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I'm glad this show wasn't a waste and that other's enjoyed it, but honestly, I didn't care for it. I tried to enjoy it as a comedy, satire, mystery, even as a second-rate show to make fun of, but it didn't capture my interest. It just got more irritating. I got through about 40 minutes of the pilot and had to turn it off. Usually I give shows/movies more time before judging it. After watching for 20 minutes, I wanted to turn the show off but didn't to see if it got any better; so watching it for 40 minutes was a stretch. The lead character had little charisma and made stupid decisions (but not in a clever way). The plot was predictable. I found the culture clash to be offensive and not funny. The lead character's animosity towards his dog was annoying. Sorry, I wanted to like it but it didn't do it for me. I don't think the show "went over my head." I got the jokes, It just didn't make me laugh. Eddie's cockiness and stupidity just wore on my nerves after awhile. | -1no label
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Having performed the role of "Ruth" at secondary school, I have many fond memories of "The PoP". This hysterical Australian version of the operetta had me laughing aloud. How wonderful to see the art of Gilbert and Sullivan brought forward around 100 years! The jokes, the facial expressions, the modernisms, the tempo and lyric changes, the movement... all done to entertain. My classical musician husband also watched and thoroughly enjoyed the humour and theatricals. My young children watched, sang along and laughed - consider the effect a Victorian operetta would normally have on 3 kids more interested in SpongeBob and Yu-Gi-O?! Days later they were still singing away. The adaptation works for me. But I'm not a purist. I like to have a bit of fun and colour in my life, I appreciate good singing (being trained myself) and I see no reason why I should drag my kids into Victorian times when it can travel towards us! | -1no label
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"Black Water" is a movie that in a way surprised me, and definitely exceeded my original expectations. "Black Water" is truly a very well structured, unpredictable, thrilling, well directed, and well creepy movie. The plot is actually somewhat original, and will definitely keep you intrigued with it. One thing I love about this movie is the direction, because mainly on how it surpassed my original expectations. My original expectations of "Black Water" was that it was a crappily made, acted, directed, paced, and boring movie. It really wasn't. Well the acting is nothing to praise because there were times were I feel they didn't show enough emotions, and there are some lines that feel just so scripted. However I love the direction because all of it's shots seem predictable, but arn't. Like when watching it say the camera gets a slow shot of the water, and it goes quite, you're like the croc's about to attack. However the croc's attacks are very unpredictable(which was bad for me who doesn't handle films like this all to greatly), and this does make you jump. Plus I just love that it's one of those horror movies that don't rely on the sudden big sound blast to make you jump, but instead the actual movie. I also like how the story is about people who are trapped in these trees, it made it seem very real, and definitely kept your eyes on the screen. I must say I didn't think the opening 20 so minutes were done well, and I think they made the boat a little heavier than it would have been in real life. Plus I didn't like how they tried their absolute best to make the characters situation seem entirely hopeless when it really wasn't. Also again I just don't think some of the characters actions were realistic. For example I wouldn't have gone anywhere near the water knowing their was a crocodile in it, let alone a killer one. However these problems really arn't that major, and I was still able to enjoy the film. Overall as far as movies go, I've seen better, but as far as animal attack horror films(a genre I get easily scarred at) it's one of the better ones you'll see. And sure it's not perfect, but that doesn't mean it's not worth a shot. | 1pos
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There is an interesting split in the voting for this movie (at the moment at least). Those who go expecting a documentary are impressed, or at least not disappointed. I anticipate that those giving the film 1 out of 10 are those who expected a war movie or a re-enaction of the invasion of Gallipoli. So - if you want to see actors, gunfire and gore, this film will not suit you. If you want to see an independent documentary about Gallipoli, without bias towards any one side (the only enemy in these events was the War itself) then you'll come away both impressed and sobered. I found it a very moving film, and even quite liked Captain Guy Nightingale by the end. | 1pos
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Jane Porter's former love interest Harry Holt(Neil Hamilton) and his friend Martin (Paul Cavanagh) come to Tarzan's hidden away jungle escarpment searching for the ivory gold mine that is the "Elephant's Graveyard" first seen in TARZAN, THE APE MAN...only we soon discover both men have hidden intentions...namely Jane. Will Tarzan stand for that? Not likely (in fact Tarzan won't even stand for any disturbance done to the "Elephant's Graveyard") and knowing this Martin attempts to take Tarzan out of the picture only he later finds himself in a world of trouble later he and his party (including Jane who leaves with them after she believes Tarzan is dead)is captured by a native tribe intent on feeding them to the lions..will Tarzan be will and able enough to get to them in time? This film is adventure filled with loads of scenes involving Tarzan and other facing down wild animals and a climax that grips the viewer's interest and doesn't let up. The cruelty displayed towards animals and the portrayal of native people may disturb some today but all should remember this is basically fantasy adventure entertainment and shouldn't be taken so seriously. | 1pos
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Clark Gable plays a really sweet, caring guy who just happens to be a top mobster and cold-blooded killer. William Powell, less than month before his first appearance as wealthy gumshoe Nick Charles in "The Thin Man," is the uncorruptible Manhattan DA who saved Gable's life when they were kids. And Myrna Loy, less than a month before she first appeared as wealthy gumshoe-ette Nora Charles, is the Woman Who Loves Them Both. Gable finds himself in a quandary: should he let old buddy Powell lose the big election over a dirty lie? Or should he risk the chair to help him? Decisions, decisions. How times have changed: a chiseler who's borrowed a bundle from Gable pleads, "I thought I could pay, Blackie! But I ain't got the dough! Please lemme have just a little more time! A couple more days!" Gable snarls, "I'll give you more time! You got two months! You'll pay then...or else!" Wow! Two months with no penalty! You can't a get a deal like that from your own bank! That's the kind of movie this is. So how can it be as good as it is? Gable, Loy, and Powell. Like so many old-time stars, G and P learned early on how to play just one character each (let's call them Rhett and Nick) and they played them to perfection till they quit making movies. Loy was a little more flexible (check out The Best Years of Our Lives), but here she is, Nora Charles before "Nora" was even born. Nat Pendleton plays one of his trademark goons, and in a small role the Harlowesque Muriel Evans shines, almost literally, as Tootsie. | -1no label
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While it has been many decades since I last read Mr. Wells "War of the Worlds", or "The Time Machine", or any other of his works, I believe that they were all set in London, or at least, in England. This Grade "B" ("C"?) movie is set in the Eastern part of the United States as was Orson Welles excellent radio adaptation 67 years ago. However, this film exhibits none of the quality of the narrative style of the Mercury Playhouse program. Thomas Howell's emoting would not be acceptable in most high school drama clubs. I was actually embarrassed for him. His rolling around in the grass on the hill crying "My family, my family" was almost laughable, as was his reaction to the death of his brother. Of the three film versions of the story that I have seen, this was by far the worst, with Gene Barry's 1950's version the best. Additionaally, this was the first time I ever saw a "machine monster" dripping sticky saliva such as did the creature in the "Alien". | 0neg
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] |
I remember seeing this short film when it first aired on Amazing Stories in 1987 and I thought that it was the funniest thing I had ever seen. Every character (including the dog who is silent) was extremely funny. I have never forgotten it and was looking for it all over the place (thank heaven for the internet). I watched it, and although the animation is not on par with anything that is out today, it is still probably one of the funniest things I have ever seen in my life. I cannot get it out of my mind (I think the same thing as the robber at the end, every morning when I have to walk my dogs). If you can, find it...If you can't, find it anyway, it will surely crack you up, dog lover or not. | -1no label
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Malefique pretty much has the viewer from start to finish with its edgy atmosphere. Nearly the whole movie is set in a prison cell revolving around 4 characters of which transvestite Marcus and his little retarded boy are way out the strangest. Soon the inmates find a diary of a previous inmate behind a brick which deals with his obsession of occult and black magic themes leading to his escape from the cell. From here on everything deals with uncovering the secret of the book and its spells to flee from prison. That leads to some accidents on the way out of the cell into the unknown light. Honestly I think the story is rather poor and the final twist is nice but to me the ends are pretty loosely tied together. Anyway I was thrilled until the last moment because the atmosphere of the movie is unique with minimal setting and cast. The kills are raw and eerie... its doesn't take gore to chill your spine and the occult themes are also done very well and reminded me of the hell themes in Hellraiser. Malefique has a claustrophobic and cold dirty feel with greenish tint. At times you wonder if the real or the occult world depicted here is stranger... when the retarded boy looses his fingers and is lulled to sleep sucking on Marcus breasts it seems normal, so how strange can glowing gates to freedom be? With its budget the movie creates a unique atmosphere and chills the viewer in a very different way than most of the genre shockers do. I just wish the story had led to a more consistent finale. Several elements like the visitor with the camera, the other inmates obsession with books and the toy doll vaguely pointing to the end don't fit tight in the story. Anyway, I'll keep my eyes open for other movies from director Valette, although its a turn-off to see he's is doing a Hollywood remake of "One missed call" which was worn off and useless already in the Miike-version. | 1pos
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] |
A simple film done simply superbly. I like a film that doesn't waste words, doesn't waste pouts and does exactly what it is meant to do without fuss. I like a film that adds a little magic and leaves the spirit happier than before. Not all the time, but it makes a change. It also makes a change from the empty hopeless modern romances that litter the screen trying to be charming, trying to be sincere, and falling flat on their collective scripts... This film has charm, intelligence, humour, pathos and a fine romance. Jean Reno gets better with every year and shows a range that few directors have had the courage to exploit. His only moment of madness was choosing to take part in the Da Vinci Code...he should give his salary to the American Writers Guild in the hope that they may start finding the next Preston Sturges... Juliette Binoche could act underwater and always brings something new to her roles. I would love to be her English Patient... The great actresses and films of the 30s may have long since disappeared, but surely someone can provide fine romantic/comedy scriptwriting...at least before we get to Bridget Jones 12... | -1no label
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] |
I enjoy Ralph Bakshi films ("Wizards", "Cool World" and the underrated animated "Lord of the Rings") and am a Frank Frazetta collector and fan. I am also a sword and sorcery fan who loves the worlds of Edgar Rice Burroughs and Robert E. Howard. I missed "Fire and Ice's" theatrical release back in 1983 and have looked forward to seeing it on video or at some revival ever since then. Therefore the 2005 release was a dream come true for me. However, I bought it with some trepidation, because I hoped it would not be only worth watching once and then put on the shelf as a "collectible" gathering dust until the day I died. Fortunately my fears were groundless and I was pleasantly impressed with this movie. As with Frazetta art this is a gritty film that has a physicality and sexuality that is hard to find in most fantasy/sword and sorcery films without being cheesy or dirty. The art is good and you see glimpses of Frazetta at his best. Even my young boys loved watching it with me and ask to watch it again and again. However, my wife has some objections due to the scantily clad princess (very Frazetta-esquire). I don't mind that because it is believable and there is no sex scene. There is roto-scoping used, but personally I enjoy roto-scoping. It gives more fluid and realistic movements to the characters that is hard to find in animation. Despite some continuity problems, I recommend this film to all Bakshi, Frazetta, Conan, and sword and sorcery fans. Enjoy! | 1pos
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] |
