously versatile aura to the characters of Rocky Balbao and Rambo. But to compare Die Hard series with Cliffhanger is a far-fetched notion.

The excellently crafted opening scene introduces the audience to the thrill, suspense and intrigue which is going to engulf them in the ensuing bloody and perilous encounter with the outlaws. The heist and the high altitude transfer of hard cash in suit cases from one plane to the other is something not filmed before.

The biting cold of the snow capped Alps and the unfolding deceit and treachery among the antagonist forces makes one shiver with trepidation. The forces of awesome adventure and ruthless murder kicks the drama through to the end.

Good movies are not made every year and people don't get a feast for eyes to watch every now and then. Apart from the filthy language\/parlance which endows brazen excitement during certain scenes, the movie can be regarded as one that is not going to fade its captivating appeal even watching it after so many years.", "label":1 }, { "text":"How much could the general Hollywood director learn from this movie? All... when it comes to actually scaring people. This movies truly shows that it is possible to really frighten and scare a viewer, and that monstrous monsters and long knifes never will be the best way of achieving this. All who love a real psychological thriller must see this movie... it is the best of it's kind.", "label":1 }, { "text":"THE NOTORIOUS BETTIE PAGE Written by Mary Harron & Guinevere Turner Directed by Mary Harron

How do you define a person who has always been between two worlds, one of presumed sin and one of supposed redemption? Especially when that person eventually succumbed to a split personality disorder in her latter years as if to demonstrate her own point. If you're director Mary Harron, you don't shy away from showing the push\/pull nature of THE NOTORIOUS BETTIE PAGE. You allow the character to drift back and forth between the healing forgiveness of the power of God and the church and the seductive illusion of control and dominance afforded to Page during her years as a pinup model. By doing so, audiences are offered a complex character that is propelled forward by a desire to leave her difficult past with a naive enjoyment in others' lust for her and a struggle to reconcile her image in the eyes of God. Come the right time, it will no longer matter how many eyes are on her because there is only one pair that counts.

Shot mostly in black and white (with some unnecessary bursts of color), THE NOTORIOUS BETTIE PAGE is at times a light, humorous comedy, making the film an enjoyable experience and also one that pokes fun at how seriously people believe in the corruption of pornography. But the delicate hand of the director is more palpably felt during Page's times of despair. Harron is a sensitive, considerate director who does not throw Page's numerous and devastating blows of abuse in the face of her viewer. Instead, she allows the surprisingly effective Gretchen Moll, who plays the title role, the chance to hammer the pain of her character into the viewer with fear in her eyes, exhaustion is her cries and shame on her skin. Whereas most directors, perhaps most male directors, would find it essential to show the heroine in painful positions in order to draw a link between the kinds of atrocities that were put upon her and where her life took her, Harron has too much compassion for her character, her actress and her audience. From fragility, Page learns to trust people again and as more and more photographers fall in love with her image, the more she falls in love with their admiration and the control she has over the gaze. By the time her poses cross over into the realm of soft-core S&M, she has found a way to combine her need to be respected with the objectification she has been accustomed to her whole life.

Mary Harron's Bettie Page is a woman who yearns for control over her life and destiny, yet ultimately is always being told where to stand, how to smile and what to wear. When she finally realizes that none of her choices have been her own, she chooses to embrace God and preach his word to those who will listen. The true sadness behind this most important decision is that she is still letting someone else guide her blindly; she just has more faith that this direction will be better for her soul.", "label":1 }, { "text":"EUROPA (ZENTROPA) is a masterpiece that gives the viewer the excitement that must have come with the birth of the narrative film nearly a century ago. This film is truly unique, and a work of genius. The camerawork and the editing are brilliant, and combined with the narrative tropes of alienation used in the film, creates an eerie and unforgettable cinematic experience.

The participation of Barbara Suwkowa and Eddie Constantine in the cast are two guilty pleasures that should be seen and enjoyed. Max Von Sydow provides his great voice as the narrator.

A one of a kind movie! Four stars (highest rating).", "label":1 }, { "text":"Purple Rain... what else can i say, the title speaks for itself. But i think all the actors were well picked. The movie had a great story. I loved it! Ever since i watched that movie, i've been stuck in the eighties, and I'm only 13! My favorite part of the movie was when his father died and he was picking up all of his music compositions, and the Apollonia was sitting on the stairwell with his earing in her hand. Critics say that its a drama but i think its more of a romance. Murphy Brown also did a great job in the movie, he actually acted like himself. I'm so glad I've seen this movie. The song Purple Rain, beautifully sung, was so heartfelt. I cried more than once.", "label":1 }, { "text":"I like Peter Sellers, most of the time. I had never seen him portray an upper-class Brit until this movie. He pulls it off pretty well, although you see bits of Inspector Clouseau in the mix. It doesn't get interesting until Goldie Hawn arrives.

I never expected the youthful Hawn to deliver such a solid performance. Her timing was great and her expressions were priceless. The way she alternately shoots Sellers lecherous character down and seduces him is beautiful to watch. Verbal sparring like I've seldom seen from a movie of that era.

The last thirty minutes of the movie DOES fall flat. It is worth the let down just to see the first sixty. Hawn is nude for a few glorious seconds early on. Enjoy it...", "label":1 }, { "text":"I finally got around to seeing this after hearing great things about it. It actually exceeded my expectations. Considering the budget involved this was a surprisingly competent and well-made film. The lack of finances actually helped this film in several ways, especially given the plot. Just like The Blair Witch Project, this film was all the better for being shot on video instead of film. Another bonus: Whereas most low-budget horror films (even the best of the best) suffer from mediocre-to-unintentionally hysterical acting, this film actually had a talented cast (save one or two characters), particularly the two leads. The only thing missing from the film was an original storyline. It borrows heavily from better-known films like \"Deliverance\" and \"Wrong Turn\" but if you're like me, films of this nature never cease to be terrifying. Plus, the director keeps things interesting throughout. I'd be very interested to see what the director would do with a bigger budget and I have a feeling it will only be a matter of time before we find out...", "label":1 }, { "text":"Fay Grim is the continuation of a story begun ten years earlier with Hartley's Henry Fool. I haven't seen the earlier film, and I don't know if that's a good thing or not. I can only regard the current film on its own merits.

For most people, Hal Hartley's style of film-making is something that you either like or you don't. His combination of action, drama, absurdity and dry, ironic humour really resonates with me, and Fay Grim is no exception. It has an air of sharply-written intelligent parody that had myself and many in the Melbourne International Film Festival audience laughing out loud. For the first half of the film it was relentless and delivered with deadpan straightness. It's a style of humour sadly lacking in cinemas and a welcome relief to the mindless teen comedies that Hollywood pumps out like pancakes.

During the second half of the film, the humour starts to thin as the film morphs into an international espionage\/conspiracy thriller. Whether this was Hartley's intention or whether he ran out of ideas is not clear, but I think a bit of editing or re-writing to cut fifteen minutes off the film would have maintained the film's original momentum.

The performances were generally good, particularly Parker Posey and Jeff Goldblum, who had the most screen time. Saffron Burrows, James Urbaniak, Carl Montgomery and Elina L\u00f6wensohn all played good support roles. The film's visuals were nice (set in New York, Paris, Berlin and Istanbul) and the music (also by Hartley) was good without being intrusive. The film is well-written and I enjoyed this it immensely. If you like Hartley's earlier work, you'll probably like this.", "label":1 }, { "text":"This period melodrama is one of Griffith's earliest claustrophobic films. Characters trapped within a room are prevalent throughout his work and, as time went by, he would become increasingly adept at portraying their helplessness and involving the audience in their terror. In the bluntly titled Sealed Room there is one major difference to the normal plot line, in that there truly is no escape.

Griffith achieves the claustrophobic effect here in two ways. First is his use of space. While the typical Biograph short might utilise a dozen or more sets, The Sealed Room features only two adjoining rooms \u0096 the king's court and the dove cote that becomes the eponymous tomb. The set design in these shorts is rarely referenced, but here it is crucial. The court is a large interior, with a backdrop hinting at greater depth and showing us a window and a staircase. Actors enter and leave from various directions, suggesting the room is not only spacious but also free and open. By contrast the dove cote's back wall is very close to the camera, and the angles in it suggesting a hexagonal or octagonal shape make it seem even more confined.

The second technique on display here is the cross-cutting. Anyone with an interest in Griffith's work will probably know about his heavy use and development of cross-cutting to build excitement or tension. Many will also know that strictly speaking it wasn't his invention. However what makes Griffith's cross-cuts so effective is the way he paces the opposing images so they complement each other. The Sealed Room contains a good example of what I mean. The shots of the masons shifting the heavy bricks have a slow, step-by-step pace to them, with tension building as the wall gets higher. This movement is matched by the shots of the blissfully unaware lovers, in which Marion Leonard tears off flower petals one-by-one. As the couple realise their predicament, their rising panic is complemented by the opposing shot of the king madly thrashing his sword against the wall.

At this point, Griffith was yet to realise that the action could be heightened further by introducing a third strand to the cross-cut. The dramatic \"ride-to-the-rescue\", here absent, was later to become a standard climax to Griffith's pictures.", "label":1 }, { "text":"This is a really fun, breezy, light hearted romantic comedy. You cannot go wrong with Meg Ryan's cute perkiness combined with Albert Einstein's genius. Normally, I'm not a fan of completely fabricated fictional tales about actual people, now deceased and not able to defend themselves, but I think the late Einstein might himself have gotten a chuckle out of this one.

It's the 1950's...Princeton, New Jersey in the spring. The story revolves around a pretty, young, scatter brained mathematician, Catherine (Meg Ryan), who is all set to marry a stuffy jerk, a behavioral researcher named James, merely because he has the brains she's looking for in the father of her future children. However, it's love at first sight when her car breaks and she meets an auto mechanic named Ed (Tim Robbins). As she doesn't think Ed is intelligent enough, her uncle, none other than Albert Einstein, plays match maker, assisted in his endeavors by three mischievous cronies, all theoretical physicists. Uncle Albert must make Ed appear suitably smart, so concocts a charade portraying him as a physicist...naturally with amusing results.

Walter Matthau is his usual hilarious self, and pulls off the character of Einstein quite effectively. With his three professorial buddies, Kurt, Nathan, and Boris, a lot of laughs ensue. The real Einstein had a genuine human side and this film just takes it one (outrageous) step further. If you suspend all logic, you can almost imagine this silly story happening!

It might not be rocket science (despite its main character) but it is a wonderful sweet, refreshing movie. One of the best of the comedy romance genre.", "label":1 }, { "text":"Gunga Din (1939) is based on Rudyard Kipling's poem.The movie is directed by George Stevens.It's set in India during the 19th century where three British soldiers have to stop an evil guru and his murderous cult.Gunga Din is a marvelous adventure war comedy with plenty of thrilling moments.The three leading men are brilliant.Cary Grant is Sgt.Archibald Cutter, Victor McLaglen is Sgt.'Mac' MacChesney and Douglas Fairbanks Jr.(the son of the legendary you know who) is Sgt.Thomas Ballantine.Let's not forget the other fine players who include Sam Jaffe playing Gunga Din himself in a brilliant way.The beautiful and gifted Joan Fontaine is Emaline Stebbins.It's awfully fun to watch the difficulties of Tommy's and Emmy's wedding plans.Gunga Din is awfully lot of fun.It can be funny, it can be thrilling.It can be everything a good movie requires.", "label":1 }, { "text":"Are we really making 'video nasties' again? In the guise of a digital wide screen big budget remake of 8MM, this is quite a ride. Unfortunately there is a bit too much story and at times this becomes like a travelogue as our heroine searches the sleaze spots of Paris, Hamburg and Amsterdam. I am however being rather churlish for the 'depraved' scenes, including everything from, hot wax, harsh whipping and rough sex to drowning, beheading and some. These scenes are immaculate and it's a pity Bruno and his budget couldn't stretch to make all the many characterful creatures introduced become more than simply caricatures.", "label":1 }, { "text":"Bill Paxton, of Aliens, Near Dark, and Terminator fame, surprises me with his debut as director for Frailty. He hits on all cylinders, but there is one implausibility near the end that involves the FBI agent (Powers Booth) which deducts a point from this otherwise chilling and thought provoking thriller. Other than that, this movie was just fine.

Bill Paxton plays Dad. He's never given a first name, but that is not a weakness of the film. It in fact strengthens the film, allowing the viewer to see him as a sort of symbol of some kind. He has a vision one day which he says was sent from god telling him that the world is coming to an end and both he and his two sons Fenton Meiks(Matt OLeary) and Adam Meiks (Jeremy Sumpter) must fine the demons and kill them. The demons look like normal people which they kill, and this makes the viewer wonder if Dad has just lost his mind, or is he really doing god's work. There are scenes that reflect both points which adds to the confusion and gives the film more suspense.

The story is told in flashback by one of the sons who is now grown up (Matthew McConaughey) and is speaking with FBI agent Wesley Doyle (Powers Booth) who is very skeptical and rightfully so. After all it's not everyday that someone comes in to your office to tell you that he knows who the killer is.

The film has many twists, and Bill Paxton directs splendidly by keeping us guessing without losing interest. The acting is incredible. The two young leads and Paxton work great together, looking like a normal family even though they are all involved in murder. Like I said there is the one implausibility involving Powers Booth's character, but it really isn't a big thing. This was an extremely well made film involving faith and family.", "label":1 }, { "text":"This interesting feature has a very fine story-line, rather colorful characters and a very steady pace. it also incorporates a plot device from \"Reap the Wild Wind\", and since Cecil B. Deille directed that and his son-in-law Anbthony Quinn directed this film from his preparations, that can hardly be a coincidence. it works in both cases, I must report. The unusual set-up tells the viewer that Barataria, an island ruled by Jean Lafitte is built upon piracy, but during the war of 1812, and before, he has always refrained from bothering United States' vessels. Now General Andrew Jackson has been charged with defending nearby New Orleans with only 12,000 men against 60,000 British Imperial redcoats and 60 ships. Lafitte's men want him to side with the stronger force; he wants freedom and pardons for his men before ceding such a strategic landing spot to the U.S. forces. There are other factors at work in the story-line; pirate Bonnie Brown and her father want to attack U.S. ships and do so in defiance of Lafitte's orders, leaving a boy alive without knowing they have missed an eyewitness. When his testimony finally comes out, Jackson cannot grant what Lafitte asks; but Lafitte supports him anyway and in the fog, the pirates and Jackson rout the British and he sails away to whatever destiny awaits a man who had genius and statesmanship but not fortune. The cast of this colorful and physically-lovely film are skilled indeed. Yul Brynner has one of his best roles as the pirate king, Inger Stevens is beautiful; as the girl he loves, Charles Boyer has many good lines as his adviser, powerful Lorne Greene is a rival, E.G. Marshall the Governor, and Claire Bloom is charismatic as Bonnie Brown. Others in the cast include Ted de Corsia, Douglass Dumbrille, George Mathews, Henry Hull as Jackson's adviser, Bruce Gordon, Onslow Stevens, Robert F. Simon, Henry Brandon, Fran Jeffries, and Leslie Bradley, among others. The music by Elmer Bernstein is very memorable, and the 1938 script remade here had only to be freshened a bit. The shiny cinematography was the work of veteran Loyal Griggs, the set decoration was supplied by Albert Nozaki, Hal Pereira and Walter Tyler, with set decoration by Sam Comer and Roy Moyer and costumes by Edith Head, John Jensen and Ralph Jester. Nellie Manley did the elaborate hairstyles and Wally Westmore the difficult makeup. The film contains quite a bit of good adventure-level dialogue and a very strong climactic battle scene. Charlton Heston, as as Andrew Jackson, prepared to play the part of an elder general and then discovered the man was young at the time of the battle; but he is often effective, grey-haired or not, especially in his exchanges with Henry Hull as Mr. Peavey. This is an exciting and well-mounted entertainment, which looks exactly as if C.B. DeMille had completed his production; it is a beautiful and nearly a very-fine motion picture.", "label":1 }, { "text":"I dont know why people think this is such a bad movie. Its got a pretty good plot, some good action, and the change of location for Harry does not hurt either. Sure some of its offensive and gratuitous but this is not the only movie like that. Eastwood is in good form as Dirty Harry, and I liked Pat Hingle in this movie as the small town cop. If you liked DIRTY HARRY, then you should see this one, its a lot better than THE DEAD POOL. 4\/5", "label":1 }, { "text":"There aren't too many times when I see a film and go, \"huh, what?\", but this was one of them. Maybe after seeing Zabriskie Point I felt much the same way Woody Allen felt after seeing 2001- he only liked the film after seeing it three times over a two year period, realizing the filmmaker was ahead of him in what was going on. Michelangelo Antonioni, in one of his few tries at making films inside of the US (after Red Desert, he did Blow-Up, this film, China, and The Passenger, all filmed outside his native Italy), I could sense he almost tried to learn about the ways of the country through his own mastery of the medium. The results show that he doesn't lack the means to present images, feelings, tones, colors, sounds, and a visual representation of this era. \"A director's job is to see\", Antonioni once stated. Whatever that means, he doesn't disappoint for the admirer of his post-fifties work (I say post-fifties since I've yet to see any of his films from before L'Avventura).

What he does lack is a point, at least the kind of point that he could bring in Blow-Up and The Eclipse. You get the feeling of what is around these characters, what the themes are bringing forth to their consciousness, however in this case the characters and the actors don't bring much conviction or purpose. Antonioni, coming from the school of hard-knocks, neo-realistic film-making, does do what he can with his mostly non-professional cast (those who look most like real actors are subjugated to the roles of the corporate characters), but the two stars Mark Frechette and Daria Halprin seem as if Antonioni's under-directing them. Perhaps that was the point. The story's split into three acts, thankfully not too confusing, as Mark escapes his existence around the boiling, dangerous campus life going on in the circa late 60's LA area, and Daria is sent out from LA to drive to Phoenix for some business meeting. They meet by chance as Mark's plane (how does he know how to drive, maybe a little background info there?) and Daria's car meet up, and they spend some time together in an existential kind of groove out in the desert. Aside from a stylistically mesmerizing if bizarre sex scene, much of this act isn't terribly interesting.

The two leads are fair enough to look at, but what exactly draws them to each other outside of curiosity? The ideas that come forth (in part from a screenplay co-written by Sam Shepard) aren't too revealing, except for one brief instant where drugs vs. reality is brought up. Then the film heads towards the third act, as Mark decides to do the right thing, under disastrous circumstances, and Daria arrives at her boss' place, only to be in full disillusionment (not taking into account the infamous last five minutes or so of the film). Although the film took its time telling its story, I didn't have as much of a problem with that as I did that the story only engages a certain kind of viewer. I understand and empathize with the feelings and doubts and fears as well as the self-confidence of the \"anti-establishment\", but maybe Antonioni isn't entirely fully aware of it himself. In some scenes he as director and editor (and the often astounding cinematography by Alfio Contini) find the scenery and backgrounds more enlightening and fixating than the people in the foreground. Not to say the technical side of Zabriskie Point isn't involving to a degree (this may make some feel drowsy, as Antonioni is probably far greater as a documentary filmmaker as he is a theatrical director like say Francis Ford Coppola is).

The deserts, skies, city, and even the faces in close-ups are filmed with the eye of a filmmaker in love with the art of getting things in the frame, bringing us in. The soundtrack is equally compelling, with a master stroke including a sweet Rolling Stones song at one point, and then a crushing, surreal Pink Floyd song (re-titled from 'Careful with that Axe Eugene, one of their best pre-Dark Side) in the explosion sequence. If only the performances weren't so one-sided I might find this to be on par with Blow-Up or The Eclipse. It's an unconventional stroke of genius on one hand, and on the other a boring take on what was the hippie\/radical movement of the late 60's. But hey, what may be boring for an American such as myself born in the eighties may not be to others outside the US, such as say, Italy. And it does ask to not be discarded right away after one viewing.", "label":1 }, { "text":"For a movie with a plot like this I would normally smell \"tearjerker\" in the first ten minutes and turn it off, but this was very well made, with emotional subtleties, great acting, and some genuinely funny moments. It was also interesting to see a different culture - a vanishing one at that. My wife and I both dug it!", "label":1 }, { "text":"Strange yet emotionally disturbing chiller about fed up middle-aged man (William H. Macy) who finally decides to leave the family business (murder for hire) run by his quietly over-demanding father (Donald Sutherland) while seeing a shrink (John Ritter) and flirting with another patient (Neve Campbell).

Talk about a major dilemma, but \"Panic\" is a top-notch thriller that looks like \"American Beauty\" meets \"The Professional\". Macy and Sutherland are the stand-outs here. Remarkable debut for first-time writer\/director Henry Bromell. I'm surprised that this movie didn't get a chance to stay in theaters for more than a couple of weeks.", "label":1 }, { "text":"As with most of Eleanor Powell's films, this one plays out along the flimsiest of plots. For some reason -- oh it is explained! -- she's selected to transport a magnetic mine to Cuba. Good guys and bad guys compete for the mine and who is who gets confusing. But, as always, Powell's dancing is superb and worth the price of admission. And in this one Lahr plays his cowardly lion, evoking warm memories of that Technicolor film of 1939. A fringe benefit is hearing a young Frank, with that wonderful voice and skinny vulnerability that he abandoned for his wise-guy persona later on. In addition, the great drummer, Buddy Rich, has a wonderful time displaying his virtuosity. Watch particularly for his unique duet with Dorsey's trumpet man, Ziggy Elman. I say \"unique\" perhaps in ignorance, but I know of no other drum\/trumpet sequence like this one on film or records. This film is fun. Even Skelton's goofy persona is relatively restrained. Powell shows again that she is the greatest film dancer ever.", "label":1 }, { "text":"Running only seventy-two minutes, this small, overlooked 2006 dramedy is really just a two-character sketch piece but one that works very well within its limitations. Taking place almost entirely in various, non-descript spots in southern Los Angeles, the story itself is inconsequential, but like Sofia Coppola's \"Lost in Translation\", the film is far more about two strangers who meet unexpectedly, find a common bond and go back to their lives enlightened for the momentous encounter. It also helps considerably that Morgan Freeman and Paz Vega are playing the characters. Finally freed of the wise sages and authority figures beyond reproach that have become his big-screen specialty, Freeman seems comparatively liberated as a somewhat self-indulgent movie star. His character is driven to a low-rent grocery store in Carson, where he will be able to research a role he is considering in an indie film.

Out of work for a few years, he is embarrassed when he sees DVDs of his films in the bargain bin, but his ego is such that he does not lack the temerity to watch and even mimic the enervated store staff. Of particular fascination to him is Scarlet, an embittered worker from Spain and relegated to the express line where she is the unsung model of efficiency. She has an interview for a secretarial job at a construction company, but her deep-seeded insecurity seems to defeat her chances already. Still looking like Penelope Cruz's Amazonian sister, the beautiful Vega (one of the few redeemable aspects of James L. Brooks' execrable \"Spanglish\") brings a stinging edge and realistic vulnerability to Scarlet. She and Freeman interplay very well throughout the story, which includes stops not only at the grocery store but also at Target, Arby's and a full-service carwash. Nothing earth-shattering happens except to show how two people realize the resonating transience of chance encounters.

Silberling keeps the proceedings simple, but the production also reflects expert craftsmanship in Phedon Papamichael's vibrant cinematography (he lensed Alexander Payne's \"Sideways\") and the infectious score by Brazilian composer Antonio Pinto (\"City of God\"). There are fast cameos by Bobby Cannavale (as Scarlet's soon-to-be-ex-husband) and as themselves, Danny DeVito and Rhea Perlman, as well as a funny bits with Jonah Hill (\"Knocked Up\") as the clueless driver and Jim Parsons (the \"knight\" in \"Garden State\") as a worshipful receptionist. The 2007 DVD is overstuffed with extras, including a making-of documentary, \"15 Days or Less\", aimed at film students and running a marathon 103 minutes; six extended scenes; a light-hearted but insightful three-way conversation between Silberling, Freeman and Vega in the middle of Target; and a couple of snippets that specifically advertise the DVD.", "label":1 }, { "text":"Ralph and Mumford, misfits in their own land, get duped into being unwitting pawns of Synanomess Botch. Twice Upon a Time is the story of them, the characters they meet, and their struggle to set things right. With a surprisingly impressive soundtrack and wonderful voice acting by some of the best in the business, this offbeat movie hits the mark.

The animation process, while similar to that of the cut out \"South Park\" style, is much smoother and far more three-dimensional. If I didn't know that the animation was this style, I would swear that is was traditional pen and ink. If you can watch this film in Dolby Surround or THX, PLEASE DO! You won't really miss anything if you don't, but if you do, you will get much more out of the experience!", "label":1 }, { "text":"How The Grinch Stole Christmas instantly stole my heart and became my favorite movie almost from my very first viewing. Now, eight viewings later, it still has the same impact on me as it did the first time I saw it.

Screenwriters Jeffery Price & Peter S. Seaman of Who Framed Roger Rabbit fame do a fantastic job of adapting the story of The Grinch to the screen. Ron Howard's direction brought the story to full life, and Jim Carrey's typically energetic performance as The Grinch steals the show.

Some detractors of the film have claimed that it is not true to the spirit or principles of the original story. Having read the original story, I must say I cannot agree. The movie makes the very same point about Christmas and its true meaning as the original story. Indeed, it enhances the impact of the story by making it more personal by showing us how and why The Grinch became what he was.

*MILD SPOILERS* (They probably wouldn't ruin the movie for you... but if you haven't seen it yet and you're one of those who wants to know NOTHING about a story until you've seen it, you should skip the next two paragraphs.)

I think just about everyone can relate to The Grinch's terrible experiences in school. I think all of us, at one time or another, were the unpopular one in school who was always picked on. I know I was... and that's why I personally had so much sympathy for The Grinch and what he went through.

And Cindy Lou Who's naive idealism, believing that nobody can be all bad, was heart rending. When everyone else had turned their backs on The Grinch out of fear and ignorance, Cindy Lou was determined to be his friend. If only everyone could have such an attitude.

In fact, I think the only thing that might've made the film a little better would have been to further tone down the adult humor and content. It was already pretty restrained, but any of this adult humor (like when The Grinch slammed nose first into Martha May Whovier's cleavage) just doesn't fit in a story like this.

This one's well on its way to being a Christmas classic, taking a richly deserved place alongside the book and the Chuck Jones cartoon as a must-see of every Christmas season.", "label":1 }, { "text":"This film is the most cult movie on metal there is. Premise: A kid gets a hold of the final recording of his favorite artist Sammy Curr who recently dies in a hotel fire. He plays it backwards and summons him back from the dead to get revenge in the name of heavy metal on those b**tardly jocks who torment him. Any fan of true metal will enjoy this movie, and if you are a metal head being tormented by jocks, play a Sammy Curr album backwards.........no wait he is fictitious, well get a hold of this movie and watch it with your fist in the air, your head banging, and the volume at 11!", "label":1 }, { "text":"Branagh is one of the few who understands the difference between a film and a play. Hamlet is probably the most faithful adaptation of Shakespeare to a film and yet is a very dynamic film, almost an action thriller. The scene of Hamlet's meeting with his father's ghost won't leave your mind.", "label":1 }, { "text":"As a psychiatrist specialized in trauma, I find this film a beautiful shown example of a severe psychic trauma, even a trauma. It not only explains the enormous difficulties those people have to cope wither, but that even love is sometimes not enough. But she tries!", "label":1 }, { "text":"I am a Jane Eyre lover and a purist, and this version includes almost all of the important details of the book, and the characters are portrayed as I imagined them. Jane Eyre is a complex story of great richness and can't be delivered properly in a feature-length format, so it needs a TV mini-series. Timothy Dalton's Rochester is probably the best ever. There has been a lot of discussion about how attractive he is and his age. In the book, Jane (the narrator) describes him as \"about 35\" and not young, but not yet middle aged. I think Timothy Dalton was about 38 when he made this, so that is about right. Also, we only have Jane's opinion of whether Rochester is handsome. She only just met him and he asks her bluntly what she thinks. As an inexperienced and humble girl, I can't imagine her saying she did think him handsome. The actor playing Rochester needs to show us the character of the man, and this is fulfilled to perfection. I love the relationship between the two leads, which is the crucial thing about this story, and the humour of their encounters. Other versions have blown it, but this gets it right. The 2006 version with Toby Stephens (aged 37 years) is in progress on BBC1 and is very good indeed, so I will decide whether that is my favourite when it is completed.

On viewing this series again, after watching the 2006 version, I have decided that this version with Timothy Dalton and Zelah Clark is the best! Charlotte Bronte's dialogue is preserved and this is essential to the power of the story. Modernisation just doesn't work - it's a Victorian story and having archaic poetic speech suits the characters. This version has an excellent cast - Zelah Clark is tiny and the difference in height between her and Rochester is important; Timothy Dalton has real presence and is an amazing actor. There are no extra scenes to divert from the plot and the screenplay includes all the essential scenes, but leaves out unnecessary details, making it to the point and gripping. I recommend it to all true Jane Eyre fans.", "label":1 }, { "text":"Apart from having the longest reign in British history (63 years), Queen Victoria also holds two other distinctions. She was, apart from our current Queen, the oldest ever British monarch, living to the age of 81. And she was also the youngest ever British (as opposed to English or Scottish) monarch, coming to the throne as a girl of eighteen. And yet whenever television or the cinema make a programme or film about her, they seem far more interested in the older Victoria than they do in the young girl; the version of Victoria with which modern audiences will probably be most familiar is Judi Dench in \"Mrs Brown\". \"The Young Victoria\" tries to redress the balance by showing us the events surrounding her accession and the early years of her reign. It has the rare distinction of being produced by a former Royal, Sarah Duchess of York, whose daughter Princess Beatrice makes a brief appearance as an extra.

There are three main strands to the plot. The first concerns the intrigues of Victoria's mother, the Duchess of Kent, a highly unpopular figure even with her own daughter, largely because of the influence of her adviser Sir John Conroy, who was widely rumoured to be her lover. (According to one unfounded rumour he, and not the late Duke of Kent, was Victoria's natural father). The second strand concerns the growing romance between Victoria and her German cousin Prince Albert, and the attempts of King Leopold of Belgium, who was uncle to both of them, to influence this romance. (Leopold's hope was to increase the prestige of the House of Saxe-Coburg, to which both he and Albert belonged). The third concerns one of the strangest episodes in British political history, the Bedchamber Crisis of 1839, when supporters of the Tory Party (which had traditionally supported a strong monarchy) rioted because the young Queen was perceived to favour the Whig Party and their leader Lord Melbourne, even though the Whigs had historically supported a quasi-republican system of government, with the monarch reduced to a figurehead.

Scriptwriter Julian Fellowes is known for his Conservative views, and at times I wondered if this may have coloured his treatment of political themes, as he seems to lean to the side of the Tories, the predecessors of the modern Conservative party. Their leader Robert Peel is shown as statesmanlike and dignified, whereas Melbourne, for all his dash and charm, is shown as devious and uninterested in social reform. There may be some truth is these characterisations, but Fellowes glosses over the fact that only a few years earlier the Tories had opposed the Reform Act, which ended the corrupt electoral system of rotten boroughs, and that they had benefited from William IV's unconstitutional dismissal of a Whig administration.

Lessons in dynastic and constitutional history do not always transfer well to the cinema screen, and this one contains its share of inaccuracies. Prince Albert, for example, was not injured in Edward Oxford's attempt on Victoria's life, and Melbourne (in his late fifties at the time of Victoria's accession) was not as youthful as he is portrayed here by Paul Bettany. King William IV certainly disliked the Duchess of Kent (who was his sister-in-law), but I doubt if he would have gone so far as to bawl abuse at her during a state banquet, as he is shown doing here. I also failed to understand the significance of the scene in which the Duchess and Conroy try to force Victoria to sign a \"Regency Order\"; the Duchess's constitutional position was made clear by the Regency Act 1830, which provided that she would become Regent if her daughter was still under eighteen at the time of her accession. No piece of paper signed by Victoria could have altered the provisions of the Act.

There are also occasional infelicities. In one early scene we see Victoria and Albert playing chess while comparing themselves to pawns being moved around a chessboard, a metaphor so hackneyed that the whole scene should have come complete with a \"Danger! Major clich\u00e9 ahead!\" warning. Yet in spite of scenes like this, I came to enjoy the film. There were some good performances, especially from Miranda Richardson as the scheming Duchess and Mark Strong as the obnoxious Conroy. It is visually very attractive, being shot in sumptuous style we have come to associate with British historical drama. Jim Broadbent gives an amusing turn as King William, although he does occasionally succumb to the temptation of going over the top. (Although not as disastrously over the top as he was in \"Moulin Rouge\").

The main reason for the film's success, however, is the performances of Emily Blunt and Rupert Friend as the two young lovers Victoria and Albert. Blunt is probably more attractive than Victoria was in real life, but in her delightful portrayal the Queen is no longer the old lady of the popular imagination, the black-clad Widow of Windsor who was perpetually not amused, but a determined, strong-minded and loving young woman. Her love for Albert, and their happy family life together, was one of the main reasons why the monarchy succeeded in reestablishing itself in the affections of the British people. (With the exception of George III, Victoria's Hanoverian ancestors had been notoriously lacking in the matrimonial virtues). Blunt and Friend make \"The Young Victoria\" a touching romance and a gripping human drama as well as an exploration of a key period in British history. 8\/10", "label":1 }, { "text":"Small SPOILERS alert !!!

Good movie...VERY good movie. And I'm surprised to say that myself, because I'm not a big fan of vampires and the sound of the director's name Deran Serafian usually means bad news. Most of his films are below average action movies like Death Warrant and Gunmen. This was one of his first films and maybe he should have continued making horror movies instead of action. This movie really fascinated me. Good accomplishment, seeing no famous actors or big budget was involved. It really is the story that keeps you focused. Especially fans of the original Dracula myth will be satisfied. Sarafian lights up another aspect of the famous Bram Stoker story and remains rather loyal and true to the truth. It explains the life of the Roemenian Count Dracula and how he scared the Turkish army away by spearing dead corpses in front of his castle. Of course, that's where the reality and the \"based on a true story\" stops. The blood drinking and stuff all was invented by Bram Stoker.

In this movie, the count ( Vlad Teppish) emigrates to the USA and seduces tons of woman. And they're all pretty girls, I'll give him that. Overall, good acting by unknown faces, enough blood and gore to satisfy the more morbid horror fans and an interesting storyline. This film is really unknown and it was hidden on the darkest shelf at my local videostore. But it certainly is worth cleaning up the dust on the cover and put it in the VCR. Heck, it's a lot better than the famous Nicole Kidman movie with the same title. These two films have nothing else in common, but I blame that movie for stealing the attention away from this nice little picture. Check it out...my humble opinion on To Die For = 8.5\/10", "label":1 }, { "text":"I thought this film was just about perfect. The descriptions\/summaries you'll read about this movie don't do it justice. The plot just does not sound very interesting, BUT IT IS. Just rent it and you will not be sorry!!", "label":1 }, { "text":"Expecting to see a \"cute little film\" from mainland China, I was ill-prepared. Family dynamics, community and the inevitability of change have rarely been explored so expertly on film. Every character is solid and I was completely drawn into the story. The organization is much more complex than American audiences will be accustomed to. Yet, there is no difficulty following the progression, even while reading subtitles. Jiang Wu, as the retarded brother, is a constant shining light. Leave your cynicism in your locker. It will be there when you check out.", "label":1 }, { "text":"This is the story of Australian commandos who are captured out of uniform after a raid. Since they are out of uniform, they are, justly, treated as spies. As such, they are tried, convicted, and sentenced to death. The Japanese court-martial, out of admiration for their heroism, authorizes that they be given a warrior's death. Of course, under the code of Bushido, this means that they are to be beheaded. A fate for which, as westerners, they are unprepared.", "label":1 }, { "text":"This film contains the one ingredient that all revenge movies should have and that is true emotion. Sorrow, love, laughter , anger. There are so many emotions thrown into this film. From start to finish this film is immensely captivating. The plot on paper sounds like the usually rubbish that is mostly thrown In the faces of the audiences but don't be mistaken, this film is powerful. Washington as always puts on a great performance.

The plot in a nutshell: man suffers from depression, a young girl brings life into him, kids gets kidnap, man wants revenge. Doesn't sound like anything special but it far superior than any other similar film out there. For instant, TAKEN is a similar film but when you compare them both, MAN ON FIRE wins hands down. The characters are engaging and everyone puts in a great performance and the directing is great. Mexico City feels alive , it looks like Mexico city, it smells like Mexico city. Everything is portrayed brilliantly . the style of direction was something I enjoyed and brought the best out of Mexico City

This is one of those films you'll bring out once a year to watch again or a film that you'll beg your family and friends to watch. From start to finish you are rooting for the main protagonist, making it a roller-coaster journey. There enough action to keep you happy, there enough character development to please you and then there's Washington to bring a smile to your face . Watch this film, you won't be disappointed", "label":1 }, { "text":"There are 21 comments as I add mine to this list and there is barely a criticism. This is because this film is terrific entertainment and has a bit of everything in it.

It is perhaps a little frightening for younger children but my 15-year old son thought it was fantastic in every way from the action, to the humour and even to the beautiful music score.

I buy DVDs only when I know that they are going to be regularly watched and now that this is finally available in the UK, I will certainly be adding it to my collection.", "label":1 }, { "text":"Sure, it's a 50's drive-in special, but don't let that fool you. In my little book, there are a number of intelligent touches with unexpected dollops of humor. Catch the redoubtable Mrs. Porter who's supposed to keep an eye on the doc's place. She not only steals the scene, but darn near the whole movie. And where did those indie producers come up with the bucks to film in color, a wise decision, since the blob would not show up well in b&w. Yes, the result is ragged around the edges as the number of goofs illustrate. But except for several of the teens, the non-Hollywood cast performs well. Then too, the byplay among hot-rodders and cops comes across as lively and entertaining. Pretty darn good for a couple of directors more at home in a pulpit than on a sound stage. Apparently, they wanted to portray teens in a positive light at a time when the screen was filled with \"juvenile delinquents\". Then again, the 27-year old McQueen hardly qualifies in the age department, but manages the hot-rodder attitude anyway. The movie was a hit at the time, helped along, no doubt, by the catchy title tune that got a lot of radio play. And except for the unfortunate final effects, the movie is still a lot of fun, drive-in or no drive-in. Meanwhile, I'm awaiting the blob's return now that the polar icecap is turning into, shall we say, refrigerator water.", "label":1 }, { "text":"This a superb self-contained work that is unconnected with anything before or after. Brat Pack crooning and club exclusivity are not my biscuits of choice, but in this law-free world they make an alluring ambiance. The film is packed with Our Guys, distinctive actors who add distinction to this work with winning performances. The dialogue is a joy. In fact it's a new vernacular. One of the few films that can be watched repeatedly with deepening appreciation.

Highpoints include Billy Idol's British loutishness, Ben London's vulturine brassware, Kyle's squirmishness, and the survey of ad hoc philosophies.", "label":1 }, { "text":"Visconti's first feature, Ossessione is an adaptation of James M. Cain's The Postman Always Rings Twice. Now, I'm not familiar with that book or the other film versions, but I am a big fan of Cain's Double Indemnity (much more so than I am a fan of Billy Wilder's film version of it, in fact). The two novellas seem like they must be very similar. Both involve an illicit love affair where a ravenous wife complains to a morally weak man that her husband is worthless and mean to her. Giovanna, the woman in this Italian version, played very well by Clara Calamai, is not evil incarnate like the wife in Double Indemnity, but she seems very spoiled. Her husband (a great performance by Juan de Landa) is a bit cruel to her, but she strikes me like she is at least as uncompromising with him. He's older than her and unattractive, so she's rather fickle. When Gino shows up, a young, muscular man, it takes her about five minutes to get him into bed. She sweats she wants to be with him forever, but she's stuck with her husband. They break up at first, but when they meet again, they (apparently, although this is intentionally vague) plan to murder the husband. They are successful, and they move back to the woman's home town to run the bar that her husband owned. Gino is very unenthusiastic about this idea. He wants Giovanna, but the one thing that he certainly doesn't want is to sit around in one place for the rest of his life. Their relationship quickly crumbles. Ossessione is a very complex film with complex characters. It's always fascinating, but it does go on a bit too long. At two hours and twenty-two minutes, I can't, for the life of me, figure out how it took that long! This is partly due to the neorealist stylistics that Visconti was inventing within this film. It was, after all, the first film that won that label. We see a lot of the action prolonged as it would be in real life, without any hurrying to the next plot point. I've seen many of Visconti's films, and the only one I like better than this one is Rocco and His Brothers (1960). His direction is as great as it ever was, with the camera moving brilliantly and the editing perfect. I also feel the need to point out the film's best performance, by Dhia Christiani as a young (exotic) dancer and part-time prostitute named Anita whom Gino meets after he begins to try to break away from Giovanna. She's only in the film for maybe five or six minutes, and she has only a few lines. It's shocking how much Visconti and Christiani are able to do with this character in such a short time. She's absolutely heartbreaking. 9\/10.", "label":1 }, { "text":"With a simplistic story and an engaging heroine, this was the horror movie that started it all. John Carpenter brings to life a nail-biting nightmare on Halloween night, when Laurie Strode (Jamie Lee Curtis in her debut, career defining role) and her mischievous friends plan a night of sneaky fun- only to cross paths with a relentless psychopath from hell.

Michael Myers has escaped from a nearby insane aslyum...having slaughtered his sister fifteen years earlier, he is now back in Haddonfield, the sleepy Illinois town where his murder took place. Once he sets his eyes on Laurie after she drops off a package to the abandoned house where he lived, he begins to stalk and terrorize her, turning her night of fun into terror as he picks off anyone in his path to get to her.

Beautiful cinematography and lighting really make this moody horror flick scary... with the long gloomy shots it constantly feels as if you're being stalked by the maniacal serial killer himself. Myers is hidden well until fully revealed at the exciting conclusion.

Although \"Halloween\" is certainly outdated, it is by no means less chilling. The idea alone is goose bump inducing, and this little shocker is one of the most famous and memorable horror movies ever made to this day... it spawned seven sequels and eventually Rob Zombie's equally scary remake, and it set a new standard for horror that still exists today.", "label":1 }, { "text":"...........as I was when I saw this movie) I will never watch this movie again, not because it is a bad movie, but because it scared me so much! As I said, I was 14 when my English teacher decided to show it to us; the reason for this is that we had read an extract from the book.

All the girls in my class were TERRIFIED when the Woman in Black comes through the window and floats over Kidd's bed, although, just before that there is something that also frightened us, which was when Kidd finds the toy soldier underneath his pillow, and he hears a child's voice say \"It's for you\". That scene still haunts me to this day, nearly 7 YEARS after I saw the film.

If you are easily scared, AVOID THIS FILM!!!!!!!!", "label":1 }, { "text":"Admittedly, I know nothing about baseball, I'm not even a fan of the sport, but that didn't stop me enjoying the Farrelly brothers' latest film, Fever Pitch, a charmingly irreverent romantic comedy. The film is not really about baseball; rather, it's really about relationships, and the emotional disconnectedness that can often take place.

Jimmy Fallen \u0096 giving his best performance to date \u0096 stars as Ben, a dorky, lightly nerdy schoolteacher. Ben is a kind of man-boy, who unfortunately has never really grown up, and he fosters an almost fanatical addiction to the Red Sox baseball team. Ben has devoted his life to the Sox, and does everything from making the pilgrimage to Florida for spring training to decorating every square inch of his apartment in team paraphernalia.

One day, while taking his honors geometry class to on a field trip to her office, Ben meets the go-getting Lindsey (a wonderful Drew Barrymore). Lindsey is a corporate, career orientated kind of girl, but she has a kind of cuteness that Ben finds totally endearing. He's initially hesitant to ask her out, thinking that she's way out of his \"class,\" and, Lindsey doesn't immediately see a potential partner in Ben.

Their first date gets off to a disastrous start when Lindsey is stricken with a severe case of food poisoning \u0097 and her resonant retching provides the first clue that we are, in fact, watching a Farrelly brothers movie. Rather than accept Lindsey's - rather urgent - request to reschedule, Ben sticks around to play nurse, orderly, and janitor. So Ben scrubs the toilet and the dog's teeth, while his love interest is passed out with a bucket next to her bed.

When Lindsey wakes up in the morning and finds him asleep on her couch, she begins the long, fitful process of dismantling the web of status anxiety and ambition she has come to think of as her standards. Soon they are falling in love, with Lindsey blithely accepting Ben's fanatical devotion to his sport.

Having inherited choice season tickets from his beloved uncle, Ben has organized his life around the season \u0097 he's never missed a game. But their relationship, which has progressed without a hitch throughout the winter, hits a snag at the start of the season.

Lindsey wants Ben to do other things, like holiday with her parents and party with her friends, but Ben begins to have trouble modulating his interest to meet Lindsey halfway. Can Lindsey consent to his irrational devotion to the boys of summer in order to make their relationship work? Can she really accommodate Ben's infatuation with sports? Can a die-hard and nerdy Red Sox fan find true love after all? Of course, Lindsey and Ben come with a colorful assortment of opinion-wielding friends. Lindsey's strictest buddy, the skinny, rich and blond Robin (KaDee Strickland), insists that there must be something wrong with the guy if he's still single at 30. However, plump, curly-haired Sarah (Marissa Jaret Winokur) and Molly (Ione Skye) supply a more optimistic and positive view of Ben.

Ben's eccentricity could be applied to virtually any obsessive sports fan, while Lindsay's frustrations could be representative of any upwardly mobile career driven woman. Fallon is terrific as Ben, exhibiting real big screen potential, overcoming the not-insignificant challenge of keeping Ben from being unsympathetic. Barrymore, meanwhile, is equally charming as the workaholic Lindsey, particularly as she struggles to accept Ben for who he is without losing sight of her own needs.

Fever Pitch really works, and even though there are lots of inspired comedic moments, the movie is also addressing the serious problem of sports addiction and how difficult it can be for couples to negotiate this fragile territory.

Much of the movie was filmed at Boston's Fenway Park, which adds a fine sense of authenticity to the proceedings, as well as the ambiance of the games, though fully appreciating what transpired with the team will probably be limited to baseball aficionados. Even so, Fever Pitch is blessed with such a finely wrought and intelligently funny script that even novice baseball fans will find much with which to connect. Mike Leonard September 05.", "label":1 }, { "text":"I watched this last night on TV (HBO). I have to admit, that the tension in this movie was unsurpassed by most other FN era movies. I loved the way Chip would be all calm one moment and then VIOLENT the very next moment. It was classic. Ahh yes. The dames, the villians, the cigars and thuggish cops! It has it all. This movie delivered all the goods to me. I especially loved the way they mixed communism into the plot, very common for this era of movie. Very daring also since blacklisting was popular in those days. I rate this movie one of the best I have seen in the FN genre!", "label":1 }, { "text":"A River Runs Through It is one of those movies that deserves to be seen in the theater so that the majesty of its cinematography can be truly appreciated. The acting is wonderful and understated, with every gesture and smile and nod carrying meaning. Brad Pitt gives a radiant performance and Tom Skerrit is powerful as the preacher father. The movie moves like a river, you have to be willing to follow it through ebbs and flows, but it is well worth it in the end.", "label":1 }, { "text":"This is a tepid docu-drama that covers no new ground, reworks all the cliches and is sloppy with facts. For example, Munich is a very flat city. So why is it hilly in the movie? For example, the end of the Great War in 1918 was not a surrender but an armistice. Yet it is announced as a surrender. For example, European news vendors did not (and do not) shout headlines as they hawk their papers. Yet this strictly American custom is employed in the film. For example, the Nazis did not adopt the German eagle until after they had taken power but there it is on the lectern as Hitler delivers one of his stem winders. Indeed, most of this disappointing production consists of little more than Hitlerian oratory. The movie also perpetuates the myth that the beer hall putsch was hatched at the Munich Hoffbrauhaus. It was not. Robert Carlyle does a fine portrayal of his subject. But his supporting cast is adequate at best and very often not even that. These comments are based on the first episode only. One only can hope the second will be better but don't bet on it.", "label":1 }, { "text":"Tsui Hark's visual artistry is at its peek in this movie. Unfortunately the terrible acting by Ekin Cheng and especially Cecilia Cheung (I felt the urge to strangle her while watching this, it's that bad :) made it difficult to watch at times.

This movie is a real breakthrough in the visual department. When I first saw this, my jaw dropped repeatedly and I thought to myself that I've never seen anything remotely like it but this is how it should be done in order to do full justice to the mythical world of Chinese historical kung-fu novels! Without a doubt this is one of the best-looking Chinese historical kung-fu epic ever made.

But alas, Tsui Hark hasn't improved much in the writing department, and the story and dialog are rather juvenile (his apparent obsession with the silly and overly-long depiction of the evil guys didn't help either). To make it worse, this movie is very badly cast. They decided to use the \"hot\" popular Hong Kong idols as lead characters, but unfortunately both Ekin Cheng and especially Cecilia Cheung are totally unsuited for historical kung-fu dramas because they lack the nobility and mystique that such characters are supposed to embody. Adam Cheng Siu-Chow and Brigitte Lin in the 1983 version are infinitely better.

I wish that someday Zhang Yi-Mou and Tsui Hark can join forces and produce a movie that has the visual artistry of Tsui but with the maturity and story-telling poetry of Zhang...", "label":1 }, { "text":"This is one of the most brilliant movies that I have seen in recent times. Goes way above even any international movie of any repute. I am really surprised why this has not received the recognition it deserved. Sonali Kulkarni winning the National Award is perhaps the only consoling fact. Renuka Daftardar simply amazes as she speaks volumes through her eyes. There are a few scenes that stand out: When Gauri comes back from the city on Krishna's wedding, she and Krishna meet for the first time in many years. Krishna notices a change in Gauri, but not a single line of dialogue is said. The entire gamut of emotions is conveyed through subtle mannerisms and the eyes. There's another towards the end when Krishna pleads to Abhay Kulkarni to marry Gauri instead. If you are not moved by that scene, you don't have a heart.

Watch this movie for sheer movie-making brilliance and acting capabilities.", "label":1 }, { "text":"**POSSIBLE SPOILERS**

The biggest part of the movie that doesn't work IS the Wendigo, and when your title character fails, your movie usually isn't far behind it. The filmmakers' interpretation of the Wendigo's form is interesting, and can be properly menacing when filmed correctly - when the fleeing killer sees the Wendigo in a flash in his rear view mirror, for instance - and the tree-form was actually very good. However, as a monster character it never really comes to life. We don't get much of an explanation for its behavior, and what we DO see from it doesn't jibe with either the story told in the movie itself, or any Wendigo lore I've ever read.

I think one of the main reasons that the monster fails is that it isn't given enough to do, in the movie. When you boil this film down to its bones, what you have is a suspense thriller with a little bit of a supernatural element, instead of a movie about a monster.

The cinematography is good, though a little cheesy; the filmmakers use scenery, lighting, and time of day to convey atmosphere and mood rather well. The character of Otis comes across as truly dangerous and unpredictable, making him the real monster in the film. It might have been more effective to explain his behavior as him being possessed by the hungry spirit of the Wendigo, which would also be a more accurate representation of the real legend.

I have heard unconfirmed reports (from a newsgroup) that the reason the Wendigo doesn't do much is that, when the monster suit was built, it wound up so heavy and and uncomfortable (in order to mimic the stance of it standing on cloven hooves, the performer had to walk on his toes) that it was nearly impossible to run, walk, or otherwise perform in it. Thus the many flashes of the creature standing still, and the obvious sped-up footage of it running. I stress that these reports are uncomfirmed.", "label":1 }, { "text":"Offbeat and rather entertaining sleeper concerning two very different brothers who are both not only so-called \"fire starters\" (think Stephen King's snore-fest of a book with the same name), but also forever at odds with each other over a woman who has a rather nasty habit of being a pyromaniac! Good special effects (especially towards the end), quirky performances from a pretty talented trio of actors and topped by a really interesting and oddly appropriate soundtrack ultimately make \"Wilder Napalm\" a unique treat of a film to watch...if you can find it that is! On a personal note, I was fortunate enough to snatch it up (so to speak) from the two-dollar bin at my local video-rental store. (*** out of *****)", "label":1 }, { "text":"I have to be 100% honest with you fellow IMDb users. I wanted to see this movie for a very long time only because of the poster. Doesn't Charlotte Gainsbourg looks extremely sexy and charming smiling that way? I'm in love with that woman! I got what I expected...but only half. This film should deliver expectations for those who enjoy all kinds of romantic comedies or stories involving intelligent humor and light dramatic situations.

While I don't agree with another fellow IMDb user who states that the movie is overrated; I must admit that \"Pr\u00e9te-moi ta main\" has plenty of flaws.

My main problem with the film is the lack of on screen chemistry between the main characters. There isn't a single scene previous to the climax that shows the main characters sharing a moment \"of romance\" or even a clue to suggest that they're interested in each other.

In fact, the only scene were both share a moment is tremendously awkward (when both are in the couch) and does not help the audience understand about a possible love interest. I didn't buy the dinner sequence.

Still, the movie delivers very funny moments and has a strong dialogs that support such an ingenuous premise. I mean with ingenuous that it would be very difficult to execute such a farse by a 43 year old man in these days.

I understand it's a movie and that's why I accept it as a funny situation. Plus, the humor is versatile. There are moments involving S&M, funny lines with Chabat's best friend, some lesbian references, funny situations involving the family women, and more.

Charlotte Gaionsbourg's performance is top notch and she's by far the reason to watch the movie. She's funny, sexy, looks very thin and fine, and demonstrates she's a versatile and talented actress who can pull out a comedic and dramatic performance in sheer brilliance.

Alain Chabat is a fine actor and gives a very decent performance. I think the supporting cast do what they can.

The score, art direction, and other technical aspects are really good and give a dynamic look to the film.

Those who enjoy this kind of cinema should be pleased after the ending credits. It's a good example of feel good cinema.", "label":1 }, { "text":"Generically speaking, Fay Grim is a highly entertaining thriller featuring two of the most inexorably enjoyable names in American movies, unshakably beautiful and gracefully spunky Parker Posey and endlessly charismatic and unavoidably hilarious Jeff Goldblum. They have many scenes in the first half of the film in which we see these two insatiable presences volleying off of each other, even radiating with charm when Goldblum rolls off Hartley's shamelessly epic info-dumps. Nevertheless, if one were to deconstruct Fay Grim, one would see many instances in which countless scenes could've been squeezed for much more benefit than they have resulted in being.

This sort of filmed in-joke is the sequel to Hal Hartley's Henry Fool, which was made ten years earlier. It has title character Posey forced by CIA agent Goldblum to track down the notebooks that were the precious possessions of her missing fugitive husband, the predecessor's titular anti-hero. Available within them is information that could concede the safety of the United States. Fay first makes for Paris to get a hold of them but becomes engulfed in a bona fide celebration of espionage clich\u00e9s featuring everything from car bombs to ambiguous helpers to Following the Girl to double-crosses to triple-crosses.

The primary appeal of it all for me is that it's such a novel approach to the sequel of a movie about a garbageman and a struggling novelist in a small town. In the original Henry Fool, Posey played a simple woman leading a very simple life. Hartley's talents do not reach the heights of many of the other independent newbies from the 1990s, but I do admire his wild creativity in making an inadvertent Nearne sister out of her, giving her a terrific predicament, as he did to her character's brother, played by James Urbaniak, in Henry Fool, as she is trapped between whether or not she may still love her overwhelming refugee husband and the problematic but forceful plans of Goldblum.

Hartley, however, is simply riding on that fragmentary idea. His plot, though complex and labyrinthine, true to the form of the spy film, it seems as if to be entirely capricious. The reason I was not bored was mostly due to the pace at which the story unfolds, not to mention the presence of Posey and Goldblum. The problem with the remainder of Hartley's cast is that I cannot seem to become fond of the rest of them. It has nothing to do with how obscure they are compared to the relative star power of the two said charm masters, but with how they don't seem to hold their own alongside them, though Saffron Burrows certainly comes close. Most of the scenes not involving Posey or Goldblum are far too light on their feet, stringing us along with info-dumps we have no choice but to listen to or else be totally lost in the ensuing sequence of scenes. They are shot almost entirely in tiled angles, as if Hartley is compensating for that implacable feeling of a lack of material.

Liam Aiken, however, playing the now teenage son of Fay and Henry, has a certain allure about him, seeming wise beyond his years, certainly much wiser than any of the adult characters. Perhaps Hartley intended that, or maybe it's simply Aiken's presence. The problem with a Hartley film is that you never quite know what was intended and what just happens to be there. As Scorsese said, \"Cinema is a matter of what's in the frame and what's out.\" One has to be able to trust that what we see is a conscious decision by the filmmaker to remain in the finished film.", "label":1 }, { "text":"This movie is a journey through the mind of a screenwriter caught in his own paradoxical philosophy. He examines the ever illusive question of 'who am I' and 'what is I?' It's a courageous and thought provoking enterprise. There is a shipload of beautiful images, dream-inspired, Escher-like paradoxes reminiscent of the hand drawing itself, or rather, erasing itself. More and more we follow the writer in his agony over what to say and what to film, we see him phoning with his wife who left for Peru, leaving him to take care of their baby, a task he performs with less and less attention until he's so absorbed in his dilemma's that he hardly looks at the child anymore. His wife comes back and makes a scene, destroys his notes and helping him go over the last treshold until he erases him-self. Interspersed with eye-pleasing and I-destructing images, the story is mainly philosophical. It's about the veils of Maya, the world of illusion. The paradox of the movie however, is that it needs a lot of talking and thinking to prove that thinking should stop. During the more than two hours of provocative beauty and rapid philosophising the movie made me long for silence or a shorter movie. If that was the purpose of the maker, he succeeded quite well.", "label":1 }, { "text":"Why on earth should you explore the mesmerizing nature documentary \"Earth\"? How much time do you have on earth so I can explain this to you? OK, I will not elongate my review exploration on \"Earth\" to infinity, but I must stand my ground on why this is a \"must see\". The documentary takes a nature round trip on the migration paths on three animal families: a female polar bear and her cubs with the real life subplot of the father bear daring it out to hunt for food in his isolated path, a mama of a whale with her baby whale taking a whale of a migration tour for prey, and an elephant mama with her small (maybe not so small, they are elephants) offspring migrating in Africa. Directors Alastair Forthegill & Mark Linfield did an \"out of this earth\" job in also capturing the survival skills of many other animal species besides the magnetic shots of our three animal family protagonists. The cinematographically skilled team of Richard Brooks Burton, Mike Holding, Adam Ravetch, and Andrew Shillabeer were animales in camera shooting the wondrous nature sites and animal instinctive behaviors; not to mention, the slo-mo animal prey shots were u n b e l i e a v a b l e. \"Earth\" is also a lesson learner on the global warming effect on the animals; the papa polar bear in the doc is the poster animal boy on that consequence. So fellow earthlings, it is time to take the documentary voyage to visit \"Earth\" today! **** Good", "label":1 }, { "text":"One of the greatest westerns of all time! But this one, unlike many others, does not deal with the nature, horses, shootouts, etc., but instead deals with one rifle, the Winchester '73, and how this one rifle effects others and how they effect it. A rifle is not a living, breathing, human being, right? You may be inclined to believe that it is not. But it seems to have a mind of its own, for two very similar reasons: it gets back to its rightful owner in the end, even though that throughout the rest of the picture, its unthoughtful \"owners\" do their best to make sure it does not, and it never seems to be content until it gets back to its original owner, so, coincidentally, the unthoughtful \"owners\" always seem to lose it somehow or get killed trying to protect and keep it, until it gets back to James Stewart, then it is \"content\". But, not every one of the owners deserves to have it. Stewart does, of course, since he won it. McNally does not, since he had to be a dirty thief and steal it. Drake definitely does not, because he would probably lose it in some poker game, and besides, Drake is too cowardly to fight, so why should he have a one-of-a-kind rifle if he will not even use it? Duryea does not, because he is just a chuckling maniac, and we all know that chuckling maniacs do not deserve guns. This film has a sort of noir edge that only Westerns can have, such as the Ox-Bow Incident. Westerns have their own type of noir, much different than the 30's and 40's Bogart films. It is, hands-down, the best one out of all five Stewart-Mann westerns, even though my personal favorite is \"Bend of the River\". The other four became much different than this one. I do not think it a coincidence to see that the other four were color, and this is black and white. This is because of the noir edge. All five films had the revenge and the dark past on Stewart's part play into the film, to the point where this is not just Stewart's dark side, but also actually a sort of character, not one to be listed in the credits, but one that you can only recognize and know that it is there, always present. However, this one, not just on revenge and the dark past, but also in terms of supreme danger, and characters that were very different than Stewart make it surpass the other four in all aspects. But Stewart never crosses the line. He does, however, walk the line between light and dark. This is why black and white played such an integral part in the film. They could have all been black and white, or they could have all been color. But this one is in black and white, and the other four are in color, and there is a very good reason for that.", "label":1 }, { "text":"Citizen X tells the real life drama of the search for a serial killer dubbed \"The Rostov Ripper\" This great film shows the long journey it took to try to apprehend a killer. The film shows how politics may haver helped the killer to continue his rampage for over 12 years. (Possibly over 50 victims, mostly women and children) The performances of Stephen Rea as the lead detective and Donald Sutherland as the overall investigation lead was superb. Jeffrey DeMunn as the Ripper Andrei Romanovich Chikatilo. This is the type of film which will mesmerize you and immediately have you on the internet researching the real case. This a film not to be missed. It debuted I believe on HBO and never did get a theatrical release to my understanding. Great film", "label":1 }, { "text":"And look how a true story, \"... with a little help of it's friends...\" : a welldone and touching script, a good directing and a surprising great acting from a bunch of \"no-name\" actors, especially from the 4-yr-old Jodelle Ferland, becomes a must seen movie. 9\/10", "label":1 }, { "text":"The Matador is better upon reflection because at the time one is watching it, it seems so light. The humor is always medium-gauge, never unfunny but never gut-busting. The story is a very simple thread. The characteristics of the plot are often recycled features, namely the unscrupulous bad guy in need of a pal and the straight-laced glass-wearing good guy in need of security in life team up and learn from each other and somehow complement each other's lifestyles. I also find the bullfighting parallel to the story unnecessary, as it is a simply cruel thing and the symbolism is hardly potent enough to carry itself. However, it really is a good film, because though it seemed so thin and unaffecting at the time, it wasn't. It has a subtle way of connecting with the audience.

