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Girlfight is like your grandmother's cooking: same old recipe you've tried a million times before, yet somehow transformed into something fresh and new. Try and explain the story to people who haven't seen it before: a young women from the wrong side of the tracks attempts to improve her situation by taking up boxing whilst dealing with a bitter, obstructive father and her growing attraction to a male rival. Watch them roll their eyes at the string of clichés, and they're right: it *is* clichéd. Yet I was hypnotized by how well this film works, due to the frequently superb acting and dialogue, and sensitive direction that makes it 'new'. I avoided this at the cinema because it looked like complete crap but don't make the same mistake I did. Definiately worth a look. | 1pos
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I thought this movie was incredible. It's not the book, but what movie is? I'm not actually married to a time traveler, I'm married to a soldier and this movie, Rachel McAdams feelings scream about every thought I've ever had. Even though it's in the book the quote "Long ago, men went to sea, and women waited for them, standing on the edge of the water, scanning the horizon for the tiny ship. Now I wait for Henry. He vanishes unwillingly, without warning. I wait for him. Each moment that I wait feels like a year, an eternity. Each moment is as slow and transparent as glass. Through each moment I can see infinite moments lined up, waiting. Why has he gone where I cannot follow?" Should have been in the movie cause it was so moving! I loved this movie entirely. My husband wasn't a huge fan. He felt there wasn't enough of a plot. But overall it's about being away from the one you love. | -1no label
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enjoyed the movie and efficient Confucian crime drama, the old order survives the threat posed by a brash young greedy man, no doubt representing modern society. I thought the final scene was strange and could not understand if we were to believe that big D was being punished for being greedy or it was part of the plan a long. I loved the scene and for once in a Chinese movie, the violence was not a choreographed martial arts fest. On thing that always amuses me about HK films is that the main influence the British seem to have had is to introduce 'yes sir' and 'sorry' into the local language and its amusing that long after we have gone, they are still there. | 1pos
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Plainly pathetic. The backdrop in some of the action scenes are so visibly unreal that it made watching this painful. At one point near the beginning a photo of a test lab Dr and a terrorist is so badly edited it looks like one of the Internet pictures with superimposed faces planted on someone else's body. I also enjoyed watching the taking of the bomb up an unknown number of floors to a roof, starting a helicopter and then flying an estimated 25 miles off shore and all in 4 minutes and 30 seconds. I hope the director had fun making this. I also have to agree with some previous writers that seeing a very over weight Seagal is sad. You never really notice his weight until the very end when he is walking away. Also the champagne lunch with the CIA agent at the end is terribly phony and acted at an uncomfortable feeling. What a terrible waste of time. | -1no label
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Two things i learnt from watching The Man last night, one is that Samuel L Jackson literally will do any film, regardless of how under written his role is. Does he even read scripts any more?, you have to wonder when you see drek like this. Secondly i had it confirmed that film makers need to realise that a great supporting actor in comedies, is not leading man potential. Eugene Levy, nice fella who tickled us pink as Jim's dad in Amercan Pie, simply isn't strong enough to carry a film, especially when his co-worker Samuel is bogged down by a meandering dull and unoriginal script {Piddock & Oberman you should be ashamed}. Luke Goss tries his best at villainy but Blade II seems a very long time ago now, whilst to under use Miguel Ferrer is tantamount to a treason of cinema. Unimaginative dirge, 2/10 for sympathy. | -1no label
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] |
This, ladies and gentlemen, is truly a modern B-movie. The dialog is stilted and delivered with wooden rigidity, the premise is predictable (there are a few decent twists) and characters remain 2D for most of it. And yet there is a certain...charm. WWE wrestler Kane brings to life the sick, twisted monster of a man with a lot of pathos (though it is somewhat like his character that he's been playing around ten years) and so I'll find it quite amusing when people say it's "not much of a reach for him," but Glen Jacobs is, apparently, quite the nice guy, so actually it is. In any event, he's cast perfectly as the hulking brute and the deaths are suitably over the top (Jason would be proud), but I heard at least four applause breaks for four different kills scenes. Frankly go into this movie thinking that you'll have some fun and a gorefest, oh it is QUITE the gorefest. The R-rating IS richly deserved and I actually got a little nauseous during some of the more graphic times. In any event, a very, very fun, but fairly bad, movie. | 1pos
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] |
Gerry Anderson's first live-action foray in the way of a major motion picture that benefits from incredible model FX work and,a great Barry Gray music score. The reel-to-reel analog computers, in the far-off year "2069" (I guess Anderson really wanted a safe date of a 100 years later!) are a hoot to see as are the guru-jacket fashions, but one could easily accuse 2001 of the same violations, but no one could have foreseen some things as they turn out. This film was the springboard for the series UFO the following year, and in fact not only had the same FX people, and producers but many of the cast were regulars in that show. It always comes off like an "alternate history" future more than anything else-the "Apollo-like" rocket used in the lift-off, it always seems like this is really another planet than earth. Given the "alternate earth" plot, one would assume that was the feeling they wanted. We end up with an ending that posits more questions than answers. That because the "other earth" exists every movement, event and thing said is duplicated as it's happening on both worlds. Because of that given, and the sun in between, the two versions of the same person (in this case Glenn Ross, astronaut) can never meet. A complete accident discovered the planet in the first place when it would have most likely stayed a secret forever. Filmed mostly in Portugal with FX work in England, it's a must-own for any Gerry Anderson fan. I have the Image bare bones DVD from a few years ago now out of print, but one hopes Universal will re-release it with, perhaps extras and even a Gerry Anderson commentary. | 1pos
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] |
There's an adage in the world of drama, which goes something like this -- "a pistol hung on the wall in Act One must be fired by Act Three". I think it was Chekov who said that but I could be wrong. There's almost nothing to like about this confused mess of a movie, except for the strong presence of Lauren Holly as the U.S. Senator and Angus MacFayden as her sinister brother. It seems to be totally unlikely that such a clever political operator as 'the Senator,' who is a controlling and driven person, would be unable to rein in her do-wrong brother. He's a bottom feeder, a leg-breaker for some loan shark who has absolutely no scruples. The goofy drug-addled daughter -- Cassie -- gets to make a very fine presentation of a Martin Luther King speech, but only after she's already dead in the plot. This movie is a mess, with conflicts presented that have no discernible origins and actions taken by the principal characters which have no discernible back-grounding. It reeks of spy movie clichés without giving the viewer any kind of orientation .... Yes, the actors do very well with a minimalist script and some nice photography, and the viewer wants to know more about them before the tragic ending turns into 'bathos,' i.e., imitation pathos. It cannot be recommended for any of those reasons. It is as if the producer/director lost some pages of a much bigger and better script and then ran out of film, money and maybe even time to finish the story. It's not a boring film, it's a confusing and unsettling and emotionally unavailable film, even though the entire presentation of the plot is based on the emotions of the leading characters. There's lust, there's love turned to hate, there's dissolute drug-induced behavior and two totally a-moral bad guys, one of whom is the brother character. What an absolute and total waste of a potentially great theme, great cinematography, and intensely personal acting. The DVD is well done. Too bad that the excellent transfer was used to put this absolutely worthless film on digital media. I cannot even recommend it for being so entirely bad, as it isn't, for the reasons I've noted. This film starts well and then descends into a swamp of nihilism and sour, unrepentant, dramatic manipulation. Too bad IMDb doesn't provide negative numbers for ratings, because this howling dog deserves a minus 10 ..... | -1no label
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] |
This is the Who at their most powerful. Although before the masterwork Who's Next, which would provide anthems like Baba O'reily and Wont Get Fooled Again. This film shows the group in transition from mod rockers to one of the biggest live bands of the 70's. Daltrey shows what being a front-man is all about, Entwistle steady as ever. Moon is great, check out the ongoing conversation with the drum tech, and see him playing "side saddle" whilst having a bass drum head replaced! Townsend even looks like he's enjoying himself occasionally! Considering they took to the stage at 2am no one in the crowd was asleep! There are not many bands these days could produce a set as tight as this and it is difficult to imagine any of the bands of today producing a concert that in 36 years time will be be enjoyed as much as this one. | 1pos
| [
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] |
The Brothers Quay are directors, judging by conventional thought, should have stuck to making short films. I myself actually really liked their first feature, Institute Benjamenta, but judging by their sophomore effort, The Piano Tuner of Earthquakes, I'm willing to agree they don't come close to equaling their past genius at feature length. Piano Tuner is, without a doubt, a gorgeous film to look at, and often to listen to. Unfortunately, it's borderline painful to sit through with its convoluted narrative and glacial pace. Reading the plot synopsis, it sounds like a pretty good story. But the Brothers fail miserably to bring it to life. One thing they should consider avoiding completely in the future: dialogue. My God, it's awful here. A huge bust. | 0neg
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] |
Before seeing this movie, please check out reviews available on the internet regarding the movie's falsification of events, particularly its prevarications regarding the widely accepted fact that 7-8,000 Muslim men were bused out of Srebrenica and shot by Serbian paramilitaries. The documentarian also belongs to various pro-Serbian American organizations. Please watch this movie critically, and read reviews beforehand. Most reviews argue that the documentarian takes his arguments too far, even if he raises questions that target the conventional wisdom regarding the war. A review in the NYTimes by Stephen Holden states that it would be "inaccurate to label this documentary pro-Serbian," but one should question both the presentation of facts, many of which are taken from reliable sources, and the omission of those facts that inculpate Serbian forces. I do not advise against seeing this documentary, but I do caution you to examine it with an especially critical eye (as one should do at all times anyway). | 0neg
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] |
Living just down the Hwy from Georgetown, Co...I remember this movie well and thought it was great! The story seems like something John would do even in real life, but there is something that I will always remember most about the movie. For those of you who don't live in Denver...every Christmas, the city of Denver, Co puts up a fabulous display of lights and decorations at the Civic Center in downtown Denver. Well...as it so happened, during the filming of this movie, a Nativity scene was needed. So...it was borrowed from the Civic Center display...with permission, by the way! Someone had forgotten to advice the powers that be, and it was reported stolen! A frantic search began with law enforcement for a few days. Finally, someone spoke up and remembered loaning it to the film crew in Georgetown! It was returned and put back where it belonged! As it turns out...it wasn't featured all that much in the movie...you can barely see it during the Christmas show with the children. It did create quit a disturbance though... | 1pos
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] |
This title says it all. I watched this movie and then, boom, diarrhea. If you sometimes have diarrhea, I would not recommend this movie. This movie is about a chimpanzee who skateboards or snowboards or plays hockey. I think it involved snow. There was some dumb little kid who didn't have any friends at the beginning of the movie and at the end he got to snowboard with some dumb guy named Bjorn. So I guess that's a happy ending. If you like diarrhea. Also, at one point in the movie he (Bjorn) said something about "that's tight dawg." I laughed really hard. So hard in fact that diarrhea shot out of my butt and onto the guy sitting next to me. I don't recommend this movie for people with sideways pointing butts. | -1no label
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] |
