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This was an entertaining cartoon, but what made it was Granny. I love how she defends Tweety by bashing Sylvester on the head with her umbrella. Sylvester is his crafty and rambunctious self, and Tweety is still cute. This wouldn't be possible without the vocals of Mel Blanc, is there anything this genius cannot do? Seemingly not. Characters aside, Sylvester's attempts to capture Tweety are funny and devious, using various disguises including a street monkey. Also the animation smooth and colourful, and the music(such as the simple "I am a Tweety who lives in a cage") is well done. Overall, well worth seeing, not the best of the Looney Tunes canon or the best Sylvester and Tweety cartoon but definitely a good one. 9/10 Bethany Cox | -1no label
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] |
I watched this film not really expecting much, I got it in a pack of 5 films, all of which were pretty terrible in their own way for under a fiver so what could I expect? and you know what I was right, they were all terrible, this movie has a few (and a few is stretching it) interesting points, the occasional camcorder view is a nice touch, the drummer is very like a drummer, i.e damned annoying and, well thats about it actually, the problem is that its just so boring, in what I can only assume was an attempt to build tension, a whole lot of nothing happens and when it does its utterly tedious (I had my thumb on the fast forward button, ready to press for most of the movie, but gave it a go) and seriously is the lead singer of the band that great looking, coz they don't half mention how beautiful he is a hell of a lot, I thought he looked a bit like a meercat, all this and I haven't even mentioned the killer, I'm not even gonna go into it, its just not worth explaining. Anyway as far as I'm concerned Star and London are just about the only reason to watch this and with the exception of London (who was actually quite funny) it wasn't because of their acting talent, I've certainly seen a lot worse, but I've also seen a lot better. Best avoid unless your bored of watching paint dry. | 0neg
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] |
"FAMILY TIES," in my opinion, is a pure definition of must-see TV! Despite the fact that I've never seen every episode, I still enjoyed it. My favorite one is the one where Elyse's (Meredith Baxter Birney) brother, Ned (Tom Hanks), comes to town. You'll have to have seen it for yourself if you want to know how any why. Everyone always gave a good performance, the production design was spectacular, the costumes were well-designed, and the writing was always very strong. I also loved the theme song. It's called "Without Us," and it's performed by Johnny Mathis and Deniece Williams. Before I wrap this up, I hope that all you die-hard fans of the show will always have it live on in syndication. In conclusion, even though it can also be seen on Nick at Nite now, I strongly recommend you catch it before it goes off the air for good. | -1no label
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] |
This is one of those films you can have on for a couple of hours on a Sunday morning -- able to do other things with no real complications in losing any understanding of the proceedings, and gaining some fascination in wondering why such mediocrities acquired the manpower and financial resources to be produced in the first place. Of course, with all the cable channels, as well as Lifetime's need to fill its time slots with 100 or so hours worth of movies per week (along with incessant "Golden Girls" reruns), this type of fare is now a t.v. staple. Also, it seems these flicks provide livelihood to the Canadian locales where most are made, as well as the host of Canadian actors appearing in them. Tori Spelling, like the ferret-face Paris Hilton, is somebody who - if not for family connections and resources - would likely be working at The Gap. But at least Tori has become, say, a C+-level thespian, appearing in occasional presentations appropriate to this level. This story is one which has been seen on Lifetime and similar venues God-knows-how-many times. Devious woman, a total sociopath, trying to screw-up everyone else's lives, operating during the initial parts of the story with more cleverness than a CIA operative could muster, committing murder when necessary, and out to wreck the life of the flick's "heroine." As usual, the male lead is a completely clueless dolt. And in these types of films, one finds, say, characters about whom one can really "care," about 10% of the time. This one is in the other 90%. | 0neg
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] |
First off, to answer L. Lion's comment, yes they do have actual cheerleader camps and, believe it or not, the mascots DO actually accompany the team. Now, as for the movie, this was a surprisingly good slasher film, especially seeing as it came out in the late 80's when they were all becoming parodies of themselves. Just watch "Friday the 13th Part 6: Jason Lives" for proof of that. It also stars many noticeable by face but not by name actors/actresses, such as Lorie Griffin, whose character would make it seem that she actually accomplished boning her brains out in "Teen Wolf", and now can't tell sarcasm or an insult if you slap her in the face with it. Apparently werewolf spooge causes brain cancer. Anyways, add a Phoebe Cates and Tobin Bell-less Betsy Russell whose character has seizures (probably from starring in "Tomboy"), Leif Garrett trying to relive his glory days by trying screw every girl in sight. He doesn't sing, but raps.... yeah, I'll leave that at that. Throw in 2 playboy playmates (only 1 of which shows her "qualifications" for that position), an annoying fat guy who was adopted in real life by the camp handyman Buck Flower (probably the only reason 1 or the other is even in this film), a silent but creepy cook, an over eccentric counselor, a horny cop, and the film's choreographer (who plays the mascot of all characters), and you have a decent last gasp for breath in the by then dying slasher genre. The acting is rather good for a film of its type, the deaths rather gory for an R-rated film, and enough T&A to keep the peanut gallery interested. The ending has a good twist that will surprise most viewers, but die hard film fans like myself will probably guess the killer's identity 1/4 the way into the movie (once you know it, is becomes rather obvious). The killers motivation is a good twist though. I recommend it. Only thing I still don't get from this film: How the Hell does the hottest member of the team get placed as the mascot? Yeah, you fight for the right to keep your alligator head off honey. Make the fat guy wear it. Or Leif Garrett. Maybe he'll find his career in there.... | -1no label
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] |
This film created quite some controversy. It really depends on how you see it. You shouldn't take it as a drama, that's for sure. I just loved it! It has a great sense of humor. Many really dark humored scenes that made me laugh out aloud, just like the rest of the audience in the cinema I was in. Some bourgeois critics didn't like it, but that for me is only a sign of the narrow mindedness of todays film critics. The film just doesn't follow any of today's rules of art-house cinema. Which is what made it such an refreshing experience to watch for me. A crazy, wild piece of cinema with a strong political message. I liked it much more than "The Edukators", because it's more honest in a sense that it doesn't camouflage it's intent, and also because it's much more satirical. Definitely fun to watch, positively a must-see. | -1no label
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] |
I saw this movie for a number of reasons the main being Mira Sorvino. With her on the cast it couldn't be so bad. And it even seemed like it had some mystery and Olivier Martinez was her boyfriend at the time and he was pretty good in `Unfaithful'. The story is set in Spain so it could be an exotic entertaining movie with one of my favorite actresses. If you're thinking about the same thing let me warn you: this is a truly awful, uninteresting, boring movie. The only adjective that comes to mind is pathetic. The story is contrived with sub-plots that add nothing to the narrative. They try to build a slasher/thriller with a look at fascism in Spain but fail horribly. The twists have no credibility and the so-called investigation leads nowhere. The characters are paper-thin! I didn't care about anyone. More than that they're irritating and pretty hateful people. The acting is atrocious. Mira what is wrong with you? Why Mira? You're an oscar winner! Keep some dignity! Her character was weak but that is no excuse for such an awful performance. She seems to be sleepwalking all movie long. Come to think of it, I actually think I saw her eyes slowly closing in some scenes. I used to think this woman was sexy. Well she isn't here. If you want to look at some skin try Romi and Michelle because there's nothing to see here. And that accent? My god... Olivier Martinez is even worst. It's too painful to remember his performance to describe it here. Im sorry but I can´t. Ive suffered enough with this garbage. This whole movie is depressing! It's so bad in every way it's a wonder how it was even made. A lousy team to produce a lousy script and make some money over the actor's name. Don't fall for it. Avoid it! | 0neg
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] |
Honestly one of the worst movies i've ever seen in my life, truly horrific. Definitely the biggest insult in the history of war films. I really don't know what else to say about this movie other than don't watch it, the acting is absolutely shocking, the combat scenes seem as if they were without any expertise on infantry tactics and or training and it is just generally very cheesy. I personally take it as an insult to the cap badge of the parachute regiment that this rubbish was allowed to be filmed under there name and can't believe certain actors that have worked in cult classics such as reservoir dogs would have ever considered working on such a project. Save yourself from a truly painful experience and don't bother with this movie. | -1no label
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] |
Decent but overrated dramatic thriller, film attempts to depict the spiraling out-of-control inner demons of a tormented artist. The problem is, not a single relationship illustrated on screen is believable, and plausibility appears to have been thrown out the window. The title character is so difficult to relate to making it's rather impossible to imagine any of the on- screen characters emotionally invested in him either. The conclusion is also fairly predictable; there are certainly enough clues provided from the get go to indicate exactly where the story is headed. Choosing to entirely suspend one's belief in the situations or the relationships, the film itself is well acted (especially by the leads) and manages to create some nice tension as the story unfolds. As a metaphorical feature there is some food for thought, and had the script been stronger, there's certainly potential here that could have been put to better use. | 0neg
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] |
Tony Parker: Well, actually, I'm a bisexual lesbian in a man's body... but it's more complicated than that. Now this is an Eddie Izzard moving worth watching. Not a great film, mind you, but a bit funny. Izzard was precious as tony parker. i can't get the image of Joey out of my mind when I see Matt LeBlanc, so seeing him as the tough guy was a bit odd. Nicolette Krebitz was actually the best actor in the film. No one does a British Officer better than Edward Fox (Ghandi, A Bridge Too far) | -1no label
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] |
Maybe it wasn't that good as a whole, but the second episode, which was the first one I say, was so memorable I still remember it today. I became a fan of Dick Francis. I would recommend it if you are interested in horse racing and mysteries. The cockney slang of the sidekick, Chico Barnes, is a lot more amusing to those of us who have never been close to hearing London's Bow Bells, but the leads are attractive and the shows were interesting. Sid Halley was one of Francis' more interesting characters, and the show actually minimizes some of the difficulties with his hand. Interestingly, electronic hands of the sort used in the stories are apparently less functional for the user than the sort invented after World War II. | 1pos
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] |
This is unfortunately the last film Fulci would direct and it is a decent film but if you are expecting typical Fulci, this is not your kind of film. John Savage plays the part of Melvin Devereux. On his way home he is stopped by a funeral and meets a very strange lady. Upon driving away from the funeral, Melvin gets behind a slow moving hearse who he tries to pass. The man driving the hearse will not let him pass and things suddenly get very strange and turn into a car chase. Melvin then notices his name on the coffin in the back of the hearse and begins to really freak out. The movie then goes on like this until the finale. This is a very hard film to review. First off, it plays like a 90 minute Twilight Zone episode which isn't a good thing. This story could have easily have been a 40 to 45 minute short film and that would have been more appropriate. Instead, the film has a lot of random scenes that don't make much sense and even when the finale comes, still does not make any sense. It seems like Fulci was trying to take his film writing in another direction and if he had lived longer may have succeeded. All in all, this is not a bad film, but for Fulci fans of the late 70's and early 80's, you might be disappointed. For real hardcore Fulci fans, I would say this is a must see. 7/10 | -1no label
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] |