This early Adam Sandler film could be compared to his life as a comic during the same period in 1989. His character's constant acknowledgement of his hidden comic genius and frustration regarding humorous material seems to come more from Sandler than the script. The film is nothing compared to his blockbuster feature films, such as Big Daddy or even the corny Billy Maddison. Unfortunately, Sandler had not yet found a way to express himself in a consistent, successful and funny manner when this film was made, much like his character. The majority of the film's "jokes" come from Sandler having conversations with himself, usually over his unrecognised comic talent and beating himself up because he's too ugly and can't get women. The film is hard to watch too because it doesn't treat itself like a real film. Sandler talks to the camera and the viewers throughout the film, often referring to the film's low budget or questionable content. The film is ultimately awkward and embarrassing to watch. I immediately wanted to forget I even saw this film after it was over, for fear that if more found out about it, it would ruin Sandler's career. Pass this one up at the video store, I rented it for free and it was still a waste of time. | 0neg
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] |
Made with film stock left over from the production of Nana, 1927's Sur un Air de Charleston is described as a holiday film for all concerned, and that's the best way to view it. Jean Renoir seems never to have thought enough of it to even edit the footage together. The plot is a simple reversion of racial stereotypes in 2028 a black explorer travels to a post-holocaust Paris where a white native girl teaches him the Charleston (naturally he assumes she's a savage whose dancing is a prelude to her eating him before giving in to the seductive beat of 'White Aborigine' music). There are plenty of surreal touches, be it the pet gorilla eating the flowers in Catherine Hessling's hair, the angels the girl telephones (Renoir and producer Pierre Braunberger among them) or the fact that black performer Johnny Huggins plays his part in minstrel blackface while Hessling's dancing ability is almost completely nonexistent, and there are some interesting occasional experiments with slow motion, but there's not really enough to sustain it for two reels. An additional air of surrealism is provided by the fact that this silent musical has absolutely no score at all on Lions Gate's new DVD
| 0neg
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] |
Now...can we take any movie seriously, whose awful soundtrack is a boring copy of the HE-MAN cartoons soundtrack? I feel sorry because this movie is NOT one's typical B production...they shot scenes in lavish locations in England, Wales and France, and were thus beyond typical B stuff... However, this is yet another Golan-Globus-Cannon actioner that turns out awful. Barren the barely decent Connery & Cushing, lead actors seem out of a high school rehearsal; O'Keefe stars as not-so-clever low-steroid musclehead. The storyline is interesting, but what you watch on the screen isn't after all... It's supposedly a deeply philosophical quest for the self and what you watch is a Richard Pryor thing. When the second red knight uses the sword, you clearly see it's fake and not a real sword. I won't watch it again. | -1no label
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] |
Why oh why do people make films that start off with a light-hearted attitude but in the end become grim and depressing. "Hickey and Boggs" and "Shout at the Devil" also come to mind in this respect. The only things saving this film from being lumped in with "Hustle" (the worst '70's Reynolds film in my opinion) is Jack Weston as a bumbling federal investigator and Jerry Reed as the icy evil villain. Of course, with the acting talents of Lauren Hutton on display, a lot more is needed than just a couple of good character actors. Add an exploitative ending that feels like it was tacked on for a sense of serious "drama" and you get one bad movie. | -1no label
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] |
I'm basically recapping what other people have commented on, but I'm desperate to share my love for this truly hilarious and original comedy that I'm stuck on like a pube on a pipe. It's a take off of cheap 1980's horror/sci-fi shows such as Dr. Who with acting and sets that make crossroads seem like a big budget Hollywood production and with more cheese than an Emmenthal festival in Vienna. Matthew Holness has created a very dark macabre comedy , sometimes with disturbing scenes (the giant eyeball) but always excruciatingly funny ones (the giant eyeball). I find the originality of the show refreshing and the situations and spoofs are genuinely funny (Thornton Reed's lack of emotion and terribly timed cues are a prime example). It's hard to explain why I find Darkplace so funny. | -1no label
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] |
"Inuyasha " was awful . This show was incredibly over -hyped but this is nothing but a tedious bunch of anime clichés. The characters are annoying and lifeless ,the story line is boring and endless .I think that it could have be something interesting if it have a better writing, but it seems that the writers of the show have more intentions in show Inuyasha and his stupid friends fighting with some monsters and then crying for his tragic love triangle with Kikyou and Kagome and a lot of circles around the same thing again and again . The script is cheesy and dumb and the animation is poor .The character design it 's very ugly ,I don't know why everyone love it ,all have the same face ! : Big eyes , tiny noses , a line as the mouth and the typical anime haircuts . I find "Inuyasha " incredibly boring and dumb . This have to be one of the most over -rated animated shows ever made . | 0neg
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] |
Eddie Murphey stars as a father who starts taking advice from his daughter in Imagine that. Now I know that everyone has given up on Eddie Murphey. Because both Meet Dave and Norbit were disasters. But Imagine that actually isn't a disaster. I am not going to go too much into the plot. Or into it at all. Now Eddie Murphey at a time was a great comedic talent, but now he chooses all of these bad films. But Eddie Murphey sure does make a comeback in this film. Imagine that is a funny film. Though at times seems a little too crude. Trust me people this ain't Norbit but this film is a good movie. I also felt like the film was a little bit cliché'd if you know what I mean. There is a scene in the film where Eddie Murphey leaves his meeting to see his daughter sing at her school. Clearly it's not a great movie, but I appreciated it so thumbs up. | -1no label
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] |
I personally thought the movie was pretty good, very good acting by Tadanobu Asano of Ichi the Killer fame. I really can't say much about the story, but there were parts that confused me a little too much, and overall I thought the movie was just too lengthy. Other than that however, the movie contained superb acting great fighting and a lot of the locations were beautifully shot, great effects, and a lot of sword play. Another solid effort by Tadanobu Asano in my opinion. Well I really can't say anymore about the movie, but if you're only outlook on Asian cinema is Crouching Tiger Hidden Dragon or House of Flying Daggers, I would suggest you trying to rent it, but if you're a die-hard Asian cinema fan I would say this has to be in your collection very good Japanese film. | 1pos
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] |
This is a film that belongs firmly to the 50's. Very surprising that American Film Institute has chosen this one for one for the best 100 American movies of all-time. I have seen practically all of the movies on that list, and this one is by far the most disappointing one of those. Musical numbers (and there many, many of them) are VERY overlong and boring, and have absolute no connection with the story. The end of the movie has horribly over-long ballet sequency, which naturally has no real relation to the story of the movie. It must be admitted, that it is very well made, the music is OK, and the dancing done with the highest professional standard - but there is no real reason why the sequence is included in the movie. The main character of the movie is extremely childlish and unlikeable and behaves in unpolite way. His mental age is about 14. If you want to see a good musical made on the "golden age" of musicals, go and see "Singing in the Rain". | 0neg
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] |
The person who wrote the glowing review of this misguided project must be related to the writer/director/star--or is, in fact, the same person as it defies rational thinking that this movie would be appealing to anyone not connected to a very tightly woven inner circle. How about this? You want to make a movie--tell a story; entertain; draw me in with vivid characters. Sure, you can do it artfully without bowing to the commercial elements designed for mass appeal. However, do not address elements of artistic expression in a vacuum in which the audience is in a continual struggle to grasp at skimpy narrative threads. If I'm to be moved by a dreamy psychological thread then make the concrete fabric easier to buy. | 0neg
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] |
I saw this movie last night at the Chicago Film Festival. This movie is not one that will change lives or addresses pressing social issues. Though it would be easy for somebody to say that it is a metaphor for our day and time with terrorist threats and all, but somebody even could do that with Cheaper by the Dozen. So anyway about Feast, it's a great film to watch. The premise is very simple a bunch of strangers are locked in a bar for the night as monsters try and get in. There really isn't much more to it and that is where the beauty of this film lies. I have heard that Marcus, one of the writers described this as a movie that you start watching on TBS at 2 am and you don't finish, which is a great description for it. The performances are pretty strong because the actors seem so relaxed in them. The best performances come from Balthazar Getty, Duane Whitaker, Clu Gulgar, Krista Allen, and Josh Zuckerman. The work of the Thomas L Callaway the cinematographer is great, especially in the final showdown scene, some may complain about not being able to see but the red color that covers the scene is great. The final shot of Krista Allen behind the rising sun is just beautiful, even if it is only a simple horror movie. The main credit goes to John Gulager, whom despite all the "drama" shown on Project Greenlight, has crafted a really enjoyable film. He took all the raw elements of the production and crafted just an amazing final product. This is a movie that I will suggest to people who just want to enjoy themselves in a theater. | -1no label
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] |
Tim Robbins makes a wonderful film. His wife (susan sarandon) gives a wonderful performance as the sister Helen Perjean who wants to help Mattew Poncelet (Sean Penn) who is accussed of murder and who also will die of an injection... 120 minutes of splended acting and touching scenes is what you get. Great acting and it is a film that gives something to think about! Susan Sarandon deserves the oscar of 1995 best actress. It is probably one of her greatest films ever. I didn't see 'The Craddle will Rock" but I sure have to see more films of Robbins. Rating: 9 / 10 or ***1/2 out of 4. Go and see..... | 1pos
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] |
A famous show master enters the elevator with his girlfriend. Suddenly, she kills him and runs away while an old lady gets a heart attack. The name of the female assassin is Sawa. She is still going to school and works for an vicious criminal, Akai, who is sleeping with her. One day Sawa finds out he killed her parents.. ------- Even the biggest anime fans will have to admit that this vicious action thriller is an disappointing gore fest. "Kite" has style, but it is still trash. The weird plot about a teenage girl that kills people as an assassin tried to be scary and touching at the same time, only causing the story to fall flat on it's face. One of the highlights is an action sequence in which the good/bad heroine Sawa is falling together with a bodyguard from a building, yet the dramatic structure isn't nearly as good orchestrated and the director Yasoumi Umetsu's weird and grotesque animation of the character's faces is awful. Not only that, the intercourse sequences are just simply creepy. Grade: 3/10 | 0neg
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] |
I can't say this is one of the best films I have ever seen. But then again, I can't say it's one of the worst I have ever seen. OK, so it's basically a girl does skating, is good at it, wants to go to an expensive school, can't afford it and has to take a Hockey Scholarship. She has to hide her skating secret from her friends. Personally, I didn't like the actress playing Katelin. She absolutely couldn't cry to save her life, just made wailing sounds, like a toddler pretending to cry to get it's own way. Katelin was just an annoying person. The way she tried to act all nice and helpful to people. Also the part where the two skaters are calling her names and they say something about her choreographer and she says she 'draws the line' made me cringe. We all knew where it was going to go with her and Spencer. Classically they didn't like each other and sort of get together at the end was just typical. Overall, I think this is a movie to watch if you like skating but if you don't mind the main skater being extremely annoying. It's good to kill time basically. | 0neg
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] |
I recently waisted 8 by going and see this movie in the cinema. It was a waste of time and the only feeling you get going out of the theater is a slightly nauseous of all the disgusting social pornography. It could have been interesting if it had a quite absurd twist but it hadn't so it was just plain awful with maybe one or two scenes which could have been taken out and made to very nice short movies. Another thing I thought about is the way the director uses all the Finish stereotypes as characters. It is quite extraordinary how you as a Finish director can make a movie with the worst stereotypes of your own nationality. It was sad to sit and and hear the audience sitting and laughing at things that they thought was typical Finish but in general just is making fun of people. | 0neg
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] |
Probably the finest fantasy film ever made. Sumptuous colour, spectacular sets, incredible, spot-on Miklos Rosza musical score that is perfect for each scene and mood. Acting is superb as well in what could have been stiff and pretentious in lesser hands, but here the poetic dialog is deftly, sensitively spoken (the humour is subtle and delightful as well). Doubtless Spielberg and Lucas were enthralled by this one. Along with "The Four Feathers" (1939), one of the two finest motion pictures released by Alexander Korda and London Films---and one of the finest motion pictures ever made. A true, compelling classic! | 1pos