Another Indian legend you never heard of before is let loose. As the name implies, this is a vengeful wraith who likes to absorb the skeletons of people while they're still using them. As usual, ancient burial grounds (can you say, "Poltergeist?") have been disturbed by clichéd greedy land developers building stuff. The CGI, if it had been better, might have made the effect more treacherous looking, but they skimped on the budget, and it shows--to comical effect. The unleashed creature probably should have been kept off stage during its first several killings-that might have added some mystery or impending doom atmosphere-but the inept director decided to show us in the first five minutes what it looks like, and it wasn't impressive. The deaths are just poorly done, again with shoddy CGI. I guess ancient spirits always kill by using cheap special effects. As for the "victims," they look they're going to laugh any moment while they do goofy screams. It's always obvious who's going to get it: a character with only a few lines shows up, strange noises are heard, CGI dots fly, exit character. Repeat (several times). Still, there's a few chase scenes featuring the monster that actually made this thing watchable. Unfortunately, the director seems to be using these as a device to fall back on (so it's used too often) when he can't think of anything else for his characters to do. Overall, it's pretty silly, but I've seen worse. This flick is cheap, but it's oddly fun to watch. | 0neg
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] |
First of all this movie was made for television. Plot-wise it has a cheap movie of the week feel. The acting isn't bad. In fact the leads are all quite good and in some cases stellar. Any weaknesses in performances have more to do with really bad makeup. The ageing is horribly done and not very convincing. At one point "Rock" says, "some poor woman is missing her makeup kit" and it led me to wonder if the "poor woman" was in fact the film's makeup director. Dreadful stuff. A few others have commented on the accuracy of the characterizations -- I believe they're alluding to whether Rock Hudson gave Mark Christian AIDS without telling him he had it -- perhaps the most damning (and criminal) thing in the film. I'm not sure anyone knows other than the principles. George Nader is missing from the entire film. There are some serious gaps in this film. Massive gaps actually. The film presents the picture that Hudson's career was over by the mid 1960s and he retired from acting. Nothing could be further from the truth. The film omits the SEVEN seasons Rock Hudson played the lead in McMillan & Wife -- the popular detective series of the 1970s. For many of us it was our first introduction to Hudson. The other gap is the unbelievable prudishness in presenting Hudson's relationships. No kisses and very little tenderness. It is deceptive and a lie to present his relationships this way. There's a better film out there demanding to be made. | -1no label
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] |
I suppose I'm supposed to take something like this with a grain of salt. These laboratory movies (and, yes, they spend a lot of time in the laboratory), always fail in one dimension: there is an understanding that single people fooling around have uncovered secrets beyond the comprehension of anyone to this time. Of course, they pay a price because their experimenting has the same shortcomings that Dr. Frankenstein's did. There is always something they didn't anticipate. There are so many things from pure science to fashion for young ladies to outrageous cover ups that don't work here. The young woman is certainly fetching and the doctor can't help himself, but he could have been a little bit discreet or even made an effort to shelter what he was doing. Things go wrong and because of this intellect, she gains tremendous power, including an understanding of how she came to be. Rock Hudson looks pretty fit here. He never quite makes it in this role, however. It wanders all over with lots of clichés and silliness which diminishes the basic issue. Once she has her revenge a more suitable thing would be for her to wander off and allow him to seek her out and destroy her in some grand way. | 0neg
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] |
Before 'Another 48 Hours' was released, things were already in an uproar. Nick Nolte and others involved with the movie, vowed never to work with Eddie Murphy again. There were constant spats on the set with the biggest complaint that Murphy would arrive three hours late for filming while everyone would have to set around and wait for him to show up. If the above was true, Murphy is not the one to blame for the movies failure. 'Another 48 Hours' offers no surprises, originality and a "plot" that has been recycled over and over again. Co-written by the director of the first installment, Walter Hill, (who had years to come up with something good) gives the fans of the original a HUGE letdown. The opening scene has three bikers cruising all over the country blowing innocent people away and apparently they work for a major drug dealer known as Iceman that Jack Cates (Nick Nolte)has been trying to track down for years. The Iceman wants Reggie Hammond (Eddie Murphy) dead for reasons that go unexplained throughout most of the movie. Cates job goes on the line when he kills a suspect who's gun cannot be found after the shooting. The suspect is burned to a crisp in a gasoline fire but the one important clue is unbelievably sparred. So Cate calls on Murphy to assist in saving the day and while the chemistry between the two was so good in the original '48 Hours,' something is now wrong. Nolte and Murphy don't seem to be enjoying themselves. They are not having fun. And either am I. The routine plot becomes more routine as the writers seem to know that the movie is not funny and try their best to distract the audience with endless car chases, shootouts, and the likes. One unintentional laugh I got was watching a bus roll over a dozen times at 50 miles an hour with Murphy in it but later seeing him walk away without a scratch. And the so called surprise when the identity of the Iceman is revealed is about as believable as Frosty The Snowman. (Perhaps the Iceman would be a better bad guy in Spider Man 3). Eddie, come back to us. We miss you. | -1no label
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] |
I rarely make these comments but I felt compelled to spare others the pain I endured in watching this movie. It's so stupid and implausible both in the overall story and in the details that you simply can't suspend disbelief. The problem starts early, when you see a government researcher tooling around in a new Porsche and dining with his team in a restaraunt that looks like a castle, overlooking the Capitol Building in Washington, D.C. That kind of life on a government salary? Hah! It only gets worse. Toward the end, when the bad guy starts killing off the good guys, the latter group act so stupidly that you want them to die, in order to cleanse the gene pool. The special effects are pretty good - any producer's money can buy that - and the lead actors have been great in other films, but the screenplay and direction here are moronic. Many people have wondered whether there was some deliberate intelligence behind Paul Verhoeven's previous, facially stupid movies (Showgirls, Starship Troopers), but this movie should stop the wondering. He's just plain bad. | 0neg
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] |
Recap: Brothers Linc and Zane, armed robbers in the wild west, gather the gang once more for one final job. The target, a bank, which in its vault has over a quarter of a million dollars for the railroad salaries. The only problem is that the town is practically owned by a ruthless man, one Mr Driscoll. Driscoll's son, Burt, is responsible for the death of Linc's and Zane's mother. And Driscoll's man Wolverton responsible for the death of the Reverend's family. So when the gang is in town, to check out the bank, they run in to Burt, killing him. This brings down the wrath of Driscoll and Wolverton, but the gang still decides that the job is worth the risk. Comments: This is a very shallow movie, somewhat entertaining but with no depth in it at all. It tries to by bringing in connections and relations between a lot of the characters on either side of the law, but as these are never explored, just mentioned, it brings nothing. There are some action, and gunfights, and that is what makes the movie watchable. The gunfights are not good though, not very realistic at all. People just stand there, firing repeatedly. Not very much else happens, actually. This is a movie to see if you are bored. Then it can kill some time for you. But if you look for a quality movie, keep looking. 3/10 | -1no label
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Claire Marrable has just lost her husband, her fortune, and her rich and refined way of life. What is a spoiled, wealthy, egotistical woman to do? Why pack up and move to Arizona to be near your nephew, and begin killing housekeepers/live-in companions for their life savings of course. Aunt Claire seemingly has a green thumb as she transplants her housekeepers to the ground and plants a pine tree over them. As we see in the first part of the film, there are at least three pine trees before we see the first woman bashed in the head with a rock and then planted. We then see another housekeeper, Edna Tinsley, killed in similar fashion with a shovel. Now, five pine trees in the desert. Enter Mrs. Dimmock, a woman in disguise as a housekeeper out to find out what happened to her long-time friend Edna. This cat and mouse relationship between Claire and Mrs. Dimmock serves as the basis of the film. This film was produced by Robert Aldrich, who was responsible for bringing us films like Whatever Happened to Baby Jane? and Hush..Hush, Sweet Charlotte. Aldrich made films that had older female protagonists popular in the sixties by giving these starring roles to ladies that were a bit aged and considered passe. Geraldine Page stars in this film as Aunt Claire, and if you had any doubts about her talent as an actress prior to seeing this film, no doubts should have remained afterward. Page is simply stunning. She has an aura and charm about her. She has a wonderfully sadistic and maniacal laugh. She has an ability to take dialogue which would not work for any one else and make it sound meaningful. Her portrayal of this wicked, cruel, greedy woman is one of the best I have seen for roles of this ilk. Aiding Ms. Page is Ruth Gordon. Ms. Gordon gives a very good performance as Mrs. Dimmock out to find the truth no matter what the cost might be. Gordon and Page act and interact very well together, and it is their relationship which really makes this film work. The rest of the cast is okay and the direction is okay, but everything is brought up a notch by the two outstanding performances of these two incredible actresses. After seeing this film twice in two days, I am still stunned at the magnificent performance given by Geraldine Page. WOW! | -1no label
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] |
[I saw this movie once late on a public tv station, so I don't know if it's on video or not.] This is one of the "Baby Burlesks" (sic) that Shirley Temple did in the early 1930s. It is hard to believe that anyone would let their daughter be in this racy little film which today might just be considered this side of "kiddie porn". Shirley Temple stars in a cast which probably has an average age of 5. They are all in diapers, and are in a saloon which serves milk instead of alcohol. The "cash" is in the form of lollipops. Shirley playing a "femme fatale" sashays up to the bar and talks to soldiers who make suggestive comments about her (!). But Shirley doesn't need really their lollipops/cash because her purse is full of ones from other "men". Meanwhile a little black boy does a suggestive dance on a nearby table (!). What a strange film . . . infants using racy dialogue playing adult roles in a saloon. Who thought up this stuff any way? | 0neg
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] |
Zodiac Killer (2005) was an interesting film from German born director Ulli Lommel. He directs, produced and co-stars in this latest production. Not only does he manage to make an interesting film on the cheap. But he reaches a new low when Herr Lommel works in footage from nearly his entire film catalog. I have seen film clips from Boogeyman I and II, War Birds, Tenderness of the Wolf, Brain Waves and Cocaine Cowboys (even Andy Warhol makes a cameo from beyond the grave courtesy of this film). Even though he uses plenty of old footage, he works them in well (and very creatively might I add). The film follows a young man who copies the original Zodiac Killer. he also corresponds with a writer (Ulli Lommel) who originally wrote about the serial killer during the late sixties and early seventies. The writer's friend (David Hess) helps him to try and find this wannabe Zodiac. Can this killer be stopped? Will the writer put two and two together and reclaim some of his old glory? Is David Hess still the man? You'll have to find out for yourself and watch the Zodiac Killer. This film is NOT about the original Zodiac killer. I have also heard people whine about this film being shot on video. So what. The director's old school artistic style outshines the fact that it's shot on video. My only complaint was the over use of stock footage from Herr Lommel's earlier films (but I understand why "wink" "wink".) Don't believe the hype. This is a gritty and street level horror film. Like the disclaimer in the beginning states, this film does nor glorify murder. You got to like that statement. Highly recommend for Ulli Lommel fans. | 1pos
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] |
The big mistake here was the casting of Richard Pryor and the general shift in tone to silliness and stupid comedy scenes. Yet the highlight of the film (similar to Spidey 3) is the exploration of the dark side of a superhero. The whole sequence in which Christopher Reeve turns psycho and ultimately splits into two personas, having a big fight with himself, is the only reason the movie is worth seeing, and most people fail to acknowledge that Reeve actually did some truly good acting here, good enough so that the "bad Superman" is convincing and somewhat scary -- especially the scene where he is sitting in a bar, unkempt and unshaven, breaking holes in a mirror behind the bar while flicking peanuts at it (never mind that alcohol is not supposed to have any effect on Superman). Unfortunately, the rest of the film is garbage. Aside from this, the story is not really about any central idea or concept. Robert Vaughan is just a generic Lex Luthor with a different name -- think about it, he even has a blonde bimbo mistress like Gene Hackman did in the two previous films. What is his grand scheme really all about, and what does he want to achieve? Darned if I know. The climactic sequence with the supercomputer is simply bad. The special effects are not very good in this one. And where is Margot Kidder as Lois Lane? She is largely absent from the film. Although Annette O'Toole as Lana Lang is a solid substitute, and in terms of her character at least the film is somewhat faithful to the comics. | -1no label