Much to her adult children's chagrin & nearly immediately after Elizabeth's (Dame Judy Dench) husband's death, the widowed, attic tenor saxophone player becomes bent upon openly returning to her musical hobby. Now that George is dead, Elizabeth no longer has to practice playing sax in the attic. As she grows more pleased with playing in the open, Elizabeth takes a stroll along memory lane, remembering when she was a 15 year old member of a jazz swing band, "The Blonde Bombshells": supposedly, an all-girl WWII group of talented jazz swing musicians. One of the "Blonde Bombshells'" band members was a womanizing, cross-dressing drummer, Patrick (Ian Holm), with whom Elizabeth remained friends. Both Patrick & Elizabeth's 12-year-old grand-daughter, Joanna (Millie Findlay), press Elizabeth to round up the former band members & take up performing together again; this time as a bunch of sexagenarians. Among the band members she finds are the (still foxy!) bass playing, Madeleine (Leslie Caron); Dinah (Olympia Dukakis), a trumpet playing, alcoholic & out-spoken, money-grubbing divorcée & widow living off of wealth from her many (ex)marriages in a Craigievar Scottish castle; Gwen, (real life US star jazz singer, Clio Laine), having at the lead vocal; Annie, (June Whitfield), as the Salvation Army trombone player; Betty, (the late piano player, Joan Sims), who's located training the ivory keys in a Hastings pub. As Elizabeth, Patrick & Joanna scout the world for members of the 1940's band & try to convince them to resume performing together, Elizabeth is oft times beside herself as she learns more than she wants to know about their adult lives--including her own--while having a blast playing terrific music with the last of the living 'Blonde Bombshells'. Amusing, nostalgic, historical, sentimental, multi-generational entertainment that is seriously fun. The actors deliver wonderful performances. Regardless of their ages, they are still Bombshell entertainers who put on quite a show. (The DVD is now out & worth owning because of the bonus features & Dolby Digital sound). Surely as a fan of any of these terrific actors the VHS is a collector's item. | 1pos
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] |
This wasn't as bad as "Flesh for Frankenstein," which was so abysmal I couldn't bring myself to comment on it, but it's a bad, bad, terrible, horrendous movie. What makes it all the worse is that it has a terrific theme...or would have had, but the script was so atrociously written that every socialist subtext was forced screaming to the front to beat you over the head. That said, a terrible script doesn't excuse acting as bad as this. The 'actors' are about as convincing as the housewife and the delivery man in your favorite skin flick. And in a way, this is a skin flick--it's a feeble attempt to infuse promiscuous sex into a story originally focusing on the Victorian demonization of sex. In capable hands, it could have worked. These were not capable hands. In my own humble opinion, every copy of this movie should be destroyed. | -1no label
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] |
Wow....it's been a long time since I've last seen such a hilarious movie like this one!!!!! I've never been a great fanatic about French movies, but ever since I fell in love with the beauty and the acting skills of Catherine Deneuve I decided to see all of her movies... however I didn't think this one would be so fantastic as it turned out to be. Lucky me, that I bought it even though I had some doubts! This is really "feel-good-time" film with class and quality. There are some great social topics and moral drama's involved that are very close to today's modern way of living, which are shown very beautiful and realistic. I also liked the dancing scene in the men's room a lot! But my favourite is the rather timid attempt of Catherine Deneuve to sing.....she brings it the way she is, with lots of grace and modesty at the same time...very tempting! Further on I would also like to express my respect and admiration for Line Renaud, who played a fantastic role (I didn't even know she acted....I've only known her for her music). So, don't wait any longer and go see the movie...you'll be surprised in many ways. | 1pos
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] |
This movie had such great potential - handsome leads and storyline that could have been engaging. The two actors playing the leads deserved a script that was considerably less wooden. Lingering (as in "when will something happen") shots with no point permeated this movie. Tours of the Dallas freeway system at dawn seemed to be the director's way of getting this film to something that would qualify for feature-length status. It even has a home movie within this home movie that is a musical rendering of worst kind. This is a movie that doesn't deserve community support - even in its DVD form. If you watched this film on You Tube, there would be long stretches when you think your computer has locked up because nothing is happening until you realized that the crawl bar is actually moving. | -1no label
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] |
One can only hope that there are many times when someone as powerful as Morgan Freeman can take the time to assist someone who needs help. It all comes down to loving people. As Will Rogers said, "I never met a man I didn't like." Of course, if you meet Paz Vega, what's not to like? That smile of hers can melt diamonds. She is just so fantastic that I can watch anything she is in. The same goes for Freeman. he is just magic on the screen. The two of them gave us a film that was funny from start to finish. From the Mexican supermarket to Lorraine & Bobby to Packy. It was tender, charming and just plain funny. You have to check this out. | 1pos
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] |
Once again, Wes Anderson has created a film that has interesting and odd, including its character, script, and plot. He returns to familiar themes of family (mainly mending relationships with parents/children). The movie is not always easy to understand and the ending may leave some seeking more. There is character development, but there seem to be some holes and the plot seems to jump forward at times. But for those who can comprehend metaphors and tolerate ambiguity, viewers may leave the film satisfied. As usual, the movie's charm comes from its oddball characters, and script and thanks to the cinematographry and colors of India, it is a beautiful movie to watch. | -1no label
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] |
Wolfgang Peterson directs this thriller that has Clint Eastwood playing Secrect Service Agent Frank Horrigan, who matches wits with a clever psycho(John Malkovich) in a cat-and-mouse game involving the the protection of the President. Mitch Leary(Malkovich)keeps in touch with Horrigan teasing the agent with discouraging remarks about his abilities, as well as the Secret Service's protection of the presidents in the past. Agent Lilly Raines(Rene Russo)tries to keep Horrigan grounded; but he is head strong in stopping Leary from carrying out his threats of assassination. Very good FX and fast pace sustains the plot. Eastwood and Malkovich are superb. Russo has a way of getting your attention. Rounding out this strong cast are: Dylan McDermott, Fred Dalton Thompson, John Mahoney and Gary Cole. | 1pos
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] |
I'm surprised that no one yet has mentioned that there are two versions of this same film. The lion's share of the footage in both is identical, but here is where they differ: In one version (the version I have seen most often on broadcast TV), the group of clerics guarding the gateway consists of the "Brotherhood of the Protectors", a (fictional) splinter group of priests and brothers "excommunicated" by the Church. In the other version, which I've seen only once on TV, the clerics guarding the gateway are depicted as priests of the official Church, meaning the Archdiocese of New York (or perhaps Brooklyn). Also, in the former version, in most of the pertinent scenes, the clerics are referred to as "brothers" (and in some scenes, you can see where the lips say "Father" so-and-so but the dubbed audio says "Brother" so-and-so. In the latter version, I believe everyone is referred to as "Father". In any event, it seems that one of these two versions is more or less a partial re-shooting of the other, with all "Brotherhood of the Protector" scenes re-shot as "Archdiocese" scenes, or vice versa. (Kind of reminds me of the Raymond Burr cutaway scenes in "Godzilla"). I have videotaped both versions off broadcast TV, so no, I'm not imagining this. Can anyone shed some more light on the story behind these two versions of the film? | 1pos
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This movie (and yes, it's a movie - it was shot as a two-parter, but the two parts together come down to slightly more than 2 hours) is one of the unsung masterpieces of world cinema. A very well-mannered, and yet at the same time absolutely savage denunciation of the Soviet regime and the type of person who flourished under it, the film is a faithful adaptation of the long-banned eponymous book by Mikhail Bulgakov. The sets are flawless, and the director made the brilliant decision to film in monochrome sepia, adding a feel of authenticity where a late-80s washed-out color incarnation would have all but ruined the film. I won't say much about the plot, which deserves to be discovered by the viewer himself, but the performances are true Oscar material; special mentions go out to E. Evstigneev, who plays the old professor with such presence, gravitas and kind wisdom that with barely a word or a gesture, he ends up stealing every scene he's in. The second, of course, is Creature/Sharikov, who, played to horrifying perfection by V. Tolokonnikov, is by far more frightening a character than Hannibal Lecter, because not only does he exist in real life - entire countries have been ran by men like him throughout history, with all that ensues. While it's a socio political allegory, it is worth mentioning that the movie is also brimming with humor, albeit dark - there are many outright comedies which haven't made me laugh as much as this film. What's more, when laughing at this movie, the feeling is not only one of hilarity but of understanding and agreement, which is always a plus. There is hardly a complaint I have with this movie - the only slight flaw is the tone of intellectual/bourgeois snobbery I caught at times from the "enlightened" characters. But that's a minor quibble. Sadly, this film appears to have been bypassed by Western licensing companies. It's a crying shame that one of the all-round best movies out there is languishing unrestored and untranslated (which shouldn't be incredibly hard - though all the cultural references and the revolutionary terminology will necessarily fade in translation, the film's main themes should be accessible to all). While we're waiting with our fingers crossed for the Criterion edition, I'm considering creating English subtitles myself. Will see how that works out. | 1pos
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] |
Wonderful film that sadly was not released in the U.S. Beautifully written and acted character-driven piece about many things, among them the role of a parent in our modern civilization - and the role of the child as well; the relationships between men and women, and the friendships between straight men and gay men; the role of artistic expression in the lives of artists and in the lives of those who will never be artists. The film is also noteworthy for its portrayal of the hypocrisy of adults who impose upon their children "values" that they themselves reject in their day-to-day lives. The gay character is refreshingly unapologetic. And the female lead is heartbreakingly real, a brilliant and deeply moving performance by Cecilia Roth. If you ever get a chance to see this film, I highly recommend it. | -1no label
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] |
Ted V. Mikels's film Corpse Grinders 2 is 103 minutes of excruciating cinematic swill. The plot is pretty much a mixture of nonsensical business dealings among people who grind corpses into cat food while cat aliens, who are losing a war with dog aliens, looking to get some of this cat food. Watching this movie, I began to look for any kind of distraction, anything to reassure myself that I was doing something else besides losing my mind from the inside out. Several scenes go on for far too long, as characters take forever to do simple things. I've heard that Mr. Mikels doesn't like to use jump cuts too often, fearful that they will confuse his audience. I'm not sure if this attitude is "avant-garde" or just "stupid." Try as I might, I could not bring myself to care about any of the characters in the unnecessarily huge cast, well with the possible exception of the old men who are the caretakers of the factory. The majority of the cast are a bunch of no-talent amateurs who don't even bother to learn the lyrics to "Amazing Grace" before they have to sing it on camera. Although perhaps the blame should go to the poor sound quality, since I only actually heard around 80% of the dialogue while watching the DVD. This is quite possibly the worst film to ever be shot. I've listened to snippets of the commentary,and Mr. Mikels comes off as a surprisingly sweet old man, what the hell was he doing making this kind of trash? I'd like to hear the explanations from the old men who had to lie shirtless on a metal conveyor belt waiting to be ground up. Movies I've long hated suddenly seem a lot better. I long for the intermittedly appropriate music of Excalibur, and the consistent lighting of Dawn of the Dead. I need to go do something, anything. Don't see this movie. | 0neg
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!948 might have been a tad too late for this Poe-faced Gothic outing just as the poetry masquerading as dialogue and penned by Dylan Thomas was a tad out of keeping with realistic speech. Thomas tips his symbolic glove in an early scene when a collapsing mine triggers falling plaster and cracks in the walls of the 'big house' in the mining village, which is home to the eponymous sisters, who pledge to rebuild the homes in the mining village destroyed by the collapse. They make this pledge despite not having change of a match but (so they think) secure in the knowledge that their half brother (Raymond Lovell), who long ago left the village and became a successful businessman, will underwrite the repairs. Lovell decides to mark their card and journeys to Wales with his secretary, Nova Pilbeam, and anticipates Ann Robinson by a good 50 years with the question, 'is this hell, or Wales. Once ensconced in the house he begins to resemble Bob Hope in The Cat And The Canary with the three sisters blending into Gale Sondergaard. I can't think of a single reason why you would want to watch this but then what do I know. | -1no label