I believe the reason it slowly but surely gives the audience something to take with them is because though it's a formula that is nothing new, even most of the humor, both main characters, virtually the only characters in it, are somehow met and gotten to know. Forget calling them real. That's not at all what I mean. What I mean is that though Pierce Brosnan's filthy, womanizing, boozing hit man is a detached comical character, he's grasped firmly by the writer and definitely by Brosnan, who is aggressively communicating how much he enjoys his breath of fresh James Bondless air. Greg Kinnear's character seems quite the same in his detached scriptedness, but he's given certain very unexpected footnotes that for a moment due to the film's lightfootedness pass us by but then hit us only a moment later. We then realize the film is not simply Analyze This or Planes, Trains and Automobiles told stalely over again. Its truly saying something.

The film's climax is of a sort that wants to partially be a thriller with twists. But with its lightness, how can that possibly be the focus of the film, though the plot has been leading up to it? No, the focus is what Brosnan and Kinnear get out of their unlikely relationship to each other. Strangely, The Matador is a film about regret and loneliness. Brosnan deals with loneliness and regret every day, and though we don't understand why Kinnear is so lenient and accepting with Brosnan continually interrupting his life, it's slowly understood that Brosnan is salvaging Kinnear from a more down-to-earth version of his own feelings as a means of redemption. The very last scene of the movie stays with me. It, I think, is where the film's subtle side-stepping impact finally begins to seep.", "label":1 }, { "text":"I thought that this film was very enjoyable. I watched this film with my wife BEFORE I had my first child. Therefore, I was not watching it as simply family entertainment and I still thoroughly enjoyed it. It seems as though many of the reviews are pointing out that this movie is not earth shattering, there were no unexpected plot changes and that the movie was predictable and boring. If these people were watching this movie expecting to have a religious experience doing so, then they were obviously going to be disappointed. This is simply an animated movie; nothing more. If you want to see this movie simply to sit back and let yourself be entertained, you will not be disappointed. In closing, this is definitely not the best movie Disney has made, but it IS entertaining and I do not understand the bad reputation it has received.", "label":1 }, { "text":"Holes (2003, Dir Andrew Davis)

When Stanley Yelnats IV is wrongfully convicted of stealing, he is sent to 'Camp Green Lake'. At this camp, the Warden, and her two henchman, Mr. Sir and Dr. Pendanski command the campmates to dig holes after hole after hole. But for what reason? Stanley plans to find out.

I never really had any intention in watching 'Holes', and i must admit, i only really watched the film, because i'm such a fan of Shia LaBeouf, but even if you are not a fan of him, then it doesn't matter. 'Holes' is one of those Disney film that the whole family can enjoy. The story is lovely written and incorporates a wonderful idea of including flashbacks to the past. These are not distracting and really gives a great back story. All the cast are great. The young stars act well and the addition of Jon Voight and Sigourney Weaver are a joy. Shia LaBeouf shows that even at 17, he can act without any flaws. This is one Disney film, you definitely would enjoy as a family.

\"I learn from failure.\" - Stanley Yelnats III (Henry Winkler)", "label":1 }, { "text":"When I first heard about this series on AnimeTV,I have to say that out of all the shows that I have seen,this one tops it all off. I had to see this show,and that is what I really did. When I got the first volume of this show,it was the best. I really liked the animation,and all the fight scenes were awesome. I have to say that my favorite characters in the show were Saber,and Archer and of course I also like Illya. And of course,all the episodes on the volumes were interesting,and very cool. Another thing I have to say about the series is Michael McConnohie(famous for Transformers,and others) playing the voice of Berserker. He does have a cool character. And I even watched the entire series all over again before watching the final volume. So if you to see something good,then see this show,it's the best.", "label":1 }, { "text":"I saw this film earlier today, and I was amazed at how accurate the dialog is for the main characters. It didn't feel like a film - it felt more like a documentary (the part I liked best). The leading ladies in this film seemed as real to me as any fifteen year-old girls I know.

All in all, a very enjoyable film for those who enjoy independent films.", "label":1 }, { "text":"I thought that Baseketball was one of the most funniest films i have ever seen! It's witty humour made me giggle all the way through, and the fact that Trey and Matt are so over the top, boosts the film's comedy.

I have just bought Baseketball on DVD and its just one of those movies where you would never get tired of watching it. I have a very short attention span and i think this film has so any funny bits that it keeps me entertained throughout. The humorous quotes are memorable, and can make me laugh for hours if i remember them later..

So overall i think that Baseketball is brilliant movie which everyone should go see, especially if you're younger like me as it will keep you laughing for a long time afterwards.

P.s Does anybody think its weird for me to like them both? hehe", "label":1 }, { "text":"For all of the Has-Beens or Never Was's or for the curious, this film is for you....Ever played a sport, or wondered what it felt like after the lights went down and the crowd left..this film explores that and more.

Robin Williams(Jack Dundee) is a small town assistant banker in Taft CA., whose life has been plagued, by a miscue in a BIG rival high school football game 13 years ago, when he dropped the pass that would have won over Bakersfield, their Arch-Rival, that takes great pleasure in pounding the Taft Rockets, season after season . Kurt Russell(Reno Hightower) was the Quarterback in that famous game, and is the local legend, that now is a van repair specialist, whose life is fading into lethargy, like the town of Taft itself.

Williams gets an idea to remake history, by replaying the GAME ! He meets with skeptical resistance, so he goes on a one man terror spree, and literally paints the town , orange, yellow and black , to raise the ire of the residents to recreate THE game . After succeeding, the players from that 1972 team reunite, and try to get in shape to practice, which is hysterical . The game is on , Bakesfield is loaded with all of the high tech gadgets, game strategies, and sophisticated training routines . Taft is drawing plays in the mud, with sticks, stones, and bottle caps, what a riot ! Does Taft overcome the odds, does Robin Willians purge the demons from his bowels, does Kurt Russell rise from lethargy, watch \"The Best of Times\" for one of the BEST viewing experiences ever!

One of Robin Williams best UNDERSTATED performances, the chemistry between Robin and Russell is magic . And who is Kid Lester ???

Holly Palance and Pamela Reed give memorable performances as the wives of Williams and Russell. Succeeds on Many Levels. A 10 !", "label":1 }, { "text":"Running out of films to rent, I picked up Freebird. I struggled through the first third of the movie wondering if the rest would be a waste to see. Fortunately, it really warmed up, and I loved the movie quite a bit. The second half of the movie had me grinning and laughing the entire time. Thankfully, although there were bits of CGI included, they were not overdone or prevalent.

I would have to say, though - the actors all have heavy European accents, so be warned if you have trouble understanding those voices or their cultural humor.

I really loved this movie, and will have to order myself a copy for my own collection.", "label":1 }, { "text":"I saw this gem of a film at Cannes where it was part of the directors fortnight.

Welcome to Collinwood is nothing short of superb. Great fun throughout, with all members of a strong cast acting their socks off. It's a sometimes laugh out loud comedy about a petty crook (Cosimo, played by Luis Guzman) who gets caught trying to steal a car and sent to prison. While in prison he meets a `lifer' who tells him of `the ultimate bellini' \u0096 which to you and me \u0096 is a sure-fire get rich quick scheme. It turns out that there is a way through from a deserted building into the towns jewellers shop \u0096 which could net millions. Sounds simple? \u0096 well throw in all kinds of wacky characters and incidents along the way and you have got the ingredients for a one wild ride!! \u0096 word passes from one low life loser to the next and soon a team of them are assembled to try and cash in on Cosimos `bellini' lead by failed boxer Pero (Superbly played by Sam Rockwell \u0096 surely a star in the making) and reluctant crook Riley (William H. Macy) who is forced to bring his baby along with him as his wife was locked up for fraud!!.

Based on the Italian film I Soliti ignoti (Big Deal on Madonna street) which also inspired a similar film to `Collinwood' \u0096 `Palookaville'. This knocks spots of the latter effort and although its written and directed by the Russo brothers it definitely has shades of the Coen Brothers about it. Produced by Steven Soderbergh and George Clooney, who has a small yet hilarious part as a crippled safe breaker.", "label":1 }, { "text":"Loved this show...smart acting, smart dialog, great storyline with real people....please bring it back or make it available online...really miss it.. Hope Davis really shines in this show. I like the idea of SIX DEGREES... It really makes sense in this insane world. Rid yourself of those stupid reality shows and give this show a second chance Please bring it back Not to grovel..but please! When it went off the air, I watched in online and liked how I could watch it with minimal interruptions, in fact, online ABC makes it easy to enjoy shows when you miss them on prime time...gone are the days of endless taping. Anytime you want to bring it back, I am ready.", "label":1 }, { "text":"despite the occasionally stilted acting and \"seen-it-all-before\" story, this is a fairly compelling movie.

It has suspense, the scenes with the demon are actually pretty creepy, some of the visual effects are superb and best of all, no ridiculously ill placed humour to detract from the film, as too many (wannabe) horror films have in them now

honestly, this isn't the greatest film ever made, but it actually draws you in and at least makes an attempt at character development

i was glad i watched it", "label":1 }, { "text":"The \"movie aimed at adults\" is a rare thing these days, but Moonstruck does it well, and is still a better than average movie, which is aging very well. Although it's comic moments aim lower than the rest of it, the movie has a wonderful specificity (Italians in Brooklyn) that isn't used to shortchange the characters or the viewers. (i.e. Mobsters never appear in acomplication. It never becomes grotesque like My Big Fat Greek Wedding) The secondary story lines are economically told with short scenes that allow a break from the major thread. These are the scenes that are now missing in contemporary movies where their immediate value cannot be impressed upon producers and bigwigs. I miss these scenes. It also beautifully involves older characters. The movie takes it's own slight, quiet path to a conclusion. There isn't a poorly written scene included anywhere to make some executives sphincter relax. Cage and Cher do very nice work.

Moonstruck invokes old-school, ethnic, workaday New York much like 'Marty' except Moonstruck is way less sanctimonious.", "label":1 }, { "text":"I have loved this movie all of my life. It's such an intelligent story also, with plenty of classical allusions. eg. The ship that went missing decades earlier was called the Bellerophon. Well, in classical mythology this was the man who slew the Chimera, a legendary beast composed of two or more other creatures. In FP, Walter Pidgeon is clearly the chimera- himself and his Id monster.

I like movies where the writers have clearly credited their audiences with a modicum of intelligence, unlike most modern blockbusters which spend $150m on special effects, but about $1.50 on a screenplay.

Cheers", "label":1 }, { "text":"A thin story with many fine shots. Eyecatchers here are the three ladies from the D.R.E.A.M. team. And, to a lesser extent, the guy accompanying them. Traci Lords convincingly acts out the female half of an evil business-couple intending to poison the world with antrax. Original in this movie is the bra-bomb, put on a captured member of the D.R.E.A.M.-team. Of course she is rescued by a co-member, three seconds before explosion. Although clearly lent from James Bond's 'Goldfinger' and 'You only live twice', such a climax always works well. All in all a nice watch, James Bond replaced here by three Charlie's Angels.", "label":1 }, { "text":"I had nowhere to go. I was on a flight to Vancouver. I would probably have missed this film if I hadn't chosen Air Canada. Watched on a small screen in the back of the seat in front, I found this captivating and mesmerising. I did drift in a couple of places and had to skip back but I had to watch to it's end. Now I'm looking forward to the DVD release in Europe though whether I'll be quite as transfixed when I can walk out the door, is yet to be discovered!

The photographic composition is stunning and the film gives so much insight and 'fills out' the story the photographs tell.

Recommended (if you have time on your hands).", "label":1 }, { "text":"I personally liked this movie and am alarmed at the rating's some people have given it. It is a movie based on a comic book and it is animated, now if you don't like comic books or animation then of course you won't like this movie so why did you watch and bother to rate it is beyond me. Though, if you are a fan of Interesting, strong characters and heroic(sexy) women kicking butt and saving the world(hell) you will love this movie. I thought the story really pulled me in and it was a very cool movie. Quite anime-esque or more like some of the American movies following this new trend of adult animation. Like Titan A.E. meet's the live action version of Punisher. In the end I highly recommend this movie the comic buff and super hero fan or anyone with an open enough mind looking for a fun movie.", "label":1 }, { "text":"...dont read any plot summaries because in words the plot might seem trivial, brain-dead and pointless. The film is excellent, the acting by both Denzel and Dakota (she will go sky high, trust me on that)are just fabulous, and the plot is mind blowing. Actually \"fabulous\" is a small word to use for such talented actors. The film is just based on actual facts and some characters are not fictional, a fact that adds up to the shock that i was having during and after the film. If you are fond of both actors and of somewhat deranged films, you still haven't watched your favorite one yet...Trust me, in the end you will have a weird and inexplicable feeling. The film is awesome, see it, rent it, buy it or whatever...just don't miss it", "label":1 }, { "text":"This show was absolutely great, and I always look forward to watching it.All the characters were funny and awesome in their own way, each and every episode provided non-stop laughter, and it was completely entertaining and different from a lot of other shows.Everybody was just absolutely insane and breathtakingly funny, that you couldn't help but love this show.There were a few dead weight episodes, but That '70s Show always managed to create some kind of likable atmosphere, to where it just really didn't matter.This was one of the best shows to ever be aired, and I will watch this show anytime I can, for it never gets old, never gets unfunny, and never gets uninteresting.", "label":1 }, { "text":"This film really deserves more recognition than its getting. It really is a stunning and rich portrayal of blood ties, favours and allegiances within the crime world. The film is shot beautifully and delves into all you're classic crime themes such as betrayal and power. This film is a movie goers film, it requires attention and understanding and rewards fully in the end. It is the godfather of hong kong and is a welcome change rather than another wire frame fighting, martial arts epic which seems to be the major contribution to the cinema world from hong kong and china. It features an arrangement of great characters, actors and development although is fair to say I had to watch it twice just to nail what was happening with some of the characters due to their being so many interactions in the film. ALl in all 8\/10 Great plot characters but there are characters that don't stand out enough and the music didn't really get me going and at times i felt it didn't sync well with the action(there is action by the way) so it loses some points for that.", "label":1 }, { "text":"It's beyond my comprehension that so much rubbish from Norway has been remastered for DVD release, and still gems like this don't get a shot at recapturing their past glory. I give this a 7, not because it is very good, but because it is one of the few SciFi films made for Norwegian television. This film is nothing less than a film-historic gem that in so many ways foreshadows the first Alien film. And, my word, Blindpassasjer was first! Did Ridley Scott or anyone in the crew see the mini-series? However unlikely, the fact remains that the scenes are extremely similar. Okay, the budget is _much_ lower in the Norwegian film, but given that, it's a really well-done piece of work from the desolate age of Norwegian movie-making, which incidentally lasted until the 90s.", "label":1 }, { "text":"Yep, you read that right, kids. Michael Bay should've studied this film before making either of his over hyped, overlong, overly pointless \"Transformers\" movies. \"Robot Jox\" is better than both of them and it probably cost less than the \"Transformers\" crew spent on Megan Fox's personal trainer.

Thankfully, this little robotic gem, initially known mainly for being the film that bankrupted Charles and Albert Band's Empire Pictures studio, seems to have developed a cult following over the years. I fondly remember watching it on VHS during its initial video release in the early 90s and though some of the Cold War-era politics\/stereotypes were already out of date by that time (just the Bands' luck that Communism would fall while the film was sitting on a shelf waiting to be released, eh?), it's still a pretty damn cool little B-Movie. They really don't make'em like this anymore, or if they do, they go the Bay route and CGI things to unbearable proportions.

For those who are unfamiliar, here's the Robo-scoop: We're somewhere in the future and after a nuclear holocaust, large scale \"wars\" have been outlawed. Disputes between nations are now settled mano-a-mano (or perhaps that should be machine-o-machine-o) by one representative from each side battling each other in giant sized Shogun Warrior style robots. Whichever 'bot walks away from the fight wins for \"his\" side. Gary Graham (who would later go on to play Detective Sykes in the \"Alien Nation\" TV series), plays \"Achilles,\" the greatest Robot Jock in Marketplace (a.k.a. the good guys) history. Achilles has been undefeated in his previous nine Robot bouts (ten being the maximum number of battles before a \"Jock\" is retired) and at the beginning of the film he faces off against his counterpart from the \"Confederation\" (i.e. The Russkies!), the psychotic Alexander (who is the most over the top \"evil Russian\" stereotype bad guy since Dolph Lundgren's infamous turn as Ivan Drago in \"Rocky IV\"). The match is called a draw when Alexander violates the rules with an illegal Robot Move at the last minute and ends up not only embarrassing Achilles, but killing a whole bunch of spectators in the bargain. A rematch is scheduled to complete the bout, but Achilles simply wants to bow out, hang up his helmet and move on with his life. Rather than violate the Spoiler Rules by revealing much more, I will simply say that there are a great deal of twists and turns, behind the scenes skullduggery, and other difficulties for Achilles and his fellow \"Jox\" before the two robotic titans clash finally once again in the finale.

I hope I'm not making this movie out to be some sort of masterpiece of science fiction, because it isn't. \"Robot Jox\" is just plain fun. I'll grant that it is a bit higher-concept than your average B-grade sci-fi movie, and though the budgetary constraints do occasionally make themselves known (especially in the scenes involving some painfully obvious green-screen trickery), it is still the best looking movie ever to come out of the Empire\/Full Moon Pictures factory. The robot fight scenes are very well done using old school stop motion\/model techniques, and the sets and costumes don't look half-assed in the slightest. Empire Pictures and director Stuart (\"Re-Animator\") Gordon were definitely shooting for the stars with this picture. Unfortunately it didn't quite pan out for them (or the studio) but at least we got one heckuva cool little movie out of the deal. Bottom line: if you want to be aurally and visually assaulted for 2+ hours, feel free to rent a \"Transformers\" movie. By the end you're likely to feel like you've spent all that time watching someone else play a video game. If you want to have a rock'em, sock'em robot good time, pick up Robot Jox instead.", "label":1 }, { "text":"I first saw this movie in the theater when I was 8 years old and it still cracks me up. The Muppets are so cool and they approach show business in a refreshingly naive way. My favorite scene is when the rats start a whispering campaign on behalf of Kermit at a fancy restaurant. This is one smart and funny movie for kids and parents alike. Long live Kermit, Miss Piggy and the rest of the gang.", "label":1 }, { "text":"...On stage, TV or in a book, 'The Woman in Black' is an outstanding ghost story. Other reviewers have already said just about all there is to say about this film, but I thought I would add my belated little review too. The made-for-TV movie has a deliberately slow first act, which chronicles the main character Arthur as he goes about his business as a solicitor in 1920s London. I can understand why this might not appeal to all palates. Nevertheless, for me, I love this British-style of storytelling similar to any of the BBC's \"Ghost Story for Christmas\" adaptations of the great M.R. James' work. In the second act, the ghost story kicks in as Arthur is sent to the provinces by his boss, to tidy up the affairs of a deceased client. The third act relentlessly builds up to a spine-tingling conclusion... As a Londoner, I have seen the play. I own the book, DVD-R and have the unabridged audio book on my iPod, too. What is sure for me, 'The Women in Black' on any medium is a ghost story with few equals. It is about time that we had a legitimate region 2 DVD release.", "label":1 }, { "text":"A light-hearted comedy, Nothing shows us a world that we sometimes wish to escape to: a world of nothing. Anything you don't like, be it a stack of bills, a bad memory, or even hunger can disappear at your wish. They approached this movie very well, and with an enjoyable starring duo, there were only a few things I didn't like about Nothing, and they weren't even part of the main movie.

First, the post-credits scene (and yes, there is one): Good for a chuckle, but what were they trying to accomplish with that? I was confused and eager to see a return to something after a whole movie of nothing. Instead, we just hear a random assortment of noises and they scream. It tries to set up a sequel in my opinion, and wasn't really necessary, nor was it funny after the turtle crawled out of frame.

Second, the trailer: I saw the trailer on the DVD, and like others have already said this, it promotes a horror movie that never came. Oh well, poor marketing I guess.

If you see this at your movie rental store, take a look, because Nothing is a great movie to watch. If you have a big screen though, you might want to wear shades.", "label":1 }, { "text":"An unqualified \"10.\" The level of writing and acting in this Australian movie is reminiscent of the very best of \"old\" Hollywood. Sam Neill and Meryl Streep are very good together. Neill matches Streep line for line, and take for take -- it is one of the best showcases yet of his prodigious acting talent and he is at his sexy and gorgeous best, notwithstanding the intensity of his role. This engrossing film is a treat for any movie fan who loves a gripping courtroom drama, portrayed in the most human but unsentimental terms. The movie -- which won several top awards in Australia -- boasts not only a superlative cast and director, but wonderful and authentic Australian locales. It proves that people are the same the world over. And, after all these years, people still delight in repeating the famous Streep line, accent and all: \"A dingo ate moy baby!\" Including that imp \"Elaine Benis\" on \"Seinfeld.\"", "label":1 }, { "text":"While the premise of the film is pretty lame (Ollie is diagnosed with \"hornophobia\"), the film is an amiable and enjoyable little flick. It's also a darn bit better than the films they went on to make after this one--probably since this was the last Hal Roach-produced Laurel and Hardy film. In fact, it wouldn't be a bad idea not to see ANY of their latter films, as the entire chemistry is lost in these films and the boys play their parts purely for pathos--something true Laurel and Hardy films NEVER would do. They had a bit of an edge that all the later films lack.

Stan and Ollie work at a horn factory. This sounds pretty funny, but it isn't. Not surprisingly with all the racket, Ollie is about to have a nervous breakdown and must take some time off work. The doctor (James Finlayson--in his last film with the team) recommends an ocean voyage. However, they don't like sailing and Stan has an idea of just renting a boat tied to the dock--then they can get all the sea air they want without all the bother! Once they are on the boat, a dangerous escaped criminal boards the boat and they all accidentally set out to sea. Fortunately, this portion of the film actually was well-paced and the very end worked out very well.

While not a great full-length Laurel and Hardy film, it was much better than many of them since it had no annoying and distracting musical numbers (like in THE DEVIL'S BROTHER or BABES IN TOYLAND). Additionally, there is still a decent amount of physical comedy--something you would see almost none of after this film. Part of this was due to the boys' declining health (and Ollie's increasing girth) and part of it was due to the overall insipidness of these later films.", "label":1 }, { "text":"Many people judge it as a fan service film because a lot of super star starring in this movie (Gackt, Hyde, and Wang Lee Hom is very famous singer in Japan). But don't judge it before you watch, is what I say. Gackt and staff are very serious when made this film, and they worked so hard. It's a good film with a touchy story inside. Several scenes can be so fun and some others are so sad. They made it so good until I can't stop watching this all over again.

The story has written pretty well but I admit that their act are little disappointing. This is especially for Hyde because his skill of acting is under from the other and it is weird to hear the way when he speaks with other language except his native language (Japan). But, it's comprehensibility because this is their first time to act in the movie.

I think Gackt trying to show us about how someone can be so weak when they lose the most important person in their life. When Toshi was killed, when Sho asked Kei to turn Yi-Che to being vampire like him because he won't let her die, When Sho's Brother died, Kei Shoot Son die, and the best and beautiful scene is When Sho pass away~ even I told that Hyde's skill is still weird but I give him two thumps up at that scene!!

There's a time where The plot goes too fast like they didn't tell the reason Why Son can join the local mafia and being Sho's enemy because they are a good friend at the past and also Son is Sho's brother in law.

Whatever, I love this movie~ (very much ^^).

This is an action movie with a touching beautiful story.", "label":1 }, { "text":"\"Creep\" is a new horror film that, without a doubt, will please many genre fans simply because it's so down to the point and unscrupulous! It has many genuine shock-moments, a whole lot of repulsive gore-sequences and a rare claustrophobic tension. What it hasn't got is logic and a solid plot but, to tell you the truth, that didn't bother me for one second. When the end-credits start to roll, there are still many unanswered questions to ponder on but director\/writer Christopher Smith (in his debut) seemly preferred to fully focus on tension and adrenalin-rushing action instead of long, soporific speeches and theories that could explain the existence of the \"creep\" in the London subway. The story revolves on the young and haughty Kate, who leaves her own party in order to go and meet the famous actor George Clooney who's in town to present his new film. She falls asleep in the subway, misses the last train and she finds herself trapped in the underground subway network. Things really get terrifying when she encounters a mad-raving lunatic who lives in the old tunnels and kills\/kidnaps people to experiment upon. Even experienced homeless people, security guards or sewer-workers can't rescue her from this ravenous monster! I really dug the creep-character! He's nauseating, hideous and primitive but in a strange way fascinating. Christopher Smith only leaves us clues and hints, and it's merely up to the viewer to guess this vile creature's origin and background. I reckon this isn't very original, and I'm sure many people won't appreciate the lack of content, but I forgive Smith and I think it's better this way than going over the top completely, \"Jeepers Creepers\"-style (that particular film started out great as well, but as soon as the Creeper's identity was clear it turned into a very mediocre horror effort). The obvious aspect-to-love is the outrageous gore! There's some severe butchering going on in this film and the make-up, as well as the sound effects, are very convincing. The ominous setting of the abandoned London subway during night is effectively used. There also is some acting-talent present in this film, with Franka Potenta (Run Lola Run) returning to graphic horror nearly five years after the cool German film \"Anatomie\". Creep is terrific entertainment when you're in an undemanding mood and Christopher Smith definitely is a director I'll keep an eye on. Make sure you don't have to take the subway right after watching this film...", "label":1 }, { "text":"This movie is visually stunning. Who cares if she can act or not. Each scene is a work of art composed and captured by John Derek. The locations, set designs, and costumes function perfectly to convey what is found in a love story comprised of beauty, youth and wealth. In some ways I would like to see this movie as a tribute to John and Bo Derek's story. And...this commentary would not be complete without mentioning Anthony Quinn's role as father, mentor, lover, and his portrayal of a man, of men, lost to a bygone era when men were men. There are some of us who find value in strength and direction wrapped in a confidence that contributes to a sense of confidence, containment, and security. Yes, they do not make men like that anymore! But, then how often do you find women who are made like Bo Derek.", "label":1 }, { "text":"What a night. Perry Mason then Have Gun, Will Travel followed by Gunsmoke (when it was a half hour) and finally at 10:30PM came 'Sea Hunt' with its wonderful opening theme music and Mike's boat sailing off to a new adventure. Terrific.. Regardless of the story it was the lead character (played by Lloyd Bridges), strong, honest, sincere. A Man's Man and a Boy's Man. This brought on an interest in boats that lasted for years. Why they don't show on cable or make it available on video, no idea.. Too bad.", "label":1 }, { "text":"\"Kolchak\" was a TV series that really didn't fit into any category. Part horror, part comedy, some social awareness thrown in, and what we have is something that I think people weren't ready for. It's a shame really, as I've started to watch these shows on the Chiller network, (I never saw the originals), I realized how different and interesting it really was.

Starring Darren Mcgavin as Kolchak a reporter for the International News Service, and Simon Oakland as his always angry boss, Tony Vincenzo, the show followed the exploits of a Chicago news reporter who more often than not, became a part of the story himself, as he searched the windy city for modern day creepies that go bump in the night. The underlying charm of Macgavin really sets the show apart. A somewhat goofy guy, who always wears the same suit, you cannot help but love him. His jokes are great, and the back and forth between him and the skeptical editor, Oakland, are downright hilarious.

The stories are for the most part pretty good, and the acting is very good. The 70's were not a *great* period for special effects, and the show suffers for it, but if you suspend disbelief, what you have is a fun series that was ahead of it's time.", "label":1 }, { "text":"I have seen a couple movies on eating disorders but this one was definitely my favorite one. The problem with the other ones was that the people with the eating disorders towards the end just automatically get better or accept the fact that they need help and thats it. this movie I thought was more realistic cause in this one the main character Lexi doesn't automatically just get better. She gets better and then has a drawback. I think this movie shows more than the others that I've seen that getting better doesn't just happen, it's hard work and takes time, it's a long path to recovery. I think this movie shows all of that very well. There should be more movies like this.", "label":1 }, { "text":"Streisand fans only familiar with her work from the FUNNY GIRL film onwards need to see this show to see what a brilliant performer Streisand WAS - BEFORE she achieved her goal of becoming a Movie Star. There had never been a female singer quite like her ever before, and there never would be again (sorry, Celine - only in your dreams!), but never again would Streisand sing with the vibrancy, energy, and, above all, the ENTHUSIASM and VULNERABILITY with which she performs here - by the time she gets to that Central Park concert only 2 or 3 years later, she'd been filming FUNNY GIRL in Hollywood and her performing style has become less spontaneous and more reserved, more rehearsed (and, let's face it: more angry) - there's a wall between her and the audience. Live performing was never what she really enjoyed - she did it because she knew it was her ticket to Hollywood, and once she no longer had to do it she's done it as little as possible (and oh, that legendary stage fright provides such a good excuse!).

Her vocals here and on her earlier Judy Garland Show appearance are incredible: Streisand could truly make an old song sound new again, and composers such as Richard Rodgers and Harold Arlen loved her for it. But by the 1970s Streisand was trying to be a \"rock\" singer, her albums pandering to the younger audiences, with over-wrought shrieking of songs that were unworthy of her effort or her voice.

In the '80s she came back with that brilliant \"Broadway Album,\" but went on and on about what a struggle it was to get it done, how \"they\" told her not to do it, etc. Oh please - when has anyone told Streisand what to do? She could have been doing good stuff like that all along, bringing audiences UP to her level instead of stooping to what she thought the young public wanted. (The \"Back to Broadway\" sequel wasn't nearly as good, as Streisand seems to feel it necessary to improve on other composers' work: if he were alive at the time, would Richard Rodgers have even recognized his own \"Some Enchanted Evening\"? Rodgers, notorious for taking singers to task for playing around with his melodies, would undoubtedly have been after Streisand to sing what he'd written! She also blows Michael Crawford off the CD in their duet of \"Music of the Night\" - apparently reminding him just whose CD this is. Why does she insist on taking songs that are duets and singing them by herself, and songs that aren't duets and singing them as duets with someone else who she then goes on to diminish?)

Supposedly Judy Garland took Streisand aside and advised her, \"Don't let them do to you what they did to me,\" advice Streisand wasted no time in heeding - despite her protestations to the contrary, surely it looks like it's always been her way or the highway. Just imagine - SHE told the CBS brass how her first TV special would be done - no guests, just HER.

But nobody can argue with the results that are so evident here. Treat yourself to this brilliant musical phenomenon BEFORE she was a legend - you'll be absolutely amazed at the difference!

PS - I watched this again last night (12\/01) after not having seen it for many years - it was even BETTER than I remembered! The 1st Act begins with \"I'm Late\" and includes \"Make Believe\" and \"How Does the Wine Taste,\" and Barbra's homage to childhood, \"I'm Five\" - it climaxes as Streisand appears with full (and I mean FULL) orchestra to sing \"People\" - she wasn't bored with the song yet and although it's a somewhat shorter rendition it really soars - compare it to some of her later \"auto-pilot\" versions. The 2nd act (after Streisand's \"kooky\" schtick-patter, which hasn't changed much over the years) is the famous series of Depression songs set amidst the extravagance of Bergdorf-Goodman's.

The 3rd Act is the stunner - call it \"Streisand, the Orchestra, and the Audience\" (although we never see the audience that supposedly witness this historic event). With her fear of audiences and dislike of such performing, this may have been the toughest part for her, but if so, to her credit it doesn't show. She tears through \"Lover Come Back to Me\" and the torchy \"When the Sun Comes Out\" (though I can't remember in which order!), the poignant \"Why Did I Choose You? (one of my all-time favorite Streisand performances) and offers a medley of FUNNY GIRL songs, including (of course) \"Don't Rain on My Parade\" and my favorite song from the score, \"The Music That Makes Me Dance\". Explaining that \"Fanny Brice sang a song like that in 1922, and it made her the toast of Broadway\", Streisand then sings \"My Man\", and it's almost a dress-rehearsal template for her later screen rendition in the FUNNY GIRL film (the main difference being that the black gown here is sleeveless - her film gown had long sleeves and against the black background all we saw were her hands and face), but the vocal here is more urgent and charged than her later film vocal. (Her performance of the song has everything to do with Streisand and nothing to do with Fanny Brice who, of course, never sang the song in such an all-out manner as Streisand does here or in the film - see THE GREAT ZIEGFIELD for a glimpse of Brice's more understated version.) The show ends with Streisand singing \"Happy Days Are Here Again\" over the credits.

When it was over I said to the friend I was watching it with, \"She has NEVER, EVER, done anything better!\"

And she was TWENTY-THREE YEARS OLD!", "label":1 }, { "text":"High energy Raoul Walsh classic from 1933, The Bowery places saloon owner and operator Wallace Beery against bitter rival and dandy, George Raft, with adopted street kid Jackie Cooper and good looking Faye Wray in roles that play in between their big rivalry. It's not clear exactly what the rivalry is all about, but everyone follows it in the daily tabloids. Plenty of wisecracks at the beginning, but the characters soften up as the film progresses. Apart from that is the sheer exuberance of the scenes in Beery's saloon. The various characters, sexy chorus line, lots of drinking, a perfect creation of a den of iniquity not too refrained by so-called pre-code restrictions, and then later come the Carrie Nations led by Carrie Nation herself. It all creates a very vivid picture of a life that's long gone. I don't like to compare eras, but this film is completely and totally different from anything one would see today. The film has plenty of heart and long lost innocence and is absolutlely a must see.", "label":1 }, { "text":"The choice to make this SNL skit into a movie was far better thought out than other recent ones. The humor involved in the character is not annoyance humor, and is also character driven enough to be stretched out for an hour or two.

Oddly enough the sexual content seemed like it could be avoided, but that may have been because the constraints of live television schooled me to not expect it. I suppose I was thinking more \"Leisure Suit Larry\" risqu\u00e9 than the producers were...

Definitely not a PG-13 movie, which will probably hurt it from ever reaching the heights of its more successful predecessors, but still better premise and writing than its more dismal ones.

I liked it, but I doubt it will be a smash hit... (which is sad, as Tim Meadows tends not to do characters that annoy me with quite the frequency other SNL alumni tend to)", "label":1 }, { "text":"I'm sitting here Nov 2006 and I still can't help rave about this movie. Arnold's best movies came in about a 4-5 year span. Running Man, Predator, and Total Recall (1990). All 3 are amazing. The cheesy one liners by Arnold in this movie will make you laugh on more than one occasion. I find the acting in this movie surprisingly good as was the case in Predator and Totall Recall. They did a great job in trying to make the scenes futuristic as it is supposed to take place in 2017, but you can't help but snicker at the 80's style haircuts on the men and woman in the crowd and the normal television monitors in the Running Man studio which we all know here in 2006 are on the way out with the emergence of flat panel and HDTV's. Also the computer graphics of the \"The Running Man\" game show intro would not look like that in 2017. Nevertheless the storyline is absolutely fantastic. Not once during this movie did I want to get up and not care about the ending which is something I do often with today's movie's. I really think that Arnold's acting is much better than he's given credit for. Now I would not have elected him governor but that's California for you. Buzzsaw, Dynamo, Fireball, SubZero are fantastic \"stalkers\" as well and I find the producers don't try to overkill the fight scenes. When the stalker is dead...he's dead. It doesn't go on for 20 minutes each. The stalker scenes are quick and entertaining but they don't try and overplay it. I give this movie a 10\/10 and that's coming from someone who doesn't enjoy a lot of movies these days. If you get the right actors and the right story then the futuristic graphical displays that you'd see in 2006 are not important or necessary.", "label":1 }, { "text":"I enjoyed Albert Pyun's \"Nemesis\" for its cheesy action and semi-complicated script. A lot of people complain about the \"confusing\" plot to the first film, which is probably why \"Nemesis 2: Nebula\" has a dumb as rocks plot with the same super-action to carry it through.

This one gives the name of the first movie's hero, Alex, to a bulked up super-female sent to the past to save the future. She is raised by a tribe in Africa. A good portion of the film only has dialogue in an African tongue without subtitles, which I liked because it made it seem somewhat authentic (how often do movies in this genre really try to do that?). It doesn't take long for the evil cyborgs to time travel back in time to find her and try to kill her.

Don't get me wrong, this is a piece of crap (not that the first one was anything great). There are subplots involving Africa's political unrest, treasure hunting, and tribal combat. The picture is very short on brains, so none of these things gets a very good treatment. The picture is basically a drawn out fight with some chases that boils down to muscle-babe vs. cyborg. It has its entertainment value, just don't expect quality, or anything of the first movie.", "label":1 }, { "text":"Fabulous, fantastic, probably Disney's best musical adventure. I have loved this film for over 35 years because it is so imaginative, clever and fun. Even despite the silly \"flying bed\" scenes, the other scenes and dialog are magical and funny. Could they have picked anyone better than Angela Lansbury to play Eglantine? I cannot think of anyone more suited to the role. Remaking this classic would be as stupid as remaking Mary Poppins.

David Tomlinson, though he had few quality movie roles, absolutely shines in this adventure. He was a comic genius who is often forgotten nowadays. Blustering, prim and proper Englishman -- nobody could really do slapstick and pull it off as gracefully as he does. It would be tragic to remake this film because Tomlinson has been deceased for a few years and nobody could step into his shoes and do his character justice.

The dancing nightgowns and armor have a magical aura about them that other movies with witches just don't capture. I particularly enjoy the parts where the Germans invade Eglantine's house and she must defend it in any way she can.

Bobbing along, bobbing along on the bottom of the beautiful briny, sea. Richard and Robert Sherman outdid themselves on the musical numbers. All of them are fantastic and worth remembering, Portobello Road being one of my favorites.

A great film that still holds up today!!", "label":1 }, { "text":"Kalifornia came out in 1993, just as 3 of the 4 lead characters were up and coming to the levels of fame they now possess in 2006. This is a nice psycho-thriller that should appeal to all David Duchovny fans because of his dry and intelligent narratives that find their ways into his work, like with most of his episodes of the X-Files, Playing God, and Red Shoe Diaries.

People who were put off by the heavy southern accent from Brad Pitt and Juliette Lewis' characters obviously have never spent much time in the south. For every \"Brian and Carrie\" in the south, there is an \"Adele and Early\" and in 2006, that's the real horror of this flick.

Aside from that, I think the film was written with a cult film intention - like with Carrie's photography, it's not suitable for mass consumption. But if you have a copy of this in your personal library, I think it says something positive about your tastes for freaky movies.", "label":1 }, { "text":"After seeing this film at the SF Independent Film Festival, I couldn't wait to hear about how to get a copy. Jim McKay gave a talk (Q&A) about the film afterward which presented his ironic situation: how to get distribution for a film which portrays minorities (women, non-whites) working on resolving controversial issues (teen pregnancy, teen motherhood, racial identity, single-mother households), and how to write a faithful script on all of these topics being a mid-thirties white male. The multi-racial, multi-gendered audience of mostly-adults raved about the film's fantastic storyline, detailed characters, and fantastic portrayal of \"real teen life.\" Most of the teens, however, had left the building--leading me to think this is a film best seen by adults with kids, as a starting point for discussion rather than, as many adults there felt, \"a film teens should see because it's about them.\" Hence, distribution questions--how do we get our hands on it? The Internet (retail) would be a great path--this is a film that will be buried, like \"Pups\" or other radical modern teen films--and McKay seemed responsive. As for his credits as a writer\/director, McKay was _extremeley_ sensitive and detailed in his work--allying himself to the Crown Heights neighborhood in which the film is set, working with actors to portray characters in their own vision of what they think should be--with the results being disarmingly realistic.", "label":1 }, { "text":"Director Vincenzo Natali first showed his penchant for character-based sci-fi flicks with his 1997 short film \"Elevated\", wherein 3 people remain trapped in an elevator while unseen monsters roam the building. His follow-up feature project \"Cube\", released later that year, had a very similar premise, this time with 6 people and instead of an elevator it was a vast expansion of interlocking cubic deathtraps. Both were admirable attempts to take the sci-fi genre a step further, by deliberately declining to show almost any visual stimulation, choosing instead to spend as much time as possible focusing on the human element, how the characters act, react and interact under incomprehensible and dangerous conditions. After his exploration into the mainstream with 2002's \"Cypher\", Natali has come back to his bizarre character-film trend to bring us \"Nothing\", his latest, and by far most optimistic and comedic take on the wide cinematic world of \"What If?\"

Dave (David Hewlett) and Andrew (Andrew Miller) are life-long friends, brought together by a mutual detachment from society and a lack of any one else to be with. Dave, who has always been hindered by a selfish and somewhat dimwitted nature, lives rent-free with Andrew at his ill-located and ill-constructed house, where he often takes advantage of Andrew's neurotic and antisocial mentality. Despite all this, the two misfits are happy together, until one day their deep character flaws, coupled with some astronomically bad luck, land them in the middle of some pretty serious, jail-sentence-worthy trouble. On top of this, they discover that their house has been deemed unfit for existence and is scheduled to be demolished before sunset, so in the hazy, nightmarish panic of everything going wrong for them, they wish that the whole world would just disappear. And it does.

Going any further with the synopsis would compromise a lot of the film's slow (occasionally too slow) reveal about what's happened to Dave and Andrew, and how they deal with their new reality. Natali's fascination with studying human behavior under duress (ala The Birds) is here in spades, but simply by making the main characters friends rather than strangers, he's able to break away from the thriller-horror element of this premise to open it up to a more comfortable and optimistic level. It's almost as if he's made the aphoristic opposite of \"Cube\".

Of course, the film is not 85 minutes of laughter and sunshine. In keeping with fundamental realism, our two anti-heroes' dynamic often becomes antagonistic, sometimes with rather nasty results. Like the \"Desert Island\" game, the film looks at how even best friends, when left alone together, can fall apart, but at the same time it shows that friends are vital to the quality of existence. In a very twisted, sci-fi way, this is a feel-good flick, with good heart and good intentions.

However, there are a few qualms to be had with \"Nothing\". While the two lead actors, Hewlett and Miller, do well with their parts, their characters are not nearly as interesting as they should have been, considering it is completely up to them to entertain us for the better part of an hour. There is some development in the relationship and personalities of Dave and Andrew, some background is given, but ultimately not enough. A generous viewer will sit through the less-engaging portions of the film to see it through to the end, but cynics will probably give up pretty fast.

Acting, as mentioned, is adequate, and considering the amount of 'green-screen' work that would've been needed, reasonably convincing. David Hewlett and Andrew Miller, who both wrote co-wrote the screenplay, have been long-time friends of Vincenzo Natali: Hewlett has in fact featured in every film Natali has made. Perhaps it was their creative input that steered this film in a more positive direction. Nonetheless, the story could have been a lot more involving. Granted, it is relatively entertaining considering that (no pun intended) nothing really happens, but you get the impression that, in more experienced hands, a lot more could've been done with this premise.

In all fairness, \"Nothing\" is an impressive piece of work in many ways. The concept is interesting, the direction is inventive, the script works on a human level and, most of all, it shows a progression in Natali's creative mentality. For fans of his work, this will be a delight, and for others it will be a nice way to pass a little unwanted time. It's just a shame that the director's fixation on human drama prevented it from being the great, fun film it could have been.", "label":1 }, { "text":"I was living Rawlins when this movie was made and I got lucky enough to be able to work on it. Both as an extra and with Eddie Surkin on special effects. It was fun to see all the behind the scene workings, from the Barbedwire coming alive to the Electric chair up through the wardens office floor. Also it was a lot of fun getting to meet all the actors, from Viggo to Tiny. Also the gate that was cut into the prison wall for the movie was and still is called \"Disney Gate\" by locals. If anybody is interested and is ever in Rawlins, most of the movies sets are still in place and can be seen during the self guided tour. It was a lot of fun working for and with R. Harlin and wished I had a chance to do it again.", "label":1 }, { "text":"Rock solid giallo from a master filmmaker of the genre, Sergio Martino. Fashioned from a marvelous screenplay by Ernesto Gestaldi, this shocking mystery often develops fascinating twists until the terrific finale which most might not see coming throughout the film. It's when everything has fallen into place that we can go, \"Ahh..\" The film revolves around the death of a husband(..in an airplane explosion)and the million dollars the wife receives from it. There are those with great interest in that money, one in particular being the dead man's mistress. The wife is Lisa(Ida Galli)and the mistress demanding half the money is Lara(Janine Reynaud). She tells Lisa she knows that the death was arranged by her to get the insurance money. Lara says she'll use her \"lawyer\", Sharif(Luis Barboo)to get that money. So already, the film produces two possible suspects in the later murder of Lisa, who awaiting someone in Tokyo. George Hilton portrays Peter Lynch. Peter works for a company that investigates those who gain inheritance to see if the pay day was gathered under suspicious means. When, on his watch, Lisa is killed by a man dressed from head to toe in black in her hotel room, he is a possible suspect. He decides to do a little investigating himself, while also assisting Inspector Stavros(Luigi Pistilli)and Interpol agent, Benton(Tom Felleghy)on their quest to find a killer. The killer strikes several times eliminating anyone revolving around the missing million dollars confiscated by the one responsible for the murder of Lisa. Soon, the film follows a journalist, Cl\u00e9o Dupont(the delicious, luscious Anita Strindberg)as she and Peter meet for a dinner where she could try and sniff out anything that might break a story for her. Soon they fall deeply in love, but it seems like anyone who is near Peter is killed. Soon someone attacks Cl\u00e9o with an intent to kill which pushes the investigation further into uncharted territory. Why would anyone wish to harm a journalist with no real facts to damage the one killing off people.

This giallo is quite clever and exciting to follow. The film never lulls which is quite remarkable since so much happens leaving open the question of the identity of the killer. This film follows the path of gialli with knife slashings because of a certain pattern the killer has taken(the throat and lower torso). The film's conclusion wraps up all the complex loose ends and is quite satisfying. The film has some unique camera angles, but delivers the goods in terms of driving the plot and the execution of the mystery.", "label":1 }, { "text":"A struggling actor finds the best way to break into Hollywood is to start knocking off the competition. But what makes Break a Leg a real gem is the sardonic look into the existence of the struggling (and not so) LA actor. It brings us into that world with effortless irony and wit. It's also got a polished look and very adept direction under Monika Mitchell. Break a Leg is one of those rare independent films that doesn't compromise its production values at any level. The writing is tight, the dialogue first rate. Cassini is an actor's actor, and the role really shows off his talents. The climactic scene between him and Rene Garcia is an instant classic, and may go down as one of the funniest Hollywood scenes of all time. I saw it at an advanced screening, and everyone in the audience laughed uncontrollably and raved about it afterwards.", "label":1 }, { "text":"American boy Jesse took the train to Vienna in order to take the plane for USA. On the train he met a French girl Celine. Although they met the first time, they talked like good friends. When the train stopped at Vienna, Jesse begged Celine to accompany him to have a tour on Vienna. Then the romantic story unfolded.

At first they were cautious. The funniest scene was their listening to CD in music store. They peeked at each other, though their eyes did not contact. After in-depth conversation, they relationship became close. Then I saw the most romantic scene that they pretended to call their respective friend. Their deep love for each other was expressed completely by words.

Love is a strange thing. When you really want it, it will not come as you wished. Love needs mutual understanding. Without it, love will not last long. Spiritual harmony is the most important for love.

Excellent screenplay and performance resulted in huge success of the movie.

One of the best romance movies. 9\/10", "label":1 }, { "text":"Not to be confused with the British black comedy of the same name that came out in 1994. But this Shallow Grave is a worthy addition to the 80's backwoods slasher.

The plot goes = 4 sorority girls from a convent are planning the spring break of a lifetime in Florida, but they're plans are put on hold when one of them witness a man murdering a local woman, and when he realizes that he was seen, well let's just say it becomes a deadly game of cat and mouse and things get even worse when he turns out to be the local sheriff.

Shallow Grave in my opinion is one of the more enjoyable slashers that came out in the 80's, especially the late 80's which was when the slashers kinda went downhill, this was one of the few that didn't and this movie should be more well known, it's a pity it isn't. this is one film that actually confounds stereotypes (just try guessing who the final girl is going to be - I got it totally wrong). The principle cast are all likable and it's one of those movies that you kinda hope they all get away, which of course they don't. This, coupled with the fluffiness of the film's first half-an-hour jars (in a good way) with some flashes of real nastiness (the second murder provides a real jolt) and some unexpected sleaziness (even though this isn't a high budget thriller I didn't expect the topless scene where a woman is strangled with her own bra (accompanied by a hysterical religious radio broadcast), in a film from this late in the 80's).

There are one or two bad things about this movie, well not bad just minor, like the sub plot with the two teenage boys which doesn't go anywhere and the ending which was stupid and plus the Deputy inability to follow logic. There aren't any sharp implements in SHALLOW GRAVE but, to my mind at least, it's a slasher flick through and through. The scenes where the girls are hunted through the woods by the malevolent Sheriff are tense and exciting.

All in all a very enjoyable and worthwhile slasher, with great performances from all four of the main girls and that psycho sheriff.", "label":1 }, { "text":"Some people loved \"The Aristocrats\" and others hated it, frequently walking out in the middle. Reactions to Eddie Izzard aren't likely to be that extreme -- if you can handle a transvestite comedian (who says he likes girls) and has a vocabulary that makes, shall we say, enough use of the \"f\" word that his program would be one long beep if presented on network television. Many of Izzard's fans are so devoted that they see no flaws whatsoever in his performances. On the other hand, I thought this show was occasionally flatter than Izzard's chest but also more often than not funny and, in spots, absolutely hilarious. He has a way of connecting references from routines early in the show to his later routines. He's not a story teller. He's not a joke maker. He's not a frenetic fantasist like Robin Williams. He plays around with ideas, some of which work and some of which -- a routine with the San Francisco cable car and Alcatraz, for instance -- are completely unfunny. He has a way, however, of moving gracefully past the flopped routines and extending the ones that connect. I gave this performance a 7 and might be persuaded to raise it to an 8. But a 10? No way.", "label":1 }, { "text":"I like Ghost stories. Good ghost stories of bumps in the night, voices that cannot be explained. Now I've see many of them. As special efx have a ever more grip on todays films, some times to find a real gem , you gotta turn the clock back to the time when the writers and directors really had to use their heads to create really good ghost stories. Now this one, very rare , pilot episode for the TV series Ghost Story called \" The New House \" was one of the most scariest films I ever saw. It was on once in 1972,...I was only 9,..but nothing since then even compared to it. With all the remake going on in Hollywood, some one should do this one \" as is \" with no more special efx than the original. This episode was down right creepy as hell. I'm lucky to find it finally on DVD today and very rare and hard to find. The only other 2 Ghost Stories to even come close was the ORIGINAL \" The Haunting \" and George C. Scott in \" The Changling \" . Wish someone would do more ghost stories like these.", "label":1 }, { "text":"I also saw this upon its release in '56, and have been struck since then with its final scene. If this is an answer to 'High Noon,' then it's an apt and apposite response. The notion that, as this string is headed, \"The town comes together\" is a much stronger message than the lonely personal heroism of 'High Noon.' In this theme, 'Concho' is a phenomenal precursor of one my other all-time favorites, 'The Magnificent Seven.' Both Sinatra and Conrad give impressive and convincing performances, especially Sinatra's transformation from bullying kid brother to liberating town savior. I can only hope that at some point all the friends and family on whom over the years I've inflicted my affection for this movie will have the opportunity to experience it for themselves.", "label":1 }, { "text":"I avoided watching this film for the longest time. Long before it was even released I had dismissed it as an over-hyped, over-blown, overly romanticized piece of Hollywood schmaltz, and I wanted nothing to do with it. I never watched it in the theatre. I shook my head in disbelief at the 11 Academy Awards - even though I had never seen it. Then I was asked to be a judge at a high school public speaking contest. One of the girls spoke about this movie. \"It was so great,\" she said. \"You really felt like you were on the ship.\" \"Nonsense,\" I thought. I shared my feelings with my fellow judges. One looked at me and said, \"you might be right, but if she liked the movie that much maybe she'll want to learn more about the real Titanic. The movie must have done something right to get her so interested.\" \"Well, maybe,\" thought I. Then it finally appeared on Pay TV. \"OK,\" I thought, \"I'll give it a look see.\" I didn't want to like it - and I didn't. I loved it! What a great movie.

Where to start? First - the directing. My high school public speaking contestant was right. James Cameron does a superb job of creating an almost \"you are there\" type of atmosphere. The gaiety of life aboard the most elegant ship in the world. The nonchalance as news of the iceberg first spreads; then the rising sense of panic. You don't just watch it; you really do feel it. Then - the performances. The lead performances from Kate Winslet (as Rose) and Leonardo DiCaprio (as Jack) are excellent - Winslet's being the superior, I thought, but both were good. They had their rich girl\/poor boy characters down to a perfect \"t\" I thought. In my opinion, though, stealing the show was Frances Fisher as Rose's mother. She was perfect as the snobby aristocrat, and you could feel the fear and loathing she felt every time she looked at Jack. Then - the details. I'm no expert on the sinking of the Titanic, but I have a reasonable general knowledge, and this film does a super job of recreating the historical details accurately and then weaving them seamlessly around the fictional romance. Very impressive, indeed. Then - the song. Who can watch this movie and not be taken with Celine Dion's performance of \"My Heart Goes On.\"

Problems. Well, the romance was perhaps too contrived, in the sense that I just don't accept that Jack could have moved so effortlessly from steerage to first class. (I know he was invited the first time; but he seems to keep getting into first class without being stopped until he's been there for a while.) The realities of the separation of the social classes were much more realistically portrayed, I thought, when the steerage passengers were going to be left locked down there after the ship hit the iceberg while the first class folks got to enjoy half empty lifeboats.

A minor quibble, though. This is truly an excellent movie. My only regret is not seeing it in the theatre, where I think it would have been so much more impressive.

9\/10", "label":1 }, { "text":"as a sequel,this is not a bad movie.i actually liked it better than the 1st one.i found it more entertaining.it seemed like it was shot documentary style.at first this bothered me,as i thought it just looked too low budget.but it grew on me,and it made the movie seem more authentic.this movie has more dry one liners than the original,which is a good thing,in my opinion.i do think at times they went a bit over the top with some of the scenes and the characters.it almost becomes a parody of itself,which may be the point.this movie at least has some suspense,which the 1st one did not have,in my view.it has some of the same great music from the original,which is great.the acting again was pretty decent for the most part,though like i said,some of it seemed over the top.i also felt that the movie loses a lot of momentum towards the end and there are a few minutes which seem really slow and just don't seem to flow,like the rest of the movie.overall,though,i thought this was a pretty sequel.my rating for \"Return to Cabin by the Lake\" is 7\/10*", "label":1 }, { "text":"His choice of films, the basic 'conceit' of the production (which places him in the sets or simulacra of the films he is commenting on ) and his delivery are brilliant! But if you want Freud, be aware that you're getting Zizek's version of Lacan, which should not be confused with Lacan himself. As usual, Zizek delivers complex ideas with gusto and in a convincing manner. The rub is he is also quite mercurial and so there may be more in his gusto than in actual content. Cinematically, it is a gem. Psychologically, this will have people of all persuasions (Freudians, Lacanians and Jungians) scratching their heads but reaching for the popcorn all the same. Zizek is a phenomenon and pop icon unto himself.", "label":1 }, { "text":"Eddie Murphy is one of the funniest comedians ever - probably THE funniest. Delirious is the best stand-up comedy I've ever seen and it is a must-have for anyone who loves a good laugh!! I've watched this movie hundreds of times and every time I see it - I still have side-splitting fun. This is definitely one for your video library. I guarantee that you will have to watch it several times in order to hear all the jokes because you will be laughing so much - that you will miss half of them! Delirious is hilarious!

Although there are a lot of funny comedians out there - after watching this stand-up comedy, most of them will seem like second-class citizens. If you have never seen it - get it, watch it - and you will love it!! It will make you holler!!! :-)", "label":1 }, { "text":"I have to vote this 10 out of 10 in the rare chance that she happens to see this review, takes pity on me, whisks me to Hollywood and involves me in her freaky\/funny world. But in all seriousness, it was good. First episode is obviously finding it's feet, but it's got that Silverman weirdness running all the way through it. It's not a laugh out loud sort of comedy, but that's good thing, too much has a laughter-track to it, and this wouldn't be right with cues when to laugh, it's to the audience to hear their inner jester laughing at the absurdness of it all. I can easily see this as being the bizarro Drew Carey show with it's weird characters and incredibly strong central character. Well worth a watch, look forward to the following episodes. A VERY good chance from the usual comedy out there.

ps, Sarah? Call me....", "label":1 }, { "text":"The movie was a suspenseful, and somewhat dark, look at the severe results of a genuinely human mistake. Connery and Fishburne work very well together in this thriller about murder and redemption. Keep your boots on for the strange turnaround at the end of the movie...you'd never expect it!", "label":1 }, { "text":"I didn't really go into \"Reign Over Me\" knowing exactly what to expect either from the director or the story. The plot was easy enough to understand, I suppose. This guy's whole family died in 9\/11, and he shuts the world out of his life. Alright. I didn't know if it was going to use the attachment of terrorism as a platform to speak on that or other issues relating to it, and it really doesn't on a very obvious level, so if you're scared to be surrounded by political opinions that may be different from yours, I wouldn't worry about it. I think the writing even made a point never to explicitly mention \"September the eleventh\".

Overall, I was impressed. It was a very moving picture. The movie has a sense of humor, and it is very sharp, but it is definitely a drama where it counts. I typically don't like to think that comedic actors are incapable of actually acting, but sometimes, let's be honest, they are. Adam Sandler is definitely capable of it (and though I think so, you may disagree, Jim Carrey is also very well-rounded.. sometimes). Sandler's portrayal of Charlie Fineman took a character that on the surface seems completely unreal and makes it become absolutely believable. I read many reviews that criticized the writing of Alan Johnson's (Don Cheadle in another excellent role, if not one that seems similar to a few of his more recent pictures)wife, who is played well by Jada Pinkett Smith, calling her static and dull, but that is completely untrue.

She has depth, but some of it gets hidden behind the main story, which does drift in and out of focus occasionally. (Which also brings to mind some very unusual transitions done early in the movie, with a weird \"Make everything out of focus\" fadeout. After about the first 40 minutes, they aren't used anymore. Maybe it's significant for the characters outlook, artistically, or maybe they just realized how irritating it was.) The film gradually begins to reveal to us the point (one of several, but definitely the most explicit) of the story, which is that sometimes people have to deal with grief in their own way. Maybe it seems unorthodox to us, maybe it seems downright unhealthy, but maybe what some people want more than anything is just to forget. To just exist. The films soundtrack was excellent, and it used music to pursue and amplify moods, rather than establish them, which gives credit to the actors and the writers.

The movie takes it's name from the song \"Love, Reign O'er Me\", off of The Who's rock opera, Quadrophenia. The song itself is fairly insignificant to the actual story, but it is used powerfully in the movie over the course of the climax, and at the very end. The movie is paced well, and does not feel like it's dragging anywhere in it's length, which is a little over 2 hours. If you can accept Adam Sandler's portrayal of this deeply heartbroken and broken down man, you will enjoy the movie. You will become entangled in the story, and you will genuinely feel for the characters in every minute of it. It is not the best movie of the year, and there's nothing groundbreaking or positively amazing in it, but it's a very enjoyable, watchable movie, all in all.", "label":1 }, { "text":"As far as I know, this show was never repeated on UK television after its original run in the late '60s \/ early '70s, and most episodes are now sadly \"missing presumed wiped\".

Series 6 from 1971 however still exists in its entirety, and I recently got the chance to watch it all, the best part of 4 decades on.

After rushing home from school, Freewheelers was essential viewing for me and many of my contemporaries back in those halcyon days of flared trousers, Slade and Chicory Tip. And watching it again brought a nostalgic lump to the throat.

Never mind the bad \/ hammy acting, the unintentionally amusing fight scenes, plot holes wide enough to pilot a large ocean-going yacht through and the \"frightfully, frightfully\" RADA accents of the lead players.

