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I don't really know where to start. The acting in this movie was really terrible, I can't remember seeing so many 'actors' in one film that weren't able to act. Not only the acting was bad, the characters were incredibly stupid as well.<br /><br />Then there's the action. I believe that even children know that when someone gets shot, there's blood involved. But when someone gets shot in Snitch'd for ten (!!) times, there's no blood at all. Well, I guess that's just me.<br /><br />To make a long story short (because believe me, I can go on for hours about this film), this is without a doubt the worst film I ever saw. This film should be number 1 in the bottom 100 without a doubt.
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Watching this movie was the biggest waste of time and 2 bucks for rental in my life. If nothing catastrophic happens before I die, this will be the biggest regret of my life. Who ever even thought about this movie, or financed deserves a kick between the legs, because that's where they were thinking when they made this movie. It's about an overweight guy who is a hopeless romantic, and writes pretentious drivel that tries to pass off as poetry. He joins his amorous friend in a trip to the coast. Where they meet girls and such. Only the fat guy doesn't get a girl. Skin flicks don't annoy me, I take 'em for face value. But this movie tries to be more than a skin flick. It's about Fat guy looking for love in some girl, but then meets another bikini silicone girl that enjoys his poetry. He finds his talent for volleyball which gets money for his family and impresses the ladies, only he has his lady anyways. The dialogue is super-horrible for even a C movie. It supports a ton of black stereotypes, no character development, it's a glorified porno movie, without any porn in it. Never ever watch this movie.
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The plot was dull, the girls were sickening and the supposed Italian male lead had clearly never heard an Italian accent.Someone said the boys were cute in this film but it just seemed to be filled with mediocre people. There were literally no redeeming features about this film.<br /><br />I think this is a graveyard for actors that will never work again, with the unfortunate exception of the Olsen twins who seem to fascinate people for no discernible reason.<br /><br />I hope the Olsen twins find something out of the limelight to keep them away from the entertainment business. They have no place in it.
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I saw the original "Chorus Line" on Broadway God knows how many times and felt the passion, despair and joy come from this live experience in the theater. Michael Bennett knew he would have to re-imagine "Chorus" for the screen but could never figure out how to do it. If the man who came up with the show is stumped - that should answer your question. There are some shows that are simply made to be seen live - with an audience. However, Richard Attenborough fresh of the musical work of "Ghandi" and dancing with animals in "Doctor Doolittle" ended up directing this film which bore little to no resemblance to the stage show. Horrible songs were added (Surprise! Surprise!), great songs were dropped or given to other characters (which didn't make sense). Michael Douglas was mis-cast. People that couldn't dance tried to act and there was the sexy "Landers" woman who couldn't sing, act, or dance - I guess she had just finished being Ghandi's wife. The dances by Jeffrey Hornaday look like nothing more than schlock from "Flashdance" rejects and nothing works. I sat there stunned at how something so riveting and emotional could be drained to nothing. If you truly love this show and it is coming back to Broadway in 2006 - see it but don't think that the long running musical event that was "A Chorus Line" has any thing at all to do with this film.
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I am marking this as a "spoiler" only because of some of my comments of the show's content, not to the content itself.<br /><br />As I read the comments it is apparent that those Republicans somehow tolerate the show, but disdain it, while the Democrats seems to relish in its so called truthfulness. One reader even (so it seems) actually indicates that he believes these events did or could have happened when Bush was in grade school.<br /><br />But as to the content as I see it, trying to be neutral, is that the group that made this series must actually be really Bush haters. In the Episode that I saw last, s02e03, it showed that the program must have been put together long before McCain became the front runner for the nomination; because, the other former front runners are all featured.<br /><br />Another thing that caught my attention, was the use of add in closets. I thought that the series must have been made in Europe of for sure not in the U.S.A., because I know of no home the U.S.A. that does not have built in closets, and most likely in the homes of the artists.<br /><br />As I watch the show, yes I do get caught up in it, I am amazed to see what must be a terrific desire of the writers to do what they can to embarrass our President. Sure there are problems as most American will agree, but that is no reason to be so hateful in public displays seen around the world. Perhaps the trend has now been set by this show and network, so that IF Obama or Hillary got in, would they continue to produce and air the same sort of "humor" about them?<br /><br />Just one more comment on a commentator's remarks. IF there had been some sort of change in the election back in 2000, according to that writer, he was so sure that there would be a completely different acceptable president. Wow, wishful thinking on his part. As far as 911 events, I do believe that it was set in motion back when Clinton was president, and I can't see how if Gore was president anything would be much different.