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] |
this is kill bill 30 years ago before that douche bag milked it....the out fit Lucy lui wears in the snow garden and the music is from lady snowblood. This movie is one of japans greatest. Meiko Kaji is stunning as the cold blooded yet high sympathetic character of lady snowblood. The action is bloodly and stylised and you get a let bit of a history lesson about japan in the 1800's The Music is beautiful and haunting and works well with the subject matter... A must see for all fans of Asian cinema. And if you like this i recommend the Baby cart (lone wolf and cub)movies Unmissable! Believe me you well not be disappointed. Go on prove me wrong | -1no label
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The concept: Explore what possibilities of paradox exist if time travel to the past (or future) becomes reality. This is an exercise that has challenged the most respected minds humanity has produced from Einstein to Hawking - a concept captivating and eloquently delved by authors from Heinlein to C. S. Lewis - a vision brought to the silver screen in an accessible and engaging way by such movies as Back to the Future and Terminator. The result: What should probably have been a complete Alan Smithee production. There are a couple positive items of note - if you enjoy tongue-in-cheek, campy films that don't take themselves seriously, and give a passing glance at the hypothesis that gave it birth, you MIGHT try it. If you're sorry afterward, pick up a book that does the subject justice - some Heinlein (_Number of the Beast_ or _Time Enough for Love_) or the recent Crichton or Baxter releases (_Timeline_ and _Manifold: Time_ respectively). Another plus: the end of the movie, and of the pain. There's just too many cons to cover fully - poor acting, vague direction, TOO low of a budget and special effects, terrible writing, unsatisfactory plot resolution, horrible redundancy... I saw the original release and was young enough to be embarrassed for the actors. When I caught a replay recently on TV, I struggled through it to make sure I was truly rating my "worst ever" fairly. I was. 1/10. | -1no label
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Hey now, this is one of my favorite movies. A woman living in an isolated house near the desert (in Arizona) is having trouble with housekeepers. None of them seem to stay very long. But every time a housekeeper leaves, a new tree gets planted along the driveway? Hmm. Well, along comes Ruth Gordon, who seems to have lost one of her friends somewhere along the way and this house is the last place of residence. So Ruth goes "undercover" as a feisty and weird housekeeper to Geraldine Paige (who fancies herself to be quite the goddess, I reckon, expecting the housekeeper to light her smokes and fix her drinks). Ruth though, is in cahoots with her nephew, the dude that played a doctor on Emergency eons ago. So while she's sticking her neck out, he's got her covered. Or does he? Hmm. Anyway, this is a VERY well done and awesome whodunnit, with more than a few creepy overtones. Anyone that enjoys the late Ruth Gordon will delight in this. Highly recommended! | -1no label
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] |
I'm not entirely sure why I passed on this film when it landed in my city. Perhaps it was a busy schedule or perhaps it was the blatant comparison to the Italian "Cinema Paradiso" in the advertising used for this film. With all due respect to the "CP", while the two films share an early common thread of a young child with a passion for movies (with a requisite "single mom" in a small town), these two films should not really be compared side by side. The desire and temptation toward comparison would be deceptive and misleading to most expectations of most potential viewers. Indeed, they are very different stories. Nor should "CP" used as a benchmark for all films which have a child character that enjoys going to the movies. Not that it isn't without merit, but, rather, again, this is a different film with a very different feel. The Italian film was meant to have a big emotional bang; this Chinese film, however, goes the restrained route of slow, emotional realization. We meet our heroine, Ling Ling, as she commits what appears to be an act of senseless violence-- striking a bicycle-riding man on the head with a brick. Then as the wounded victim (Mao Dabing) confronts his assailant we are utterly confounded by her silent, dogged insistence that he go to her apartment and feed her fish-- it is she who should be owing him redress, not vice versa. Dumbfounded, the victim agrees and there begins a journey back into the events that led up to Ling Ling's seemingly incomprehensible action against him. It is this backward shift of gears that forces a discovery of character revelation which goes beyond a simple childhood love of film. As Dabing sifts through Ling Ling's possessions (most notably her diaries), he comes to learn how life sometimes has a peculiar way of coming full circle; events which may seem random and senseless are not always necessarily what they seem to be. And, in many ways, as the plot unfolds, this is actually a small film about forgiveness and reconciliation. In this respect, it seemed vaguely reminiscent of the Chinese film "Seventeen Years". Enjoyable little film -- a tale of family, friendship, loss, and reconciliation-- which should be allowed to stand on its own merits and not be unnecessarily thrown into a comparison with other films for the sake of marketing. This a decidedly Chinese film. | -1no label
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] |
Umberto Lenzi tried his hand at just about every popular type of film in Italy during the sixties, seventies and eighties, and while he has some very nice entries on his list of directorial credits; it has to be said that he isn't the best director to try his hand at the likes of Giallo, zombie and cannibal movies. However, when it comes to crime films; Lenzi comes into his own, and just like Almost Human a couple of years earlier, Violent Naples is an entertaining and nasty little crime thriller. Like every film in this sub-genre, the major influence comes from the masterpiece American film 'Dirty Harry', and here we follow a copper not too far removed from Clint Eastwood's famous character. Commissario Betti is your typical disgruntled cop that favours violence over proper police procedure. He's fed up with the way that Naples is being run by the criminals, and so sets his sights on The Commandante. However, this man isn't easy to bring down, and since Betti is receiving no help from his fellow townsmen, the task of ending crime in Naples is left to our leading man. The title of the film leads the viewer to expect lots of violence, and Lenzi certainly doesn't disappoint in this respect. We've got bowling balls to the head, a young woman having her face scraped off on a moving train, a man impaled on a sharp fence and many other such delights. Overall, it has to be said that this film isn't very original, but Lenzi injects some freshness into it with a barrage of exciting chase scenes (the best of which take a point of view shot from the front of a motorbike) and violent shootouts. The good thing about these Polizia movies is that they are played out for pure entertainment value, meaning that Lenzi is free from trying to be arty, and can pack in as much violence as he likes; a fact which is often capitalised on. The film benefits from a strong Italian cast, including Maurizio Merli; who may be no Clint Eastwood, but still delivers a strong and entertaining lead performance. John Saxon gets to join in the fun also, and there's also a place for fellow American actor Barry Sullivan, in the role of the villain. Overall, if you're into Italian cop movies; this isn't one to miss! | -1no label
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] |
Oliver Stone seems to have outdone himself on this one. Not only is Natural Born Killers a visual masterpiece, but it is probably one of the most insane and nonsensical social commentary films I have ever seen. Disappointing, since it was penned by one of my favorite film directors, Mr. Quentin `Bad Motherf***er' Tarantino himself. The elements of a good story are there: Boy meets girl, boy and girl fall in love and go on a mass murdering spree which is lapped up by the media. While there is definitely a strong social statement, the story is too erratic and scattered to be completely coherent. Visually however, Natural Born Killers is stunning. It is intensely colorful, unflinchingly violent and innovative in its cinematography. This movie is not for most, but if you decide to try it out, be warned: It is not for the faint of heart, and not for the weak of stomach. But it is an important film for its visual merits, at the very least. --Shelly | -1no label
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] |
Ik know it is impossible to keep all details of a book in a movie. But this movie has changed nearly everything without any reason. Furthermore many changes have made the story illogical. A few examples: 1) in the movie "Paul Renauld" really meets Poriot before he dies (in the book Poirot only gets a letter), telling him he is afraid to be killed. This is completely stupid because if Renaulds plan would have succeeded, Poirot would have known that the dead man would not have been Renauld.(Poirot was in the morgue when Mrs Renauld identified the victim). 2) The movie has "combined" two persons into one! "Cinderella" has been removed by the movie. The girl Hastings falls in love with and the ex-girlfriend of Jack Renauld are one person in the movie! Why for god's sake? 3)Hastings finds the victims cause he is such a bad golf player. Totally unfunny and stupid. 4) The movie tells secrets much too early (for example at the very beginning). So you know things you shouldn't know. 5) The murderer gets shot at the end by a person who doesn't exists in the book. Perhaps because the person ("cinderella") who stops the murderer does not exists in the movie. 6)The book is very complex. The movie takes only about 90 minutes. Sure it is difficult to include all the necessary details but it is impossible if you include stupid things which were not in the book and have no meaning (e.g. bicycle race). | 0neg
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] |
This movie was, as Homer Simpson would have put it, "more boring than church." Maybe I don't understand it well enough, and I thought it started out pretty well, but after (START OF SPOILER) Hermann Braun is sent to jail and Maria starts working/sleeping with her boss it just started to drag, and I struggled to keep awake. Again, maybe it symbolizes something, but the explosion at the end seemed very forced and out of place. (END OF SPOILER). In the end, I fail to see why others think it's so great, as I found it extremely boring. By the way, I did not watch this movie by my own free will, as I was required to see it for a Film class. | 0neg
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] |
Why would I say that? Because when the movie ended, I was in a good mood. So many people exclaim at the end, wow! Bruce Willis can be funny. For those of you who believe he learned how to act after the sixth sense, you must be very new to his career. He won an emmy for best actor in a comedy series before he did Die Hard. It's like saying, wow, the sky learned to deposit snow on the ground just because it's your first winter in life. The movie was hilarious. What boggles my mind is how some other comments made about this movie claims that there are no memorable lines or scenes. Spoiler... The waaaambulance? I am not a loser? Have you ever seen a grown up scream I am not a loser before? I thought this movie was great. It was funny, it was never boring and in a cheesy Disney sort of way, it had a point to make. Something to do with life and of course any kid movie trying to do that is in over it's head but for once, I didn't care. If you haven't watched it. Do so. You'll like it. | 1pos
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] |
When I was only six, my mother and father sent my older brother to take me to watch the Olson and Johnson routine at a New York City nightclub called THE CARNIVAL. I had been aware of the antics of the Three Stooges, Laurel and Hardy and Abbott and Costello, but now I could see first hand the live slapstick of involved comedy. The film "Crazy House" is a perfect example of keeping the wild art of updated slapstick alive on film. It is an update of the pie throwing of early silents and the progression from Charlie Chaplin to Charlie Chase. This film even has small roles for all the lesser known comics of that era. Their roles in this movie are much the same as the bit inserts into "It's a Mad, Mad, Mad, Mad World". For those a little bit younger than myself, this film would be called the progenitor of "Rowan & Martin's Laugh In", a TV series that ran from 1968-1973. All I can say is, "If you want to see the visualization of one liners as presented in the 1940's try and get to see this film". In the short while, watch "Laugh In" reruns and prep yourself for a look back into comedy history. | -1no label
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] |
I was a still photographer working in Europe the summer that Jim Salter shot the movie Three. I did some swell pictures for him, one of which I was told became the poster for the movie. I didn't see the film until years later. I thought it was bad. A pity, because the elements that went into it were compelling. Robie Porter's girlfriend was almast as beautiful as Rampling herself. Salter asked if I would stick around and be an extra cameraman so they wouldn't have to shoot everything twice. I said sure, but I had to return to NY, promising I'd be back. Alas, I never did get back. One of life's unsung melodies. I wish I could post the pictures I made somewhere. Rowland Scherman | 0neg
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] |