No - forget all that. Because Freewheelers harks back to a bygone (dare I say \"golden\") age of kids' TV drama, when the shows were simply about rip-roaring fun and didn't take themselves so seriously. Before they became obsessed with all the angst-laden \"ishoos\" that today's screenwriters have their young protagonists fret over, such as relationships, pregnancy, drugs, STIs etc.

No doubt if it were \"remade for a modern audience\" in these days of all-pervasive political correctness, the boss figure would be a black female, one of the young male heroes would be a Muslim, the other would be a white lad confused about his sexuality and the girl would be an all-action go-getter with an IQ off the scale, who'd be forever getting the lads out of scrapes and making them look foolish - in other words a million miles removed from Wendy Padbury's deferential, ankle-spraining washer-upper.

It's a show that's very much \"of its time\". But is that a bad thing? I for one don't think so.", "label":1 }, { "text":"- Having grown tired of the rat race and cramped living conditions of New York City, Jim Blandings (Cary Grant) finds a property in the country for his wife and children. He's hoping to find the simple life. But, building a house proves to be anything but simple. As the headaches and the bills start piling up, so do the laughs. Will Mr. Blanding's ever get his dream house?

- What makes this movie so special is the three main actors - Grant, Myrna Loy, and Melvyn Douglas. Any of three are capable of carrying a movie on their own, so when you combine their talents, almost every scene is special. Grant has always been a favorite of mine in this type of role. He is so good at playing the put upon husband. Loy is a always a joy to watch. The Thin Man films she made with William Powell are near perfect. And Douglas has become a favorite of mine over the last two or three years. Douglas also appeared in The Old Dark House, a particular favorite of mine.

- The movie is definitely a product of its time. I get a kick out of imagining a time when you could build a two-story, three bedroom, four bathroom house on $15,000 income a year. Throw in the fact that your two children attend private school and you have a live-in maid and it becomes almost fanciful.

- However, for anyone who has bought or built a house, many of the situations and predicaments the Blanding's find themselves in are easily relatable to today. And that's where the comedy comes in. How many people have done some of the stupid things the couple does in this movie only to end up costing more money than expected? - The biggest complaint I have about Mr. Blandings is the whole \"wife in love with best friend\" subplot. It's really not necessary to the plot and feels out-of-place and very uncomfortable as presented.", "label":1 }, { "text":"I had tried to rent this on many occasions, but was always with the girlfriend, who, as a general rule, usually rejects heist flicks and ensemble comedies with the comment \"Uhm... looks good, but i'm not in the mood for that movie.\" Thus entereth the \"Almighty Solo Movie Night\"!

Anyway, I found Welcome To Collinwood a rather enjoyable movie. While ultimately fairly forgettable, it does have moments of fun and a few laugh out loud moments. I was unfamiliar with the fact that it was a remake, and as a general rule watch movies trying to ignore that fact and watch them on their own merits anyway. George Clooney puts in a humorous and brief cameo as a wheeled safe cracker that, for the most part left me wondering two things... 1. wouldn't every comedy be better if Mr. Clooney put in a strange 5 minute cameo? and 2. How do they make fake tattoos that look old and faded, and how easily do they wash off? The cast, all fine actors in their own right, put in a great job, and you get the impression that they had a good time working together which is fairly important in a movie like this. Needless to say all does not go as planned in this movie, both plot-wise and humor-wise, but it made me check out the special features and consider watching the original, so I consider it a success! Rent this one for a good time, maybe grab a few friends and a pizza. you'll have a good time.

***7\/10***

On a side note, the soundtrack is spectacular. It's great to hear the far under appreciated Paolo Conte used, and it left me humming snippets of the score long after the credits rolled.", "label":1 }, { "text":"French horror cinema has seen something of a revival over the last couple of years with great films such as Inside and Switchblade Romance bursting on to the scene. Mal\u00e9fique preceded the revival just slightly, but stands head and shoulders over most modern horror titles and is surely one of the best French horror films ever made! Mal\u00e9fique was obviously shot on a low budget, but this is made up for in far more ways than one by the originality of the film, and this in turn is complimented by the excellent writing and acting that ensure the film is a winner. The plot focuses on two main ideas; prison and black magic. The central character is a man named Carr\u00e8re, sent to prison for fraud. He is put in a cell with three others; the quietly insane Lassalle, body building transvestite Marcus and his retarded boyfriend Daisy. After a short while in the cell together, they stumble upon a hiding place in the wall that contains an old journal. After translating part of it, they soon realise its magical powers and realise they may be able to use it to break through the prison walls.

Black Magic is a very interesting topic, and I'm actually quite surprised that there aren't more films based on it as there's so much scope for things to do with it. It's fair to say that Mal\u00e9fique makes the best of it's assets as despite it's restraints, the film never actually feels restrained and manages to flow well throughout. Director Eric Valette provides a great atmosphere for the film; the fact that most of it takes place inside the central prison cell ensures that the film feels very claustrophobic, and this immensely benefits the central idea of the prisoners wanting to use magic to break out of the cell - it's very easy to get behind them! It's often said that the unknown is the thing that really frightens people, and this film proves that as the director ensures that we can never really be sure of exactly what is round the corner, and this helps to ensure that Mal\u00e9fique actually does manage to be quite frightening! The film is memorable for a lot of reasons outside the central plot; the characters are all very interesting in their own way and the fact that the book itself almost takes on its own character is very well done. Anyone worried that the film won't deliver by the end won't be disappointed either as the ending both makes sense and manages to be quite horrifying! Overall, Mal\u00e9fique is a truly great horror film and one of the best of the decade - HIGHLY recommended viewing!", "label":1 }, { "text":"Let me be up-front, I like pulp. However it is like one of these \"easier dives\" that you see at the Olympics. It has to be marked down a little because it is easier to give a cheap thrill than drag you inside the world of, say, a late medieval painter.

This is only a two hour ghost train ride and while often (or more accurately, most of the time!) ludicrous and unlikely it always goes forward and it always entertains. If not always in the right way. Check out the memorable quotes section for a chuckle.

(However quite why it has been given a \"Worst Film\" Razzie is baffling - I bet there was a thousand worse films made in 2006, but this film got the treatment because it was viewed as a fashionable victim.)

Head case and popular novelist Catherine Tramell (Sharon Stone) is now over in London writing a novel, but death and destruction follow her around like flies follow a horse during a spot of hot weather. God heavens, she can't even visit the toilet without tripping over at least two corpses and I am sure if she opened the closet in her vast penthouse flat one would come tumbling out in grand Hollywood style.

Yes, clearly a very dangerous lady to be circling around (if you like your pulse to be above zero), but is she personally responsible? I mean why would anyone put two-and-two together and start thinking she might be a murderer? Equally her reaction to such accusations seems very casual. However is this just a personality disorder (some form of b\/s risk addiction) or further evidence of her guilt?

For reasons I cannot fully understand or explain Stone is assigned to psychiatrist Michael Glass (David Morrissey) for evaluation rather than taken down the cells following another \"lover found dead in mysterious circumstances\". Thankfully (for Stone) he is far crazier than any of his patients and has a troubled home\/working life of his own. In the blink of an eye the relationship changes from doctor to patient and then it is hard to tell because it all becomes something of a revolving blur.

In to this heady mix comes Roy Washburn (a strange Welsh sounding David Thewlis) who tells the love struck doctor - in his capacity of policeman of many years standing - that the lady in question may be dangerous. I mean, hold the front page. However Glass is now too glassy-eyed to realise or care. Like a dizzy boxer in front of a prime-time Mike Tyson he ripe for the big take-down, however not before finding that Washburn might have a secret or two himself.

Now comes Millena Gardosh (Charlotte Rampling) a fellow psychiatrist and a rare example (in this film) of someone who isn't barking mad or else a murder suspect. Presuming that she has actually watched the finished film she must look back with nostalgia when her underwear came off with the ease of Stone's - thankfully (for us at least) those days are long gone. Strangely she doesn't think Stone is quite as dangerous as everyone else - or else she doesn't think the script is good enough or her cheque large enough to do any proper acting.

After several laps of the track roughly outlined above it comes to a climax that mixes provincial rep with a cliff-hanger\/twist, that while as farcical as the rest of the movie, gives us enough elbowroom for Basic Instinct 3 - highly unlikely this may be at this point in time.", "label":1 }, { "text":"It's only 2 episodes into a 5 part drama, but I can already state that this is one of the best things I've ever seen. That's on TV, silver screen or even in real life.

As a writer, it's so good it's almost demoralising! As a viewer it's so entertaining that I'm annoyed the episodes are over a fortnight instead of Monday to Friday. It's clear that all these negatives are actually positives.

I'm a modern guy who previously turned over from TV dramas. In comparison to movies, TV dramas always seemed to be dated, quite tame, and well, generally boring! \"Five Days\" has really brought TV drama into the 21st Century, so for me at least, it's mind changing. Go watch it.", "label":1 }, { "text":"I'm not a big fan of most anime, but Gundam Wing is truly something else. Gundam wing lacks all of that stereotypical melodrama that you might think of when you think of anime, since the number of jokes made over the 17 hours would only be in the double digits, Gundam Wing gets right down to business.

Gundam Wing is as much of a political thriller as it is an action series. Large parts focus on the diplomatic dealings of a war, not only the battles. Though battle animation lacks extreme detail in cases where it would just be a pain to animate, individual duels between gundams are almost pieces of art considering the animated use of complex mechanics and rapid movements.

To my knowledge, this 49 episode plus one movie series was picked up by cartoon network in 2000, and then professionally dubbed by them too. the dubbing is simply flawless. not only does every word said match up, but the voices use truly make the characters much more believable. many believe that it is best to watch anime with subs in English, but i simply don't have the determination to do that.

Not only are the voices good, but the score used over the series is quite impressive. I'll just say it left me scouring the net in vain to find a soundtrack.

The plot of this series is what will truly hook viewers, and no, not hook you like some prime time drama like Lost which was only made for the purpose of hooking you. explaining the plot deeply would lead to many spoilers, since many of the characters do not even have names until quite a few episodes into the series. The rough idea of the series is that earth and its now independent space colonies are having difficulty maintaining peace. Thus a war is started, leading to military coups and elaborate diplomatic situations. I feel that any more detail would begin to give away information, which is crucial to the plot.

I'll end here saying that this series is great for anyone that likes anime, anyone that thinks ALL anime is stupid (they have good reason to think so), and anyone looking to get into anime with a serious tone to it.", "label":1 }, { "text":"British comedies tend to fall into one of two main types: the quiet, introspective, usually romantic study and the farcical social satire. Settings, characters, and concepts vary but certain characteristics place the vast majority of shows into one of the two categories. Butterflies is perhaps the epitom\u00e9 of the first type.

The scripts are very verbal, including long interior monologues by the main character Ria, a basically happy but unsettled housewife curious about what she might have missed out on when she embarked on a thoroughly conventional life. When she meets a successful but clumsy and emotionally accessible businessman (who makes his interest in her quite clear), she toys with the idea of finding out what the other path might have offered.

The acting and scripts are always on the money, which makes one's reaction to the show almost entirely a personal one: I was neither blown away by it nor turned off. My mother, on the other hand, adored this show. I think the degree to which one identifies with Ria's dilemma is the most important factor in determining one's reaction to Butterflies.", "label":1 }, { "text":"This video rocked! Eddie is one of the funniest comics I have ever seen. Not only does he have class, he makes some of the funniest observations on history and culture that I have ever seen. Eddie is the most original and most intelligent comic I've seen in a VERY long time. Tell all those other stand-ups to get off the stage and let this \"executive\" reign!", "label":1 }, { "text":"This is an excellent film for female body-builder & female action fans! I think that Sue Price did a great job in this film series (Nemesis 2,3,4) and proved to be a great fighter. She has a very striking appearance and a will of iron to resist the powerful Nebula (Nemesis 2). Though not a film of great value and Sue Price's acting skills not the best to have met in my life, the movie itself was something awesome, a priceless gem for fans of female body-builder action! Well, some parts of Nemesis 2 have been copied by other famous sci-fi films, such as Terminator or Predator, but that's not the point. The point is that A.Puyn casted in that film a very talented body-builder who put all of her energy and body talent to show us the best she can do. I really enjoyed that film and watched with the same enthusiasm Nemesis 3 (a rather boring sequel) and Nemesis 4 (a much more interesting sequel than 3). What a pity it hasn't shown yet on DVD :-(", "label":1 }, { "text":"My children just happened to stop at this movie the other night and as things started to play out it really piqued my interest. I had to head out for bowling league so I had them record it for me on the dvr so I could watch the rest later. Well I just got done watching it and the front of my shirt must be soaked after crying buckets. It was an excellent movie even though I could almost feel the pain and anguish these girls were experiencing. And I never in a million years would have guessed the reason why Alissia had gone from this beautiful girl to an anti-social goth. This was probably WHY my shirt was soaked because I've experienced that same pain that Alissia was feeling. I too would not have sought out this movie, but I'm sure glad I saw it. Very moving, very touching. Great for those who love a good drama or tear-jerker.", "label":1 }, { "text":"I found the film quite expressive , the way the main character was lost but at the same much more clear about certain things in life than people who mocked him ( his flatmate for example ) .

he was tortured and you loved to watch him being tortured ! it had this perverted side which was frightening but we were all happy to see him come out of the misery again .

it was like a game character or pan-man through a mine-land or to enemy and we love to watch him under sniper attack or fire but then at the end we are happy to see him survive ...

.", "label":1 }, { "text":"At first glance I expected this film to be crappy because I thought the plot would be so excessively feminist. But I was wrong. As you maybe have read in earlier published comments, I agree in that the feminist part in this film does not bother. I never had the idea that the main character was exaggerating her position as a woman. It's like Guzman is presented as somebody with a spine, this in contrast to her classmates. So I was surprised by the story, in fact, I thought it was quite good, except for the predictable end. Maybe it would've been a better idea to give the plot a radical twist, so that the viewer is somewhat more surprised.

In addition, I'd like to say that Rodriguez earned her respect by the way she put away her character. I can't really explain why, but especially in the love scenes she convinced me. It just looked real I think.

I gave it a 7 out of 10, merely because of the dull last half hour.", "label":1 }, { "text":"Michael Curtiz directed this 1930 very-stylish whodunit from a script by Robert Presnell Sr., Robert N. Lee and Peter Mine. The original novel they adapted was \"The Kennel Murder Case\", perhaps from a writer's standpoint the best of the Philo Vance mysteries by the strange S.S. Van Dine. Vance was a long-worded and superior detective genius, and his character being assigned to William Powell probably meant the executives at Warner Brothers were aware of the possibility that in less-engaging hands this detective might alienate viewers. Fortunately they assigned suave William Powell first to the character.; later he was played by Basil Rathbone, Warren William, and Paul Lukas before being consigned to \"B\" picture status.The other question as always with Warner Brothers executives is why they chose Vance as a character; their penchant was to choose men who operated outside the law, with no apparent discrimination between a vicious murderer and a champion of individual rights against all comers. This film has a despicable villain who gets murdered, and a claustrophobically challenging locale inside an apartment complex. The characters are unarguably unusually well-realized, the direction rather good and unusually swift-paced; and except for a darkish B\/W look, the film avoids the comedic asides, superfluous characters and irrelevant dialogue characteristic of many early detective entries. Jack Okey did the good art direction. The music by Berhard Kaun is serviceable; Orry-Kelly did the costumes. William Reese provided the mostly-indoor cinematography. In the interesting cast, Powell is THE Philo Vance of his time, mostly sober-minded with just a hint of sardonic humor here and there. Eugene Palette is better than usual playing very straight as an admiring police partner to Vance, with his very professional timing. The other actor who comes off best is handsome Paul Cavangh, very effective as always in what was written as a red herring part. Mary Astor is attractive but at this point in her career she talked a bit too fast to be as effective as she later proved. Also in the cast were Helen Vinson as the villain's woman, Jack La Rue, Ralph Morgan (best known as Frank Morgan's brother), Robert Barrat as the villain everyone has cause to kill, Archer Coe, and Frank Conroy as his likable brother with Robert McWade as the D.A.; quirky and funny Etiienne Girardot has a delightfully witty part as the funny little forensics doctor who comes onto the crime scene. James lee as the abused Chinese servant is excellent and intelligent. The story breaks into four parts. First there is shad doings at a dog show, where Vance, Coe and Cavanagh are all showing West Highland terriers. Cavanagh's dog is killed, by Coe, to prevent him winning the title over his own entry. The second portion of the scene involves a leave-taking; someone is confused enough by who has gone where, after Coe parts from his girl friend, Vinson, to murder his nice brother by mistake. Enter Vance, to find out who did in Archer Coe in a locked room and how, with the help of Palette; the romantic difficulties are straightened out, the Chinese servant is exonerated, we find out who broke the expensive vase, who will marry whom, how Archer Coe was done in and why the butler did not do it--but someone else with a good excuse did. This is a more-than-good little mystery, which skilled Hungarian-born director Curtiz took quite seriously. He used wipes, swift cuts, changes of camera angle and alternations between straightforward and daring camera-work to achieve variety, interest and a sustained pace. Many writers, critics and experts, myself included, consider this to be the best of the Vance projects, although others are estimable as well.", "label":1 }, { "text":"Some critics found this film bleak, but for me there was enough good humour and optimism to overcome this impression. For example, the quietly positive and stoic character of the daughter is the still centre of the film, often counterbalancing the unhappy aspects of the setting and plotline.

The film is full of original ideas and characters, and the final outcome is not predictable: I felt it could've gone either way.

By the way, many reviews I've read mention the effective use of black and white, but the print I saw, shown on the SBS TV network here in Australia, was in full colour.

", "label":1 }, { "text":"The quintessential road movie...if your idea of a road movie involves three would-be magicians with Eastern European accents and Claire Forlani. (Well, one out of four ain't bad...) A no-talent magician with an eye for showmanship (Max) watches a very skilled pickpocket (Hugo) plying his trade in New York. After convincing Hugo that he (Max) is a) mental and b) desperately in need of a partner to make his dreams of being a stage magician come alive, the not-so-dynamic duo enlist the managerial expertise of an inventor of illusions (Milo) and the, ah, gentler attributes of a lovely waitress (Lydia). The unlikely four pile into a van (obtained by Hugo...you guess where it came from) and head to Vegas. Havoc ensues. Anyhow, it's funny, it's well-written, and the ending is surprisingly good. A solid comedy with a warm heart, and all the better that it was totally unexpected.", "label":1 }, { "text":"Smallville episode Justice is the best episode of Smallville ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! It's my favorite episode of Smallville! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !", "label":1 }, { "text":"First of all, we know that Bruce Willis is a good actor but if you take the majority of his movies you'll see that the characters have these moments where they are the same. His character in this movie is far beyond every single one so far... and counting. The story begins in the (not so far) future where a man is sent to the past to find the source of a virus that has swept most of humanity from the face of the earth. The story seems to go towards SF but i think its closer to a drama because of the slow rhythm of the story. About that. Movies tend to be faster and slower at some points and develop more towards the end than the beginning but as you see this movie you'll be aware of this constant rhythm of story and revealing facts that does not speed up nor slow down. Its the one and the same speed that flows gently and pretty good. But that doesn't mean that the ending wont pull your nerves, cause its pretty good. As far as the direction goes, it is prefect. Movies as such are easily destroyed by bad directing but this one has become far better. So, if you are getting ready to see a Sci-Fi movie or some action, you'll miss it. B There should be more movies like this.", "label":1 }, { "text":"I love this movie, but the music at all the alumni gatherings is just stupid.

The fateful game took place in 1972. That means that the protagonists graduated in 1972. But almost all of the music played at the dances etc. is from the 1950s and very early 1960s.

Having just attended my 30th high school reunion, I can assure you that the last music to be played at a reunion or dance of former high school people is their parents' music.

I understand the difficulty of finding relevant 1970s music -- we all know what a desolate time it was musically. But it wasn't completely bereft, and the producers of the film should have taken more care. I found those dance scenes very jarring to my otherwise willing suspension of disbelief in the rest of the film.

This was a bad director and\/or producer decision.", "label":1 }, { "text":"I get teased all the time by family and friends for my tears over movies, and they were not disappointed when I watched this one. I cried numerous times but believe me it was not over sappiness. I ached for the family and I ached for this man as he tried to redeem himself the only way he knew how. Denzel was fabulous as always, and so was Chris Walkin. Mickey Rourke, I did not even recognized though; the years have not been kind to him. My husband is not one to re-watch movies unless they are historically accurate war movies(snore!!!!) He has watched this movie 5 times now and I am going to have to get the DVD to watch it again because he has worn out the tape and it jumped the whole time I was watching.", "label":1 }, { "text":"I didn't expect Val Kilmer to make a convincing John Holmes, but I found myself forgetting that it wasn't the porn legend himself. In fact, the entire cast turned in amazing performances in this vastly under-rated movie.

As some have mentioned earlier, seek out the two-disc set and watch the \"Wadd\" documentary first; it will give you a lot of background on the story which will be helpful in appreciating the movie.

Some people seem unhappy about the LAPD crime scene video being included on the DVD. There are a number of reasons that it might have been included, one of which is that John Holmes' trial for the murders was the first ever in the United States where such footage was used by the prosecution. If you don't want to see it, it's easy to avoid; it's clearly identified as \"LAPD Crime Scene Footage\" on the menu!", "label":1 }, { "text":"Why can't this type of compact, entertaining mystery be filmed in the new century? It keeps the viewer thinking and guessing all the way. The cast is a great ensemble. William Powell exhibits true star quality. Who knows--perhaps he was rehearsing for his future as Nick Charles. He is a joy to watch. One also can see why Eugene Pallette made more than 200 films. He is a great supporting character actor and his excellent chemistry with Powell is fun to watch. Mary Astor does above average work in a not very meaty role. All other hands chip in to make this a thoroughly enjoyable way to spend 73 minutes. I suspect Michael Curtiz had a ball directing his one. Bravo!", "label":1 }, { "text":"Lisa is a hotel manager or owner and she gets on a flight to Miami. She ends up sitting next to an assassin named Jackson who tells her that she has to switch a room of a family or her father dies. The reason she has to switch the room is because Jackson wants to blow it up.

It's a great suspense movie because Lisa tries several ways to escape this ploy that Jackson has set up. The whole storyline is great and I thought that they could have spent some more time on the plane. There could have more to the plane but other than that, the whole movie was pretty good.

I especially liked the ending because it was heart-stopping. I didn't know what was going to happen and I was surprised by it. For me, this movie just took off.", "label":1 }, { "text":"Okay, this film is about Bedknobs and Broomsticks, it's one of the most charming, delightful movies you'll ever see as a kid. It's the unforgettable movie about two adults and two spunky kids on an adventure for fun. It may be a little deniable to watch, but try it, I neither my mother didn't think it was bad, I was very enthused with the movie and the animation, they were all quite good.

It is a delightfully wondrous comedy for the whole family to enjoy; even the kids. Ages 7 years and up will enjoy this wonderful, musical comedy with you and your family especially the animation. The animation movements and layouts are really nice and deserve a thumbs up. It's a terrifically good musical for the whole family so what are you waiting for? Go to the video store and rent Bedknobs and Broomsticks NOW.", "label":1 }, { "text":"I would reccomend this film to everyone. Not only to the fans of the rocker Luciano Ligabue, but to all film-buffs. Because it's sincere, moving, funny and true. Because Ligabue is a born storyteller and a film lover, and every frame of his film is made with love and care. Because his characters are loved and ask to be loved. Because most of the Italian debut films are lousy and this one, done by an outsider, is a real joy to watch and to listen at. Because Stefano Accorsi is gorgeous and reminds me of Andrea Pazienza, who was, like Freccia, beautiful and talented and good and lost his life because of the heroin, that Ligabue shows as it is, unglamorous and ugly, without indulging in easy moralisms. Because it's a film that speaks to our heart, our ears, our souls. And because I lived the experience of the FM radios and it was exactly like that. Thanks, Luciano!", "label":1 }, { "text":"Engrossing drama of four men on a canoing weekend down a remote river. They are pacifist Ed (Jon Voight), adventurous, violent Lewis (Burt Reynolds), obnoxious Bobby (Ned Beatty) and nice guy Drew (Ronny Cox). The first 40 minute are great--there's the incredible dueling banjos sequence, interesting interplay among the characters and just stunning widescreen cinematography by Vilmos Zsigmond. Then two hillbillies attack Ed and Bobby. One of them rapes Bobby...and the trip becomes a nightmare.

Just unbelievable. The scenery is incredibly beautiful yet this horrific violence is taking place. To be truthful, Beatty's rape has never bothered me--I'm very aware it's being faked despite the good acting. This movie also shows how the characters change--Ed has his pacifism tested, Lewis becomes weak, Bobby is violated by one of the people he mocked earlier on and Drew tries to keep himself sane. Direction by John Boorman is also very assured and the sounds of the forest and the river help the mood immensely.

The acting is mostly good. Voight is just OK in the lead--he's been better. Beatty is also just OK--but it is his debut film and he has guts for taking such a risky role. Cox is very good especially when things start falling apart. And Reynolds is just superb--one of his best acting jobs EVER! How this wasn't even nominated for an Academy Award escapes me. Also Bill McKinney and Herbert Coward are way too believable as the hillbillies.

A powerful film--NOT for children. Try to see an uncut version--the TV version is butchered. Also letter-boxed viewing is essential to capture the breathtaking images.", "label":1 }, { "text":"The pre-release version of 1933's \"Baby Face\" would make an ideal introduction to a corporate seminar on sexual harassment. Mentored by a Nietszchean professor, Lily Powers rises from a life of easy virtue at her father's speakeasy to a rapid climb up the corporate ladder at a large bank. Because each rung of the ladder is an executive with his brain below his belt and his ethics locked in the vault, the film has no victims, except Lily's childhood, which was destroyed by an abusive exploitative father. The destructive relationship with her father suggests Lily's hidden motive for using men to advance without regard for their fate. While Lily is cynical and obvious in her approach, the men she targets willingly betray wives and fianc\u00e9s to trade jobs for sexual favors. Perhaps the bank failures in the 1930's owed less to economics than to morally corrupt executives distracted by ambitious women.

The plot moves fast, and the camera amusingly moves from window to window up the fa\u00e7ade of the office building as Lily climbs ever higher. Barbara Stanwyck reveled in tough hard-bitten roles, and she is in top form here. Sentiment does not intrude when she is ready to climb the next rung. Only her African-American confidante, Chico, receives Lily's affection, trust, and loyalty. In more enlightened times, the fresh natural beauty of Theresa Harris, who plays Chico, would have had the men throwing the furs and penthouses at her. Stanwyck often appears overly made-up and stiffly coiffed in comparison to Harris. However, despite Stanwyck's tough demeanor, obvious tactics, and artificial visage, she manages to leave a trail of duped and seduced men, including Douglass Dumbrille, Donald Cook, and a young John Wayne.

The preferred version of \"Baby Face\" is the 76-minute restored cut. The edited release version of the film shyly turns from the hard facts, which the longer cut restores and makes explicit. Perhaps Darryl Zanuck, who wrote the story under an assumed name, intended a lesson by quoting from Nietszche, whose views on women were controversial. However, despite Alphonse Ethier's lectures and advice not to be defeated by life, Lily's grab for power and money likely owed more to her upbringing and her father than to her professorial mentor. However, the philosophy is but a distraction. Short, fast paced, and entertaining, \"Baby Face\" is as contemporary in its morality as \"Wall Street.\" Substitute Gordon Gecko for Nietszche, and Lily could have declared her guiding philosophy to be \"greed is good.\"", "label":1 }, { "text":"This show is awesome. I thought that the two episodes where Paul died were so sad; I actually cried. But the other shows were awesome; Kerry was my favorite character, because she was in \"the dark side.\" I also thought that Bridget was funny because she was all perky. I also thought that guy who played Kyle was really, really cute. I loved it when Kerry made sarcastic remarks about everything. The guy who played Rory was cute, and Paul, played by John Ritter, was really funny. This whole entire TV show is funny, and I wish they still showed it on TV. when they did show it on TV, though, I watched it every single time it was on. The next time it shows, I will watch it over and over again.", "label":1 }, { "text":"I have to say that this is one of the best movies I have ever seen! I was bored and looked through the t.v. and found \"Home Room\" and it was already in about 5 min., but I got hooked. It was so interesting and moving. It shows what can happen in anyone's life. I give it a 10, more if possible. The director\/ writer and actors did an amazing job. I think teens should watch this movie and will learn from it. It was great, drama, mystery, and more. I cried for hours! I think that the director\/ writer should write more movies like this one. I loved it! I didn't even know about this movie, which is sad because it was so good. I wish it could go in the movies for more people to see.", "label":1 }, { "text":"This is film that was actually recommended to me by my dentist, and am I glad he did! The blend of British humor (should I say, Humour?) and the reality of a lost, middle-aged widow trying to maintain her lifestyle were a hoot. Add to that mix the reality of what it takes to actually grow pot (those plants under the bushes were NOT going to make it without the TLC they received), and it is a truly hilarious, yet touching film. I laugh every time I conjure the vision of all the bar patrons sitting in their lawn chairs with sunglasses on counting down the lights! Maybe it's just my Mendocino County blood, but the Brits definitely got this one right!! 10\/10", "label":1 }, { "text":"After CITIZEN KANE in 1941, Hollywood executives turned their cob-webbed backs on the great Orson Welles. With the exception of KANE, Welles lost all creative control on MAGNIFICENT AMBERSONS, JOURNEY INTO FEAR, and many other films to come. Welles was an innovative and creative genius, the most unconventional of filmmakers when Hollywood was in need of a few more. THE LADY FROM SHANGHAI is yet another example of the misunderstood view of Welles' films at the time, a movie that seems a bit choppy and non-fluent. It has a conventional 1940's premise told in a most unconventional way, and I am sure some scenes ended up on the cutting room floor. It is now legend that Columbia mogul Harry Cohn stood up during its initial screening and asked what it was about. In hindsight, many old grumps that ran the studios back then had not one clue as to the cinematic techniques and master story-telling of Orson Welles and THE LADY FROM SHANGHAI is only nearly great because of their intrusion.

Beside being arguably the greatest director of all-time, Welles was also quite a performer as an actor. At 25, we all know what he did as \"Charles Foster Kane\", perhaps the most famous character in film history. Here, he inhabits a rare character of dim wit and not much intelligence, something unfamiliar to those familiar with Welles other great work. Instead of a slick, wise tongue, he speaks with a rough, Irish twang. Rita Hayworth (his unhappily married wife at the time) plays an unhappily married wife of a lawyer who puts Welles in a spell and is able to draw him into a job that will take him to the limits of deception and disillusionment. He is a large lug who may have even murdered a man, but the real mystery lies in the relationship between Hayworth (with stunning blonde hair) and crippled hubby Everett Sloane (Mr. Bernstein from CITIZEN KANE). A creepy partner of Sloane's is along for the sail around the country to set off a number of peculiar events that has Welles' \"Michael O'Hara\" head spinning. Welles narrates the picture as O'Hara, but things are still unclear throughout. See for yourself and realize that it takes at least 2 viewings to fully know exactly what's up.

An uncharacteristically strange courtroom sequence centers around \"O'Hara\", with Sloane defending him. It is an oddly comedic scene with some quirky courtroom methods, including Sloane cross-examining himself. I didn't really laugh here because the film stalls at this point after a first portion that never gets to take off anyway. Up to this point, the cinematography is great, some scenes are shot with craft and skill (aquarium love scene), but there is no distinct line drawing the elements and us, the audience, in. Reportedly, the court scene was re-shot against Welles' requests (10 closeups of Hayworth were ordered) and a makeshift song sung by the starlet was thrown in at Cohn's insistence. A gaudy score infuriated Welles, who once again, was left out of the editing process. Thank Welles himself for saving the film entirely with a tour-de-force ending that will always be treasured. The so-called \"Hall of Mirrors\" scene brings buffs back time and time again, rightfully so.

It must be seen to be believed and it does a good job of wrapping up some confusing ideas presented. The crash of the mirrors represents \"O'Hara's\" disillusionment and the \"crazy house\" itself is a masterpiece of art and set decoration. It seems more like a state of mind than an actual place and is indeed \"crazy\", twisted and turned like a Dali painting. This is a great ending to a flawed picture that if left alone would probably have made the AFI's Top 100. Then again, 3 or 4 more of Orson Welles films may have made all collective \"best of\" lists if he had been left alone to create his own magic.

NOTE: Look for the Mercury Players that are so prominent in Welles pictures. They pop up all over. RATING: 8 of 10", "label":1 }, { "text":"Tom Hanks like you've never seen him before. Hanks plays Michael Sullivan, \"The Angel of Death\". He is a hitman for his surrogate father John Rooney(Paul Newman)an elderly Irish mob boss. Sullivan's young son(Tyler Hoechlin)witnesses what his father does for a living and both are soon on the road for seven weeks robbing banks to avenge the murder of Sullivan's wife and other son. Enter Jude Law as a reporter\/photographer willing to kill Sullivan himself for the chance to add to his collection of photos of dead mobsters. Filmed beautifully catching the drama of life in the 30's. Sometimes the pace bogs down, but then a burst of graphic violence sustains the story. Director Sam Mendes directs this powerful drama about loyalty, responsibility, betrayal and the bonding of a secretive man and his young son. Other notable cast members are: Dylan Baker, Stanley Tucci, Daniel Craig and Jennifer Jason Leigh. Hanks again proves to be excellent in a very memorable movie. Make room for some Oscars!", "label":1 }, { "text":"Flavia(Florinda Bolkan of \"Don't Torture a Duckling\" fame)is locked away in a convent of carnal desires by her father.Tired of all of the sadism she sees around her(rape of a young woman in a pigsty,sexual cravings,horse castration)Flavia decides to run from the convent with her Jewish friend from the outside,Abraham.The two don't get very far before they are captured and then brought back to be tortured and forced to repent.After punishment she joins up with a band of Muslims called the Tarantulas,who had invaded the convent prior and leads a crusade that turns into nothing short of a bloody battle behind the convent walls.\"Flavia the Heretic\" is a well-directed and fairly notorious piece of Italian nunsploitation.The film is slightly gruesome and sleazy at times.The acting is great and the characters are well-developed.Overall,\"Flavia the Heretic\" is a genuinely moving and intelligent movie with plenty of nudity and gore.You can't go wrong with it.8 out of 10.", "label":1 }, { "text":"I saw this movie at the 18th Haifa film festival, and it is one of the best I've seen this year. Seeing it on a big screen (and I mean BIG, not one of those TV screens most cinemas have) with an excellent sound system always enhance the cinematic experience, as the movie takes over your eyes and ears and sucks you into the story, into the picture.

The movie presents a set of characters, which are loosely inter-connected. Their stories cross at certain points, and the multiplicity of story lines reminded me very much of the great Robert Altman and his exquisite films. But the true hero of the movie is obviously the city of Madrid, which provides the backdrop for the entire movie. It houses the characters, contains the pavements and roads on which they walk, and sets the background atmosphere for all the events, all in beautifully filmed scenes.

The movie returns again and again to certain themes (shoes, for instance), and in essence Salazar makes his metaphores more and more understandable to the viewer as the movie progresses. He combines the views of the city with the shots of the characters, and elegantly matches the feeling of the scene to the background. A set of talented actors helps him portrait a wide variety of characters. One excellent example is the scene in which Juaquin takes Anita across the street for the first time. It might not work on a small screen, but it gave me goose bumps easily on a big screen.

The message of the movie is very positive, and accordingly the movie is light and funny at times. The music along the movie is usually pop, with a few instrumental pieces (I hope to put my hand on the soundtrack one day, although I seriously doubt I will).

All together, I came out of this movie with a sensational feeling, and I'm not easily impressed (you'll have to take my word for it). For this and more I give this movie a solid 8\/10.", "label":1 }, { "text":"Red Eye is not the kind of movie that's going to win the Palme D'or, but Wes Craven has never been that kind of director, anyway, and his branding is a good indication of what a film-goer can expect.

The fact that Red Eye is a tight little, undemanding package at 94 minutes is part of its charm and an indication of Craven's craft in producing lightweight, but generally enjoyable, box office fare. In fact, it's the perfect kind of movie to show as inflight entertainment, attention-holding without putting any intellectual or emotional challenges on the viewer.

Overall there is a cheesy feeling to the plot, vague terrorist subplot motivation and the supporting characters, and the main section has a TV movie feel. However, there are definite elements of Hitchcockian suspense, and echoes of Schumacher's Phone Booth, which ultimately is a more sophisticated (and pretentious) play on the same idea of emotional crisis being played out suppressed in public.

For a film that focuses mainly on two people sitting in airline seats, it lives or dies on the characters and script. Cillian's icy but eloquent Jackson Rippner and Rachel MacAdams resourceful Lisa are the main reasons the film gets carried off. Not only making the dialogue zing but also giving some sort of Adam's Rib type dimension to their battle of 'male logic' against feminine 'sensitivity'.

In the final portion of the film Craven indulges himself a little Scream style as man-chases-girl-with-knife. The most surprising revelation here is what Brian Cox looks like after the 'Just for Men' treatment, his ubiqutous appearance in films as diverse as Super Troopers, The Ring and this making him the sexegenarian version of Jude Law.

Short haul fun.", "label":1 }, { "text":"Sam Kleinman (Peter Falk) comes to his son's place unexpectedly.His son Ben Kleinman (Paul Reiser) is quite surprised to hear that his mother, Muriel Kleinman (Olympia Dukakis) has left his father.Ben's wife, Rachel (Elizabeth Perkins) and his three sisters try to find Muriel while Ben and his father go see a farmhouse that's for sale.But that's not the end of their journey.Their road trip turns into a long therapy session between Ben and his father.Raymond De Felitta is the director of The Thing About My Folks (2005).Paul Reiser is behind the screenplay and he has done a remarkable job.The dialogue between Ben and Sam is just amazing.And he did work with the script for twenty years so no wonder it's this good.Who would be better man to play the father than Peter Falk? Nobody, I can tell you that.And I really love the story on why Paul wanted Peter Falk for the part.Peter was an actor who made his own father laugh.And Peter certainly made me laugh in this movie.It's just hilarious when they go fishing.And how the old guy beats the younger one in the game of pool and then beats him with the stick.The movie is often very funny and I found myself laughing several times.But it can also be touching from time to time.You couldn't tell a story any better than it is told here.", "label":1 }, { "text":"shakespeare's plays have a way of transcending time. The language somehow breaks the time barrier. but perhaps it is the actors who really do that.

after the disappointment in Romeo and Juliet (the version with Claire Danes and Leonardo DiCaprio), was hesitant take on another modern rendition of Shakespeare. To my surprise Othello was great!

Iago's character was played so well by the Kenneth fellow! even thoough Iago is really evil and despicable, the character was played so well that it does what shakespeare intended for the charater to be, a pleasure for the audience to hate. i have to say that fishburne's performance here was really good as well.

i recommend this for shakespeare scholars and lazy students (who refuse to read the book) alike.", "label":1 }, { "text":"One can only imagine the film Mr. Welles might have finished without the interference of the studio! This film is a flawed Welles, but worth every minute of it because one can see the greatness of perhaps America's best motion picture director of all times!

We can see the toll it took on Orson Welles the filming of this movie. The story has a lot of holes in it, perhaps because of the demands of the studio executives that didn't trust the director.

It is curious by reading some of the opinions submitted to IMDB that compare Orson Welles with the Coen brothers, Roman Polanski, even Woody Allen, when it should be all of those directors that must be regarded as followers of the great master himself. No one was more original and creative in the history of American cinema than Mr. Welles. Lucky are we to still have his legacy either in retrospective looks such as the one the Film Forum in New York just ended, or his films either on tape or DVD form.

Rita Hayworth was never more lovingly photographed than here. If she was a beauty with her red hair, as a blonde, she is just too stunning for words. Everett Sloan and Glenn Anders made an excellent contribution to the movie.

The only thing that might have made this film another masterpiece to be added to Orson Welles body of work, was his own appearance in it. Had he concentrated in the directing and had another actor interpret Michael O'Hara, a different film might have been achieved altogether. Orson Welles has to be credited for being perhaps a pioneer in taking the camera away from the studio lot into the street. The visuals in this film are so amazing that we leave the theater after seeing this movie truly impressed for the work, the vision and the talent he gave us.", "label":1 }, { "text":"\"GI Samurai\" sees Sonny Chiba and some other guys get transported back to civil war stricken feudal Japan for no particular reason, and much carnage ensues. It's a rather over the top essay of sword vs. machine gun that ultimately yields some interesting results.

The plot essentially runs along the rails that you might expect from the title; initial fish-out-the-water antics (\"what is this flying metal box?\" etc etc), \"aren't we better off here\" discussions and ultimately a huge battle. The latter is proof that the film doesn't take itself seriously at all, the carnage taking up most of the second half as samurai army battles Chiba's platoon; a face off one would fully expect from the title but it still manages to overwhelm with its inventiveness and extravagance. It's certainly one of the most unique battle sequences of its time and doesn't drag despite its extended length.

Chiba gives a gruff performance as Iba, initially a good leader but someone who finally finds himself questioning his own morals as the situation slowly has an effect on him. This is certainly one of his better vehicles from his terrific CV. By the final act the two worlds have had such an effect on each other you have to wonder if it was a bit of nihilism on the part of the writers, as they seem to be asking \"weren't we better off back then?'. But this is maybe reading a bit much into was can generally be described as a hugely entertaining two hours of (almost) non stop action.", "label":1 }, { "text":"This movie is a touching story about an adventure taken by 15-year-old Darius Weems. Darius has Duchenne Muscular Dystrophy, a still un-curable disease that took the life of his brother at age nineteen and is the number one killer of babies in the United States. Him and a few close friends travel across the country to Los Angeles with the goal of getting his wheelchair customized on MTV's, Pimp My Ride, one of his favorite shows. The journey begins in Georgia, where Darius grew up and has never left. The gang head west for a trip that all its participants will never forget. Darius gets to ride in a boat for the first time, ride in a hot air balloon, swim in the ocean and visit sights he's always wanted to see like the Grand Canyon and New Orleans. The filmmakers here clearly have an emotional connection to the material. They make no money from sales of the $20 dvds. $17 goes toward researching the disease and $3 goes toward making more copies. The film has won over 25 awards at festivals and I agree with the quote given to the film by Variety, \"Certain to stir hearts\".", "label":1 }, { "text":"\"The Tenant\" is Roman Polanski's greatest film IMO. And I love \"Chinatown\", but this one is so much more original and unconventional and downright creepy. It's also a great black comedy. Some people I have shown this film to have been *very disturbed* by it afterwards so be forewarned it does affect some people that way. Polanski does a great job acting the lead role in \"The Tenant\" as well as directing it.", "label":1 }, { "text":"This is a cartoon series where most of the action takes place in the human body where the actors are vitamins, viruses, blood cells etc. I will not try to explain it in more details, you will simply have to see it for yourself: You will not be disappointed.

I remember watching this as a kid in the 80s (with Swedish voices). I have talked with a few people who were also children in the 80s and they loved it also! I must admit that the education-part of the episodes didn't get through to me at a conscious level but the whole idea of educating children while they have fun is wonderful. I have recently seen a few episodes; there is a humour and heart in it that is hard to find in other children programs nowadays.

5\/5", "label":1 }, { "text":"Since was only a toddler when this show originally aired I just recently picked up the DVD set and am wishing there were more episodes filmed. This show was a 70s version of the poplular 90's TV series \"X-Files\"- but with a bit more of a comedic\/light hearted approach. But don't get me wrong, some of these episodes have full on horror themes, many in which have some pretty greuesome plots (left to the imagination of course- this was the early 70s television).

Some of the plots where a bit silly as well as the acting, but that is the charm and attraction to this series. Whether you like mystery crime dramas, comedies, or sci-fi\/horror themes, this series brought all that together. Each episode clocked in at around 50 minutes or so (1 hour with commercials) and that 50 minutes goes by quick always leaving me wanting more. A great classic show that is underrated in my book!", "label":1 }, { "text":"Before all, I'd like to point out that I have not read the book, so there was no chance I'd be disappointed in that aspect. The major flaw I spotted was historical detail, with several cars, trains, clothes, etc. I think don\u00b4t belong at that time.

***Possible spoiler*****

The technical aspect of the film is ok, nothing to brag about. But the acting, I think, was terrific. I don't have no experience in acting, still I can't believe how people can consider this terrible! Maybe they've only seen two movies (ever), and the other one must have been very good indeed!

I specially liked Jeremy Irons, and really understood his character, someone who crawled up the social ladder with very hard work, then fights against those who would take his life's work from him, only he gets so involved in this fight, he doesn't realize reason is no longer at his side, and he ends up a beaten, disappointed man. Irons made this so believable, I sympathized with the character despite his brutality.

After Jeremy Irons, Winona Ryder is also wonderful as a romantic young women, who is drawn into the revolutionary ideals by her boyfriend (Banderas, he had an under-developed part, I think), and Glenn Close was also very good. Meryl Streep had an average performance, it was not bad, just not up to the standards of the other actors. Watch out for Miguel Guilherme, a fine Portuguese actor, between so many stars.

In contrast to today's movies, here only the interpretations, only people matter, but at the same time, it is not a pretensious film, too worried trying to be intellectual. The best proof I really liked it, I'm writing a review 7 years later.", "label":1 }, { "text":"I think 'Blackadder the Third' is the best one of the series.

Actuelly all the episodes are funny, personally i really like the episode with the 'French invasion', but the one with the superstitious actors, in 'MACBETH' is also really funny, the way Rowan keeps playing on with them is really (English) Humor at the highest level.

Actors: 'Never say that again, always call it the Scottish Play; Blackadder: Oh, So you want me to say the Scottish Play? Actors: YES Blackadder: Rather than MACBETH...!

I am a big fan of Rowan and i have the majority of his work, but i think he did the series of Blackadder especially good.

I Hope Rowan is going to continue his great style, but i think we can count on him, because he is already working on a Bean 2 Movie, that will be out this year, i can't wait...

I Give this 3rd Blackadder a 9 out of 10 Rating.", "label":1 }, { "text":"I have had the pleasure of reading Martin Torgoff's book \"Can't Find My Way Home\" which is chock full of info on the drug culture of America, spanning the years 1945-2000. This guy knows his stuff!! I found him to be an excellent spokesperson for this documentary. I particularly enjoyed watching the film clips from the hippie era, and the 70's stoner culture. The soundtrack was excellent. Whoever compiled it definitely was in touch with the tunes of each era. Hopefully they will package them and sell them as a CD set. I would highly recommend this to anyone interested in how the 1960's experiments with LSD forever changed American culture as we know it. One thing that was missing was any mention of George Jung (played by Johnny Depp in the movie \"Blow\"), who was supposedly responsible for much of the marijuana and cocaine coming into this country in the 60's-80's.", "label":1 }, { "text":"Though not a horror film in the traditional sense, this creepy little film delivers the goods. It seems a vampire is loose in a small German town draining its victims of their blood. Police Inspector Karl Brettschneider, Melvyn Douglas in one of his early roles, is skeptical believing a crazed killer not a vampire is running amok. The only one who believes him is Ruth Bertin (Faye Wray) the inspector's girlfriend and lab assistant to Dr. Otto von Niemann (Lionel Atwill) who though apparently an eminent scientist goes along with the vampire theory. The townspeople suspect the weirdo Herman Gleib, played with his usual frenzy by Dwight Frye who seems to be having a lot of fun with his role. The film contains quite a bit of humor which helps relieve some of the intensity involved with all the murders being committed. One funny part has Gussie Schnappmann (Maude Eburne), Ruth Bertin's aunt, thinking weird Herman has turned not into a bat but into a dog. Maude Eburne and Dwight Frye make a good comedy team.

This budget movie brings in elements from \"The Cabinet of Dr. Caligari\" with Dr. Niemann using the power of suggestion to make a somnambulist carry out his orders, from \"Frankenstein\" by using the human blood to help create life in the laboratory, and \"Dracula\" since the murders are believed by everyone except the inspector and his girl to be the work of a bloodsucker. Thses elements are mixed well by director Frank R. Strayer with a little comedy thrown in for good measure. The concoction works. The restored version I viewed used tinting to increase the spooky atmosphere. So try to see the this version if possible.", "label":1 }, { "text":"Today if someone mentions the name Victor McLaglen the response most likely will be \"Who?\" or perhaps \"Why?\" Well, believe it or not, Victor McLaglen won the Academy Award for Best Actor in this film, which is about a poor, desperate man who is willing to sell out his best friend for \"carfare\" to the United States. It's an interesting movie which shows how low even the most well-meaning shnooks will go just for a few bucks. The movie takes place in British-dominated Ireland and while all the other characters are either directly or indirectly fighting for the political independence of Ireland, all Mr. McLaglen's character is concerned about is getting money and getting drunk. The movie makes one wonder whether political activism is worth all the trouble because while the activist is struggling to make a point, many others not only do not care, they don't even know what the fuss is all about. The morale of this movie is: look out for the friend, he may sell you out for a dime.", "label":1 }, { "text":"When I first read Armistead Maupins story I was taken in by the human drama displayed by Gabriel No one and those he cares about and loves. That being said, we have now been given the film version of an excellent story and are expected to see past the gloss of Hollywood...

Writer Armistead Maupin and director Patrick Stettner have truly succeeded!

With just the right amount of restraint Robin Williams captures the fragile essence of Gabriel and lets us see his struggle with issues of trust both in his personnel life(Jess) and the world around him(Donna).

As we are introduced to the players in this drama we are reminded that nothing is ever as it seems and that the smallest event can change our lives irrevocably. The request to review a book written by a young man turns into a life changing event that helps Gabriel find the strength within himself to carry on and move forward.

It's to bad that most people will avoid this film. I only say that because the average American will probably think \"Robin Williams in a serious role? That didn't work before!\" PLEASE GIVE THIS MOVIE A CHANCE! Robin Williams touches the darkness we all must find and go through in ourselves to be better people. Like his movie One Hour Photo he has stepped up as an actor and made another quality piece of art.

Oh and before I forget, I believe Bobby Cannavale as Jess steals every scene he is in. He has the 1940's leading man looks and screen presence. It's this hacks opinion he could carry his own movie right now!!

S~", "label":1 }, { "text":"Action. Comedy. Suspense. This movie has it all.

The Plot goes that 4 would be professional thieves are invited to take part in a heist in a small town in Montana. every type of crime movie archetype character is here. Frank, the master mind. Carlos, the weapons expert. Max, the explosives expert. Nick, the safe cracker and Ray, the car man. Unfortunately for Frank, he is apprehended by 2 bumbling detectives ( portrayed very well by Ed O'Niel and Daniel Roebuck ) that have been chasing him from New Jersey write after he sends out the letters to the other 4.

Our 4 characters meet up at the train station and from the beginning none of them like or trust one another. Added to the mix is the fact that Frank is gone and they are not sure why they have called together.

Now Frank is being taken back to New Jersey by the 2 detectives but soon escapes on foot and tries to make his way back to the guys who are having all sorts of problems of their own.

Truly a great film loaded with laughs and great acting. Just an overall good movie for anyone looking for a laugh or something a little different", "label":1 }, { "text":"This movie, even though it is over 70 years old is still a very moving, strong film. Bette Davis, as the slutty, vicious Cockney waitress Mildred is absolutely believable. Watching her performance is still spellbinding. She makes the viewer absolutely despise her and pity her at the same time. Leslie Howard's performance as the weak, obsessed Phillip Carey is not as strong, but I don't see how any actor could hold their own against Ms. Davis's performance. She chews up the scenery in every scene she is in, totally stealing the show. This is the movie that sealed her stardom and she deserved to win the Academy Award, but lost. It was shocking for it's day what with themes of unwed pregnancy, multiple sex partners, and Mildred's vicious language so it is somewhat dated, but still an excellent movie. Just to see the scene where Mildred tells Phillip what she REALLY thinks of him (\"You cad, you dirty swine....\") is still some of the greatest acting I have ever seen on film.", "label":1 }, { "text":"I have rarely emerged from viewing a film with such a warm, happy feeling. I felt as if I had been out with really good friends and had a wonderful time! I thoroughly enjoyed this film. The acting was superb, although I would have to mention Bill Nye in particular as giving an absolutely faultless performance. Bill is an excellent actor and would love to see him in more films. Timothy Spall and Jimmy Nail are also favourites and always love to see them as they give such a solid performance. And Billy Connolly, as always, totally gorgeous. It was a wonderful ensemble performance from all concerned. Such a refreshing experience to see a well-written, superbly acted and good-looking movie.", "label":1 }, { "text":"The Human Tornado is a campy 70's Blaxploitation movie starring nightclub comedian Rudy Ray Moore in perhaps his most endearing role to date. The movie tells the tale of Dolemite, a bad ass pimpin' hustler who gets on the wrong side of a white, racist sheriff by sleeping with his wife. Dolemite barely escapes, and journeys to sunny California to visit an old friend, a nightclub owner (and Madam to Dolemite's 'ladies') named Queen Bee. However, it seems that a rival nightclub owner with Mob connections is trying to muscle in on her racket, so Dolemite takes matters into his own hands. Rudy Ray Moore showcases many diverse talents in this landmark film, including strong dramatic skills, a mastery of Kung Fu, an impressive singing voice (he provides two of the songs on the soundtrack), a touching, compassionate side with the ladies, and an overall compelling charisma and keen sense of comic timing. This film has it all, people: A deep plot, blistering action, laugh-a-minute comedy, beautiful women in distress, a slam-bang ending...what more could you ask from a movie? Run, don't walk, to your local video store and rent The Human Tornado today. And be sure to share it with your family.", "label":1 }, { "text":"That was the first thing that sprang to mind as I watched the closing credits to Europa make there was across the screen, never in my entire life have I seen a film of such technical genius, the visuals of Europa are so impressive that any film I watch in it's wake will only pale in comparison, forget your Michael Bay, Ridley Scott slick Hollywood cinematography, Europa has more ethereal beauty than anything those two could conjure up in a million years. Now I'd be the first to hail Lars von Trier a genius just off the back of his films Breaking the Waves and Dancer in the Dark, but this is stupid, the fact that Europa has gone un-noticed by film experts for so long is a crime against cinema, whilst overrated rubbish like Crouching Tiger, Hidden Dragon and Life is Beautiful clean up at the academy awards (but what do the know) Europa has been hidden away, absent form video stores and (until recently) any British TV channels.

The visuals in Europa are not MTV gloss; it's not a case of style over substance, its more a case of substance dictating style. Much like his first film The Element of Crime, von Trier uses the perspective of the main character to draw us into his world, and much like Element, the film begins with the main character (or in the case of Europa, we the audience) being hypnotized. As we move down the tracks, the voice of the Narrator (Max von Sydow) counts us down into a deep sleep, until we awake in Europa. This allows von Trier and his three cinematographers to pay with the conventions of time and imagery, there are many scenes in Europa when a character in the background, who is in black and white, will interact with a person in the foreground who will be colour, von Trier is trying to show us how much precedence the coloured item or person has over the plot, for instance, it's no surprise that the first shot of Leopold Kessler (Jean-marc Barr) is in colour, since he is the only character who's actions have superiority over the film.

The performances are good, they may not be on par with performances in later von Trier films, but that's just because the images are sometimes so distracting that you don't really pick up on them the first time round. But I would like to point out the fantastic performance of Jean-Marc Barr in the lead role, whose blind idealism is slowly warn down by the two opposing sides, until he erupts in the films final act. Again, muck like The Element of Crime, the film ends with our hero unable to wake up from his nightmare state, left in this terrible place, with only the continuing narration of von Sydow to seal his fate. Europa is a tremendous film, and I cant help thinking what a shame that von Trier has abandoned this way of filming, since he was clearly one of the most talented visual directors working at that time, Europa, much like the rest of his cinematic cannon is filled with a wealth of iconic scenes. His dedication to composition and mise-en-scene is unrivalled, not to mention his use of sound and production design. But since his no-frills melodramas turned out to be Breaking the Waves and Dancer in the Dark then who can argue, but it does seems like a waste of an imaginative talent. 10\/10", "label":1 }, { "text":"A very good adaptation of the novel by amrita pritam. Urmila and manoj bajpai have given their best.

there is a natural flair in the movie and i felt it right through. It looked like bollywood finally gave away it's glamor and had some quality artists performing on screen.

Content wise, the movie depicted very much what exactly happened during partition by showing the sufferings of a particular family and also shows that trust in one's life goes beyond religion.

The best part was they did not make it a drama with a lot of tear shedding and melodrama.

I simply loved it.", "label":1 }, { "text":"Panahi, whose previous films such as The Circle and Crimson Gold have seemed to range from dour to grim, has produced in his new Offside a funny, obstreperous, joyously chaotic ensemble piece that ends on a note of liberation and heartfelt fun \u0096 yet the movie deals with material quite as challenging and relevant as anything else he's done. By focusing on a group of ardent girl soccer fans caught sneaking into the pre-World Cup Bahrain-Iran match in Tehran stadium, Panahi brings up issues of national spirit and independent-mindedness, and the contradictions \u0096 and sheer absurdity \u0096 of the regime's religious gender apartheid in a world of modern competition with a majority youth population and urban girls who increasingly think for themselves.

As the film opens we breathlessly join one of the girls in a bus, with a father pursing a lost daughter. This one has a disguise and has national colors as warpaint, but we cringe with her in the knowledge of what's going to happen: she's still easily spotted. The thing is, most of the men around don't really care. Still, rules are rules, and once they try to make it through the various checkpoints on the way into the big stadium the would-be soccer girls, or some of them anyway, get rounded up and held in a little compound upstairs in the stadium by some mostly young, green, and rustic soldier-cops who have no idea how to deal with these big city girls' independent ideas and would rather be watching the game \u0096 whose roar we constantly hear in the background \u0096 themselves. Each girl is different \u0096 represents a different set of reasons for wanting to break the rules and different ways of doing it. One wore a soldier's uniform and got into the officers' section. One is tough and masculine and mocking and provocative (she could pass for a pretty boy, and teasingly hints at that: \"Are you a girl or a boy?\" \"Which would you like me to be?\"). One doesn't care very much about soccer but went to honor a dead comrade. One (Aida Sadeghi) is an ardent soccer player herself \u0096 and so on. These Tehrani girls are stubborn and smart and they walk all over the uptight rural lieutenant in charge of them (Safar Samandar). One of the rural cops (Mohamad Kheirabadi) takes the girl soccer player to the men's restroom (of course there's no ladies'), forcing her to wear a poster of an Italian football star as a mask. A comedy of errors and chaos follows in which the girl escapes.

Later a spiffy looking van comes with an officer who directs the cops to take the girls to the Vice Department \u0096 violating sexual segregation rules qualifies as vice. A male gets mixed in with them \u0096 a kid who's chronically guilty of smuggling fireworks into the games. The van turns out not to be so spiffy: the radio aerial is broken. But one cop holds it in place so they can listen to the increasingly heart-stopping reportage. Cops and prisoners are all joined in a common excitement now. There's no score, the game goes to penalty kicks, and the winner will go to Germany.

In the background through all this is a real game, a real stadium, and real masses of young men crazy about the outcome of this event. The excitement is tremendous, and the streets are jammed with cars and flags and a milling mob of supporters praying for an Iranian win and united in their excitement.

What makes this film so good, as may be clear by now, is that it's shot during the evening of an actual game with a real finale that turns everything around. This, in contrast to Panahi's previous highly calculated narrative trajectories, is spontaneous v\u00e9rit\u00e9 film-making that improvises in rhythm with a captured background of actual events and sweeps you into its excitement in ways that are quite thrilling.

The essence of Offside is the disconnect between modern world soccer madness and retro-Islamic social prohibitions repressing women \u0096 the latter existing at a time when young Iranian women are becoming part of a global world in which females participate in sport and share in the ardor of national team spirit. How exactly do you reconcile the country's ambition to become a modern global power with social attitudes that are medieval? A lot of Offisde is astonishingly real, including the way everybody tries to talk their way out of everything. The director's decision to inject young actors into an actual sports mega-event leads to a stunningly effective blend of documentary, polemic, and fiction that is too energetic to seem to have a bone to pick, and that ends in a way that's brilliant and moving.

I've had reservations about Panahi's films before, but this one kicks ass. Panahi does something remarkable here. He critiques his society, presents an unusual drama, and touches our hearts with a sense of a nation's aspirations.", "label":1 }, { "text":"This anime was underrated and still is. Hardly the dorky kids movie as noted, i still come back to this 10 years after i first saw it. One of the better movies released.

The animation while not perfect is good, camera tricks give it a 3D feel and the story is still as good today even after i grew up and saw ground-breakers like Neon Genesis Evangelion and RahXephon. It has nowhere near the depth obviously but try to see it from a lighthearted view. It's a story to entertain, not to question.

Still one of my favourites I come back too when i feel like a giggle on over more lighthearted animes. Not to say its a childish movies, there are surprisingly sad moments in this and you need a sense of humour to see it all.", "label":1 }, { "text":"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", "label":1 }, { "text":"\"Cut\" is a full-tilt spoof of the slasher genre and in the main it achieves what it sets out to do. Most of the standard slasher cliches are there; the old creepy house, the woods, the anonymous indestructible serial killer, buckets of gore, and of course the couple interrupted by the killer while they're having sex (that's hardly a spoiler).