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] |
The last film that provided a vivid and disturbing look at what insanity is probably like was In Dreams. In that movie, you didn't see insanity, you were THERE. Now The Cell comes along with an updated and much more disturbing portrayal of the inside of the mind of a psychotic killer. The opening scene takes you into the seemingly innocent mind of a comatose little boy, and the things that Catherine Deane (Jennifer Lopez) sees are first fascinating and then terrifying. The things that she later sees in the mind of Vincent Stargher (Vincent D'Onofrio) are amazingly imaginative and fascinating, most of this stuff has never been seen in film before. The story of The Cell is not exactly something that is really groundbreaking. In fact, it is basically the same as the story in The Silence of the Lambs. You have a killer in custody and these people have to enter his mind to find a female victim who is currently in danger of losing her life. The only real difference between the foundation of the plots is that in The Silence of the Lambs, you have to enter the mind of a killer to find a different killer as well as his current victim, while in The Cell, you have to enter the mind of a killer to find his own victim. However, despite the unfortunately weak story, The Cell completely revolutionizes the genre of the psychological thriller. None that have ever been made even come close to it. Also, the film had good direction and was extremely well acted. Vince Vaughn delivers another of his characteristically excellent performances (he was even good as Norman Bates in the pathetic 1998 re-make of Psycho), and even Jennifer Lopez puts forth the second good effort of her career (the other being the great Out of Sight). Nothing can be said of the cinematography in The Cell to give it sufficient credit, it was imaginative and fascinatingly done and is unparalleled by anything ever seen in cinematic history. The Cell is an incredibly well-made film, and it deserves to be recognized. | 1pos
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] |
This is a great film. I agreed to watch a chick flick and some how ended up with this. I had never heard of it or anyone in it (excpet Mike from Friends). But it is great! Eva, Lake and Paul give amazing performances. The humour is consistently dry and witty. Paul Rudd pretty much plays the mike character from Friends (which works great). The other characters are stereotypes and the plot is formulaic (I mean we are not talking 'Apocalypse Now' here) But the characters are likable, the story is engaging, the soundtrack, production and direction all work well. In all a great feel-good film that really deserves a lot more credit than it gets. Everyone has their own tastes but I really don't understand the one star reviews for this. | 1pos
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] |
With the Terrible acting, the awful dialog, the multitude of bad humor, the crappy plot and over terrible film. This has to be the worst film i have ever viewed in my life, and i'm the king of finding bad movies. For the effects, they just threw fake blood on people and things, didn't spend the time to create wounds and make special effects worth anything. Most people making low budget horror flicks at least do something like clads of tissue or something to make a gashing wound. The dialog was far from even decent and the acting was without direction or effort. They just threw some actors on a set and said, have at it. I swear i've seen better films from my film I class at school. How did this ever get a DVD release? | 0neg
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] |
tell you what that was excellent. Dylan Moran is simply the funniest actor on screen( and on stage) and with Micheal Caine as your partner ain't to bad either, both are great to watch in a really funny film. true, not all the gags come off but its worth sticking around for the ones that do, but come on its got Micheal Caine in a dress in it( the whole admission fees worth that) and every time Dylan Moran's on screen its more like Bernard blacks movie. the story is two actors(Moran and Caine) who decide to steal money from a group of gangsters by acting out different persona's to fool them all but getting away with it's a different matter. basically "the actors" is a great British comedy that was somehow missed by many, seriously if your a Moran fan(or want to see Micheal Caine in a dress) definitely see this | 1pos
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] |
Lynn Hollister, a small-town lawyer, travels to the nearby big city on business connected with the death of his friend Johnny. (Yes, Lynn is a man despite the feminine-sounding Christian name. Were the scriptwriters trying to make a snide reference to the fact that John Wayne's birth name was "Marion"?) Hollister at first believes Johnny's death to have been an accident, but soon realises that Johnny was murdered. Further investigations reveal a web of corruption, criminality and election rigging connected to Boss Cameron, the leading light in city 's political machine. That sounds like the plot of a gritty crime thriller, possibly made in the film noir style which was starting to become popular in 1941. It isn't. "A Man Betrayed", despite its theme, is more like a light romantic comedy than a crime drama. Hollister falls in love with Cameron's attractive daughter Sabra, and the film then concentrates as much on their resulting romance as on the suspense elements. This film might just have worked if it had been made as a straightforward serious drama. One reviewer states that John Wayne is not at all believable as a lawyer, but he couldn't play a cowboy in every movie, and a tough crusading lawyer taking on the forces of organised crime would probably have been well within his compass. Where I do agree with that reviewer is when he says that Wayne was no Cary Grant impersonator. Romantic comedy just wasn't up his street. One of the weaknesses of the studio system is that actors could be required to play any part their bosses demanded of them, regardless of whether it was up their street or not, and as Wayne was one of the few major stars working for Republic Pictures they doubtless wanted to get as much mileage out of him as they could. That said, not even Cary Grant himself could have made "A Man Betrayed" work as a comedy. That's not a reflection on his comic talents; it's a reflection on the total lack of amusing material in this film. I doubt if anyone, no matter how well developed their sense of humour might be, could find anything to laugh at in it. The film's light-hearted tone doesn't make it a successful comedy; it just prevents it from being taken seriously as anything else. This is one of those films that are neither fish nor flesh nor fowl nor good red herring. 3/10 | 0neg
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] |
A May day 1938 when happen a huge rally celebrating Hitler's visit to Rome serves as the backdrop for a love story between Antoniette(Sophia Loren)married to fascist(John Vernon) and Gabriel(Marcello Mastroianni). She's a boring housewife with several sons and he's a unhappy, solitary homosexual fired from radio and pursued by the fascists. She's left alone in her home when her spouse must to attend the historical celebration. Then both develop a very enjoyable relationship in spite of their differences. The film is set on the historic meeting Fuher Hitler and Duce Mussolini along with others authorities as Count Ciano and King Victor Manuel III, describing the events by a radio-voice in off which sometimes is irritating. It's a romantic drama carried out with sense and sensibility. An unrelentingly passionate romance between two conflicting characters. Magnificent performances from two pros make a splendid movie well worth seeing. Of course Ruggero Macarri and Ettore Scola's sensible screenplay results in ever interesting, elaborate and sentimental. Colorful and atmospheric cinematography by Pascualino De Santis. Emotive musical score by Armando Trovajoly with sensitive leitmotif. The film won deservedly Golden Globes 1978 to best Foreign Film. Director Scola's imagination stretches to light up the limited scenarios where are developing the drama. Usually his films take place on a few stages and are semi-theatrical. For example : ¨Le Bal¨(1982) uses a French dance-hall to illustrate the changes in society 2)¨Nuit of Varennes(1983) a stagecoach is the scenario where meet an unlikely group as Thomas Paine, Luis XVI and Marie Antoinette who fled from revolutionary Paris 3) ¨The family¨(1987)all take place in the family's grand old Roman flat; and of course 4)¨Una Giornata Particulare¨ or ¨A special day¨ where Loren and Mastroianni strikes up a marvelous relationship into their respective apartments and at the flat roof. | 1pos
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] |
I bought this movie when it 1st became available (to the tune of ~$65) because I was there for some of the shooting and my car was in the movie. What a complete and total waste of money! This movie was AWFUL! Boring, slow, terrible story line...I'm not sure what movie the other people that reviewed this actually watched, but it couldn't have been this one. I'm not really sure what else I can say about this movie other than I wish I could recover the the time in my life that I wasted in watching this horrible movie. After my wife tortured herself by watching the entire movie, I literally fast forwarded through the it until I saw my car and then shut it off...it was that bad. I can't believe this won any kind of award. It must be only for the fact that he made the movie. I have nothing against Larry. I met him and he was a very nice, personable guy. But IMHO, this movie just does not cut it. | -1no label
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] |
This movie doesn't even have the saving grace of being so bad that its good. It is truly appalling. Its closer to a tongue-in-cheek parody than a disaster movie, but alas they were serious. Made for TV, but not worthy of even that. It contains every cliché and cheesy plot moment you can imagine. Oh will he save the town from the flood? Will his wife admit that she still loves him? Will they escape before the flood drowns them? I cant explain how bad this is. Awful predictable plot that makes you wince it is so cheesy. Bad Effects (although to be fair I have seen worse super-imposed bubbling water). Bad script. Woeful acting. Hideous. So bad in fact that you probably should get drunk and watch it. | 0neg
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] |
A magnificent adaptation of Shakespeare's Julius Caesar, enhanced by the splendor of Rome at its full glory under Julius Caesar. Charlton Heston is at his best as Marc Anthony and makes you feel as if Shakespeare wrote the part for him. I have mixed feelings about the choice of John Gielgud as Caesar. There are times in the movie that he portrays Caesar well as the aloof dictator and others when he overacts as he does in most of his roles. Jason Robards is a fine actor, but not as Brutus, unless Stuart Burge intended to experiment with this role as a Spaghetti Western. Robard's dialogue is wooden. Robert Vaughn shines as Casca as does Richard Johnson as Cassius. Richard Chamberlain portrays well a self opinionated Octavius Caesar. The opening of the movie is a masterpiece of imagery and impact and one is plunged into the involvement of the triumphal entry of Julius Caesar into Rome and the aftermath. Why on earth there has been no DVD release of this movie beggar's belief. | -1no label
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] |
Do not expect a pleasant movie-going experience when walking into the theater to see Grey Zone. Do expect to walk out feeling like the air you breathe is little clearer, the things you see just a bit sharper. At the screening I was at, many people walked out, briskly, within 15 minutes of the lights dimming. Grey Zone is that kind of movie. Women being tortured, lost screams, point-blank executions. This is a horror movie. Story is secondary to witnessing the behind-the-scenes crematorium politics, uprisings, and certainly the ghastly inhuman Nazi actions. Go with a loved one and walk out holding them just a little tighter. | -1no label
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] |
I have to say, I loved this movie (thank you Peter for bringing it with you) The story was very moving (well done Frances Anne) with a few fun moments and tragedy. However, the underlying story is very fresh today, whether in Canada, USA, UK, and all over the world. Its an issue that really needs to be noted, and for people to start realising. We are a multicultural society now, we have to learn to live and respect one another. This movie would be very good shown in schools, to show kids the gritty side of life, not the glamorised side like a Hollywood movie. I have to say, after watching A Winter Tale, I'm considering a career change. I'm seriously considering re-training and doing something more meaningful with my life, to help kids/youths/supporting adults. I've been thinking about it for a while, and with seeing A Winter Tale, I'm very seriously contemplating this move. Sorry, back to the movie: Would I watch the movie again? Yes Would I buy the movie? Yes! Well done everyone on the movie!! | -1no label
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] |
I thought it was comedy!! What a hoot! I can't believe Forsythe or Reynolds would actually appear in this piece of trash..And then there's the beautiful Erika Eleniak or whatever this piece of eye candy is called..Appears she put on a few pounds since her Playboy centerfold..Like about 50!! The story line is ludicrous, the acting absolutely horrendous, and the tired old cliché's that are run over and over and over again, boy it took a lot of stamina to sit through this dog..The only thing worth it was the LAUGHS!! And there are PLENTY! If you really want to kill say, an hour and a half pick this baby up at the rental shop, but make sure you have a room full of brain dead people to watch it with you. I think that's who it was written for.. it plays like they were thinking of a real low rent, drug induced audience for this one.. | 0neg
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] |