I cannot believe that the Indian film industry still puts out such third-rate dross as Waqt. For starters, the storyline is totally implausible spoilt son gets thrown out of family home so as to teach him some self-sufficiency. So what does he do? He promptly goes on to win some national talent contest by doing some star jumps in front of a panel of judges (I honestly am not joking here). In the meantime, his dad is dying of lung cancer, but keeps it a secret from the son, but he survives long enough to see his son become famous, to see his new grandson and also make a new toy giraffe with his own hands. The acting is cringe worthy in its hamminess no effort was made to try and act in any convincing manner by any of the main players in this film. As usual for Indian films, the family lived in a huge mansion and seemed relatively untouched by the concerns of the real world. To be honest, the main losers when such dire films are made are the intelligent viewers who made the mistake of seeing such a film. The actors, such as Amitabh Bachchan and Akshay Kumar, will still be revered as Gods by those people who have nothing but blind faith in Bollywood. | 0neg
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] |
A lot of people in the cinema enjoyed this film, but it only made me feel misanthropic. If smug "intellectuals" bantering about their irritating sex lives, sounds ok to you, watch it. I felt bored, but glad I did know people like that. The premise of the film was that, as with all societies or great civilizations, they are eventually doomed to fail. According to the female historian character, who bores us with this fact, America is showing signs of it's decline (Admittedly she goes into greater detail than me). The next part of the film is concerned with the vacuous, fatuous and asinine behaviour of her friends and colleagues, and the various miseries caused by their libidinous behaviour, with a vague attempt at humor. A lot of people liked this movie where I watched it. I could not relate to it. | 0neg
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] |
I love this movie. I watched it when I was a kid and it brings back great memories. Plus it teaches us so many life-changing lessons. Be yourself, live your life to the fullest, remember those things that are important, and love who you are. Tyra Banks is so funny and pretty in this movie, a true big-hearted Barbie, or Eve. This also reminds me of the days when Lindsay Lohan COULD act. She wasn't slutty and she showed real emotion in her characters. She really does have the potential, she just needs to watch this movie again and take advice from it. This movie has a good story line, it makes sense, it's very funny and quite a tearjerker. ='( Tyra Banks proves to be a very lovable character, and even though she seems clueless at the beginning, at the end she is the one who learns it all and finally understands to be yourself, to love yourself, to remember those things important, and to live life to the fullest!! And always remember the classic song : Shine bright, Shine far. Be a STAR! Where you live where you are...Be a STAR! | -1no label
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] |
Evie (Lili Taylor) is a quiet and seemingly simplistic small-town girl living in a small town becomes obsessed with an ostensibly "deep" local rock musician (Guy Pearce). After carving his name into her forehead at one of his shows, she becomes his #1 fan, good luck charm, and lover. Lili Taylor is an exceptional actress and gives a fine performance with what she is given to work with here. The supporting cast also stands out, especially Sara Rue and Shawnee Smith. Unfortunately, the story is completely absurd. The dialogue is painful at times, and you have to wonder whether Evie is trying to be comedic or if she really is that stupid. While the music is good and written by respectable songwriters, the trailer clearly states: "featuring actor/musician Guy Pearce." You have been warned. My Rating: 4/10. | -1no label
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] |
Simply horrible: overblown made-for-TV-movie melodrama, poor acting, silly makeup effects and production design, bad direction. And a script that foolishly adds multiple, painfully obvious plot lines to the original story so that the taut and gripping plot of the novel is almost completely obscured. Despite having more running time than the 1971 movie, this soggy mini-series seems rushed to cram in all the stupidity it can. Watch it at your peril, if you want a satisfying, chilling, and intelligent movie, rent the well-crafted Robert Wise version; it is one of the great SF movies of the 1970s. It is one of the rare movies that really shows science at work, and the scenes of death at Piedmont will always stick with you. | -1no label
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] |
The first time I watched this film, I must have been about nine or ten and even at that age, I sobbed my heart out. To this day, it remains the saddest film I've ever seen. The film revolves around eight-year-old Ben Madison, a haemophiliac who contracted AIDS from an infected blood transfusion. As Ben bravely copes with all that his devastating illness forces upon him, his parents are fighting two battles. They have to struggle to accept the fact their young son was terminally ill yet remain strong enough to prepare him for his own death but they are also fighting the ignorance of how AIDS was perceived in the Eighties. 'Go Toward the Light' has many emotive scenes: notably, Ben's funeral where his mother recounts how her son's life may have been short but he had made his mark on the world, when Ben's father explains to his three young sons about what happens to the soul after death, and the final scene where Ben dies in his parents' arms. What makes this film unique is that it's not all depressing and, by depicting happier scenes, we feel closer to Ben and his family. We shared their joy when Ben is able to come home for his new brother's birth and when the Madisons' newborn son was haemophiliac-free. We get a sense of how close the family is by the large role the grandparents play in Ben's life (his grandfather poignantly made Ben's coffin) and the love Ben feels for his family, especially his brothers (one bittersweet moment is when his younger brother says he was visited by a ghostly Ben in the hours before Ben's death). For a TV film, not only was the script excellent but so were the actors. Young Joshua Harris must have been a talented child actor in his time given his affecting performance as Ben while Linda Hamilton and Richard Thomas were perfect as the parents, depicting their grief, strength and love for their son and his plight. I highly recommend this to not only people seeking a good gut-wrenching drama (as there is nothing more gut-wrenching than watching this film and knowing this was a true story that happened to a real little boy and his family) but also for older children and teenagers seeking a more meaningful view of AIDS and its consequences. | -1no label
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] |
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning Street cop Soldier Kelly (Lorenzo Lamas) gets worked up at being unable to take the drug dealers off the streets and ends up massacring a whole bunch of them (as you do...) He ends up being committed to a mental institution, where a sexy psychiatrist tries to evaluate him, but he manages to break free and teams up with wise cracking black guy Speedboat (Larry B Scott) to go after the big time dealers and save his sister from the scourge of drugs. This prompt sequel to unforgettable STV action film Snake Eater has the same lead star, later Renegade star Lamas, and follows much the same formula as the first film, which is to say it delivers much the same results. The acting is wooden, the plot completely nonsensical, even for something so basic, but if you want some simple, undemanding action nonsense, it may deliver the goods. On the other hand, you may just want to stay out of the pit. ** | -1no label
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] |
First line to pad out the comment. Second line to pad out the comment. Review follows! I remember this being my least watched of the four Peanuts movies. Returning to this film after twenty years to watch it with my three year old daughter reminded me why that was. Either people are hurting each other or they're crying in this film. The voice acting is generally bad, though Linus is pretty good. Charlie Brown is just about intolerable. At one point, my daughter turned to me and said, "Daddy, this is boring." She was right. I'm glad I showed her this one first. They only get better. | -1no label
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] |
I mistakenly thought this was the 70's art film about the bed that eats people, which sounded interesting. It isn't. Interesting, I mean, let alone about a man-eating bed. I assume Stuart Gordon put his name on this in the same spirit that Lloyd Kaufman puts "Troma" on just about anything that's been shot with a video camera, in the interest of building up a franchise library. Little more can be said about this opus other than the running time is less than 90 minutes. It is, of course, about a bed that is haunted by the spirit of a man, or something, that once killed a woman with a wig and long false eyelashes. Along the way we get **a five minute opening credit sequence (is the one for "Lawrence Of Arabia" even as long?) **a murderer with Marylin Manson contacts who kills using the same technique as the troll in "Cat's Eye" **demonstrations of a sexual practice Michael Hutchence may have employed **a preview of what Emilio Estevez will soon look and act like **soft core porn even Cinemax would pass on **manbutt and one topless scene **a wacky (or is it "whack"-ee?) ending involving unintentionally hilarious hammer hits and leftover strawberry pie (well, it looked that way to me) **and a rudimentary surprise ending apros pos of nothing much. It's like the screenwriter even fell asleep on the "Deathbed" before finishing the last draft. It's not scary, it's not sexy, it's shot on hi-def video and doesn't look bad but doesn't look good either, the acting is just good enough to not be bad enough to be fun and so is everything else. No one would probably have even seen or heard of it unless it was on a disc with another movie, the modern day "double feature." I wasn't paying attention for parts of it so I may have missed something. But for some reason I doubt it. Rating: PASS | 0neg
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] |
Once again Jet Li brings his charismatic presence to the movie screen in the film Black Mask. In this film Li plays Tsui, an escapee from a super soldier program who seeks to regain the humanity that the program had taken away from him. To do this Tsui decides to become a librarian in order to live a normal and peaceful life, but fate demands that he clean up problems from his past before he can continue to seek peace. Other members of the super soldier program had escaped at the same time as Tsui, but they want to get even with the world rather than find inner peace. Thus Tsui becomes the only thing that can prevent his former team mates from releasing information that could cost many innocent people their lives. This film screams across the screen at a frantic pace and never lets its audience go. The martial arts is amazing, but because it uses wires it may not be appreciated as much as it deserves by American audiences. If you like action movies that have an interesting story and demand good acting performances because they deal with psychological as well as physical conflicts, then Black Mask is for you. I am glad to see that some of Jet Li's movies are finally getting main stream release in the United States and look forward to seeing how the changes that that release will require (things like dubbing and soundtrack) will affect the film. This is one of Li's best films, go out and see it on May 14 when it is released in America. | 1pos
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] |
I'm not sure this has a true 'spoiler' in it, but I put the check mark in "just in case." I really wanted to like this movie because I love "period" flicks based on fact, I love older cars, and I love Jeff Bridges. Early on I wasn't sure about it, however. Jeff Bridges' eternal smile and optimism was starting to grate on me, but I stuck with it. From what I can tell, the movie was amazingly accurate. This is a film for someone who might be interested not only in old cars with futuristic ideas, but also the inner workings of big business and the government of the 1940's. This is a David vs Goliath film without a true fairy tale ending. | -1no label
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] |
The monster will look very familiar to you. So will the rest of the film, if you've seen a half-dozen of these teenagers-trapped-in-the-woods movies. Okay, so they're not teenagers, this time, but they may as well be. Three couples decide it might be a good idea to check out a nearly-abandoned ghost town, in hopes of finding the gold that people were killed over a scant century-and-a-half before. You'd think that with a title like "Miner's Massacre" some interesting things might happen. They don't. In fact, only about 1/10 of the film actually takes place in the mine. I had envisioned teams of terrified miners scampering for their lives in the cavernous confines of their workplace, praying that Black Lung Disease would get them before The Grim Reaper exacted his grisly revenge, but instead I got terrestrial twenty-somethings fornicating--and, in one case, defecating--in the woods, a gang of morons with a collective I.Q. that would have difficulty pulling a plastic ring out of a box of Cracker Jacks, much less a buried treasure from an abandoned mine. No suspense, no scares, and plenty of embarrassing performances give this turkey a 3 for nudity. | 0neg
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] |
Leaving his Frankenstein monster portrayal behind, Boris Karloff shows in this film that he can act and do a good job of it. He plays a Greek General trapped on an island with others fighting the plague. A young girl, Thea (Ellen Drew) is thought to be a vrykolaka, a harmful undead creature in Greek folklore, by an old peasant woman (Helen Thimig). It has similarities to many different legendary creatures, but is generally equated with the vampire of the folklore of the neighbouring Slavic countries. While the two are very similar, blood-drinking is only marginally associated with the vrykolakas. The tale is a mixture of folktale and virus, of medicine and miracles, of superstition and madness. Karloff carried the film with marginal assistance from the others. Worth a watch to see his acting. | -1no label
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] |