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German filmmaker Ulli Lommel has managed a task many horror fans thought was impossible: he's unseated fellow Teuton Uwe Boll for the crown of director of the worst horror film ever made.<br /><br />Lommel is truly the Ed Wood of the new millennium. This film is as shoddy and laughable as the best-worst of EW. I am both proud and embarrassed to say that I watched it in toto, morbidly fascinated to see just low the bar could be set. The answer is: subterranean; Lommel dug a pit and buried it.<br /><br />The fun begins with the cast of international nobodies. Only someone who has lived in Los Angeles, where every auto mechanic, doctor and mailman is an actor or screenwriter waiting to be discovered, could easily understand how Lommel managed to find so many wannabe actors willing to spew his ridiculous dialog with a straight face.<br /><br />The main character, a villainous beat cop, is played by a German actor with a thick German accent. Aside from being a serial killer, he is also the oldest beat cop in LA. Despite the fact that he stops innocent women drivers and takes them into custody, then drags them into his home (which inexplicably is the top floor of a furniture warehouse), and does all this in plain sight of his rookie partners, the LAPD refuses to investigate, going so far as to physically attack one of his accusers in a ninja style raid on his apartment.<br /><br />The sets are excruciatingly bad. The production designer's budget apparently included just enough money for a can of paint; enough to paint "Precinct 707" on a cardboard wall.<br /><br />Since the actors were obviously unpaid non-professionals--a sad assortment of European emigres (possibly deportees if they acted in their native lands), bimbos, mimbos, and desperate middle-aged women--and since little if any money was spent on sets, special efx, locations or other production value, it is only fair to mention that they did spring for a few genuine-looking police uniforms. Sadly, they couldn't afford a police car; the uniformed cops cruise the streets in a shiny new Mercury rental.<br /><br />More than half of the story focuses on the dirty deeds of our deranged German LAPD officer and the futile efforts of two young rookies to stop him. One of these young actors is especially pitiable because he's the only actor in this whole mess with even a vague shot at a real career in the movies. The other fits right in, with a rockabilly hairdo and tortured Brando posing that needs to be seen to be appreciated.<br /><br />The latter part of the film is where the title gets its zombie, as the victims of our killer are resurrected after he murders a girl who had just visited some voodoo priestesses to have a protective spell put on her. Don't ask why a girl from Romania would resort to voodooism in anticipation of being murdered, just accept Lommel's logic and enjoy the absurd ride.<br /><br />After much prolonged hand-clawing out of straw-covered roadside graves, the zombie girls manage to make their appearance. They look exactly as they did before death, maybe even prettier, with black glamor make-up generously airbrushed around their eyes. Looking nothing like zombies, they look more like high fashion models ready for the runway.<br /><br />At this point in the movie Lommel borrows a creative note from his lauded countryman Boll, and injects large doses of cheesy Euro-trash techno into the soundtrack. We're talking prehistoric electronic bumblebee noise. Stuff they might have played in an Ibiza disco when Lommel was still young enough to shake his booty.<br /><br />Unlike other zombies, Lommel's girls speak and function as normal... er, I mean, as they did before becoming zombified. This gives our auteur ample opportunities to shower us with more of his golden dialog. Yes, a golden shower it is.<br /><br />I won't spoil anything by revealing the shock ending. All I can say is it's perfectly in tune with the rest of this masterpiece. The spirit of Ed Wood lives on... or should I say his geist.