The set-up is simplicity itself: film-school nerds set out to complete an unfinished slasher \"masterpiece\", unfinished because of the murders of a couple of the cast. This also neatly - okay, messily - disposes of Kylie Minogue in the first reel. They are joined by one of the survivors of the original film, played by Molly Ringwald who absolutely steals the film because she gets all the best lines. The rest of the cast fit their roles well, especially the lovely Jessica Napier, who plays it straight while the mayhem and gore erupt around her.

There are plenty of red herrings and fake suspenseful moments, and there is very little time to try to work out who the killer is because the film moves at such a fast pace. It also has an appropriate low budget look, including some clumsy editing which is probably deliberate. Good soundtrack, too. If there is a difficulty with this film it is deciding whether it is a send-up of or a homage to the slasher genre. Probably a bit of both.", "label":1 }, { "text":"\"I'll Take You There\" tells of a woebegone man who loses his wife to another and finds an unlikely ally in a blind date. Unlike most romantic comedies, this little indie is mostly tongue-in-cheek situational comedy featuring Rogers and Sheedy with little emphasis on romance. A sort of road trip flick with many fun and some poignant moments keeps moving, stays fresh, and is a worthwhile watch for indie lovers.", "label":1 }, { "text":"Okay - I'll confess. This is the movie that made me love what Michael Keaton could do. He does a beautiful parody of someone doing a parody of James Cagney, with charm to spare.

The supporting cast are solid workers all, and will step right up and do a fine job in this '80s comedy. A spoof of the '30s-'40s gangster movies, it breaks new ground constantly, with remarkably original material. (Well, yeah - some of it has been copied since - but when this movie was made, it was original, and much of it has _not_ been copied elsewhere.) Watch Joe Piscopo warn people to not do ______, with one of the great taglines of spoofs. Watch Roman Moronie do things with English profanity that would make your spinster grammar teacher laugh. Watch amazing sight gags, such as pet-store owner Johnny Kelly using the price-tag gun on his puppies and dusting his kittens. Watch the greatest \"warning against sex\" educational film ever made. Watch the most amazing misrepresentation of church Latin done, while a guy who never took shop class assembles a Thompson machine gun from parts. Watch lines you'll be using in casual conversation for the next decade. Watch Maureen Stapleton do the perfect antithesis to the hard-working mom, with surprise gags that you'll never see coming.

If you see a gag that doesn't hit your funny bone, be patient - another will come along in 30 seconds or less, and the odds are, you'll need to pause until you're done rolling on the floor several times. Duckies and Bunnies? Them, too. Watch for the subtle stuff - some of the sight gags can go by unnoticed the first few viewings.

There are a few minor flaws - but it's probably the best of the spoofs. Some come close, but none of them are quite this good.", "label":1 }, { "text":"This movie has no story. It's only about a bunch of guys who tortures an innocent young girl to death.

!!!SPOILERS!!!

This is what they do: They beat her, put her in a net and let her hang inside like birdfood, spin her around on a chair until she pukes, expose her to loud noise, pour boiling oil on her, put worms in her sores, crush her hand with a sledge-hammer and finally pokes a needle through her eye.

This movie was so realistic that if I didn't know it was fake I would have thought it was a snuff-movie. Although I was disgusted by this movie i really liked it. It scared me. I guess it fills some kind of purpose. I give it a 10\/10.", "label":1 }, { "text":"Picture the scene: a mountainous alien landscape. Twin moons illuminate the blood red sky. The Tardis lands, and out steps the Doctor, a middle-aged man in a Victorian frock coat, and Rose, his companion from Earth. A flicker of recognition crosses his face. \"Well, I never! Its the planet Saurious-7. Where I fought the warlike Kraggartians. They tried to use giant Skinkons to take over the planet.\". The girl sniffs the air. \"Can't we go, Doctor. I don't like the look of this place. I keep thinking we're being watched.\". The Doctor wags a disapproving finger. \"Don't be silly, girl. I wonder if the King and Queen of Cordaraby City remember me from my last visit. Come along, Rose, come along!\". He strides off, the girl struggles to keep up. High on a hill, sinister red eyes regard them with hatred...

That was not how 'Rose' began back in 2005, and thank heavens for that say I. Unfairly derided at the time of its original U.K. broadcast, 'Rose' can now safely be regarded as a landmark episode, putting 'Dr.Who' back where it belonged, as one of the B.B.C.'s flagship programmes. The mistakes made by the McGann T.V. movie were well learnt. Instead of trying to shoehorn the new 'Who' into existing chronology, it represented a fresh start for the series, beginning with shop girl Rose Tyler ( Billie Piper ) going about her daily routine. One day she goes to the basement to find a man named Wilson, and then the trouble begins. Mannequins come to life and attack her. It is only through the intervention of a mysterious stranger ( Christopher Eccleston ) that she is saved.

The story, slight though it may be, is more than adequate as a starting-point for the series. The Autons are, of course, an old villain ( this was their first appearance since 1971 ), but no references are made to their past appearances - another wise move. The finale effectively recreated the famous scene in 'Spearhead From Space' when shop window dummies sprang to life. As the Doctor, Christopher Eccleston lacked the eccentricity of his predecessors, preferring a modern leather jacket to the Doctor's traditional period clothes, but this made him more accessible to the show's hoped-for new audience. Billie Piper confounded her critics by making a big impression as 'Rose'. Also good was Noel Clarke as her boyfriend 'Mickey'.

Yes, there was an added emphasis on special effects, but then there needed to be - the wobbly sets and unconvincing monsters of the past have no place on 21st century television. What is more important is how good a script this is. Ten million people tuned in to see the new Doctor.

'Dr.Who' was back - and back with a bang!", "label":1 }, { "text":"I am not going to lie. Despite looking interesting, I watched The Notorious Bettie Page because I had heard (and it was fairly obvious just by looking at a synopsis or anything about the film), that Gretchen Mol got naked in it. I have never been a fan of Mol, but I cannot resist seeing an attractive woman taking off her clothes. Yes, that may be perverted, but its a theme and ideal central to the very core of the movie, and helps to make the film a lot stronger than it probably should be.

The film chronicles Bettie Page's (Mol) life from her physical and sexually abused days as a kid in high school in the South, and onto her new life in New York. She wants to be an actress, but she has to pay bills too. After taking a few seemingly innocent shots on a local beach, Page slowly becomes a modeling sensation, and quickly jumps from suggestive photos to sexually provocative pin-up photographs.

I feel the briefness of the film (just over ninety minutes) is both a curse and blessing for it. On one hand, the film never overstays its welcome. You get to know Page within a few short minutes, and then it gets right into her modeling career and does not look back. But it curses the film as well, because we never really get a chance to grasp everything that is going on. She just kind of jumps around between modeling shoots and the controversies that they create before jumping right into the major senate investigation that takes up much of the final act of the film. You just sit there, and attempt to absorb it all, and more just comes right at you. It feels like the filmmakers wanted to summarize too much material in too short a film. It begs for longer sequences, and begs more for even longer explanations. It does not feel rushed; it just does not feel all there.

Another bit of a fumble, although a bit more of a curiosity, is the use of colour throughout the film. The majority is in black and white, but frequently, splashes and sequences of colour do emerge. But while this may have been done as a symbolic gesture early on, it becomes a bit of a distraction as it continually pops up later on before cutting back to black and white. It gets confusing, and becomes more of a tedious interference than anything else as the film goes on.

While it may fumble a bit with the actions, the film stays dead-on with its themes. Page, who I know little to nothing about, is played off innocently, and her world is exactly the same. Save for a few shady characters during her teenage years, everyone she encounters is an innocent, and everything she does has an innocence to it. I never thought I would look at full frontal nudity as being something that was anything other than vulgar and depraved, but here, it truly is something to marvel at. All at once, it is beautiful and innocent. Even the most sexually perverted moments in the film (albeit tame compared to today's standards) have an innocent and angelic feeling to them. There is just something about the way Mol's nude body is portrayed that it just strikes at such a different chord than nude bodies in other films. It just feels so natural and so wondrous, that if there were any reason to watch the film, it would be to see the spectacular depictions of Mol's body as she plays Bettie Page.

The other reason is Mol herself. As Page, she exemplifies that 1950's Southern belle everyone knows (or can at least imagine). Despite her profession, she is still a normal person, and still looks at herself as being religious. Mol plays her exactly to the right amount of squeaky-cleanliness needed to make this character feel authentically from the 1950's. She plays her with such matter-of-factness that you would be hard-set not to think that Mol was actually Bettie Page herself.

Unfortunately, the supporting cast have very little moments to shine, and are totally overshadowed by Mol's wonderful performance. None of them do anything particularly pleasing, and none of them really have that same strength in their role as Mol does. This is not really the fault of the actors, but more of the fact that they do not have much to work with. Many of them are totally recognizable, such as Oscar-nominee David Strathairn (in a role a little too close to one of his better performances), Sarah Paulson (recent Golden Globe nominee for Studio 60 on the Sunset Strip), and character actor Lili Taylor, but you would be hard set to really place their performance in being anything other than okay. None of these characters are really developed, and they really just stand as character cut-outs who Mol runs loops around as she picks up steam in her brilliant performance.

Really, this film is worthwhile for its portrayal of nudity, and for Gretchen Mol's excellent performance of Bettie Page. Everything else is a bit too muddled and awkward than it should be. Had more work been done to develop supporting characters and not just blast right through the story, this film would have been a much better biographical film. As it stands, it is just a vehicle for Mol to really rise into the stratosphere of popularity as an actress.

7\/10.", "label":1 }, { "text":"Contrary to some people's summaries, the women depicted in the film are not geisha. They are oiran (prostitutes) living outside the most famous pleasure districts, and their lives and experiences represent the lives of a great number of Tokugawa era women. I can't say the stories were particularly enlightening, but their charm lies in just how typical they are. The themes are universal and everyday: love, friendship, and sacrifice.

I did greatly enjoy the art direction and the acting. I felt like I was getting a glimpse of a time and place I can never otherwise glimpse. The actors, especially the 4 women who played the main oiran, were a thrill to watch. I'd only recommend this movie to people who want a taste of Japanese culture, or to those who enjoy quiet and emotional stories. It's a great example of both.", "label":1 }, { "text":"This film is close to be my favorite piece of celluloid. There is really not much I'd need or want to say here. Except maybe \"See this film\" and \"Enjoy the excellent work by Daniel and Pascal\", who carries you through this neat, funny and heartbreaking story about 'spending your eighth day' - your own day!

Seeing this film made me think seriously about how I spend my eighth day = my life! It appears, that some of us are wasting precious time doing things we think we need to do. Either if it's pleasing a career or just consuming TV-shows and ballgames. What we tend to miss is the satisfaction of being something for another person - make a difference. About taking room and time to be spontaneous and live - NOW! (on the eighth day)... At least that was what I got from 'The Eighth Day'.", "label":1 }, { "text":"yeah, it's a bit of a silly film, so if you are looking for an oscar performance, forget this one......but, if you love John Candy's humor, this is a must-see. We lost John Candy before he made enough of his great brand of comedy, and he is only better in one movie: Planes, Trains, & Automobiles (with Steve Martin). Excellent supporting performance by Eugene Levy, perhaps his best work ever as the hot-headed Sal DiPasquale. Also good acting by Richard Libertini, Alley Mills & Pat Hingle. You must see this obscure and out-of-print film if you are a John Candy or Eugene Levy fan.", "label":1 }, { "text":"1928 is in many ways a \"lost year\" in motion pictures. Just as some of the finest films of the silent era were being made in every genre, sound was coming in and - while reaping great profits at the box office - was setting the art of film-making back about five years as the film industry struggled with the new technology.

\"Show People\" is one of the great silent era comedies. The film shows that William Haines had comic skills beyond his usual formula of the obnoxious overconfident guy who turns everyone against him, learns his lesson, and then redeems himself by winning the football game, the polo game, etc. This movie is also exhibit A for illustrating that Marion Davies was no Susan Alexander Kane. She had excellent comic instincts and timing. This film starts out as the Beverly Hillbillies-like adventure of Peggy Pepper (Marion Davies) and her father, General Marmaduke Oldfish Pepper, fresh from the old South. General Pepper has decided that he will let some lucky movie studio executive hire his daughter as an actress. While at the studio commissary, the Peppers run into Billy Boone (William Haines), a slapstick comedian. He gets Peggy an acting job. She's unhappy when she finds out it is slapstick, but she perseveres. Eventually she is discovered by a large studio and she and Billy part ways as she begins to take on dramatic roles. Soon the new-found fame goes to her head, and she is about to lose her public and gain a royal title when she decides to marry her new leading man, whom she doesn't really love, unless fate somehow intervenes.

One of the things MGM frequently does in its late silent-era films and in its early sound-era films is feature shots of how film-making was done at MGM circa 1930. This film is one of those, as we get Charlie Chaplin trying to get Peggy's autograph, an abundance of cameos of MGM players during that era including director King Vidor himself, and even a cameo of Marion Davies as Peggy seeing Marion Davies as Marion Davies arriving at work on the lot. Peggy grimaces and mentions that she doesn't care for her. Truly a delight from start to finish, this is a silent that is definitely worth your while. This is one of the films that I also recommend you use to introduce people to the art of silent cinema as it is very accessible.", "label":1 }, { "text":"The Wooden Horse is a very clever movie about a very clever and successful escape plan worked out by British POW's during World War II. It is superbly acted with a wry sense of humor, especially the lines expressed by the acid-tongues Leo Genn. Anthony Steele and David Tomlinson (later George Banks in Mary Poppins) are marvelous as the two heroes. The direction is taut and fast-moving throughout. Highly Recommended.", "label":1 }, { "text":"I am currently doing film studies at A.S level and \"this is not a love song\" is a film we watched and in my opinion it is a film with a very simple storyline but a complex back-story. If you scratch the surface you will find a thriller-chase film of two men running through the countryside from farmers, after committing a murder:-\"sounds quite exiting\".

However you need to dig deeper to uncover the true feeling of the true genre. As it is suggested, it is a love story between two homosexual lovers, filled with trust, deceit and betrayal. We are not told about this \"love\" directly through the film but the events that happen through out, for example the way Heaton acts towards Spike almost screams this untouched love affair in our faces.

Overall this film is a good example of why British films should not be dismissed as \"rubbish\" just because they are done on a low budget.

A Good film with an intricate story line, however it is definitely an acquired taste and is possibly not suitable for the average fan of Hollywood blockbusters.", "label":1 }, { "text":"Cinderella....

I hadn't watched this film for about five years the last time i saw it. The magic remains. There is something that definitely contains that storybook feel, the songs entertain and the secondary character's all please. The villains in the form of step sisters are perfectly evil and vile. Then there is the most magical of all Disney, the mice making the dress and well you know the rest. To sum up the four of the Disney princess movies are all great but this is a charming magical experience, watch and enjoy. Oh and of course, Cinderella is wonderful as the main character in the movie.

If you think about it Disney movies can really lost their charm. With Elene Wood and others the movie has such a feel to it, you simply can't help but smile

They say the moral of this story is that dreams come true. Of course in the real world some are believers others are hoper's. In this film it's even more the magical when her rainbow comes smiling.

And of course the rest is...Cinderella", "label":1 }, { "text":"i found it highly intellectual and artistic in every way! i felt that the script was conveying all the things i feel physically and emotionally when i got home from work and watched, it. this is a tribute to cinema in the highest form and format.

holy guacamole! how i wish those days would come again. i tried putting a bubble window on the side of my car (honda civic 1984), but the vacuum formed muffin trays didn't quite cut it. also in my civic, sexual positions are limited and are not supported by water bed as is brilliantly depicted in 'the van'.

'the van' is of the utmost side splitting hilarity and can even substitute for porn if you watch some scenes privately.

i highly anticipate that Sam Grossman (the director) has achieved his opus.

Ratings john: ****1\/2 Sam: *****", "label":1 }, { "text":"Mr. Destiny - 3.5\/5 Stars

\"Mr. Destiny's\" theme is recycled from many films spanning many different years. Its theme ranges from recent spoofs on such plots (see \"Scrooged\"), to the same, more serious and dramatic notion that worked in \"It's a Wonderful Life,\" and a century earlier in the story of Scrooge as told by Charles Dickens in \"A Christmas Carol.\" \"It involves an ungrateful man being taken on a guided tour of his life, and witnessing how his life could have been (or would have been) first-hand.

In most of these types of movies the guardian angel rescues a man from ungratefulness and shows him his life in retrospect, or how it could have been. Should have been. Would have been. In this case we are shown a businessman named Larry (James Belushi). He hates his life. He lives with an unexciting wife (Linda Hamilton) and yearns for a bigger life with bigger meaning. If only he had hit the ball at the state championship in high school years ago. He is convinced his life would have been better. I guess he remembers this seemingly small moment of his life because it made a big impact on his subconscious side, but I doubt a grown man would yearn for one single act from high school. Still, it works in the movie.

Anyway, Larry is driving home from work one night, where he is a penpusher along with Jon Lovitz, when his car breaks down. He wanders into a bar looking for a pay phone, and reluctantly decides to tell the bartender (Michael Caine) about the way his life is turning out. This is where we first see him remembering his childhood baseball strike-out.

The bartender listens and nods, apparently not worrying about any other customers. This is probably due to the fact that the bar, though old and tattered, seems to have never been occupied by any living humans save these two men. In fact, Larry even makes a comment about never seeing the bar before. This is most likely for a certain reason that the audience is expecting before Larry.

So the bartender, who may as well be an angel of God incarnate, just like Clarence, fixes Larry a special drink of his, which ends up putting Larry's life on reverse, showing him what his life would have been like if he had hit the home run all those years before. But Larry has no idea of any change at first, just like Jimmy Stewart didn't realize that Clarence had erased his life until he went into the bar and got kicked out Larry continues to be oblivious to any change until he goes to his home to find the lawn different outside, and a large, wrestler-type man occupying his home.

Larry soon finds out his life would indeed have been very different had he hit the home run. Instead of marrying Linda Hamilton he married Rene Russo and moved into a large mansion with children. He finds out that Jon Lovitz is no longer his friend but an employee of his. And the most surprising fact of all is that with his new life, that Larry has always wanted...he finds himself lusting after his old wife, Linda Hamilton; proof that sometimes money and a great-looking yet shallow wife don't make up everything in a man's life, like an intelligent wife and love and true happiness. Just like \"It's a Wonderful Life\" showed the audience a man's life is what he makes it, and that every person has an impact on people, \"Mr. Destiny\" shows us that material wealth is not the same as spiritual wealth, a lesson taught us over and over again, but never quite so fluffy, forgettable and truly sweet as it is shown us in \"Mr. Destiny.\"

\"Mr. Destiny\" is never exceedingly hilarious, but it is a sweet, good-natured comedy that never takes itself too seriously. The problem with all the \"It's a Wonderful Life\" retreads out there, like \"The Family Man,\" is that they try to be as influential and memorable as \"It's a Wonderful Life\" was. But there are only so many times you can single-handedly rip off a famous film, and \"Mr. Destiny\" knows this, and plays right to the fact. It doesn't try to be anything it isn't; rather, it is something it didn't try to be, and this is obvious to the audience.

", "label":1 }, { "text":"10 ITEMS OR LESS is one of those 'under the radar' pictures that is drenched in the simplicity that most independent movies have: honest, ad hoc performances by its two leads -- Morgan Freeman and Paz Vega who establish quite a complementary if unlikely duo. The great thing is, this entire movie looks improbable despite its 'road movie' roots. How Morgan Freeman's unnamed character psychically (not physically)arrives to where he meets this jaded check-out girl who has an unhealthy relationship with her current supervisor (who also happens to be getting it on with her philandering husband played by Bobby Cannavale in a small role) is somehow left for us to witness more than deduce and their witty banter -- two people on opposite sides of the coin of society -- is deceptively simple. So, in a nutshell, while there aren't any bang! moments of Earth-shattering revelations, this movie is a quirky little mood piece that probably otherwise got lost in the shuffle of indies which came out in 2006 but deserves to be seen, if only for its honesty.", "label":1 }, { "text":"This an free adaptation of the novels of Clarence Mulford; fans of the Willaim Boyd films will probably feel a little at sea here (and the reviews here so far reflect that). But I knew of Hopalong from the novels first, and never cared much for the Boyd films once I got around to them.

Christopher Coppola has made a wise choice - he has not made a nostalgic \"Western\"; instead, he has approached the Cassidy story as a slice of what we used to call 'Americana'; or what older critics once called 'homespun'. As the film unraveled, I found myself more and more reminded of the great \"Hallmark Theater\" version of Mark Twain's \"Roughing It\", with James Garner narrating.

Both these films remind us that, although films about the 'old west' are probably always to be mythic for Americans, they need not be 'westerns'; they can very well be just films about what it meant to be American in that time, in that place.

I never feel pandered to, watching this film; there's no effort to shove the Boyd-Cassidy legacy down our throats, no irony, no camp. Consequently, I get a sense of these characters as having walked - or ridden horseback - across some real western America I too could have walked a hundred years ago.

Given that, the plainness of the film - it positively avoids anything we have come to call \"style\" - is all to its favor; and the plain acting of the performers fits neatly in with this; gosh, it really does feel like some story told around a campfire on a cattle drive - no visual dressing, just the quirks and good humor - and sudden violence - that we expect from the good narration of an adventure yarn. I was very pleasantly surprised by this film, and if the viewer sets aside encultured expectations, he or she will find considerable pleasure in it.

I would have given this film 9-stars, but I'll give it a ten just because most reviewers here have missed the point completely; and I urge them to set their memories of Boyd aside and give this film another chance.

Note 1: A reviewer complained that Hopalong shoots people dead in this film, rather than shooting the guns out of their hands (ala Boyd's Cassidy); first, Cassidy DOES shoot people dead in the novels; second, if Cassidy were a real cowboy he would have shot people dead - the problem with shooting guns out of people's hands is that they can always get another gun - which happens to be part of the subtext of this very film.

Note 2: I admit that I am jealous of the Coppola family, that they have the Director of \"The Godfather\" among them who can get them all opportunities to make movies that I can't; but a good movie is a good movie; and this is a good movie. If it's by somebody by the name \"Coppola\", well, that's just is as it is. America is the land of opportunity (or was, until Bush got into office) - that's what the great American novels are all about.", "label":1 }, { "text":"Michael Bowen plays an innocentish young man who hitchhikes a thousand miles to visit his absentee millionaire father (the creepy Ray Wise) at a sprawling, windmill-powered ranch and ends up tangled in the dangerous web of his young, scheming and seductive stepmother from hell (the yummy Clare Wren), thus causing trouble for the already dysfunctional family. An edgy, stylish and exciting drama that received no promotion and was sent straight to VHS and cable TV--where I first saw it. It is beautifully written, smartly acted, and tightly directed from a script that keeps you biting your nails. I cannot believe the reviewers who disliked it ever actually saw it. It is an undiscovered classic.", "label":1 }, { "text":"This movie started me on a Nick Cage kick. It is a story full of twists and turns- a movie of motives and moves. Of, course, Dennis Hopper was a ham, but J.T. Walsh and Laura Flyyn Boyle are the perfect pair to catch the unsuspecting man who has fallen into their web. Everything about this movie is good - cinematography, story pace and most of all the end. Cage excels at what he does best- it's not to be an action hero but to be an everyman caught in the snares of life.", "label":1 }, { "text":"Princess Tam Tam is without the trappings of racism, in the way we think of racism in the United States, but there are more subtle (to the American viewer) assertions about ethnic identity during the time. Pay attention to Alwina's (Baker) placement within shots, how she is addressed by the other characters, the settings around her that all depict her as a \"savage\" African, and ask yourself if Alwina has any shred of agency throughout the film. I don't want to ruin anything but at the end pay very careful attention, the dichotomy between \"Eastern\" and \"Western\" culture is to say the least offensive, such diction is thankfully disavowed these days. The French have a checkered past as an imperial force throughout the areas depicted (see Chris Marker's Les Statues Meurent Aussi- 1953), and pay attention to the places the European travelers visit while they are in Africa, and what does that reflect about their attitudes towards the \"other\". I give this film a 7 because I am a sucker for Baker, much of what she did in her professional career, like Princes Tam Tam, that is regressive is certainly overshadowed by her efforts towards integration, her work as a freaking spy (I am gushing, sorry.) However the film for me is captivating because of her performance, besides that it is a telling relic of bygone mentalities.", "label":1 }, { "text":"Stephane Rideau was already a star for his tour de force in \"Wild Reeds,\" and he is one of France's biggest indie stars. In this film, he plays Cedric, a local boy who meets vacationing Mathieu (newcomer Jamie Elkaim, in a stunning, nuanced, ethereal performance) at the beach. Mathieu has a complex relationship with his ill mother, demanding aunt and sister (with whom he has a competitive relationship). Soon, the two are falling in love.

The film's fractured narrative -- which is comprised of lengthy flash-backs, bits and pieces of the present, and real-time forward-movement into the future -- is a little daunting. Director Sebastien Lifshitz doesn't signal which time-period we are in, and the story line can be difficult to follow. But stick it out: The film's final 45 minutes are so engrossing that you won't be able to take your eyes off the screen. By turns heart-breaking and uplifting, this film ranks with \"Beautiful Thing\" as must-see cinema.", "label":1 }, { "text":"I watched the presentation of this on PBS in the U.S. when it originally aired in 1988 (?). Assuming the miniseries was available on DVD I purchased first editions of all three books last year. Since then I have been searching for the series on internet movie sites. Today I found this web site. I will give up the search.

I too would like to buy this complete - 26 episodes - miniseries. After buying the DVDs I would read each book, then watch the episodes for that book. That is what I did with John LeCarre's Karla trilogy and Larry McMurty's Texas ranger trilogy.

Does anyone have any suggestions for great books or book series that became very good TV miniseries - or movie series - that are now available on DVD?", "label":1 }, { "text":"Yakitate! Ja-pan (translated as Fresh Baked! Japanese Bread) is the story of a young man named Azuma Kazuma and his journey to make the perfect Japanese Bread or Ja-pan, for Japan, and for the Japanese, that will be recognized the the whole world.

Of course, that's just on the outside. In reality, Yakitate! Ja-pan isn't really about the bread, but the reaction that come after eating the bread, and the pun that comes with the reaction. The series is lovable because of these puns. From popular anime titles like Naruto, Detective Conan, and Dragon Ball to blockbuster movies like The Matrix and Lord of the Rings. It's all there.

So what makes this title different from other titles of the same genre like Cooking Master Boy or Mr. Ajikko? Well, unlike the others who use cooking for world domination, Yakitate! Ja-pan is purely comedy. Sure, there are times that the story turns to drama, or even murder, but the comedic atmosphere makes you laugh at them. You'll be laughing at their own view of heaven. Just watch it.

Just remember that this is also fiction, although some of the bread made here are based on real bread, eating the home made Japan #2 won't turn you to a Super Saiyan or turn your body to rubber.", "label":1 }, { "text":"I want to add to the praise for the production of this film, especially the luminous cinematography. Firelight glistening off of smooth and muscled skin creates stunningly beautiful imagery. The film was nominated for (and won) a single Oscar - the first given for editing. Mala's performance is moody, penetrating and powerful.", "label":1 }, { "text":"This is an excellent film dealing with a potentially exploitative subject with great sensitivity. Anne Reid, previously best known in the UK for her TV roles including 'Dinnerladies' (a Victoria Wood scripted series on in-company catering workers, if you're wondering), gives a performance of finely judged understatement as May, a late-60s bereaved mother of two chattering class adults in an inner-London borough. Her husband Toots (Peter Vaughan) dies on their visit to the male of the latter species (Bobby), and we see the pair being rather casually greeted by Bobby and his family. May's teacher daughter Paula (Cathryn Bradshaw) lives nearby, however, and the relationship between May and Paula initially appears closer. Thus when May decides she cannot live in her own home and comes back to London, she is able to stay in Paula's house and do some child-minding of Paula's more appreciative offspring.

It is on May's visits to Bobby's house that she embarks on an affair with Darren, a mid-30s friend of Bobby who is working on a house extension. In what may be the first mainstream British film to so portray it, it is May and not Darren (Daniel Craig*) who initiates the encounter, and, at least to begin with, it seems that the relationship is founded on mutual respect. There is no explicit sexual content (at least in the DVD I saw: differences in the IMDb cast list suggests the existence of other versions), and the physical basis of the affair is handled directly but not exploitatively. More strongly portrayed is the relationship between May and daughter Paula, a recent convert to 'therapy and self-exploration', who announces that mummy has never been supportive of her. Paula is also Darren's lover, and when she finds May's explicit but rather poor drawings of Darren and May together, things go downhill in dramatic but controlled fashion. Only in an English film, perhaps, could a daughter announce that she is going to hit her mother, politely ask her to stand up, and duly wallop her.

In the mean time, May is being drawn into a putative relationship with a decent but older (of her own generation) member of Paula's writing group. The contrast between the ensuing unwanted intercourse and her affair with Darren is clearly made; it is at that point that May starts to acquiesce to Paula, and Darren's worm begins to turn (he reveals on cocaine that he may have been after her money, if not all along, but for some of the ride). So May finds herself superfluous to both of her children's needs, and finally does return home (but later leaves on a jet plane for pastures new).

The film's strength is that it portrays with unflinching but sympathetic truth the nature of contemporary adult parent-sibling relationships, where bereavement may leave the surviving parent feeling more alone than if they had no-one to care for them. This is not new, but the openness of the portrayal of sexual need in the over-60s may well be. The darkness of the film's content, from a screenplay by Hanif Kureishi, stands in contrast to the way in which it is lit (it seems to be perpetual summer), and the overall mood is uplifting - it could so easily have been yet another piece set in a dour and rainy England. The ending is perhaps under-written, as we don't know where May is going or for how long - perhaps she's Shirley Valentine with a pension, she's certainly no Picasso. Anne Reid is, however, revealed as a fine actor whose professional life will surely have changed forever. Like Julie Andrews in Torn Curtain (said by Paul Newman), \"There goes your Mary Poppins {read Dinnerladies} image for good\".

* Yes, he: announced Oct 2005 as the new James Bond.", "label":1 }, { "text":"Forbidden Planet represents the kind of science fiction that is precious in cinema, especially from the 1950s. There was The Day the Earth Stood Still and War of the Worlds, but lest not forget this gem which took some of its story from Shakespeare's The Tempest to tell a tale of astronauts on a planet that has a doctor on it who has made a remarkable breakthrough. It's the kind of breakthrough that is not so much incredible to look at (though for 1956 it does look quite amazing to look at some of those sets and that gigantic machine the doctor creates), but with its emphasis on the characters and its themes of technology taken too far by the more primitive side of human nature even when we don't know we're channeling it.

On the surface- that is in the first ten minutes- it looks standard, if a little more professionally acted and directed with better skill than the B-movies of the period. A ship of astronauts are on a mission to the planet Altair-4 to bring back an expedition that went missing decades before. But the only one left is Dr. Morbis (Walter Pidgeon) and his daughter, who somehow were immune to an attack that left everyone else dead. Morbius appears to be a cordial and highly intelligent man, and his technology looks to be so impressive that the only thing the astronauts, led by the Skipper (Leslie Nielsen), can think to do is to report it back to their superiors on Earth.

But there's a catch - something is killing off members of the crew of the ship, one by one, every night, even when the others keep an eye out and then put up an invisible electric fence, which the invisible something goes through easily. Meanwhile, there's some romance possibly between the Skipper and Alraira, and there's a more pushy vibe from the doctor: you shouldn't have come to the planet to start, and now you need to go. What happens from this is even more fascinating, just on a purely intellectual level, but Forbidden Planet never forgets that its audience should also be entertained by this story while getting some useful ideas. While everyone may remember Robbie the Robot, and for good reason, perhaps the most unforgettable image for me is the monster realized on screen with the crew firing to no avail, animated with red electricity and looking so beastly that it looks out of Fantasia.

The acting from Pidgeon is subtle: you wouldn't expect him to be a villain, though something is there in the character and in the performance that speaks to this, and by the end it makes the character far more complex than one would expect. And the other performances are workmanlike but also excellent, from Nielsen as a born leader to Holliman providing some great comic relief as the Cook (who, I should add, helps with one of the funniest scenes in the film with those gallons of bourbon Robbie provides). And the effects for its time are extraordinary (sophisticated in a nostalgic pulp way for today too), and the music, done by electronics, is beautiful in its \"tones\". But ultimately it's the screenplay and careful direction from Hilcox that puts this a notch above the rest of the B-movie lot. When it's meant to be funny, it's intentionally so and it works. When it's dramatic it connects quite well even in its stiff moments with the actors. And when we are made to think about a horrible situation, it comes on gradually, with nuance, not shoved in our faces or injected with mega-action.

An inspiration for many other sci-fi films, and a fine marker of thoughtful science fiction stories and books from time-old, it's a classy and entertaining classic.", "label":1 }, { "text":"This is one of the most calming, relaxing, and beautifully made animation films I've ever seen. With beautiful music throughout the movie, the sounds and music can make you feel like you're in the movie! This movie is not just great for kids, but adults too. It teaches you lessons, such as never forget who you are, you can do whatever you stick your mind to, and to brave and daring. This movie can make you cry at times too, which is always a nice touch in movies. This movie is funny, sad, cute, and keeps you on the edge of your seat! Some movies really give you a fuzzy feeling after you see them, and the movie \"Spirit\" is definitely one of them! With my vote of 9\/10 stars for animation, music, and a wonderful idea for a movie, it gave me a whole lot of Spirit!", "label":1 }, { "text":"I think a lot of people just wrote this off as another one of Tom Cruise's weird movies (Magnolia, Eyes Wide Shut) but Vanilla Sky is definitely its own movie. Many people said it was weird; it wasn't. It was different and confusing but not weird. Weird is Stanley Kubrick or Pauly Shore. Different is The Truman Show. Confusing is The Matrix or The Game. And unlike Kubrick, this movie has a conclusion. Everything makes sense -- maybe not immediately, maybe not even today, but it will make sense. Vanilla Sky is confusing because David Aames (Tom Cruise) is confused. THAT'S the point. That's where the so-called \"weirdness\" that turned critics away came in. If they had bothered to \"open [their] eyes\" as the original 1997 Spanish movie, they would have seen that. And if that's not enough reason to see it, go see it for the music. Cameron Crowe offers a wonderful soundtrack; he uses it to set the \"feel\" -- that notorious element that many movies lack. With songs like The Beach Boys' \"Good Vibrations\" playing at the dramatic and emotional climax of the movie, he creates an offbeat, yet astoundingly \"right\" feel. A wonderful film, in its script, music, acting, and images, Vanilla Sky is sadly, a superficial bandwagon movie that critics chide in order to appear intelligent. Excellent: A+", "label":1 }, { "text":"\"Match Point\" and now \"Scoop\" have both convinced me that not only is Woody Allen doing a neat job making movies in England (and that Scarlett Johansson is the right cast member), but corroborated what I have known for years: he shouldn't focus on neurotic rich New Yorkers. In this case, Johansson plays journalism student Sondra Pransky, whom magician Sid Waterman (Allen) puts in his disappearing box, where she meets the ghost of murdered reporter Joe Strombel (Ian McShane), who tells her that the serial killings that have plagued London were committed by millionaire Peter Lyman (Hugh Jackman). So, she gets to know him, and...well, I don't know how much I can tell you without giving it away. But I can say that this is probably Allen's funniest movie in years. There's his ubiquitous unique style of humor (especially the line about his religion).

So, you're sure to like this movie. If nothing else, it'll make you fall in love with London. But mostly, it's just so damn hilarious. Even if you don't like Woody Allen, you gotta love this one.", "label":1 }, { "text":"Moonwalker is probably not the film to watch if you're not a Michael Jackson fan. I'm a big fan and enjoyed the majority of the film, the ending wasn't fantastic but the first 50 or so minutes were - if you're a fan.

I personally believe the first 50 minutes are re-watchable many times over. The dancing in each video is breathtaking, the music fantastic to listen to and the dialogue entertaining.

It includes many of his finest videos from Bad and snippets from his earlier videos. It also includes some live concert footage.

If you're a big fan of Michael Jackson this is a must, if you're not a fan\/don't like Michael Jackson, steer well clear.

9\/10", "label":1 }, { "text":"Madhur from CHANDNI BAR started making realistic films, which some people called dry

He made SATTA which was another realistic though filmy film but a great film

AAN men at work was a formula film by him which flopped

He returns with his superlative PAGE 3

A film which dwelves into the lives of journalists and it's a brilliant film

The film is well narrated though the half baked romantic portions of Konkana could be avoided but that is forgiven

The entire Upendra Limaye track is superb too

while the Atul Kulkarni track is great too

The dial between Manoj Joshi and his friends are funny at first but repetitive at times

The subplot of Bikram- Tara is brilliant and so is the entire hospital scene and also the final child abuse which shocks you

The film has a open ended ending which is nicely handled

Madhur does a great job Music is okay

Konkana excels as Madhavi, using her expressions to the best Tara Sharma is decent except her voice Sandhya Mridul is good as usual Upendra Limaye excels in his part as the cop, one of the talented actors Sadly he isn't used well nowdays Atul Kulkarni too is good in his small part Boman Irani is restrained and does a great job rest are okay", "label":1 }, { "text":"Having not seen the previous two in the trilogy of Bourne movies, I was a little reluctant to watch The Bourne Ultimatum.

However it was a very thrilling experience and I didn't have the problem of not understanding what was happening due to not seeing the first two films. Each part of the story was easy to understand and I fell in love with The Bourne Ultimatum before it had reached the interval! I don't think I have ever watched such an exquisitely made, and gripping film, especially an action film. Since I usually shy away from action and thriller type movies, this was such great news to me. Ultimatum is one of the most enthralling films, it grabs your attention from the first second till the last minute before the credits roll.

Matt Damon was simply fantastic as his role as Jason Bourne. I've heard a lot about his great performances in the Bourne 1+2, and now, this fabulous actor has one more to add to his list. I look forward to seeing more of his movies in the future.

The stunts were handled with style - each one was done brilliantly and I was just shocked by the impressiveness of this movie. Well done.", "label":1 }, { "text":"All I can say about the Necromaniac\/Schizophreniac 2 series is... if you are even remotely \"PC\" or don't have a seriously messed up sense of humor, then you probably wont get it. As sick and disgusting as this movie is, it really is a comedy and not a \"horror\" movie at all. If you can appreciate somebody who pushes the bounds of good taste and political correctness to the most extreme limits imaginable, to the point where is becomes so out of hand that it's comical, then you must see this to believe it. This movie is so out of control that a major film studio couldn't touch this with a 10 foot pole (with a condom on the end). In my opinion though, the best, most extreme pieces of art come from way underground. If you don't stick to the same old formula that people are used to seeing, then they reject it.

I have seen stacks of terrible, boring, z-grade, Indy movies that were just a waste of a perfectly good VHS tape or DVD-R. I have also seen stacks of stink bombs coming from the big named studios that were a complete waste of millions of dollars. When a NO BUDGET film like these two from Ron Atkins\/John Giancaspro come out and blow all of the other \"shock\" films completely out of the water, you really have to take a second look at the whole Indy movie scene. After seeing this, you can really see how much freedom an Indy film maker can have when they work on their own.

The funny thing is, even the other people who saw this movie and \"hated it\" admit to the fact that they laughed all the way through it. I don't think that is is possible for anybody to get bored watching either of these two. So if don't take everything that you seen in the mainstream media too seriously, and are able to laugh at a misanthropic, puppet wielding psychopath who has finally snapped, YOU HAVE TO SEE THIS. You may just be able to see it for the stand alone, cult classic that it is. Both Schizophreniac \/ Schizophreniac 2 are among the favorites in my collection of well over 1000 dvds.", "label":1 }, { "text":"I had no expectations; I'd never heard of Jamie Foxx; all I knew was that the film has some strong character actors in it. I thought it was highly entertaining; it was fun. The plot was different and unpredictable enough to hold my interest. To me, Foxx is an original. David Morse is terrific (true, this is not his finest role). I thought the chases and pyrotechnics contributed to the film and were well done. I didn't expect a lot and I was happily surprised.", "label":1 }, { "text":"A classic series that should be at least repeated or released on DVD.Billy Toth,after realising he is adopted after the death of his parents,embarks on a journey to find his real parents.After various rites of passage,his search culminates in the discovery that his fathers identity was stolen and used by a human trafficker in Europe!If i remember correctly,the series ends on the Austrian(?] ski slopes and a cliff top chase resulting in the death of Billys fathers betrayer. This series was all filmed on location in various destinations round Europe and appeared polished and incredibly well made with some episodes crossing into the realms of film noir and crime thriller.The main arc was often eclipsed by the slices of life that Billy went through during his years of toiling to find his mother and fathers secrets.A class act but underrated and forgotten.", "label":1 }, { "text":"I am not a very good writer, so I'll keep this short. World at War is the best WWII documentary that I've seen. I've seen different WWII documentaries (not only English\/North American) and this documentary seems to be the most complete WWII documentary that I've seen. I think it could talk a bit more about the Great Depression and why\/how Hitler got to power, but it does a very good job at covering the war. It seems to be complete and objective\/fair to everyone. It does not exaggerate or diminish roles of different nations. It has a lot of original footage, including color footage and many eye witnesses (it was made in 70's when a lot more were alive). It has great music and narrator. All-in-All I gave this one 10\/10, because it's that good. (I haven't seen specials in DVD version so I cannot comment on those)", "label":1 }, { "text":"\"What would you do?\" is a question that will stick in your mind for weeks after watching the emotional Brokedown Palace. You will also be left wondering if Alice (Danes) was telling the truth or not - a issue that is left unresolved, and rightly so. This is a particularly well acted and beautifully shot film. Although it is slow at times, its pace is reflective of the story line - but a lot of the film will have you on the edge of your seat; wanting to know what happens next. The ending will also leave you imagining yourself in the shoes of the lead characters, which are brilliantly played by Kate Beckinsale and Claire Danes. Bill Pullman's performance is commendable, too.", "label":1 }, { "text":"This movie is a little ray of sunshine in a dark season. It celebrates a quality best described as plain old friendliness. Morgan Freeman plays a character very like Freeman himself--a successful actor pushing 70. He has traveled to a small, rather grimy grocery store intending to research a part he might play, as a manager of such a place. He soon beguiles the staff and the customers, especially the lovely, if cranky, young woman (Paz Vega) who presides over the \"10 items or less\" checkout lane.

10 Items Or Less doesn't have a big statement to make and doesn't pretend that it does. It follows Freeman and Vega as they become friendly, and as the older man offers his counsel, in exchange for a ride home--the movie-company gofer who is supposed to pick him up never shows and Freeman has forgotten his own phone number so he can't call for help. I had a little case of the blues on a gray Sunday afternoon in New York City and this flick cured what ailed me.", "label":1 }, { "text":"Ingrid Bergman is a temporarily impoverished Polish countess in 1900s Paris who finds herself pursued by France's most popular general and a glamorous count -- and that's on top of being engaged to a shoe magnate. Such is the failproof premise that entrains one of the most delirious plots in movie history. There are backroom political machinations by the general's handlers, a downed balloonist and ecstatic Bastille Day throngs, but the heart of this gorgeously photographed film is the frantic upstairs\/downstairs intrigues involving randy servants and only slightly more restrained aristocrats. Yes, it's Rules of the Game redux. Before it's all over even Gaston Modot, the jealous gamekeeper in Rules, puts in an appearance -- as a gypsy capo, no less! Things happen a little too thick and fast toward the end, resulting in some confusion for this non-French speaker, but what the heck -- Elena and Her Men is another deeply humane Renoir masterpiece.", "label":1 }, { "text":"I would imagine that if Steve McQueen knew he would go on to become an icon and start \"Wanted: Dead of Alive\" the same year this film came out, or be in The Magnificent Seven two years later, he would not have done it. But he did, and we are the richer for it.

Sure it's a camp classic. Horror the way it was meant to be for the drive-in theater. It's fun and nostalgic.

It is interesting that the last lines of the film were:

Lieutenant Dave: At least we've got it stopped. Steve Andrews: Yeah, as long as the Arctic stays cold.

They never would have imagined 52 years ago that the Arctic would be thawing. The Blob will soon return.", "label":1 }, { "text":"An original uncensored print of this amazing film was discovered in 2004 in the Library of Congress, and has been shown in a few specialized theaters around the world in 2005. According to current reviews that I've found online, the original has all of the nastiest dialog and innuendos intact; they were later either removed or completely re-shot by the studio prior to initial release, in order to pass the New York state censors. I have also read that a DVD is \"expected in 2006\" and one can only hope! If we're really luckily, it will include comparisons between the 2 versions. Note that the released censored version was originally available on Laserdisc, which I have seen. Stanwyck rules!", "label":1 }, { "text":"A chance encounter between a salesman and a hit-man changes both their lives. This is an odd film that works, an impressive effort for writer-director Shepard. In a daringly unglamorous role that is a far cry from James Bond, Brosnan is surprisingly effective as the lonely hit-man who starts to buckle under the stress of his job, but is unable to connect emotionally with anyone to help him cope. Kinnear is equally good as the salesman, a decent fellow with a void in his life. Davis is fine as Kinnear's flirtatious wife. Mainly a character study, the film is rewarding because it feels fresh and unpredictable, an extremely dark comedy.", "label":1 }, { "text":"Very possibly one of the funniest movies in the world. Oscar material. Trey Parker and Matt Stone are hilarious and before you see this I suggest you see \"South Park\" one of the funniest cartoons created. Buy it, you will laugh every time you see it. Pure stroke of genius. If you don't think its funny then you have no soul or sense of humor. 10 out of 10.", "label":1 }, { "text":"I watched the un-aired episodes online and I was so sad that the show won't be back. It had the best cast of mature, talented actors and an amazing chemistry. It seemed like all the actors are personal friends in real life. Towards the end the show became engaging, sexy and highly watchable. Of course, some of the story lines are not realistic, so what... The characters are all likable and you root for them. The show reminded me a cross between 2 other favorites: \"Sex and the City\" and \"Felicity\". Big kudos to all the cast. Note to ABC execs: Nielsen ratings reports do not show you true results. The show audience will mostly record it. I've been very disappointed with major networks for flooding us with reality-TV or teenage oriented shows. Why to get a mature, thoughtful, well-acted material we have to switch to HBO or FX? I can only thank the network for putting the rest of the episodes online. The new stream media will gain more and more popularity among viewers.", "label":1 }, { "text":"\"Fido\" is to be commended for taking a tired genre, zombies, and turning it into a most original film experience. The early 50s atmosphere is stunning, the acting terrific, and the entire production shows a lot of careful planning. Suddenly the viewer is immersed in a world of beautiful classic cars, \"Eisenhower era\" dress, art deco furniture, and zombie servants. It would be very easy to dismiss \"Fido\" as cartoon-like fluff, similar to \"Tank Girl\", but the two movies are vastly different. \"Fido has structure, a script that tells a story, and acting that is superior. Make no mistake, this is a daring black comedy that succeeds where so many others have failed. Highly recommended. - MERK", "label":1 }, { "text":"Even 15 years after the end of the Vietnam war \"Jacknife\" came not too late or was even superfluous. It's one of the few that try to deal with the second sad side of the war: The time after. Different from movies like \"Taxi driver\" or \"Rambo\" which use to present their main characters as broken heroes in a bad after war environment this movie allows the audience to face a different view on the Vietnam vets. Their development is shown very precisely before and especially after the war. The problems are obvious but in all this tragic there is always the feeling of some hope on the basis of love and friendship. \"Jacknife\" might be the quietest Vietnam movie ever but after almost 15 years this is really plausible and therefor justified. Moreover, it can make us believe that the war has not finished, yet; at least for some of us.

The three main characters are amazing. De Niro has done one of his best jobs but Ed Harris is the star of this movie. Possibly,this was his best performance ever.", "label":1 }, { "text":"Deanna Durbin, then 14 and just under contract to MGM, made a short feature in 1936 which paired her with Judy Garland, a year younger, in the first film for both of them. Louis B. Mayer then decided he didn't need two competing young singers, placed his bet on Garland and let Durbin go. Universal immediately signed Durbin, rushed her into Three Smart Girls and rewrote the screenplay to pump up her part. She's billed last, but with the typographic equivalent of neon lights around her name. Universal was convinced Durbin would be a smash, and they were right. Three Smart Girls is less a musical and more a screwball comedy, and Durbin, 15 when the movie was released, carries it with aplomb. She's Penny Craig, and she and her older sisters, Joan and Kay, are determined to save their father, who had divorced their mother, from the clutches of an elegant gold digger with a fierce mother. They talk their way from Switzerland, where they live, to New York City, where their father lives. They plan not just to break up their father's wedding but to reunite their father with their mother, who after ten years apart still loves the guy. Is there any doubt that Durbin will sing a song or two in her warm, luscious soprano? Nope. Is there any doubt the girls will succeed...with Kay and Joan finding love and matrimonial material along the way? Nope, again. Years later Durbin was quoted as saying that she couldn't keep playing little Miss Fixit forever. She was right, of course, but in Three Smart Girls, her first feature movie, she has little Miss Fixit down pat. Durbin is funny, determined, resourceful, energetic and, of all things, natural. Her personality is so genuine that it makes this comedy -- a mix of farce, confusion, good intentions and cheerful avarice -- downright endearing.

Durbin carries the movie with ease. It's a lot of fun watching her hold her own against the likes of Binnie Barnes as Donna Lyon, the woman with her hooks in Penny's rich father, played by Charles Winninger, who was no slouch at stealing scenes, either. Alice Brady, who played the dithering matron in My Man Godfrey, plays Donna Lyons' mother, who is even more of a gold digger than her daughter. The last of the accomplished farceurs is Ray Milland as Lord Michael Stuart, who through a contrived and amusing mix-up is mistaken for Mischa Auer.

Three Smart Girls holds up well as a light-weight and amusing comedy of manners and mix- ups. So does Deanna Durbin as a brand-new star, who with her huge success saved Universal's bacon.", "label":1 }, { "text":"Whenever I see most reviews it's called 'a misfire for Eddie Murphy'. These critics want to take a look at some of the stuff he's doing these days, and maybe soften their stance in retrospect... \"The Golden Child\" is not highbrow entertainment, but thanks to some of the cast it breaths new life into old clich\u00e9s, and gives Murphy one of his best roles. I don't understand the pervading lack of 'love' for its efforts, at all. Perhaps it was released at a time when the establishment had grown weary of knockabout, thrill-a-minute adventures? Steven Spielberg started it with Indiana Jones; it's unfair to make this one a scapegoat when what is possibly its biggest sin is also utterly harmless. There's nothing necessarily wrong with trying to capitalise on trends.

Yes it's silly, but even an occasional observer should be able to understand that 'ridiculous' is where Hollywood's idea of mysticism begins and ends. What's more important than believability with a story like this is that the audience have entertaining tour guides on hand to show them the mysterious sights. Michael Ritchie and Eddie Murphy fit the bill for this capacity just fine. My advice to you is to buy the ticket and take the ride.", "label":1 }, { "text":"I will never forget this film or the events that lead up to Jonestown in Guyana. It just seems so tragic but needs to be told. Powers Boothe give a commanding performance as the leader Rev. Jim Jones from obscurity until total madness. It would have won him an Academy Award easily if it was released in the movie theaters. It is the kind of mini-series you won't forget. You won't forget the images of the cult's brutality, control, and obsessiveness of it's leader. His rise and fall and the threat from the outside world to destroy what he considered to be paradise. The mass suicide is horrifying, almost unreal to anybody's imagination as to why so many people (900+) went willingly or resisted JOnes' orders. They don't make mini series like these anymore where we're left with out mouths open and hungry to know what happened to the others.", "label":1 }, { "text":"Engaging, riveting tale of captured US army turncoat who has to prove his innocence to avoid the hangman. Paul Ryker dodges friendly fire in a seemingly doomed attempt to convince a military court that he was actually a US spy on a secret mission in Korea.

In the vein of classic courtroom dramas, \"Sergeant Ryker\" is an extremely well crafted mystery, ably guided by an outstanding cast, director Kulik's constant momentum, and effective plot twists and turns.

This film was originally made as a television movie in 1964, and subsequently beefed up for this revision with the presence of many \"name\" actors, and some action sequences. Dillman, reprising his role, is spot-on as the doubting defence attorney, whose attentions sometimes stray to the personal plight of Ryker's supportive, yet somewhat distant wife, played with aplomb by Vera Miles. Rounding out the frontline is Peter Graves for the prosecution, and Norman Fell and Murray Hamilton in key supporting roles.

Marvin's interpretation of the Paul Ryker character is a balanced depiction of a simple but dedicated man whose normally laid back demeanour is challenged by the desperate circumstances in which he's placed. Marvin switches perfectly from resigned indifference, to passionate determination, giving a convincing, often intense performance that is the highlight of this otherwise small-scale drama. It's this performance that should elevate the film to a platform where it occupies a place on the best-ever lists of courtroom dramas.

However, despite its apparent obscurity, \"Sergeant Ryker\" still remains a taut and compelling examination, like a book that you just can't put down. Highly recommended.", "label":1 }, { "text":"Johnny and June Carter Cash financed this film which is a traditional rendering of the Gospel stories. The music is great, you get a real feel of what the world of Jesus looked like (I've been there too), and June gets into the part of Mary Magdalene with a passion. Cash's narration is good too.

But....

1. The actor who played Jesus was miscast. 2. There is no edge to the story like Cash puts in some of his faith based music. 3. Because it is uncompelling, I doubt we'll see this ever widely distributed again.

I'd love to buy the CD.

Tom Paine Texas, USA", "label":1 }, { "text":"This is a very beautiful and almost meditative film-there is hardly any dialogue in it, apart from the narration; and the scenery and music compliment each other perfectly. I didn't at first connect the red hair of the girl and the fox until it was pointed out to me by a friend (who also has red hair!) It is almost an old fashioned type of children's films, saying that children nowadays prefer animations like Shrek or Toy Story etc-but I feel that young people should be introduced more to the beauty and wonder of nature which this film certainly does. Maybe not the best ever film of its type but certainly an excellent and relaxing view for all ages -not just children.", "label":1 }, { "text":"\"What is love? What is this longing in our hearts for togetherness? Is it not the sweetest flower? Does not this flower of love have the fragrant aroma of fine, fine diamonds? Does not the wind love the dirt? Is not love not unlike the unlikely not it is unlikened to? Are you with someone tonight? Do not question your love. Take your lover by the hand. Release the power within yourself. Your heard me, release the power. Tame the wild cosmos with a whisper. Conquer heaven with one intimate caress. That's right don't be shy. Whip out everything you got and do it in the butt. By Leon Phelps\" When Tim Meadows created his quintessential SNL playboy, Leon Phelps, I cringed. Hearing his smarmy lisp and salacious comments made my remote tremble with outrage. I employed the click feature more than once, dear readers.

So When the film version of \"The Ladies Man\" came on cable, I mumbled a few comments of my own and clicked yet again. But there comes the day, gray and forlorn, when \"nothing is on\" any of the 100+ channels...sigh. Yes \u0096 I was faced with every cable subscribers torment \u0096 watch it or turn my TV off! There he was, Leon Phelps, smirking and ...making me laugh! What had happened? Had I succumbed to Hollywood's 'dumb-down' sit-com humor? Was I that desperate to avoid abdicating my sacred throne? The truth of the matter is I like \"The Ladies Man\" more than I should. A story about a vulgar playboy sipping cognac while leering at every female form goes against my feminist sensibilities.

What began as a crude SNL skit blossomed before my eyes into a tale about Leon and his playboy philosophy, going through life \"helping people\" solve their sexual conflicts. \"I am the Mother Teresa of Boning\", he solemnly informs Julie (Karyn Parsons), his friend and long-suffering producer of his radio show, \"The Ladies Man\". And he's not kidding. Leaving a string of broken hearts and angry spirits, Leon manages to bed and breakfast just about all of Chicago. That he does so with such genuine good-will is his calling-card through life.

Our self-proclaimed, \"Expert in the Ways of Love\", manages to get himself into a lot of trouble with husbands and boyfriends. One such maligned spouse, Lance (Will Ferrell), forms a \"Victims of the Smiling Ass, USA\" club, vowing to catch our lovable Don Juan. \"Oh yes, we will have our revenge\", he croons to his cohorts, in a show-stopping dance number.

Plus it's such a total delight to see Billy Dee Williams as Lester, the tavern owner and smooth narrator of Leon's odyssey to find his \"sweet thing\" and a pile of cash. (Where has he been hiding?) But would I choose this movie as my Valentine's Day choice? Leon's search for the easy life changes him in so many profound ways - that I had to give the nod to our \"Ladies Man\". That he can, at the movie's close, find true happiness with one woman, while still offering his outlandish advice, is the stuff of dreams!", "label":1 }, { "text":"Ghost Story,(The New House) is a terrific horror story. This is from the Circle Of Fear and the Ghost Story series of the early seventies.The beginning and ending of each story is narrated by Sebastian Cabot. Remember him from the early family series, Family Affair in the 1960s? This particular story has Barbara Parkins and David Birney as the lead actors, and as the main characters in the story.I saw this recently,and I was so scared!If you are alone,I would not recommend that you watch this.This story is terrific,no gore or curse words, but very scary. Barbara Parkins played the young bride. David Birney played her husband.Both actors were very good in their parts.If you like scary, fun,terrifying ghost stories, then you will like this little gem. I gave this a high rating.I highly recommend this story.", "label":1 }, { "text":"I managed to see this at the New York International Film Festival in November 2005 with my boyfriend. We were both quite impressed with the complexity of the plot and found it to be emotionally moving. It was very well directed with strong imagery. The visual effects were amazing - especially for a short. It had an original fantasy approach to a very real and serious topic: This film is about a young girl who is visited by a demon offering to help her situation with her abusive father. There is also a surprise twist at the end which caught me off guard. This leans towards the Gothic feel. I would love to see this as a full feature film. -- Carrie", "label":1 }, { "text":"I accidently felt on this movie on TV, and I wasn't able to leave it.... It's really an excellent movie which makes people learning about american's history with the Vietnam war, the flower power's time, the racism's fight.... It illustrates the conflict of generation, of political opinion, of race which took place in the 60's....I'm born in 1980 so I didn't know all that stuff before...In france, USA's history is not a priority and that movie really learned me a lot of facts ! By the way, I think all the actors are great; especially Jordana Brewster, Josh Hamilton and Jerry O'Connell. Now I can see this film more then 1 time each day !! It's really great.... what a shame it only appeared on TV not in cinemas...

", "label":1 }, { "text":"I caught this movie on my local movie channel, and i rather enjoyed watching the film. It has all the elements of a good teen film, and more - this film, aside from dealing with boys-girls relationships and sex and the like, also deals with the issue of steroid use by young people.

The film has that real-life feel to it - no loud music, no special effects and no outrageous scenes - which, for this movie, was right. That feel makes it easy to relate to the characters in the film - some of which we probably know from where we live.

Overall, a good movie, fun to watch.

8\/10", "label":1 }, { "text":"I am so glad that i got a chance to see this rare little gem of a movie. I saw it at an independent film festival, so don't expect it to come to your town anytime soon. During the film, i noticed about 10 people get up and walk out. Too bad for them (down here in the south, folks don't like having to read subtitles). The movie starts out slow, but is so rich in dialogue that i never felt bored. When the action finally arrives, i found myself glued to the screen as if i were riding a roller coaster.

I also got a big kick of the Chapter Titles appearing before the chapters, especially the ones that introduce the characters as they appear on screen. It reminded me of Zelda (Ocarina of Time) when you face level bosses.

If this is the future of \"video game\/comic book\" movies, then i welcome it.", "label":1 }, { "text":"I only know of one other movie that could possibly compete with Opening Night and that's Bergman';s Persona. Both movies are simply amazing, they have a richness of ideas hard to grasp at first sight. We have a profound meditation on the relation of art and life as one actress, Myrtle Gordon (Gena Rowlands), finds herself more in touch with the character she is playing on stage than she would want to. The accidental death of one of her fans, a young girl that declares her love for Myrtle and she is then hit by a car, leaves a deep mark in the actress. She starts asking herself question related to her aging that starts to affect her until the only solution becomes alcohol. But that doesn't help to much and Myrtle is one step away from complete madness. The scene where she kill the imaginary (or not) spirit of the dead girl is one of the most thrilling scenes I found in a Cassavets film. The movie ends with a display of genius on behalf of the director as he films a theater scene where he himself and Gena Rowlands improvise a scene, since Myrtle comes too drunk to the opening night to perform her part accurately. This scene was filmed spontaneously, with a live audience, the laughter is genuine, the chemistry between Casavates and Rowlands absolutely amazing. If you liked Persona or are interested in a movie that offers substantial ideas alongside great entertainment this movie will suit you just fine.", "label":1 }, { "text":"Having seen the Peter O'Toole version recently, I was ready to be awed by the smart writing in this version. Little time is spent on the fighting, which I prefer. Instead, we are shown all the many motives underlying both the French and English (who held Normandy) politicos and priests who put her to death. Even the worst hypocrite of them all, the archbishop, leaves us with the thought that \"Of course, she was innocent. The innocent have always had to suffer for the ambitions of the mighty. She had no idea what she was saying, no idea of the implications of blasphemy or going against the church. Unschooled, she had no idea of what the church's stand on such matters even was.\"

Preminger was true to the myths surrounding her death, and I appreciated the preview on the tape that showed the flames reaching up and burning her. Why? They used gas jets in the movie, and 2 of them were stopped up. Suddenly, the air pressure blew out the stoppage and the flames leaped up right on her. Thankfully for her, they didn't have to repeat the shot as it was SO realistic: she WAS being burned!! Pretty traumatic introduction for an Iowa girl to her new career of acting.