I have seen this on MST3K several times and all I can say is,,,,,,,blech! However, whoever made it must have been trying to create a sword and sorcery version of Star Wars. David Warner's characters could be Obi-Wan and Vader, the boy -Luke, Leo -Han Solo and Thena -Leia. Her banter with Leo is almost just like Leia's with Han. The Power Source could be the Force, the Delta Knights the Jedi and even the treehouses could have come straight from the Ewoks. Thank god the movie is horrible enough that there were no sequels. Richard Kind from "Spin City" and "Mad About You" stars in this confusing farce as does the talented Olivia Hussey, but she is woefully underused in this movie. I can only assume she left halfway through filming. | -1no label
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] |
I will never forget this film or the events that lead up to Jonestown in Guyana. It just seems so tragic but needs to be told. Powers Boothe give a commanding performance as the leader Rev. Jim Jones from obscurity until total madness. It would have won him an Academy Award easily if it was released in the movie theaters. It is the kind of mini-series you won't forget. You won't forget the images of the cult's brutality, control, and obsessiveness of it's leader. His rise and fall and the threat from the outside world to destroy what he considered to be paradise. The mass suicide is horrifying, almost unreal to anybody's imagination as to why so many people (900+) went willingly or resisted JOnes' orders. They don't make mini series like these anymore where we're left with out mouths open and hungry to know what happened to the others. | 1pos
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] |
With its foreboding name and plot wrapping around a teen prostitution ring one could be forgiven for expecting a sleazy bad taste affair from this one, but creditably it ends up as a restrained and respectful affair with a feel of compassion towards its theme of corrupted innocence. Its plot blasts off with the discovery of a supposed teen suicide from hanging and soon enough develops into investigation of this and the aforementioned vice ring, with matters complicated by a motorcycle riding, leather clad killer. The film operates as something of a crime thriller/police procedural type affair, shot through with splendid scenes involving the aforementioned killer that give it a delicious giallo current. Giovanna Ralli and Claudio Cassinelli make for fine leads, passionate and committed they effortlessly sweep the viewer up with their determination to bust the evildoers at the heart of the whole scandal. Writer/director Massimo Dallamano (screenplay also credited to Ettore Sanzò) crafts an involving tale, sympathetic to all afflicted by the matters at hand with time for emotional scenes as well as some nail biting suspense (including a sweet car chase) and a spot of pleasing bloodshed. Though not especially gory the film still offers up a few grisly doozies, though the best moment effects wise (it involves someones hand) is best seen through adept use of the pause button to focus on the frame or two for which the full glory of the effect is seen. Despite the sordid subject matter the film refrains from sleaze, it is in fact fairly restrained stuff, with its most discomforting moments involving tape recordings rather than anything visual. This approach works pretty well I think, it enhances the feeling that this film actually cares about its subject, a feeling promoted clearly by the "factual" quotes used as bookends. A typically fine Stelvio Cipriani score works well for both innocence and excitement, with the early switch from the pleasant shots of schoolgirls in the street in the opening credits to nasty goings on very much aided by the music. Its not a perfect film, falling down a little in its giallo capacity, great set pieces but not so much in the way of explanation, the ending is a tad abrupt and in general a bit more development could have given it somewhat more of an impact, but for me it was still pretty darn fine. Definitely worth a watch for fans of this sort of thing I think. | -1no label
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] |
Yesterday i bought the movie the Dreamkeeper because the little scenes i saw on TV during a commercial interested me a lot. I must say that this story was for sure not a disappointment because it is really a beautiful story which is a mix of fantasy, legends and old stories. In this story a boy from the Lakota Sioux tribe has problems because he has a quilt with an Indian gang. His grandfather wants to visit the powwow, which is a meeting between all kinds of tribes from the USA, in which the dances and traditions will be shared. The grandfather wants that his grandson takes him to the powwow and as reward he will receive a car from his grandfather. In the beginning he don't want that but when he realizes that he also has 1 day to pay the money back to the gang than it maybe could be a good alternative to escape. During the trip his grandfather starts to tell him stories which form the base of the movie. During the stories you enter a time of legends and fantasies but with every story the grandfather is teaching the grandson a lesson in life. The maker of this movie also made Arabian nights and you can see it a little back in this movie because the setup is the same because in Arabian nights a woman tells a movie to the sultan she wants to marry. This story really impressed me and i enjoyed it a lot, also because i am very interested in Indian tribes. This movie deserves a 9 out of 10 because i kept my attention for the full 3 hours it took, in one word beautiful and well done. | -1no label
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] |
There have been great Japanese disaster films like Submersion of Japan, and dreadful ones like Earthquake 7.9. This film falls between the best and worst in the good range. A teenage boy wakes up on a train. He remembers traveling with his class somewhere when something happened, something terrible of which he is one of the few survivors. The first 40 minutes are set in a collapsed train tunnel where the survivors try to come to terms with their situation, both in the tunnel and in their heads. Its an odd way to start a film, but it works since it allows things to be set up and expectations to be dismantled. After the 40 minutes the movie moves outside as the survivors struggle to travel across what is now a truly alien earth. What happened is not clear at least at first, but it was big and powerful and not over. For the most part this film works in spades. Visually this film has set the bar to new end of the world films, and I can only imagine what a live action version of the manga and anime classic Akira would look like in the hands of these film makers. The acting is mostly fine with several eerie performances by several of the supporting cast. I also love the fact that this film is dealing with more than just destruction. There are ideas being battered about, as with the strange pair of kids who's father has removed that part of their brain that allows them to fear. Its trippy and creepy at the same time. Unfortunately the film also has two serious, but not fatal problems. The first the film occasionally moves into cliché a couple of times, as in the crazed soldiers who hook up with our heroes. Why do we need this insanity, even if the film attempts to explain it? The other problem is the pacing is uneven. Sometimes sequences seem to go on a bit too long, while others are too speedy. It grated on this viewer and it felt longer than two hours. As I said its not fatal, but it is annoying because the film as a whole deserves better. I liked this, especially its sense of the new world. 7 out of 10. See it if you get the chance. | -1no label
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] |
This should have been better, much better. A former reporter (Susan Sarandon) investigates the murder of a philandering dentist, and the suspect list includes the women he's had affairs with and their husbands, who turn out to be half the people in town. She delves into small town gossip and Peyton Place-type secrets, and this puts a strains her marriage by angering her husband (played horribly by Edward Hermann). The writers had no idea how to handle the story, in spite of its great promise, and the film makes your average soap opera look like exciting adventure by comparison. In spite of a respectable cast, most of the actors just go through the motions (an exception being Mary Beth Hurt, who is funny but only has a small role). The result is an ordeal in tiresome characters and boredom. | -1no label
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] |
I thoroughly enjoyed this movie and to date, this year, it is one of my favorites. The story was excellent although the twist at the end was far too predictable and I knew what would happen far too early. Usually when this happens the film is spoiled for me (like "The Others") but even knowing the outcome I still enjoyed it right up to the end. Looking through the comments of others many people were impressed with the performance from Kelly Overton (Eve), I'm afraid I was not. Her performance seemed to be the weak part of the film to me, in contrast to the amazing performance (or characterization) by James Haven (Don Wake) ... I hope we see more of him. What a great little film, highly recommended to all! | 1pos
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] |
Gordon Scott with his well coiffed hair, hourglass figure and weird pidgin English has to be the worst of all the Tarzans. As for the other actors in this mess, they're on a par with any 4th grade elementary school drama class. I've seen Used Car Dealers in TV commercials who can act better. They make Clayton Moore look like Laurence Olivier! And where does Jane (the dull Eve Brent) get her lipstick and eyebrow pencils in the jungle? I realize these were made for kids but Wow! The plot line seemed OK but the director should have required more from his actors. I realize even the Weissmuller films have a few flaws but this one seemed so "low budget". | 0neg
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] |
Just Before dawn is an excellent horror movie. It is atmospheric, filled with tension made of wonderful shots of wild nature, in which few young people meet their doom, in the shape of two crazed, fat bastards,who slaughter them. Jeff Lieberman is very talented and intelligent director,who is unfortunately underrated. He achieved to built tension, not with gore,but with showing menacing nature environment. Lieberman succeeds to built a tension in a very linear, simplistic way, which is also the best way, not to show to the viewer the gore, but to let him to imagine the worst thing that happen to characters. Just Before Dawn was always compared to Texas Chainsaw Massacre, Deliverance and Hills have eyes. It is as good looking as Deliverance, better than Hills, I mean scarier and better crafted,and it is creepy as The Texas Chainsaw Massacre. JBD is one of the best horrors of past few decades, who finally lives on DVD! | 1pos
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It took 9 years to complete this film. I would think that within those 9 years someone would have said,hey, this film is terrible. I've seen better acting in porn movies. The story is tired and played. Abused child turns into serial killer. How about something new for a change. How about abused child turns into a florist? At least that would have been a new twist. Why is it that everyone with a camera and a movie idea (especially unoriginal movie ideas) thinks that they can be a director? I do admire the fact that they stuck with this film for 9 years to get it completed. That shows tenacity and spirit. With this kind of drive hopefully next time they can focus it on a better script. If you want to see a failed experiment in indie film making from a writer/director from Michigan see Hatred of A Minute. If you want a good movie from a Michigan writer/director stick with Evil Dead. | 0neg
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] |
I like Bette Midler as a musical performer. I can tolerate her when used in the right way as an actress. Some say this was an Oscar worthy performance (believe she was nominated), but I disagree. Not because I didn't like her acting, but because I never knew for sure what she was playing - other than pain. That's not her fault of course, but she can't get credit for it either. Thought the film was a mess in general. Most shots were too light or too dark or out of focus or otherwise visually unintelligible. There were sloppy edits and there was no story to speak of. The main characters were one dimensional. All Alan Bates did was scream. It was well acted I supposed - tho the camera didn't catch it nearly as well as it could have - I believed he was selfish and greedy, but because I was told, not shown. Wasn't even that crazy about the concert footage. Midler added a raucousness or squelch to her voice which I suppose was some sort of homage to Janis Joplin but it just made her voice sound less pretty. The band was mediocre - this may or may not have been another homage - to Big Brother And The Holding Company - Joplin's backup band which was often criticized for it's mediocrity - but in any case it was ill-advised. Midler's accent was inconsistent - wasn't sure it ever sounded Floridian, which is where her character was from. We were given little background about her life other than one brief story about her promiscuity - so we never got a handle on where her intense pain came from. Okay, it was suggested that she was rejected as a youth, lonely as an adult and searching desperately and unwisely to fill holes and find love. Or do we assume all that because of what we know about Janis Joplin? In any case that's a thin plot reed to hang a two hour running time upon. And it nearly snapped for me several times. I gave it the lowest rating I ever give - 4 - if a film is leaning towards a rating any lower than that I turn the set off. | -1no label
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] |