This story was so unbelievably corny, this is one of the worse pieces of crap I have seen from the fifties. The dialogue was brightly phony, Lauren Bacall and Robert Stack must cringe at the thought of their appearances in this movie. And the opening title song, Vic Damone crooning as they show various scenes of Lauren Bacall massaging Robert Stack's shoulders and neck! What was that all about??? The film was beautifully done in color (for 1958) but the storyline so bad- what was she doing, trying to train the adopted girl to become her husband's concubine after her inevitable death? I could not stop watching, it was like being at the scene of a disaster. This is definite high camp from the fifties. | -1no label
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] |
This review took longer to write than I took to watch this film. It's just plain bad. The plot is terrible in comparison to the TV shows. It is flat, unfunny and boring. It is clear that the LoG ran out of ideas long before this film was green lit. Viewers should read this as an example of not knowing when to stop. Bad editing, bad music, bad acting. Zero dynamism, zilch chemistry. A film that doesn't know what it is, made without any love to some mysterious end that leaves you depressed and feeling kind of angry that so much money was wasted. The LoG obviously were made an offer they couldn't refuse, or perhaps their egos have simply got the better of them. It's a bleak marketing push that perhaps would have been better when the LoG were fresher and more inspired. I however, did know when to stop, and did. Please! Someone try to convince me of this film's finer points! | 0neg
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] |
Killjoy 2 surpasses the first movie by just a little bit.The stuff that improved in here was the acting,the Killjoy make-up,and story.This one is more of a gore fest,it doesnt have the supernatural elements like the first one did.In this installment,Killjoy kills his victims in more normal ways,he doest set them on fire,and he doesnt shoot them with bullets that were in his mouth.The only thing I didnt like about this movie,was that the ending was a little half assed,in fact it was half assed,they killed Killjoy in a very cheap way.I would strongly recommend this to anyone who like horror movies.Seriously,the first movie was good,but the second is better.9 out of 10. | 0neg
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] |
If you are a fan of Zorro, Indiana Jones, or action in general this is a must-see. Directed by Republic's ace team of William Witney and John English, and starring Reed Hadley as Don Diego/Zorro, this serial delivers! I won't bore you with the plot (who cares? less talking, more fighting); what really matters here is Hadley's superb interpretation of the character/s and the stunt work of Dale van Sickel and Yakima Canutt. ***STUNT SPOILERS FOLLOW *** You can see the influence this film had on Lucas and Spielberg -- Zorro gets caught in the original version of the Star Wars trash compactor in one chapter, trapped on a rope bridge a'la Temple of Doom in another, does a Raiders horse-to-coach transfer and even flees through a tunnel while the baddies knock over a huge water tank and flood the tunnel behind him, exactly as Mola Ram does to Indy in Temple of Doom. In addition to all this, the whip action is great as Zorro disarms villains, swings to safety, etc. with his trusty lash. Most of the sword work is fair to lame, except for chapter one, which features a terrific sword brawl in a cantina choreographed by sword/stunt legend Ralph Faulkner, who makes a rare screen appearance as the evil Rodriguez. This was the first serial I ever saw, on Matinée at the Bijou when I was a kid and I have been hooked on them ever since. Zorro's Fighting Legion delivers "Z" goods! | 1pos
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] |
This film is all that a film should be for it dictates that the human condition is in itself dramatic and tragic enough without exaggerated theatrics. This sea tragedy needs no iceberg. What it does contain is excellent cinematography by Gregg Toland, superb direction by John Ford and a superior script based on the plays of Eugene O'Neill. The drama developes simply from a ship being in the war zone during World War Two with a full cargo of ammunition and no escort or weapon for protection--just a twenty-five percent bonus for the crew. The acting is about as good as acting can be: Arthur Shields (as Donkey Man) and Thomas Mitchell (as Aloysius Driscoll) never waver in the characters they portray. They are, without question, so realistic that they live beyond the movie. In effect, they are more than characters on film, they are universal humans trying to make order out of chaos, even if they must create chaos to do so. The main character is the "Glencairn" itself, the ship in the film. Like Greek tragedy, it is the chorus about which the dramatic action occurs. The long voyage home for some of the characters goes on and on, but the long voyage for the "Glencairn" continues like so many other rust buckets. In World War Two, constant danger and possible disaster waited just outside every harbor. | -1no label
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] |
Blatantly profane, smarmy attempt at a comedy, dealing with the uber-intense plot of a slovenly softball team trying not to get kicked out of their league. Perhaps if I grew up back east, where apparently close friends engage in non-stop insults of each other, their wives, and even small children. Or more importantly, was still a 14-year-old boy who could delight in laughing through a cupped hand at the hardcore sexual references. Maybe I'd be singing praises from a rooftop somewhere. Instead, I stared embarrassingly at the amateurish mess in front of me. I'm sure the target audience will cherish their dvds, but the limited release is the tell-tale of how unacceptable this is to most crowds. It borders on the same humor that made "Virgin" and "Anchorman" hits, but those films --- though I hated them --- at least limited their vulgarity. This film just purposely goes for the throat in terms of tastelessness and constant four-letter dialogue. It was good to see Macchio again (you could tell he asked that his cuss-words be kept to a minimum), and even Seymour Cassel play against type. But the casual nature of tossed off lines dealing with ejaculation and bj's was utterly desperate. And must we see another implausible romance between a hot slut and a greasy pudge? It's getting old. Did I mention the stripper that can launch ping-pong balls from her vagina? Nuff said. | -1no label
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] |
i watched it because my friend said we could try it, when my father asked if we'd watch it. i didn't want to because it was such an old film, how could that be good ? i finally did watch with that friend and my father. my friend and i loved the film. the songs are great, the actors were cool and we were crazy about it. i guess this shows even though it's from dad's time that doesn't mean it can't be a good film. i bought the film not so long after seeing it on TV, i put it on a lot and sang along with the songs. i even watched it with my classmates on my birthday party. it's a nice, good, and sometimes funny film. if you don't try, you can't say it's bad. even if you think no, i'm not going to watch a film from dad's time. try the first part of the film you can always stop watching if you don't like it. i really recommend it, it's great!! | 1pos
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] |
just watched this "film" and it actually made me want to write my first comment on IMDb.com, even though i've been a user for more than 9 years. the reason that i watched this, is because i like splatter films and sometimes i like to test my limits and see what actually still shocks me. first of all, the gore in this film didn't shock me, not even the idea that someone came up with this and made it into a film - what really shocked me, is that there seems to be a market for this kind of crap. don't get me wrong - i'm all against censorship, but this film seems to me like it was made for some kind of fetish crowd that seems to get off on this type of sh*t.it didn't give you that same kind of disgust and guilt that one felt after watching films like "august underground". that film is terrible to watch, but at least you get the feeling that the filmmakers want to show you how disgusting violence is. in the case of "niku daruma", it seems like it was made strictly to arouse people. i prefer films that shock, because they are well done and thought through, like Gaspar Noe's films, or Takashi Miike's, or Funny Games or Man Bites Dog - those films will stick with you for a while. this film i will have forgotten by tomorrow, and the only thing that will stick with me, is the thought, that somewhere out there, there are people getting aroused by watching this sh*t. if you read this, please check yourself into the next hospital or shoot yourself - this of course does not apply to gore hounds, who just love splatter. you're cool! peace | 0neg
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] |
What was Franco Zeffirelli thinking? Was Hollywood responsible for this travesty, or can I take comfort in the idea that someone who didn't speak English as a first language just completely missed the point of Charlotte Bronte's classic? I don't think I can improve on a comment I read below, so I'll just paraphrase it: "Jane Eyre is a great great book, the screenwriter should read it sometime." It's true that this movie's two leads were sadly miscast. But pity the actors, because the screenwriter left out all of the best scenes. The dialog that makes you understand the Jane and Rochester have a meeting of minds and a shared sense of fun...deleted from the script. The marriage proposal, the fortune teller...gone. The allusions, half joking, half sincerely felt, to Jane as a fairy sprite from olde England come to rescue Rochester in his despair...eliminated. It is unfortunate that Zeffirelli felt the need to completely rewrite the end of the novel and Jane's interactions with the Rivers family. But it is unforgivable that he has surgically removed the love from one of the best love stories ever written. Do yourself a favor and go find the 1983 (?) mini series with Timothy Dalton. | 0neg
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] |
i was disappointed. the film was a bit predictable and did not live up to the hype plastered all over the box. Having said that, the characters were well developed, the windego myth was used in a unique premise and the house was pretty spooky but it just missed for me. I kept waiting for that big AHHHHH or BOO! But it never came. Furthermore the movie was plagued with poor filming of poor special effects. Thus showing to much of a bad thing and not using atmosphere and viewer imagination to create the horror and suspense. Try movies like Session 9 or the Cube if your looking for a low-budget but well conceived horror movie. | 0neg
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] |
Jim McKay has made one of the best films you will see all year.The quiet simplicity of this film draws you in from the opening shot and never lets go.There is not one false note in the entire film.Not one.Everything works.The hand-held camera is never distracting and always where it should be.The three young ladies whose lives we follow are always real.There isn't a single beat where the audience is reminded we are looking at actresses performing a role.These are just real girls trying to find themselves.There is no political agenda,hidden or otherwise.This is cinema at its most basic,and although it will probably only be seen by a handful of movie-goers,it deserves a much wider release.A special hats off to Hugh Hefner for providing the film-makers with the grant money needed to get this important film made.I can't wait to see what Mr. McKay does next. | 1pos
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] |
I had been hearing about Revolution OS from some programmers at my company for the past several months. I'm a management-type so I didn't think the film would really be my type of thing. I then heard a CNET radio segment on the film and decided it might be kind of interesting after all. As it ended up, I caught the last show at the Towne 3 in San Jose. I was tired by the time I sat down in my seat, but I was surprised that I actually stayed awake through the whole film. The director really succeed in making the film a lot more entertaining and involving than I would have thought possible. There were lots of talking heads, but I not as much as I was expecting. The best thing about the film was that it had a sense of humor about the whole thing. If you don't know anything about Linux or Open Source, but are interested in the topics, then you will really like Revolution OS. If you are looking for an intelligent documentary about something pretty important, then you will definitely like Revolution OS. If you are looking for some sort of super-technical film about how to write software or how and why obscure software patches were created, then this film is not for you. Basically, the director, J.T.S. Moore, approached the film like he was telling the story of a revolution with its own heroes, villains, defeats and sly comebacks. That's why I liked it because it was about people and some universal ideas. One final note, I don't see a lot a documentaries in the theater, but Revolution OS seemed really well made. The print I saw was scratched up from a lot of screenings, but the cinematography, editing, shot design, and music were totally top notch. A lot better than the stuff on TLC or The History Channel. I think the whole film was shot on 35mm and in cinemascope. Very neat. I will definitely get the DVD when it comes out. | -1no label
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] |