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] |
I stumbled upon this movie by chance. I was traveling a few years back and this movie was on some channel on cable at the hotel late one night. Not much else on and figured I watch it for about 20 to 30 minutes until I decided to go to bed. Needless to say, I stayed up and watched the complete movie. The plot was very interesting and does make you wonder if there had not been SS who did this or at least thought of doing it. I have been looking all over for this movie. I even sent and email to the production company, but the weren't sure that it would ever make it to DVD, but said there was always hope. If anyone finds this movie drop a note here where you found it, as I'd sure like to get a copy some day. | 1pos
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] |
Some fruitcake is loitering around the streets of L.A. taking pictures of (ugly) wannabe models, all the while we hear a voice over narration as he muses about his ex girlfriend or ex wife- it's never made clear- and then strangles said wannabe models. This is occasionally interrupted by scenes of another ugly woman, who works in a used bookstore, stabbing bums to death on the streets with an ever handy switchblade. No explanation is ever given as to why this is happening, why the killings are being committed. Sleazy little movie looks like it was filmed in one or two days on the streets of L.A. and in back alleys and in old apartment buildings - maybe the crew just decided it would be cheaper to film this at their houses instead of on an actual set? There is NO DIALOGUE (!?!) just a narration added in after the fact and a lot of canned background music all jumbled together, and some of the dialogue is barely decipherable. That might make it worth watching in a "so bad it's good" kind of way, but if you're looking for anything more than that, steer clear. * out of **** | -1no label
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] |
I've just read some of the other comments on this film and am now engaged in a bout with writers block because in no way will I begin to shed a better light on our subject film than the engaging analyses already posted on this site. This tale about a lower working class South London family in a nondescript housing project is one that simultaneously depresses and uplifts the spirit. You'll find no plastic yuppie rich boy/girl "wannabee" hot shots roaming about the screen, spewing ostentatious insipidities in this film. These are people on the low end of the economic ladder who make no pretensions or excuses for their situation in life. Mike Leigh and company totally hit the proverbial nail on the head in this one. Suffice it to say that Tim Spall and Lesley Manville each rendered riveting performances in their portrayals of the unmarried couple with two grown kids. The realistic "mise en scene" and the accompanying dialog/story line were grittily absorbing works of art, especially the long scene toward the film's conclusion. I may as well bestow kudos to the rest of the cast as well because their contributions, both individually and collectively, greatly augmented the story line as a whole. This modern gem, in its ambient unpretentiousness, so capably underscores the unmitigated power of love, acceptance, and triumph of the spirit no matter how grim the situation. | -1no label
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] |
This film concerns the story of Eddy as mentioned in the title and his homecoming to old friends in a seaside community. The plot involves the group of friends as it comes to light that Eddy left as a means to deal with death of a friend in which he feels in some way responsible. But this is inconsequential, as the choices made in the production are extremely poor and not fully realized. Screenplays not always need be 'chatty', but they should at least assist the development of the story. Here one line attempts such as "he just took off" or "I know you don't have love in heart" just do fully evoke something worth the audience's time. Also whenever the writer feels at a loss to where to go to next he cuts to a music montage of the protagonist walking through fields to some indie mood music. Talk about trying to hard. If you are interested in a good film, the type that gives quality and substance over just style then this is not the film for you. | 0neg
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] |
I adored this show for the most part. The first season was offbeat, quirky and unique. Catherine Tate and Dawn French are both brilliant as always, and the writing was excellent, managing to create a thoroughly enjoyable black comedy. The second series, however, left something to be desired in my opinion. The writing seemed uneven and flat, and where the first series made you care about the characters, the second leaves you feeling rather unsympathetic. There also seemed to be forced "tender moments" that don't really resonate. However, even the second series is worth watching, and there are definitely some good moments to remember. | -1no label
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] |
I found this movie quite by accident, but am happy that I did. Kenneth Branagh's performance came close to stealing this movie from Helena Bonham Carter, but their strong chemistry together made for a much more enjoyable movie. This movie brought to mind the excellent movies that Branagh made with Emma Thompson. Carter's star turn here as a disabled young women seeking to complete herself was as good a performance as I have seen from a female lead in a long time. Portraying a disabled person is hard to pull off, but with basically only her eyes to show her pain about her situation in life, she made it so believable. If this movie had come out after the current wave of movies with beautiful women "uglying" themselves up for roles (Charlize Theron, Halle Berry), I fell sure Carter would have had strong consideration for an Oscar. If you run across this movie on cable late at night as I did, trust me, it is worth the lost sleep. | 1pos
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] |
"The Second Coming Of Suzanne" is yet another one of those surrealistic films that tries to come across as extremely sophisticated, yet all it does is put the viewer to sleep. Like other movies of this type, there is limited dialogue. Everyone is much more interested in the visual aesthetic of the shot. However, the cinematography stinks so there is nothing at all to keep your attention. The video box states that this film is "one of the most exciting visual adventures ever seen on film." Yeah...sure. It's right up there with watching such stimulating events as a bucket of ice melting or a turtle walking for a mile. 1/10 | 0neg
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] |
I had high hopes for this movie I even gave up a night of watching Stargate for this movie. I found it had a rushed feel about it and a lot of the key biblical moments and facts were missing. I might be a bit jaded and spoiled for the 1956 version, as I have watched that one every year for the last 20 or so years. I doubt this one will make it to the realm of yearly classic, as the other one has. If you have not seen the 19546 version, you might like this one but, I seriously doubt it and urge you to skip this one and go rent or buy the classic one. This has some nifty special effects but that is not what I look for when telling a movie like the Ten Commandments. I was kind of looking to see how they told the story, and the writers did not do a good job with this one. | 0neg
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] |
In WWII England a troop of surveyors are dispatched into a characteristically happy-go-lucky and scenic village, though really they are a select assemblage of German officers with orders to seize control of the township on the horizon of a covert German attack in a few days. Director Alberto Cavalcani is smart. Rather than this information creeping up on us like a twist, we grasp this from the start. When one of the villagers grows suspicious, we are in an enhanced state of tension. The Germans hijack the parish, a handful among which refuse to lose hope of alerting the unsuspecting free world around them. Do not make the mistake of presuming that it is an insincere propaganda yarn, considering its era. This is in fact quite an electrifying tale of survival. If so many can overlook the propaganda of obsolete films like Battleship Potemkin, there is certainly room for this picture. It stands out, owing much to its unexpected flashes of violence that are sincerely exhilarating and often frank and uncompromising in terms of the drama. It is not gritty like most modern war films. The quaintly timeless English ambiance, and the consistent theme of it maintaining its spry morale, is a clever and natural juxtaposition to the taut aggression of the conflict, which is thus more well-defined. The relatively unfamiliar cast is plainly high- quality. At its hub, yes, it's a work of propaganda exploiting a thriller story to enrapture its WWII-era British spectators. But mind you, it is based on a story by English writer and WWII MI6 spy Graham Greene. Nevertheless, the English were righteous in that war, remaining the only European country the Germans intended to occupy but never could. This piece grows to be as riveting as any other good movie, and what's more, its unexpected violence causes it to project with particular prominence. | -1no label
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] |
Multiply named and strangely casted, "One Dark Night" aka "Mausoleum", is one of the better early horror video-rentals. Original and quite raw, we meet Adam West briefly in this film about telekinesis and teen-age headgames. Meg Tilly is dared into spending the night in a crypt by "The Sisters" a high-school gang of hair-hoppers in blue satin jackets. The initiation is interrupted by the recently interred body of a mass-murdering psychic wizard called "Raymar". Surprisingly awesome make-up and scare effects paints this chiller film with style and deliver a heart-pounding climax. | 1pos
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] |
"Wildcats" is a football movie that is pretty predictable, but nevertheless it's very entertaining. Goldie Hawn gives another one of her many funny film performances here as a girls high school track coach who's always dreaming about coaching football since she grew up on the sport. Well her dream comes true. Actually, not all true. She does get assigned to coach a football team, but its for a rough inner city high school in Chicago. Predictably, the players hate her at first, then they start to like her and at the same time the team starts off losing before they finish up winning. There's not much originality in "Wildcats" but since it's alot of fun so what. Hawn is fun and is surrounded by a good cast which includes Swoosie Kurtz as her best friend; James Keach as her ex-husband; Jan Hooks as Keach's current wife; Nipsey Russell as the principal of the rough high school Hawn's assigned to; and (before becoming famous) Woody Harrelson and Wesley Snipes as football players (these two actors would later team up for "White Men Can't Jump" and "Money Train"). "Wildcats" isn't a great football movie like the current "Remember the Titans"; it isn't as funny as the football themed comedies "The Waterboy" and "The Replacements"; but it has alot of laughs and is alot of fun. *** (out of four) | -1no label
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] |
This movie is now appearing on digital TV at least once a month, I've watched it a dozen or more times, and it never ceases to delight me. If it was on tomorrow I'd watch it again. Such is the artistry that Peter Ustinov and Maggie Smith, two great magicians of the acting profession can create, helped in no small way by the superb supporting trio of Karl Malden, Bob Newhart and Robert Morley. Not forgetting others in minor roles. It is a simple tale, simply told, of an ex-con, a lovable embezzler, battling and succeeding with the then "new age technology" i.e computers, and finding affection in the process. Even if it is a tad (tongue in cheek) implausible, even unbelievable, the characters are not. There is no violence, no sex, no bad language, and best of all no awful method acting which is so prevalent today. A real lesson to modern movie-makers on how to make a great show from, and with, virtually nothing...except outstanding talent. | 1pos
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] |
The poor script is the culprit in this failed project, not only is it a mere replica of any other sci-fi catastrophic movie ever made, it's a bad one at that. Don't watch this movie unless you want to learn what to avoid in movie making. Acting is OK though, thankfully the movie has some good actors but it doesn't come close to compensating for this hopeless flick. Had it not been for the acceptable acting I would have given it a 2 instead of a four. Even most of the graphical wizardry, which today is a standard part of a lot of movies and no longer any great obstacle to create, is poor and it even seemed they re-used a lot of animated shots a couple of times. Either that or it's just repetitive, which is almost just as bad. | -1no label
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] |
Before I sat down and watched this film on HBO, I wasn't expecting nothing but a few laughs here and there and all together a stupid and common plot. Well, that's exactly what I got out of it, except that I was somewhat satisfied at the end of the movie. I wasn't expecting it to be, I thought it was just going to be another hour and a half that I had on my hands to waste. Well, it was, but still it was somewhat worth it. The whole plot was very stupid, cheap acting, and some of the lines were very very dumb. Otherwise than that, it still had it's funny moments, even though not many. All in all, if you're going to rent this, don't. Watch it on television. I gave it a 4, I was generous because it made me laugh, but yet it was still pretty stupid. | 0neg
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] |