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to movie,this movie felt like one of those after school specials,only lower budget and lower everything else.i guess this was supposed to an inspirational movie of some sort,but it didn't work for me.yet some how it comes across as preachy.it has very pale shades of Flash Dance,but so what?there just isn't any excitement in this movie.the dialogue is contrived and clichéd to death.of course,the whole movie feels like a bad 80's cliché.the acting was less than stellar,though that has a lot to do with what the actors were given(or in this case-not)to work with.on top of that is the poor song choices,with really bad lyrics.i felt embarrassed for all the actors involved.they are all talented,but you can't tell from this movie.this is just my opinion of course,but i have to give Flying AKA Dream to Believe a 1/10
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Frequently voted China's greatest film ever by Chinese critics, as well as Chinese film enthusiasts from the outside, and, frankly, I don't get it at all. What I saw was one of the most generic melodramas imaginable, blandly directed and acted, with a complete shrew for a protagonist. Wei Wei (don't laugh) is that shrew, a young married woman who has suffered alongside her tubercular husband (Yu Shi) for the past several years. It is post WWII, and they live with the husband's teenage sister (Hongmei Zhang) in a dilapidated home with not much money (the man had been wealthy when they married). Along comes the husband's old best friend (Wei Li), who also used to be the wife's boyfriend when they were teens. She considers running away from her husband with this man, while the husband pretty much remains oblivious, thinking he may engage his little sister to his friend. That's the set-up, and it doesn't go anywhere you wouldn't expect it to. I've actually seen the remake, directed by Blue Kite director Zhuangzhuang Tian. It runs a half hour longer, and is actually kind of dull, too, but at least it was pretty. This supposed classic is pretty intolerable.
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the only word i can think of to describe this movie is: Ordinary.<br /><br />The plot line about Gary sinise's character attempting suicide is a ridiculous premise and c'mon..living as some sort Salingeristic hermit or recluse in a shack driving golf balls into the ocean because he couldn't handle life in the lucrative pro/am golf community? cry me a river. I wish these were my problems. I do enjoy Dylan Baker and Sinise but this movie was clearly a bad choice or a pay check for Sinise. The scene in which little Timmy Price gets verbally abused by the other club member in front of his father during the tournament is so over the top that i am embarrassed to watch it
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Dude, really!!!! where have you guys been the past 20 years, this is shocking in all kind of ways, horror ? This is a joke, there is nothing wrong with being low budget, but this is a laugh, If you want to look at the classics, Freaks of Tod Browning, the victims of Dracula and Frankenstein, the Undying Monster, Ernest Thesiger, Paul Wegener's The Golem and the passengers of The Ghost Train, you can't compare it, it gives it a bad name, bad acting, bad screenplay etc. Total waist of money and free time, have watched a lot of movies, were as horror is my all time favorite, I really am speechless, have nothing more to say that please don't do the effort to watch something so daft, please understand
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Judy Holliday struck gold in 1950 withe George Cukor's film version of "Born Yesterday," and from that point forward, her career consisted of trying to find material good enough to allow her to strike gold again.<br /><br />It never happened. In "It Should Happen to You" (I can't think of a blander title, by the way), Holliday does yet one more variation on the dumb blonde who's maybe not so dumb after all, but everything about this movie feels warmed over and half hearted. Even Jack Lemmon, in what I believe was his first film role, can't muster up enough energy to enliven this recycled comedy. The audience knows how the movie will end virtually from the beginning, so mostly it just sits around waiting for the film to catch up.<br /><br />Maybe if you're enamored of Holliday you'll enjoy this; otherwise I wouldn't bother.<br /><br />Grade: C
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This movie was 100% boring, i swear i almost died from boredom at the theater. It wasnt funny and didnt really hve that much action in it either, it was BORING and i hope whoever out there that liked this movie, god be with you in the future when you find out what this movie was really like and try to jump off a bridge or something like that
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What a complete waste of time. The movie starts as a clone of the Saw series, but with even worse acting. Melissa Joan Hart is absolutely horrible. The ending is ridiculous and the story contains no twists, not plot surprises and just a plain bad ending. I liked some of the characters and I was hoping for everything to be tied together at the end. It just doesn't happen. It's a total "Wrestler" ending with none of the good acting. I can't believe I spent the time watching this. It's not "fun" as some people put it. A guy in a mask kidnaps people who are connected and forces them to figure it out. The connection is a stretch and he should have shot the main actress first.