In the sequel to the brilliant Bill and Ted's excellent adventure, Bill and Ted are under threat from the future, as the evil Chuck De Nomolos sends two evil robots, disguised as Bill and Ted to earth to kill human Bill and Ted, in order to change the future. In a great comedy pairing, Winter and Reeves excel to deliver delicious humour to the audience in this entertaining sequel. Though lacking the sharpness of the first, Bogus Journey still has the great catchphrases and dialogue from the leading pair, not to mention an hilarious performance by William Sadler, who brings a humorous side to the figure of depth, the grim reaper. Watch for the games sequences, the best moment in the entire film, but one of many great techniques used to justify the genre. Though still packed with humour, this film has a more dramatic film towards it, with stakes being more serious and situations more risky. This gives the film great dimension and another lovable feature. The creators also stretch the boundaries of the fantasy genre and the use of realism, with hell and heaven being heavily symbolic and present in the plot. The fantasy genre is again spot on with the use of that amazing time travelling machine, though again somewhat confusing at points with the use of timing, and objects and situations being placed before it happens in the present, as is evident in the final couple of scenes. The first watch I hated this sequel, but the second time was a real joy as I appreciated the jokes and story more, and though the jokes and plot aren't as strong as its predecessor, Bogus Journey has enough feel good motives, jokes and a fairly steady plot to make it a good natured family film. | 1pos
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] |
The usual comparison- and inspiration- is with Citizen Kane, but there are important differences. One is that the hero here really is a citizen- a comrade in his own eyes- and the other is the difference in the person trying to learn about him. The reporter in Citizen Kane is an experienced hack who is indifferent except to the front page; Agnieska is at the start of her possible career, making her graduation film, the one which will make her name and determine her future and looking for a story that matters in itself; indeed, Agnieska's story is as important to the film as Birkut's and in some ways her story reflects his. She works as determinedly as any Stakhanovite and the way she binds her helpers- the film crew, archivists, people who knew Birkut- to her in her task and to think it worth doing for themselves means that she creates a shock-force as real as and more effective than Birkut's display team of brickies. Again, the characters we meet who knew Birkut all have a relationship with Poland as well as Birkut and their own careers- building-worker to political prisoner to industrialist; chekist to strip-club manager; propaganda film-director to...film-director; gymnast to drunkard- reflect the changes as they- and communist Poland- age. There's hope- the old cameraman blasted into admiration and respect for Agnieska when she shows she'll do his job for him. Indeed, Agnieska is a wonderful character, her long limbs wrapped round her, carrying "everything I possess" round everywhere, smoking cigarettes avidly, demanding "wide screen, like an American movie"- you can see why the Party and her superiors want her to succeed and why they fear her. Not only that, but the film is fair to Communist Poland- we see Agnieska's home and realise that it is because of the opportunities given by communism that she can leave the boundaries imposed on her railway-worker father, just as Birkut only achieves fame as a worker in a supposedly workers' state. It is because both of them take rhetoric seriously that they are finally unsuccessful. After all, we never do know who sabotaged the bricks and burned Birkut's hands, and it doesn't really matter in a state where rhetoric is what counts. | -1no label
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] |
I'll start with what I liked. I really liked the songs, everything about them was great, the costumes, music, lyrics (as long as the translation was good :) ), choreography, everything. I loved the crab scene and the cooking scene. But that's about it. I get it, arty cinema, blablabla, but too much is too much. Too much silence (it was interesting for an hour, but two hours of hearing steps and moaning from time to time, really...), too much boredom (no movie should ever be boring, no matter how deep it was to be!), too much porn-like scenes (I do get it really, I get that they were filming a porn movie there, but really, REALLY, really that is too much) I truly think, that cinema should be for watching and this one is definitely not watchable in no way. 3 stars for the songs. | 0neg
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] |
First of all, let me just say that after viewing this film, I seriously thought about writing my own screenplay, because I know I could write something ten times better. The fact that this movie was even made, and even more that some big name actors were in it shocked me. I have to say, before seeing this movie, I was excited that there was a "teen" movie that wasn't about high school coming out. But unfortunately, this movie has no plot. I've read some of the other user comments that said you would only be able to understand this movie if you were in college, and that the people who didn't like it must have been too young or too old. I could not disagree more. I am in college, and have had a relationship in college and this movie still didn't make sense. This is not about being able to relate, it's just the fact that this movie has no plot and is terribly confusing. For example, the wine scene. Maybe if the audience was let in on what was in each glass, we would be able to understand the importance, but unfortunately we aren't. And the car accident scene? What even happened there? The whole porno sub-plot? I could go on and on... Forget the excuses, this movie was just terrible. Don't waste your time. | -1no label
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] |
The original "Psycho" (1960) is widely considered as Alfred Hitchcock's best work and certainly, in my opinion, is one of the best movies of all time. The decision to film a shot by shot remake is therefore, a little puzzling. The cast in the original was flawless, so the cast of this remake had a lot to live up to. Vince Vaughn as Norman Bates was not a good choice for the lead. He is too much of a pretty boy hunk and is not very convincing as Bates. I can imagine actors such as Mark Wahlberg or John Turturro doing a much better job in the role. Anne Heche as Marion Crane does a creditable job, but one keeps mentally comparing her to Janet Leigh. Julianne Moore is a much better actress than she shows here and Viggio Mortenson merely walks through his role. The best of this new cast is William H. Macy as the private detective. Although director Gus Van Sant does an acceptable job, he can't build the suspense the way Hitchcock did. And why did he change the scene in the basement of the house? In the original, the atmosphere is dark and damp and closed in, whereas in this version, it takes place in a brightly lit laboratory like setting. And I think the black & white photography of the original has a definite advantage over the color version. Maybe another flaw could be the fact that most moviegoers have seen the original and know what is going to happen and when. All I can say is if it ain't broke, don't fix it. | 0neg
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] |
Outside the train station of Marseille, through which many a Frenchman left for the colonies, stands a 19th-century statue allegorically depicting Indochina as three half-naked girls lounging in the tropical sun. It's the perfect encapsulation of the colonial stereotype that South East Asian women are childlike, naive and sensual. The statue tells you more about the men who commissioned it - men who probably never set foot in the colonies - than about the realities of French Indochina. Cut to 1992 and here's a French movie about Vietnam in which the only major Vietnamese character is, you guessed it, a childlike, naive and sensual young girl. If it wasn't that this movie was to a large extent shot in Vietnam, you'd think the makers never set foot there: this is a movie set on plantations, in gambling halls and opium-dens, a catalogue of colonial clichés. The story, such as it is, involves a French plantation holder (Catherine Deneuve) and her adoptive daughter, a Vietnamese royal (Linh Dan Pham) growing apart during the anti-French uprising. Taken as a metaphor for colonialism, the adoptive-daughter-angle is beyond patronizing (I much prefer Graham Greene's morality play of The Quiet American: Vietnam as a whore being fought over by an old European and a young American). Sure, the makers feel obliged to take a stand against colonialism, but the content is betrayed by the prettiness of their images. It's hard to take serious the message of a movie in which Vietnamese princesses elope with dashing young French officers and sail a dhow through Ha Long Bay, Vietnam's most scenic tourist spot. This movie is so busy wallowing in the nostalgia of a lost and largely imagined past that it makes any pro-independence stance null and void. Even the downtrodden masses look picturesque. | -1no label
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] |
I bought this as it was cheap and of course like many had never heard of it until Tarantino remade it. However these types of movies I do enjoy and so took a chance. I sat and watched it with a big bag or doritos and a six pack and found it very entertaining which is the name of the game. The characters are likable rogues and quite cool. There are several stand out moments in the movie - especially topless German soldier girls firing at our bastards with machine guns - and the ending is also quite well executed. the only gripe is sometimes the action is a little repetitive after a while but its only a small gripe. I would recommend this movie if you want a similar but more trashy kind of Dirty Dozen or Wild Bunch. | -1no label
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] |
This landmark film can now be seen in two different versions on the Grapevine Video release which also includes the English translation of Selma Lagerlof's novel which she based on a Swedish folktale. The first version is the Swedish edit under the title of THE PHANTOM CARRIAGE. The second version is a reconstruction of the way it was shown in the United States under the title of THE STROKE OF MIDNIGHT as released by Metro (before it was M-G- M). The actual US release has long vanished but a detailed review in The New York Times lets us know how the scenes were reordered for domestic release -- and both are fascinating to see. Each version of this film was presented at The Organ Loft in Salt Lake City with live theatre organ scores provided by artist Blaine Gale. A live recording was made of these performances and are included on the Grapevine Video DVD along with the novel and notes about the two versions. While THE PHANTOM CARRIAGE follows the order of Lagerlof's novel, THE STROKE OF MIDNIGHT is in some ways easier to follow. Seeing the two different edits is an education in how silent films could be changed effectively for release in different countries. Some viewers look at this film as a horror film which it certainly is not. This is a morality play with shades of the supernatural used to hit home its stark message. The directing and lead performance by the great Victor Sjostrom were way ahead of their time. It's easy to see why M-G-M brought him to Hollywood to direct such films as Lillian Gish in THE SCARLET LETTER and THE WIND as well as Lon Chaney in HE WHO GETS SLAPPED. In America he was known as Victor Seastrom. He would also star in the lead role of Ingmar Bergman's WILD STRAWBERRIES, giving a masterful performance. Bergman was greatly influenced by KORKARLEN or THE PHANTOM CARRIAGE in his earlier days. This is a powerful film that is well worth taking some time to discover and study. The Grapevine Video release is an excellent way to do this. | 1pos
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] |
John Woo is a true artist, and he lets it show in this movie. More than any other contemporary action director, he paid real attention to the style of gun battles. And that's what this movie is: lots and lots of gun battles. There is nothing else. Just bullets flying, people dying. So after you get over how massively influential and incredibly cool this movie was and is, you might feel a little hollow from the relentless nature of the violence. It wasn't quite as bad as Natural Born Killers in this respect, but I still felt slightly queasy after two hours. But maybe it's good that extreme violence can still shock me... | -1no label
| [
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] |
Just watched a rare showing of this obscure Allen Funt hidden camera movie on fancast.com. It lives up to the title when-in the beginning-a woman casually walks stark naked to an elevator asking for directions from various men walking by. From there, it goes on to frank discussions of sex to people of various ages and genders. There's also some interviews with underage kids who seem to think they know all but don't really. In fact, one of my favorite exchanges was when after Funt asked what a premature baby was, this boy said, "It's one who knows a lot for his age." LOL! I also loved seeing that scene with that red-haired woman when she faked an orgasm after getting spray-painted! And some of the reactions of the preview audience was priceless. So on that note, I highly recommend What Do You Say to a Naked Lady? P.S. Richard "Shaft" Rountree makes his debut here as part of an interracial couple seen kissing in order to get various reactions of people watching them. | -1no label
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] |
Shame on me. Shame on me for mindlessly buying this movie based on internet recommendations. I went to an anime site that allows you to enter a movie you like, and you will receive recommendations. The movie I entered is Akira. This was the number one recommendation. I cannot begin to conceive how and why this movie came up. Akira is EXCELLENT, in every facet of it's execution--plot, characters, animation, etc... This is sh*t. To begin to review this pile of garbage is to grant it too much consideration, but I will allow some of that. I think the problem starts with the fact that the object of mystery is Noah's Ark. This of course means hearing scripture. (Remember, I'm embarrassed even to be writing this, because I just bought the movie.) The scripture is quoted *just enough to be vaguely unsettling in the fact that it is Christian. I don't mean to belabor this point though, as you'll probably hear less than 20 seconds of the stuff; but in a movie in which the combined dialogue runs for 5-10 minutes, it's something to think about. The whole plot is right out of Indiana Jones, minus the good movie part. Really it's just a mindless shoot-em-up with a VERY thin plot, and completely disposable characters. Two of the characters are called Fatman and Little Boy (just brilliant). This should appeal to boys ages 8-10. The dialogue, sparse as it is, is totally laughable: "We can't all be Schwarzenegger." or French Spriggan: "I don't bluff, mon ami." I wish I was a member of the site that recommended this movie, so I could try to attempt to understand how this movie came into comparison with Akira. I would personally rate Akira about a 9. I'm giving this a 2. I was going to give it a 3, because of the animation, but the style of the animation is totally generic; in point of fact there IS no style. TEN THUMBS DOWN. I was on the verge of crushing the DVD when I considered that there might be some resale value--to some eager young child, or mindless schlub such as myself. | -1no label