Well, i cant believe what a film that was, If you are like me, then you will find that horrors nowadays are not what they used to be, But JACKPOT BABY, I mean i know that it is made in 1998 but it does not stop it from being probs one of the greatest horrors to be made, Right from the start it actually maintains the course of looking like a genuine home video, and when they realise the aliens are actually after them, The horror on there faces, Some believe Sum Do not, it is just brilliant, And the Way that they portray that Rosie has been taken over somehow is just brilliant, Also they bring in the racist side of it tackling that view with great authority, they make every bit of the film as enjoyable as the ever, People who are looking for flaws in the film i have this message( My God Get A Life ) its a film go bloody have a pop at a Disney film or summit, As for me This is Danny Robinson Signing out with a big 10 outa 10 | -1no label
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] |
Now from reading the trivia provided by IMDb, it can be learned that their was originally going to be three stories. After learning this, I can somewhat understand the format of movie the director was going for. However, having only two stories (which are disproportionate in the amount of time spent on them) is completely distracting because you find yourself looking for the parallel between them. The theme was their but that wasn't enough. If Solandz would have just pulled one character from the first story and show a glimpse of them in the second, I would have found the movie a lot smoother around the edges. Since he did not do this, I am forced to evaluate the second part of the film more due to the time spent on it as well as plot development. Format aside, I loved the second part of storytelling. All characters are lovable and easy to relate to, especially Scooby. Scooby represents a normal teenager trying to find his own with many confrontations with his parents. So much so, that he can almost be looked at as a theme more than as a character. The portrayal of the oldest, middle, and youngest child is dead on. Parents are a cliché but it only adds to the plot. *SOMEWHAT SPOILER* The beginning shot of the director makes you sympathize him which then leads you to trust his intentions. Everyone, even the viewer, is betrayed by his depiction of the family. The movie ended perfectly, as there was nothing else that could be said or done and I give props to Solandz for being able to leave it perfect and raw. | -1no label
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] |
I was immensely disappointed when I saw this. After I had enjoyed most of the first Beverly Hills Cop movie I had high hopes for this one as well. To see Danish Brigitte Nielsen in a big budget movie was also some sort of weird attraction to me at the time and I thought that I could at least have some fun seeing some banter between her and Murphy, but the expectation was far more attractive than actually seeing it. They do share scenes but there are only lame suggestive remarks from Murphy and Nielsen's character is so devoid of humour that you have a nagging suspicion that she was only cast as some sort of deal with Stallone (Nielsen's hubby at the time), since he was to star in the first movie. There is a poster of his Cobra character, to further heighten the suspicion. The scenes mostly take place in smoke-filled rooms and you can hardly see any faces clearly. The main villain, played by Jürgen Prochnow, is such a anonymous character that you wonder why he even took the role. Was it because being in an Eddie Murphy film was so popular at the time that you just had to do it? The three Beverly Hills cops also reprise their roles here but the Lieutenant (now promoted to Captain) only has a couple of scenes and it is really totally unbelievable that Murphy's character and the Captain are discussing going on a fishing trip (could you even picture Murphy with a fishing rod?) So what we have is slam-bang action scenes with wisecracks that mostly fall flat and I almost forgot the totally annoying cameo by Gilbert Gottfried (one of Murphy's fellow SNL players) as an accountant named Sidney Bernstein. Take this as a warning: Expect extreme agony through most of the running time and please do not wait to go to the bathroom if you are watching at the same time, it is not worth the wait. | -1no label
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] |
A group of tourists are stranded on Snake Island after an unfortunate accident with their boat. They are forced to spend the night and as you probably suspected, it isn't called Snake Island because it's just soooooo much fun to say - it has a history of people disappearing one by one because of the large snake population, which is just what happens with these poor dumb souls. This is a very boring and typical movie with tons of off screen snake attacks and lousy performances from NOBODY actors. The only somewhat entertaining scene was an absolutely unnecessary and forced strip scene which ain't anything couldn't see in a PG13 rated movie, folks. If you are into snake movies than check out SSSSSSS, but don't torture yourself with this crap. | 0neg
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] |
This movie takes a giant backstep in concept and evolution by replacing our Rangers' powerful Zords (animal attack vehicles) with cheap looking, souped-up cars...and worst of all, the Rangers now wear atrocious looking headlights and reflectors on their heads! "Turbo" unfortunately has little going for it. With cheap production values and a boring plot, this big screen vehicle runs out of gas fast...Although the original Power Rangers (Jason, Kimberly, and Tommy) were in it, this film gave them little room for much needed character development. The only good scene in this film was when Rocky (Steve Cardenas) performed a goofy martial arts move that injured his back, and having his place in the martial arts tournament replaced by our heroic Red Ranger Jason (Austin St. John). I have to admit that the new Blue Ranger (a little boy) performed better than his predecessor, but overall, as most sequels go, this film bites the dust. Avoid it like the Black Plague! Movie rating: 1* out of 10*. | -1no label
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] |
The last of the sequels,not counting Abbott and Costello meet Frankenstein which was more or less a spoof.this time count Dracula (John Carridine)takes center stage seeking a cure for his vampirism from a kindly doc(Onslow Stevens).well good ole Larry Talbot(Lon Chaney Jr)shows up also seeking a cure.the good doc succeeds in curing Larry's werewolfism,but Dracula tricks the doc and ends up contaminating his blood and makes the good doc a crazed lunatic.oh and all this time big Franky(Glenn strange)lies on a table awaiting his electricity fix so he can wreak some havoc.this was kind of a short movie,around 70 minutes and some change,but the action is there,and the great actors are there as well.Lionel atwill turns up as a police inspector,heres some trivia,Lionel atwill appeared in son of Frankenstein,ghost of Frankenstein,Frankenstein meets the wolf-man,and house of Frankenstein. and then this one.if there was another in the series they May have added the creature from the black lagoon to the line up,I'm giving house of Dracula 8 out of 10. | 1pos
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Marins' HALLUCINATIONS is a brilliant collage consisting of many disturbing, bizarre, and imaginatively perverse scenes which were censored from his earlier films. A man, Dr. Hamilton, is having nightmares in which Coffin Joe, Marins' demonic alter-ego, repeatedly kidnaps his wife for the purpose of superhuman procreation (a theme which runs through the Coffin Joe films). Fellow psychiatrists seek the help of Marins the filmmaker, in an attempt to force Hamilton back into reality. Of course, Marins mastery of cinematic metaphysics throws all matter of logic and rationality to the dogs, so that what you get instead is a wild journey into the dark realms of the unconscious. The film is as much about Marins and his controversial career as it is an underground "head " film, and to get anything out of it, it's helpful to understand who and what Coffin Joe is. Once you can appreciate Marins' mastery of "the aesthetics of garbage," you'll realise how brilliant and undervalued he is in international cinema. | -1no label
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**** MILD SPOILERS _ BUT YOU PROBABLY KNOW THE PLOT **** Woman gets raped and decides to take out her rage on all of mankind . Oh did I mention the rape victim was mute ? That`s the problem with MS 45 , Thana the rape victim decides she`s going to kill men but is there any logical explanation to any of this ? Surely the whole film would have better if we had Thana give a voice over as to why she`s bumping off any man she comes across ? There`s just not enough development to this plot As you`d expect from a film by Ferrara it`s not a complete waste of time . it`s far better than I SPIT ON YOUR GRAVE and pseudo intellectuals will have a field day pointing out the irony of the woman holding a knife like a penis as Thana goes on a killing spree at the end . But the script is somewhat silly and underdeveloped and hinders any serious comment the film could have made | 0neg
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] |
Even Disney are guilty of the cash cow disease, after the roaring success of The Love Bug in 1968, the house of mouse cashed in with Herbie Rides Again, Herbie Goes To Monte Carlo, and Herbie Goes Bananas. Neither sequel capturing the charm and inoffensive appeal of The Love Bug back in 68, in this one we find race driver Jim Douglas and his sidekick Wheely Applegate, entering Herbie in the Monte Carlo Rally. Naturally things outside of the race start to take over priorities, they get mixed up in a diamond robbery and Herbie falls in love with another car!. The car stunts are of course pleasant and easy on the eye, and it would be churlish of me to really vent venom on such a friendly piece of fluff, it's just that the film goes nowhere fast and personally now i can see it for the coin motivated piece of work it is. Still you get to see Herbie take a bath, foil the baddies and of course dance for the lady in his life, so something there for everyone i think....................4/10. | 0neg
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] |
Animation is often seen as a childish medium, and for good reason as kid's films often are animated. However, every now and then an animated film comes along that extends it's boundaries and manages to deliver a very adult story, and Grave of the Fireflies is one of those films. Through it's well observed and very real characters, Grave of the Fireflies portrays a story of loss, heartbreak and the effect of war on civilians in a manner that is more effective and more firmly based in reality than many live action films about the same subject are. We follow Seita and Setsuko, a brother and sister that have lost their parents in the war and are now forced to fend for themselves in the war torn country. How the two go about doing that and the boy's development from a child to a (somewhat) responsible adult due to the change in the surroundings makes up the spine of the movie. I'm not a big fan of animation, but there are some films that are so great that a person's personal preferences are irrelevant, and this is one of those films. The animation is beautiful and certain scenes, including the air raids and anything with the fireflies are amazing works of art. The way the music blends with the images on screen is haunting and beautiful, and helps add to the tragedy of the story. Because we are able to care for the characters, the tragedy is increased ten fold and the story on the whole is a sad one, but few movies have ever matched up to this film's ending in terms of pure despair. The conclusion is absolutely gut wrenching to an extent that few movies have ever matched, let alone animated pictures. The fact that it's so plain and blatant, with no attempt to console the audience takes the tragedy to a whole new level and I don't doubt that many audience members will be holding back tears upon the film's conclusion. This film is a must see. | -1no label
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] |
I've seen this entire series and while some are quite good, some are not. "Ordeal by Innocence" falls into the badly done category. With so many talented actors, beginning with McEwan, this should have been a very watchable and enjoyable entry. But the script was dreadful. There was hardly any character development and a rush to close the unbelievable storyline. The powers behind this one strictly were focused on giving the actors more camera time, and there were a slew of them. But the ending just left me cold. All this silly family entwining. It was good to see Jane Seymour again, even if it was a short amount of time. Note: I LOVED the comment from one person here who said if we didn't like it, we could NOT watch. But he or she watched with a big "G & T" (GIN and tonic)....LOL!! I'd have to be smashed too. | -1no label
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] |
For starters, it's a very funny movie with a few crazy characters running around that are bound to make laugh (check out the two Russian bugs). A Bug's Life has a classical Disney storyline, but that's one of the good things about the movie. Family values are praised and the main characters of the film undergo some evolution in order to stand up against the grasshoppers in the end. And it also has a couple of great voice-overs by Dave Foley, Julia-Louise Dreyfus, Kevin Spacey (of course),... But actually, the most amazing thing about this movie is the animation. It's just wonderful. All the details, great colors, every ant looks different, beautiful backgrounds... And the guys and girls at Pixar made it all look so realistic. All in all, a very nice piece of work. This is the best animation by Disney since Aladdin. | 1pos
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] |
Well this is fun. Admittedly you have to be in the mood for a cheesy, somewhat silly B-movie horror flick but if you're in the right frame of mind this will do the trick. Also, maybe it's better that you're somewhat fond of Dennis Miller, since he basically carries this vampire flick. He's never out of character and if you've seen him once on "The O'Reilly Factor"...that's in short what you'll get. The story here...well, Miller plays a P.I. who uncovers a brothel full of vampires. In the great "Tales from the Crypt" tradition, this is full of great gore, low-brow humor and and a twist ending to boot. The cast here is great, with lovely eye-candy's courtesy of Angie Everhart and Erika Eleniak, the slightly-better-half of the Corey's (that reminds me, I have to dig up "Licence to Drive" one of these days) and the sorely underrated Chris Sarandon hamming it up as a crazy preacher doin' the Lord's work in inventive ways. While not as successful as "Demon Knight", "Bordello of Blood" is a fun horror flick that packs in a good dose of silly humor and gore. What's not to like? | -1no label