John Gielgud performed outstandingly. He is the English politico who is orchestrating the show. He also makes the point that once you condemn someone to death, you don't want to be around to watch them die. You might shrink from your 'duty' the next time...not that such delicacies bother the soul of our would-be president. We Christians, even the most anti-Semitic have no problem with falling back on the Old Testament when it comes to capital punishment, even though it was overridden by Jesus' words. Bring on public executions like this little girl's. Smelling burnt flesh might bring us respectable folks to our souls' senses.

The only little 'pick' I have about this film is that we are not shown why the priest who has been so adamantly urging her burning becomes so suddenly so contrite, even to the point of madness. There should have been more expansion of his character, more dialogue--as the sudden 'coming to his senses' doesn't make sense.

And, whether Graham Greene does this deliberately or not, St. Joan is such a self-assured little upstart, you almost but not quite, are glad she meets her come-uppance. And, when she turned down life in prison, for some reason I thought of Anne Sexton, the poet who accused Sylvia Plath of 'stealing her death' when she committed suicide ...knowing such an action guarantees immortality. You gotta wonder!!

If ever there was a good example of obsessive thought and logic-tight compartments, this is one. St. Joan should have turned Buddhist and quieted the 'voices in her mind'.", "label":1 }, { "text":"Definitely spoilers in this review! I **adore** American Gothic and have done since I first saw it late at night when it first aired on Ch4 in the UK when I was 14. The comparisons made to Stephen King are just about right. It's small town supernatural eeriness but with fantastic layered characters. Best of all, and the reason I love it so much, is it had the guts to never be black and white! Lucas Buck though lacking any conscience often works by, as he says, giving people enough rope to hang themselves with. His manipulation only works because of other people's weak morals. Caleb though generally a thoughtful, kind, insightful boy can at times show the latent dark side inherited from his father. None of the characters are wholly good or bad with even the angelic Merlyn showing a wrathful side through reckless vengeance in The Plague Sower. Not only that but having Gail, the closest thing to a mother figure for Caleb, not only sleep with but fall in love with Lucas despite all she knows made me realise this show would just go there and not apologise for it. I'm a huge Buffy fan, but when that show tried to go really 'dark' in later seasons it failed miserably because it lost it's humorous side and didn't commit fully to its ideas. AG shows that you can have a morally bankrupt character right at the heart of the show, and still have a hell of laugh doing it.

I can't even think about why it was cancelled as I'll just get too angry at the ridiculousness of it all. So much rubbish on TV and good, original shows get kicked around and stamped on. Thanks to the emergence of DVD at least I can see the show in it's entirety! Yes some of the visuals look dated now, but the creepy strange atmosphere is provided well enough by the story lines. The actors also all give such perfect performances that it more than makes up for some odd camera work.

The only reason why I think someone may not like this show is that it isn't like the X-files where there are cases to 'solve' or Lost where there's huge unanswered questions. It's pretty obvious from the get go that Lucas Buck has some kind of evil powers, and that the show is all about fighting for Caleb's soul. So this show might frustrate people looking for a purpose or an unknown 'truth' to find. Yes there are some mysterious unanswered aspects, with some such as the truth about Gails parents getting resolved, but unlike Lost and X-files this show isn't about trying to find out more 'facts' about what's going on IMO. It's all about the characters and the way they have to confront moral choices in the twisted world of Trinity. Personally I would just get such a kick out of seeing Lucas turn every situation to his advantage.

All in all the main thing I have to say is CHECK IT OUT. I'm pretty certain most fantasy\/horror fans will LOVE it. Also even though it got cancelled all characters have arcs and there is enough in the finale to give some small sense of closure. The only hanging thread I felt was Dr Matt. Having him not be in the final episodes is strange.

I would have done anything for a second season, but at least the full 22 episodes exist and perhaps given how brainless some TV execs appear to be I should be glad this wonderful show got made at all!!!", "label":1 }, { "text":"I never bothered to see this movie in theaters although I remember hearing the name over and over. I finally watched it this week and what a delight. For some reason, I was expecting it to not be very good so I was completely surprised when I sat down and stuck with it and then found myself completely pulled in. I read a lot of the other user comments and it impressed me how much people talk about her fighting in the ring, but what was wonderful about Diana is that she's a true fighter in life. All she needs to do is find her place where she be who she is and the ring helps her to get there. A very intelligent story and I'm amazed that this is the first time up for Michelle Rodriguez - what an excellent job she did. Adrian and her coach were also quite good.

This film is a little rough around the edges, but it doesn't matter in the slightest. The story, the will, and the performances completely outweigh any flaws (that usually come with indie filmmaking anyway). A compelling portrayal of a girl finding herself and triumphing over her circumstances and a K.O. for Michelle Rodriguez!", "label":1 }, { "text":"I found this film to funny from the start. John Waters use of characters reminded of some of the down to earth characters from Fellini films. Christina Ricci has once again expanded her abilities in this film. If you are looking for a fun movie without preaching, I recommend this film.", "label":1 }, { "text":"The movie was much better than the other reviewer stated. It's a nice family movie. It has a fun fantasy aspect of some time travel. The story revolves around a 14 year old girl who accidentally finds a way to travel back in time in the old elevator of her apartment building. Of course, no one believes her when she tries to explain her disappearances. She finds and makes friends with a girl about her age and is able to help the girl's family in many ways. She is also able to help her own relationship with her father in the long run. It reminds me of a Hallmark movie so give it a chance and decide for yourself. It seemed to be aimed more towards children about 6-12 years (maybe a bit older) and it's pretty much PG or G rated. I'm an adult who can appreciate a nice \"family\" movie - I guess the other reviewer isn't.", "label":1 }, { "text":"Typically, \"kids\" films have some annoying quality to it that makes it way too sappy and unbearable for someone over 13. But then again, that's before Holes hit the scene. Sure, it has the very same moments that often times give a kids movie its aforementioned quality, but this film does a good job of staying away from such conventions. The acting was decent, and the uneasy dynamics that Stanley had with some of the other campers was more realistic than what most movies seek to portray. What I especially liked about this movie was the fact that this film didn't try to break your heart or make you cry. The emotional power was a little more natural than most would imagine, kind of like The Shawshank Redemption in many ways (which Holes also has a similar, redemptive ending to it). The only down side? The hokey looking lizards. Overall, however, an 8\/10.", "label":1 }, { "text":"I came to watch Guerrilla, part two of Steven Soderbergh's biopic of Che Guevara, without having seen the preceding film and without more than a cursory knowledge of Che's life. At the same time I was rather apprehensive that this would be both a heavy-going history lesson and an unrepentant love-letter to the iconic revolutionary. As it turns out, this film far exceeded my expectations.

Guerrilla works remarkably well as a standalone film. The story of Che's failed attempt to lead a revolution in Bolivia, then under military rule, is a compelling tragedy. The initial impetus brought by Che's arrival incognito to lead the guerrilla war is lost as misfortune follows misfortune. The odds stack up against the revolutionaries. US backing for the Bolivian army, hostile conditions in the rainforest, suspicious locals and Che's failing health are just some of the difficulties which beset the nascent rebellion.

Soderbergh's portrayal of Che is largely uncritical, but this film is no hagiography. The style is refreshingly undramatic, with a subtle and effective soundtrack by Alberto Iglesias adding quiet drama to many scenes. Che is undoubtedly the centre of the film but there are very few close-ups of his face and we are encouraged to see the people fighting alongside him and sometimes against him too. Where Soderbergh wishes to demonstrate Che's virtues we see it in small episodes such as the loyal acolyte who upbraids two fellow guerrillas when they question Che's leadership, and emphasises the sacrifice that he has made in leaving behind Cuba to fight again for revolution.

The direction throughout is superb. Part two feels tightly edited despite its narrow focus and is able to communicate a great deal through images without the need for a narrator to spell things out for the audience. At the start of the film we see a few short clips of lavish parties in post-revolutionary Cuba, immediately furnishing us with ideas as to why Che would sacrifice his old life to fight again in another country. Later on, the portrayal of guerrillas marching through the unending rainforests stands out as a strikingly beautiful scene and helps to create a feeling of the enormity of the task before this tiny band of revolutionaries.

If there is a problem with the film it is the distance between the viewer and Che, which, though it does allow us to appreciate the context of the insurgency and the people around him, makes it hard for us to understand him better as a person. True, Benicio Del Toro is utterly convincing in the lead role \u0096 so much so that it is difficult to remember that you are watching an actor and not the man himself. However, watching Guerrilla as a standalone film means that we are given precious little insight into what is shaping Che's thoughts, words and actions. It is to be hoped that this is more to the fore in the first part of Soderbergh's biopic (I cannot comment on that yet), and certainly the strength of part two is making me look forward eagerly to seeing the prequel.", "label":1 }, { "text":"In \"Die Nibelungen: Siegfried\", Siegfried was betrayed. Now, Kriemhild seeks revenge. She marries Hagen, and through a series of events, finally engages in a very drastic (but fitting) action at the end.

One of the things about watching this movie nowadays is that we can look at certain portrayals. Attila the Hun (called Etzel in the movie) is shown as the strange person from the east, possibly an allusion to the Soviet Union. Obviously, it was not Fritz Lang's fault that Hitler used \"The Nibelungenlied\" for German national pride in the Third Reich, but one can see what the Fuhrer liked about the story. Nonetheless, this is an absolutely formidable movie.", "label":1 }, { "text":"Short, but long enough, Cat Soup is a very wild trip to watch. One day, I was just searching though my On-demand list through the anime section and came across it, and decided to watch it. I spent the whole time basically sitting with my jaw agape. The whole time I was either vacant of thought, or had a fleeting one which screamed \"TURN IT OFF!!!\". But I didn't. And actually, I'm glad I did.

The animation is stunning. Very artistic, odd and dark. I personally loved it for the amazing animation, but the seemingly vacant story behind it is equally compelling for myself.

A young boy--well, cat--goes in search of his sister's soul. In the first part she's lying sick in bed, and is soon paid by a visit from a sort of grim reaper. Her soul is split in half. One is regained by the cat boy while the other half is lost.

Then the rest of the film is slightly lost to me, honestly. I expect they go back, and their world is... perhaps slowly falling apart? Maybe her absence of soul is the answer behind this, for the rest of the film contains various stages of which the world's in. First there's a giant flood, and next it dries up into a bleak desert, and then everything freezes (thanks to either what is God or fate, as you will see). Then I believe they find the sister's soul in the form of an orange flower. After that, the whole world disappears. Haha, totally didn't get that, but it sends shivers down my spine each time.

Despite it's seemingly random scenes, I'm sure there's a deeper message behind it if you watch it enough and do some research. Personally, I LOVE trippy stuff like this, and would love to spend time doing that just to understand it. But to some people it's probably not their cup of tea. It comes off as highly disturbing, so if you like your straight forward anime, this is not a film for you. If you have an open mind however, I highly recommend this movie.", "label":1 }, { "text":"yes i have a copy of it on VHS uncut in great condition that i transfered to DVD and if anyone one wants to bring back the memories of a Christmas classic please emil me at dmd2222@verizon.net.i searched everywhere and i found nothing on this and i thought that i cant be the only one on this planet that has this classic on tape there has to be other people and if they do i fit in with them being that very very few that has this classic so i consider myself lucky and i have all of the muppets Christmas except one that john denver did with the muppets again i thinks its called a smokey mountain holiday im not to sure but its close.", "label":1 }, { "text":"Once again proving his amazing versatility, John Turturro plays the introspective Russian chess genius preparing for a comeback tournament, and forging an unlikely relationship with a gadabout fellow resident (Emily Watson) at a 1920's Italian hotel. They fall in love,to the horror of her social-mountaineering mother (Geraldine James).A wonderful love story, whose gloss of chess might make it appear cerebral.But in spite of its origins in a Nabakov story, it certainly is not .The romantic elements and the sense of time and place beat the psychological analysis hands down.John Turturro, having appeared in \"Barton Fink\" ,\"O Brother,Where Art thou?\" \"The Big Lebowski\" proves that he is not dependant on Coen Bros films to assert his stature.", "label":1 }, { "text":"Not only is this movie a great film for basic cinematography (screenplay, acting, setting, etc.) but also for it's realism. This movie could take place in any farm or rural setting. It makes no difference if the movie takes place in Louisiana or if it would take place in Kansas. The story and the messages it includes would remain the same. This movie shows family values and connections for an older audience, while at the same time it shows youthful behavior for the younger viewers. Everyone who watches this will walk away with something having touched them personally, I know I did. The ending hits way too close to home for me not to burst into tears every time I watch it. The ending stresses the importance of farm safety, and everyone who has ever worked on a farm needs to see this film. Not paying attention and carelessness gets you into dangerous situations.

", "label":1 }, { "text":"Ok, so it's not a masterpiece like the Godfather, but it doesn't have to be. The only purpose this movie has is to make the viewer laugh several times. If it can make the viewer laugh a bunch of times, it has accomplished its purpose. I laughed out loud and left with a smile. I feel like I got my money's worth.", "label":1 }, { "text":"The charm of Otto Preminger's grandiose, visionary film noir is that it has ambiguous intentions, betraying the gloomy essence of the central character, who is still vexed by living in the shadow of his criminal father. Dana Andrews' driven, vindictive cop is shown as an outsider, irrational and destructive, who maybe can change because he might've found a good woman to look after him. The troubled man reclaims himself with his own tangled impression of rectitude. The distressing mood permanently circuited into the latter half of the story by screenwriter Ben Hecht reverberates in Andrews' tense performance as Preminger saturates the film in a relevantly prosaic substance of style. We don't just see and hear the city at night; we feel it because Preminger lets us see and hear even the most peripheral and distant factors of it.

Dana Andrews furnishes a complex character unfolded through his streaks of violence and the hatred that always infests him. As the plot develops, he is secretly entangled in situational snares, yet he is renewed by the outward acts that can be seen in the vintage noir protagonist's visceral facial expressions before he executes them.

This reflection of a specific phase in the development of the genre is an engrossing, feral and shady film noir that is set in the double-dealing climate of the underworld, where the hero is so estranged that he is always swelling with rage, and even though he loses his rational resistance, occupational principle, and ethical limits, he's still a good cop. Preminger just winks at telling a social-conscience drama about a corrupted community within the sprawling cityscape, rather keeping the thriller riding on Andrews' shoulders as an existential journey of personal ramifications about a man with an Oedipal fixation who is becoming disconnected though with the ever-shrinking influences of the law on his side and an undying perception of right and wrong.

The production companies in the early 1950s pussed out on the social-problem picture, and rather made \"low-budget, low-risk thrillers\" such as this, apparently in an attempt to evade the conniptions of conservative critics and social busybodies. But there is an expressionistic matter-of-factness to Preminger's inimitable approach. He injects each scene with a sense of everyday drama as a backdrop for the plot. Each supporting character must pull their own weight by doing something interesting, but none of them are cartoons or depressing comic reliefs. To him, every character thinks they're the star, as per the straight-from-the-shoulder self-assertion of Karl Malden as a missionary police inspector and a veteran waitress at a lunch counter. It is those who are the stars---Andrews and Gene Tierney, both anguished by their futile attempts to subdue their emotional intensity---who don't want to be.", "label":1 }, { "text":"This is cult stuff. My friends and I get together once a year to enjoy this movie. Its very funny and very dry . I've seen this move dozens of times and have yet not to enjoy it.The actors are funny and it gets better with every viewing! If you enjoyed \"Morons from out of Space\" you will love this. A great play on War of the Worlds. I love the Red-Neck rampage to get the aliens, the bug on the hood, the DOD, the Heat Seeking Populous Annihilator, the Mine Field, the Red Camo, breaking the speed limit by 1800Mph! \"I'll get the bucket!\" Very Funny. I would love for this to come out on DVD! Forget the negative reviews see it for yourself!", "label":1 }, { "text":"Usually musicals in the 1940's were of a set formula - and if you studied films you know what I'm talking about - a certain running lenghth, very \"showy\" performances that were great on the surface but never got into the real personalities of the characters etc.

THIS ONE IS DIFFERENT - and light years better and well worth it's nomination for best picture of the year - 1945 (although had no chance of beating the eventual winner - Lost Weekend).

Gene Kelly was probably in the best form of his career - yes I know about \"American in Paris\" and \"Singing in the Rain\". This one is different. He really gets into his character of a \"sea wolf\" thinking (at first) that \"picking up any girl while on leave\" is nothing more than a lark. And if you had to make up a \"story\" to get her - so be it - until. Sort of like the Music Man when he gets \"his foot caught in the door\". The eventual hilarity of the film stems mostly from his and his new pal (Sinatra)'s attempt to make the \"story\" good in order to \"get the girl\" that he REALLY and unexpectedly falls in love with. You are going to have to see the movie to see what I mean.

Besides that there are so many other elements of great film in this one, it's a classic buddy story, nostalgia to a time when WWII was almost over (the war ended about a month after the films release), a realization that a guy that always laughed at life can find out that he really is a great human being, great songs and probably a few other elements of classic film making that I can't think of right now.

Why not a 10? Near the end - at nearly 2 1\/2 hours starts to feel a bit long. There is a small ballet number that Gene Kelly does that must have been a sensation in 1945 but seems dated and feels like it just adds minutes now. But overall, this ones a definite winner on every level.", "label":1 }, { "text":"I thought this was one of those really great films to see with a bunch of close friends. I laughed and cried and laughed and cried at the same time. It was just really touching. Although not a new concept this was a very well made film.", "label":1 }, { "text":"SOLDIER is not as bad as many have made it out to be. I found the film to have some of the sacarstic, cynical humour like that in Paul Verhoven's Starship Troopers. The lack of dialogue and over the top action is deliberate and adds to the comic-book atmosphere.

One particular trivia-bit stands out for me - Todd has the names of several space-war campaigns tattoo'd onto his chest and one of these battles is TANNHAUSER GATE. For the oblivious ones out there, Tannhauser Gate is mentioned in Roy Batty's elegiac last lines in Blade Runner. To imagine that Todd could have fought alongside android troops like Roy is mind boggling to say the least. Maybe script writer David Peoples was nostalgic?

I'll give this one 3 out of 5.", "label":1 }, { "text":"I really liked this movie. I have seen several Gene Kelly flicks and this is one of his best. I would actually put it above his more famous American in Paris. Sometimes it seems the story gets lost in Gene Kelly movies to the wonderful dance and song numbers, but not in this movie. It is definitely worth renting.", "label":1 }, { "text":"I wait for each new episode, each re-run with anticipation! The new look of sci-fi created by Stargate SG-1 is a wonder that I hope will never end. To combine the past with the future is a new twist that is fascinating to me. Season #9 should be a thrill in itself. I wish that Richard Dean Anderson would show up more often in the new season, as I love his dry wit as much as his temper tantrums in his character as Jack O'Neill. The other characters add their own uniqueness to the show that makes it a winner, season after season. You cancel this program in the next three years, and you make a serious mistake. Also, you need a bigger role for the Asgard - they are just too cool.", "label":1 }, { "text":"just watched it on sky TV missed the first half an hour. i did wonder if it was a true story so watched it to the end. there was no brief at the end to say what happened to everyone. it did remind me of speed but at the end of the day i don't suppose it was released at the cinema as we did see the following error. the goof that we saw was that they remove the bonnet (hood) and then later on there are two shots of the car with the police car in front trying to slow it down when the bonnet is back on. it did have me on the edge of my seat especially when i thought the baby was going to hit the bridge and of course when the bridge wasn't going to be lowered and then it was. I'm afraid i did burst into tears so it wasn't that bad!!!!", "label":1 }, { "text":"As I saw the movie I was really shocked to see what the 60's was about. I know I may be wrong about some things, but it seemed like the 60's really had an effect on people of the time. Some people said they would want to go back to the 60's. From what I saw I would say yes for the excitement and no for the outcome. But that's my opinion.", "label":1 }, { "text":"I had heard this movie was good from a lot of my friends that saw it, and they all said it was amazing, so I had very high expectations- and Nancy Drew exceeded those high expectations! It had funny parts, it kept me entertained with the action and all the dudes trying to kill her, and Emma Roberts was amazing as Nancy Drew. The rest of the cast was very good, also. I would definitely recommend this movie!!

Nancy: \"I wonder why those guys were trying to kill us?!\" Corky: \"Yeah, I was wondering that too. Actually, it's kinda creeping me out!\"

Nancy: \"I hate when people try to kill me. It's so rude!\"

~Nancy Drew", "label":1 }, { "text":"This movie is maybe the most touching and uplifting one that I have ever seen. I am not a religious person, but sometimes a great piece of art like this movie can give me an almost religious experience. One suddenly realizes that there is really meaning to life.

I must admit that when I first heard about this movie I was sceptical. I thought the plot sounded contrived and I was afraid that the story would be banal. But being a David Lynch fan I decided to give it a go. It took me about 30 minutes to be fully captured by the movie, but then I was completely lost in it. There is so much wisdom and warmth in this movie! I left the cinema feeling that I had truly learned something valuable about life.

This is not a typical David Lynch movie, and in some ways it was very surprising that he should make such a film after exploring the dark sides of human nature for so many years. On the other hand, I am not surprised that he manages to convey deep emotions and profound human insight because I also thought he managed that very well in The Elephant Man. Lynch is one of the most gifted directors around and I think The Straight Story is his best yet. 9.5\/10", "label":1 }, { "text":"One of my favorite movies, with a very nostalgic ending. The movie is about the Sullivan family, obviously Michael Sullivan (the father) is one of the main members of the mafia, the killer to say it this way, and an expert one. One of the kids wants to know the work of his father (a terrible mistake), so he hides on his father's car and well, he sees Tom Hanks in action to say it this way.

Mafia doesn't rules, in Mafia nobody wins, when they want you out, they take you out. Of course you can see anyone who works at the mafia with a giant house, the best car in the world, whatever you like, but make a wrong work, or make something your \"boss\" doesn't want, and you're fired, and killed.

You can see what I mean in the movie, Sullivan Jr. sees something he didn't had to see, and well, almost all his family gets killed for that \"wrong thing\" his son did. The movie is really entertaining, you see how the Sullivan's live after being chased by the mafia, or kinda of that.

This movie is kinda of sad, shows us about revenge, those dirty works people do, almost everything you like. Hopefully the guy is reading this comment doesn't works for the mafia, and if you work at the mafia make yourself a favor and get the hell out of the country before you get killed by your boss and their workers.

This movie receives: 10\/10", "label":1 }, { "text":"Every scene was put together perfectly.This movie had a wonderful cast and crew. I mean, how can you have a bad movie with Robert Downey Jr. in it,none have and ever will exist. He has the ability to brighten up any movie with his amazing talent.This movie was perfect! I saw this movie sitting all alone on a movie shelf in \"Blockbuster\" and like it was calling out to me,I couldn't resist picking it up and bringing it home with me. You can call me a sappy romantic, but this movie just touched my heart, not to mention made me laugh with pleasure at the same time. Even though it made me cry,I admit, at the end, the whole movie just brightened up my outlook on life thereafter.I suggested to my horror, action, and pure humor movie buff of a brother,who absolutely adored this movie. This is a movie with a good sense of feeling.It could make you laugh out loud, touch your heart, make you fall in love,and enjoy your life.Every time you purposefully walk past this movie, just be aware that you are consciously making the choice to live and feel this inspiring movie.Who knows? What if it could really happen to you?, and keep your mind open to the mystical wonders of life.", "label":1 }, { "text":"In the Citadel film series book The Films of Gene Kelly, Anchors Aweigh is described as a kingpin of a musical. I sure can't do better than that. It's such an important film in both the careers of Gene Kelly and Frank Sinatra. Kathryn Grayson didn't do too badly with this either.

Louis B. Mayer had lent Gene Kelly out to Columbia where Harry Cohn had an inspiration to let Kelly choreograph his own numbers and because of it, Cover Girl became a classic. So if Mayer didn't learn a lesson, producer Joe Pasternak did and allowed Kelly artistic control. When Anchors Aweigh was finished, Fred Astaire at last had a dancing rival for monarch of cinema dance.

The main number everyone talks about with Gene Kelly here is the dance with Jerry Mouse. Originally Kelly wanted to do the number with Walt Disney's Mickey Mouse, but Disney wasn't lending Mickey out to nobody. Mickey would have to wait until Who Framed Roger Rabbit to do an outside film. Not to worry because MGM had it's own animated rodent one half the team of Tom and Jerry.

Kelly as dancer always strived to do something new and different on screen as did Fred Astaire. For the next dozen years, these two were allowed all kinds of artistic control and were praised for their work even if the films themselves weren't up to snuff. It was like each inspired the other to bigger and better creativity, Kelly for MGM, Astaire for MGM and any number of other studios. In Anchors Aweigh, Kelly got Sinatra to dance a bit. In fact Frank Sinatra always gave credit to Gene Kelly for showing him how musicals should be done as he gave credit to both Burt Lancaster and Montgomery Clift for their help in earning him is Oscar for From Here to Eternity.

When Frank Sinatra had half of his contract bought from RKO by MGM he insisted on a little artistic creativity on his own. He'd become friends with the songwriting team of Jule Styne and Sammy Cahn. In his autobiography Sammy Cahn tells about how Sinatra insisted that they write his songs for this film. Louis B. Mayer gave in and the team wrote some really fine ballads for him to sing. One of my favorite Sinatra numbers comes from Anchors Aweigh, I Fall in Love Too Easily. Frank sings it accompanying himself on the piano at an empty Hollywood Bowl. It's Sinatra at his best.

With Jule Styne and later with Jimmy Van Heusen, Sammy Cahn richly earned the title of having put more song lyrics in Frank Sinatra's mouth than any other person. They were lifetime friends and Cahn always credited Sinatra with this milestone boost in his career.

On a bet Styne and Cahn said they could write a song just using a chromatic scale. They proved it in Anchors Aweigh when Kathryn Grayson put her soprano to work on All of a Sudden My Heart Sings. She also did some classical numbers.

Here singing in fact is the basis of the plot. Two sailors on leave through a combination of circumstances meet up with Kathryn Grayson and her orphaned nephew Dean Stockwell. Trying to fix her up with Sinatra, Kelly says he can get her an audition with Jose Iturbi. They spend the film trying to accomplish just that.

My only disappointment in Anchors Aweigh was that Pamela Britton, who plays the waitress 'Brooklyn' never got a number herself. She had gotten rave reviews from her performance as Meg Brockie in Brigadoon on Broadway and that's what brought her to Hollywood. I have a suspicion she had a number that was cut and somewhere in MGM's vaults it might still be.

Anchors Aweigh is a great example of why musicals just aren't made any more. All that creative talent was under contract to Metro-Goldwyn- Mayer. If you had to pay market value for it, the cost might retire some third world country's debt.

But the film results would be extraordinary.", "label":1 }, { "text":"This movie is a true reflection of the Australian resourcefulness that has been required to make this country what it is over the last 200 years. Not pompous like the British, not Gung-Ho like the Americans. If either of those countries had attempted what this crew did, it would have failed dismally. Either due to ignorance on the British part, or too much faith in superior firepower on the American side. \"True\" Australians (i.e. non-imports) are the only ones who can excel in modern military conflicts because they have had to improvise most of their adult lives. Just look at examples like Gallipoli; Paschendale; Tobruk; New Guinea and Vietnam.", "label":1 }, { "text":"This movie has been made by one of the most absurd humorists in Canada, Yves P. Pelletier. I was shocked for a second that he made a ROMANTIC comedy, but knowing he was a heavy cinephile, was seen in every local festival and in the local cinematheque, I had a positive feeling about this movie.

Hell, I was right. Right off the bat, the scenario (written by Pelletier himself) is a bit twisted and hard to follow, but, in Pelletier's fashion it's a one-of-a-kind 90 minutes jack-in-the-box.

Loosely inspired and mostly transformed allusion to Dangerous Liaisons (by Laclos) \"Les Aimants\" consists of a twisted game of writing notes on the fridge. Throughout the movie you'll get the occasion to find out who's who and who's writing to who on that goddam fridge....which pops up in an interesting love affair.

Great storyline, great photography, great quotations of other movies. Should we ask more for a first movie?", "label":1 }, { "text":"I love the Satan Pit!!! David Tennant is such a great actor and so is Billie Piper!!! Who else loves Will Thorp to pieces??? He is so cute, isn't he? I hated the bits where he got possessed by the devil and where he got told to \"go to hell\", as Rose so bluntly put it. Mind you, he was quite funny when he said, \"Rose, do us a favour, will you? Shut up!\". Mr Jefferson was so brave, wasn't he? Dying to save the others. I felt really sorry for Toby (Will Thorp) when he came out of the possession for the 2nd time because he was so scared. I was like \"Oh my god if I was Rose I'd be so scared for him\". And when she hugged him I was like \"grrrrrr, he's mine! hands off!\" but I thought that was really sweet. And the doctor....well, I thought he was gonna say to Ida \"tell Rose I love her\" but he didn't. Oh well.", "label":1 }, { "text":"The title overstates the content of this movie somewhat, which might lead to some unrealized expectations. Frankly speaking, there's very little \"panic in the streets\" to be seen here. In fact, throughout the movie very few people actually know that there's a murderer on the loose who may well be spreading the plague to everyone and anyone he encounters. Having said that, what we do have here is a very well done story with a level of suspense that starts out reasonably high anyway (because, unlike the people \"in the streets\", the viewer knows what's going on) and that director Elia Kazan builds very deliberately. As the plague-infected killer is sought, one of the more interesting sidebars I found was the developing relationship between Dr. Reed (Richard Widmark) and Police Captain Warren (Paul Douglas). At the beginning, the two really don't like each other, even though they have to work together. By the end, they've forged a real bond of respect for each other. Kazan did a good job with that.

Pretty much all the performances here were excellent. Widmark and Douglas were great, and I was quite taken with a very early look at Jack Palance playing what would become his typical \"heavy\" role. I found very little to criticize here. Perhaps Barbara Bel Geddes came across as a little bit flat as Reed's wife Nancy, but her role wasn't really central to the story. All in all, an excellent piece of work. 9\/10", "label":1 }, { "text":"Well the main reason I tuned in to watch this film is because it was done by Trey Parker and Matt Stone of South Park fame. However as soon as the film started the laughs started erupting from my belly. From the subtle gestures towards a joke, to the blatant toilet humour throughout, along with a constant reliance on some very witty innuendo. This film could ruin event he sternest mans poker face, let alone his poker underwear. Some of the funniest blink and you'll miss it jokes ever portrayed in Hollywood, along with constant critique of themselves thrown into the bargain.

I just goes to show that not only is Trey Parker adept at writing he's not too shabby at the old acting game either. I was surprised with the amount that I was absorbed in this film. However I'm quite worried that it is not available to buy over the internet, here in the UK. Sort it out boys!

I am, and will continue to show it to all my friends annoyingly pointing out the funny bits, and occasionally snorting into my lager. All in all an excellent film if you are a fan of unnecessary comedy. However if you have no sense of humour about silly or rude things steer well clear! However I'm sure the inclusion of Jenny McCarthy and Jasmine Bleeth could have you gurgling past those prejudices.", "label":1 }, { "text":"This is a way cool fantasy movie. One of my faves, it really is so cool. The director is Bernard Rose who went on to direct Candyman, he made a great start with this film.

The film about a girl called Anna who falls ill with glandular fever on her 11th birthday. She draws a house on a shred of paper from her exercise book and falls into a dream in which the house is real. Each subsequent dream that she has is altered by the presence of whatever she adds to the picture. In her third dream she meets a boy she thinks she has created called Mark. She befriends him and their relationship becomes stronger as the dreams become darker and scarier.

Charlotte Burke who plays Anna is a terrific actress and it is very strange that, after just one film, she should disappear and never be in anything ever again. She really does give a great performance in this film.

Hans Zimmer's score is also ace. Much like Broken Arrow, the music is ghostly and mysterious. It's a real shame that the soundtrack is not available on CD anymore. The DVD is available in R2 only.", "label":1 }, { "text":"Some spoilers If you are a big horror movie fan, then you will know that Halloween paved the way for many slasher films. Often imitated, never duplicated, this movie is a true horror classic and is definitely one of the scariest movies ever made, if not THE scariest.

I actually saw this movie after seeing the rest of the series (don't ask me why). I honestly saw the other 7 movies before seeing this one, that's just how it worked out. But I would have to say this one blows all the others away. It is genuinely frightening, and seeing Michael pop out from behind a bush or walk around in the dark sends a chill down your spine. My favorite part of the movie was when Michael stabs a guy, and leans his head to one side. It is one of the eeriest images in movie history.

Later slashers, such as the Friday the 13th films, were more fun and less intense than this movie. I do like the F13 series better than the Halloween series, but this movie alone is better than all the F13 movies. Michael Myers is such a scary villain because he is realistic, you could imagine a crazed guy like him going around killing people. I admit this movie gave me nightmares after watching it for a few nights.

What's great about this movie is that it doesn't rely on gore or humor to entertain the audience. It is just pure terror. It's too bad the later films of the series swayed from this one, because this is as good of an example of a spectacular slasher movie as they come.", "label":1 }, { "text":"It takes guts to make a movie on Gandhi in India ,in which he is not shown as a man who could do no wrong.This movie shows how a Mahatma failed to be a decent father(at least in the eyes of his son).

The performances are terrific ,the cinematography fantastic, the direction fabulous,but the film drags.If the intention was to make this movie without any box-office expectations,which i assume is the case here,then its a brilliant attempt,but if the makers were expecting this to be a commercial success,then the film's fate was doomed the day they chose this subject..

20 yrs from now,this movie will be remembered for the brilliant portrayal of Harilal by Akshaye Khanna.He deserves an Oscar nomination for this one..And honestly,his is not the only performance worth applauding, Shefali Chhaya is terrific too..

Watch the scene where Harilal hears about his father's death.No dialogues,No screaming,but a speechless shot by Khanna.Its one of the finest scenes ever shot in the history of Cinema

Gandhi,My Father is not at all exciting cinema but yes,its excellent cinema and a must watch.Brilliant Attempt..", "label":1 }, { "text":"Uneven Bollywood drama. Karisma Kapoor is excellent as an Indian woman in Canada who marries a friend (Sanjay Kapoor), has a child, and then visits his family in India only to find they are terrorist warlords. Drama and tragedy ensue, and the film becomes a kind of NOT WITHOUT MY BABY styled thriller. Film is compelling, its few song\/dance numbers are uninteresting and needless, the gaity of Bollywood song and dance is really out of character for the intensity of this film's drama, at least once we've left the comforting confines of their Canadian love nest \u0096 although one number involving a cameo by the stunning Aishwarya Rai is enjoyably provocative, if ultimately misplaced as well. Likewise, the inclusion of Bollywood superstar Shahrukh Khan as a happy-go-lucky drifter who helps Kapoor in her escape from the clutches of the warlord turns what had been a very serious drama into a silly farce, and it only gets back on his feet when his character \u0096 and his fantasies about Rai that generate her cameo dance \u0096 are dispensed with. His throw-away comic-book dialog and the silliness of his fight scenes detract from the film's primary gripping drama. The cast is nicely supported by Nana Patekar as the warlord, and the elegant Deepti Naval who is outstanding as his long-suffering wife who finally choses to stand up against him in one of the film's best scenes; Ritu Shivpuri and Rajshree Solanki are also very good as Sanjay's sisters in India, and very pleasing eye candy. But Sanjay himself overacts terribly, especially during obvious ad-libs. The directorial style of writer\/director Krishna Wamsi is sloppy, rampant with rough transitions and abrupt cuts, although his camera movement is good. The musical underscore is also quite effective, moody, featuring wordless female voice over a small orchestral ensemble (too bad little if any of that made it onto SHAKTI's soundtrack cd, but Bollywood hasn't yet discovered the value of including score along with songs on their soundtrack albums, at least not in most cases). But SHAKTI is Karisma Kapoor's film, all the way, though, and the intensity of her performance once the film switches to India contrasts nicely with the gentle romance with which she engaged with Sanjay in the initial Canadian scenes. Despite the unevenness of much of the picture, Karisma's performance completely sells the film and solidifies its otherwise inconsistent measures. In a strange way, also, I found the story to be another take on the ostentation of royalty I'd noticed in CURSE OF THE GOLDEN FLOWER and MARIE ANTOINETTE, both of which I'd seen just prior, although SHAKTI of course is an entirely different kind of film; but the focus on a dysfunctional royal family \u0096 here living in the austerity of terrorism-controlled poverty in India rather than the elegance of Versailles or the massive megalomania of feudal China's Tang Dynasty \u0096 whose self-serving seeking of power brings ruin upon many others and forces an uprising of one kind or another provides the film with a notable subtext.", "label":1 }, { "text":"This is a powerful documentary about domestic abuse in the Cameroon. The \"sisters\" in law are female lawyers and judges who in 2004 successfully prosecuted husbands for abusive treatment of their spouses and won one woman a divorce she desperately wanted through a Muslim council. It is rather long -- about two hours -- but fascinating in terms both of the individual plaintiffs and defendants and the lawyers who successfully represented them in court rooms presided over by female judges. It will leave you, as it left me, with many questions about exactly how this change occurred. How and when did women come to occupy positions of authority in the Cameroon? Have the several cases featured in this film had a significant effect on the treatment of women generally by their spouses? Was the granting of a divorce by a Muslim court, against the express wishes of the husband, a one time event? I'm not suggesting that the film makers could have answered these questions. They made the movie two years ago, not yesterday. And the movie they made deserves a wide audience.", "label":1 }, { "text":"Guys and Dolls is a movie itching for a remake. It was made forty-eight years ago. Its two main stars are either dead or 409 pounds. Although a remake, with big stars now, would be box-office success, it would not be able to capture the magic that went into this version. Its boundless energy can't be recaptured, nor can the pure joy you get when watching something like this: a huge, widescreen, big entertainment movie.

Marlon Brando (who last clocked in at 409 lbs. last time I heard) plays Sky Masterson, one of the biggest gamblers in New York. Frank Sinatra is Nathan Detroit, whose as-often-as-he-can-find-a-speakeasy-for-it crap game is city-wide famous. However, when the one place he has left to hold it is charging $1,000, Detroit needs the money fast. He bets Masterson $1,000 that he can't take missionary Sarah Brown (Jean Simmons) to Havana with him the next day.

Guys and Dolls is basically nothing more than unsavory types singing and dancing, which usually, as it does here, add up to fun. It's obvious to see how this was a Broadway musical: there weren't that many sets, and the scenes were long. If I was to complain about one thing, it's how uneven the songs were. At times, there were two songs in a scene; other times, thirty minutes went by without one. Guys and Dolls is never boring, just a great time.

My rating: 8\/10

Not Rated.", "label":1 }, { "text":"Featuring a few of Hammer's all-stars, this highly effective slice of British horror revolves around a house and the fates of it's previous tenants, whose stories are all told to a Scotland yard detective, in search of a missing actor.

Story number one, which is probably the least impressive of the four, deals with a writer and his wife who've just moved in the house and plan to stay just for a short time so that he may write one of his horror novels. He creates a demented character named Dominic, who's a very creepy looking strangler, and soon finds himself going mad as he starts to seeing this beastly looking man everywhere he goes. After his wife convinces him to seek psychiatric help, a sub-plot is introduced which frankly, didn't really work for me. I won't spoil it for you.

The next story (the best in my opinion) stars the wonderful Peter Cushing as Philip Grayson, a man who's moved into the home for his retirement years and soon makes his way to a nearby wax museum(that deals in the macabre) where he's very startled to find a wax figure that looks exactly like a woman from his past. Soon thereafter, an old friend(who also has a history with this woman) is in town for business and drops by to see him. The two men are in for a rude awakening as they soon discover that there was more to this woman than meets the eye.

Story three stars one of my very favorites...Christopher Lee, who plays John Reid. After moving into the home with his peculiar daughter Jane, the nanny that he hires becomes awfully suspicious as to the way Reid suppresses his daughter. Well come to find out...if she knew what Lee did, she would have certainly understood.

The final story is a rather light-hearted vampire tale that stars John Pertwee and Ingrid Pitt. After buying a cloak from a mysterious merchant, actor Paul Henderson finds himself turning into the very creature that he's portrayed several times in his career.

Overall, the pacing and direction were very good, as was the most of the performances. There were nice Gothic touches here and there and an effective score to complement the ambiance. This one's a keeper, and comes highly recommended.", "label":1 }, { "text":"I know, that's not what you expect from a film with this sort of

lineage- it's a direct descendant of The Best Years of Our Lives

and The Men... films dealing with men who are in the hospital

dealing with tragic circumstances. But this film is full of wonderful

surprises and performances. It features stellar performances from

Eric Stoltz and Helen Hunt (including a rather risque nude scene)

and Wesley Snipes and William Forsythe. As Emanuel Levy wrote

in his book Cinema of Outsiders (about the Independent film

movement) \"The Waterdance is coherant, attentive to detail, and

unsentimental with a wicked down to earth humor- it' s at once

funny and sad, and the entire cast is impressive.\" I was

extraordinarily moved by this film, it's hard hitting yes, but also has

very tender moments and laugh out loud moments. A rare gem.", "label":1 }, { "text":"It's utterly pointless to rate this film. It's as if you would condemn (or praise) the newly born for his future life. Instead look at it as a powerful meditation at what could have been and what has been in the past 100+years. One hundred and eight years of the cinematograpy: what has become of the babe? I like to contemplate on what would have (creatively) happen if Europe wasn't interrupted (devastated) twice by the great wars of the XXth century. On her ruins the bogus neon castle of the non-creative and reactionary circus named Hollywood erected itself. Before 1914 French, Italian and Scandinavian cinemas were leading the way both financially and of course creatively. French film in particular was already threading some very original and creative pathways that could have (if not interrupted) possibly altered the medium history in some unimaginable ways. One wonders what the film history would look like today if it wasn't stultified and choked by the mercantile and cheap political agenda of the Hollywood's 80+ years of, what Chekhov might define as the reek of greed and harlotry... Be it as it might, please at least become aware of La Sortie as the key (or at least one of them) to the \"Kingdom\". Thus the birthplace of Cinema : Lumiere Brothers Factory, Lyon, France The date: March 19th 1895 (there's also a replica reel shoot in the Summer of 1895 so if you notice Summer lights and the workers' lighter clothing: that was the version shown to THE VERY FIRST PEOPLE WHO EVER SAW THE MOVING IMAGES. *Louis Lumiere: creative ideas, cinematography, direction it was all Louis' own domain because Auguste took care of the rest (money). *First film reels were all fifty seconds long: the camera(=le Cinematograph) & the cameramen (le cinematographer) having only paltry fifty seconds to make things happen! *Apparently Le Institute Lumiere has managed to preserve around 1500 of these first films executed mostly by an industrious brigade of Loumiere travelling cinematographers criss-crossing the globe. ***So, all the stars in starry heavens and a minute of silence for perhaps the most magical invention in Human history (so far).", "label":1 }, { "text":"I was really stunned how much a film, that's over 60 years old could impress me. It is nearly two hours long, there are absolutely no stars in it, there are subtitles but nevertheless it is interesting and exciting to watch. What impressed me mostly was the realism of the film. You could nearly feel the coldness of the ice, because you could see that the storms are real. This is a relief in a CGI-world like ourdays. I wondered how much work this must have been for van Dyke. I read somewhere that it took 17 months to film it. Now who wants to talk about 'Titanic' anymore? It's a great film with a great message and I would recommend it to future directors to see how great and realistic movies can be if they are only directed with realism instead of visual effects.", "label":1 }, { "text":"The Straight Story is a multilevel exploration of the goodness and beauty of America. At one level a slow walk through the heartland, it's kind inhabitants, and amber grain, at another level about growing old and remembering what is important(and actively forgetting what isn't). David Lynch gives us time in this movie and helps me to remember that so much can be said with silence. A remarkable movie that will rest gently with me for some time to come.", "label":1 }, { "text":"Poorly cast, terrible script full of holes, hot blonde gets eaten alive, The evil scientist has a seriously nasty mustache, one man takes on a platoon of trained gunman and comes out victor, terrible special effects, they fix the problem by blowing the head off the monster... Awesome. The only thing missing was an unnecessary graphic sex scene during one of the killings. Haha. Good gored up fun filled with predictable twists and laughable one liners. I highly enjoyed this movie, but before you watch it make sure you're in for a good laugh. I recommend this movie to people who can watch a movie and not take it so serious. I can not, in my right mind, think that this movie was made for people to take it seriously. However, if you can watch it and sit back and just enjoy, I really think you can enjoy this movie in the way it was meant to be enjoyed. Very simply. So get some popcorn and a couple beers and have a fun night with some friends and this movie. It brought some joy into my life.", "label":1 }, { "text":"The Dirty Harry series began with very gritty cop action, and was almost immediately lightened up for \"Magnum Force\". By the time that \"The Enforcer\" rolled around, Dirty Harry was little more than a television cop show (saved only by Tyne Daly). After a break of seven years, Dirty Harry has finally gone back to his roots. Maybe he's been gone for too long this time.

Clint Eastwood makes the first well-directed Harry film since Don Siegel made the first, which helps considerably. Harry is a darker character once again, not the nice cop he had become. He can once again say things like \"Go ahead, make my day\" and really mean it. \"Sudden Impact\" is a true Dirty Harry sequel. \"The Enforcer\" should never have been made.

7.2 out of 10", "label":1 }, { "text":"This story was probably one of the most powerful I have ever taken in. John Singleton certainly went above and beyond when putting together this educational masterpiece. Brilliant performances by the whole cast, but Epps and Rapaport turned in the best and most convincing of either young star's career.

However, as a college student myself, many of the issues that Singleton touched on were taken to the extreme. In a sense that, while they are issues faced on many college campuses, they aren't presented as big or out in the open as this movie would make one believe. In some instances, it almost seemed ridiculous to think that something of this nature could actually occur. However, aside from the fact that it was a little over dramatic, the film was brilliant and left me stunned, unable to talk, just think. One of the things from this picture I will remember forever, was a quote from Lawrence Fishburn's character, \"Knowledge is power, without knowledge, you cannot see your power.\" Brilliant, just brilliant.", "label":1 }, { "text":"This game is one of the best RPG. Fist, It is actually more amusing than any other because of the battle system (you harm the enemy depending on how you aim the attack, you can transform into dragoon, the special attack, the magic...). The script is very good. Characters are all lovely and you have no long dialogs to support, as happened in several games of Final Fintasy series. I got bored of that dialogs about past, when you just want to go on with the game's story. Ambientation is a jewel on this game, it combines Middle-age fantasy with futuristic science fiction. It's remarkable that animation effects are just incredible, i like them more than other in other modern games (we can't remember that Legend of the Dragoon is 8 years now). Then, Map is huge, there are all kinds of places an enemies. Finally, Music is not the best game muse I have heard, but it's perfect for a game like this.", "label":1 }, { "text":"A journey of discovery, this film follows the lives of one family living in a sleepy, island town in British Columbia. Languorous and dreamy, the inhabitants are satisfied to allow life to go on around them until a young, fresh-faced teacher, with new ideas arrives and brings with her life from the mainland. Slowly, their indolent state is awakened, the father (and principal of the local school) looks for excitement, the mother for stability, the oldest daughter for love, and the youngest for power. While not an incredible or ground-breaking piece of cinema, the movie is quietly enjoyable and good for a tired night when the wind is blowing. Unfortunately, I doubt anyone outside of Canada will find it easily accessible.", "label":1 }, { "text":"\"The Good Earth\" is a great movie that you don't hear much about anymore. There are a lot of big disasters and events, but it is also a non-passionate love story. All of this happens in a little over two hours, which is short by today's standards. The special effects and costumes are very good for the time period.

I am surprised that Luise Rainer received an Oscar for such a limiting role. She basically only has three emotions: submissive, hungry, and heart-broken.

The performances by the Asian and Asian-American actors are terrific.

", "label":1 }, { "text":"I've seen this film more than once now, and there's always someone complaining about the \"obvious construction\" of the plot afterwards. But then - this is part of Petzold's game: he plays along with the rules of genre.

It's very nice, how the highly improbable story of how the two girls (Timoteo\/Hummer) meet, is again mirrored in another, even more improbable story, that the girls make up for a casting. This film is a journey between fact and fiction, it's more about potentials, things that might have happened in the past or might be happening in the future, than it is about actual ongoings. It's a reverie, sorts of - so apt enough there are a lot of motives, Freud might have found interesting for his dream analysis, like all the \"doppelganger\"-constellations.

Also, I think, \"Gespenster\" might be interesting to be watched in comparison to current Asian cinema of the uncanny: Petzold's everyday urban architecture also feels haunted in an unobtrusive, strangely familiar way. This film is not about the obvious. To describe it as the story of two girls who meet and eventually become friends and lovers, or as the story of an orphaned mother, who searches Europe for her lost daughter, clearly doesn't say much about the nature of \"Gespenster\" at all.", "label":1 }, { "text":"I searched out this one after seeing the hilarious and linguistically challenging \"Clueless\" (1995), perhaps Alicia Silverstone's best known effort from early in her film career. \"True Crime\" has Kevin Dillon, which should be helpful in improving most film projects. In fact everyone in the cast does a good job . The only disappointment I think the movie has for me is an awkward \"feel\" to some of the scenes, coming from the need to run a quite uncompromising, grown up theme as part of what in tone starts out as a schoolgirl adventure.

Alicia Silverstone is pretty good in this one. She carries off well the naive enthusiasm and growing unease that affects Mary Giordano as she manoeuvres towards the truth behind the serial murders. I reckon her characterization of MG has some mileage in it too. The inference of the story line is that she goes on to a career in law enforcement. It could be really interesting for an older Silverstone to revisit Giordano at a time of crisis later in the officer's life. Just a thought!

\"True Crime\" shows its director in a good light. Pat Verducci also has the writing credit. I don't know of any other film work PV has done. I can only wonder what happened after such a promising start.

Like most productions, this one has a largely unknown supporting cast, although Bill Nunn (Detective Jerry Guinn) is hardly that. Over the past decade he seems to have been able to secure an impressive number of screen appearances. I recall seeing him recently in \"Carriers\" (1998), a made for TV presentation with a military theme. Bill Nunn played \"Captain Arends\". Fans of the classic US TV comedy show \"Who's the Boss\" may also have an interest in \"Carriers\" because the leading player is Judith Light, remembered with affection by many because of her lengthy involvement with the show.

\"True Crime\" could easily not have worked, but it does OK. I think it is an entertaining story worth seeing.", "label":1 }, { "text":"Hey guys,

i have been looking every where to find these two movies and i can't find them anywhere in my local area. (I am Australian). Could You please help me and tell me where i can buy it from. In General Home Ward Bound 1 and 2 are the best movies i have ever seen and are good for people of all ages. It was my favourite movie wen i was 5 and it still is even now when i am a teenager. It is a great movie for the whole family. My entire family loves this movie except for my younger sister because i have watched it that many times that she is sick of it. I love this movie and i cant wait till i can buy it again on DVD.

Sally", "label":1 }, { "text":"I don't remember this film getting a cinema release over here. I only saw it when it came onto cable. The film deals with the dehumanisation of children into killing machines. Specifically one person, the way he gets replaced and dumped (literally) into an off-world community where he finds himself unable to cope with coming to terms with who he really is and what he feels.

Seems to me that a lot of people expected this to be Rambo in space, and would have been happy if it was.

I'm certainly happy it was'nt - Kurt does a fine job of portraying an emotional cripple. The scene where he's sitting outside the compound shows this, albeit the decision for two slow-mo replays detracts from the moment.

This is not a classic SF movie in the way that Bladerunner, Alien, Silent running, Logan's run or THX1138 were, however it is unfortunately the nearest I've seen to it in a long time.

He changes in the movie to a believable degree, he does'nt crack Arnie one liners, he does'nt become Snake Plissken and there is no definative happy ending.

That's why this film did'nt do well. It did'nt follow formula, and among a 18-25 year old target American audience, that's unforgivable as it was was'nt what they expected to see.

Fear and discipline.

Always.", "label":1 }, { "text":"Peter Ustinov plays an embezzler who is just getting out of prison when the film begins. As soon as he walks out the gates, he immediately begins working on a scheme to once again make a bundle by stealing, though this time he has his sights set pretty high. This is actually one of the weak points about the film, as he apparently knows nothing about computers (few did back in 1968) but manages to become a computer genius literally overnight! Yeah, right. Anyway, he comes up with a scheme to impersonate a computer expert and obtain a job with a large American corporation so he can eventually embezzle a ton of cash. Considering his knowledge of computers is rudimentary, it's amazing how he puts into effect a brilliant plan AND manages to infiltrate the computer system and its defenses. But, it's a movie after all, so I was able to suspend disbelief. By the end of the film, he and his new wife (Maggie Smith) are able to run away with a million pounds.

At the very end, though, it gets very, very confusing and Smith announces she's managed to actually accumulate more than two million by shrewd investing in the companies that Ustinov started (though she didn't realize they were all dummy companies). This should mean that eventually these stocks she bought were worthless. What they seem to imply (and I could be guessing wrong here) is that Ustinov and his new partners quickly cashed in the stocks before this became known and the stocks would thereby then become worthless. Either way, the film seems to post on a magical ending whereby no one is hurt and everyone is happy--and this just didn't make much sense. It's a shame, really, as the acting and most of the writing was great. Karl Malden, Bob Newhart, Peter Ustinov and Maggie Smith were just wonderful.

If I seem to have interpreted the end, let me know, as the film seemed very vague in details at the end.", "label":1 }, { "text":"Josef Von Sternberg directs this magnificent silent film about silent Hollywood and the former Imperial General to the Czar of Russia who has found himself there. Emil Jannings won a well-deserved Oscar, in part, for his role as the general who ironically is cast in a bit part in a silent picture as a Russian general. The movie flashes back to his days in Russia leading up to the country's fall to revolutionaries. William Powell makes his big screen debut as the Hollywood director who casts Jannings in his film. The film serves as an interesting look at the fall of Russia and at an imitation of behind-the-scenes Tinseltown in the early days. Von Sternberg delivers yet another classic, and one that is filled with the great elements of romance, intrigue, and tragedy.", "label":1 }, { "text":"Those individuals familiar with Asian cinema, as a whole, are aware that Japan is renowned, or notorious, for it's hyper-violent films and Korea is now garnering a reputation for viciously brutal films. Dog Bites Dog, while not necessarily getting as hyper-violent as the craziest Miike film, nor is it as unapologetically brutal as some Koreas more ambitious efforts, it is a perfect in between with its own brand of brutality all it's own. The greatest strength this film has though, like the greatest of the Japanese or Korean efforts, is that the brutality, rather than detracting from the film, actually develops the characters, if not, pushing the story forward. The two main characters are both incredibly vicious individuals with their own motivations and emotional underpinning for being as such. Sam Lee's character, for instance, is on the edge from the very start and slowly and surely, amidst various encounters with Chang's character, it is revealed why he is. Without spoiling this part of the story too much, it involves the morally ambiguous nature of his father. Chang's character, on the other hand, has his most primal instincts honed to, if not perfection, brutal efficiency. Surprisingly, Chang's story arch, while not necessarily revealing a more human side, actually reveals a side to our animal nature which many forget about which is the natural ability to recognize a fellow broken animal (and no I am not talking about Sam Lee, rather Pei Pei's garbage dump girl character). Ultimately however, for the first 80 minutes or so, it is a, more or less, straight forward cat and mouse, or Dog chase Dog, film in which every encounter ends in at least one death (seriously, once Sam Lee and Chang Square off, some one will die) and the fun part of movie is you never know who hands will commit the act. Which brings us to the film's one weakness. Unforunatley to delve into it would be yet another spoiler but, to put it simply, it is guilty of pushing one of the main points of the film since, rather then letting the point be made as is 80 minutes into the film, the film goes on for another 20 minutes or so to further emphasize it. Don't get me wrong, if transitioned better from the 80 minute mark to the climax and if the final act wasn't filled with sweet music (in fact if it, like the majority of the film, kept the music to the barest minimum and let the disturbing sound effects do their job), it still could have worked and not detract from the film. As it is though, despite the third act having the most vicious and bloody of the encounters, the way it was handled made it feel tacked on, and almost, insults the viewers intelligence since it felt it had to go this far to get it across. Nevertheless, it is still a breath of fresh air from Hong Kong cinema since even the most bloody of the martial arts films never reaches the level of viciousness and brutality while keeping the the character archs in tact.", "label":1 }, { "text":"When it comes down to fairy tales, Cinderella was the one that made you cry the most. poor Cinderella is a girl who had her whole life stolen by 2 evil and ugly stepsisters and a slave-driving step-mother. and thanks to Mr. Walt Disney, We got to witness Cinderella in animation.

Before the story begins, Cinderella and her father are lonely, and rich beyond their needs. to share his wealth and to give his daughter some sisters, Cinderella's Dad marries a woman, but then dies soon after. the stepmother, only seeing dollar signs in her eyes and slavery in her gorgeous step-daughter, Cinderella.

So for many days, Cinderella is a slave to her step-mother and her step-sisters. she has hope however, thanks to her friends, the mice of the home (sounds like Cinderella wasn't playing with a full deck.) she has hope that one day she'll find her prince. the chance eventually comes when the prince of the kingdom needs a girlfriend.

9\/10", "label":1 }, { "text":"This movie surprised me, it had good one-liners and laughs, + a nonstop action-packed storyline with tons of gun action and explosions. This movie surprisingly had a lot of good twists and turns. The plot is solid despite what others may think, it kept my interest the whole time right up till the very end. In conclusion; this is a great way for an action movie buff to spend time on.", "label":1 }, { "text":"Retitled from its original Japanese name of LAPUTA (for being an offensive phrase, something which director Hayao Miyazaki was oblivious to at the time), CASTLE IN THE SKY is the master animator's third film, and it's one of his most beloved of all time. Initially a box office disappointment in its 1986 release, it has since been embraced by critics and audiences around the world. Inspired by Jonathan Swift's \"Gulliver's Travels\", CASTLE IN THE SKY is a steampunk-themed action adventure tale about two young orphans -- young miner Pazu, and mysterious girl Sheeta (who wears a magic crystal around her neck) -- who team up to find the long-lost island of Laputa, which is rumored to have great riches and gems. They are aided by a band of bumbling yet sympathetic air pirates led by the feisty Dola (who at first chase them, yet turn out to be true allies) and pursued by the government headed by its villainous topmost-secret agent, Muska, who wants the power of Laputa for his own benefit.

For anyone looking for an exciting way to spend two hours, this film is an excellent choice, featuring just the right amount of humor, exploration, wonder, and mystery to keep one interested. The artwork, although not as spectacular as in some of Miyazaki's later movies, is fantastic and gorgeous enough to watch with imaginative characters and locations, incredibly exciting action scenes, and breathtaking flight sequences that will make one feel giddy. And while the characters that populate this tale are less complex than Miyazaki's other works, each has a memorable, endearing personality that stays with the viewer long after the film is over. Dola, in particular, makes for a terrific comic character, shouting orders to her dimwitted sons one moment and being protective of Sheeta the next. Muska is one of the few Miyazaki creations to ever come across as an irredeemable villain, but like Dola, he commands every scene he's in with a sinister charisma that is both alluring and chilly.

Anime fans have often compared this movie to Gainax's sci-fi adventure series NADIA: THE SECRET OF BLUE WATER. After all, both works share similar story and character elements... not to mention that they were both created by Miyazaki himself. Where both differ is in their execution. NADIA, although charming for the most part, suffered from taking a wrong turn at its midway point, devolving into cartoonish nonsense which all but distracted from the main plot, even though it did have a strong ending. CASTLE IN THE SKY, on the other hand, remains consistently entertaining and focused for its two hour running time, and is all the better for it. While the film's epic tone is sometimes broken up by some \"cartoonish\" moments, like a brawl between Pazu's boss and one of Dola's sons, it's never to the point that it detracts from the film.

About eleven years ago, Disney released an English version featuring a cast of big-names such as James van der Beek, Anna Paquin, Cloris Leachman, Mark Hamill, Mandy Patinkin as well as some cameo appearances by veterans such as Tress MacNeille and Jim Cummings. It also features an ambitious reworking of Joe Hisaishi's gorgeous musical score for a performance by the Seattle Music Orchestra (interestingly, the man behind this rescore is none other than the composer himself). As much as purists have cried blasphemy over this version for its occasional extra dialogue and the aforementioned rescore, Miyazaki had no such problems; in fact, he is said to have applauded the reworking, and for good reason, because the newly rerecorded music is truly the star of the new dub. While there are some instances where filling in some critially silent scenes from the original Japanese is a bit jarring (notably the journey through a dragon-infested storm cloud), the overall reworking is fantastic and in many ways improves on the original, particularly in scenes such as when a robot attacks a fortress and the climactic moments toward the end. Here, Hisaishi displays his musical versatility and genius for matching music to visuals.