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] |
Greenthumb Grace is left penniless after her husbands death so she turns to ganja-growing in order to pay the bills. It sounds promising and the ever-reliable Brenda Blethyn doesn't disappoint but the material is sitcom-thin. There's actually a scene where Grace asks her young gardener to "Give me one" (a toke) and he thinks she's asking for sex and acts all awkward. Yes, it's humour so twee a nun would be bored. Saving Grace doesn't seem to know what it wants to be: the stunning cinematography and stately pace evoke memories of Ryan's Daughter whilst the light-hearted whimsy of the country townsfolk could be lifted from any episode of Antiques Roadshow. It does speed up after the first hour but by then it's too clichéd to care. The climax manages to be unpredictable only by introducing the most shameless Deux ex Machina I've ever seen. | 0neg
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] |
So many fans, so little to show for it. I know, I know, these words are gonna find me in a great minority. A lot of people really liked Good Will Hunting. But seriously please, great film making, not even close, and let's put the blame where it belongs... in the writing. Now, I know they won an oscar for it, and boy did they look good emoting on the screen. But Good Will Hunting is an ABC after school special with lots of cursing in it, and a slightly bigger budget. What this movie does show, is the brilliance of Harvey Weinstein and Miramax Pictures. Mr. Weinstein could take manure, feed it to you, and make you believe your eating bon bons. And that's exactly what the studio did with the film. They created such high faluttin buzz around it, that people believed, and wanted to believe it so much --- that they saw brilliance where there was none. Now, I know some people think it's a great movie, I don't think it's a horribly bad movie, I like to compare it to more in the middle of the road movies, and also to some great Made for TV movies (although, not HBO films, HBO films are unusually better than Good Will Hunting would ever be.) It's just a nice, little film, with some good performances, Robin Williams was not good in it, they just gave him the oscar cause the'd been itching to do it for a while. And of course, the Miramax public relations machine secured Ben and Matt their screenwriting oscar... but come one people... there's better movies out there thatn GWH. | 0neg
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] |
I saw this movie because every review I read of it said that it was one of the scariest movies of the new millennium. I really don't understand what all of the hype was about. For one thing, the dialogue in this movie was laughably bad ("What if something strange is going on?"...what????). The acting didn't blow my socks off either. It could have been because the script barely gave the actors anything to work with....the characters are purely 2-dimensional to me and I didn't give a hoot about them at all. Another thing is that the movie extremely boring. Extremely. Sure, there are a couple of "jolts" here and there, but for the movie's 112 minute length, it sure didn't use it's time up wisely. Most of the movie contains characters talking about stuff that had barely anything to do with the plot. What was the point of that?? To top it off, the movie makes no sense. Yes, I believe I understood the intentions of the ghosts, but how that fits into the events that actually occur in the movie is beyond me. Also, much of the movie is played out in little vignettes, which makes the story hard to follow at times. And don't even get me started with the ending. What exactly happened there? I can give Kurosawa credit for placing some truly frightening images throughout the film. There are very creepy shots of ghosts and other unsettling images. If they reflected more on those images and elaborated on them, it would have made the movie much stronger. But they didn't, and instead elaborated more on social commentary, which was interesting, but again, portrayed in an extremely dull way. Yes, it's a message movie. Okay, fun. I'll just get the message of my review right out here in the open: find a better way to spend your spare time than watching this. | -1no label
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] |
I have to give the Film Makers props on this one. They had one HELLUVA Producer to sell this script. It honestly saddens me, that I, as a film maker, have to work so hard to get financing for a Project that has been deemed, "The Pulp Fiction" of Zombie movies. Another script reader stated they don't even like horror films, but they would watch "The Z Memoirs" once it is made. I just pray that once The Memoirs is made, that the Makers of WL watches it to see what an Intelligent Horror film is like. With the cast we have, and the Production staff, yeah, we have DP's from Dreamworks signed on, I'm sure this will be one to remember... What film was I on here commenting about again...? lol | -1no label
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] |
I was most intrigued by the set decorations - or lack of them in this peculiar photoplay. Our seemingly lonely two stars live in a bayou house on stilts and never clean they only well, you know, have lots of sex. I rented this movie and shut it off after the first twenty minutes only to return to find out if they ever cleaned up. I can't tell you the ending that would spoil all the fun. I suppose if you can make it through the first reel you are hooked. I think that Natasha Wagner has quite a career ahead of her and I look forward to more, but, this is one of the bombs, sorry. | -1no label
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] |
This was my 6th Thai film - and I'm sorry to say I've seen 5 better ones! The only thing "intriguing" about the film is WHY it won a Jury Prize at the Cannes Film Festival. Since the French think that Jerry Lewis is a comic genius, I've long since given up trying to understand THEIR aesthetic. I'll relate the film to mine: While it's true that Southeast Asian film is just now dealing with the issue of homosexuality; and while it's true that Thai cinema is just emerging and probably needs encouragement - this film is a discombobulated mess. The underlying psycho-political message is more than a little disturbing, too. To the extent that the Tiger stands for Desire - the message is either kill the Desire or the Desire will consume/kill you. And thus the portrayal of the soldier's desire is conflicting. While in the first half of the film he seems to know exactly who/what he wants - in the second half of the film he is lost & confused, frightened by his Desire. And there were simply too many "throw away" scenes - such as going into the cave with the weird Sister - and going to the Mall with the weird Sisters - and "meaningful glances" exchanged by both the solider and the boy and young women along the way - all of which give you a taste of urban Thailand - but towards what end? And the interplay of countryside ("traditional") versus urban ("modern") Thailand is messy, too. If traditional values teach that such Desire is a bestial trap - it's pretty hard to see the urban "jungle" as offering any particular alternative "escape" in this film. | -1no label
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] |
This was the worst acted movie I've ever seen in my life. No, really. I'm not kidding. All the "based on a true story/historical references" aside, there's no excuse for such bad acting. It's a shame, because, as others have posted, the sets & costumes were great. The sound track was typical "asian-style" music, although I couldn't figure out where the "modern" love song came in when Fernando was lying in his bed thinking of Maria. I don't know who wrote & sang that beautiful song, but it was as if suddenly Norah Jones was transported to the 1500s. The Hershey syrup blood in Phycho was more realistic than the ketchup spurted during the Kwik-n-EZ battle scenes. But the acting. Oh, so painfully sad. Lines delivered like a bad junior high play. If Gary Stretch had donned a potato costume for the County 4H Fair he may have been more believable. Towards the end he sounded more like a Little Italy street thug. At times I half expected him to yell out "Adrian!" or even "You wanna piece of me?!". Favourite line: When the queen says to her lover (after barfing on the floor) "I'm going to have a baby." He responds "A child?" I expected her to retort "No, jackass, a chair leg! Duh." | 0neg
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] |
Ever since seeing this film as a child, over 30 years ago, I never tire of watching it. From the opening scenes in the horn factory, to the car motor running from the back seat of the car, to Ollie answering the phone and being accidentally pushed out the window by Stan, I think this was perhaps their best latter day film. After this they moved to 20th Century Fox, and while those films weren't terrible, they lacked the comic timing of this movie. Jimmy Finnlayson, their long time foil, in his last appearance with the boys, showing up as the Doctor is super! quote: " I said goat milk " his reply to Stan asking him how do you milk a ghost! Charlie Hall and even Ben Turpin show up! I'd say all in all one of my favorite L & H comedies. | 1pos
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] |
I quote Oedpius Rex because it is a tragedy that this film was even made!!! This is one of the worst movies I have ever seen! I am in no way an Uwe Boll hater like most of the humourless people on IMDb! Uwe Boll movies like Postal and Tunnel Rats are hilariously bad and therefore entertaining. But honestly, this movie was just horrible. I hated it so much that I'd give it a zero star rating if I could. The story is just crap! It spends four fifths of the film building the plot and then they have the middle which is just scenes of grizzly horrible tastelessly done murder! The finally end it with a "villan wins ending" which is totally acceptable but surely it could have been more tasteful than this! I am not against Uwe Boll (like I said earlier) nor am I against violent movies! I f**king love violent movies! I loved the Saw movies, the Hostel movies, Tokyo Gore Police, The New York Ripper, the 28 movies, Dog Soldiers, My Bloody Valentine, Last House on the Left, Watchmen, Wolf Creek, every Tarantino movie, every Sam Peckinpah, even Cannibal f**king Holocaust! But this! OMFG!!! This was just cruel, sadistic and perverted! And look at the movies I just listed! If I liked Cannibal Holocaust and not this then it must be bad! Uwe, don't go all dark again! You're funny when you are light hearted, just like Ed Wood. This was just an awful experience! I felt horrible all over after seeing this! DO NOT WATCH!!!! AVOID AT ALL COST!!!!! | 0neg
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] |
I remember buying American Ninja 2/3 on the same DVD and I heard bad reviews about 3 so I looked at the box and decided for a second. Do I dare attempt to see this bad movie. So as time went on I finally decided to see it. And I gotta tell. I was let down. I saw the first 2 films and compared to this one, 1 and 2 blow this movie out of the water. David Bradley looked really lost during this movie. Steven James did OK as Curtis Jackson but if you look very carfully he looked really reluctant to be in this movie and he looked very pale at times from his cancer. And what can you say about the ninjas. Geez. These guys have gotta be the stupid ninjas around. The ninjas in the first 2 films put up more of a fight. For example. In the scene where Bradley is watching the female fight the ninjas from the top of the building. And these guys just walked right into it. The women just lightly swung the sords and these guys went flying. I mean come on. And finally. I didn't like seeing a American movie with Michael Dudikoff. This guy was awesome in the first 2 films but he wss smart to turn down this movie. The Joe Armstrong character is more tougher and believable then Sean Davidson character played by Bradley. Skip this movie. | -1no label
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] |
Behind the Mask: The Rise of Leslie Vernon, is the take of an up-and-coming young man who see himself as a possible successor to the throne of Jason Vorhees, Freddy Krueger, and Michael Myers. It begins as a small group of grad students film & interview this young man as he lays out the groundwork for his rise to notoriety. But somewhere along the way, the grad students realize that this is perhaps a little more than they bargained for and they have second thoughts about their complicity in Leslie's schemes. Now Leslie has staked out his prey, and he's divided the potential victims into categories, including the lone girl that has the distinction of being the "survivor". She's a good girl, she's a virgin, and she keeps away from the alcohol & drugs. Of course, Leslie has made one mistake in his assumptions but you'll have to see the film to find out why. Leslie has also set up the location for the spree he's planning, and it's the old farmhouse where the young boy, who he is stealing the identity of, was dragged out & thrown over a waterfall many years ago, and now he's poised to "come back" for vengeance. Leslie has made a lot of preparation for his rise to infamy, including plenty of cardio and training, for all those long chases through the woods. Leslie is also a former mental patient but he does play that down a bit. There's also an "Ahab", a rescuer, a sort of adversary, in a character played by Robert Englund, of all people, who knows (or seems to) what's going on and is bound to stop it. This is a very clever film and comes off as sort of a cross between "Man Bites Dog" and your basic clichéd horror flick. But it makes use of those clichés as though they were some kind of training course for the demented killer. A fun, clever, and twisted little horror romp & some of it's genuinely funny. Well worth seeing, 7 out of 10. | -1no label
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] |