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] |
People comparing this movie to big blockbusters like Lord of the Rings or the Matrix will inevitably be disappointed with the way this movie turned out. Although it lacks in the big special effects department and there are no battles with hundreds of extras, there is still a masterful amalgamation of two old folk tales here. The acting talent, although not A-list, is still great and the interaction between the characters is perhaps more sincere than in a larger movie with an A-list cast. My particular favourite from this movie is Bridget Fonda, whose performance as the Snow Queen herself was quite moving, assisted enormously by a stupendous wardrobe and makeup. She injected humanity and a sense of pathos into the character of the fallen season corrupted by the devil's evil magic. Fonda aside the acting was not what we have come to expect from Hollywood, which I think is a good thing since Hollywood seems to have run out of ideas on how to train its acting talent to portray roles and so they have become stale and reliant on CGI and other special effects to take us away from the actors who all use the same tricks on us. Instead it shows new ideas some real thinking on the part of the actors about how they can find new variations on the the old themes of love and danger. | 1pos
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] |
What can you say about a grainy, poorly filmed 16mm stag film, where the best and most attractive performer is a German Shepherd? Nothing that would be positive. Avoid this travesty at all costs. In any case, it would be difficult to find, since bestiality remains a taboo and illegal subject in the USA. I strongly suggest IMDb to re-visit their weighting formula for establishing ratings, since an 8.8 rating for this piece of fecal matter is absurd! I am, by no means, a prude and have spent many hours enjoying the classic porn movies of the 70's & 80's; but this is inferior product even by the looser standards of the (then illegal) stag loop. | 0neg
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] |
We're deep into student film territory with this one. After an apocalypse in which the world just kinda runs right out of oil (yes, you read that right) a group of college students with names culled from the faculty parking lot are besieged by a handful of extras left over from The Road Warrior. The students are lead by a slumming Robert Carridine, and Rider Strong is back from his Mexican spring break adventures in Borderland. Among the cannibals are Michael Madsen and Vinnie Jones, both playing characters who can be out witted by a 12 year old child. This film does for peak oil what The Day After Tomorrow did for climate change - set the cause back about ten years. I'm not sure I want to live in a world where everyone above the Mason-Dixon has moved to Tallahasse. In fact, I'm sure I don't. | -1no label
| [
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] |
the way this movie begins is very odd, but then again, so is the movie, but it's a GOOD odd. One of the catchiest lines in the movie was "when you F*ck a duck it's hard on the duck, so you have to break it's neck when you're done. you can't f*ck a duck and let it live" There was a good group of actors and actresses in this title, and I don't really recall it out in the theaters. I have been looking to pick this movie up at best buy, but it's not available there. Sadie Frost is totally hot in this movie, and her running around in panties and a tank top after a drug/alcohol induced stupor was pretty hot. but the genius in this movie lies in the story itself. | -1no label
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] |
I intended to watch Saawariya as much as Om Shanti Om and I've already seen OSO on the first day it came out and I loved it. I seen Saawariya the next day and it was very peaceful & relaxing. Not everyone is able to watch this film not because it has unsuitable content (it is PG) but because it requires a maximum amount of patience. Personally I'm so fanatical about films and so patient that I can even watch the worst possible movie there is. The story of the film is quite old about a simple love story that has been tackled a lot of times in Bollywood but it was still different than them. The filmmakers took 2 hours & 10 minutes to tell the story although it could even be made in 1 hour 30 minutes because it is an adaptation from an Old Russian short story called "White Nights". All Ranbir & Sonam Kapoor did was talk and sing throughout the whole film on top of a small bridge. It was like that you are looking out your window all day watching a couple but I had a nice time watching. Sonam was OK but Ranbir was good. Salman Khan & Rani Mukerji acted really well for their small roles. I always look at the bright side of a movie which is that the film is very well made for a dream world. The cinematography was excellent and you can see every penny spent from the $10 million budget. That was the best thing I was enjoying. Music is beautiful and the best songs are: Saawariya the title song and Jab Se Tere Naina. Anyway Saawariya is a very nice heart touching film and I have seen much, much worse films. Sanjay Leela Bhansali's best film to date is Black and I would say Saawariya is the second. | -1no label
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] |
It is sadly appropriate that in his final movie Valentino plays a stronger and more nuanced version of his signature character: Sheik Ahmed, the impassioned lover who is initially impetuous, self centred and brutal, but who gradually matures into an admirable man. In this case, the male lead is actually the son of the original sheik, but Valentino also plays, just as engagingly, the father who is now middle aged, wiser (this is essentially the adviser role Adolphe Menjou had in the original movie) but still commanding and able to wield a sword. As wasn't the case with "The Sheik," the script acknowledges the luridness of its material in a tongue-in-cheek manner (one memorable title card reads "The night was young at the Café Maure. Not a knife had been thrownso far") while not mocking it to the point at the movie would lapse into parody and lose its pulpy charms. For example, in one of the most famous scenes the sheik tries to put his rebellious son in his place by bending an iron bar; the son replies by straightening it out. This is deliberate camp that nonetheless clearly establishes the strength of character and body of both men. The film also departs from the original in the frank comic relief it provides in the form of a nasty but amusing little mountebank who seems to get on the good and bad characters' nerves in equal measure. For those expecting titillation, the film does not disappoint. Valentino and the leading lady Vilma Banky, were involved in real life and it shows in the spooning scenes. The film also has plenty of the rougher, even perverse sexuality that in one form or another is present in nearly all of Valentino's films (even "The Eagle," the closest to a family picture Valentino ever made, has that brief scene with the hero flourishing a whip before the frightened female lead). Here we have Ahmed's rape of Yasmine which is far racier than the merely hinted at ravishment of Lady Diana in "The Sheik," and a striking (and homoerotic) sequence in which Valentino, tied up, his tailored white shirt torn to shreds, is subject to a prolonged whipping by a gang of thieves, the most sadistic of whom addresses him as "My young lion." To me, this is the quintessential Valentino film and the one to show people who are curious about this actor's enduring mystique. | -1no label
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] |
On top of the fact that Skylar is a complete douche bag and his cons are unimaginative, his schemes require way to much preparation to make any of his scams worth while. Without giving away any spoilers (as if it matters with this piece of crap) his cons are such a sham because it takes the effort of days and days of planning, and the use of multiple accomplices and an entire camera crew etc. just to scam someone into a service that would cost less than a hundred bucks.....in addition if you read in the credits they re-stage some of the phone calls etc. because they don't pan out...The whole concept of this show is bunk because all of his cons have the cost in both the crew and the effort of ten times the actual cost of the service he is trying to get for free...what is the con? | 0neg
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] |
The most important thing to remember here is that this is not a well done movie. Now, I've seen bad films, like Ghost Ship, and Dark Waters, but this is different. It's almost like it is a high school student making this film with all his friends and neighbors in it. I was glad I saw it, as it has set the benchmark for years. Rent it if you want, but realize that the title is the best part about it. I too wanted to give this half a star. Oh, and this Kevin Campbell guy is amazing. The fact that RCN carries this in On Demand is some sort of coup. I think 10 dollars, a polaroid and some of my worst enemies could make a better film than this. | -1no label
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] |
The appearance of Michelle Yeoh in Tomorrow Never Dies and then Crouching Tiger, Hidden Dragon piqued my interest in the lady's earlier films and when this one came up cheap on DVD, I jumped at the chance to acquire it. I am glad I did. It is not the greatest film I have ever seen, but it is good fun and includes some good fight stuff. Michelle Yeoh looks terrific and does some great fight scenes, and all with a great sense of fun. This is one film not to be taken seriously and the result is a great way of spending 90 minutes. If you like mindless action with a touch of humour, then you could do a lot worse than this film. Check it out. | -1no label
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] |
A washed-up boxer is given a magical chance to win an important fight, thanks to the "big, tall wish" of a little boy who idolizes him. This is one of the most underrated episodes of the series, featuring brilliant performances from Ivan Dixon as the fighter and Steven Perry as the boy. Remarkable for its time as a TV episode featuring African-American actors in flesh-and-blood roles, but had nothing whatsoever to do with civil rights issues. Serling's sensitive script and innovative direction also help create a beautiful and superbly realized story about the importance of faith, and the tragedy of the cynicism that age and experience can create. | -1no label
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] |
I was blessedly unaware of this version of the film until today. I am a great lover of the original starring James Stewart, and was today flicking through the TV channels when I came across this remake. I cannot understand why the film was remade, especially with no real changes, just another cast and filmed in colour. The actor playing Elwood has none of the innocence and charm of James Stewart's portrayal and as far as I can tell is just trying to impersonate Stewart and failing terribly. The ultimate result is farcical, where the original is heart warming. The only scene that has any connection to the original is the taxi driver's speech towards the end, which verges on the magic of the original. Leslie Neilsen gives a dreadful unconvincing hammy turn as the doctor, and the other actors are similar pantomime-esquire when compared to the 1950 version. If you have not seen the original I urge you not to watch this dreadful imitation first and see the real thing. Pointless and an insult to the genius of the original. | -1no label
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] |
Here is where the Jaws franchise takes a downward plunge. The story in this one is that Dennis Quaid plays the now adult son of Roy Scheider, whom played the police chief in the first two films. Quaid takes a job working at Sea World in Orlando, and begins to strike up a romance with Bess Armstrong, a dolphin trainer and biologist at the water park. A maintenance worker gets mangled and killed in a late night attack by a baby great white. When the young shark is discovered, it is captured with plans to exploit it for more tourist dollars. Then the baby dies. And momma gets ticked. Very ticked. When Momma shows up, I have to say that the deaths are done well. Especially the poor guy whom gets chewed up, and we see (and hear) the carnage from WITHIN momma shark's mouth. The rest of the movie follows Quaid, Armstrong, and a few other noteworthy thespians such as Lou Gosset Jr., and Lea Thompson, as they try to outwit the momma shark's vengeful streak. This movie was released in the middle of the 3-D revival of 1983, and several scenes are effective (the floating arm comes to mind), but many are just window dressing (the submersibles), or just painfully goofy (the shark approaches the camera head on, but DOES NOT swish it's tail back and forth as it swims. The shark looks like a plastic toy moving on a track!) Just forget the earlier two films, and just turn your brain on auto-pilot, and you'll enjoy this film just fine. I just have one question, to anybody whom may know... When I first saw the film in the mid 80's on BETAMAX (!!!), the title logo of "JAWS III" was animated in a cool red and yellow 1950's scifi lettering style, and they "chomped" at the viewer to the accompaniment of a rocket-like swooshing sound and a loud CHOMP!!! Viewing a videocassette made in the mid 90's, the swooshing sound is there, the CHOMP sound effect is there, but the cool 3-D animated logo is gone. It is replaced by a still frame of "Jaws III". That opening gripped me when I was a kid... where did it go? | -1no label
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] |