As far as the performances in the dub go, the leads are probably at the short end of the stick; James Van Der Beek's Pazu sounds significantly more mature than his character, while Anna Paquin's Sheeta speaks with an odd accent that fluctuates at times (a problem which actually works in favor of the character). That said, both do good jobs overall and provide a fairly believable chemistry throughout. It's the lively supporting cast, however, that really make this dub so much fun, particularly Cloris Leachman's Dola and Mark Hamill's Muska. Both are perfectly cast and steal every scene they're in; as with the rescore, these two really warrant a listen to the Disney dub. The script adaptation borders on the loose side at times--there's quite a bit of extra lines and\/or commentary (some of which are pricelessly funny and others somewhat overdone)--but aside from at least one debatable alteration (Sheeta's speech in the climactic showdown \"the world cannot live without love\" as opposed to the original \"you can't survive apart from Mother Earth\"), the overall characters, story, and spirit remain fairly faithful to the original. On the whole, there is little point comparing the Disney version to the original language track; each puts their own stamp on this legendary masterpiece, and I like them both. (They're also better than Streamline\/JAL's more literal but frightfully robotic, lifeless, abysmally acted and poorly written older dub from the late 1980's; don't believe anybody who says this version is \"superior\" to Disneys--trust me, the opposite is true.)

Either way, though, you can't go wrong with CASTLE IN THE SKY. It's one of Miyazaki's all-time greatest, and I highly recommend it.", "label":1 }, { "text":"Paul Greengrass definitely saved the best Bourne for last! I've heard a lot of people complain about they way he filmed this movie, and some have even compared the camera style to the Blair Witch Project. All I have to say to that is...are you kidding me? Come on it was not that bad at all. I think it helps the action scenes to feel more realistic, which I would prefer over highly stylized stunt choreography. As for the rest of the movie I really didn't even notice it.

You can tell that Damon has really gotten comfortable with the role of Jason Bourne. Sometimes that can be a bad thing, but in this case its a really good thing. He really becomes Jason Bourne in this installment. Damon also has a great supporting cast in Joan Allen, Ezra Kramer, and Julia Stiles. David Strathairn was a great addition to the cast, as he added more depth to the secret CIA organization.

Even though the movie is filled with great car chases and nonstop action, they managed to stick a fair amount of character development in their with all of that going on. This film stands far above the other two Bourne movies, and is definitely one of the best movies of the 2007 summer season!", "label":1 }, { "text":"Bunny Comes Home 'This Man's Navy' deserves more credit than it gets, a clever script by Borden Chase, directed by 'Wild Bill' Wellman, the film has just the right feel for early post WW11 euphoria and goodwill, and none of the blind terror that came into play few years later. Produced in 1944, the Japanese defeated, the battle scenes a little d\u00e9j\u00e0 vu, Tom Drake's melancholy attraction for radiant young Jan Clayton has solid chemistry, plays real and validates Drake's career at Metro. The following year Jan opened on Broadway in 'Carousel.' Wally Beery, a little bleary-eyed, boasts to an always incredulous Jimmy Gleason\u0085 his memories an improvement over reality, and give Beery a Ulysses-like shadow to play against. The Navy LTA (Lighter Than Air) shots are authentic, photographed at Tustin and Lakehurst, and the P-38 squadron is out of March AFB. Lot 3 doubled for India, and Bunny's U-turn\u0085 Bunny Comes Home\u0085 gives back to Beery an authentic slice of his past, something he had wanted to believe was true\u0085 then, the future we spin into again is fantastical\u0085 now on a grander scale, a newly designed Navy LTA with launch capabilities for a reconnaissance plane\u0085 how expensive, blissfully optimistic\u0085 still, \"You got to believe in it, that's the way you make things come true\u0085\"", "label":1 }, { "text":"This movie has its ups and downs, but to me the good stuff in this movie very much outweighs the bads...

What's not so good about the movie are indeed sometimes the dialogue, the sounds, the lighting(am I the only one who noticed the way the sets were lighted was amateur, and the acting....

What is very good are the highly original storyline, the very intense atmosphere, the gore factor which is very high, and the effects which are done supremely.

So, definitely worth watching, or maybe even a must-see for all you horror and gore fans....", "label":1 }, { "text":"Back in the forties, when movies touched on matters not yet admissible in \"polite\" society, they resorted to codes which supposedly floated over the heads of most of the audience while alerting those in the know to just what was up. Probably no film of the decade was so freighted with innuendo as the oddly obscure Desert Fury, set in a small gambling oasis called Chuckawalla somewhere in the California desert. Proprietress of the Purple Sage saloon and casino is the astonishing Mary Astor, in slacks and sporting a cigarette holder; into town drives her handful-of-a-daughter, Lizabeth Scott, looking, in Technicolor, like 20-million bucks. But listen to the dialogue between them, which suggests an older Lesbian and her young, restless companion (one can only wonder if A.I. Bezzerides' original script made this relationship explicit). Even more blatant are John Hodiak as a gangster and Wendell Corey as his insanely jealous torpedo. Add Burt Lancaster as the town sheriff, stir, and sit back. Both Lancaster and (surprisingly) Hodiak fall for Scott. It seems, however, that Hodiak not only has a past with Astor, but had a wife who died under suspicious circumstances. The desert sun heats these ingredients up to a hard boil, with face-slappings aplenty and empurpled exchanges. Don't pass up this hothouse melodrama, chock full of creepily exotic blooms, if it comes your way; it's a remarkable movie.", "label":1 }, { "text":"Was the script more fitting for a 30 minute sitcom? Yes, but they still make it work! I thought the actors did a fantastic job with an otherwise bland script, especially Jack Black and Christopher Walken. Most people on the board seem to really hate this film. I personally can't see how that could be, but Envy is just one of those film that you either love it or hate it. Much like Napoleon Dynamite and every Leslie Neilsen movie ever made. You either think it's one of the worst movies ever made or one of the funniest. Don't avoid this movie because of the reviews. Watch it and see if you're one of the ones who really like it! If you do, I guarantee it's worth your money. If you don't like it... well, now you know.", "label":1 }, { "text":"I originally came across Linda Feferman's Seven Minutes in Heaven when I was 14 and worked at a video store and I loved it. I recently watched the movie again and have realized that it is a lost treasure. The movie stars Jennifer Connelly, almost twenty years before she would go on to win an Oscar for Beautiful Mind, as Natalie Becker. Byron Thames plays her best friend in the world, Jeff Moran. The film is definitely a milder, cuter and softer version of the Pretty in Pink's and Some Kind of Wonderful's of the 1980's, which is exactly why it is so good. It's honest, not forced like those films, and parents will enjoy watching this movie with there kids.

When Natalie's Dad leave home on a business trip, Jeff convinces her that he should move in because his home life sucks. With support from Natalie's friend, Polly, played exquisitely by Maddie Corman, she lets him. But this movie isn't about putting kids in situations and seeing what they can get away with. The three leads are so natural and the script, surprisingly so honest, that what comes through best in their performances is heart breaking. These characters really do care about each other. It's a great film to show to kids who are reaching pre-teen adolescence.

", "label":1 }, { "text":"question: how do you steal a scene from the expert of expert scene stealers Walther Mathau in full, furious and brilliant Grumpy Old Man mode? answer: quietly, deadpan, and with perfect timing as George Burns does here.

I know nothing of Vaudeville but this remains a favourite film, the two leads are hilarious, the script funny, the direction and pacing very fine. Richard Benjamin is very funny as straight man - trying to get at Burns through the window etc. Even the small parts are great.

There are so many funny scenes, Mathau messing up the commercial, Burns repeating his answers as if senile...

A delight.

Enterrrrrr!", "label":1 }, { "text":"I've only watched the first series on DVD, but would summarise The Sopranos as a Shakespearean plot with a Tarantino-like script. The series is as good as Goodfellas and Casino, and almost as good as The Godfather (hence not a \"10\"), and far better than any of Guy Ritchie's efforts. Although there's plenty of action, some of it pretty bloody, the story is character driven. Even some of the minor characters contribute to great story lines; e.g. the priest's relationship (or lack of) with Carmilla and the restaurateur's wife, and Christopher and his dimwit friend (who didn't last very long (a Darwin Award nominee?))

Apart from the plot, the script and the acting, the other reasons I liked it;

1. It made me want to visit New Jersey and eat pasta with a tomatoey sauce. 2. The music. 3. It shows that literally anyone can suffer from mental health problems.", "label":1 }, { "text":"I like this film a lot. It has a wonderful chemistry between the actors and tells a story that is pretty universal, the story of the prodigal son. The aspect I like the best however was the way that the bath house was more than just a background for the story. As the father told the son the story of his wife's family in the northern deserts of china, the element of water and bathing becomes an almost sacred ritual. Water was so scarce that a simple bath had profound depth and meaning.

Overall the film was very effective. There were moments, however, when it verged on \"too\" sweet...bordering on cloying during the park recital scene. But overall, I highly recommend this film.", "label":1 }, { "text":"The Ghost Train is a treat to those who appreciate the typical 1940's humour. It incorporates World War Two into the plot but not as much as I initially believed it would, and the characters are a unique blend who play their roles fairly well. Askey, playing the role of Tommy Gander, is what brightens the story up for the parts which could of been portrayed as boring or \"dragging\".

The story of the haunted station is actually spooky even for present day standards. It is unique and the way the characters communicate with each is fantastic to liven up the mystery which is The Ghost Train. Gander is basically a nuisance to all the other members while the rest get along fairly well. He is always centre of attention and can be dubbed as being \"annoying\" but that is by those who do not appreciate 1940's humour. His humour is innocent and childish which makes it sweet to watch.

If it was not for Askey\/Gander, than this film would of been shorter in action, enjoyment and the result would be not as effective in my opinion.", "label":1 }, { "text":"This musical is decidedly mixed, and none of the elements really fit together, but it somehow manages to be mostly enjoyable. The plot contains some of the elements of Wodehouse's novel, but none of its virtues, though he co-wrote the script. The songs, though charming, have nothing to do with this particular film, and are unusually crudely squeezed into the plot, even by pre-Oklahoma standards. Burns and Allen do their usual shtick quite competently, but it misses the tone of the rest of the film by about forty IQ points.

There are a few high points. Reginald Gardiner does good work when he remembers that this is a talkie, and stops mugging like a silent actor. And there are a few bits of writing which could only have been written by Wodehouse, though most of the film feels like the production of one of the Hollywood meetings he later parodied.", "label":1 }, { "text":"Director Samuel Fuller concocts a brilliant visual set-up: cocky pickpocket unwittingly lifts some microfilm from a woman's purse; it turns out she's a courier for the Communists, and now she and the grifter are being watched by the police. The Film Noir Formula is all its glory--before the ingredients became clich\u00e9s--including waterfront locales, floozies, saxophones on the soundtrack, and one hell of a climactic fistfight. Performances by Richard Widmark and Jean Peters are right on target, and the smart, sharp script is quite colorful. Fabulous Thelma Ritter received an Oscar nomination for knockout supporting role as a \"professional stoolie\". Exciting, atmospheric, tough as nails. *** from ****", "label":1 }, { "text":"Ok, even if you can't stand Liza- this movie is truly hilarious! The scenes with John Gielgud make up for Liza. One of the true romantic comedy classics from the 20th century. Dudley Moore makes being drunk and irresponsible look cute and amusing and it is damn fun to watch! The one-liners are the best.", "label":1 }, { "text":"One of my all time favourite films, ever. Just beautiful, full of human emotion, wit, humour, intelligence. The story grows, as does the lesson of life, just a wonderful film in so many ways.

The cast are also fantasic..... a great selection of the finest British talent around. I loved them all for every diverse element brought into the film.

Italy has to be one of the most romantic places to form a story such as this, - everything about this film works.

I love it :)", "label":1 }, { "text":"Good exciting movie, although it looks to me that it's not been recorded on location in Thailand, it still looks realistic. Nice story about some girls having 'fun' in one of the most beautiful countries on the world. In real the Thai people are very kind.", "label":1 }, { "text":"An American in Paris is a showcase of Gene Kelly. Watch as Gene sings, acts and dances his way through Paris in any number of situations. Some purely majestic, others pure corn. One can imagine just what Kelly was made of as he made this film only a year before \"Singin' In The Rain\". He is definately one of the all time greats. It is interesting to look at the parallels between the two films, especially in Kelly's characters, the only main difference being that one is based in Paris, the other in L.A.

Some have said that Leslie Caron's acting was less than pure. Perhaps Cyd Charisse, who was originally intended for the role could have done better, however Caron is quite believable in the role and has chemistry with Kelly. Oscar Levant's short role in this film gave it just what it needed, someone who doesn't look like Gene Kelly. Filling the role as the everyman isn't an easy task, yet Levant did it with as much class as any other lead.

The song and dance routines are all perfection. Even the overlong ballet at the end of the film makes it a better film with it than without. Seeing that there really wasn't much screen time to make such a loving relationship believable, Minnelli used this sequence to make it seem as if you'd spent four hours with them. Ingenious!

I would have to rate this film up with Singin' since it is very similar in story and song. Singin' would barely get the nod because of Debbie Reynolds uplifting performance.

Full recommendation.

8\/10 stars.", "label":1 }, { "text":"A very cute movie with a great background provided by the city of Boston and Fenway Park. As a baseball fan and light movie addict, it hit a homerun for me. Plenty of laughs and plenty of authentic baseball scenes with real ballplayers and real references to past Bosox failures. And how enjoyable was it to watch a movie with a baseball theme without having to endure an overage, over-the-hill, self-serving Kevin Costner attempting to make believers out of a critical audience? Jimmy and Drew did a fine job as a young love-struck couple suffering from Jimmy's Bosox \"jones\". It was a bit whacky and out of left field, but there really are Sox fans that are that fanatic and live their lives through the fortunes of their beloved team. The movie coasted along at a fast pace and the ending, although predictable, had the charm and sentimentality of so many other popular movies, without being overly pretentious.

Also enjoyable was the return of Willie Garson to the screen. I miss the forever-popular \"Stanford Blatch\" from Sex & the City. He's always funny, even when he does or says very little.

So buy yourself two box seats, some popcorn, and get ready for a fun time. \"Fever Pitch\" is a winner.", "label":1 }, { "text":"This movie is a little unusual in that it's got a very slim plot and the movie itself is done at a very slow and leisurely pace. While this makes it pretty different from the average Grant film, it is still highly watchable and entertaining. It's sort of like someone said \"let's just follow Cary around and watch as he gets perturbed at all the little problems that come up when you are having a house rehabbed\". Considering what a fun actor he is in the film and the great support he gets from Myrna Loy and Melvin Douglas, the film works very well. While the film has pretty modest pretensions, it makes the most of the material. It's a great film for Cary Grant fans or for the whole family.", "label":1 }, { "text":"I think the context of the story has been covered by other posters so I would just like to write about the impact this film had on me.

I first saw this film the year of it's release around 1987. My school organised a trip to the cinema to see it, for an RE project I think. We all went along of course excited because we were on a school trip to the cinema! Little did we know what we were about to experience. To this day I still remember the feelings it invoked in me and i remembered crying a lot as were most of my friends. I think at the age we were we found it shocking and quiet rightly outraged in our own youthful way .It had such an impact on me that I joined the Anti Apartheid Movement the same year.

I think it served it's purpose in my case.", "label":1 }, { "text":"If you like Jamie Foxx,(Alvin Sanders),\"Date From Hell\",'01, you will love his acting as a guy who never gets an even break in life and winds up messing around with Shrimp, (Jumbo Size) and at the same time lots of gold bars. Alvin Sanders has plenty of FBI eyes watching him and winds up getting hit by a brick in the jaw, and David Morse,(Edgar Clenteen), \"Hack\" '02 TV Series, decides to zero in on poor Alvin and use him as a so called Fish Hook to attract the criminals. There is lots of laughs, drama, cold blood killings and excellent film locations and plenty of expensive cars being sent to the Junk Yard. Jamie Foxx and David Morse were outstanding actors in this film and it was great entertainment through out the entire picture.", "label":1 }, { "text":"I wasn't going to watch this show. But, I'm glad I did. The critics of this just don't get it! It's one of the funniest and most entertaining thing on T.V at the present moment! Though, when the interviews were done with common folks they probably seemed useless; but, put them in the mouth of animals and insects, and it's a laugh riot. I laughed so hard, I had tears in my eyes. The pig with the babies suckling and her mother is priceless. The husband and wife birds talking about health problems, and the male bird taking a crap after the wife said she was constipated completely broke me up! Creature Comforts is the most imaginative show I've ever seen in awhile! Hopefully, it will be back next summer when this run is over.", "label":1 }, { "text":"\"Addictive\" is an adjective I've heard many times when talking of certain TV shows. Most recently, dramas like Lost, Heroes and Prison Break have earned that description. However, as compelling as they may be (and they really are) I can wait a few days before I see the next episode of either series, even Prison Break which some have lazily classified as \"the new 24\". With all due respect, there can be no such thing, and for a good reason: no other silver-screen thriller is based on a real-time structure. That's what sets 24 apart from any other show, and that's why I practically have to watch an entire season (on DVD) in seven days or less: once the frickin' clock starts ticking, it's impossible to tune out.

An episode whose events unfolded over the course of a single day was a trademark of NYPD Blue (and, more recently, Deadwood); having an entire season of a new series last 24 hours, one per ep (the actual running time is 41 minutes; the remaining 19 are occupied by commercials when the show airs on telly), was the most groundbreaking idea in mainstream television since Hill Street Blues introduced non-linear storytelling (a mandatory element nowadays). And it truly paid off.

Ironically enough, the original plan for the series was to make it revolve around a wedding (fortunately, creators Joel Surnow and Robert Cochran realized the format was more suitable for a conspiracy thriller), which is probably the reason the first glimpse we get of the hero suggests a cheerful atmosphere: looking extremely relaxed, Jack Bauer (Kiefer Sutherland) is enjoying a game of chess with his daughter Kimberly (Elisha Cuthbert) and, minutes later, being tender with Teri (Leslie Hope), the wife with whom he has just reconciled. As in The Sopranos, though, something unexpected and shocking is just behind the corner: not only has Kim snuck out of her room, Jack also receives a phone call urging him to get to work immediately. At midnight? I'm afraid so: Bauer is a CTU (Counter Terrorist Unit) agent, and his boss has acquired reliable intel about a possible hit on the life of David Palmer (Dennis Haysbert), an African-American Presidential candidate who will be in Los Angeles for the whole day (oh, right, I almost forgot: events occur on the day of the California Presidential Primary). No time for napping, then: Jack has to spend the next 24 hours working on the case. Unfortunately, he has a tendency to ignore protocol, and that doesn't sit well with George Mason (Xander Berkeley), a slimy man from Division who has been asked to interfere with the operation.

The plot is very dense, making the show hard to recommend for those with a short attention span, but anyone willing to take a look will be rewarded instantly: the writing is sharp and precise, the attention to detail unsurpassed, and the suspense is consistently sky-high, mainly thanks to the real-time trickery which considerably enhances the adrenaline level.

Another great quality of this pilot is the characterization: most genre shows (sci-fi and thriller) tend to simply introduce the key players and then define them later on (a textbook example is CSI, where character development is minimal, but then again that matches the show's unique style), whereas the series debut of 24 offers a rich array of fully rounded people, among whom Jack (Sutherland's best role - ever!) and Palmer (the real revelation of the show) stand out for being perfectly described after one episode only (the former divided between job and family, reckless but humane, the latter honorable and endowed with great integrity). A couple of supporting parts border on stereotype (Mason and Tony Almeida especially), but two factors ought to be taken into account: a) this is the first episode; b) there's so much going on most viewers won't even complain about a \"flaw\" or two. After all, how many network programs manage to begin with a conspiracy, a missing teenager AND a huge explosion - and still have equally satisfying material for the rest of the season?

Tick, tock, tick, tock...", "label":1 }, { "text":"in 1976 i had just moved to the us from ceylon. i was 23, and had been married for a little over three years, and was beginning to come out as a lesbian. i saw this movie on an old black and white TV, with terrible reception, alone, and uninterrupted, in an awakening that seemed like an echo of the story. i was living in a small house in tucson arizona, and it was summertime... like everyone else here, i never forgot the feelings the images of this story called forth, and its residue of fragile magic, and i have treasured a hope that i would see it again someday. i'll keep checking in. i also wish that someone would make a movie of shirley verel's 'the other side of venus'. it also has some of the same delicacy and persistent poignancy...", "label":1 }, { "text":"let me say that i love Adam Sandler, watching reign over me i was paying close attention to his acting

when he raises his voice, i cant help but think of happy gilmore yelling at a golf ball, then i snap back as Adam Sandler sucks me in

Reign over Me is a great film, a film that comes off slow at first with you expecting emotion in every scene

Don Cheadle always does a great job and is no exception here with some truly great lines and is worthy of an Oscar in any movie he does

adam sandler was amazing in so many ways not only was this his most dramatic\/best acted film of his career. but i can recall laughing out loud at many parts of this film

The supporting cast was great also with Saffron Burroughs and Jada Pinkett Smith

I would highly recommend this movie its got tremendous acting beautiful shots of NYC great comedy great drama And a new found respect for Adam sandler if you ever doubted him or a reassurance at how great Don Cheadle is", "label":1 }, { "text":"This is a really heart-warming family movie. It has absolutely brilliant animal training and \"acting\" (if you can call it like that) as well (just think about the dog in \"How the Grinch stole Christmas\"... it was plain bad training). The Paulie story is extremely well done, well reproduced and in general the characters are really elaborated too. Not more to say except that this is a GREAT MOVIE!

My ratings: story 8.5\/10, acting 7.5\/10, animals+fx 8.5\/10, cinematography 8\/10.

My overall rating: 8\/10 - BIG FAMILY MOVIE AND VERY WORTH WATCHING!", "label":1 }, { "text":"Again Stacy Peralta is true first to the people who lived the story. By letting those involved in the genesis of big wave surfing tell us their stories, how it felt and what they thought, you get the feeling of having been there. The film carries you from the fifties to the near present by focusing on three primary architects contributing to the evolution and development of the sport. Candid \"home movie\" like videos of themselves and their contemporaries take you further into their world. The layers of music, culture, technical information,a pure view of the participant's athleticism, and fabulous big wave images you get a full scope perspective of this aspect of surfing.

Thoroughly worth watching.", "label":1 }, { "text":"A much undervalued film that tells the story of a young musician caught in an ever-declining spiral of domestic violence.

At times difficult to watch, while Morris Day is portrayed as the misogynist, Prince as the knight on (motorcycle) steed, he is still called upon to twice beat a woman as part of the screenplay. That he can do this and still emerge as a flawed but vindicated hero is credit to the writing. Prince is so free of ego in this film that not only does he portray himself as a narcissistic megalomaniac who beats women, but his most famous song is fictionalised as being written by his father and Wendy & Lisa. Even further, two of his compositions - Computer Blue (admittedly the album's weakest track) and Darling Nikki - are shown as being songs that kill off an audience. Perhaps the only concession to the Princely ego is a card that lists the (slightly shorter than Prince) Apollonia as 5'6.

The nearly complete-amateur cast are mainly band members playing themselves (and reviewers who slate the actors on the terms that they've never appeared in other movies are completely missing the point), and do perfectly well under the direction. Morris Day gets most of the plaudits for his likable ham, though Jerome Benton must also get credit for bouncing off him well, particularly their stage act, which is hilarious. Day and Benton even go so far as to make an Abbott and Costello routine funny, which takes some doing.

Lastly, there's Prince. While I admit to bias, I do actually think he's a pretty good actor in terms of being able to portray a low-key version of himself. Acting ISN'T his profession, this was a film made for entertainment, so anyone pointing out that the guy in the lead role isn't Robert DeNiro and thinking they're making a point is sadly deluded. I don't want this review to be a derisory attack of other people's comments, but I've even this film slated as having a low budget and being darkly lit. How would a film about domestic violence be shot, then? With full overhead spotlights and a CGI dinosaur walking into frame?

The film acts almost as a perfect snapshot of the neon light and skinny tie era\u0085 until you remember that it was actually made in a world of curly perms and tinny synths, and this isn't some retro-recreation. Prince's best film with Oscar-winning music, it sees him at his zenith, and it's saddening to realise that, even though he would make some fine albums, he would never again capture this high.", "label":1 }, { "text":"Without question, this film has to be one of the greatest ........ in cinematic history. I have it watched too many times to remember, and each time it is like I am seeing the film for the first time.

Where does one begin?

Meena Kumari's central performance is undoubtedly one of the finest of her career, followed closely by Sahib Bibi aur Ghulam and Phool aur Pathar. Each movement and nuance of her performance, makes any other Bollywood heroine pale into significance. Her masterly interpretation of Kathak coupled with her grace, tragic vulnerability and poetic delivery of Urdhu, is like nothing ever seen on the bollywood screen.

Pakeezah is perhaps the most stylised interpretation of the human condition; the photography, sumptuous cinematography and mise en scene, are so charged with symbolism and meaning, that the viewer is left breathless.

Naushads music, is unsurpassed, his knowledge of the music of the courtesan gharanas is incredible, and the way in which he punctuates the narrative with dark atmospheric motifs and overwhelming romantic melodies is indeed remarkable.

My only advice to anyone who seriously enjoys the spectacle of total cinema, should watch this epic mediation on life and art.", "label":1 }, { "text":"Sinnui yauman, is without a doubt one of the best ghost stories ever made into film. Written by Songling Pu and directed by Siu-Tung Ching, A Chinese Ghost Story has it all. Ling Choi Sin played by Leslie Cheung is a young man down on his luck who goes in search of a monastery for lodging, deep in the woods, a place the villagers seem very afraid to go near. The trek alone is perilous with wolves, and a crazy taoist monk lives at the temple.

Ling Choi Sin meets Tsing, a beautiful and mysterious young girl who also lives nearby in a deserted temple. She is forced to seduce men for her evil mistress, but when she meets innocent Ling Choi Sin they fall in love.

Ling Choi Sin is sort of a bumbling fool but his heart is in the right place, while Tsing tries to protect him from the other spirits in the woods, he tries to protect her from the monk who is trying to kill the spirits in the woods. There's great martial arts, even a monk that breaks out into drunken song as he performs ritual taoist sword forms. The movie does a lot of traditional old martial art films acrobatics, with magic and flying through the air, leaping from tree to tree, with elegant long gowns and scarves, but the movie genuinely flows, and everything is effective.

Tsing is to be married to a evil tree monster, which cant be good, and we feel her plight in her home where we meet her sisters and stepmother who is truly not nice.

In the end they must fight a tree witch with a deadly tongue, and go with Yin deep into the heart of hell to fight a thousand year old evil to save their souls, and bring Ling's ashes back to her home for a proper burial so she may have a chance at reincarnation.

A beautiful story that truly pays attention to details. One is touched in many ways by this movie, you'll laugh, cry, and just have fun with the great martial arts and cinematography. And though at the end, Yin and Ling Choi Sin ride off into the morning sun under a enchanting rainbow, we never know if Tsing was afforded a reincarnation, but we do know her", "label":1 }, { "text":"I found this film to be the usual French slap in America's face. The camera, all too often, focuses on fat people, on sloppy homes and on tacky rural areas. While the narration seems to sympathize with and admire the small town folks who are introduced to the viewer, the cinematography exploits and demeans them. There were, undoubtedly, thin people to be seen in Glencoe and neat, organized homes, but Malle chose to show us the worst of what was there to be seen.

I can only hope that some American filmmakers will go to France to reveal to the American public its worst elements. I can assure you, as a frequent visitor to France, that all is not well there. Foreign immigrants are not readily assimilated, thus creating severe social inequities. But Americans are not eager to unmask the French for their prejudice toward their own compatriots and their envy toward the U.S., so we're not likely to see films on the subject.", "label":1 }, { "text":"it's movies like these that make you wish that you never picked on the nerd growing up in school. If you liked this movie, then I would suggest you watch Valentine. I just found out today that the guy who played Marty(Simon) killed himself a little after the movie was released which is a shame since he did a good job. I wonder if it's because of the part he played in the movie. It starts out when Carol tricks him into going into the girls restroom to act like they were about to do it. When he was changing in the showers, Carols popular friends snuck into the bathroom and got everything ready, camera, electric shock, pole. When Marty open the curtain butt naked he realized that he was tricked. He tries to cover the shower up but the kids open it, grab Marty and starts being mean to him while the camera is rolling. They picked him up, dunked his head in the toliet while it was being flushed, and they electricuted him(slightly). When the kids are in detention, given by the coach, 2 of the boys give Marty a joint that will make him throw up. Skip breaks one of the glass windows in the gym using a brick to get the teacher to excuse him. While Marty is puking in the bathroom Skip sneaks into the Science Lab and mixes some stuff that looks like cocaine but not sure what it was. The lab blows up disfiguring him badly. 5 years later the kids who tormented him that day got invitations for a 5 year school reunion at the old school which was burn that day it exploded. One by one the people get killed off. I don't understand how the girl who drowned really drowned. she could have gotten back up after Marty left. She almost got out the first time.", "label":1 }, { "text":"I tuned into this by accident on the independent film channel and was riveted. I'm a professional actor and I was flabbergasted by the performances. They felt totally improvisatory, absolutely without affectation. I could not tell if it was scripted or how it was shot and waited until the very end to see credits and then spent a half an hour on the IMDb to find this film. Do not miss it. I see that the writer-director also did a very fine film called Everyday People which I enjoyed a lot. The shame of the film business is that projects this excellent do not get the distribution and advertising that they deserve and live under the radar. This film deserves to be flown high and proudly. I urge people to look it up and watch it.", "label":1 }, { "text":"Raggedy Ann & Andy is the first movie I ever saw in the theaters. My dad took my sister and I, and the funny thing is - when we got home, dad asked us \"what do you want to do now?\" and we said we want to watch Raggedy Ann & Andy again! lol, and my dad actually took us back to the theatre to watch it again -- at least that's how I remember it. I was five years old at the time.

This movie was pretty scary for a five year old. The scene with the giant ocean of sweets, and the hypnotic camel scene.. i don't remember a lot from this film, naturally, the beginning was magical, and a few scenes -- I wish I could find it again, and will likely seek it out now.

I remember I loved Raggedy Ann & Andy.", "label":1 }, { "text":"When I first heard that Hal Hartley was doing a sequel to Henry Fool, I was excited (it's been a personal favorite for years now), and then wary when I heard it had something to do with terrorism. Having just seen it though, I was surprised to find that it worked, while still being an entirely different sort of movie than Henry Fool. The writing and direction were both dead on and the acting was superb...especial kudos go to Hartley for reassembling virtually the whole cast, right down to Henry's son, who was only four in the original. Like I said though, this movie is quite different from the first, but it works: I reconciled myself with the change in tone and subject matter to the fact that 10 years have passed and the characters would have found themselves in very different situations since the first film ended. In this case, an unexpected adventure ensues...and that's about all I'll give away...not to mention the fact that I'll need to see it again to really understand what's going on and who's double crossing who. While it was certainly one of the better movies I've seen in some time, it suffers like many sequels with its ending, as it appears that Hartley is planning a third now and the film leaves you hanging. I'll be sure to buy my tickets for part 3 ('Henry Grim'?) in 2017.", "label":1 }, { "text":"Remarkable, disturbing film about the true-life, senseless, brutal murder of a small-town family, along with the aftermath, and examination of the lives of the killers, Dick Hickok and Perry Smith.

No matter how much time goes by, or how dated this film may look, it still resonates the utter incomprehensibility of criminal acts such as this.

This really traces multiple tragedies: The tragedy, brutality and senselessness of the murder of the Clutter family, a decent farm family in small-town Holcomb, Kansas; and the wasted, brutal and sad lives of Hickok and Smith.

An interesting point is made in the film: that neither of these two immature, scared, petty criminals would have ever contemplated going through with something like this alone. But, together, they created a dangerous, murderous collective personality; one that fed the needs and pathology of each of them. They push each other along a road of \"proving\" something to each other. That they were man enough to do it, to carry it out; neither wants to be seen as too cowardly to complete their big \"score\"; an unfortunate and dangerous residue of the desolate lives they led. These were two grown-up children, who live in a criminal's world of not backing down from dares; who constantly need to prove manhood and toughness. in this instance, these needs carried right through to the murder of the Clutters.

The film contains a somewhat sentimentalized look at the Clutter family, but the point is made. These were respected, law-abiding, small-town people, who didn't deserve this terrifying fate. The movie also gives us a sense of the young lives of Hickok and Smith. Perry Smith, whose early life was filled with security and love, but watched in horror as alcohol took his family down a tragic path. Hickok, poor and left pretty much to his own devices, not able to see how he fit in, using his intelligence and charm to con everyone he came into contact with.

An interesting, and maybe the first, look at capital punishment, and what ends we hope to achieve. Is this nothing more than revenge killing for a murder that rocked a nation at a time when we had not yet had to fully face that there might be such predators among us, or does putting these guys at the end of a rope truly provide a deterent to the childish and brutal posturing of men like these? Is it possible to deter men who live lives of deceit, operating under the radar, believing they fool everyone they come into contact with? To be deterred, you must believe it's possible you will be caught. Is it possible to deter these men who believe they are too clever to be caught?; who have committed hundreds of petty crimes, and got away with them? This was supposed to be a \"cinch\", \"no witnesses\".

When caught, Hickok finds he can't charm and con the agents the way he had department store clerks. Smith, who believes he deserves such a fate anyway, who seemed to be the only one who truly grasped the gravity of what they had done, willingly tells the story when he learns that Hickok has cowardly caved in. Hickok blinked first. A silly game of chicken between two immature, emotionally damaged, dangerous men.

Fascinating psychological thriller, telling a story of a horrendous crime in this nation's history. Stunning portrayals by Robert Blake and Scott Wilson. These roles made their careers.", "label":1 }, { "text":"This movie was excellent, a bit scary, but excellent at that. For those of you that have heard of columbine and know the story, it gives you a idea of what and why these kids did what they did. In the back of your mind you know that people think of this stuff, but you never realize just how bad it is, and this movie makes you realize. It's seriously that good. It also makes you think twice before you make fun of someone that's for sure. I read a book on the columbine massacre and it made me think, this movie makes me worry and scares me to death. On the downside it's like a how to kill someone guide for serial killers. I recently received a threat, and I blew it off thinking nothing of it, but after this movie I think you should take everything seriously. Some people are crazy and you never truly know which they are, so take it seriously and don't under estimate someone.", "label":1 }, { "text":"Comment? Like my comment is necessary? We are talking about all time masterpiece, for all seasons and all generations. This is only type of movies that i still have patience to watch. In this, like in other Disney's movies is some kind of magic. All characters are in some way, \"alive\" and \"real\" so it's easy to understand message, even if you don't understand language, (like i didn't understood when i first watched movie, because i was about six years old). Maybe my English is not so good, but i learned what i know mostly from this kind of movies, and this is one more great dimension of this kind of movies, which in present time are rare. But there is a one big shame. In my country is now impossible to watch this, or any other Disney's movie! We don't have copyrights, so our children are disabled to enjoy and learn from this kind of movies. So, we will watch this movie again \"Once upon a dream\" or...?", "label":1 }, { "text":"I suppose I always felt that Hotel du Nord was studio-bound, the movement of people cars and camera were just too effortlessly smooth and stagey to have been filmed on location. But no problem - it's still a much underrated lovely composition from Marcel Carne. The plot seems a bit choppy at times, as if they were making it up as they went along, but because it is unpredictable holds the attention to the bitter end. The money shots when the 2 lovers are alone in their room are saddled with some rather stilted dialogue, but it's all so lovely to fall into any inanity can be accepted. Are these 2 young people symbols of a cancerous hopelessness in pre-War France or simply idiots? Suicide pacts are fairly common; if the suicidees are young and healthy with their lives before them untrammelled would you think anything other than that they were just misguided fools?

Arletty played the part of prostitute well - she kept that zipper on her dress busy throughout anyway! I've only seen a few films with Jouvet - he is the most impressive invention as pimp in HDN - my trouble is shallow: every time I see his face I think of Sonnie Hale in Evergreen!

A remarkably atmospheric, well acted and photographed film with so much happening it needs a few viewings to get it all in place. Annabella and Aumont made an exceptionally beautiful couple; Francois (Heurtebise) Perier in his 2nd film had a small amusing part as a gay man. All in all: wonderful.", "label":1 }, { "text":"It seems Hal Hartley's films are kind of hit or miss with most audiences. This film will be no exception to that rule. Fay Grim acts as a sequel to Hartley's 'Henry Foole' from 1998. The focus this time is on Henry's ex wife (played to perfection by the always welcome Parker Posey), who is being pestered by CIA goons about Henry's unpublished book about all of his shady dealings. In the interim of all of this, Fay ends up on an odyssey,dealing with international spies,etc. The film does get a bit bogged down in the second half. If you've been a fan of Hal Hartley in the past, this is one not to be missed. For the novice Hartley first timer who has only heard of his film making technique, you might want to check out his earlier films before taking on this one (especially if you haven't seen 'Henry' yet). I admired the camera work,which at times reminded me of certain early Man Ray photography.", "label":1 }, { "text":"I saw Saving Grace right after it came out on video. Since then it's become one of my favorites! The plot isn't particularly complex but it doesn't take away from the entertainment. It's chuck full of comedic moments and has a very endearing quality to it. The characters are what makes the movie so good. They each have their own quirky qualities which adds to the humor, the two old ladies played by Linda Kerr Scott and Phyllida Law leaps to mind. Superb acting was done by all, particularly Brenda Blythen. She and Craig Ferguson were great together in pulling off some of the funnier moments. If you're looking for a good comedy I'd definately recommend this movie!", "label":1 }, { "text":"PAGE 3 **** out of 4 Stars

Madhvi (Konkona Sen) enters her boyfriend's house and its empty. She looks here and there and then goes in his bedroom and you get the picture - 'Ah! another girl \u0085 that two-timing baddie and yes indeed he his two timing her but it's a GUY this time around. And i say 'Brilliant!'

END OF SPOILERS (The above scene is not a spoiler really ... but for me it was so i didn't want to take a chance)

When asked upon as how was this film, my friend answered 'oh, it just an expos\u00e9 of the P3 people' which made me believe that ill be watching a stupid movie if nothing more. When I went to the theater, I thought to myself '' I better get a pen and a paper to jot down the bad things about this film'' but I was proved entirely wrong\u0085 and then some because I could muster only the goods. This film was great. Great, not because it is offbeat and noncommercial cinema like storyline but because of the cleverness in the screenplay and how this movie tells you how to handle a movie brilliantly which could have been a dumb and senseless movie if given in the wrong hands.

Konkona Sen Sharma is grace. She is so damn beautiful who has nailed her role perfectly as if she was born to play this part. One of the most charming actresses I've ever seen. But this is not the only performance which is good in the film, there's Sandhya Mridul, Boman Irani and Atul Kulkarni. Particularly Sandhya Mridul who just fires up the screen. (And guess what even the unusually accented Tara Sharma speaks normally)

The movies stars off with some silly old parties of the hush-hush celebrities of the film industry et al and you get the idea of what this movie will be about. And for about half hour through the film you feel just about the same. But then the movie picks up the pace grabs onto a good storyline and never lets go of it. Even Boman Irani agrees to that statement \u0096 'It was a good story, Madhvi'. (Thank you). The great thing is that it tackles the issue of how silly these people are with style and does not make it over done and also tackles the social issues and does not make them boring. In the end its all a roller-coaster ride and Madhvi informs us that by just smiling at all these people. Just the reason why I love watching films. Ecstatic film-making. The screenplay is beautiful, clever and witty.", "label":1 }, { "text":"I had mixed feelings for \"Les Valseuses\" (1974) written and directed by Bertrand Blier when I started watching it but I ended up liking it. I would not call it vulgar (\"Dumb and Dumber\" is vulgar, \"The Sweetest Thing\" is both vulgar and unforgivably stupid); I would call it shocking and offensive. I can understand why many viewers, especially, the females would not like or even hate it. It is the epitome of misogyny (or so it seems), and the way two antiheroes treat every woman they'd meet seems unspeakable. But the more I think of it the more I realize that it somehow comes off as a delightful little gem. I am fascinated how Blier was able to get away with it. The movie is very entertaining and highly enjoyable: it is well written, the acting by all is first - class, and the music is sweet and melancholic. Actually, when I think of it, two buddies had done something good to the women they came across to: they prepared a woman in the train (the lovely, docile blonde Brigitte Fossey who started her movie career with one of the most impressive debuts in Ren\u00e9 Cl\u00e9ment's \"Forbidden Games\"(1952) at age 6) for the meeting with her husband whom she had not seen for two months; they found a man who was finally able to get a frigid Marie-Ange (Miou-Miou) exited and satisfied; they enlightened and educated young and very willing Isabelle Huppert (in one of her early screen appearances.) Their encounter with Jeanne Moreau elevates this comedy to the tragic level. In short, I am not sure I'd like to meet G\u00e9rard Depardieu's Jean-Claude and Patrick Dewaere's Pierrot in real life and invite them over for dinner but I had a good time watching the movie and two hours almost flew - it was never boring.", "label":1 }, { "text":"Let's set one thing straight: this movie does not seek to redefine the genre, it's not Dr. Strangelove o Young Frankenstein. It's a silly flick, with three great female leads (can't remember any other comedy with similar characteristics), Rachel Dracht and Amy Poehler from SNL and indie queen Parker Posey, charming as ever. The story is basic: the three gals were \"losers\" in college, and are still after wards it. Poehler is a dog trainer (who can't even get a date with a blind guy), Posey is an assistant for a senator (who \"hasn't been touched by a man since Clinton was in office\"... i catched that one several minutes later... i'm a little slow, OK!), and Dracht has a gay fianc\u00e9e (Seth Meyers from SNL, funny). They have to prevent the \"uncool\" daughter of the senator (the always cute Amber Tamblyn from the TV series \"Joan of Arcadia\") to embarrass her during spring break. So of course they have to go to watch over her, and some hilarity ensues. All in all, a light, simple comedy, quite short, and quite enjoyable", "label":1 }, { "text":"Probably my all-time favorite movie, a story of selflessness, sacrifice and dedication to a noble cause, but it's not preachy or boring. It just never gets old, despite my having seen it some 15 or more times in the last 25 years. Paul Lukas' performance brings tears to my eyes, and Bette Davis, in one of her very few truly sympathetic roles, is a delight. The kids are, as grandma says, more like \"dressed-up midgets\" than children, but that only makes them more fun to watch. And the mother's slow awakening to what's happening in the world and under her own roof is believable and startling. If I had a dozen thumbs, they'd all be \"up\" for this movie.", "label":1 }, { "text":"If you want mindless action, hot chicks and a post-apocalyptic view of Seattle, then this is the show for you!

The concept of Dark Angel isn't anything new (in fact, there's controversy over whether James Cameron stole the idea from a book), but I spend the entire hour watching it every Tuesday from start to finish.

Jessica Alba is smoking and Max' friends (original Cindy, Kendra) are just as hot.

The fight scenes are getting better, but the dialogues between Original Cindy and Max need to be a little bit better (the slang sounds forced and it sounds like someone living in the suburbs wrote it).

In my opinion, Dark Angel is a great guilty pleasure filled with everything an action fan could ask for, but if you're looking for hard hitting, award-winning drama, go watch \"The West Wing\" or something.", "label":1 }, { "text":"In the tradition of G-Men, The House On 92nd Street, The Street With No Name, now comes The FBI Story one of those carefully supervised films that showed the Federal Bureau of Investigation in the best possible light. While it's 48 year director J. Edgar Hoover was alive, it would be showed in no other kind of light.

The book by Don Whitehead that this film is based on is a straight forward history of the bureau from it's founding in 1907 until roughly the time the film The FBI Story came out. It's important sometimes to remember there WAS an FBI before J. Edgar Hoover headed it. Some of that time is covered in the film as well.

But Warner Brothers was not making a documentary so to give the FBI flesh and blood the fictional character of John 'Chip' Hardesty was created. Hardesty as played by James Stewart is a career FBI man who graduated law school and rather than go in practice took a job with the bureau in the early twenties.

In real life the Bureau was headed by William J. Burns of the Burns Private Detective Agency. It was in fact a grossly political operation then as is showed in the film. Burns was on the periphery of the scandals of the Harding administration. When Hoover was appointed in 1924 to bring professional law enforcement techniques and rigorous standards of competence in, he did just that.

Through the Hardesty family which is Stewart and wife Vera Miles we see the history of the FBI unfold. In addition we see a lot of their personal family history which is completely integrated into the FBI's story itself. Stewart and Miles are most assuredly an all American couple. We follow the FBI through some of the cases Stewart is involved with, arresting Ku Klux Klan members, a plot to murder oil rich Indians, bringing down the notorious criminals of the thirties, their involvement with apprehending Nazi sympathizers in World War II and against Communist espionage in the Cold War.

There is a kind of prologue portion where Stewart tells a class at the FBI Academy before going into the history of the bureau as it intertwines with his own. That involves a bomb placed on an airline by a son who purchased a lot of life insurance on his mother before the flight. Nick Adams will give you the creeps as the perpetrator and the story is sadly relevant today.

Of course if The FBI Story were written and produced today it would reflect something different and not so all American. Still the FBI does have a story to tell and it is by no means a negative one.

The FBI Story is not one of Jimmy Stewart's best films, but it's the first one I ever saw with my favorite actor in it so it has a special fondness for me. If the whole FBI were made up Jimmy Stewarts, I'd feel a lot better about it. There's also a good performance by Murray Hamilton as his friend and fellow agent who is killed in a shootout with Baby Face Nelson.

Vera Miles didn't just marry Stewart, she in fact married the FBI as the film demonstrates. It's dated mostly, but still has a good and interesting story to tell.", "label":1 }, { "text":"Storyline: Max von Sydow's voice-over narration hypnotizes the protagonist (and audience) back to 1945 where our protagonist the young American ideologist Leopold Kessler (Jean-Marc Barr) has just arrived in post-WWII 1945 Germany to help rebuilding the damaged country. Uncle Kessler (Ernst-Hugo J\u00e4reg\u00e5rd) supplies Leopold with a job in the big Zentropa train corporation, but soon Leopold falls in love with Katharina Hartmann (Barbara Sukowa); daughter of Zentropa owner Max Hartmann (J\u00f8rgen Reenberg). Leopold soon finds himself caught in a web of corruption, being taken advantage of, losing his ideology, and is forced to chose between pest or colera.

Mysterious, mesmerizing, manipulative, noirish, haunting, beautiful, and ugly. These are some immediate, grandiose, descriptions that come to mind when thinking of Lars von Trier's 1991 masterpiece EUROPA; the final chapter of the Europa trilogy. In USA it was retitled ZENTROPA so audiences wouldn't confuse it with Agnieszka Holland's EUROPA EUROPA from 1990 (equally a WWII drama). The Europa trilogy also consists of FORBRYDELSENS ELEMENT from 1984 and EPIDEMIC from 1987 (the infamous experiment that only sold 900 tickets in the Danish cinemas). The trilogy thematically deals with hypnotism and loss of idealism, although the themes of this trilogy are not as essential as the visuals. In the opening-shot of EUROPA we see a locomotive moving towards us while our unidentified narrator literally hypnotizes us: \"On the mental count of ten, you will be in Europa. Be there at ten. I say: ten\". A metaphor for movies' ability to transport us into a subconscious dream-reality.

EUROPA utilizes a strange but extremely effective visual style -- that famous Russian director Andrei Tarkovsky is Trier's main-influence says it all. It's a black-and-white movie occasionally intertwined with red in form of blood, a red dress etc. According to rumors this inspired Steven Spielberg to use the similar effect in SHINDLER'S LIST from 1993 (coincidentially another WWII drama). Furthermore Trier uses so-called Dutch angels and reinvents background-projection by adding separately shot co-operating layers upon layers, but unlike old Hollywood movies that incorporated it for economical reasons, Trier uses it for artistic reasons. These carefully executed strange-looking visual techniques underline that we are in a dream-reality, we are hypnotized; the universe of EUROPA is not real! EUROPA is often criticized for weighing advanced technique (such as multi-layered background-projection) above plot and characters, but hey that's what reviewers criticized Stanley Kubrick's 1968 visual masterpiece 2001: A SPACE ODYSSEY for -- nowadays it holds an obligatory place in all cinema-history books.

EUROPA also gets accused of historical incorrectness. Apparently Trier assigns the Nazis' Werewolf terrorist-group too much historical significance. According to various online-sources that's correct (a fascinating subject - try Googl'ing it yourself!), yet Trier's purposes are neither educational nor portraying history accurately. EUROPA is a never-ending nightmare. Leopold Kessler is hypnotized, therefore the universe that the audience encounters is a distorted reality. Equally it shows how our memory deceives us -- a 100% accurate reconstruction is a lie! Although young audiences who experience EUROPA are too young to have memories from WWII, we have a collective memory of it from various BBC documentaries, so these small inaccuracies actually serve a purpose: they inform us us that we are not in post-WWII Germany 1945, but in Leopolds memory of it.

All three Europa trilogy chapters portray young ideologists with noble intentions forced into corruption and losing their ideological innocence. The ambiguous endings of FORBRYDELSENS ELEMENT and EUROPA show the ideologists getting forever caught in their hypnotized realities. Before, during and after shooting EUROPA in 1990 in Poland, Lars von Trier and co-writer Niels V\u00f8rsel were extremely interested in WWII. It shows. It's packed with extremely beautiful shots catching the atmosphere of the time-period spot-on. A great example is the old Polish church (EUROPA was shot in Poland primarily for economic reasons) in the last act of EUROPA. As with 2001: SPACE ODYSSEY I think EUROPA will receive it's rightfully deserved place in cinema-history. Its method of twisting old film-noir love-affair clich\u00e9s and visual techniques is so unique, strange and completely different from anything you will see from Hollywood nowadays, or any other dream-factory for that matter.

EUROPA is an essential movie in the Lars von Trier catalog. Some write it off as pure commercial speculation, but that would be catastrophic. It's right up there with other Trier classics and semi-classics such as FORBRYDELSENS ELEMENT from 1984, the TV-series RIGET from 1993 and DOGVILLE from 2003. It's a unique experience from before Trier cared for his actors, and before the Dogme95 Manifesto. Watch it! \"On the count of ten...\" 9\/10", "label":1 }, { "text":"I think a great many viewers missed entirely the fact that this is obviously a parody of western films.

This is not a bad movie - it is a clever tongue in cheek take on westerns. I don't believe this film was taking itself seriously for a moment.

What makes this film even more unique is the fact it is centered around 4 strong, beautiful women, two of which are black, one Asian, and a Mexican\/Hispanic character.

These aren't your usual western women--they're tough--they can draw fast and shoot straight.

They're so tough even the bartender is shaking when he pours their whiskey.

The plot which moves this story along is typical of westerns--in the vein of \"you shot my brother--so I'm gonna get you!\" Only in this western, a woman's sister has been shot and she's out for vengeance on the gang who did it.

So she goes and rounds up her old cronies from her bank robbing days.

One of them, Maria, is not really all that interested in avenging Rachel's sister, but she is motived by the fact there's gold and jewelry hidden in the town where they're headed.

There are a couple of scenes that don't quite make sense, not that they interfere that much, they can be ignored, but I wondered why they were there. So the film could use a little tightening, but over all, this is a well made film that has failed to find an audience that recognized what it is.

My only disappointment was that the only lesbian in the film is a villain--of the \"heroines\", one is obviously straight, the others sexual orientations are never disclosed.

7 Stars", "label":1 }, { "text":"I sit through movies like \"Tiempo de valientes\" and I want to talk about cinema for hours. The admiration this movie caused me is beyond my own limits of explanation, because I'm watching the scenes of the film and I search inside my thoughts for film-making ideas and dialogue innovations that could emerge from something bigger than Damian Szifron's mind.

Looking the environment, so uncompromised, so simple, I'm thinking; this man is a genius. No wonder he created what is probably the best television show Argentina ever witnessed, and then a first movie full of elements some contemporary directors haven't still achieved. \"El fondo del mar\" is the name and, it awakened (a few years ago), my enthusiasm for our everyday cinema.

Starting his journey from people's daily real lives, Szifron goes where Pablo Trapero never could in \"El Bonaerense\"; the Federal Police Department's life. Trapero's film was a journey into a man's mind and experiences, not into the places he saw. Yes, there was a detailed training and lots of crime situations, but Szifron in \"in there\", his is more of a detective story, like the ones we know and love, with the mysteries and the thrilling music.

But there's a lot of humanity in his writing, and he shows us his investigation through the eyes of his main characters, Alfredo D\u00edaz and Mariano Silverstein. There are a lot of actors of great caliber in the film, but these two actors are the ones the film can't do without. The first character (Luis Luque) is a detective that has just found out his wife cheats on him; and has to work on a case.

The second one is a psychiatrist that is assigned the treatment of the detective. He wants to deal with him in regular sessions but the sheriff takes advantage of the time disposition and suggests he joins D\u00edaz in his routines: \"It's nothing, the usual stuff; no problem\". But it is bigger than that, and it will unfold a part of the doctor's personality he didn't know.

The relationship developed between the two leads can't be explained unless it is observed, because it regards such a complexity that demonstrates how talented are some men like Szifron that are trying, today, to leave a signature in our history. Reaching points of unbelievable spontaneity, during a high pressure situation, D\u00edaz tells Silverstein: \"How do we continue our treatment?\", and Silverstein answers: \"No, I'm not your doctor. You call me to have dinner; I'm your friend\": we laugh because we can't help it.

And we can't help laughing when D\u00edaz crashes a car in the street and doesn't gives importance to it, or when he trespasses all the red lights in the street, or when he smokes pot in his police patrol and Silverstein can't believe it (but then smokes it too because he's screwed up); or when Silverstein tries to be friendly with D\u00edaz's robber friends. Magic from Diego Peretti is what we receive there. He, a psychiatrist himself, gives a performance in plan \"Locas de amor\", but impresses with all his range. Luis Luque on the other hand, is back on track with a top-notch portrayal that reminds us the great actor he is.

There's a passion I have for this, and as I said, I could write about it for hours, but unfortunately that's not the way it works and I have to be precise and summarize. Although I have to watch a lot of the old movies and study them, I could assure that \"Tiempo de valientes\" is the comedy Argentina had been waiting for and never got\u0085Until now.", "label":1 }, { "text":"Does anyone know, where I can see or download the \"What I like about you\" season 4 episodes in the internet? Because I would die to see them and here in Germany there won't be shown on TV. Please help me. I wanna see the season 4 episodes badly. I already have seen episode 4 and episode 18 on YouTube. But I couldn't find more episodes of season 4. Is there maybe a website where I can see the episodes? Because I've read some comments in forums from Germany and there were people which had already seen the season 4 episodes even though they haven't been shown at TV in Germany. I am happy about every information I can get. Thanks Kate", "label":1 }, { "text":"BABY FACE is one of the better of the \"forgotten\" films before the code. It was shown last night after the 1931 version of WATERLOO BRIDGE on the TURNER CLASSIC NETWORK, so I was able to watch the film as it is now with four plus minutes of it restored.

Stanwyck is living in East St. Louis (where she may have known the drunken parents of \"Myra\" - Mae Clarke - in WATERLOO BRIDGE). Her father is Robert Barrett. She has lived with him since the death of her mother, and (in the restored dialog) he has been pimping her since she was 14 years old. Now she is resident waitress and part-time whore in his speakeasy, her closest friend being Chico (Theresa Harris), the African-American servant who Barrett keeps bullying. It is one of the two good points of Stanwyck's personality that she keeps standing up to her father about Harris, threatening to leave if Harris is fired (and since it is the grubby workers like Nat Pendleton, who enjoy seeing Stanwyck serve them, rather than the flavor of the hooch he serves that brings them in, Barrett has to obey her).

The one guy who comes to the speakeasy regularly whom Stanwyck likes is the shoemaker and intellectual Adolf Cragg (Alphonse Ethier), who sees great potential in the spirited girl if she will just leave her forsaken home. He is also pushing the philosophy of Friedrich Nietzche, and the idea of the will to power. More about this later.

After she knocks out the local political bigwig (Arthur Hohl), and has an argument with Barrett about this, a still explosion kills Barrett, and enables Stanwyck to leave her home town. She and Harris head to New York City, managing to get free transport by a railroad freight car by sleeping with a brakeman (James Murray). They reach New York, and after walking about they see the Gotham Trust Company (established 1873), and the friendly guard tells her where the personnel office is.

We slowly watch Stanwyck ascend the corporate ladder to the top, similar (but sleazier) than Robert Morse dared in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING. But Morse was a man in a man dominated company. Stanwyck knows her sexual allure is her weapon. She goes through John Wayne, Douglas Dumbrille (a section of the film that I always felt was the most shocking - curiously enough - when I watched it), Douglas Wood, Henry Kolker, and finally George Brent. Each ends up falling for her, and either being pushed aside when no longer useful, or destroyed by her. Brent, the new President of the Bank his grandfather founded, eventually marries her - and the crisis of the film is when the bank's economic situation is shaken (especially after Brent buys her a fortune in jewels and gives her valuable bonds). Brent is indicted. Will she stick up for him?

SPOILER COMING UP:

The one thing about these films that is not admitted is that the theatrical and moral conventions of the time still dictated endings. The original ending had Stanwyck boarding a ship for Europe abandoning Brent to his fate, but realizing she can't do it to him, returning to their apartment house, and finding he's shot himself. She is riding with him to the hospital as it ends. Now before the rediscovered footage was found, the film ended with them apparently giving up all their money to the bank to save it, and retiring back to East St. Louis, to live happily if poor.

Neither of these are good endings. Stanwyck should continue on her destructive course, with Brent the last of her victims. But even without the Breen office the script writers (one is Darryl Zanuck, by the way) saw fit to have her find a moral center. She has none - at least none for powerful men (whom she hates). I don't think that a depression audience would have tolerated that type of conclusion.

There are other problems, due to the changing styles of public opinion and changes in society. It was a man's world in the corporate world in 1933, so Stanwyck has her work cut out for her. Wood (when she is going to be fired for an indiscretion with him) admits that he did not want her to work.

But in 2006, Stanwyck would have been finding woman all over the place. In the film there are nasty, catty remarks (obviously some based on jealousy) towards Stanwyck from other secretaries and female employees at her rapid rise. In 2006, she'd be frequently confronting women superiors, and she would find them cutting her off at the legs very quickly. Of course, if she finds one or two are lesbians she might try that road but it is doubtful. And she also never seems to meet any men who are gay. They do have gay male executives in business, who wouldn't give a damn about her legs or breasts.

Then there is her mentor, Mr Cragg. Cragg is remade in the \"bowdlerized\" version into trying to make her seek a moral center. In reality he pushes Nieztsche, but the way (in a broader sense) the Nazis pushed Nieztsche - find your way to power and push it. While Nieztsche did stress power sometimes, it wasn't the be-all and end-all of his theories. Otherwise nobody would read him today in college courses. Cragg is obviously self-educated, but only half-educated. In short if somebody who thoroughly studied Nieztsche confronted Cragg he'd make him look like a half-educated fool. And this is Stanwyck's mentor! A good film, and for it's day worth a 10...but seriously flawed.", "label":1 }, { "text":"David and Bathsheba is a lavish Hollywood Biblical picture produced out of 20th Century Fox by Darryl F. Zanuck, directed by Henry King and starring Gregory Peck {King David}, Susan Hayward (Bathsheba), Raymond Massey (Nathan), Kieron Moore (Uriah) and Jayne Meadows (Michal).

The film is based around the second Old Testament book of Samuel from the Holy Bible. It follows King David, who as a child had slain the giant Goliath, and now we find him in adulthood as the second King of Israel. A tough and assured King, David however has affairs of the heart causing great problems. For once he spies Bathsheba taking a shower {re;bath}, it 's the start of a journey encompassing adultery and betrayal; a journey that will end in the judgement of God being called upon.

Typically for the genre, David & Bathsheba is a large, grandiose production. From its excellent set designs to it's positively gorgeous Technicolor photography {Leon Shamroy}, it has enough quality to warrant sitting along side the best the genre has to offer as regards production values. Untypically, tho, the film is sedately paced and relies on 99% of its worth being driven purely by dialogue. This is not one for action fans or anyone who needs some swash to go with their buckle. This is a very humanist picture, in fact lets not beat around the burning bush here, it's a Biblical love story flecked with sins of the heart. But that is no bad thing at all, because breaking it down we find it's very well acted {Peck has a stoic yet vulnerable thing going on real well & Hayward is pushing it to the max}, and it be a fine story directed with knowing skill by the often forgotten Henry King. And although some of the dialogue is admittedly cringe inducing, the character flow is never interrupted as Phillip Dunne's (The Ghost and Mrs. Muir) Oscar nominated screenplay holds the attention throughout.

Sometimes a forgotten picture in terms of the Biblical\/Swords & Sandals genres (most likely because it is a talky piece that has heart as its main selling point), but really it's well worth the time of anyone interested in the most lavish of genres. 7\/10", "label":1 }, { "text":"Seriously, can you imagine such a spread of talent in one film without a huge budget: Daniel Day-Lewis, Ray McAnally, Brenda Fricker, Hugh O'Conor AND Fiona Shaw? There's no doubting that Fricker and Day-Lewis deserved their awards: but it would have been entirely justifiable to have seen O'Conor (as Young Christie) and McAnally awarded: the clich\u00e9 is true here: they don't perform the roles, they inhabit them. Day-Lewis' performance is a tour de force - such a transformation that it is awe-inducing, but it was truly a mark of the Academy's intelligence that alongside this performance, they also honoured Brenda Fricker's beautifully restrained, still and heart-wrenching work as Christie's mother. By the way, if you haven't seen this magnificent actress in \"Swann\", that's another film well worth checking out for her contribution (and the sublime Miranda Richardson).", "label":1 }, { "text":"Outside the household is a different world and the family struggle to tread the line between Dads authority and their hopes and dreams.