The people who made this film must must really be in love with Anna Faris to think that 90 minutes of her making scrunchy faces was a movie. She is fun to watch for her physical comedy, but that was the only thing I enjoyed watching this. I thought the writing was poor and the actors miscast. Adrian Brody with dreadlocks? John Krasinski as an introvert? Danny Trejo showed up and didn't even get to do anything badass. Was the movie trying to be clever by having pot dealers talk economics and putting in undertones of existentialism and communist dogma? Or was it supposed to be mindless fun as other reviewers suggested? The end result is that it doesn't work either way. Here's my spoiler: a girl gets stoned, effs things up, runs from place to place meeting people and getting into situations meant to be ironic, and continues to screw things up until finally she is arrested and sentenced to community service. I didn't think any of the situations she ended up in were clever, and the settings were very mundane--unforgivable for a movie that is meant to be a journey or a "day in the life." I should have felt more transported, but not once did I wish I was there or in her place. I did laugh a few times, but overall it adds up to one I won't watch again. | -1no label
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] |
Mark Frechette stars as Mark, a college radical leftist. Mark is accused of killing a cop during a campus riot, and he flees all the way to the desert. He does so by stealing a small plane at the local airport, and flies it himself. Once out flying over the desert, Mark spots a car from the air. A young woman named Daria steps out, and sees Mark circling in the plane. Mark swoops the plane very low several times, causing Daria to duck or get hit. When he lands, he becomes acquainted with Daria, who is strangely charmed by Mark's aerial highjinks. After engaging in soulful conversation for hours, Mark and Daria get naked, and make love in the sand. But with Mark evading the law, they realize that he needs to keep running. So Mark and Daria's brief tryst is quite poignant, because it doesn't get to develop into a full-blown romance. Zabriski Point was the Eraserhead of the early 70s. Both films have a rambling, vague quality, along with complicated meanings and characters. Frechette was as reckless in person, as his character was in this film. A few years after making Zabriski Point, Frechette robbed a bank in real life. While serving his prison sentence, Mark died an ignoble death. He was killed by a 150 lb. weight, which fell on him when he was weightlifting. The best thing about this movie was the splendid cinematography, and special visual effects. The incredible, slow-motion scenes of debris floating in the air after an explosion, were a stroke of genius. Although not as ground-breaking a film as Easy Rider was, Zabriski Point still resonated with the early 70s counterculture. I recommend it, for those who like avant-guard films which showcase the upheaval, of the youth rebellion during the early 70s. | 1pos
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] |
EA have shown us that they can make a classic 007 agent and make you feel in the 60's world. The graphics of the game are outstanding and also the voice recording is very professional. I got this game April 2007 (two years after release), and I am still impressed with the gameplay. It's a shame that EA will no longer make 007 games. I give this game 10/10 for the levels it contains, especially the "consulate" level. I would recommend this game to anyone from the age of 13 and over. The only thing I didn't like in the game is the Russian boat level, it was too much pressure. On the whole I like the game A LOT!! | 1pos
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] |
I can't believe people are saying Roselyn Sanchez was good in this. Granted, with all the things wrong with this film, not much would have made it better, but a competent lead actress might have helped a bit. I know white boys from Iowa that could play a hardcore barrio chica better than her, and as far as being a gambling junkie - gimme a break. She's utterly unbelievable, unsympathetic, unlikable, and her acting is as flat as a railroad track in this film. The rest of the actors' poor performances have been adequately covered elsewhere here - the only worthwhile performance was from Angus Macfadyen as Tenderloin Tony. If you can see it for free, go ahead and watch it as an example of how not to make a film, but by no means pay to see this one. | -1no label
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] |
I just watched this movie on it's premier night out of curiosity and sheer nostalgia. I liked (not loved) "Mork & Mindy" as a kid, mostly for Robin William's zany energetic performance. This movie made me remember why. Was the original show great? Not really, but Robin certainly was. Which brings me to this movie. I was pleasantly surprised, expecting nothing more than a paint by numbers chronological retelling of the show (which in a way it was). But, of course, the real focus was on Robin. It was interesting to see Robin's journey from struggling street jester to national t.v star, and how such a drastic difference affected him and his long suffering wife. And my hat is off to star Chris Diamantopoulos as he portrayed Mr. Williams with integrity, sensitivity, and heart; not just a cute impression, although it was even dead-on. (On an unrelated note, I noticed that Robin's struggles were in some ways similar to Andy Kaufman, who was under-appreciated by network t.v. and held back creatively, but that's the "Taxi" behind the scenes biopic.) All in all, this was a very enjoyable flick, in which I felt I got to know a little more of the man behind the Orkan. The acting was solid by all- never melodramatic like I suspected- and the story moved along well. Performances that were particularly good were by those who played Garry Marshall and John Belushi (the scene in which Belushi heckles Robin was a hoot!). Not a great masterpiece by any means (I would have liked to have seen a tad more about Pam Dawber), but definitely watchable, especially for those Robin Williams and "Mork & Mindy" fans out there. Nanoo, nanoo! | 1pos
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] |
Even today, it's doubtful that anyone settling down to a Temple movie will have 'accidentally' stumbled upon it whilst browsing, and knows what they're letting themselves in for. Temple's vehicles are a sub-genre of their own and, in terms of cinematic artistry, are amongst the kind of films who's best critics by far are their own core audience. The plot of OLG seems the kind of mawkish fare that Miss Curly Top was a dab-hand at resolving with a starry smile and a twinkly eye - mum and dad's marriage hits the rocks, divorce beckons following infidelity, and Shirley is of course caught up in the middle of it all. This particular entry somewhat subverts the given formula however, and throughout the film's brief hour-long running time the perspective is in the main unusually dour. Whilst we're not exactly talking 'Requiem For A Dream', there is no sanguine song-and-dance routine to make everything alright here. It takes a runaway Shirley, one of those stock-character post-depression aphoristic hobos, and much wincing solemnity on the part of respected Thesps McCrea and Ames to win the day. Director Robertson apparently chose not to heed WC Fields' advice regarding children and animals, having already directed a version of 'Annie' in 1932, and having to contend with a lot of one and a little of the other here too. One has to wonder whether there was any sadistic pleasure taken in the fabled 'dead animals' factor necessary for Temple's required tears quota, which on this occasion would certainly have been higher than usual. | -1no label
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] |
Between sweeping, extraordinary scenes within a plethora of Indian locations and a plot which is Bollywood inspired yet grounded in reality, this highly moving film is a must-see for those who love a good romance/adventure. And by this, I mean "good", not a Hollywood or Bollywood easy and contrived happy ending. East meets West in a different take on the buddy film. The performances are inspired and brilliant, the cinematography epic and the plot entertaining, engaging and poignant without a trace of schmaltz or cheap tugging at heartstrings. HARI OM is a sweet film that won't rot your teeth. See it! | 1pos
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] |
Prior to watching this film, I'd never heard of it, so I didn't know what to expect (I hadn't read reviews or anything). My initial thoughts were that it would be a bit like another Danish romantic comedy, "Italian for Beginners", which, while I thought was a great film, was a bit bleak for me. Hence, I wasn't really expecting much more from this one. However, I must say this is probably one of the best films I've seen over the years - much, MUCH better than the similar Richard Curtis efforts such as Four Weddings or Love Actually. The chemistry between characters is electric and, while it is arguable that the film is a little contrived with an oh-so predictable ending, it's very much a "feel good" film. The supporting cast are great - especially Mgala (she only has one word throughout the film, and I won't repeat it!) and Mulle/Merete, who you just feel sorry for. The only problem I had with this film was that the Italian character, Sonny, was a complete caricature - big bushy eyebrows, lots of hand waving, and, when he broke into Italian, used the most obvious Italian phrases ("Ti amo!", "Scusi!") - I guess it's because he was played by a Swede rather than a "real" Italian. The acting was fine, just a bit too contrived. If you can find a copy on DVD, grab it. The version of the DVD I purchased was from Denmark itself (I speak a little of the language), and I was rather surprised and disappointed to find that there were no English subtitles (only those for the three Nordic nations) - I'm sure those outside of Scandinavia would find this a fantastic film, so I cannot understand why such an opportunity was missed. Incidentally, however, the film has been remade using English actors for the British market, as "The One and Only" but is, as far as I can tell from IMDb reviews, is a terrible effort. | -1no label
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] |
This is a very strange film that was long thought to be forgotten. It's the story of two American Army buddies, William Boyd (aka "Hopalong Cassidy") and Louis Wolheim, and their adventures as they manage to escape from a German prison camp during WWI. However, as this is a comedy, the duo manage to make the most round about and stupid escape--accidentally boarding a train to Constantinople to be placed in a Turkish prisoner of war camp! On the way, they manage to escape once again and end up in quite the adventure--meeting sexy Mary Astor along the way. As far as the film goes, it was a rather funny script and despite being a silly plot, it worked rather well. The chemistry between Boyd and Wolheim worked and the film managed to be quite entertaining. Oddly, however, the film managed to beat out Harold Lloyd's film, SPEEDY, for an Oscar for Best Direction for a Comedy (a category no longer used)--as SPEEDY was a superior film in most ways (it's one of Lloyd's best films). Still, it's well worth a look--especially if you love silent films. By the way, director Milestone and Louis Walheim would team up just a few years later for another WWI picture, the great ALL QUIET ON THE WESTERN FRONT--a film that is definitely NOT a comedy. | -1no label
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] |
If Dick Tracy was in black and white, the pope wouldn't be religious. Giving a new sense to the concept of color in a movie, we are offered an unique experience throughout a comic-strip world, and it's one of the few movies which succeeded in doing so, thanks to a serious script, good direction, great performances (Al Pacino is astonishing) and most importantly a powerful mix of cinematography, art direction and costume design. Using only primary colors, the experience is quite different from anything we have seen before. And there is also a quite successful hommage to all the gangster-movie genre, pratically extinct from modern cinema. Overall, I see this movie as a fresh attempt and a touch of originality to a cinema which relies more and more on the old and already-seen formulas. 7 out of 10. | 1pos
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] |
When others here say that this thing has cheap looking production values, believe them. Beyond that, I still don't see what everyone loves about Neverwhere. The story doesn't seem particularly original or interesting and the performances weren't too hot, either. Maybe if you live in London and know the locations they are referring to, you can get more out of it. Unfortunately, I do not. Between the laugh-inducing freeze-frame editing during monologues, the poor video quality, and the goofy music, I had to fight my way through disc one and refused to watch disc two. I read that even Gaiman didn't like it. I certainly can't recommend it. In fact, stay far away. | -1no label
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] |
This film is abysmal. The plot revolves around an Indian family living in New Jersey and the problems each of them face in integrating their traditional Indian values with fast paced American culture. This film is a complete void for me; I simply don't understand who this movie is aimed at. If it is aimed at first generation immigrants, then it would only scare them by preying on traditional fears of westernization. If it is for Indians who have grown up in America, it alienates them through portrayals of mindless sheep who simply follow a "white" mentality. If it is for an American population who want to understand the Indian mindset, then the complete lack of realism only serves to marginalize Indians with outdated images of false stereotypes. There are some superb films that exist about Indians living outside India (e.g. East is East, Bhaji on the Beach), watch one of those. Please don't waste your time on this tripe. | -1no label
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] |
Monogram's Charlie Chan films tended to suffer towards the end by lack of caring. The plots ended up confused and messy aimed more at Birmingham Brown and the Chan son of the film being silly while Charlie said wise things. Here, thankfully, the film is blessed with a decent mystery, different sets than most of the others, and several good supporting performances, in particular by the always wonderful, and sadly not well known John Davidson. Here we have the death of a chess expert and assorted other goings on that make this one of the better later Chan films. I don't want to say too much since the joy here is in the watching, and this film is certainly worth watching. 7 out of 10 | -1no label