Holy crap, the beginning picked up where the first one left off (good start). Then it goes downhill from there. You it looked like as if you were watching TV and you keep on switching between this teenage soap opera, a Predator movie, and some crappy detective show. The characters that are introduced in the first ten minutes don't have anything to do with each other until the final 45 minutes or so (the characters of the teenage soap opera and the actual Alien story). Then for the end the producers were quickly running out of money and decided to end the movie so they decided to drop a nuke on the city. P.S- What the crap is the deal with the cameras being so zoomed in you can't tell what's going on? Seriously, movie makers, do a good job with fight scenes and make it to where we can see the fight. | 0neg
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] |
Like a lot of people, I loved the original; "American Graffiti" was one of the great movies of the 70s. The sequel, "More American Graffiti" is a horrible, depressing mess of a movie. It wasn't funny, the wide-eyed, likable characters had become cynical and jaded, and the stories were contrived (such as "Laurie's" character having another brother because Richard Dreyfuss didn't do the sequel and "Terry the Toad" and "Pharaoh Joe" somehow managing to serve together in Vietnam). They even have a police officer by the name of "Falfa" (Harrison Ford's character in the original) who makes a "cameo". He doesn't even look like Harrison Ford, who was way too big a star by 1979 to even bother with this garbage. The operative word here is "funny". This movie isn't even amusing. Debbie (Candy Clark) is a stripper mixed in with a bunch of dope spoking hippies and trying to bail her dealer boyfriend out of jail; Steve and Laurie (Ron Howard and Cindy Williams), the lovebirds in the original, have two kids and have become an annoying, bickering couple; Adorable little tomboy Carol (MacKenzie Phillips) has become "Rainbow", yet another hippie child. John Milner (Paul LeMat) is a loser race car driver whose fortune was foretold at the end of the original. Even Wolfman Jack, whose voice was such an integral part of the original, and gave it such a great flow, only is heard sporadically. Perhaps it was different writers, a different director and the complete lack of a cohesive story line that makes this movie such a dismal failure. The episodic charm and authentic nostalgia of the original is nowhere to be found in the sequel. It was a movie that didn't need to be made and its best just to remember what a great movie "American Graffiti" was and avoid the movie with "More" in the title. | 0neg
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] |
I may be way off base on this, but when the McAllisters' car pulls into that Miami Seafood Restaurant parking lot in the pouring rain, there appears to be one single vehicle there. It's a AMC Gremlin, one of the compact models from the 70's. I'll bet this was there as a tribute to Chris Columbus's first movie he directed, "Gremlins." Any comments? I was hoping for something new after the first Home Alone, which all my friends begged me to go see, and my reaction to it was "Uhhh, "The 3 Stooges" were funnier and I can watch them for free on TV." (I thought it would have been more realistic and still funny if the bandits were actually menacing.) Altho I fully respect Macauley Culkin, this movie bored me to tears. | -1no label
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] |
The Attic Expeditions is painful on viewers who demand to have everything sorted out for them in sane, palpable order. Its plot is coy, but definitely not vague. Sure, it's a horror movie, but the paranoia and the absurdity come first. Few comedies have so satisfying a sense of humor. The vivid dollhouse-like color schemes are reminiscent of Edward Scissorhands, but the surreal nature of the film's universe is a schizophrenic A Life Less Ordinary. If you shy away from nudity or language, shy away from here...otherwise, give your mind this gentle frappe and thank me afterwards. | -1no label
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] |
When I rented this, I was all ready for a good old-fashioned, old-school hack fest. Alas, I was bitterly disappointed. I obviously didn't rent this movie for good acting or a believable plot. But I do require gore, and if there are going to be lots of hot women, I need a little gratuitous nudity. I got neither! A couple glops of fake blood and two women making out was it. The film tries to overcome all of these dire shortfalls with comedy- sort of a mish-mash of gags and jokes paying homage to the horror genre as a whole. I chuckled a couple times, but they were the kind of chuckles that slip out when you are desperately seeking to be entertained. Don't bother with this one. 2/10 | -1no label
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] |
Just saw this movie yesterday night and I almost cried. No, it wasn't because it got me utterly petrified, no. It was absolutely HORRENDOUS! Sometimes, you see movies that make you wonder what will become of the human race in the near future - this movie is one of those. It's as though the writer, actors, director, et al, just came together and copied and pasted scenes of their favorite horror flicks, zipped it all together and said "hey, here's Satan's whip!!!" After seeing this movie, I could not help but be tormented by the sight of people whom call themselves "actors"; waltzing around like they're some kind of talented artistic interpreters... do not be fooled they suck! Don't bother wasting your time or money!!! | 0neg
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] |
As far as i know it the Germans had German accents. this film proved me wrong, as the consistency made me question whether the owner of Rome was English. none of the actors have any signs of talent, apart from Gregory peck, with the only accent that fits in with his past. i know the public is meant to suspend your disbelief when you watch films, but this is the extent. i also learnt that if you are shot then there are no bullet holes and no blood. so educational. if you want to watch an idiotic attempt at an interesting second world war story, with no thought at all towards realism then this is the film for you. i think harry potter is more realistic. | -1no label
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] |
Chili Palmer is tired of doing movies and know wants to do some success in music. Being half mafioso half expert negotiator, he wants to rise in the music market. However, know everyone is like him and making the good singer Linda Moon to record a hit will be harder as expected. The first part is funny and filled with irony, this one falls into the easy jokes and has many less good moments. Only the two women (Uma and Milian) are decent in their part. Most of the film is done with histrionic character, excessively exaggerated (a little is OK, too much is disgusting) and the only one that one could save is the gay bodyguard, who, at least is coherent, the rest, are too much idiot. The most surprising thing is the fact that the movie is not boring, everything happens so quick and there are so many things happening that you do not have time to get bored, if you want to follow the movie. It may insult your intelligence (a lot!), and the movie is bad(yeah!), but, well, it's not boring. | 0neg
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] |
Across the great divide which we call understanding, there is still much we do not know about that which was explained by the early tribal Elders. In every instance, there is much concerning the dangers of knowing too much. Conversely, there are those who warn us of not preparing for what they warn is the 'End Time.' In this movie called " The Last Wave " an aboriginal native is murdered for no apparent reason. When those responsible are arrested, they remain silent less they disturb the order of things. David Burton (Richard Chamberlain) plays the Defense Attorney assigned to defend the accused. Although haunted by prophetic images from his own childhood and warned by modern signs given to him by an sympathetic Aboriginal named Chris Lee (David Gulpilil), Burton proceeds to defend the infraction as Tribal Law and therefore not subject to standard justice. The movie is fraught with puzzling, dark foreboding images of apocalyptic end world disasters and warns of a future island tsunami and doom. Black drama and deep rituals are what gives this film it's frightening allure and therefore is not for the faint-hearted, in fact the simplest haunting apparitions can last for years in the nightmares of innocent movie goers. Good silent drama. **** | 1pos
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] |
Stage Beauty is another adaptation of a play. Yawn? Well don't, because it also happens to make a highly successful transition from stage to screen thanks to the genius that is director Richard Eyre. It tells the tale of Ned (Billy Crudup), a young actor who specialises in portraying women on stage. In a world where only men are allowed to tread the boards, Ned's "Desdemona" (from Shakespeare's Othello) is the closest thing 17th century audiences get to femininity in theatre. However, a young upstart in the form of Maria (played by Clare Danes) wants to change all that. She has a passion for drama and unfortunately the bisexual Ned. With the help of King Charles II (Rupert Everett), she may just get her wish, changing theatre forever, and hopefully pick up Ned on the way. When thinking of the themes of the film, many people dismiss it as a clone of Shakespeare in Love. This is unfair- the film is more thought provoking, substantial and better acted than the aforementioned Oscar snaffler. It explores themes of sexuality and gender with insight and intelligence as well as telling (and, in fact enthralling us with) a love story. As previously referred to, the acting is exceptional, especially the two leads (Danes and Crudup) who shine. The supporting cast is strong too, with Richard Griffiths as a heterosexual prequel to his role in Withnail and I, Tom Wilkinson brimming with quiet intensity as Betterton and Everett hamming it up wonderfully as the King. Even if it does end on a slightly trite note (not to give too much away, but its' "birth of method acting" shtick irritates), Stage Beauty is a funny, heart-warming and occasionally quite cerebral meditation on love and art. What more could any theatre, or film lover for that matter, want? And don't say Shakespeare In Love! | -1no label
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] |
Peter Crawford discovers a comet on a collision course with the moon. But when the government doesn't believe him (dumb fact #1). He builds a shelter in deep underground and is drawing lots to see who will go. Plus is willing to kill to save humanity (dumb fact #2). With millions of dollars of technology, how could a civilian see what NASA could not? Plus, the ends justifies the means moral of this story is just plain WRONG!!! This movie is improbable and totally unbelievable. What was running through these people minds, why the hell do crap piles like this get the green light? Some times I wonder who someone has to **** to get a movie made in this ****ing town. | 0neg
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] |
"Problem Child" is one of the goofiest movies ever made. It's not the worst (though some people will disagree with me on that), but it's not the best either. It's about a devilish 7-year-old boy who wrecks comic havoc on a childless couple (John Ritter, Amy Yasbeck) who foolishly adopts him. This film is too silly and unbelievable because I don't buy for one second that a child could act as unrurly as the kid does in this film. It's asinine and preposterous although I did laugh several times throughout (I really don't know why). But I can't recommend this film. I know I'm being too kind to it. If there is one positive thing about "Problem Child" is that it's better than the sequel which was just awful. ** (out of four) | 0neg
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It's in the top 250 at IMDB. Wow! Did we see the same movie? This is one of the worst movies I've ever sat through. I'd heard so much about Kevin Smith's clever dialogue, but unless you think that mentioning a fictional toddler movie title followed by a list of ersatz porno movie titles is wit, you'll find this movie as moronic as I did. Even by the movie's low budget standards, the acting is uniformly terrible -- I've seen more compelling high school theater. The plot, if you can call it that, is arbitrary in the worst way. Couple this with over-the-top stylized cinematography that serves no aesthetic purpose, characters that show no development and come to us purely through clunky exposition, and you have the most over-rated movie of the 90's. | -1no label
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I wasn't expecting to much from this movie but was pleasantly surprised. Though the plot is a quite far fetched I couldn't help but fall in love with this fairy tale. So often with modern Hollywood comedies the laughs are from base and uninteresting humour. Not so here. The jokes are well thought out and do not challenge ones intelligence. I'm not a prude and the humour here is not prudish. Sometimes very subtle....as when Grant admires Loy's breasts at their meeting in an upscale restaurant. A prime example of a 1940s screen writer slipping one past the Hollywood censors. This movie has no dead spots...no lulls and entertains from beginning to end. | -1no label
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This film has the carry oners on holiday at a caravan park. Immediately, you get the feeling you've been here before. I tried to like this film, but I just didn't find it very funny. I found the humor somewhat forced and obvious, which you expect, but they have in the past still made it fresh. The silly factor is major here, which normally is fine, but it doesn't work here. The jokes are here, but it wasn't the kind of film where they are many and, again, they seem forced. I would recommend other Carry On films before this, many of them. Not horrible, and there are some amusing moments, but not up to their usual standard. | -1no label