The period is captured; The bakelite light swithes, the Georgian floorpan, the picture rails, the wall paper, the short skirts, the cheeky lads, the Mini van, shiny modern mangles....

The location is captured; A wind lashed glacier hewn rocky landscape, walls of local stone, community, freedom.

But there is much much more; Childhood, happiness, sensuality, pride, values, freedom, authority, rebellion, violence (in the deepest sense), love, struggle, puberty, naivety, morality, trust, faith, deceit, machismo, manners, maturity, loss, poverty, sacrifice, horror, acceptence, revelation, comedy and parenthood are all there. (And in no particular order!).

This film is a richly woven expression of family tensions that are as relevent today as ever. The fact that some of these aren't tackled directly is testament in itself to the attitudes of the day but the fact that they are all here is a testament to the acting skill, the story and the direction.

If there's anything bad about this film, it's that all this deeply entrenched and wonderfully enacted tension is swept away a little too lightly towards the end. Maybe I missunderstand - the doom and gloom felt by many teenagers really does disappear if they deal with it (**) - maybe the film is trying to send even that message too - well worth doing.

What is the film trying to say? Kids: Parents were young too, parents struggle too, everyone makes mistakes, everyone learns, things change, struggle can end happily. Parents: Don't try too hard! Try to remember that your support is the key to their well being.

It sounds simplistic doesn't it? Sometimes the film feels like that too but it's then that you notice how much is being being challenged and uncovered.

The film is a classic.

(**) - Not the problems themsleves.", "label":1 }, { "text":"Surprised to see the rather low score for this movie. Just saw this film for the first time in 10 years, and was reminded why I like it.

Come back with me, children, to a time when Michael Keaton was a straight-up comedy guy, and you might find some joy in this film. It's a gentle comedy -- the kind Ron Howard specializes in -- but if that's your thing, you should check this out. Keaton's low-key charm is just right for this project.

\"Gung Ho\" is a bit dated, because it takes places in the last stage of the pre-global economy world, when it still mattered what country a business was based in. That said, it delivers laughs as well as a lesson on how people can learn from each other, to great benefit.

You could watch this film and enjoy it without remembering one scene in particular you really liked, but that's because the whole movie provides a slow but constant stream of laughs. It's like an I.V. drip. And I mean that in a good way.", "label":1 }, { "text":"I caught this movie on IFC and I enjoyed it, although I felt like the editing job was a little rough, though it may have been deliberate. I had a little bit of a hard time figuring out what was going on at first because they seemed to be going for a little bit of a Pulp Fiction-style non-linear plot presentation. It seemed a little forced, though. I certainly think that the movie is worth watching, but I think it could have used a little cleaning up. Some scenes just don't seem to make sense after others.

I'm surprised to see the rating here as low as it is. It's not outstanding, but it doesn't have any really serious problems. I gave it a 7\/10. The movie did show at least that Laurence Fishburne can act when he wants to. They must have just told him not to in the Matrix movies.", "label":1 }, { "text":"This is one of those little Christmas movies for everyone. Our Scrooge is Ben Affleck, who decides money is not enough, so he rents the family who lives where he thought HIS family did. OK? This is a great little high school soap, PG-13, but the small sex references are comedy, so if your kid can't handle them, they can't live in the real world, either.

Now, Affleck is a hunk, and as usual walks through this fun, OMG, remember when we did..., ensemble piece as if he were at the end stages of some neuroinfectious disease. But that's OK, because even this old Oracle keeps hoping that if Ben's that well proportioned all over, well, there's hope for us ladies yet. Luckily, the rest of the ensemble--Catharine O'Hara, James Gandolfini, Christina Applegate, Udo Kier and Josh Zuckerman--fill in and keep this shadow-side-Ozzie-and-Harriet Christmas alternately hilarious, comfortable and warm.

This movie is the kind you can jump up and get popcorn, and when you get back, everyone wants to back it up to show you what you missed.

This is a happy film, after all, and it leaves you feeling good about life, love, family, Christmas and Chanel. There really IS something for everyone.", "label":1 }, { "text":"I remember when this film was up for the Academy Awards and did not win in any category. For the life of me, I cannot remember what it was up against, but one thing I can say: It was one of the best movies I have ever seen. And the fact that Steven Spielberg directed the film did not persuade me one bit.

Essentially, it is about a black woman's trials and tribulations as she is growing up from a girl to a woman. There are a lot of insinuations that are disturbing and horrifying, but all of them are needed to see how much this woman has put up with. Along the way, we see other women who have had to put up with their hardships and walk with them to redemption. Whoopi Goldberg gives her best performance ever in this movie. Danny Glover should have also gotten at least nominated for his role in this film.

And the best part of this movie is that it treats its subjects humanely, not like some sideshow freak shows like the more recent \"Beloved\" did. I encourage anyone of any race to see this film. 9\/10", "label":1 }, { "text":"Lots of reviews on this page mention that this movie is a little dark for kids. That depends on the kid. This isn't a movie for a 2-6 year old; it's more geared toward the 8 years and older crowd. I saw this movie when I was 10, I absolutely loved it. At the time most animated movies were a little too childish for my tastes. This movie deals with more serious issues, and therefore has a little more emotional impact. In this movie characters can DIE, and be sent to HELL! This gives a little more emotional weight to the scenes where characters are risking their lives. The good guys aren't always perfectly sweet and nice (like other cartoons). They have \"real\" motivations, like revenge, and greed, but also compassion and friendship; shows that things aren't always black and white.

Excellent Movie", "label":1 }, { "text":"I can't stand it when people go see a movie when they know they won't like it. My mom likes violent movies, so why did she see it? She rated it just to bring down the rating. So I know that's why it didn't have a higher rating. I give it a 6\/10", "label":1 }, { "text":"Before I start, I should point out that I know the editor of this film. We've never met, but we belong to the same fanzine(those things which came before message boards), and we have talked on the phone, so I do have a bias here. Anyway...

Somehow, it's ironic how while the \"Rat Pack\" culture of the late 50's and early to mid-60's made a comeback in the mid-90's, this movie, from the son of one of the original Rat Pack, and which was made in a similar fashion, was a flop. Not only that, it was a critical flop; I believe Peter Travers of Rolling Stone was the only one who did not savage this(he gave it a mixed review, as I recall). And while I don't think this is the greatest film in the world, and I am not a fan of the Rat Pack, or \"cocktail,\" culture, I do think this is worth seeing.

For one thing, this looks stylish, and moves right along. For another, the core performances are all good. Richard Dreyfus is surprisingly restrained here as the head gangster coming back from a sanitarium, and has a droll edge to him. Jeff Goldblum goes back to the quietly ironic performances he gave in his pre-blockbuster days, like THE BIG CHILL. And while Ellen Barkin is only required to vamp in this movie, she does it entertainingly. Admittedly, it's not a great film; the dialogue is mostly made up of puns, and a lot of them don't work(like the whole \"Zen of Ben\" speech). And Gabriel Byrne and Kyle MacLachlan are awful here. Still, I was entertained, and if you like gangster films, you might be too.", "label":1 }, { "text":"I just want to say that I am so glad somebody finally spilled the beans on this movie. Bravo \"The Spaz\", Bravo! This movie is a ridiculous farce of film-making. Especially for a student film! I just want to give credit to the Spazz for taking the absurd amount of time a care to find such a rare picture, and then TO COMMENT ON IT! Most people I know don't have that kind of time, especially so few will end of reading it. Kudos to you sir! Anyway, the movie follows a thin storyline that is at the least unbelievable and just plain silly. I understand the idea behind creating a satire of Charlie's Angels but why hire such atrocious actresses! Also, what kind of director has himself act, write, produce and also edit the picture! Choose one job and put all your love into it man! It's such a shame because I hear he made a good movie about a killer toothbrush. Again, thanks to the Spazz for pulling back the curtain on this film, people like you are a rare find.", "label":1 }, { "text":"This is a great movie if viewed in the proper context - It was meant to be a parody of teen-horror-devil-worship movies (and the '80s saw plenty of them)! I saw this movie when it first came out, and instantly liked it. Being a big fan of KISS, it was great to see Gene in the movie. And anything with OZZY as a metal-hating preacher can't be all bad! Also, Fastway was already a favorite of mine, so it was great to hear them on the soundtrack.

The original VHS (this was pre-DVD) cover for Trick Or Treat featured an illustration of Sammi kneeling, playing his guitar in a ring of fire with a \"demon\" looking on. It was a special order, and the price for the VHS copy at the time (circa 1987) was $90! I really wanted the movie, but not at that ridiculous price. The 'OZZY-Gene' cover was only created for the $5 re-release. The company releasing it probably figured Gene and OZZY were the only recognizable people in the movie, so they had better put 'em on the cover! Same thing with the original \"Little Shop Of Horrors\" - Jack Nicholson was in it for all of five minutes, but now they have him on the cover as if he were the main star.

I have a \"Trick Or Treat\" web site, and it's surprising how many people believe Sammi Curr was a real person! Fastway helped perpetuate that myth by dedicating their soundtrack album to 'Sammi Curr'.

All-in-all, it was just a good time, rock-n-roll movie. Definitely not to be taken too seriously, but just enjoyed!", "label":1 }, { "text":"Me and my girlfriend, Annette, watched this together and we'll both comment.

Both of us really enjoyed watching this even though it took some liberties with Dicken's work. A lot of Dicken's works are somewhat dark and dreary (including Oliver Twist), but this movie changed all that. It was fun, colourful (both visually and musically), and the characters were more lighthearted.

TRAVIS: Normally, I don't care a lot for musical and dance movies, but the tunes in this production were catchy and lively, and the choreography was awesome.

ANNETTE: That's really saying a lot coming from Travis. I can't emphasise enough how really good the dance numbers were. You can tell, for example, that those boys really worked hard getting the routines down to perfection.

TRAVIS: Three actors really stood out IMO; Nancy (Shani W.), Bill Sykes (Oliver Reed), and Artful Dodger (Jack Wild). Man, that Oliver Reed can really do a good villain. That one scene where you see his eyes thru the mail slot gave me chills down the back...AWESOME. And that kid Jack Wild was a perfect Artful Dodger. And Nancy was fantastic (man, I felt bad when she got killed). She can sing too! Kudos to the casting department on their choices there. I hated the Oliver Twist kid tho. He was just too whiny and wimpy for my taste. (I kept wishing Bill Sikes would drop him off into the mud during the chase scene.) And they shouldn't have had him sing either.

ANNETTE: Acting was truly superb. In addition to the three stars Travis mentioned, I felt Ron Moody (Fagin) did a tremendous job. He was so funny, and at the same time lightly sinister too. The supporting actors were great too. Harry Secombe carried his Mr. Bumble role extremely well. And he has a wonderful singing voice. I saw Mr. Secombe perform in another movie entitled \"Davy\" where he played an opera singer with pleasing results. The talented Harry Secombe should have been in a lot more movies.

TRAVIS: As I mentioned earlier the story isn't quite true to the book, but IMO it was more robust. This movie was not boring either, as some musicals seem to be. And the continuity kept you moving right along with the characters. The tunes did not detract from the plot or put you to sleep by being too long.

ANNETTE: Any musical movie which Travis watches completely has to be a rare find. And this one is indeed a rare find. It is a very easy-to-watch production which carries the viewer smoothly and enjoyably through to the end. In a day when movies all seem to be effects combined with pretty faces, this was a refreshing interlude.

Our combined rating for this was 8.5 of 10. (We'll round up to 9 in this case.).

TRAVIS: I rated this a 7 mainly because the Oliver Twist kid (Mark L.) irritated me, and his songs were torture to my overly sensitive ears. Otherwise, it was an outstanding movie.

ANNETTE: My rating is a 10. Movies don't get much better than this. And you can tell everyone involved in this production really worked hard to make it what it was...a masterpiece.

Please don't miss this one...even if you normally don't like musicals. It really is a rare treat.", "label":1 }, { "text":"The dehumanising effect of war is a much-studied subject in the movies; as is the equally dehumanising, but potentially life-saving, dehumanising effect of military training. Joel Schumacher's 'Tigerland' follows the standard template, we see men treated like dirt but emerging as soldiers, with a degree of mutual respect for their commanding officers, and judgement is reserved on whether such an extreme process can be considered justified; as is judgement of the merits of the war for which they are being trained (typically, as here, Vietnam). But 'Tigerland' has an interesting take, by centring its account on a cocky dissident named Bozz (played outstandingly well by Colin Farrell), who understands that all power governs ultimately by consent, and the lack of awareness among the powerless of their own complicity. Around this character, a taught, gripping plot has been constructed, and it's also a plus that the action never leaves America (whereas Stanley Kubrick's 'Full Metal Jacket', to name just one other film of a similar type, lost focus once the action shifted to Asia). Although this is not a film of staggering originality, it's supremely well done and captivating viewing throughout: the best film from this director that I've seen, and among the very best of its genre.", "label":1 }, { "text":"NB: Spoilers within. This great movie is \"about\" so many things, all of them successfully: sci-fi time travel, unstable psychologies, dystopian society, the what-is-real syndrome, gradual undermining of belief systems, worldwide bioterrorism, and a nascent love story.

The ramifications of the story's twisted time line stir up loads of heated debate - witness the discussions within this site; or, as an extreme, check out the dissertation at www.mjyoung.net\/time\/monkeys.html. Whew! Such temporal emphasis speaks mostly to the brilliant plot, coming from the magnificent work of writers David and Janet Peoples, not to mention the inspiration of Chris Marker's \"La Jetee.\" Without a doubt, this is one of the most successful, fascinating time-travel movies ever conceived. But there are many other levels speaking here.

The movie's real genius is to focus on the nasty side effects of time-travel in the mind of James Cole (Bruce Willis, doing the best work of his career here). His journey progresses from gung-ho vaccine-hunting warrior to gradually unhinged victim \u0096 and back again. The other broad sweep of the story increasingly emphasizes the personal tale between James and Dr. Kathryn Railly (the wonderful Madeleine Stowe). I love the simultaneous shifting\/opposing viewpoints of these two characters. For me it all comes to a head in the fleabag hotel room scene. By this point, James \u0096 once gripped by an unshakable determination \u0096 now slumps in utter doubt about his own reality; while Dr. Railly \u0096 the cool and rational scientist \u0096 has finally become wildly convinced, after absorbing James's proofs, of his horrific predictions. Her desperation to get through to James and hang on to the mission shows how far she's come.

Gilliam makes us care about these characters, especially through the crescendo of tension threading their lives. The balance held between emotional roller-coaster and mounting sci-fi puzzle\/thriller is exquisite. And the denouement at the airport is heart-poundingly intense because we see it coming so clearly through James's dreams. It is here, just after James has decided to quit the whole mess \u0096 and is fighting his insanity more than ever \u0096 that he steps back up to the plate and does what is necessary for mankind. See Jose and the gun\u0085 (Just before this, the references to Hitchcock's \"Vertigo\" and identity switching\/confusion are brilliant.) This is a movie to be hashed out between thinking people; it not only holds up under repeated viewings, it demands them. \"Twelve Monkeys\" is intelligent, provocative, bizarre, funny, and suspenseful stuff.

The supporting cast is excellent, especially Brad Pitt stealing all of his scenes and showing great flexibility as Jeffery Goines, crazed and spoiled, but ever the survivor. And there is David Morse as Dr. Peters (interesting how the movie simply leaves to the viewer his wicked motivation) and Christopher Plummer as Dr. Goines. But the biggest accolades belong to Terry Gilliam, surpassing here - just barely - his outstanding \"Brazil.\" (Lots of parallels, of course, especially the lonely combatant trying to escape his crumbling surroundings: lunacy within, lunacy without.) Every frame of this movie has his unique stamp and tone. The soundtrack is terrific, too.

This is one of the great achievements of the 90s, a true favorite of mine, and sure to hold up for a long time to come.", "label":1 }, { "text":"I went to this movie only because I was dragged there and I would have left again immediately because the audience consisted mainly of elderly people and I felt out of place. However, the film was utterly fascinating and far from being targeted towards old people. The characters were all very real and believable and I found myself discussing the film, the characters and the storyline for hours afterwards. There are a few quite engrossing scenes in there but they are necessary and help you to understand the situation much better. All in all, this is a great and valuable film - slightly off mainstream but that does not mean that this film cannot be enjoyed by people who prefer mainstream. It's a thrilling and interesting movie experience.", "label":1 }, { "text":"Jason Bourne sits in a dusty room in with blood on his hands, trying to make sense of what he's just done. Meanwhile, a CIA chief in NYC outlines the agency's response to what's just happened on screen. An American flag stands proudly on the centre of his desk in the foreground of the shot, but as he speaks, it slips out of focus as his plan veers into morally dubious territory, as if it doesn't want to be associated with the course of action the government man decides is necessary in the interests of national security.

This shot effectively captures the mood of the film. As well as portraying Bourne's quest to find out how he became Jason Bourne, Ultimatum is also an examination of the human costs of the measures taken to protect us in the interests of stability and security.

It is also probably the best film you'll see in the cinema this year.

It's just so intense. Bourne says to Simon Ross (Considine) \"This isn't some newspaper story, this is real\" and in the audience you almost believe him. The camera shakes, but remains steady enough for you to see everything and feel like you're there with Bourne as he tries to elude his pursuers, and the performances are so good that these guys seem as though they are the characters they're portraying, instead of just being actors performing well-written roles. The action scenes are so brutally fast-paced and well choreographed that they seem instinctive instead of planned to the minutest movement; the stunt-work is nothing short of amazing.

The pacing is just incredible. It keeps driving forward towards its conclusion, but not so fast that it leaves you struggling to piece together the plot; the script delivers the information you need as quickly and clearly as possible before moving on to the next tense action set-piece. While they're often simple (the Waterloo sequence is essentially just a man on a phone being watched by a man on a phone) they're charged with such dramatic intensity that you can't take your eyes off them. The film is just so focused on powering forwards that you can't help being swept along by it.

With its intense action set-pieces, brilliantly paced storyline, and intelligent examination of the decisions made in the name of national security, the Bourne series is one that accurately captures the ambiguities of our age. Ultimatum is its peak.", "label":1 }, { "text":"Val Kilmer... Love or loath him, sometimes he gets under the skin of a character and pulls out a performance that makes you go 'Hey! This guy is a GREAT actor!' He did in the leather pants of Jim in The Doors and he's done it again in the leather underpants of John.

Revolving around the fall and fall of uber porn king John Holmes, Kilmer strutts to his knees as we unravel one of the biggest murder mysteries hollywood has never solved for over twenty years, with Holmes the key suspect to a brutal Manson-style slaughter.

What Kilmer does so effortlessly is exhude the low-life of the celebrity, the do anything to anyone craving that overwhelms anyone who had it and then lost it. Go see him, you'll know what I mean.", "label":1 }, { "text":"This movie is by far the cutest I have seen in a long time! Wonderful animation and adorable characters (even the bad guys were cute!) made this one a total winner in my book, and also in the books of those I saw it with. I still want to see it again, but haven't had time. Better than Toy Story, which was good too, but not THIS good .", "label":1 }, { "text":"Heartland was in production about the same time as Michael Cimino's Heaven's Gate - Heartland cost a fraction to make but is 10 times the piece of film.

Heaven's Gate was \"the biggest and most expensive ($40 mil in 1980!) Hollywood flops of all time, its failure resulted in the sale of the United Artists studio to MGM\" -imdb entry

Heartland cost a few hundred thousand dollars and benefits from great writing, direction, photography and acting. It easily draws you into the beauty, joys, hardships and sorrow of pioneer life.

It's sad that Hollywood sometimes would pour millions into turkeys (based on a director's single big hit) and neglect such a wonderful story.", "label":1 }, { "text":"This is one of the greatest child-pet movies ever created. I cry every time I see Shadow yelling \"Wait, wait for me Peter!\" as the family car is pulling away. This is a must see if you love animals! Best Movie Ever! The lines in the movie are sometimes stupid. Like when Sassy says to Chance; \"Cat's Rule and dogs drool!\" Lines like this I could do without, but when I was six I bet I loved that line. The storyline may seem hooky to some, but I like it. Shadow as the older dog who's preparing Chance to take over for him when he's gone is really moving when you think about it. It reminded me of my childhood dog. I think everyone can find a piece of themselves in \"Homeward Bound.\"", "label":1 }, { "text":"Watching Cliffhanger makes me nostalgic for the early '90s, a time when virtually every new action movie could be described as \"Die Hard in a \/on a.\" Cliffhanger is \"Die Hard on a mountain,\" and pretty good, for what it is.

But unlike Passenger 57 and Under Siege, which are decent Die Hard clones on their own terms, Cliffhanger dispenses with the enclosed feeling of many action movies and embraces breathtaking landscapes that, in their immensity, threaten to overwhelm and trivialize the conflicts of the people fighting and dying among the peaks.

Years before other movies like A Simple Plan and Fargo dramatized crime and murder on snowbound locations, Cliffhanger director Renny Harlin recognized the visual impact of juxtaposing brutal violence and grim struggles to survive against cold and indifferent natural surroundings.

The opening sequence has already received substantial praise, all of which it deserves: its intensity allows us to forget the artifice of the camera and the actors and simply believe that what we are seeing is actually happening. Not even Harlin's shot of the falling stuffed animal, which is powerfully effective but still threatens to become too much of a joke (and which he repeated in Deep Blue Sea), or the ridiculous expression on Ralph Waite's face, can dim the sequence's power.

The next impressive set-piece is the gunfight and heist aboard the jet. As written by Stallone and Michael France and directed by Harlin, the audience is plunged into the action by not initially knowing which agents are involved in the theft and which are not: the bloody double-crosses are completely unexpected. As Roger Ebert has observed, the stuntman who made the mid-air transfer between the planes deserves some special recognition.

Later, during the avalanche sequence, one of the terrorists\/thieves appears to be actually falling as the wall of snow carries him down the mountain. So far as I know, no one was killed in the making of this movie (a small miracle, considering the extreme nature of some of the stunts), so obviously a dummy was used for the shot. But the shot itself remains impressive because we're left wondering how Harlin (or more likely one of the second-unit directors) knew exactly where to place the camera.

I'll take Sly Stallone as my action hero any day of the week, because he's one of the few movie stars I've ever seen who's completely convincing as someone who can withstand a lot of physical and emotional pain, and at the same time actually feels that pain. The role of Gabe Walker really complements Stallone's acting strengths: he plays an older, more vulnerable kind of action hero, giving an impressively low-key performance as a mountain rescuer who must redeem himself.

In contrast to many of today's post-Matrix, comic book-inspired action heroes, Stallone's Walker is an ordinary man who becomes a hero without any paranormal or computer-enhanced abilities. In Cliffhanger, the hero almost freezes to death, and his clothes start to show big tears as he barely escapes one dangerous situation after another. He winces when he's hit and bleeds when he's cut, particularly in the cavern sequence when he takes a Rocky-style pummeling from one of the mad-dog villains.

It should be noted that the utterly despicable villains really contribute to the movie's effectiveness: when I first saw this movie as a teenager, I was rooting for the good guys every step of the way and anticipating when another bad guy would bite the dust (or rather, the ice); at one point I actually cheered as one of the most cold-blooded characters in the movie deservedly suffered a violent demise.

Lithgow's British accent is as unconvincing as the movie's occasional model plane or model helicopter, but he's fundamentally a good actor, and one of the few who can perfectly recite silly dialogue: in one scene, looking at his hostages Stallone and Rooker, trying to decide which tasks to give them, he actually says \"You, stay! You, fetch!\" Even a better actor, such as Anthony Hopkins, might have had trouble with that line.

Even if Cliffhanger occasionally tosses credibility aside, it does so only for the sake of a more entertaining show.

Early in the movie, for example, Lithgow openly says to one of his men \"Retire [Stallone] when he comes down.\" No real criminal mastermind would have made this mistake even unconsciously: his carelessness allows Rooker to shout a warning up to Sly on the rock face, and this precipitates a gripping tug-of-war between Stallone and the bad guys trying to pull him down by the rope tied to his leg.

Lithgow could have given his order by a more subtle means, but the sequence might not have been as much fun to watch if it hadn't given Rooker an opportunity to openly defy the arrogance of his captor.

Done very much in the style of a Saturday matinee serial or (at times) a Western, Cliffhanger is built on such a solid foundation that it survives some weak elements that would have undermined a lesser film.

Besides the painfully obvious aircraft models mentioned before, the weak moments include a couple of scenes shot on cheap indoor sets with REALLY fake snow, as well as two other scenes involving bats and wolves that seem unnecessary in an already action-packed narrative. Finally, Harlin's decision to film some of the death scenes in slow motion seems pointless, since the technique contributes nothing to the scenes.

It's a shame that Stallone is now too old for action movies, because his character in this movie seems so credible that inevitably I wonder what he would be like years later. But perhaps it's best that Cliffhanger stands on its own for all time, without a sequel: there are enough tired and obsolete movie franchises already. There was an unofficial sequel that called itself Vertical Limit: compared to that clinker, Cliffhanger belongs on the IMDb's Top 250 list.

Rating: 8 (Very good, especially considering most of Stallone's other movies.)", "label":1 }, { "text":"A fine story about following your dreams and actually taking a stab at Doing something about them when the chance strikes. Nothing was easy for Morris either-he had a family, job, job opps elsewheres, a mortgage, etc-it wasn't like he could just drop what he was doing and blithely hop on the greyhound to play AAA ball for 4 months. It took guts. I am glad that they showed his indecision, almost up 'til he got the callup to the majors.

I can remember seeing him pitch against the Red Sox(I think...), it was a great story. Though Morris actually looks more like John Kruk or a Mills Watson than Quaid-that's okay.

Quaid does a very good job playing the man, the teacher, coach and 'oldest rookie'.... As someone who is in the the same age group, I certainly can ID with his plight. You're not Quite too old to do what you had dreamed of as a kid, but it's getting there. You have to do it sooner than lator.

Believably told, nicely edited, paced, acted, good to see the familiar faces of the late Royce Applegate, Brian Cox and Rachel Griffiths here.

Good job all around, glad to see it hit.

*** outta ****...who woulda thought that the Tampa Devil Rays woulda been the subject of such a good movie early on?", "label":1 }, { "text":"The best film about marriage and family. This is a very interesting reflections to the couples that will be come to the dangerous and paradoxical fascinating world of marriage and family. This decision could be the better or the worst in our lives and the life of our kids. The real intrusion or help of 'friends' -or executioner if we leave-. The real role of families: they can help or they can destroy us. The mad priest who possibly is not much mad telling what could happen according the statistics and the reality. A couple who thinks in a 'special' marriage, live a painful story in their future own history.

Who likes contract marriage? Nobody, after the priest tells their own history\u0085 if they leave the future in another hands, if they don't know WHAT is the marriage. That the problems are true, that the life demand a real engage, guaranties, from each one. That the real victims of the divorce are kids, with real name \u0096Andrea in the film- or names. That the abortion is only an easy exit: sadness, regrets and unhappiness will be there after abortion. That the state and social security thinks every time less in a real problems of the families. The gossip of the 'friends', the infidelity because of weakness and desperation of Steffania because Tomasso lives his life as if he were alone.

Maybe someone could think that this film is a pessimistic film, but not. Steffania and Tomasso, in the deep of their hearts, they like a beautiful marriage and family, if not, Why they like marriage? A truly and beautiful marriage depends only of the couple: of each one of their decisions, of each one actions in their lives. The family could be a place where each one feel loved because being his or her, only by existing. The screenplay is wonderful. The performances are great: Steffania and Tomasso, \u00a1the almost cynical priest! An excellent direction and script. The colors and the management of the cameras, superb.", "label":1 }, { "text":"The title of this film is taken from a party game called \"Seven Minutes in Heaven.\" The game was popular among my husband's friends when he was in junior high school in Brooklyn, NY, and he describes it as something like \"Spin-the-Bottle,\" \"Lifesaver Relay,\" and other preteen kissing games. According to the rules, a boy's name and a girl's would be drawn, and the chosen ones ordered to get into a dark closet together and to stay there for seven minutes. In the meantime, there would be speculation among party guests as to whether or not the two had the nerve to hold hands, embrace, and\/or kiss each other in the privacy of the closet. At the end of seven minutes, the game leader would say, \"Time's up\" or knock on the closet door, and the couple would emerge from the closet. After being quizzed by the other guests, the couple would have to admit what they had done during their \"Seven Minutes in Heaven.\" Then other couples would be chosen to enter the closet until all the guests had participated. The couple who admitted to doing the most would be the winners of the game.

Such games have served as social \"ice-breakers\" for children and teens, but they can be embarrassing and intimidating to shy individuals. The film has been given this title because it deals with the teens' first experiences with crushes and romantic love.", "label":1 }, { "text":"Basically, this movie is one of those rare movies you either hate and think borders on suicide as the next best thing to do, rather than having to sit through it for two hours. Or, as in my case, you see it as a kult hit, one of those movies wherein the humour, the plot, the acting, is actually very hidden but for those of us willing to go looking for it, trusting the director well, the reward is: U laugh your A.. of !! The fact that U have to find the things mentioned above, actually makes the movie even more funny, because u get the impression the director isn't even aware of how funny his movie is, which doesn't seem likely and therein lies the intelligence at the helm of this magnificient project called : Spaced Invaders !!", "label":1 }, { "text":"This film is like a 1950-version of Ettore Scola's Brutti sporchi e cattivi. Less sex and less realism, but a tale with great humanism and warmth. I wouldn't call this a neo-realistic picture. It's very sentimental and more like a fairy tale, and should probably be classed as a comedy, although it deals with serious matters (a little like Chaplin or 1930-comedy). Typical Italian though, very emotional, and hard to resist except for a stone cold person. The sentimentalism is a letdown, although this picture was not meant to be a realistic drama. It's not a masterpiece like Umberto D or The Bicycle Thief. But it is a lovable and hilarious comedy, with good music.

7\/10", "label":1 }, { "text":"I'm a big fan of Morgan Freeman. 'The Shawshank Redemption' ranks at the top of my all-time favorite movies. But I have to admit that I have often wondered about his choice of roles. So many of his titles were big budget clich\u00e9s with no heart. '10 Items Or Less' for me marks the return of Freeman to a role that truly showcases his considerable acting talents.

Freeman plays an unnamed, formerly big time Hollywood actor who hasn't worked in several years. He has been offered a part in an unspecified indi picture for which he is doing some research at a grocery store in a poor neighborhood in LA. After being stranded there by his flaky driver, Freeman is offered a ride home by checkout girl Scarlet (Paz Vega), whom he has semi-befriended. Before she can take him home, however, Scarlet has a big job interview she needs to get to, and Freeman agrees to tag along in exchange for the ride.

The movie follows Scarlet and Freeman to several locations, but the movie is really just a character piece about the interactions between the two. Freeman is the quintessential disconnected Hollywood type who hasn't heard of Target, and doesn't know his own telephone number or even what day of the week it is. He spouts wisdom from the Dalai Lama filtered thru his 'the whole world is but a stage' mentality, and repeatedly calls Scarlet's job interview an 'audition'. And yet he has a way with people, a way of affecting them that extends beyond his fame. He is a fan of humanity. He studies them, asks incessant questions about them, and delights in their quirks where others would simply be annoyed. In Scarlet, he sees the stubborn, proud loner that he was; he sees the man he used to be.

Scarlet, for her part, displays a fierce pride and sharp tongue that serve to hide her own insecurities about herself. Vega plays the role with a connection to Freeman that skates the line between an almost daughterly love and physical attraction, although she plays it beautifully and it's not at all as creepy as it sounds. But even as she feels her connection to Freeman grow, Scarlet has a keen eye for the reality of their different worlds and cuts thru Freeman's Hollywood bull*hit with a sharp pragmatism that refuses to accept anything but the truth.

The movie is smart, funny, and well written, with dialogue that is simple but effective. I read one IMDb review that said the lines were 'stilted', which I think is a misinterpretation of realistic human speech. There are no big soliloquies here, no deep soul searching moments. And so the trick is, I think, to show how people in ordinary, everyday life can forge connections with one another. And I think Freeman and Vega pull it off beautifully, painting a picture of a bond between two people that glitters like sun on the ocean, ethereal and elusive. Long after it's gone it lives on in your memories, tantalizing you with what might have been. OK, that was a bit flowery, but I really did like the performances and the movie. I would definitely recommend it.", "label":1 }, { "text":"This film is one of the best of all time, certainly in the horror genre. The claustrophobic atmosphere is outstanding, the music is just as good as the film and the killer is as creepy as can be! Actors are fantastic, RIP Donald Pleasance you were fantastic as Dr Loomis, he made the film even better. Without him the film would be missing a vital ingredient. Jamie Lee Curtis is also superb as our beloved scream queen! Her innocence makes her unaware of the real evil that is after her until she finds her friends grossly murdered in the house, which of course is one of the films best scenes. She gives a tremendous performance. I loved this film since it scared me like hell back when I seen it in the very early 80's and I still watch it to this day as it is a marvellous movie that just brings you in to this world were you could be gutted like a fish at every turn! The fact that it is a simple format of a mad man in a mask whom has escaped from a mental asylum and ready to kill everyone in sight without them having any idea that he is there, is just shockingly terrifying and indulges you even more into the movie as the events though fiction could easily be come true. We all know that unfortunately evil does exist in this world and a mad man with a knife is certainly not uncommon, a very disturbing an deep fear for all of this. Death at any turn. Halloween of course shows this in it's most terrifying way. Horror should be believable, and that is what makes the film enjoyable. It's just a simple story that is made into an excellent and terrifying atmosphere. As well as Psycho's superb storyline, both of which I adore, I believe there formats are the best horror has to offer. To me Halloween and Psycho are the best films I have ever seen and I will watch them all my life and never grow tired of them. Halloween is undoubtedly one of the best movies of all time.", "label":1 }, { "text":"A Classic Hollywood Biopic is the best sense of the genre. Gooding and DeNiro both give spectacularly heartfelt performances in the two leads roles, and the supporting cast is uniformly excellent, with standout performances by Carl Lumbly and Michael Rapoport.

The only \"nit\" I might pick is that Theron's role was unnecessary & distracting (not her performance which was fine, it's just that the film seemed to add two unnecessary scenes to accommodate her role.)

Aside from that, the characterizations, dynamics, and action of the real-life story are riveting and unforgettable. The evolutions of the main characters and how what they experience evolves their beings are uniquely characterized by the performing artists. Despite the movie's extreme length, the pacing stays intact throughout. The score is also terrific.

Us this a predictable Hollywood film? You bet. So, Mike Leigh addicts should subtract a star, but everyone else should enjoy mightily.", "label":1 }, { "text":"As a kid, I loved computer animation although it was EXTREMELY limited and the tools were almost nonexistent. This movie, as I sat in awe and watched the amazing images and almost-hypnotic music, shaped the desire in me to create moving things in the computer. This is a whole-package deal, between the music and the video, that really packs a one-two punch. If you know any child that wants to get involved in computer animation, this is a MUST HAVE.

I still, almost 20 years later, rate this movie as one of my top 3 favorites. The originality, I think, is still unsurpassed by most of today's McMovies that Hollywood spits out. I am currently wanting to see if I can re-make it on my own; if imitation is the sincerest form of flattery then this movie deserves a TON of imitation =)", "label":1 }, { "text":"When our local TV station first launched, it filled a lot of its schedule with old British programming. \"Lock Up Your Daughters!\" was duly aired, and I -- swayed by the opening few seconds of the film -- popped in a blank tape. Best thing I ever did.

The actors are beautifully suited to their characters and bring them to delightful life, complete with appropriate accents (Christopher Plummer's Foppington will leave you in stitches, as will Hoyden and her family). Double entendres abound, plot-line wheels within wheels mix and match the characters, hilarious sight gags lurk in every scene, and risqu\u00e9 comments are made on a regular basis.

I showed the film to friends a few years ago and they called the piece \"a lost treasure,\" as much for the cast as for the story. To this day I can crack up just thinking about the dialog. Should this gem ever find its way to a DVD release, I'll be at the front of the line.", "label":1 }, { "text":"This movie was for a while in my collection, but it wasn't before a friend of mine reminded me about it \u0096 until I decided that I should watch it. I did not know much about Close to Leo \u0096 just that it was supposed to be excellent coming out of age movie and it deals with a very serious topic \u0096 Aids.

Although the person who has aids \u0096 is Leo \u0096 the scenario wraps around the way in which Marcel (the youngest brother of Leo) coupes with the sickness of his relative. At first everyone is trying to hide the truth from Marcel \u0096 he is believed to be too young to understand the sickness of his brother \u0096 the fact that Leo is also a homosexual contributes to the unwillingness of the parents to discus the matter with the young Marcel. I know from experience that on many occasions most older people do not want to accept the fact that sometimes even when someone is young this does not automatically means that he will not be able to accept the reality and act in more adequate manner then even themselves . With exception of the fact that the family tried to conceal the truth from Marcel, they have left quite an impression for me \u0096 the way they supported their son \u0096 even after discovering the truth about his sexuality and his sickness. The fact that they allowed the young Marcel to travel along with Leo to Paris to meet his ex boyfriend was quite a gesture from them\u0096 most families I know will be reluctant to do that. There is a lot of warmth in the scenes in which the brothers spend some time together \u0096 you can see them being real friends , concern about each other.

Close to Leo is an excellent drama, which I strongly recommend", "label":1 }, { "text":"Even though this movie came out a year before I was born, it is definetely one of my favorite comedies. It stars Redd Foxx as a father who tries to understand his son's homosexuality. Like most parents, he doesn't know a thing about what it means to be gay and has all of these stereotypical notions of what gay people are like. His son, Norman, is now grown up and living on his own. When his father, Ben, finds out that his son is gay, he pays his son a visit in hopes of changing him. The title comes from one of the funniest lines in the movie--when Ben gets to Norman's apartments he runs into a female prostitute and thinks it's his son in drag (\"Norman... Is that you?\"). The movie had me laughing from start to finish. Redd Foxx is great. Although a lot of the content is stereotypical, I didn't find anything offensive about the way the material was handled, and it even has a good ending. Highly recommended.", "label":1 }, { "text":"A favourite of mine,this movie tells of two feuding New York \"characters\", Steve Brodie(Raft) and \"Chuck\" Connors(Beery),who both strive to be the \"Main Guy\" in the Bowery in the late Nineteenth Century.

Brodie(1863-1901) and Connors(1852-1913),were real people,though this is a heavily fictionalized account of their antics(based on a play).Brodie's legendary(did he do it?- it's still a cause of argument!),jump from the Brooklyn bridge(1886),for which he became famous,is shown here as happening around the same time as the Spanish-American war(1898).Director Walsh clearly had a great affection for the period,so beautifully recreated here,and it includes a wild rumbustious ragtime number from saloon singer Trixie Odbray(a young Pert Kelton).Raft is at his slickest as Brodie,and Beery shows again what a clever actor he was,as tough, big hearted, and at times quite touching Connors.Pretty Fay Wray is the love interest both the boys are pursuing.

Full of life and energy,\"The Bowery\" moves at a fast pace(unlike many early \"talkies\").It is not an easy movie to find,but is well worth looking out for.", "label":1 }, { "text":"This had a good story...it had a nice pace and all characters are developed cool.

I've watched a whole bunch of movies in the last two weeks and this had to be the best one I've seen in the two weeks.

Jason Bigg's character was the best though.

Even though it was small, it was cleverly crafted from the very beginning.

This may be a romantic comedy and I don't like most, but the writing, direction, performing, sound, design overall in all capacity just was really thought out pretty cool.

This film scored pretty high out of all the movie's I've seen lately - and the rest were big budget or better publicized.

Good job in writing.", "label":1 }, { "text":"I was overtaken by the emotion. Unforgettable rendering of a wartime story which is unknown to most people. The performances were faultless and outstanding.", "label":1 }, { "text":"\"Perhaps we can arrange a meet. \" \"Where are you now? \" \"I'm sitting in my office. \" \"I doubt that. \" \"Why would you doubt that? \" \"If you were in your office right now we'd be having this conversation face-to-face. \"

Bourne remains street tough, and elusive. Only his inhuman resilience leads the film a little too far into fantasy. Conversation is macho, to the point with only shards of Bond type gallows humour. Its all about the action.

The feeling that there is something going on at another level to the world we live in is what the trilogy coveys so well. A scene set in Waterloo with a Guardian journalist does this to great effect. There is no meeting of worlds - you are in it or just a superfluous body.

If the shaky cam doesn't annoy you too much, enjoy this film and hope they somehow keep the franchise going.", "label":1 }, { "text":"The first thing I thought after watching \"Mystery Men\" was how could this movie be so unpopular? I found this movie so adorable and funny that it's status as a bomb defies logic. Well, I hope that in the future it becomes a cult hit, and you can count me amoung it's fans.

Simply put, and without giving too much away, this movie does for comic books what \"the Princess Bride\" did for fairy tales and \"Who Framed Roger Rabbit?\" did for classic cartoons. That should give you a more accurate idea of the tone of the movie then the marketing commitee it was unfortunately signed to (this is one of those cases like \"the Iron Giant\" where the studio had no clue what it had on it's hands). Rent it the next time you're in the mood for something a little offbeat. You won't listen to the BeeGees in the same light ever again.", "label":1 }, { "text":"I acquired this, one of my all-time favourite films on DVD recently and as usual, during viewing, the whole thing just blew me away.

I am a massive fan of Hazel O'Connor and the soundtrack to this film just has me in tears, especially the \"Will You\" track. It's a pure nostalgia trip for me back to my youth. This rates second best to Quadrophenia (which also starred Phil Daniels).

A great soundtrack and a great view of Britain in the Thatcherite years of the grim 80's in which I grew up. The ending is so sad, for hours after the end of the film I am like a blubbering baby.

I expect to wear out this DVD from repeated viewing, I can watch it over and over again and never be bored, simply for the soundtrack alone.

Hazel, sorry to hear about your dad darling. God Bless you all. xx", "label":1 }, { "text":"Pixar has had massive success over the years with the full-length CGI animated movies they have made. \"A Bug's Life\" was the second of a whole bunch of features they have made so far, preceded by the company's feature-length debut, the groundbreaking \"Toy Story\", which was the first ever feature-length CGI movie. I remember when this follow-up was heavily advertised around the time of its release in the late 1990's, but I never actually saw it until November 2006. I watched it twice that month, and over three years later, I have seen it a third time. It has never impressed me as much as probably any other Pixar film I've ever seen, but after three viewings, I still think it's better than some of the films I've seen from DreamWorks Animation.

Ant Island is the home of a colony of ants. These ants are forced to gather food for a gang of grasshoppers who come and take it every year. One member of this colony is Flik, an inventor with a bad reputation for causing trouble with his inventions, even though he doesn't mean to. One year, when the colony has just finished preparing the annual offering, Flik accidentally knocks it into a stream just before the grasshoppers arrive to get it! The grasshopper leader, Hopper, decides to give them a second chance to gather food and have it ready by the end of the season, but they will have to double their offering! Flik suggests to the colony's royal council that he goes and finds \"warrior bugs\" to fight off the grasshoppers when they come back. Princess Atta, the future Queen, lets him go on this mission just so he won't be around to cause trouble while the colony tries to gather food for another offering. The inventor finds a group of bugs which he thinks are warriors, but after he takes them back to Ant Island and introduces them, he learns that they are actually not warriors, but circus bugs!

The main reason why this second Pixar feature has never absolutely astounded me might be the characters. To me, none of them have ever really stood out as much as they could have, and generally seem a bit bland. Fortunately, however, it's not like \"Shark Tale\", a film with a very idiotic and unlikable lead character. \"A Bug's Life\" does have a likable enough main character, one which viewers can root for. The story also seems somewhat bland at times, but for the most part, it's good enough to keep the film at least moderately entertaining, and sometimes has some good suspense, especially later on. The humour, like certain other aspects of the film, isn't as good as it could have been, but there are definitely funny moments, some of them involving Francis, a male ladybug who is sometimes mistaken for a female. You can always expect great animation from Pixar, and the animation in this particular effort of theirs is no exception. With all this movie has to offer, it may be slightly disappointing when it comes to Pixar standards, but it is reasonable family entertainment.", "label":1 }, { "text":"I'm stunt, I must admit I never saw a movie with such good story and none stop high special effect martial art fighting scene. If you like the fantastic genre, like me, you will certainly be more than satisfied! All character have very cool power and the special effect are near perfection, in one word, flawless! I will listen to this movie a lot in the next years.", "label":1 }, { "text":"Well, I would consider Police Story as one of Jackie Chan's best film. The plot, the fighting scenes and the stunt works are excellent. In this film, Jackie himself acted as a police officer called Chan Ka Kui (Kevin Chan in some versions) who successfully arrested a crime lord. After the crime lord was released due to lack of evidence , he framed Chan for the killing of a police officer. Due to this, he became wanted by the police. Later on, Salina (Brigitte Lin), who was the secretary of the crime lord, went to a shopping mall and started to steal the evidence of the crime lord's crimes from his computer and preparing to pass them to Chan. However, the crime lord knew that Salina had downloaded his incriminating data and hired his henchmen to capture her. Later on, Chan appeared at the scenes and began to fight all of the henchmen, defeating them one by one. At the last scene, Chan was seen punching the crime lord. Lastly, this is the best action and comedy movie. Everyone should watch it. Highly recommended.", "label":1 }, { "text":"An intriguingly bold film weaves the seemingly effortless camerawork with some superb casting and an explosive soundtrack to plot the damaging effects of the crime and corruption of the Santiago underworld on 2 naive young brothers from the southern city of Temuco.

Film debutant Daniella Rios is the seductive erotic dancer Gracia, working in the nightclub owned by the face of the new mini-wave in Chilean film production, Alejandro Trejo. The elder brother, played maturely by Nestor Cantillana, is easily convinced to become Trejo's lead henchman, after a night at the stripclub to celebrate younger brother Victor's (Juan Pablo Miranda) seventeenth birthday. From the establishing shot of this opening scene, the film explodes into neo-noir exploration of everything the outside world doesn't usually expect to see in this country so stereotypically conservative and catholic.

Gracia's charms of seduction attract the three men like bees to honey, although the circular narrative of the three-way fantasy romance revolves around the linear portrayal of major international drug deals between Trejo's men and the 'Gringo', Eduardo Barril. Power relations become a vital theme, as society's outsiders merge in a mini-family. The prostitute holds an exotic spell over all the chilean men in the film, emerging from her ambiguous position in the periphery of society, and is seen as holding the key to all three men's futures. The relationships between Trejo and Cantillana become important, as the boys' parents are conspicious by their absence (one assumes they still live in Temuco). Therefore it is Trejo, el padrino, who 'adopts' Cantillana, and effectively 'makes him' as a man in the city. Miranda rapidly becomes the desperate outsider, as his dependency on his 'father figure', Cantillana, becomes increasingly strained by jealousy over the beautiful Gracia. However, Miranda remains trapped by the constraint of still being in school - he is dependent on Cantillana, who is dependent on Trejo, for the money to survive. Trejo, in turn, is under the thumb of the 'Gringo', and his wealth has been accumulated through drug deals and well as his strip clubs. The figure of Gracia acts as a time bomb viewed as a beautiful firework, she wraps a web of beauty inside the patriarchy but the strain can only lead to one climax.

As the tensions of these power relations come to head, Gracia remains ambiguously elusive. The viewer is never sure which male figure she will commit to. The film concludes tragically and explosively in a shoot out which realigns power relations and erases half the major male protanganists. The final shot of Miranda's beaten face speeding down the PanAmericano highway is despairingly powerful. The boy has been sucked in by the lure of the city's underworld, yet has lost his only visible family, and his woman, who is his only friend in the film. He has nothing. The overriding metaphors are bold and brave. This is a gangster film in Chile. The notions of family, no sex before marriage etc, are abolished, and instead the harsh realities of the other side of Santiago's coin are displayed in all their savage glory. Trejo beats Rios brutally, Rios and Miranda make love in a cinema reel room - a whore having sex with a minor she barely knows. The 'gringos' are seen to have a financial hold over this small Latin American nation, but not through the copper mines, through the illegal path of drugs.

Waissbluth's triumph is in his presentation of this dark underworld, which raises so many social questions, more perhaps than the record-breakingly successful Sexo Con Amor, within a slick, smooth firecracker of a film, which place this film firmly alongside Sexo Con Amor, Taxi Para Tres, and El chacotero Sentimental, as cinematic evidence that Chile is well and truly artistically alive and kicking in the post-transition period 15 years after the censorship of the Military Regime.", "label":1 }, { "text":"To watch this film from start to finish without bursting into laughter at some point requires almost an act of faith, as one has to keep saying to oneself, \"it's old\", \"it's a classic\", \"be kind\", not because the movie is so bad, but because at its best it's so good. This is one dated movie. It's also a classic, if a tarnished one. I'm not inclined to laugh at people anyway, on principle, and I get more than a little irritated when others do so. To make fun of The Informer to my mind is a little like giggling at an idiot savant when he dribbles his orange juice all over the tablecloth. Yes, one says to oneself, he is an idiot, and yet when he's on top of his game he is also a true savant. The same is true for The Informer, which is on occasion very dreadful indeed, and yet it boasts splendid photography, some fine acting, a wonderful score and a good, decent simple story. In the end, which I won't give away, politics, religion and psychology come together, in a church, in such a way as to make the scene seem corny and over the top, and yet so is life sometimes. Uneducated people of simple faith behave differently from us (presumably brilliant) modern folks, and the scene isn't so much unbelievable (I buy it, but I know the Irish) as embarrassing. Yet people do behave that way, they do say things like that. Not everyone is hip, and it may not even be desirable for everyone to be hip. Are people today so much superior to those of seventy or eighty years ago? And in what way? I don't think so. We're just different. Now go watch the movie.", "label":1 }, { "text":"I attended Camp Chesapeake. It was located at the head of the Chesapeake bay on the North East River in MD. It was a similar type summer camp with cabins. It was established by the Coatesville, PA YMCA. I started out as a young camper and later became a Junior, Senior counselor and later, the Waterfront director. If the camp had continued, I would have done anything within my power to become the camp director. Alas the powers of the YMCA decided to close down the camp and sell it to the state of MD. I visited the former camp some years later by boat and was dismayed by the neglect of the state of MD and natural destruction by mother nature. The 350 acre site served so many with all the benefits of contact with natures offerings. A black man by the name of Curtis Ford, and his family were residents and caretakers of the property. Mr Curtis was my friend and mentor. I idolized his every being. Even as he could not swim he was a waterman. If I asked him where the fish were biting, he would designate the spot, and I would have a ball. Ther was also a Family camp at the end of the summer. These memories will be with me for eternity.", "label":1 }, { "text":"It's nice to see a film with real people with honest feelings. Sissy Spacek is so absolutely convincing as a simple, yet nice, daughter to Robert Farnsworth,

who finally, in his last role, gets to show what a fine actor he was. It is hard to believe that this is a David Lynch film. It is slow and even, sweet and moving. One of the best unless you like car chases, sex scenes, and violence.", "label":1 }, { "text":"A CRY IN THE DARK

A CRY IN THE DARK was a film that I anticipated would offer a phenomenal performance from Meryl Streep and a solid, if unremarkable film. This assumption came from the fact that aside from Streep's Best Actress nomination, the movie received little attention from major awards groups.

Little did I anticipate that A CRY IN THE DARK would be such a riveting drama, well-constructed on every level. If you ask me, this is an under-appreciatted classic.

The film opens rather slowly, letting the audience settle into the Chamberlain's at a relaxed pace and really notice that, at the core, they are an incredibly loving, simple family. Fred Schepisi (the director) selects random moments to capture of a family on vacation that give a looming sense of the oncoming tragedy, while also showing the attentive bliss with which Lindy (Streep) and Michael (Sam Neill) Chamberlain care for their children.

While the famous line \"A Dingo Took My Baby!\" has become somewhat of a punchline these days, the movie never even comes close to laughable. The actual death of Azaria is horrifyingly captured. It is subtle and realistic, leaving the audience horrified and asking questions.

The majority of the film takes place in courtrooms and focuses on the Chamberlain's continuous fight to prove their innocence to the press and the court, which suspects Lindy of murder.

The fact that it is clear to us from the beginning that they are innocent makes the tense trials all the more gripping. As an audience member, I was fully invested in the Chamberlain's plight... and was genuinely angered and hurt and saddened when they were made to look so terrible by the media. But at the same, the media\/public opinion is understandable. I loved the way the media was by no means made to be sympathetic, but they always had valid reasons to hold their views.

The final line of the film is very profound and captures perfectly the central element that makes this film so much different from other courtroom dramas.

In terms of performances, the only ones that really matter in this film are those of Streep and Neill... and they deliver in every way. For me, this ranks as one of (if not #1) Meryl Streep's best performances. For all her mastery of different accents (which of course are very impressive in their own right), Streep never loses the central heart and soul of her characters. I find this to be one of Streep's more subtle performances, and she hits it out of the park. And Neill, an actor who has never impressed me beyond being charismatic and appealing in JURASSIC PARK, is a perfect counterpoint to Streep's performance. From what I've seen, this is undoubtedly Neill's finest work to date. It's a shame he wasn't recognized by the Academy with a Leading Actor nomination to match Streep's... b\/c the two of them play of each other brilliantly.

More emotionally gripping than most films, and also incredibly suspenseful... A CRY IN THE DARK far exceeded my expectations. I highly recommend that people who only know of the movie as the flick where Meryl screams \"The dingo took my baby!\" watch the film and see just how much more there is to A CRY IN THE DARK then that one line.

... A ...", "label":1 }, { "text":"There is such rubbish on the cable movie channels that I hit a gem with this one. From beginning to end it had me gripped and deserves top marks.

Father of two sons hears messages from \"God\" to kill people who he is told are 'demons'.

When the opening credits showed the director as one of the cast that can often be a warning of a bad film; exceptionally it is the reverse here as the drama is non-stop from beginning to end.

And there is not one moment in the movie when one is not fully enthralled as there are no unnecessary or needless sub-plots, and the script is first class.

All the actors give wholly convincing performances especially the lead child actor who is exceptional.

This film is at least as good as the likes of 'Silence of the Lambs'.", "label":1 }, { "text":"Why should you watch this? There are certainly no reasons why you shouldn't watch it! Superbly and amusingly directed by Albert and David Maysles, Grey Gardens was originally intended to be a film on the gentrification of East Hampton, but it turned out to the brothers that it would be more interesting to produce a study on the eccentric life of the two Edith Bouvier Beales, the aunt and cousin of Jacqueline Kennedy Onassis. Their life was certainly an amusing one (Edith spent most of her day in bed singing operas, Edie performing pirouettes and majorette dances with their many cats, one was named Ted Z. Kennedy) The film is interesting because it is both funny and sad - Edith died shortly after the film was released (in February 1977) aged 82 after experiencing some of the fame that she and Edie received after the film (she danced and sang in a nightclub Edie Beale Jr was born in 1925 and is still living in Miami Beach.This film is both engaging and spellbounding.", "label":1 }, { "text":"Feroz Abbas Khan's Gandhi My Father, a film that sheds light on the fractured relationship between the Mahatma and his son Harilal Gandhi. For a story that's as dramatic as the one this film attempts to tell, it's a pity the director fails to tell it dramatically. Gandhi My Father is narrated to you like that boring history lesson that put you to sleep at school. Now the film aims to convey one very interesting point - the fact that Gandhi in his attempt to be a fair person, ended up being an unfair father. This point is made in the film many times over, and one of the examples given to make this point is that scholarship to England, which Gandhi twice denies his son. Instead of showing us how exactly Harilal dealt with this betrayal and what went on in his head, the director just moves along with the story, thus never letting us be witness to the growing resentment Harilal feels towards his father. Which is why when we finally see an outburst from Harilal, it comes off looking like he's over-reacting.

The point I'm trying to make here is that we never really get to understand exactly why Harilal became the rebel that he did. We never really understand why he turned to Islam, and then back again to Hinduism. The thing is, we never really understand Harilal at all. And that's because the director of this film is too busy focusing on Mohandas Karamchand Gandhi and his role in the freedom struggle, a story most of us are already familiar with. To put it simply, Gandhi My Father promises to examine the strained father-son relationship, but it doesn't so much as show us where the cracks in this relationship first set in. We understand Harilal had to live with the burden of being Gandhi's son, but show us why that was a burden to begin with. Show us incidents of their early conflict. For example, it's not enough that Gandhi merely says he's opposed to Harilal's early marriage, tell us why this opposition? It's not enough that Kasturba blames her husband for the way her son turned out - for constantly shuttling him between schools in Gujarat and South Africa, for making him relocate every time Gandhi needed to relocate. Words are not enough, show us how these incidents shaped the character of Harilal Gandhi.What's more, instead of sticking with the prickly theme of this tenuous Gandhi versus Gandhi relationship, the film goes off on too many tangents, thus diluting the impact of the central theme. This was never meant to be a film about the struggle for Independence, and yet on many occasions that's exactly what it seems like, because the director feels almost obligated to take us through all the main events leading upto that historic moment, even though much of it has no relevance to the film's basic premise - the stormy father-son relationship. So you see the problem with this film is not that it's a bad film, but it's certainly a very confused film. What happens to Harilal's children after his wife's death? Does he ever have relationship with them? Where do they suddenly vanish after that one scene in which we see them with the Mahatma and Kasturba? None of these questions are answered in a film that's basically meant to be about relationships in the Gandhi family. The film version of an immensely popular play directed by Feroz Abbas Khan himself, Gandhi My Father is a disappointment, no questions asked.Cinematically, it struggles to translate the filmmaker's ambitious intention to the screen. Practically every single scene in the film opens and closes with fade-ins and fade-outs, never quite seamlessly leading into each other. On the positive side, there is inherent nobility in the film, which you recognise. The filmmaker makes every effort to deliver a balanced narrative, trying hard not to take sides, never once judging either father or son, painting neither as the villain. What the film does do, however, is make clear the fact that Gandhi was a difficult patriarch whose ideals may have shaped the nation, but evidently alienated his family. Of all the actors in the film it's only Akshaye Khanna who really shines in the role of the luck-deprived Harilal Gandhi. It's a wonderful performance, and it's not easy since the role covers virtually the entire lifespan of the character. But Akshaye brings a rare concoction of innocence and despondency to that part and succeeds in making Harilal a pitiable figure. Just watch him in that scene in which he discovers his wife's dead, and you'll realise how much he conveys through body language alone. Darshan Jariwala, meanwhile, who plays Gandhi Senior, adopts a caricaturish approach to playing the Mahatma in his later years, but it's the way he humanises the man in his early years as a barrister in South Africa that is the actor's best contribution to that role. The abundantly gifted Shefali Shah plays Kasturba, the woman who's meant to be torn in this father-son conflict, but if she's unable to bring across that feeling of helplessness then it's really not so much her fault as it is the fault of a rickety script. Much effort's gone into the making of this film and that's evident throughout, but the film suffers from that inevitable flaw that is eventually what you'll remember about it when you leave the cinema - it's just so boring.Director Feroz Abbas Khan's Gandhi My Father is a sincere effort yes, but also a film that could have done with a much tighter screenplay. What we learn from the film is that Gandhi and Harilal made each other very unhappy. And with this film, the director makes us too.", "label":1 }, { "text":"Ya. That is what I think. Sure it was still a great show with John in it but I personally think that it is way better without.

I love having C.J. and Grandpa living at the house because they are so funny together.

When John was still around I really didn't laugh as much as I do now.

It is too bad that no more are being made. ( I don't think...) because I would love to see some new material.

My favorite character must be Rory. poor Rory is almost always left out. It is always about Bridget or Carrie. WHAT ABOUT RORY!!!??? Honestly this is a great show and to any one who has never watched it you must go and watch it. I almost guarantee you will laugh. well even chuckle.", "label":1 }, { "text":"This reminded me of Spinal Tap, on a more serious level. It's the story of a band doing a reunion tour, but things are not harmonious between them. I was especially impressed with the performance of Bill Nighy as Ray. You felt sorry for him, yet he had a certain creepiness about him. It's a great movie to watch if you have ever seen your favorite band get wrinkly,old and pathetic.Bittersweet, highly recommended..", "label":1 }, { "text":"I sure would like to see a resurrection of a up dated Seahunt series with the tech they have today it would bring back the kid excitement in me.I grew up on black and white TV and Seahunt with Gunsmoke were my hero's every week.You have my vote for a comeback of a new sea hunt.We need a change of pace in TV and this would work for a world of under water adventure.Oh by the way thank you for an outlet like this to view many viewpoints about TV and the many movies.So any ole way I believe I've got what I wanna say.Would be nice to read some more plus points about sea hunt.If my rhymes would be 10 lines would you let me submit,or leave me out to be in doubt and have me to quit,If this is so then I must go so lets do it.", "label":1 }, { "text":"This timeless proverb reverberates in this movie and in my heart. So many years have I waited to see this eternal story! I was not ready, perhaps. It is possible that my sensibilities would not have appreciated its power. So I now gratefully welcome it into my soul with gladness.