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Great CGI effects & a truly Oscar-worthy performance by Gary Sinise as Lt. Dan. <br /><br />Tom Hanks is a one-trick pony in this movie, how he got the Best Actor Oscar that year over Morgan Freeman was a crime. <br /><br />This movie is a pandering treacly love letter to the baby boom generation, with a barely concealed right-wing prejudice, beginning from Forrest's service in Vietnam all the way through to the "resolution" with Jenny at the end.<br /><br />With that said, though, it is hugely entertaining and an American movie through and through. I found certain parts of this film exceedingly offensive, Zemeckis dumbs down this movie almost to the level of Gump himself . . .maybe that was the point he was trying to make.<br /><br />Watch this film and ask yourself "What is Robert Zemeckis saying about what makes a good American?" <br /><br />Forrest seems to have made the "right" choices and been at the "right place at the right time" for the last 45 years. Those who are wrong according to the director's vision seem to pay a heavy price. So is Zemeckis saying that idiocy disguised as innocence and naivety is a patriotic, even AMERICAN quality?
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I love John Saxon in anything he's in. The one time he takes over the camera though he directs a movie that should have more aptly been been titled "Please Do Not Watch This Movie Called: Zombie Death House". The $1000 dollar Shock Insurance Certificate is dear Fred Olen Ray's tricky way of making you spend 14 dollars on a filmed dump churned out by a major 70's cheese legend. Ray being the front man at RetroMedia. Ray by the way makes Charles Band look hotter than stucco ceilings on a Ford Falcon. Just plain bad now, the both of them- and boring besides. It's great that Ray is digging up this old stuff and in some cases it's public domain like the rest of the dollar video hucksters but in the case of Zombie Death House- (the word "Zombie" sloppily superimposed to add ownership and interest on the part of F.O.R.) THE ONLY WAY TO DO SERVICE TO THIS TRIPE IS TO RELEASE IT ON THE DOLLAR MARKET FOR THE CURIOUS COLLECTOR AND FANS OF SAXON!!! If you wanna see real Saxon, pick up Black Christmas, Nightmare on Elm Street or The Glove.
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Wow, here it finally is; the action "movie" without action. In a real low-budget setting (don't miss the hilarious flying saucers flying by a few times) of a future Seattle we find a no-brain hardbody seeking to avenge her childhood.<br /><br />There is nothing even remotely original or interesting about the plot and the actors' performance is only rivalled in stupidity by the attempts to steal from other movies, mainly "Matrix" without having the money to do it right. Yes, we do get to see some running on walls and slow motion shoot-outs (45 secs approx.) but these scenes are about as cool as the stupid hardbody's attempts at making jokes about male incompetence now and then.<br /><br />And, yes, we are also served a number of leads that lead absolutely nowhere, as if the script was thought-out by the previously unseen cast while shooting the scenes.<br /><br />Believe me, it is as bad as it possibly can get. In fact, it doesn't deserve to be taken seriously, but perhaps I can make some of you not rent it and save your money.