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Ken Burns' "Baseball" is a decent documentary... it presents a clear origin of the game, a great depiction of baseball's early years and heroes. There's plenty in this movie for any baseball fan... that said, the film has several glaring flaws. 18 hours is simply too long for the human attention span. It's clear that Burns stretched his film out to fit his "nine inning" concept. It's not even a tight 18 hours... the pace on every segment is slow, almost morose... the music always nostalgic and wistful. Isn't baseball ever exciting and fun? Why is every player and their accomplishments presented in the form of a tragedy? Talking head after talking head turn every pitch into an emotional heartbreak, yakking about baseball as a metaphor, baseball as Americana, the psychology and theology of baseball... enough! This is syrupy, mawkish drivel. Billy Crystal is here to sell us all the Yankee hokum he's sold us before. Ken Burns uses the National Anthem as the series' theme song, and manages to play "Take Me Out To The Ballgame" so many times you might vomit. We get it, dude. Clearly Burns is a neo-Hollywood faux-liberal, so he spends probably a third of the film on the Negro leagues... these segments are spent chastising whites of yesterday for not being as open-minded as Kenny is today. For shame! He chides baseball for being segregated in the thirties and forties but fails to realize that America was segregated in those times! Burns falls head over heels in love with Buck O'Neil, a former negro-league player, and drools over every piece of footage in which the elderly O'Neil waxes poetic about his playing days. Nonsense... Burns would have been better off with an adult to help him edit his creation down. "Baseball" winds up as mushy, gushy, civil-rights propaganda disguised as Americana. Its clear that Burns is not a baseball fan... otherwise he would know we watch games laughing and cheering, not weeping and reciting soliloquies... are you listening, Mr. Burns? There's no crying in baseball. | 0neg
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] |
Although the movie starts well, its plot twists and awful acting make this movie bad, painfully bad. In it's first scenes I thought the movie was promising, and it kept me going for like 20 minutes, without complaining, but when the plot begins to twist, I began to think that it was not worth watching, and then that it's one of the worst movies of the year. But When Ziyi Zhang started playing villain, the last drop of hope felt, Zhang's performance is probably the worst performance i've ever seeing, her efforts to sound sexy are in vain, no movie lover will find one of the worst performances ever, sexy. Quaid never impressed me so much, and this one is not an exception, he commits an unacceptable mistake of acting, he doesn't seem real sometimes, the least I want from an actor is for his performance to sound and look real. Like I said, the beginning was promising, but the plot twists are so unbelievable and dumb, that when the final twist came, I could not believe that I wasted two hours of my life watching the worst serial killer movie I had ever seeing, when I could be watching "The Silence Of The Lambs" again. Verdict: This is not the movie that's worth watching because it's too bad, it hurts and insult your intelligence, and by don't watching it, you will save yourself for having Zhang's performance in your mind. | -1no label
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] |
I hadn't planned on watching O12 because I didn't like O11 that much. I thought O11 was a nice but slightly boring little bank robbers movie with a sensational arsenal of stars. Anyway I was talked into watching O12 one night and I regretted it a lot. The plot is not only boring but also senseless. I honestly don't even know what it was all about. I left the movie after 3 quarters and got some coffee with another girl who didn't like it. Much more pleasure I can tell you that. But even the guys who stayed till the end later reported to me that the plot continued being awful and useless. My advice: Don't watch. Go watch Team America (hilarious btw;-)) and forget about Ocean's Twelve. In my opinion the most boring and senseless peace of crap to be on the screen in years. | 0neg
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When the British film magazine Sight & Sound had one of their periodic times of asking critics to list what they thought were the best films ever made, there was a book which collected articles by several of them, one of whom said that if you were the type of person who didn't tear up at THE BELLS OF ST. MARY'S, he didn't want to know you. I try to avoid that philosophy, but if I endorsed it, BIG NIGHT would be that type of film for me, a litmus test. This is a wonderful movie, and I usually am not a big fan of food movies. I thought BABETTE'S FEAST was too full of whimsy, and whimsy also bogged down the often good TAMPOPO(EAT DRINK MAN WOMAN, it could be argued, was a relationship movie which happened to be set in the world of food, where the others are inextricably food movies). But this was wonderful. Tucci and Scott said they studied a lot of film masters, and it shows here; there's nothing that screams "first film." Instead, they take their time telling the story, and setting up characters we care about, even Pascal, the rival restaurant owner. And a lesser movie wouldn't have had the scene between Isabella Rosellini and Minnie Driver which is quiet yet moving, like the rest of the movie. The food scenes live up to the hype, and that final scene is moving. | -1no label
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] |
Director Karl Francis once again totally fails to distinguish himself with this clumsily directed drama about McCarthy blacklisted writer-director, Herbert Biberman. Subtle and intelligent performances from Jeff Goldblum and Greta Scacchi are totally wasted in this otherwise uninspiring little film. The cinematography is fine; the editing makes the best of what it has to work with, which is not much. The problem lies entirely with the direction, which fails to pack even the slightest emotional punch, which is quite a feat considering the source material. What's worse is that it is liberally sprinkled with the kind of sickly B-movie idealism that I thought mainstream cinema had grown out of in the mid-seventies. The results come over as amateurish and basically unintelligent, not even worth a straight to video. This movie is a master class in how to ruin a great idea with incompetent direction. Please Mr Francis, just stop making films - nobody is interested. | -1no label
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I was quite amused by the first series of Alias and am now ploughing through series 4, having seen the quality drop remorselessly since the opening. Excess can be amusing in moderation but not episode after episode after ... I was interested to see what happened with Rambaldi but I think I realise now nothing ever will; we will just continue going round in circles since any form of conclusion will kill any form of suspense however minute. I now watch it looking to see how many times they use the word protocol (loved the inferno protocol - hard to top that for over-thetopness) and to see if the actors will surprise me with a new expression beyond their stock-in-trade bemusement (Vaughan), bewilderment (Jack Bristow) etc. Hard to blame the actors when the script is so inane and one-dimensional. It reminds me constantly of the parody-line in Notting Hill "inform the pentagon we need black star cover". The whole script is full of this line over and over. And for a bunch of supposedly mentally toughened CIA agents they do fall apart when family comes up. It is clear if Sydney (or anyone else for that matter) were to find out her mother had been hurt she would either break down in tears (to a suitable song of course) or raze the whole of the USA to find the antidote. I also carry in my mind a (slight mis-)quote from the end of episode one which I am still waiting for Jack Bristow to say; it sort of sums up the experience so far in this show where nothing is as it seems yet everything is totally predictable - "Sydney, I'm not your father, I'm your mother". Well, I think I shall be leaving the show after series 4. It was amusing in the beginning but enough is enough. If it had ended after series 1 with a good resolution of Rambaldi I would have given it an above-average mark. Unfortunately episodes 3 & 4 dragged it down. | -1no label
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] |
While the original Italian title – THE POLICE ASKS FOR HELP – clearly pigeonholes this one in the then-popular (and incredibly prolific) poliziottesco genre, the English title under which it is better known around the world – WHAT HAVE THEY DONE TO YOUR DAUGHTERS? – implies a giallo in the same vein as Dallamano’s best-known film, WHAT HAVE THEY DONE TO SOLANGE? (1972). In any case, while both elements are effectively present – a hatchet-wielding murderer is the subject of the climactic manhunt – the police procedural themes are more prevalent. The film deals with a teenage suicide which eventually uncovers a child prostitution ring which, as usual, includes not just the petty sleazy oddballs (here personified by Franco Fabrizi) but also high-profile professionals (a celebrated doctor) and high-ranking government officials (a Minister). The cast is surprisingly good for this type of genre effort: Claudio Cassinelli (as the investigating Police Chief), Giovanna Ralli (unusually cast as a female D.A.), Mario Adorf as the policeman who finds the first body and also discovers that his own teenage daughter was once a “victim” of these perverts, the afore-mentioned Fabrizi and Hollywood veteran Farley Granger in a smallish role as the first victim’s father. As usual for Italian genre movies, the music score is an asset and here it is provided by Stelvio Cipriani whose motif, while simple and repetitive, is extremely effective given that it involves children singing gibberish (and thus commenting on the main theme of the movie itself even through its performers). Alarmingly, the end titles claim that every year in Italy, 8000 teenagers run away from home but only a small percentage returns to the fold – the majority are never found! | -1no label
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] |
By no means a masterpiece, and far from Errol Flynn's best, Istanbul still has much going for it. The locations and beautiful technicolour cinematography, bring us back to a time long since past. Errol Flynn does show moments of his past glory, and is OK as Jim Brennan, a pilot who's past comes back to haunt him. The picture is actually a remake of 1947's "Singapore", and the story seems awfully contrived and cliche' by today's standards. Also many of the supporting cast seem to be simply "going through the motions" in this picture. Many people have also compared it to one of the all time greats, CASABLANCA. While watching the film, I could see many of the similarities, but hey, Casablanca has inspired countless imitators, so take that for what it's worth. In closing, if you are a fan of Flynn, or old fashioned love stories, you might want to give this film a look. Otherwise, I'd recommend Casablanca, or The Maltese Falcon, as a good introduction to some of Hollywood's classics.... | 1pos
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] |
A miserable sex "comedy." It's plot-less (the idiotic IMDb spell checker insists on the hyphen in "plot-less"), endless, and painfully dated -- though it's hard to believe it was remotely funny even in 1972. "What?" is a pathetic soft-porn version of "Alice in Wonderland" that fails as both parody and comedy. It's sad to see Marcello Mastroianni wallowing in this mess. This is Polanski's worst film by a wide margin. It makes "Pirates" look like "Seven Samurai." (This is not intended as an endorsement of "Pirates," which is eminently mediocre by normal standards.) 2/10. Ghastly. | -1no label
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] |
Just after having moved into his new cottage in the English country, Hercule Poirot gets an invitation to dinner from Sir Henry and Lady Angkatell, the owners of a large mansion nearby. But the next day, one of the guests is found shot near the pool, and his clumsy wife is holding a revolver a few steps away.... This Agatha Christie mystery is somewhat thin, though the killer's plan is still very clever. It's the exquisite filming and cinematography that elevate the story to a higher level. This episode mostly keeps the serious tone of "Five Little Pigs" and "Sad Cypress", but contains more dark humor than them. The cast includes possibly the two most famous actors to have worked in the series by this point, Edward Fox (as the butler) and Sarah Miles (as Lady Angkatell), though the standout performance is given by the dazzlingly beautiful Megan Dodds as the ahead-of-her-time Henrietta: her one-on-one confrontations with Suchet sparkle and are the highlights of the film. Oh, and since an English police inspector does get involved in the case, I think they could have brought Philip Jackson back for this one. (***) | 1pos
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] |
Very good except for the ending which was a huge disappointment. The script was very good as was the acting. The visuals were often very grainy but this in a way added to the film as the snowy features were in good places that helped create a mood towards the film. This affect was ruined by the extremely unbelievable ending. I was going to give this film an 8 out of ten but the ending knocked it down a point to 7 because it seemed to depart radically from the first 75 minutes of the movie and seemed quite forced at the end to make the film makers look clever. This movie though was much better than films with quite a lot larger budgets and seemed to be filmed like a home movie with some extra equipment. Not much in the way of special effects as these go but for suspense it was very good. | 1pos
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] |
Let me start by saying "I love Vinnie Jones." That being said, this movie is not up to his regular standards. The bog histories, if they were true, were interesting. The concept of people from thousands of years ago being killed and buried in the bogs was interesting. Them reanimating just out of the blue and seeking out a specific kind of person, that's a little iffy. Also the fact that all of these people just happen to converge on this same cottage on the same day is just too much coincidence as is not having phone service when they were apparently only about three miles from a road. I did not like the little love connection they felt needed to be in the movie. It added nothing to the story. This is in no way a horror movie. It is more something that is based on a false lore that has been told for years. Seeing Vinnie Jones was it's only redeeming feature. | -1no label
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] |
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