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] |
Well, I just got through watching this much-anticipated film (by me) and it didn't disappoint except for one thing: I thought it was a true story. I didn't play close enough attention to the word "inspired" in the title because, unlike the story of Seabiscuit, this isn't what really happened. It's based on a nice comeback story a real racehorse, Mariah's Storm, which did make a great comeback from a serious injury but not to the extent of what happens here in this movie. This was exaggerated to the hilt for dramatic purposes, but that's okay once you know that because the story is, indeed, "inspirational." Most important, this is about as nice a modern-day film as you will ever find. There's nary a swear word, hardly even a raised voice. There are nice characters and a sweet, family-friendly tone to it with a tear-in-your-eyes Seabiscuit-type tale and ending. Dakota Fanning once again demonstrates why she is the greatest child actor of her generation. Kurt Russell is excellent, too. Ole Kurt must be mellowing these days playing subdued nice guys like this. It's good to see. The same goes for Elisabeth Shue. This is a far cry from her role in Leaving Las Vegas. Even Kris Kristofferson holds his tongue in this film! Amazing. Like Seabiscuit, this also is beautifully filmed. I wonder if any sport is filmed and is just surrounded by all this beauty in real-life, too, like horse racing? It IS "the sport of kings." There is some spectacular scenery in here, much of it in Kentucky and where better to be when filming a horse racing story? So, if you and your kids - or just you - want to settle in for nice film, and you're looking for a pleasing, nice-looking, feel-good story you absolutely cannot miss with this film. Very highly recommended. | -1no label
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] |
I saw this movie recently because a friend brought it with him from NYC. After 30 minutes, I said to him," You've got to be kidding. Is this some sort of joke?" He thought it was good. I told him that I thought it was probably one of the silliest movies ever made. "What was it supposed to be?" I asked. "A propaganda movie made for children?" The plot is stupid. The acting is the worst ever for most of the principals and frankly people who look at this sort of tripe and think it has anything to do with life, love or even afterlife, of which it offers an incredibly idiotic view...need some psychiatric help. Please, if someone tries to get you to stick this in your DVD or Video player, consider it like you would a virus introduced into your computer...it won't destroy your player but it will destroy your evening. If they had made Razzies in the '40s, this would have won in every category. (PS. It also goes under the dubious sobriquet of "Stairway to Heaven.") | 0neg
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] |
Charlie Chaplin's Little Tramp or Little Man character wins World War I, called The Great War at the time, single handedly, even capturing the Kaiser, something the entire Allied armed forces were unable to do. Too bad it all turns out to be a dream, which is somewhat of a cop out and the weakest part of this mesmerizing silent short (almost a feature film at 46 minutes). There are inventive gags galore including Charlie having to put on a gas mask to eat Limburger cheese sent from home, then using the cheese as a weapon against the Germans; Charlie sleeping underwater in a flooded trench next to a soldier he continues to annoy; Charlie disguising himself as a tree--one of his best sketches ever--and Charlie pretending to beat up his friend who has become a POW, then hugging him when the enemy is out of sight. One amazing feature is how much Charlie, when he is behind enemy lines dressed as a German, resembles Hitler over ten years before Hitler and his Nazi thugs rose to dominate German politics. Obviously Hitler patterned his appearance after Charlie's from this film. | 1pos
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] |
This was part of a series of Showtime produced remakes of Roger Corman classics. I don't know if the world was clamoring for a remake of WASP WOMAN but we got it. Jennifer Rubin stars as the owner of a cosmetics company who starts to depend on the experimental work of an discredited doctor (Daniel J. Travanti) in order to maintain her youth. Hey, that is the exact same plot as CATWOMAN! Only this cost about $84 million less. Director Jim Wynorski fares well enough with this entry in his extensive filmography. The movie is filled with bad acting (most notably from Rubin), cheesy effects and bad dialogue. But it moves fast enough, contains plenty of nudity (courtesy of Maria Ford) and features some B-acting greats (Gerrit Graham, Jay Richardson). And, at the very least, you get to see Emmy award winner Travanti get attacked by a big wasp that used to be his pet cat. | -1no label
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] |
Well, first off - Buckaroo Bonzai is not a great film - what it is - is a amusing, silly sci-fi romp that pretty much spoofs the whole concepts of sci-fi / screaming mad aliens / with an implausible plot and a comic book continuity. But frankly, who cares. There a dead pan looks, sight gags, puns, bad costumes, and a list of stars that makes you blink twice trying to understand how they got these people to agree to do this movie. And that's the key - its just a group of people with a bad suits and wacked out lines trying to push the serious sci-fi concept out the window and have goofy fun with firearms and technology. | -1no label
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] |
Even though this movie came out a year before I was born, it is definetely one of my favorite comedies. It stars Redd Foxx as a father who tries to understand his son's homosexuality. Like most parents, he doesn't know a thing about what it means to be gay and has all of these stereotypical notions of what gay people are like. His son, Norman, is now grown up and living on his own. When his father, Ben, finds out that his son is gay, he pays his son a visit in hopes of changing him. The title comes from one of the funniest lines in the movie--when Ben gets to Norman's apartments he runs into a female prostitute and thinks it's his son in drag ("Norman... Is that you?"). The movie had me laughing from start to finish. Redd Foxx is great. Although a lot of the content is stereotypical, I didn't find anything offensive about the way the material was handled, and it even has a good ending. Highly recommended. | 1pos
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] |
This seldom seen non-musical version has Ronald Colman as the beggar who tries to pass his daughter off as a princess in the Baghdad of the Arabian Nights. Colman was not a bad actor and when cast in tosh like "Lost Horizon" or "Random Harvest" managed to bring a touch of class to the daft proceedings, but this is way too camp even for Colman, ("I suppose queens do play around the streets of Baghdad at night", says Harry Davenport's old Agha at one point). His performance is a mixture of urbanity and dullness. The queen he is in love with is played by Marlene Dietrich with her blonde hair piled on her head like a snake and with her thick Tuetonic accent is even more out of place than Colman. When she moves she is like a drag-queen ill-at-ease in her costume. The young lovers are James Craig, that hunk of beefcake culled from ham, and someone called Joy Ann Page. Charles Rosher's colour photography is a bonus but really, this makes the Minelli version look like a masterpiece. | -1no label
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] |
Beautiful model in New York has to decide between two marriage-minded suitors--unfortunately, the one she decides on turns out to be a jealous psychotic, turning her back into the arms of the first boyfriend. They marry and move to California, but the jilted, delusional maniac is close on their trail. TV-made stalker-drama from producer Aaron Spelling was ahead of its time in terms of subject matter, however the story is creepy and pointless. Lesley Warren works herself into a real tizzy worrying that new hubby Ryan O'Neal won't be able to protect them from crazy Peter Haskell, though apparently Ryan has been working out at the gym behind her back (resulting in an evening street brawl which fails to raise any concern from the neighbors). The finale is directed for melodramatic chills, rendering the potentially gripping plot dynamics mute. One can easily see why up-and-coming star O'Neal signed on for this movie: he gets to be the sensitive good guy while also protecting his helpless wife from the scary villain. His performance isn't bad--and Haskell is careful not to overdo the wild-eyed bit--yet the picture takes mere surface-swipes at its own possibilities. It was designed to be a paranoia thriller for housewives, and as such is a callow, forgettable enterprise. | -1no label
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] |
After his shipwrecked wife is declared dead and he takes on a new wife, Grant's first wife resurfaces, rescued after seven years on an island. This reteaming of Grant and Dunne after their success with "The Awful Truth" is pretty funny for the most part, as Grant tries to solve the problem of one wife too many while dealing with jealousy after learning that Dunne had a male companion (Scott) on that island. The only complaint is that the laughs stop in the last quarter of the movie, which is rather uninteresting as the focus shifts from comedy to romance. Bates, who is hilarious as a flustered judge, died in July 1940 but managed to act in 12 films released that year! | -1no label
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] |
I saw this movie when I was a child and I love it. It was one of my favorites movies. Now, after years, I am very disappointed. I saw all the flaws, all the mistakes. The acting is really bad, especially in the first episodes. The movies tries to rely on the book, but its much more compress and much more less enjoyable. The ending, witch is different from the book is not bad, is absolutely awful. One of the worst endings I've seen, no substance, no logic, the ending in the book is much good. If you seen this movie in your childhood, I recommend not to see it again. If you didn't see it, I recommend you to avoid seeing. The book is really good, I recommend you read it instead of watching this. | -1no label
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] |
Uta Hagen's "Respect for Acting" is the standard textbook in many college theater courses. In the book, Hagen presents two fundamentally different approaches to developing a character as an actor: the Presentational approach, and the Representational approach. In the Presentational approach, the actor focuses on realizing the character as honestly as possible, by introducing emotional elements from the actor's own life. In the Representational approach, the actor tries to present the effect of an emotion, through a high degree of control of movement and sound. The Representational approach to acting was still partially in vogue when this Hamlet was made. British theater has a long history of this style of acting, and Olivier could be said to be the ultimate king of the Representational school. Time has not been kind to this school of acting, or to this movie. Nearly every working actor today uses a Presentational approach. To the modern eye, Olivier's highly enunciated, stylized delivery is stodgy, stiff and stilted. Instead of creating an internally conflicted Hamlet, Olivier made a declaiming, self-important bullhorn out of the melancholy Dane -- an acting style that would have carried well to the backs of the larger London theaters, but is far too starchy to carry off a modern Hamlet. And so the movie creaks along ungainfully today. Olivier's tendency to e-nun-ci-ate makes some of Hamlet's lines unintentionally funny: "In-stead, you must ac-quire and be-get a tem-purr-ance that may give it... Smooth-ness!" Instead of crying at meeting his father's ghost (as any proper actor could), bright fill lights in Olivier's pupils give us that impression. Eileen Herlie is the only other actor of note in this Hamlet, putting in a good essay at the Queen, despite the painfully obvious age differences (he was 41; she was 26). The other actors in this movie have no chance to get anything else of significance done, given Olivier's tendency to want to keep! the camera! on him! at all! times! Sixty years later, you feel the insecurity of the Shakespearean stage actor who lacked the confidence to portray a breakable, flawed Hamlet, and instead elected to portray a sort of Elizabethan bullhorn. Final analysis: "I would have such a fellow whipped for o'er-doing Termagant; it out-herods Herod: pray you, avoid it." | 0neg
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] |
Norman, Is That You? was (this is all third hand, so take it with a grain of salt) adapted to an African American family from a Jewish one, when it made the transition off stage and onto screen. Also, it was one of those movies originally filmed in video, so the prints from the theater can't have been that great. Still, performances by Redd Foxx and others were pretty good. What I wanted to tell you all is that the movie is a PERIOD PIECE: it reflected the attitudes in the mid to early 70s about finding out you have a gay son or daughter in your family. For that reason alone, it's pretty interesting- if not a little "hollywood". Don't believe me? Check out lines about curtains, etc. Very stereotypical. Not too deep. But... the movie really shines in a couple of areas. There is a side splitting scene when Redd Foxx is trying to find his wife, who's run away with his brother (!) to Ensenada in a souped up Pinto. The phone conversation across the border is really memorable. But... the best scene in the movie is when Wayland Flowers and Madame did his/their gay routine that he used to do in gay bars and nightclubs. To the best of my knowledge, this is the only time that routine was filmed. And, it's a slightly cleaned up and much shorter version, I'm told. Still, it's vintage Madame, and shouldn't be missed. People are still stealing lines from Wayland; the man was truly gifted. Enjoy the movie! | 1pos
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] |