Alain Resnais films are uncanny in the way that they aren't really edited for continuity, but instead the shot seems to finish right where a memory has edited. Love unto Death is at times a quiet existential drama and a roundly creative magical realist movie, and either way treats the audience to a whole new aspect of the Eros/Thanatos relationship... or perhaps creates a new relationship, that of Agape/Thanatos. The beginning is like a bizarre surrealist horror movie. A woman desperately runs around the house while a man lays dying in his bed--did she kill him, or what happened? Soon that tension is dissolved as a doctor arrives and pronounces him dead, but from there a newer, stranger drama begins: the man wakes up, and after being dead the woman and man fall in love to actually quite tragic consequences. Meanwhile, their friends, who are both priests, watch on and submit their own debate into the nature of love, faith, and devotion. Resnais always seems to have some device to make these sorts of narratives work, and what's so amazing about his films is that those devices always work. In this case, Resnais intercuts the scenes with shots of snow falling to an arousing orchestral score, which fades off and bleeds into the subsequent shots that continue the story. Trapped in this elegiac aside periodically, the film develops a rhythm not too unlike an epic poem, and I got strange flashbacks to Dante's Divine Comedy from this one, despite the lack of direct reference within the movie. Resnais is known as a very poetic filmmaker but this extends past just the cinepoem structure to something that forces a degree of introspection in the viewer, which has the possibility to bring to surface some odd recollections. Memory-narrative, Resnais creates. --PolarisDiB | 1pos
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] |
Is rich, ailing Elizabeth Taylor courting the Angel of Death on her island fortress in the Mediterranean, or is she just overreacting--or more precisely, overacting--as usual? Actually, both are applicable in director Joseph Losey's wandering, meandering mess called "Boom", appropriately titled since tempers in the lush, luxurious setting are nearly ready to explode. Richard Burton climbs Taylor's mountain uninvited; she dresses him in a samurai's robe complete with saber. Though great-looking in widescreen, the picture is otherwise quite deadly, a failure even Liz 'n Dick-philes should shun (the stars' collective "what the hell!" attitude to their late-'60s film careers reached an ego-mad nadir here). Pointless, confused, and maddening, "Boom" is a catastrophe--although screenwriter Tennessee Williams, who adapted his own unsuccessful play "The Milk Train Doesn't Stop Here Anymore", was said to be quite fond of it! * from **** | 0neg
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] |
I saw this film when it first came out. I liked it then and I like it now. Some argue that its a little too heavy on the patriotism. But if you remember it was made at a time when we weren't sure how the war would come out, the context keeps patriotism in perspective. Back then most everyone supported the war effort and the doubters kept their doubts to themselves. There were virtually no families without at least one member in the service and most of the non-service people worked in defense jobs. "So Proudly We Hail" was a timely film when it was made and 60+ years later its message is still relevant as an historical event. | -1no label
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] |
"Thieves and Liars" presents us with a very naturalistic depiction of the levels of corruption that affect many Puerto Ricans and force them to make difficult if not impossible choices about their and their loved ones' lives. The cast is excellent, considering that some are non-professional actors; an excellent choice that augments the level of reality in the film. The photography propels the story without intrusion, as it should be in this type of film. The script captures the idiosyncrasies and attitudes of the "Boricuas" in a very deep way. Sometimes it feels like you're watching a documentary! Watching this film you feel as if you've secretly entered the real Puerto Rican society and stand invisibly watching it implode. I loved it! | 1pos
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] |
Christian Duguay directed this tidy little espionage thriller early in his career. It plays on TV pretty regularly, albeit with some terrific scenes of violence and sex unfortunately trimmed. I finally got around to seeing the theatrical version on a $3 tape from the local video store. Naval officer Aidan Quinn is recruited to impersonate the notorious Carlos the Jackal, and gets a little too caught up in the role. Donald Sutherland Ben Kingsley play Quinn's superiors, with Sutherland a true zealot and Kingsley as the more level-headed one. The first half of this fun flick shows Quinn being trained and indoctrinated. The second half has him out in the field, making love to the Jackal's woman and shooting it out with sundry enemies. The idea is to make the Jackal look like a turncoat to the Russians, and let them take care of the world's most notorious assassin. Things don't exactly play out as planned. At times, I almost expected the cast to break out laughing at some of the corny dialogue, but they all play it very straight. In the end, this is one terrific little thriller that deserves your attention. The Jackal's former mistress teaching the highly proper and very married Quinn to rough her up, lick blood from her face, and then go down on her, alone is worth the price of admission. | 1pos
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] |
I was in a mediocre hotel in England, up at two in the morning and couldn't get to sleep. I decided to put the TV on and one of the first channels I flipped to was a show starring Christopher Lloyd. It looked pretty bad, but there was something about it that was strangely fascinating... I later found out that it was not actually a TV show, but rather a television movie. (Wow, big difference.) Christopher Lloyd plays Quicksilver, a mysterious old man who roams the country delivering moral tales. His first he delivers to a newlywed bride whose car has broken down, and whose husband has wandered away looking for a gas station. His tale involves a similar fate involving a man named Charlie (Matt Frewer) who picks up a hitchhiker and is nearly killed by him. The next involves a man whose hand is chopped off by his other hand (!) and all the hands in the world start a revolt. Yes, it's as silly as it sounds, and hilarious to watch. The movie is perhaps unintentionally bad, but I was entertained. It's a very corny, silly movie that is easy to watch. The special effects are simply awful in the hand-attack narrative. I loved it. Lloyd is overacting (or overREacting?) in a script full of clichés. Author Clive Barker and director John Landis even offer their not-so-subtle cameos. All in all, if you have nothing better to watch, this WILL keep you very entertained...a huge guilty pleasure. | -1no label
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] |
"Too Many Husbands" impressed me as the best of the three main versions of this plot (the others being "My Favorite Wife" and "Move Over Darling"). Only in "Too Many Husbands" did I get a distinct sense of the terrible dilemma faced by the spouse who has to make a choice. This is because in this version alone are the two competing spouses portrayed as equally worthy, charming, and attractive by actors who were close to one another in those qualities, as well as in their respective levels of stardom at the time the film was made. In both "My Favorite Wife" and "Move Over Darling", it is quite clear, from the portrayal of one of the competing spouses and from the casting of a lesser star in the role, whom we are supposed to be rooting for. Not so in "Too Many Husbands". Douglas and MacMurray are very near equals in star power and in the way their characters are written and portrayed. Unlike the other two films, this results in as real a conflict for the viewer as it does for Jean Arthur's character. Unfortunately, it also results in the movie's weakest point--the ending (or lack of one). The dilemma was apparently so strong that the film makers themselves were unable to decide. After having Arthur's character seemingly make her choice, they tacked on a rather strange ambiguous ending suggesting that the "losing" husband might still have a chance. The effect is a non-ending that suggests the film makers couldn't make up their minds, so they just turned off the camera. | -1no label
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] |
The Deadly Wake is THE PERFECT MOVIE for film students... to learn how NOT to make a film! Let's see... what did the crew mess up in this flick? Worst music mix Worst editing Worst script WORST ALL-TIME DIRECTING Worst acting Worst choreography Worst cinematography Worst props Worst sets Worst lighting Etc. Let's face it, if this "film" had been in ultra-high contrast black-and-white, AND silent... it still would have been awful. All scenes are dark (lighting people call it "black"), often, the music score drowned out the meandering dialogs, which was OK because nobody ever spoke two whole sentences without long pauses for effect. The "evil" robot was hilarious... what was that? Jazz dancing? Oh... I guess it was supposed to be walking tactically or something. I'm sure it struck fear into the hearts... of the poor editors. And, how do you edit so much footage of garbage? Not possible. Garbage is garbage, no matter how you splice it. How did anyone ever get this thru the dailys??? Bottom line is- I couldn't stand to watch more than 15-minute segments, it was so bad... but I did see the whole thing (with lotsa breaks) just to see if it had ANY good parts in it at all. NOPE! NONE! A perfect example of how not to make a flick... a must see for EVERY serious film student!!! | 0neg
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] |
I do try not to take IMDb ratings to heart, but I was flabbergasted when I saw the 5.4 rating to one of my childhood favourites. It doesn't wow me as much at 17, but as a family film this is a sweet and well meaning movie. Kids will definitely love it and won't mind the flaws, and the adults can guess the actor behind each character and admire the subliminal messaging of the film. None of the film was preachy in any way, in fact it has a great message that added to its sweetness. I will admit though that the story is on the thin side, and some scenes like Screweyes's death(which still freaks me out) may be a tad on the scary side. But the animation is well above average with nice colours and good character animation. The music by James Horner is very beautiful, and the song featured is memorable, catchy and amusing. I really liked the characters, Louie is probably the most in-depth of them all, but the dinosaurs were at least engaging. Martin Short's clown was both hilarious and emphatic, the part when he tells Screweyes "I quit!" had me in stitches. My favourite is Screweyes though, an effective villain who is crafty and I suppose intelligent. If anything though, I wish the film kept in the part when he explains how he lost his eye and why he is scared of crows because that way he could've been more developed in terms of depth. The script, while not Oscar-worthy, has its funny and heart-warming parts, and should keep kids and adults entertained. The voice acting for me was what made the movie. John Goodman, Martin Short, Rhea Perlman, Felicity Kendall and Yeardley Smith all gave solid performances, but special mention has to go to Kenneth Mars for he was absolutely superb as Screweyes and almost unrecognisable. All in all, this is a good movie. I don't get the rating, honestly I don't. Sure this film isn't perfect, and it is not as good as a dinosaur movie such as Land Before Time, but it is good fun. 7.5/10 Bethany Cox | 1pos
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I watched this movie twice. Once without any preview or knowledge of the plot. The second time listening to the commentary from the producer and the director. I do understand that the movie had a lot of problems with financing and script re-writes. I also understand that they had problems just getting all of the scenes that they needed to complete the picture. With that said, I really didn't feel that this movie was anything greater than a made for cable movie. I read about the glaring errors in other posts, but to me, the most obvious was the acting. I just felt that it wasn't realistic at times. We've all seen the formula girl prison movie before. This movie tacks on another issue not explored in other prison films. If this movie stayed on that issue more and tried not to tackle 4-5 other problems going on in prisons today, I think it would have been a better movie. I really hope they give the director a chance to really direct a picture so I can see what potential she has to offer with an all black female cast. I just wasn't stirred by this film and the disjointed acting and editing was probably the reason why. | -1no label
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This Christmas gift arrived courtesy of TCM. We had never seen the film, even though we have seen most of the films of Barbara Stanwyck. This comedy made us laugh so much, that at times, we had to restrain ourselves, in order to hear the dialog. This is a movie that should be seen by people suffering from stressful situations, especially around Christmas. It would certainly lift one's spirits by just letting go. The movie would make a perfect gift in the form of a DVD, or a VHS tape. "Christmas in Connecticut" was directed with great panache by Peter Godfrey, based on a story by Aileen Hamilton. The best thing in the movie is the felicitous pairing of two of the most popular stars of that era: Barbara Stanwyck and Dennis Morgan. Barbara Stanwyck always played strong willed women, obviously, this was a change of pace for her. In this film, as well as "Lady Eve", Ms. Stanwyck displays a knack for comedy. She and Mr. Morgan, who played in a lot of musical comedies, make a winning combination. There are no weak performances in the film. Sydney Greenstreet, an actor notorious for playing 'heavies', is a delight to watch as the rich, and fat, Alexander Yardley, the man who owned a media empire and who knew a good thing when he saw it. Reginald Gardiner, an accomplished English actor, adds luster to the stellar cast behind the two principals. S. Z. Sakall, is another source of continuous mirth; he plays the Hungarian chef Felix,who has a hard time with his own version of the English language. Also, Una O'Connor makes a perfect Norah, the housekeeper in the Sloan perfect Connecticut farm. In reading other comments in this forum, it's sad to learn that the glorious black and white cinematography is not appreciated by some people. After all, color was not widely used in the 40s, and most of the classic movies have to be seen in its original format because, what would be accomplished in 'coloring' them? This film should be a requirement for anyone looking to spend almost two hours of uninterrupted fun at Christmas time because total merriment is assured. Watch it with an open mind and heart an maybe you'd like to see "Christmas in Connecticut" every year. | 1pos