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This production never really got off the ground for me. The plot is so cut up as to be disjointed and the production is so short that unless you've read the novel or seen a better adaptation (like the 1995 one with Amanda Root) you're going to be a bit lost since there's no time for character development.<br /><br />I liked Sally Hawkins as Anne, but the rest of the cast fell rather short of what they should have been. Mrs. Croft was far too old, as was Anne's elder sister Elizabeth. Mary uttered everything in such throbbing accents that the general peevishness and selfishness of her character was lost. Much better was Sophie Thompson's Mary, whose selfishness and sense of ill-usage is so well established that by the time Wentworth suggests Anne stay with the injured Louisa and Mary objects that she, as Louisa's sister in law, should stay instead, you can't imagine anyone less suited to do so. In this version, she might as well stay as she is insufficiently differentiated from anyone else in the production.<br /><br />Rupert Penry-Jones is nice to look at, but he made a much better St. John Rivers (1995 Jane Eyre), probably because that character required less implied depth of feeling. I agree with the comments made earlier about the gig scene: seemed more like he was trying to get rid of Anne than do her a favor. Likewise the accident scene: it happens so fast and with so little context, you wonder what all the fuss is about. And moving the speech that Wentworth overhears in the novel to the beginning of this production is a critical misstep that only contributes to the disjointed nature of the script. <br /><br />My other problem with this version was the lighting. Sometimes everything looked like a scene from the CSI morgue -- very very blue. Other times the lighting was so bad it was hard to make out the scene very well, like when Anne visits her old school friend, Mrs. Smith (who, by the way, is supposed to be more or less paralyzed. Having her run up to Anne on the street to tell her of Mr. Elliot's awful character was such a violation that for a minute I couldn't think who she was -- I thought she was one of the Musgrove girls. And she might as well have been. All the girls were pretty much interchangeable). And the running scene at the end...in an era where propriety was at a premium, it's hard to imagine gentle Anne tearing all over Bath like some demented hoyden. How silly can you get? It's too bad. Sally Hawkins had all the makings of a good Anne Elliot, but she was completely hamstrung by a poorly organized script and an over-truncated production.
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Columbo movies have been going downhill for years, this year it may have reached the bottom. Peter Falk gives the same uninspired performance and comes over as creepy in this movie. As is usual in this series, crime scene protocols are unheard of so plausibility is always lacking. Brenda Vaccaro chews the scenery and pulls pantomime faces and Andrew Stephens is a pretty unconvincing lady's man. (His faint, though, was a hoot!)The script was by the numbers and its delivery patronising. They should never have brought Columbo into the nineties, just left us all with one or two happy memories of clever plots, better scripts and sharp characterisations.
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What has Ireland ever done to film distributers that they seek to represent the country in such a pejorative way? This movie begins like a primer for film students on Irish cinematic cliches: unctuous priests, spitting before handshakes, town square cattle marts, cycling by country meadows to the backdrop of anodyne folk music. Quickly, however, it becomes apparent that the main theme of the film is the big Daddy-O of Irish Cliches - religous strife. It concerns a protestant woman who wants to decide where her Catholic-fathered child is educated, which would seem like a reasonable enough wish, though not to the '50's County Wexford villagers she has to live with. Rather than send them to a Catholic school, she decides to up and leave for Belfast, then Scotland, where a few more cliches are reguritated. While she's there, her father (who looks eerily like George Lucas) and family back home are subjected to a boycott, which turns very nasty. I'm not going to give away the ending, not because I think people should go see this movie, but because it's not very interesting. One of the problems with the film is the central character: we're supposed to sympathise with her but end up instead urging her to get a life. The villagers are presented as bigots whose prejudices should be stood up to, but traumatising your kids seems an innappropriate way to go about it. In addition, it takes on burdens which it staggers igniminiously under when it tries to draw analogies with the current Northern Ireland peace process: the woman is told by her lawyer that she "must lay down preconditions" for her return. The film is allegedly based on a true story but it's themes have been dealt with much more imaginatively, and with less recourse to hackneyed cliches, in the past.