As someone who always likes to solve the New York Times crossword - I like crossword puzzles in general, but the NYT one is the most challenging - "Wordplay" was a real treat for me. I have to admit that I'm no match for the people involved in the tournament, but it's still great to see this all. Will Shortz has got to be one of the cleverest people alive. I was most surprised when Merl Reagle wrote in the answers to the theme and found words to fill in (I had always thought that impossible). Moreover, it's neat to see Bill Clinton and Jon Stewart doing the crossword (I assume that George W. Bush never does crosswords). A really impressive documentary. | -1no label
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] |
I loathe, despise, and hate this film with a passion that makes the red hot gates of hell look cold by comparison. it's nothing but a campy, frightening, and completly shoddy trip down memory lane to that oh-so-nasty time, the 70's, a decade im glad i wasnt a part of if this absolute trite is all that was on offer! the animation is sickeningly dated, not least of all with it's tacky, missing frames, and characters with huge, bulbous heads, this film is an eye-sore. from the knowing, snide nod to the parents with the freakily gay sea horse, and it's camp hand motions and kenneth williams-esque voice, to the overtly, unsubtly druggy anthem, High Cockalorum, this film, im sad to say, is one that was forced upon me as a child and i have never fully recovered from the terror it caused me.... This ghastly display of complete terribleness should carry an R rated certificate, so disturbing it is in it's contents! | 0neg
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] |
I have watched this movie and in the first 10 minutes Nina(the lead actress) utters "KALI F*****G Maa" about an Indian Goddess..hows that justified..no1 can address a goddess like that..and most of all not an ABCD like Nina.. Have had no idea what Mr.Krutin Patel had in mind while adding that part to the screen play.. I strongly feel that a movie is made for entertainment and enlightenment of the audiences..what does this movie do?? How could the director allow this to happen?? and how could evry1 that watched the movie keep calm and silent..am not a religious activist but am not ready to take any1 swear at a Goddess in that manner.. Cheers venu | -1no label
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] |
I saw this film last night following a lot of good reviews from many sources. I would like to point out that if your not ready to try and work out continuously who is who and what it all means you will hate this film. I am still struggling to understand the roles of the actors in this film, the film jumps from different stories and does not allow you to really empathise with any of the roles. For the political buff's and those interested in corruption in other world governments out there this film is probably quite good, but to the average movie watcher this film is awkward,very boring in places and you will leave the cinema confused and annoyed that you paid the entrance fee. see it if your ready to focus 100% on every minute detail or politics interest you. don't see it, if you actually like watching films. | 0neg
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] |
This was a rip-off of the same garbage we had to watch Bob Saget host during the half-hour before this. Dave Coulier only thought he was funny and it was pretty much the same show as America's Funniest Home Videos except with a hosts who have a combined IQ of three. Tawny Kitaen must've really needed the money and Coulier had to go to the recycle bin for his jokes. It was torture enough having to see him imitate Popeye and other washed up cartoon starts on Full House. That one dude who played all of the practical jokes on everyone deserves to be on the receiving end of a Grade A wedgie. Coulier must've needed to money to please Alannis Morisette while they were dating. | 0neg
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] |
"The Untouchables" is in my opinion De Palma's greatest work, with his other masterpiece, namely "Scarface", coming a very close second. In "Scarface" the focus is on a paranoid and self-destructive gangster who rises to meteoric heights and then falls; in "The Untouchables" the focus is on a very honest man with a noble mission, Elliot Ness (Kostner), who is prepared to do anything to clean Chicago from the corruption and mayhem caused by the notorious gangster Al Capone (De Niro). His quest is really tough, as his opponent is determined and powerful, but he has the help of three invaluable partners: Malone (Connery), a no-nonsense experienced cop, Wallace (Martin Smith), an accountant who will try to help bring tax charges against Capone, and Stone (Garcia), a great shooter. As I noted before the film is brilliantly directed, with some scenes such as the one with the baseball bat, or the one with the baby in the train station, having become classic. The acting is superb, and while Connery was the one who received his well-deserved Oscar, Kostner and De Niro made Oscar-class performances too. Although belonging to a typical genre, this film certainly stands out. Don't miss it! 10/10. | -1no label
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] |
"Go Fish" garnered Rose Troche rightly or wrongly the reputation of a film maker with much promise. Its then hard to understand how she could turn out a movie made up of stereotypes that one associates with inferior sitcoms. The entire film rings hollow. I cringed the whole way through. Its supposed to be a look into nineties human sexuality. Well not much more here to be learned than from "In and Out". By now most of us actually do know, that there are men who are sexually attracted to women and there men who are sexually attracted to men and there are even men sexually attracted to both sexes. Seldom has this revelation been portrayed on the screen with so little wit and style. Pathetic. | 0neg
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] |
While the main story is supposed to take place in Morocco, this movie was shot in foggy Romania in 18 days on a very tight budget. However broken their cards may be, the actors and the crew play them with remarkable skill and commitment, so that in the end I found the result both touching and graceful. Nikolaj Coaster-Waldau provides a formidable performance as the bad guy. The script and direction provide some gems. Whether you will like the movie or not, however, will probably depend on your take on Alexandra Staden in the title role. Other reviewers have pointed out Staden's inadequacies as Modesty Blaise. They may have a point, but I found her interpretation delightful and very fitting. Modesty manages to overcome terrible odds through discipline, innate talent and courage. Staden appears to be doing the same here. | 1pos
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] |
As bad as this movie is, I really like it. The poor acting, dialogue and action made it so funny. I loved John Travis from Omega Cop and stayed up all night working out how the Death Machines checked in at the airport if they can't speak, probably had to shake/nod at the security questions. Actually why can't they speak!? It fails to adhere to any sort of movie making convention which makes it strangely interesting to watch- just lots of people getting killed around a very loose plot surrounding hired killers - no "machines" as such and those weird face/mountain things on the front cover and the trailer do not appear! I love the fact that there is no good guy in this film until about half way through and I love the numerous pointless scenes of that aeroplane landing - lots of people get killed who have nothing to do with the "plot" and no explanation is given about anything - DO NOT expect to understand this film. Instead admire how the main good guy can't even handle a random old guy in the bar - who is presented as the bad guy yet speaks out against the barman's decision to hire a scantily clad woman to dance badly in the corner for "entertainment" - all the good guys seem to enjoy this! Why did old guy get to beat up our hero - and why did the random bloke decide to help old guy in the fight?! Why did the hero collapse under one punch from old guy onto the bar where a stream of water jets out in the background so it looks like it's coming from his mouth? Definite Top 20 B-Movie, must check for a part 2. | 0neg
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] |
This short film certainly pulls no punches. The story is of a butcher who wrongfully kills an innocent man who he believes has sexually molested his retarded daughter. The film goes onto depict how the butcher serves his time, and returns to life with his daughter in care, and having to come to terms with a life with no future. The graphic opening scenes of a horse being slaughtered, and the full frontal birth of the butchers daughter puts you a brutal frame of mind that stays with you throughout the film. The snappy flow of the film is very direct and adds to its brutality. Consequently alot of ground is covered in the 40 minutes. You are taken in fully with the butchers non-life - particularly after he loses his daughter to social services and his business. His story continues in the excellent film Seul Contre Tous | 1pos
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] |
I remember my dad hiring these episodes on video. My whole family loved them, and now that I have moved away from home and have my own life I am trying to share these fabulous Jim Henson creations with my Husband and stepson but as I am starting to find out not everyone is a Henson fan. Which is a pity since it means they will just have to put up with me searching for this series. But even though they don't find these interesting, I would highly recommend anybody getting hold of the Storyteller. You will be lost in a world of tales from a time when people could only talk about unexplained situations through stories and how people need to care if they were ever confronted with these situations. | 1pos
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] |
Search for any kind of movie in the video stores and you'll discover that somebody had to accomplish something in the motion picture industry. THE PLUMBER is the perfect example, coming from a man who may win special honors for THE TRUMAN SHOW. Calling it a horror movie is an exaggeration on its own, but the plot is nerve-tingling as a plumber disrupts an Aussie woman's life through his wild behavior. It all adds to the panic of suspense. To make a political statement about this film, it shows that social and moral values decay in this global community we live and breathe by. Peter Weir must be given a big hand on his films, and this one needs not to be left behind in the abyss of forgotten movies. | -1no label
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] |
I spotted this film in a branch of the Duane Reed pharmacy in New York on holiday, and it seemed like a bit of silly fun. And sure enough, the whole premise is ridiculous beyond words - but it turned out to be a thoroughly enjoyable action film for kids, and their parents too. 10-year-old Ricky Bernard (Jordan Garrett) has his head in the clouds most of the time, much to his father's (Larry Miller) dismay. As a member of his school orchestra, Ricky and schoolmates fly to a concert performance ... and once again Ricky's mind 'takes off' and suspects some criminal plot is happening. Reluctantly aided by best friend Sashi, who is a fan of hot sauce (what a strange plot device that was) and others they try to get to solve the mystery. Oh yes, and Ricky's skills 1,000 hours of flight simulator experience prove to be handy when he is called on to save the day in the film's thrilling climax! It was good to see Eric Roberts and Mark Dacoscos play parts in a family film. And watching the DVD interviews everyone seems to have had great fun taking part. I totally liked Junior Pilot; charming and good-natured performances, funny plot line and a real; sense of enjoyment and sheer silliness. If you are looking for an entertaining family film, you could do far worse than buy this one. | 1pos
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] |
I mean seriously what group would sing about a crazy car? So what if their ten, It's way too immature for a little kid to sing about "being my women" I mean seriously! The name is pretty corny too, naked brothers? just because they take off their pants??? HOW CREATIVE.I don't get why they need a TV show I mean most artist don't really need a TV show about themselves, especially the naked brothers band. Heck how many of them are in the freaking group. And seriously whats with the movie? Jeez Nick use to be the hightlight of my years growing up but seriously The naked brother band? SO many parents would not let their kids watch this especially with the name the Naked Brother's band, its a stupid, uncreative show that should not be aired onto TV. | 0neg
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I first started watching The Outer Limits back in 95 when I was 10, and it just blew my mind every week with each episode, every episode had a twist and each week I couldn't wait for the next. How the writers managed to do every episode so well and make it different from each over a course of 7 seasons is beyond me. This show manages to teach us about life, robotics, Alien and human encounters, and an insight into more of the paranormal, and how it affects the people. What really makes this a good show are the characters in each episode, they really show emotion and are really good actors. What you'll also notice each week is an actor/actress you'll know from a past show which is pretty neat in its own way. If you wanna chill out, and sit back with a good Sci-Fi show, then the Outer Limits is for you | 1pos
| [
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Seriously, I don´t really get why people here are bashing it. I mean, the idea of a killer snowman wreaking havoc on a tropical island paradise is pretty absurd. The good news is, the producers realized it and made it a comedy in the vein of Army of Darkness. Especially in the second half of the film, when the little killer snowballs attack, I laughed my ass off. For example, the put one of the little creeps into a blender (a la Gremlins 1) and mix it. After that, it morphs back into a snowball and squeals with a high pitched voice "That was fun!". Bottom line - incredible movie, rent it. | 1pos
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