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Rated R for Violence and Language Quebec Rating:13+ Canadian Home Video Rating:18A(Should be 14A) I saw Juice a couple of months ago.I would say I am a fan of films about South Central LA.Menace II Society is one of my favorite films of all time.I saw Juice expecting to see a movie like this.This is not like Boyz In The Hood or Menace II Society which are "growing up in the hood" films.Juice is actually a fairly entertaining thriller with good performances.Tupac is one of the few rappers who can actually act! His acting in this film is excellent.Omar Epps and the rest of the cast are fairly good as well.The film is about four friends named Q,Bishop,Raheem and Steel who skip school one day, they find out afterwords that one of their peers was shot and killed while he tried to rob a store.After hearing about this, Bishop(Tupac) wants to do something crazy.So the four friends go and rob a store but Bishop ends up killing the owner.They then run into an alley where Tupac then kills Raheem.He threatens to kill Steel and Q if they tell anyone.The film then goes on with Q and Steel trying to hide from Bishop who is losing his mind and kills some more people, then frames Q for it.Q must prove his innocence and confront Bishop.Juice is a pretty good thriller with good performances and a good early 90's rap soundtrack. | -1no label
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] |
I admit to having been a fan of the original stage production. I never saw the movie version until very lately on cable, and watched it with anticipation, to see my memories brought alive again, because I adored the original show. Imagine my dismay. This has to be the worst translation of a Broadway show to film ever made. They changed the story, they changed the songs, they lost the soul. I was expecting a trip down memory lane, singing to the extraordinarily touching Music and the Mirror, At the Ballet, and Hello Twelve, Hello Thirteen. Not! Not only did they adulterate the music to an almost unrecognizable point, but they messed up the storyline, adding songs and exterior plotlines (hello Cassie and Michael Douglas) not present in the original, and injecting "drama" where it wasn't necessary. The original had enough pathos on its own. If you were a fan of the original Broadway show, don't bother. I'm sorry I wasted my time, and diluted my memories, watching this tripe. | 0neg
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As a long-time Holmes fan, and particularly of the Jeremy Brett interpretations, I was fully prepared to dislike this one intensely. However, I did enjoy it and can recommend it, though with some warnings. As several have mentioned, the time warp is annoying for those who know the genre. While it's certainly possible that Holmes might have "come out of retirement" at a young age, this is pushing it a bit far. Holmes and Watson were at least in their mid- to late twenties in the 1880s, so an Edwardian (1903?) setting would have them each pushing 50. I don't recall seeing this Everett guy before, but I think they could have done better. However, after seeing poor Charlton Heston doing Holmes, I won't squawk too loudly. Everett seems to play up the jaded, effeminate Edwardian dandy routine a bit much for me. Aside from the earlier-mentioned telephone disparity and perhaps too-routine use of fingerprints, I was particularly aggravated by the reference at the end to James Whistler's famous work commonly known as "Whistler's Mother. Holmes refers to it as something like "Portrait in Gray," whereas the actual title is "Arrangement in Gray and Black (or Black and Gray)". If as screenwriter is determined to be that pretentious, he should at least do the research and get it right. The plot seemed to be "cheating" a bit to me, too, as others have mentioned. But I did like it, warts and all. Maybe a 6 or 7 out of 10. | -1no label
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] |
I am a massive fan of the book and Orwell is certainly my favourite writer ever since studying Animal Farm at GCSE. I bought the DVD out of sheer curiosity, Burton is an actor I hold in high regard so when I heard that he played the role of O'Brien I was swung. I watched the trailer on the DVD first and some fears started to set in, mostly regarding the frankly terrible "Theme song", hearing the Eurythmics mechanically shouting "1984!" over and over again to an electronic beat is as bad as it sounds. The acting on a whole is pretty good, Burton and Hurt play their roles well and the tension that exists in the Ministry of Truth towards the end can be felt, especially in the harrowing Room 101 scene. However this is also where the movie is let down. The movie spends too much time focusing on the Love affair between Winston and Julia, which frankly isn't what Orwell was writing about. He was writing about a harrowing future, about how Ingsoc build up a mans beliefs and then shatter them all in the name of him being made to love Big Brother. The movie skips over what is essentially the most important part of the book, Winstons coming to terms with his position in life and the world, and his re-education via O'Brien. The comment on IMDb at the moment states that the movie sticks to the book is completely incorrect. Julia is not present when Winston visits O'Brien, they do not commit themselves to Goldstien's Brotherhood and confess their crimes. There is no obvious mention of the initial instances where Winston finds the article with the Unpersons but it does get mentioned near the end, if you have not read the book it is completely confusing. A terrible screenplay, which some excellent acting cannot rescue. Michael Radford seems to have completely missed the point Orwell was trying to make, and the electronica sound track is frankly terrible. | 0neg
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] |
I love to see modern adaptations of Shakespearean drama; I think the texts are more accessible to the general population when they are put into familiar situations/contexts. This setting of Hamlet, however, missed the mark. In the first half of the film, most lines were spoken in flat monotone--the absence of inflection made the plot harder to follow. Making Denmark an American corporation rather than a political state was also unsuccessful, for the continued use of the terms "king," "queen" and "prince" did not fit the new setting. Also, Prince Hamlet's film "The Mouse Trap," which is crucial to the original drama because it seals Claudio's guilty conscience, cannot serve its function in this film because it has been modified from a drama reenacting King Hamlet's murder into a bad montage of random student-filmmaker camera shots which one can scarcely connect to anything in the plot. Those who are familiar with the Hamlet text will be able to make a connection, but if the benefit of modernization is to familiarize those who are unfamiliar with Shakespeare, then this film fails in its office. | -1no label
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] |
The writer of this film needs to instead, write fairy tales. This was a nice long 101-minute waste of my time, a waste of the crew's time, a waste of my own money, and a waste of space on the shelves at Blockbuster. If I could rate this a zero, for worthless waste, I would. This was by-far the dumbest movie I've ever seen. This was worse than "Friday the 13th". The acting was pretty decent, I must say. You had to be a good actor not to laugh and show frustration in a movie like this one. So you have... a crew of whatevers going to Alaska to investigate some oil issue/some gas coming up from the ground, and the movie spends over an hour focusing on that. Then, they start dying one-by-one, primarily by suicide. ...Um? I guess it's the gas, if there is any. That's my best bet, but it was unclear. Ending, you have these ghost-like figures that only a selected few could see, and of course these figures weren't friendly. ...Where the hell did the figures come in? What does that have ANYTHING to do with ANYTHING? I took this film, smashed the disk, and destroyed the case. It angers me that stupidity like this is allowed in the film business. | -1no label
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] |
Seriously any film with John Malkovich is usually very good. And this includes Clint Eastwood, Rene Russo, John Mahoney (Frasier), Dylan McDermott (The Practice), and many more great actors. Clint is getting old now but thanks he is also an awesome director (in his own right). We are used to Wolfgang "water films" like Das Boot, Poseidon and Perfect Storm - this was really different but just as sublimely directed. The premise of the assassin is as serious as it comes, the film is well paced, some of the violence is a bit... But altogether recommended (but not for kids). | 1pos
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] |
This film is about a man who is afraid of sharks. He decides to work in a marina so he can put himself in as much danger as possible with other marine life. One day, a gigantic rubber shark decides to enter the park to see the sights and stuff. Brody Junior realises this and spends the rest of the movie in the water. Anyway, after all the nerve biting tension and thrills, the shark is destroyed and they all live happily ever after in 3D. It's strange how a film can claim to have three dimensions when every character in it only has one... This trashy, thrown together mess is an embarrassment to the series. How far we have come from great dialogue, great performances and iconic thrills to this piece of nondescript tosh. Then again, it was directed by Alan Smithee's uncles cousins brother in law, twice removed. So the results were inevitable. | -1no label
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] |
It is difficult to comprehend how such an appalling movie was made. My family sat there shaking their heads in disbelief as to what was unfurling before their eyes. How did Naomi Watts ever get herself involved in such an awful production.I have no idea what the German original was like but it had to be better than this. Presumably in an effort to inject poignancy and engender some sympathy for the victims the director applied static cameras concentrating on the contorted expressions of the suffering Watts and Roth.During one living room scene of more than 15 minutes the camera did not pan or zoom but on just one occasion moved six feet left. The action was so slow I thought the DVD had frozen. Ultimately you couldn't careless what happened to Watts and company and I still don't know what happened since it became so excruciating that I called a halt to proceedings with less than 10 minutes to go. | -1no label
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] |
It is always difficult to bring a 450 pages book down to a three hours film. I read the book before, and I found the BBC production dealing with this difficulty in the best way possible. The qualities of the book haven't been lost: the dense and lively depiction of a fingersmith patchwork family in London in the 1860s, the cold and obscene cruelty in which Maud is brought up, the characterization of different social groups by different ways of speaking, the unexpected and surprising twists of the story, the way the film makes the spectators look different at the same scenes when they are told first from Sue's point of view then from Maud's one. The main actors do very good, and especially the growing love between the two women is convincingly developed, with a first culmination in a very tender love scene between the two and finally forgiving all the evil they were ready to do and did to each other, because they still love each other. For each of her books the author, Sarah Waters, has thoroughly investigated what life was like in British 19th century. While in Tipping the Velvet it was the world of the vaudeville theaters and the beginning of social movements, in Affinity the dreadful reality of women penitentiaries and the fashionable evocation of spirits, in Fingersmith she depicts the public ceremony of hanging people in London and the inhuman treatment of persons supposed or declared disturbed in asylums based on the reading of sources and scientific research. This is very well transferred to the film so that the corresponding scenes show a high grade of historic truth. I highly recommend this film production because it offers three hours of colorful Victorian atmosphere, vivid emotions, and suspense. | 1pos
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] |
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. | 0neg
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] |
I saw this film on True Movies (which automatically made me sceptical) but actually - it was good. Why? Not because of the amazing plot twists or breathtaking dialogue (of which there is little) but because actually, despite what people say I thought the film was accurate in it's depiction of teenagers dealing with pregnancy. It's NOT Dawson's Creek, they're not graceful, cool witty characters who breeze through sexuality with effortless knowledge. They're kids and they act like kids would. They're blunt, awkward and annoyingly confused about everything. Yes, this could be by accident and they could just be bad actors but I don't think so. Dermot Mulroney gives (when not trying to be cool) a very believable performance and I loved him for it. Patricia Arquette IS whiny and annoying, but she was pregnant and a teenagers? The combination of the two isn't exactly lavender on your pillow. The plot was VERY predictable and but so what? I believed them, his stress and inability to cope - her brave, yet slightly misguided attempts to bring them closer together. I think the characters, acted by anyone else, WOULD indeed have been annoying and unbelievable but they weren't. It reflects the surreality of the situation they're in, that he's sitting in class and she walks on campus with the baby. I felt angry at her for that, I felt angry at him for being such a child and for blaming her. I felt it all. In the end, I loved it and would recommend it. Watch out for the scene where Dermot Mulroney runs from the disastrous counselling session - career performance. | 1pos
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] |