My respect and admiration for PAUL MUNI has been long. His is now a legendary luminescence. But now I have finally discovered the priceless gifts of LUISE RAINER's splendid talents. Oh, how many faces can speak as did hers? Some have said that it was wrought from her silent years, and this well might have been but her speech, is eloquent enough when it is given a chance. She amply deserved her Oscar.

This movie is in an epic in the most classical proportions. All parts equal, necessary and perfect. Naysayers may walk away if they wish, but they would be shunning a storytelling which stays with one a lifetime.

THE GOOD EARTH enriches one in ways that one does not expect. But all will not come from it with the joy that I did. But I can only hope that this film will be remembered for many years.

Do not prod me with mere technicalities regarding the race of the principal players. These are expectations of modern times when we are obsessed with utter perfection. But I dare a million score of newer films to tell PEARL BUCK's story with such poignancy, power, conviction and grace.

If any modern artist would dare to re-film this masterpiece, I warn them that they will never come close to the aromatic fragrance which still emanates from the core of this telling. Time will not diminish this effort nor will progress improve upon its greatness.", "label":1 }, { "text":"Petter Mattei's \"Love in the Time of Money\" is a visually stunning film to watch. Mr. Mattei offers us a vivid portrait about human relations. This is a movie that seems to be telling us what money, power and success do to people in the different situations we encounter.

This being a variation on the Arthur Schnitzler's play about the same theme, the director transfers the action to the present time New York where all these different characters meet and connect. Each one is connected in one way, or another to the next person, but no one seems to know the previous point of contact. Stylishly, the film has a sophisticated luxurious look. We are taken to see how these people live and the world they live in their own habitat.

The only thing one gets out of all these souls in the picture is the different stages of loneliness each one inhabits. A big city is not exactly the best place in which human relations find sincere fulfillment, as one discerns is the case with most of the people we encounter.

The acting is good under Mr. Mattei's direction. Steve Buscemi, Rosario Dawson, Carol Kane, Michael Imperioli, Adrian Grenier, and the rest of the talented cast, make these characters come alive.

We wish Mr. Mattei good luck and await anxiously for his next work.", "label":1 }, { "text":"PUT THE CAMERA ON ME is a deceptively cute film. It is actually a complex glimpse at the psychology of children and offers interesting insights into the development of adults and an artist. On the surface this is a nostalgic look at some home movies made in the 80's by a group of upper class neighborhood kids. One of the film's directors, Darren Stein, had access to a video camera and quickly took over as the artistic leader for all of the movies. Sure, these are just some cute kids having fun. But, this is also much more. This is a look into some moments in time as children grapple with a number of confusing issues that all of us face in life --- fear, sexual awakening, unrequited love, loneliness and just trying to make sense of the adult world which seems to explode all around us. As we get older we tend to forget how overwhlelming the realities of life were when we were little.

What makes this film all the more valid is to watch a young Darren Stein turn into a little general of a filmmaker. It is clear that Darren is running this show and these little movies are his vision but they are all informed by his friends, their problems, the interpersonal dynamics and the general confusion regarding the horrors of adult life. A lot of children make home movies, but I've never heard of or seen children create \"little\" movies about the holocaust, homosexuality, nuclear war and the inability to fit in and make friends. These kids are confronting and dealing with some heavy stuff!

The power of this film is the way Stein and Shell pull various scenes together so tightly with running interviews with the kids --- all now adults and all still friends. This adds a new angle to the film. How many of us have stayed in touch with our childhood friends? These guys have. And, many of the issues with which they were dealing are still running between them two decades later.

Among the conflicts -- a confession of a crush reveals a heart still broken, a very normal childhood sexual experience continues to be a \"sticky\" subject between two of the men, some ongoing resentments over the dynamics of relationships and there is still a member of this team who remains very much in charge and in center stage! Which makes perfect sense as one watches these home movies progress over the course of a couple of years. Darren Stein is a director. No doubt about it.

Stein and Shell take turns chatting with each other from time to time and one can't help but imagine the awkwardness of allowing us to peek into the young lives of these people. This is particularly true for Stein who has gone on to a great deal of success in the entertainment industry as a film producer, writer and director. From the first moment of PUT THE CAMERA ON ME we can see the emergence of a gay little boy trying to figure it all out. We also see sides of the artistic mind and personality that are not always \"nice\" or \"caring\" --- and, this is a bold move for any artist to share with an audience.

There are so many revealing moments, but the most disturbing and complex moments involve a movie in which we see a Jewish concentration camp victim being tortured and killed by a Nazi. We discover thru interviews and narration that the Nazi is played by a Jewish child and the part of the victim is played by a gentile child. It is a painfully disturbing moment that glimpses into the darker side of fear and the way children work thru the horrors of the adult world that are beyond adult understanding much less that of a child.

This is much more than some home movies. This documentary captures the pain, beauty, joy and sadness of growing up. Powerful stuff --- and well worth seeing!

:", "label":1 }, { "text":"In a famous essay he wrote about Charles Dickens, George Orwell points out that many readers always regretted that Dickens never continued writing like he did in PICKWICK PAPERS: that is, he did not stick to writing funny episodic novels for the rest of his career. This would not have been too difficult for Dickens. His contemporary Robert Surtees did precisely that, only concentrating on the misadventures of the fox hunting set (MR. FANCY ROMFORD'S HOUNDS is a title of one of his novels). Among hunters and horse lovers Surtees still has a following but most people find his novels unreadable. Dickens was determined to show he was more than a funny man (and don't forget, his first book, SKETCHES BY BOZ, was also a funny book). So Dickens third book is OLIVER TWIST (which got pretty grim at points). Orwell says that for any author to grow they have to change the style of their books. Dickens would definitely (and successfully) have agreed to that.

But Orwell overlooked the genre writer who transcends his fellows. Surtees, as I said, is a genre writer concentrating on hunting - but not everyone is interested in hunting. But P.G.Wodehouse saw himself as an entertainer, poking fun at the upper reaches of the British social system. His Earl of Emsworth is prouder of raising the finest pig in England than being...well Earl of Emsworth! His Psmith is always prepared to counterattack when he is supposed to be submissive to an unfair superior. His Stanley Uckridge will always have a \"perfect\" scheme that should net a huge profit (but always manages to come apart at the end). And best of all, his Jeeves will always put his brilliant brain to work rescuing the inept Bertie Wooster, his boss. Since Wodehouse had a limited view of his mission as a writer - he was there to do cartoon figures of fun for the entertainment of the world - his books never lost their glow. They served (and still serve) their purposes. In fact, compared Wodehouse with his far more serious contemporary Evelyn Waugh, who also wrote funny books, but of a more intellectual type. The best of Waugh remains among the high points of 20th Century British literature: BRIDESHEAD REVISITED, DECLINE AND FALL, and the rest. But in his determination to make his points, if his points failed to interest the reader the book frequently collapsed. For every VILE BODIES there was some failure late in his career like THE ORDEAL OF GILBERT PINFOLD. While Wodehouse could do lesser hack work too, his falling did not go as far as Waugh's did.

Wodehouse also was a gifted lyricist (when you hear \"Bill\" in the score of SHOWBOAT, it is not Kern and Hammerstein's tune, but Kern and Wodehouse's tune transposed from \"Oh Lady, Lady\" a dozen years earlier). He was a handy dramatist too. So it is pleasing to see that he took his novel A DAMSEL IN DISTRESS and turned it into the screenplay here.

It has the normal Wodehouse touches. That perfect butler Keggs (Reginald Gardiner in a wonderful performance) is a scoundrel in rigging a \"friendly\" gambling game of chance among the staff of the stately home he heads. He is also unable to refrain, occasionally, from singing Italian opera - despite Constance Collier's attempts to control his impulse. This is typical Wodehouse characterization. So is the way the love affair between Lady Alyce and Jerry keeps going well and going down due to the antics of Keggs and young Albert, both of whom want to win that game of chance pot of cash. Wodehouse always does that type of plot switch, with antagonists switching their point of view depending on their present state of interest.

Wodehouse was also lucky here to have Burns and Allan to work with. It is generally considered that of all the films they made as supporting actors together (such as SIX OF A KIND and WE'RE NOT DRESSING) George and Gracie did their best support with Fred Astaire. The Fun House sequence, which includes the song \"Stiff Upper Lip\", is wonderful, as is an earlier sequence where the three do a \"whisk broom\" dance (that Astaire learned from Burns). But Gracie's marvelous illogical logic is used by Wodehouse in scenes with Gardiner (see how she manages to confuse him into giving her more money than her change deserves to be - only Albert happens to notice Keggs\/Gardiner's mistake, and looks at Gardiner as though he's either stupid or mad). Her dialog with Lady Caroline (Collier)'s son Reggie (Ray Noble, the British band leader)leading him to imagine that he will marry her, but saying goodbye to Gracie as she drives off with George to get married is wonderful too.

The film supposedly failed at the box office because of the lack of Ginger Rogers in it, and the weakness of Joan Fontaine. Fontaine is not doing a remarkable job in the role, but the flaw is really Wodehouse's - he didn't make the character very interesting. But the film can stand without that, given the other performers and their characters, Gershwin's music, and Wodehouse's marvelous sense of fun.", "label":1 }, { "text":"A Murder investigation goes on back stage while The Vanities, on its opening night, plays on to an unknowing audience. Odd combination of musical and murder mystery is worth a look for its cast, its production numbers, and the sheer novelty of the film.

Gertrude Michael has the showy role of a bitchy actress intent on stopping the marriage between the show's stars, Kitty Carlisle and Carl Brisson, as well as starring in the infamous \"Sweet Marijuana\" number (which was also on a 70s Bette Midler album). So while the chorus girls shuffle around backstage, bumbling detective Victor McLaglen ogles the girls while he tries to solve the backstage murder of an unknown woman.

We quickly learn that the maid (Dorothy Stickney) loves Brisson from afar, that the wardrobe lady (Jessie Ralph) is Brisson's mother, and that the stage manager (Jack Oakie) butts into everything. Lots of plots twists among the musical numbers. The show's best-known song is \"Cocktails for Two.\" Kitty Carlisle also sings the haunting \"Where Do They Come From?\" And there's a weird rhapsody that erupts into a Harlem specialty number featuring Duke Ellington! Quite the cast.

Some terrific acting here, especially Gertrude Michael and Dorothy Stickney. Kitty Carlisle is quite good as well. Brisson is a total zero though.

Charles Middleton plays Homer, Toby Wing plays Nancy, Donald Meek plays the doctor, and also see if you can spot Ann Sheridan and Lucille Ball among the show girls.", "label":1 }, { "text":"Plenty has been written about Mamet's \"The House of Games\"; most of it good. I decided to revisit the flick to see how it held up after 17 years and was surprised at how much I enjoyed viewing it again. The film's success and durability probably has much to do with two principal ingredients which are always fun on film; a good story and a good scam. Mamet manages to bring his signature moodiness and obvious histrionics to the film while scamming us, the audience, and the mark simultaneously. Then he explains the art of conning only to do it again, etc. all the while building the story. \"The House of Games\", now a freebie on cable, is worth a look for first timers and an okay rerun for Mamet fans. (B+)", "label":1 }, { "text":"Pierce Brosnan the newest but no longer James Bond, is an assassin. He is very very good at what he does, but he's getting old and tired. Greg Kinnair is really good as the straight and narrow business man. Now when the story opens the movie shows these two people in their separate lives. Then one night they are having drinks in a bar, and they begin to talk. Then all of a sudden you find these two people getting drawn together during a series of events. The story is excellent, the acting is top notch, and the humor is hilarious I never thought that Pierce Brosnan would be this funny, but he really is and I must say this movie is a must see.", "label":1 }, { "text":"Not having read Nabokov, and knowing nothing about chess, I could only view \"The Luzhin Defence\" as a movie.

It works really well as one of my favorite genres \"sports romances.\" The chess comes alive as a tough competition much more than in, say \"Searching for Bobby Fischer,\" in showing just how much hard mental work the game can be, requiring thought, preparation, stamina and planning. I particularly liked the special effects on the chess board as alternative plays are anticipated.

Through the feminist director Maureen Gorris (of \"Antonia\"), Emily Watson with her big blue eyes gradually strengthens via her transformative relationship with John Turturro's fairly one-note absent-minded intense chess genius.

The settings in Italy and Hungary are beautiful.

(originally written 5\/27\/2001)", "label":1 }, { "text":"This movie is wonderful.

I was 'enchanted', i should say, and surprised because of how uniquely it was done. The cast, the sequencing, the effects...everything! Magnificent! I mean, it was a love story, yes, but what made it outstanding from the rest was that it was told in an entertaining, wholesome manner.

For me, it is the representation of modern fairy tale. It's like the modern peter pan...simply amazing

i surely would buy a copy of this the moment it hit the market.

This movie is really a double MUST SEE one...!!!! 10 stars for that!", "label":1 }, { "text":"The usual cat and mouse antics abound until Jerry jumps into a bottle of invisible ink. He gets the bright idea of torturing Tom without him knowing. The cat gets wise and tries to do stuff to make him 'see' jerry even if it's not fool-proof. Of course Jerry gets Butch aka Killer aka Spike the dog into the act (even if it's late in the short, and his contribution is minimal indeed) Brilliant animated short which kind of reminded me of the one with the white mouse who scares Tom so badly. Most of the gags work and all violent as any good tom and jerry short should truly be. This hilarious cartoon can be found on disc one of the Spotlight collection DVD of \"Tom & Jerry\"

My Grade: B+", "label":1 }, { "text":"The season finale sent mix messages, I felt feelings of joy, and also feelings of being lied to and deceived. Roseanne tells all her viewers that the entire season nine was a lie because her husband, Dan, had died. She also admits the family never won the lottery, and what season 9 was a lie just being how she wished or wanted it to be. I'm still confused about when she said Becky ended up with David, and Darlene with Mark because Becky and Mark admit to being pregnant. So I believe that is just how she wanted it to be, but it wasn't. So the season finale was good, but sent mixed feelings. I will always be a fan of the show. :)", "label":1 }, { "text":"To me this was more a wake up call, and realization that most all we see, hear, read and think about most anything, is dependent on what the media feeds us. This is a classic example of high level spin doctors attempting to control the masses through controlled information. It is also an excellent example of how people that have a constitution that they freely bought in to, will not be swayed by this media control or any attempted mis-information. Once again this shows that at the end of the day the needs of the many will in fact outweigh the needs of the few. It is also enlightening to see that in in a country where there is no religious civil war going on, that democracy is not a real hard thing to implement.", "label":1 }, { "text":"First off, I must say that I made the mistake of watching the Election films out of sequence. I say unfortunately, because after seeing Election 2 first, Election seems a bit of a disappointment. Both films are gangster epics that are similar in form. And while Election is an enjoyable piece of cinema... it's just not nearly as good as it's sequel.

In the first Election installment, we are shown the two competitors for Chairman; Big D and Lok. After a few scenes of discussion amongst the \"Uncle's\" as to who should have the Chairman title, they (almost unanimously) decide That Lok (Simon Yam) will helm the Triads. Suffice to say this doesn't go over very well with competitor Big D (Tony Leung Ka Fai) and in a bid to influence the takeover, Big D kidnaps two of the uncles in order to sway the election board to his side. This has disastrous results and heads the triads into an all out war. Lok is determined to become Chairman but won't become official until he can recover the \"Dragon Head Baton\", a material representation of the Chairman's power. The current Chairman, Whistle (Chung Wang) has hidden the baton somewhere in mainland China and the race is on to see who can recover it first.

Much of the film is devoted to the recovery of the Baton. As both aspiring leaders search for it they must dodge cops and opposite sides, which leads into one of the stand out scenes in Election, which involves an underling named Jet (Nick Cheung), a machete, and lots of bad guys. Nick Cheung's presence is attention grabbing to say the least... I wonder if this influenced director Johhnie To in any way while making the second Election, as he does deliver more of Jet's character in the sequel.

While Nick Cheung gives a scene stealing performance, I must not fail to give due to the rest of the film's actors. Election has a great ensemble cast with well thought out performances that are both subtle and impacting. Simon Yam is his usually glorious self and the film also benefits from heavyweight HK actors like Louis Koo, Tony Leung Ka Fai, and the under-appreciated Suet Lam. There really aren't any weak links in the acting and one could easily believe that they're watching real gangsters.

Although the performances are great, one of the most impressive things about Election is Johnnie To's eye for the camera. There are some truly striking shots in the film and it goes without saying that To definitely knows how to frame his shots, as the viewer is treated to a series of innovative and quite brilliant camera placings and angles. All of which makes Election, above all, a great looking film.

My issues with the film arises mostly out of the shear amount of characters involved in Election. It gets a bit hard to follow because the film is so full of characters that aren't integral to the plot. While the sequel opts to focus more on the two candidates, the first Election offers the election process as a whole with tons of Uncles, underlings, and police officers crowding the storyline. Maybe the film would have worked better if it would have been a bit longer with more time dedicated to the inner workings of the Triad, or if Director Johnnie To would have funneled down the necessary elements and expounded on them more.

Bottom Line- All in all, this is a wonderfully brutal film with a great cast, excellent direction, and leisurely pacing that packs a punch. It's just a little more complicated than it needed to be.", "label":1 }, { "text":"Coming from the same director who'd done \"Candyman\" and \"Immortal Beloved\", I'm not surprised it's a good film. Ironically, \"Papierhaus\" is a movie I'd never heard of until now, yet it must be one of the best movies of the late 80s - partly because that is hands down the worst movie period in recent decades. (Not talking about Iranian or Swedish \"cinema\" here...) The acting is not brilliant, but merely solid - unlike what some people here claim (they must have dreamt this \"wondrous acting\", much like Anna). The story is an interesting fantasy that doesn't end in a clever way that ties all the loose ends together neatly. These unanswered questions are probably left there on purpose, leaving it up to the individual's interpretation, and there's nothing wrong with that with a theme such as this. \"Pepperhaus\" is a somewhat unusual mix of kids' film and horror, with effective use of sounds and music. I like the fact that the central character is not your typical movie-clich\u00e9 ultra-shy-but-secretly-brilliant social-outcast girl, but a regular, normal kid; very refreshing. I am sick and tired of writers projecting their own misfit-like childhoods into their books and onto the screens, as if anyone cares anymore to watch or read about yet another miserly, lonely childhood, as if that's all there is or as if that kind of character background holds a monopoly on good potential. The scene with Anna and the boy \"snogging\" (for quite a stretch) was a bit much - evoking feelings of both vague disgust and amusement - considering that she was supposed to be only 11, but predictably it turned out that Burke was 13 or 14 when this was filmed. I have no idea why they didn't upgrade the character's age or get a younger actress. It was quite obvious that Burke isn't that young. Why directors always cast kids older than what they play, hence dilute the realism, I'll never know.", "label":1 }, { "text":"I rented this for my son who is recently found interest in 9\/11. He was a Kindergartener at the time and had no idea what was unfolding. I liked the way it was told as a \"documentary.\" If there was one movie that I would recommend to see concerning 9\/11, this would be THE one! Normally you see a movie it has actors that are well known. This movie had nobody known. Also, you see a movie concerning 9\/11, you hear about a fire-fighter or two losing their lives saving people. I didn't feel this had any of that! I only rented this movie and would definitely consider adding it to my collection! Very well done indeed! My heart goes out to the survivors and families of victims of 9\/11!", "label":1 }, { "text":"Good historical drama which is very educational and also very entertaining to people who like history.Very good acting and script.Not as sensual and sexy as it is sometimes marketed,be prepared to peek into the pioneer spirit and human ability to adjust.Very touching as well for the spiritually mature. Not for people who do not like to think......", "label":1 }, { "text":"In the sequel to the brilliant Bill and Ted's excellent adventure, Bill and Ted are under threat from the future, as the evil Chuck De Nomolos sends two evil robots, disguised as Bill and Ted to earth to kill human Bill and Ted, in order to change the future.

In a great comedy pairing, Winter and Reeves excel to deliver delicious humour to the audience in this entertaining sequel. Though lacking the sharpness of the first, Bogus Journey still has the great catchphrases and dialogue from the leading pair, not to mention an hilarious performance by William Sadler, who brings a humorous side to the figure of depth, the grim reaper. Watch for the games sequences, the best moment in the entire film, but one of many great techniques used to justify the genre.

Though still packed with humour, this film has a more dramatic film towards it, with stakes being more serious and situations more risky.

This gives the film great dimension and another lovable feature. The creators also stretch the boundaries of the fantasy genre and the use of realism, with hell and heaven being heavily symbolic and present in the plot. The fantasy genre is again spot on with the use of that amazing time travelling machine, though again somewhat confusing at points with the use of timing, and objects and situations being placed before it happens in the present, as is evident in the final couple of scenes.

The first watch I hated this sequel, but the second time was a real joy as I appreciated the jokes and story more, and though the jokes and plot aren't as strong as its predecessor, Bogus Journey has enough feel good motives, jokes and a fairly steady plot to make it a good natured family film.", "label":1 }, { "text":"The three main characters are very well portrayed, especially Anisio by rock musician turned into first time actor Paulo Miklos. He is extremely convincing as the lower class trespasser\/invader. The film shows very well the snowball effect of getting involved in ever more shady business, the contrast and similarities between the lower and higher classes. How everyone gets carried away by greed and ambition. 9-9,5 out of 10.", "label":1 }, { "text":"Brilliant kung-fu scenes, loads of melodrama, peculiar footwear symbolism and an unhappy (?) end makes Barefoot Kid an unforgettable film.

One of the silliest subtitles I've seen...", "label":1 }, { "text":"Here it is.. the first EVER episode of Friends, Where we get introduced to Control Freak Monica Gellar (Courtney Cox), Newly divorced Ross Gellar (David Schimmer), Hippy Pheobe Buffay (Lisa Kudrow), unknown actor and ladies man (Matt Le Blanc and very sarcastic Chandler Bing (Matthew Perry). This is how the scene starts off until we introduced to the 6th and final friend Spoilt kid Rachel Green (Jennifer Aniston).

The Episode is better than most people give credit for, like any new sitcom the first episode isn't always fantastic. The acting in this episode isn't great because the cast cannot identify and arnt really believable in their new characters (apart from Kudrow and Perry- who shine).

Matt Le Blanc- Man, his acting was down right dreadful because until later, he gets more confident, but i think he tries to be funny but at most fails.

David Schimmer- Why does he over pronounce EVERY word? he cannot speak normally! but he became one of the funniest characters in later seasons, but he isn't confident. and i cannot sympathise with him Jennifer Aniston- Looks hot, and does a good job as Rachel Green, but we only see the real Rachel later in the 1st season, Courtney Cox- Looks quite anorexic in this episode, its worrying, she looks totally different now, (more healthily), she acting is a little sketchy but everyones is in this 20 minute pilot! Lisa Kudrow and Matthew Perry- I'm doing these two together because their comic timing and acting quality was superb, and for Lisa this was one of her first roles and she is so natural as Pheobe (Pheebs) and Matthew Perry is just Matthew Perry playing himself basically! The episode quality does improve later,,, such as the Sets, they looks dark and creepy in this episode and makes them seem unfriendly, the acting is OK, the characters gain confidence with each new scene and i am proud this is the pilot! I hope we see the Friends reunite! cause they will always be there for us!", "label":1 }, { "text":"This is a great little film, that's very unique, and creative, with some great plot twists and wonderful performances!. All the characters are great, and the story while bizarre, is fascinating and very interesting, plus Nicole Kidman is simply amazing in this!. It's very hard to describe this movie, because it really is quite bizarre, it's a comedy\/romance, one minute then it turns into a thriller the next, however it was still very entertaining all the same, plus Nicole's Russian accent was fantastic, and extremely convincing. Chaplin and Kidman had very good chemistry together, and i loved Vincent Cassel's performance!, plus some of the plot twists really took me by surprise!. The ending was very cute, and it's unpredictable throughout!, plus this movie is quite underrated as well!. You will feel sorry for Chaplin and the way that he is scammed, and i thought all the characters were really likable, plus the finale is especially good.This is Nicole's movie though, and she carries it with her incredibly sexy performance!. This is a great little film, that's very unique, and creative, with some great plot twists and wonderful performances!, i highly recommend this one!. The Direction is very good!. Jez Butterworth does a very good job here, with great camera work, solid angles and keeping the film at a fast pace!. The Acting is wonderful!. Nicole Kidman, is stunningly gorgeous!, and is amazing as always, she is incredibly sexy, very likable, had one of the coolest accents, added a lot of presence, had very good chemistry with Ben Chaplin, and had a very mysterious character!, she was amazing. (Kidman Rules!!!!). Ben Chaplin is great here, he is extremely likable, had a cool character, had very good chemistry with Kidman, the only thing i didn't like was him taking out his anger out on Kidman, even though what she did was wrong, and i loved how he got revenge in the end!. Vincent Cassel is fantastic as the main villain, yes he was OTT, but he was very intense and quite creepy at times, this role was perfect for him. Mathieu Kassovitz is OK here, but didn't have much to do. Rest of the cast are fine. Overall i highly recommend this one!. ***1\/2 out of 5", "label":1 }, { "text":"Red Eye is a good little thriller to watch on a Saturday night. Intense acting, great villain and unexpected action.

Some might not want to see this movie because it goes for a very short 85 Min's and 88% of the movie is on a plane and just talking. Don't worry they pull it off very well with the smart and witty dialog.

A PG-13 movie seems to be new grounds for director Wes Craven. But surely enough he has fit as much violence as he possibly can into this thriller.

This movies strongest point is its cast. This film needed good actors to deliver the dialog and thrills. If they didn't have those actors the film would have been lost and boring. We had Rachel McAdams from Mean Girls and Wedding Crashers. Cillian Murphy from Batman Begins and 28 days Later. Rounding off this cast is Brian Cox from X-men 2.

The pacing in this film was great. Just when your thinking its going to get boring they throw a twist at you. Luckily this isn't a long movie and doesn't feel like it either. Much better then the other flight movie Flight Plan.

Here is my Flight Plan comment: http:\/\/www.imdb.com\/title\/tt0408790\/usercomments-578

I recommend. Not too long and not too shabby.

8\/10", "label":1 }, { "text":"This is a brilliant and well made contribution by a group of fans, and considering it's made in a back bedroom on a painted green screen it's story lines are complex and twisting, and it's characters show realistic depth and dimension. The CGI created by the crew is breathtaking. While it's first season might be a little shaky, it's final few are well thought out and well shot. Some fans might have thought that the Star Trek Franchise had come to an end with the early cancellation of Enterprise, but these fans don't take no for an answer. I recommend this to fans and newcomers alike, 10\/10 hidden frontier crew.

Make it so...", "label":1 }, { "text":"Following the brilliant \"Goy\u00f4kiba\" (aka. \"Hanzo The Razor - Sword Of Justice\", 1972) and its excellent (and even sleazier) sequel \"Goy\u00f4kiba: Kamisori Hanz\u00f4 jigoku zeme\" (aka. \"Razor 2: The Snare\", 1973), this \"Goy\u00f4kiba: Oni no Hanz\u00f4 yawahada koban\" aka. \"Razor 3: Who's Got The Gold\" is the third, and sadly final installment to the awesome saga about the incorruptible Samurai-constable Hanzo 'The Razor' Ittami (brilliantly played by the great Shintar\u00f4 Katsu), who fights corruption with his fighting expertise as well as his enormous sexual powers. As a big fan of 70s exploitation cinema made in Nippon, \"Sword Of Justice\" became an instant favorite of mine, and I was therefore more than eager to find the sequels, and full of anticipation when I finally stumbled over them recently. While this third \"Hanzo\" film is just not quite as brilliant as its predecessors it is definitely another great piece of cult-cinema that no lover of Japanese exploitation cinema can afford to miss. \"Who's Got The Gold\" is a bit tamer than the two foregoing Hanzo films, but it is just as brilliantly comical and crudely humorous, and immediately starts out fabulously odd: The film begins, when Hanzo's two assistants see a female ghost when fishing. Having always wanted to sleep with a ghost, Hanzo insists that his assistants lead him to the site of the occurrence... If that is not a promising beginning for an awesome film experience, I don't know what is. Shintaro Katsu, one of my personal favorite actors, is once again brilliant in the role of Hanzo, a role that seems to have been written specifically for him. Katsu IS Hanzo, the obstinate and fearless constable, who hates corruption and deliberately insults his superiors, and whose unique interrogation techniques include raping female suspects. The interrogated women than immediately fall for him, due to his sexual powers and enormous penis, which he trains in a rather grotesque routine ritual. I will not give away more about the plot in \"Who's Got The Gold\", but I can assure that it is as cool as it sounds. The supporting performances are also very good, and, as in the predecessors, there are plenty of hilariously eccentric characters. This is sadly the last film in the awesomely sleazy 'Hanzo' series. If they had made 20 sequels more, I would have happily watched them all! The entire Hanzo series is brilliant, and while this third part is a bit inferior compared to its predecessors, it is definitely a must-see for all lovers of cult-cinema! Oh how I wish they had made more sequels!", "label":1 }, { "text":"There is certainly emotion between the two main characters as they explore their relationship--one based primarily on physical attraction from the beginning. And there is also emotion in the inner-workings of Mathieu's family dealing w\/ his mother's problems--and how that comes to bear on their relationship. But the problem is it leaves a lot of things unanswered (unless I'm just too dumb to pick up on them). Why is Mathieu in a mental hospital? What led to the boys' break-up? And the flashing back between present and past is a little hard to follow at first. It seems like the main reason to rent this movie is to enjoy some homoerotic vicarious thrills, or some male nudity. But as a love story or character study it is lacking and unsatisfying.", "label":1 }, { "text":"Hey now, I can't claim to have seen all of the films of Jesse (Jesus) Franco, and there sure seem to be a lot of them, but this is one of the better (and weirder) of the lot that I have seen. I'd say most likely he was in his prime back in the late sixties\/early seventies and anything lately has been a bit TOO strange for me, and it takes a lot for me to declare that. Anyway, this is like one big bad dream where parts of it seem to come true at various points. This woman is an actress or something, performs in some theater in Berlin where acts of \"fake\" torture are performed for an appreciative audience (?!) and she seems to have this problem with dreaming. The catch to what's real and what's not in this movie is apparently the real stuff is in sharp focus and the dream stuff isn't. She seems to exist in a state of deja vu. I won't say this makes a whole lot of sense but it is pretty wild and weird and entertaining. Shots of Berlin make it seem like a lonely and creepy place, so that adds to the atmosphere. The ending is extremely abrupt though, the film just ends and the tape went black, I guess no need to let you know it was over at that point. My copy was from the Anchor Bay Euro-Trash collection, and I say, give me more Euro-Trash, I can't get enough of that crap. But it's GOOD crap.", "label":1 }, { "text":"We do not come across movies on brother-sister relationship in Indian cinema, or any other language or medium. This relationship has several aspects which have not been exploited in movies or novels. Typically, a sister is depicted as a pile-on who can be used for ransom in the climax. This movie treats the subject in an entirely different light.

It is inspired by George Eliot's novel \"The Mill on the Floss\". The brother is very prosaic, all-good, the blue-eyed boy who is a conventionally good son and a favorite with his mother. The sister is romantic, wild and defiant of the unwritten rules of the society. In spite of this, the love of the brother-sister is the winner.

This movie is about the love of the two siblings who are separated in childhood and revival of the same feeling when they meet years later. It is also the quest of the subdued brother to reunite with his sister who has chosen to be wild to defy the world.

Although the movie and the novel are set about 3 centuries apart in two distant countries, yet the sentiments are the same and still hold true.", "label":1 }, { "text":"The Journey of Hope (1990) is about a trek that many nomadic and poor Turks make so they could live the good life in Switzerland. These people are so desperate to live like Westerners that they'll give up their life and lives in an attempt to reach the promised land. So many of them are swindled by greedy crooks who make their living off of charging huge fees for desperate people who are in a no win situation. One family braves the cold, the treacherous mountain range and predatory criminals only to discover that there's not always a shining white light at the end of the tunnel. This problem exists world wide, not just in America. Some people tend to forget that. A heart breaker of a film that'll leave you wondering why at the end.

Highly recommended.", "label":1 }, { "text":"Here's a real weirdo for you. It starts out with another take-off on the PSYCHO shower scene, on campus, then gets crazier when several coeds and their doofy boyfriends head south for Spring Break. The trouble starts when they drive into the redneck county ruled by homicidal Sheriff Dean. One of the college cuties wanders into the woods, witnesses a murder by the sheriff and has her head blown open. Then it's lets-rip-off MACON COUNTY LINE-time as Dean stalks, traps and slaughters the witless witnesses one by one. Tony March is on-target as the evil, shotgun-happy Dean. The movie's overall tone is truly disturbing. The ending is so abrupt you almost think the director ran out of film; it's also a study in despair. SHALLOW GRAVE is a must for misanthropes, misogynists and nihilists the world over.", "label":1 }, { "text":"One thing I always liked about Robert Ludlum thrillers is just when you think you have it figured out, it goes in a completely different direction. There are so many twists and turns in this film that I have a sore neck from watching.

One thing I also like about director John Dahl (Kill Me Again, Rounders, Unforgettable) is that he can be depended upon to direct and, in this case, write (with his brother Rick) a good story.

Now, add Nick Cage, Dennis Hopper, Lara Flynn Boyle, and J.T. Walsh to the cast and you have a story that will keep your interest even if they are playing characters that all of them have perfected. Dahl seems to bring out the best in folks, and this will keep you interested, and guessing, until the very end.", "label":1 }, { "text":"Pet Sematary is a very good horror film and believe it or not somebody can make a good horror film out of a Stephen King novel. Mary Lambert does a great job with this film and manages to bring across King's creepy story pretty well. Most people may avoid this, but they should check it out.", "label":1 }, { "text":"I have read over 100 of the Nancy Drew books, and if you are not bright enough to catch on yet, Nancy Drew the movie was of a YOUNGER Nancy Drew, not the 18-year-old that doesn't go to school that all of the books are about. This was when she was sixteen. So naturally, she would of not as been as smart as the one in the book considering she is only in the 10th grade. Other than that, I thought the movie was very cute. It was clean and appropriate for everyone. It was funny at times. I thought Emma Roberts did a great job. She was articulate, in character, and cute. I liked the awkwardness that Nancy and Ned had around each other because they obviously were not old enough to be in a serious relationship like they have in the books. It was a cute, PG movie that I throughly enjoyed because I, unlike most people my age, enjoy movies without sex, drugs, or profanity.", "label":1 }, { "text":"Viewing DE VIERDE MAN (aka THE FOURTH MAN) is a slightly unsettling and rather fascinating experience. It's a very tight and intense psychological mystery\/thriller from Netherlands's Paul Verhoeven. He directed this film just before he got big with his \"free-ticket to Hollywood\"-movie FLESH + BLOOD. In a lot of user-comments on this site I noticed the mentioning of Alfred Hitchcock. Indeed, this movie might very well be Hitchcockian, but I also noticed touches of early Cronenberg (the visceral), flavors of David Lynch (surreal story-linked visuals) and even Roman Polanski (plot-wise set-up). Funny thing is that the movies by those directors I was thinking of while watching DE VIERDE MAN weren't made until after 1983, the year of release of THE FOURTH MAN. So go figure.

Very much credit indeed must be given to the story of the original novel by Gerard Reve this movie is based on. Gerard Reve is also the fictional name of the main character (a tormented writer, played by Jeroen Krabb\u00e9, balancing on the dangerous line of a severe psychosis). Now, has anybody stopped and thought about the fact that the word \"r\u00eave\" is French for \"dream\"? And the film does feature a lot of dream-like\/nightmarish sequences, often to that extend that you don't always know for sure if Gerard is awake or dreaming himself. Could this be coincidence...? Maybe it's just me, but I don't think so. Ren\u00e9e Soutendijk is pretty amazing as the leading lady (in a rather demanding role). She sometimes seems to be guilty of over-acting (in a subtle way). But that aspect was clearly intentional to portray the character she plays, since as this movie progresses, you become unsure about what to actually think of this lady and her intentions. Proves again what an excellent actress she is. I might add that the movie contains also several scenes portraying full frontal male & female nudity, as well as some rather explicit sex-scenes (and you will even notice that some scenes and aspects clearly were the blueprints of scenes later to be shot for Verhoeven's BASIC INSTINCT).

Another aspect this movie has is a lot of symbolism and biblical references\/images, which supposedly made the film thoroughly hated by some conservative\/catholic movements at the time of its European release. Either way, it makes the movie worthy of a second viewing. Now, someone recently told me he had grave misgivings about DE VIERDE MAN. One of them being that the film supposedly manoeuvers itself into a position where it needs the divine intervention of the Virgin Mary to resolve itself. I myself have big issues with the way Catholicism has been, and still is sometimes, portrayed in many movies in any genre (so not only when it comes to religiously themed horror movies). But surprisingly, I had no misgivings whatsoever when it comes to THE FOURTH MAN. Although the Virgin Mary-aspect in the plot did make me scratch my head at one point, I also had fun with it, in a way. I think the keyword as to why it didn't bother me at all is 'duality'. Because, this movie works on two levels. Although 'divine intervention' might have resolved the plot-line from the protagonist's point of view... on the other hand: the movie implies that all this might have been the delirious ramblings of a raving madman. And that's the fun part: You never know for sure. And then there's the question: Could it be that Gerard Reve was somehow receiving distorted visions of things to come... like receiving omens? At one point in the movie, Gerard even tries to fool Christine into believing he is clairvoyant. The way he is playing Christine in that particular scene is exquisite to behold.

So with its compelling story, convincing acting performances and adequate direction, DE VIERDE MAN is a very much recommended viewing indeed (especially if you enjoy a solid European psychological horror film). But make sure you see the original Dutch version (not the dubbed one).", "label":1 }, { "text":"Terry Gilliam gives a stunning movie, which I thoroughly enjoyed. Bruce Willis, Madeline Stowe, Brad Pitt and even the small appearance of Christover Plummer makes the movie absolutely brilliant! This is the only Terry Gilliam film I've seen, and Twelve Monkeys is definitely in my top 10. I think this is one of the four best Bruce Willis movies; and Brad Pitt's best. Brad Pitt delivers a perfect performance. Possibly one of the ten best actor's performance that I've ever seen. He played his role (Geoffrey) very convincingly. Bruce Willis' role (James Cole) was also quite convincing. Both Bruce Willis and Brad Pitt acted extraordinarily well. With the brilliant story to back the great performances; and to back that up, Terry Gilliam's superb directing.", "label":1 }, { "text":"Found this one in the video store and rented it. It's one of those quirky, quasi-comedies that's more interesting and weird than funny. It's a good one at that. It reminds me a lot of Being John Malkovich. If you enjoyed that movie you will most likely enjoy this one.", "label":1 }, { "text":"When I saw that this film was only 80 minutes long, I thought we were in trouble. Condensing the gigantic W. Somerset Maugham novel down to a movie that clocks in at under an hour and a half seemed like a disaster waiting to happen. But you know, the movie's not half bad, and it even manages to retain much of what makes the book resonate so much with its readers.

I've heard many film buffs complain that Leslie Howard was a wet noodle of an actor, and he was, but I can't think of anyone more suited to play the role of Philip Carey than a wet noodle, for that's certainly what Carey is. Howard plays him well, which means you want to shake him and slap him upside the head repeatedly, then finally take him out and buy him a spine.

Ah, and then there's Bette, as the girl with whom Carey is obsessed and who brings his world crashing down around him. I didn't know what on earth the appeal of Mildred was in the book, and the movie stays true to that detail. But as played by Davis, she does become the most fascinating character in the story, and if she's nasty and unlikable, she's at least the most dynamic person on screen at any given time. Davis's performance here is credited with changing the course of screen acting, much as Brando's would do nearly 20 years later when he screamed out \"Stella!!\" in that little-known Tennesee Williams play, and it's not hard to see why. Davis is intense to the point of scary. She makes no effort to wring any sympathy from the audience, and she allows herself to look ugly and most unglamorous. Her appearance when Carey walks in on her late in the film to find her dead or nearly dead of an unnamed disease (though not much care is taken to hide the fact that it's an STD) is shocking. Of course, it helps that this movie squeaked out just before the Production Code went into effect; if it had been made a year later, you can bet things would have been a bit different.

Yes, much of the novel, and many of its most interesting parts, are left on the cutting room floor, and the story really does become about Carey and Mildred and not much else. I found that to be the least interesting and most tedious part of Maugham's novel, but it is the part that gives the novel its title and seems to be the part that readers are still drawn to now, so it strikes me as a wise decision on the part of the film makers that they chose to adapt the novel the way they did.

Grade: B+", "label":1 }, { "text":"First, let me say that Notorious is an absolutely charming film, very lovingly rendered of its time and subject(s). Gretchen Mol is utterly, painfully convincing, the very soul of the contradictions smoothly reified by Ms. Page herself. Irving and Paula Klaw are richly drawn as the working-class stiffs they were (having met Paula at Movie Star News in 1990 I can say that Lili Taylor's performance is unimpeachable), and Jared Harris as John Willie (Coutts) is an adoringly debauched genius. Anyone with an interest in the recorded history of American attitudes toward sexuality must see this movie, in a theater preferably, where votes made with dollars count more.

Second, I will allow that I am a producer of material similar to that for which the Klaws would become famous, which is no way affects my estimation of Ms. Harron's work as the splendid piece that it is, but does condition my view of Notorious as an act of political resistance of the first order. Ms. Harron has crafted a work of subtle subversion. Along with V for Vendetta, it is a movie about another time for our times.

Few readers of this site will be aware that the government they will see enacted in Notorious (through transcription of the very words uttered in closed Senate committee hearings) is a very close approximation of the one they live under right now. While Ms. Harron expressly disallows that she has a political agenda appended to this film, her faithfulness to the facts, and the respectful and unsensational way in which she renders them, synchronizes Notorious with the present day. The very acts that Notorious portrays in loving and accurate detail are defined as obscene by the Communications Decency Act, recently brought to the Supreme Court as a First Amendment case and turned back there at the behest of the Bush administration. In other words, the delicate and ineffectual bondage depicted in Notorious is indictable today by Federal prosecutors in whatever (hostile) jurisdiction they choose. Of course, there were no hearings in the Senate or elsewhere on this matter when the CDA was passed. Of course you know nothing about it, because you don't want people in Peoria telling you what you can and cannot look at (likewise, people in Peoria probably don't want me telling them what they're allowed to view). Of course Notorious will never be indicted. It's Hollywood. It's lawyered up. Countless Klaws will, however, continue to be steamrolled by a puritanical bureaucracy that has not advanced its aesthetic, moral or biological composition much in 50+ years.

In addition, Notorious posts no 18 USC 2257 compliance statement, which is mandated by the unnoticed \"earmark\" recently voted into law. If any media contains images of \"sadomasochistic restraint\" it is required to make available (ex warrant) records of age and circumstance of all performers. Notorious fails in this regard also.

In addition to being a splendid piece of entertainment and an (nearly) accurate historical document, Notorious will be the litmus against which the Bush Justice Department is itself judged with respect to the 14th (Equal Protection) Amendment and on perhaps several other Constitutional grounds. In this regard alone, a debt of gratitude is owed Mary Harron. You'll be grateful in any case, Constitutional or otherwise, if you see this film.", "label":1 }, { "text":"Putting the UFO \"thing\" aside. This was the best documentary I've seen. Factual reporting by Neil and Buzz... a must see. The interviews and reporting are a revelation since most of the information was stamped confidential in 1969 and only released in 2006. No documentary to date has the detail or accuracy for such a brief 47 minutes... The FACTS will blow you away, and you will be left in awe of the risks taken to be the first on the moon... Neil and Buzz are probably the biggest hero's of our time. Ever see a man save his own life? Bet not. Neil saves his life when only mili-seconds separated him from death. Amazing to watch. It is a travesty people have not known all the details assosiated with landing on the moon and the courage those men had when facing certain death, from a failing computer... 10 stars!", "label":1 }, { "text":"The movie was excellent, save for some of the scenes with Esposito. I enjoyed how it brought together every detective on the series, and wrapped up some plotlines that were never resolved during the series (thanks to NBC...). It was great to see Pembleton and Bayliss together at their most human, and most basic persons. Braugher and Secor did a great job, but as usual will get overlooked. It hurt to see that this was the end of Homicide. Memories, tapes, and reruns on CourtTV just aren't the same as watching it come on every Friday. But the movie did its job and did it very well, presenting a great depiction of life after Al retired, and the family relationship that existed between the unit. I enjoyed this a lot.", "label":1 }, { "text":"We showed this movie at the local Film Society, and the art-house crowd had the time of their cinematic lives. It's tasteless, groovy and very funny in a sixties kind of way. The Kraft Kitchen recipe sketch had them laughing like maniacs. The rest is a mixed bag, but the highs definitely beat the lows. By the way, whatever happened to Ken Shapiro??", "label":1 }, { "text":"I have to say that this TV movie was the work that really showed how talented Melissa Joan Hart is. We are so used to, now, seeing her in a sitcom and I really hope that a TV station will show this TV movie again soon as it will show the Sabrina fans that MJH shines in a drama. Seen as we have watched her on Sabrina now for now 5 years and so to give the viewers a taste of her much unused talent would be a plus. Melissa plays her role so well in this wanting her parents \"done away\" with so she can be with the guy she loves. One thing that all Sabrina viewers will notice, Melissa works with David Lascher in this, well before he took the role of Josh on Sabrina. So it would be kind of neat to see this currently whenever it gets aired again. Hopefully MJH gets some good roles in movies or even in more TV Movies, sort of like Kellie Martin who has always shined in TV Movies. Lots of unused talent waiting to bust out when it comes to Melissa Joan Hart, you shine always Melissa!!!", "label":1 }, { "text":"The Waiting Womans Ward of a large lying-in hospital, with all its joys and sorrows, is the place where LIFE BEGINS.

This nearly forgotten drama is a fine little soap opera, replete with comedy and tragedy, all tied into the lives of the maternity staff and their patients. The frankness with which the subject matter is handled points up the movie's pre-Code status.

Marvelous Aline MacMahon, as the sympathetic head nurse, is the calm center of the film, the rock around which all the currents flow. Able to handle any crisis or emergency, she is the mothers' best, sometimes last, friend. Surrounding MacMahon is a bevy of excellent costars: Loretta Young as a convicted murderess released from prison long enough to give birth; Eric Linden as her frightened young husband; brassy Glenda Farrell as a dame who hates children; sweet Clara Blandick as a very mature mother in for her sixth birthing; Preston Foster & Hale Hamilton as thoughtful, compassionate doctors and Frank McHugh as a comically frantic father-to-be.

Movie mavens will recognize Bobs Watson as a wee tyke who wants to see the Stork; Paul Fix as a nervous husband who promises to behave like a `little soldier;' Gilbert Roland as a distraught Italian husband and Elizabeth Patterson as a snooty doctor's wife interested in adopting Farrell's son - all uncredited.

There are a few absurdities in the plot - some of the mothers are obviously much too old; Farrell becomes blatantly drunk in the Ward but none of the staff seem to notice; an obviously psychotic patient is able to wander around at will - but this really only enhances the quirky entertainment value of the film and keeps things from becoming too serious.", "label":1 }, { "text":"Now days, most people don't watch classic movies, such as this. Most of friends only watch movies from the '90s to present. Thats kinda stingy.

Most old movies like this are masterpieces, unique in their own way. Only because, back when these movies were being thought of and made, thats when ideas were fresh. Now people strain just to think of new ideas.

Anyway, to the movie. For true fans of classic horror. This is for you. The movie is based with a investigator from Scotland Yard investigating the disappearance of an movie actor, and stumbles on to three other strange occurrences with past residents of the same house.

I won't say anymore, for I will ruin the movie more than I already have. But it is a terrific movie for as old as it is. And would never mind watching it again!", "label":1 }, { "text":"I never attended the midnight showing of a movie before \"Dick Tracy\" came out.

I still have the \"t-shirt ticket\" I had to wear to get admitted to the showing around here somewhere and, like that shirt, \"Dick Tracy\" has stuck with me ever since.

If you've seen the movie, the sharp visuals, bright primary colors and strong characters have no doubt been etched into your brain. It's a wonder to behold.

As director\/star\/co-writer\/producer, Beatty knows what works in a film and shows it here, taking a familiar American icon and re-creating him for a whole new era. Still set in the '30s, \"Tracy\" has a kind of timeless quality like all good films do. I've lost track of how many times I've watched \"Tracy\" and I still catch something new every time I do.

The others are all top notch, starting with Pacino's Big Boy Caprice (a reminder that he can do comedy with the best of them), even Madonna's Breathless Mahoney is a relevation in that under the right environment, she can act (GASP!).

But there's still such themes touched on as the necessity of family, keeping true to one's self, good versus evil, even Machiavellian themes are explored. Odd for a comic strip film, but hey, it works.

All in all, \"Dick Tracy\" is a classic unto itself. Compared with other films of this decade, it makes a strong statement. It's a good, strong film that doesn't depend on blood, violence, profanity or nudity to make its point.

There's a lesson to be learned here.

Ten stars. Great Scott!", "label":1 }, { "text":"I would give this show a ten out of ten if it was not for the fart jokes. You people are so damn sensitive it is inane! So quick to point out the \"racism\" of the show and the jokes, yet are also so quick to say ridiculously sexist, pig-headed crap like \"well, duh, some of these other shows do these jokes so much better because at least they have hot women.\" So disgusting. Abortion jokes are great because, really, who takes abortion seriously anyways? At least I'm not a*bore*son. I hear that Reba McEntire and Sarah Silverman are teaming up to do a movie about sisters taking a road trip together. Talk about a movie of the year!", "label":1 }, { "text":"This was a very thought provoking film, especially for 1973. At the time it was actually a huge box office success. After the 1970s it appeared to be forgotten, but its central messages were too important to disappear completely.It was actually at least fifteen years ahead of its time...no one had ever heard of the 'greenhouse effect'before 1985, and the controversial subject of euthanasia was rarely brought up.

The sets and special effects might look a little outdated, but big money for sci fi films was a gamble in that period. If you look closely you will see everything usually makes sense. This is a message movie, not for zonked out star wars fans that cant sit through one minute of thought stimulation unless it contains a million bucks worth of explosions.

This was also Hestons last good film, the end of his famous dystopian sci fi trilogy. After that it was all overblown disaster epics and big budget crowd pleasing trash. THis might not be the most amusing two hour movie ever made, and the ending might be creepy and depressing, but its hard to find any film producer with guts anymore who would tackle a subject like this.", "label":1 }, { "text":"In the opening scenes of this movie a man shot arrows through his hotel room into another man's bathroom and blew out all the lights. This must have been very hep for 1936, but rather way way out and had nothing to do with the film, Robin Hood did not make an appearance as far as I could see. However, Bette Davis(Daisey Appleby),\"The Whales of August\",'87 was very young and attractive and performed one of her best roles in a long career in Hollywood. Daisey never stopped teasing or being very sexy with her nightgowns and so called swim suit on her yacht with George Brent(Johnny Jones),\"The Spiral Staircase\",'46. Daisey even proposed marriage to Johnny in a Ferris Wheel upside down and even got a black eye. Davis and Brent made a great couple, one suppose to be very rich and the other a very poor reporter. Off stage, Davis and Brent were having a real torrid love affair, which is good reason why there was sparks when these two appeared in this film. If you liked Bette Davis and George Brent, this is the film for you!", "label":1 }, { "text":"Ti%s and As*, lots of boobies. Some great characters, fun filled pranks and well put together teen action in this spin off of the Amercan Pie franchise. This feels like really OLD SCHOOL. It feels a bit like Porkys for the 2000's. Some great funny characters combined with some very humorous situations make this one a real surprise for me.

Whilst the original cast is all but gone except for one, this movie I found really entertaining. Lets not get too excited, you have to take it for the booby teen comedy that it is, but for what it is, it excels. The characters are likable and funny, the girls are hotter than hell. The fun and games are hilarious, with some stuff I've never seen before in comedies, they make me cringe but laugh at the same time.

So ignore the haters and give this a run and see what you think. Don't expect the classic American Pie, but expect something that should make you laugh and spark your attention for an hour or so.", "label":1 }, { "text":"I was pleasantly surprised I quite liked this movie. Witty writing (some \"inside\" jokes I got, others I didn't - maybe due to actors speaking on top of one another), great acting (notably John Cassini), great cameos, interesting and unique directing. I rented it to see Jeffrey Meek (very disappointed he was in it such a short time, blink and you'll miss him!) but found the movie remarkably entertaining. I'll actually watch it again before I send back to Netflix. I think actors and wanna-be actors will thoroughly enjoy this movie. The ending is somewhat expected but wish they'd done something different (and more positive). Too bad the movie wasn't better received except for in the \"festival\" market. I suggest it to anyone who loves the acting biz.", "label":1 }, { "text":"After seeing Jeremy Brett as Sherlock Holmes, no actor should ever display such conceit as to imagine that he could ever come close to Mr. Brett's portrayal of \"one of the most interesting characters in literature\". Jeremy Brett IS Sherlock Holmes and in my opinion there can be no other. The great actor Basil Rathbone is,I must admit, a close second but, is still second. One might make the argument that Mr. Rathbone's screenplays were inferior to the absolutely top notch productions afforded Mr. Brett and to this I would agree. However when all is said and done Jeremy Brett will always and forever be the only actor to truly \"become\" Sherlock Holmes. The book should be closed on this subject and we,the public,left to enjoy Mr.Brett's unique performances.

Bill Rogers

(sonarman65@yahoo.com)", "label":1 }, { "text":"A new creative team emerged in 1950 when brilliant actor James Stewart teamed with the equally-brilliant director Anthony Mann to make a series of westerns that helped define that genre for the future. Until that time Stewart was mainly noted for an aw..aw..aw approach to family oriented comedies, dramas, and romances. Not that he wasn't already a multi-talented Hollywood star. One of his best screen performances ever and one of the best for anyone on celluloid was as Macaulay 'Mike' Connor, a sarcastic writer for a scandal rag in \"The Philadelphia Story.\" He had even done westerns before. His portrayal of gun shy yet expert shot Thomas Jefferson Destry Jr. in the comedy western \"Destry Rides Again\" helped make that film a classic. But to most movie goers he was the all-American boyscout type Mr. Smith or George Bailey. Seldom was there a dark side to any of the characters he played.

Anthony Mann was associated with B flicks in the film noir mode. \"Raw Deal,\" \"Side Street,\" and \"T-Men\" caught the eye of James Stewart. So the two gifted men combined their resources to produce some of the greatest Hollywood westerns ever made. \"Winchester '73\" and \"The Man from Laramie\" were the best but the others were almost as effective. Mann became a successful director of A films as a result going on to direct what some critics believe to be the greatest western of them all Gary Cooper's \"Man of the West.\" Stewart became fabulously wealthy as a result of the partnership because he signed for part of the royalties in return for a fraction of the salary he was usually paid, a wise move indeed followed by many other actors from then on.

Winchester '73 was also one of the first films, maybe the first, to tell a story from the standpoint of a traveling gun. Each owner is part of the tale being told and it all comes together in the exciting showdown at the end of the movie, which also holds a surprise for the viewer. Based on a story by Stuart Lake, the tale centers on revenge and the ownership of the Winchester '73. The year is 1876. Custer and his 7th cavalry have been annihilated by the Sioux and Cheyenne at Little Big Horn. The whites want revenge. The native Americans want their land and their way of life back. This conflict leads to a confrontation between native Americas led by Young Bull (young Rock Hudson showing his potential as an actor) and a small cavalry group pinned down in a canyon and joined by civilians Lin McAdam (Stewart), his partner and life-long pal High Spade ( the underrated actor Millard Mitchell), and a couple trying to find themselves, Steve Miller (Charles Drake) and Lola Manners (Shelley Winters), a soiled dove with a kind heart. Among the horse soldiers are newcomers Tony Curtis and James Best (late of the \"Dukes of Hazzard\"), whose part is cut short by a bullet.

Wyatt Earp was in Dodge City in 1876. The movie has him as head marshal. The fine actor Will Geer (later of the Waltons) looks like an older Earp. In reality Wyatt was assistant Marshal in Dodge at the time just cutting his teeth on being a lawman. Lin McAdam wins the Winchester in a shooting contest, but has it taken from him not long afterward by outlaw Dutch Henry Brown (Stephen McNally) and his henchmen. McAdam and High Spade are after both Dutch Henry and the Winchester for the remainder of the movie. An even more sinister character emerges along the way, Waco Johnnie Dean, played as evil personified by Dan Duryea who threatens to steal the show from the other members of a stellar cast.

The Winchester passes through several hands during the course of the film, each time the transfer is intense. One involves a gunrunner played to perfection by John McIntire. Other swaps are intermingled with the scenario above. All this plus the action keeps the viewer glued to the seat throughout the entire show.

As noted above, the cast is first rate down to the smallest role. Look for other familiar faces in uncredited parts, including the future sheriff of \"Bonanza\" Ray Teal and B western reliable Panhandle Perkins (Guy Wilkerson).", "label":1 }, { "text":"This film is a true and historical film. It is very useful to those researching the LDS church, because it is 100% true. It is an excellent film and I recommend it.

It is very factual, exciting, and motivational. There are some who think it is not factual, but it is.

It is about the restoration of the Church of Jesus Christ of Latter Day Saints, and about the prophet, Joseph Smith, who restored it. It has such events in his life as the disease that he had when he was a small boy, his courting Emma Smith, Emma, his wife, giving birth, and so on. But most importantly it reveals the restoration of the church.", "label":1 }, { "text":"I will start by saying that this has undeservedly be panned by just about everyone! The fact is it wasn't what anyone was expecting, especially from Guy Ritchie. What everyone was expecting was cockney geezers and good one liners \"do ya like dags?\" etc, but this is far more mature than his previous works. I would agree that it is confusing but all the facts are there for us we just have to see them and listen harder, this film demands all your attention! Look past the cool and dazzling look of the film, try to listen to the dialogue rather than admire the performances and i think we will all get a more thorough understanding of the whole film.

Yes this has its influences from modern classics( fight club, pulp fiction etc ) but it is in the whole original in both direction and pacing with a music score second to none. I feel that if everyone watched this film over and over they would understand it a lot more and maybe appreciate it for the fine piece of modern cinema that it is and i hope also that Ritchie continues in this vain as i far prefer this to his mockney \"masterpieces\".", "label":1 }, { "text":"When I was very young,on a local tv station,they would show kung fu movies of all kinds on Saturdays.I saw lots of Kung Fu movies on weekends.I remember lots of them.I saw great flicks like Crippled Masters,Blind Fist of Bruce,Kung Fu Zombie,Shaolin Drunken Monk,Rage of the Master,Tattoe Dragon,and...Five Deadly Venoms.I remember the day clearly.Me and my dad had just gotten lunch at Burger King.We were racing home to see what movie it would be this saturday.We ran in the house and jumped onto the couch,turned on the set and flicked it onto 56.The usual intro of many kung fu movie clips in the background with the words Kung Fu Saturday over it.Then under that was the Title of the film.It said Five Deadly Venoms.Then the movie began.I bit into my burger amused with the pre-credit sequence.I loved this movie the minute it came on.My favorite character was the Toad Venom.The plot was hard to follow at that age but that wasn't what lured me...it was the fighting.The fights were so...amazing.I moaned every time a commercial came on and soon the 2 hours of the best movie i have ever seen ended.", "label":1 }, { "text":"I don't know if this is a sitcom or not, but I agree that this is one of the greatest television shows ever. It's great that this show still airs. And I love Michelle. It's cute on the episodes when she was a baby and she talked, and she sometimes said something funny. Aw.

This show can relate to children and teens and.. well, families as they struggle through rough times and try to work it out as a family. I don't know who would ever turn down an opportunity to watch this show with someone.

I love the episode when I think her name is DD.. the older girl accidentally stole a sweatshirt, and she learned a lesson about stealing. That was a great episode. An example that this TV show shows the family working things out as a family.

I recommend this show for everyone.", "label":1 }, { "text":"This game is very addictive, I kept playing it for hours straight until late at night but also the fact that you can't save a game when you are in space contributed to this, at times I just HAD to play on in order not to loose any game data.

So yes, \"Freelancer\" is addictive but also quite flawed. Also for instance, something that extremely bothered me was that you couldn't skip any of the cut scene's with as a result that at times you had to watch the same few minute cut scene time after time. A great opportunity for me to multitask to check my e-mail or have a chat with my friends and more things like that, while I had to wait for the cut scene to be over.

The story starts of promising but the further you get the more ridiculous it all gets. Also the game also ends quite abrupt, at least it did so for me. It is quite obvious that they are hinting at a upcoming sequel. I don't know if a sequel is in the works at the moment but I am sure that most likely I will pick one up once it will be released.

The gameplay is very easy! Even for those who are not familiar with flight games. To put it boldly, every fool can play this game. Yes, some levels are quite hard and require lots of effort. It took me about 1-2 weeks for me to finish this game which might be a bit too short. But thank God for the multi-player option! It allows you to keep playing short missions, just like the single player game once you have completed it by the way.

Even though lot's of mission are the same, it just simply stays cool to be in the middle of the at times massive dogfights.

The graphics are good but just not anything revolutionary or anything.

Addictive game but beware of its flaws.

7\/10", "label":1 } ]