WOSAT, as it is known to its loyal fans, is one of the greatest movies ever made. It's charming, it's funny, the special effects will stand up against the test of time, and it's a true hero's journey - the Green Wizard overcomes the challenges and wins the heart of the pretty girl, as well as defeating the bad guy. It's a shame that it didn't turn out that way in real life for Mike Jittlov. He is a genuinely talented person who deserved better than he got from his business partner, who played the evil producer in the movie and who also screwed Mike over royally on the movie. Buy this movie. Visit alt.fan.mike-jittlov and tell Mike how much you loved it. Send him money. We need more Wizard Work in this world! | -1no label
| [
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] |
'In The Line Of Fire' tells the story of the game between an old presidential bodyguard and a former-government assassin turned psycho. The secret service agent/bodyguard (Eastwood) is on defense and the assassin (Malkovich)is on offense. The stakes? The president's live. I really like this movie...I've seen it numerous times on TV and have recently bought it on DVD. Yet, it's not an excellent movie. The plot is way too thin and the attempts to thicken it are downright ridiculous. The whole love-story isn't very plausible and the way they brought an extra character into the story, just to be able to kill it off is kind of insulting to the more or less intelligent viewer. Though I feel these mistakes can't be forgiven, I can easily look past them to Mr. Malkovich exquisite performance. I've always deemed him to be a great actor but in this movie he's really on fire. There's a reason why he got an Academy Award nomination. Rene Russo and Clint Eastwood were okay, but I don't deem their performance to be memorable. They're never at the best of their abilities. If you don't expect too much, you'll certainly like this movie. It's no masterpiece but John Malkovich is really extraordinary and I don't think anyone can't enjoy his performance. Really worth the watch... | 1pos
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] |
Cleopatra 2525 is a very funny, entertaining show. You shouldn't take all the show seriously, but if you wanna have fun, that's your TV show. Being made by the producers of Xena is a quality guarantee, and Cleopatra 2525 isn't that different from Xena. The female warriors formula is brought to the future, where they don't have to fight warriors or gods, but dangerous robots which dwell in the surface, and the humans are forced to live underground. Along the two seasons of Cleopatra, they develop an interesting and funny underground world, and we get to know the three main characters: Cleopatra (Jennifer Sky), Hel (Gina Torres) and Sarge (Victoria Pratt). They all are different, but as a team, they work really well. The three main actresses appeared previously in Xena, like most of the regular/guest cast (there are some known faces from Hercules too, or from both shows). I specially liked the character played by Danielle Cormack (Ephiny in Xena), which is very different from any of her roles I previously knew. So if you liked Xena and Hercules, you'll love Cleopatra 2525. If you don't know them, try it: I'm sure you'll enjoy it. | 1pos
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] |
I saw "Fever Pitch" sort of by accident; it was playing on the airplane going over to Europe. It actually wasn't half bad. Ben (Jimmy Fallon) is the world's #1 Red Sox fan, but his relationship with Lindsay Meeks (Drew Barrymore) may strain that. The movie is a fairly interesting look at how world events can affect peoples' relationships. It's especially eye-opening now that the Red Sox have ended their 80-odd-year losing streak. I guess that these sorts of things happen all the time and we just don't tend to notice them. Not too bad. Another movie portraying an unusual relation to baseball is 2000's "Frequency". Check them both out. | 1pos
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Countenance! Antoine Monot, in a copycat impersonation of Kevin Smith's Silent Bob, keeps asking for it, but writer/director Christian Zübert never listens. Zübert just can't say no to a joke, no matter how cheap. The best thing about this movie is its soundtrack. Of course, Joey Burns of Calexico and the divine Jonathan Richman, understated old-school bard of "There's something about Mary" fame, would grace any small-town dropout story. In visual allure, Stefan (Lukas Gregorowicz) looks cool enough riding his tan six-series BMW two-door, wearing aviator shades, going nowhere. True, he *accidentally* sleeps with his wild-eyed bohemian kid sister (Marie Zielcke), but then, who wouldn't? Thumbs up also to how he goes black-and-white on a liberal dose of that mysterious substance they call zero-zero, but if you're looking for a slightly more serious rendering of what intoxication can do to you, I suggest you check out "Fear and Loathing in Las Vegas". | 0neg
| [
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] |
Ex-military, black belt professional bodyguard/soldier of fortune Ken Conway (Matt McColm) is recruited by his ex-fiancée Marisa (Annabel Schofield), who left him at the altar, to find her missing coworker. The search leads him to world renowned virologist Dr. Ramsey Krago (Ron Perlman), who is secretly creating deadly viruses, releasing them, then "developing" an antidote (which he had created in tandem with the virus) and selling it to the highest paying pharmaceutical company. The Doctor, via poison ring, infects Conway with his latest invention leaving him forty eight hours to get the antidote or die. TV movie quality. The opening music is incredibly tacky. Not the most brilliant dialogue. The lead (McColm) has a tendency to go over-the-top-cocky. A rainy day watch. Perlman is the elegant epitome of class and style as the suave, debonair and totally villainous Krago. An enjoyable performance as he is so damn smooth and so damn ruthless; a silken snake. Worth a rent/buy used. | -1no label
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] |
I think that this short TV series, was absolutely wonderful, and gave both a in-depth and clear explanation of everything that was on the screen at the given time. This was by far David Attenborough at his best. I personally thought this was one of the best documentaries in the past decade. This is definitely worth peoples money! I also found the bit about the abyss and deep water the most fascinating and interesting part. It was incredible to find out that the 'Blue planet' team discovered more than 10 new species of underwater life! In this documentary Attemborough almost certainly lived up to his high reputation. This was a masterpiece and will always be considered to be one of the best modern documentaries Many congratulation's to the 'Blue planet' team. | 1pos
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] |
This is a little fact for you here. "Silent Hill 3" is the scariest game in history. I am not joking it seriously is. If you ever play this game. it will make you want to scream and shout while your playing because it is so scary. The girl who you play as will get your juices going. The character and monster design is incredible and amazingly realistic. Some of the monsters which you meet throughout the game will haunt your dreams forever. Definitely not for the weak hearted and if your a fan of the series well then i suggest you get a copy of this fast because it was very hard to get mine believe me. and all those sound effects will make you want to kill yourself if you hear them in real life. The music i really great especially in the opening. so if you wanna to scare the crap out of yourself get this game but if silent hill 2 scared you. don't let the thought of playing it cross your mind. | -1no label
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] |
I read about this movie in a magazine in my country, Argentina. The critics had voted "Gas, food, lodging" as the best movie in 1992 or 1993, I can't remember. As I haven't seen it at the theaters, I had to wait a few years till was shown in cable TV, quite late I must say. I usually agree with the critics that voted it, but I was really skeptic as was not a hit at all... but they were right again. Wonderful movie, a touching Fairuza Balk that appeared to be a future star and ended making small parts or characters too much below her. I became quite a fan of this film, and as I have just registered here I decided not only to vote but to write a few lines about it. Please don't miss it. It is not only another indie film but a great movie. | -1no label
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] |
A horribly pointless and, worse, boring film. Stranger Than Fiction has nothing new to say about anything, no characters beyond the most unimaginative stereotypes, and relies on a clunky central concept that is neither particularly original nor dealt with in a vaguely innovative way. Will Ferrell is totally wasted in what he presumably hoped to be his answer to Jim Carey's Truman Show, and substitutes his usual shouting routine (admittedly very funny if you discount Talledega Nights) for, well, pretty much nothing. Emma Thompson is no more than mildly irritating (that some reviews I've read here are talking her up for an Oscar nomination is laughable) whilst Maggie Gyllenhaal does a passable job with a very weak script that allows nothing beyond establishing her character as a former law student who dropped out of Harvard to become a baker because she liked making people happy. Please. That she ended up falling for Ferrell's 'character' is utterly ludicrous. Marc Forster's attempts to jazz up the film using computer graphics only serve to highlight the uninspired the material he has to work with. I had the choice of either going to watch The Prestige for the third time or seeing this. I wish I'd opted for The Prestige. | 0neg
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] |
THE BOX (2009) * Cameron Diaz, James Marsden, Frank Langella, James Rebhorn, Holmes Osborne, Sam Oz Stone, Celia Weston. Truly disappointing adaptation of genre legend Richard Matheson's sci-fi chiller "Button, Button" by on the wane wunderkind filmmaker Richard Kelly who truly stretches a small, well-crafted piece into a grab-bag 'WTF'-a-thon! Mysterious (and ridiculously maimed!) man, Langella, posits a million dollar offer to 'struggling' couple Diaz and Marsden (both surprisingly vanilla bland to the hilt!): a box with a red-button, that when pushed, will kill some stranger in the world (!) Sure strings are attached but does that really matter here? What does is why in the name of God does Kelly trowel on so much oddness (i.e. nose-bleeds; watery transport systems that's right Watery.Transport.Systems) when the tension should be strung as tautly as possible (oh the possibilities). If this sounds like a bad TWILIGHT ZONE episode you are half right (the '80s TV re-boot actually did a decent small-screen adaptation; in fact rent that instead!) One of the year's worst films. | 0neg
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] |
Latter days is the best gay movie of the homosexual genre. Most of the films entail sappy stories, one night stands, and let us not forget infamous baseball teams? Latter days actually contains male affection beyond the kiss in the dark, and quite graphic material that made me wonder whether the film belonged at Blockbuster or badpuppy.com. The films emotional journey is what sets it above the rest in the genre. Not until this film had I seen a story of such intense passion and love, and the torture that it can bring. I think when people cry during movies they should be beaten, but I found myself sobbing throughout several scenes because of the realistic nature of the world in which we live. I suggest every gay male see this film, and if you have a boyfriend, thank him... | 1pos
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Very poor script and acting. I was very surprised that the director was able to convince his cast with his empty story that tells us nothing new. All is in the cliché of the "mentor" and the "talented immature pupil". The characters aren't' even interesting nor sympathetic. Artistically it is as empty and insignificant. The colours are very impersonal and light. Only the poster may be appealing. Al Pacino tries very hard to give depth to his character with no success. Too bad because the sport betting can be a really interesting subject to which many could relate. But I can't have a complete comment on this movie any way as i got out from the theatre 20 minutes before ending. Everything was so predictable that it was a waist of time... | 0neg
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] |
For the first fifteen minutes the story of NAKED FAME is interesting: two late thirties male porn stars in a seemingly healthy relationship decide to leave the Porn industry and try for the world of singing and acting. The two very buff and preening men are Colton Ford and Blake Harper. With the aid of Kevin Aviance and Marc Berkely, Colton makes a dance track that is then marketed in New York with the hopes that Colton Ford will become an instant star - a unique disco singer touting his background as a Porn Star for PR. The remainder of the film is grumbling and in-fighting and commentary by Porn Producer ChiChi LaRue and the film slowly sinks into repetition and doldrums. Not a bad idea for a film if there were a bit more depth revealed in each character's drive to move away form a successful career (though one greatly influenced by the youth both characters have lost) into an alternative one. It is just that a one-note song wears thin quickly. Grady Harp, November 05 | 0neg
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] |
Barbara Stanwyck as a real tough cookie, a waitress to the working classes (and prostitute at the hands of her father) who escapes to New York City and uses her feminine wiles to get a filing job, moving on to Mortgage and Escrow, and later as assistant secretary to the second in command at the bank. Dramatic study of a female character unafraid to be unseemly has lost none of its power over the years, with Barbara acting up a storm (portraying a woman who learns to be a first-rate actress herself). Parlaying a little Nietzschean philosophy into her messed up life, this lady crushes out sentiment all right, but she never loses our fascination, our awe. She's a plain-spoken, hard-boiled broad, but she's not a bitch, nor is she a man-eater or woman-hater. This gal is all out for herself, and as we wait for her to eventually learn about real values in life, her journey up and down the ladder of success provides heated, sexy entertainment. John Wayne (with thick black hair and too much eye make-up) does well in an early role as the assistant in the file office, though all the supporting players are quite good. *** from **** | 1pos
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] |
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