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Unless you are between the ages of 10 and 14 (except for the R rating), there are very few things to like here. One or two lines from Kenan Thompson, David Koechner (we really should see him more) and Sam Jackson are humorous and Julianna Margulies is as good as she can be considering her surroundings, but sadly, that's it. Poor plot. Poor acting. Worse writing and delivery. The special effects are dismal. As much as the entire situation is an odd and awful joke, the significant individual embedded situations are all equally terrible. If we consider the action portions, well there are unbelievable action sequences in some films that make you giddy and there are some that make you groan. This movie only contains the latter kind. This leaves little left. I'm so glad I did not pay for this.<br /><br />Despite any hype, I can read and think, so as I sat down to watch, I did not expect anything good. I had no expectations, but was somewhat worried going in. Yet, like a train wreck, one cannot merely look away. And even with no expectations, I was let down. Bad. Not even 'so bad, it's good' material. I'm _very_ tolerant of bad movies, but this makes "Six String Samurai" (which I liked) Oscar worthy.<br /><br />No, this piece of over CGI'd rubbish is in the same company as Battlefield Earth, Little Man and Gigli. How this is currently rated a 7.2 completely mystifies me. Brainwashing or somehow stacking the voting system is all that I can think of as answers.<br /><br />I could go on and on but suffice to say that tonight, I witnessed a train wreck. I need to go wash my eyes. 1 of 10
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The Priyadarshan/Paresh Rawal combo has been golden before with the likes of HERA PHERI and HUNGAMA so I went into the movie (at an Indian multiplex) with high hopes, especially after the slick promos. Unfortunately, like HULCHUL before it, this movie was a huge disappointment.<br /><br />Like others have commented, the premise of the movie, which was already stale to begin with, just gets stretched on and on without any development or additional layering. After a while, you just want the movie to end so you can go home (if I had been watching this at home, it would have been much easier to cut my losses). Akshay Kumar's performance is average at best and John Abraham should not try doing comedy again. The comedy aspects of the movie overall were pretty week. I only remember giggling like twice the entire movie. Definitely no sidesplitting belly laughs that consumed me in HERA PHERI or even to a lesser extent in AWARA PAAGAL DEEWANA. Paresh Rawal had a few of his expected classic moments, but overall, because his role and character wasn't given much room to grow, he didn't make much of an impact in this film.<br /><br />Neha Dhupia, who makes only an appearance in the movie, was fun to look at while she was on screen. And some of the songs are fun. Especially the opening and closing songs of ADA and KISS ME BABY, respectively. Otherwise, you're better off just passing on this movie.
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In an otherwise good review, loleralacartelort7890 says "The truth is that the Americans use a secret aluminum-anti-radiation-alloy. It is not that well-known. And the exact specifications are a secret. And why is it a secret: Well, why should they reveal it back then?? If they where in a space race with the Russians, then it would be VERY dumb to reveal that they had new technology that could shield crew against radiation." This is completely incorrect. There is (and was) no "secret" to radiation protection in Apollo. The design and construction of the Apollo Command Module has long been publicly available. It uses a lightweight "honeycomb" of aluminum and stainless steel. The entire outer surface (except the windows of course) is covered with a heat shield made of a phenolic resin, thicker on the bottom that faces forward during re-entry. These materials are actually *better* at stopping the kind of radiation we have in space (charged particles) than lead, which is better suited to stopping ionizing photons like X-rays and gamma rays.<br /><br />Space radiation is a definite problem for *long term* space flight because of the risk of big solar flares. But it simply wasn't a serious threat to the Apollo astronauts. The Command Module gave them pretty good protection during their brief (1/2 hour or so) passage through the Van Allen belts. They all carried dosimeters so we know exactly how much radiation they each received: no more than 1.5 rem, and usually much less. Of the 24 men who flew to the Moon (12 of whom landed), 18 are still alive. Only two have died from cancer: Alan Shepard (leukemia) and Jack Swigert (bone cancer). The rest died from heart attacks, pancreatitis (Roosa), and a motorcycle accident (Conrad). These are actually pretty good statistics for a group of men now in their late 70s (Shepard would be 86).
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Though the title includes the word "zombies", this film is not what you'd expect from a movie made today, though for 1936 the concept is played out about as well as would probably be expected. Dean Jagger portrays Armand Louque, an officer in the French Army of World War I, who has stumbled upon an ancient tale of soldiers turned into automatons, or "zombies", who are impervious in battle and may hold the key to victory in the war, though on whose side is not certain. At first he has trouble convincing his superiors of this phenomenon, but eventually French General Duval (George Cleveland) orders a non military expedition into the ancient Cambodian city of Angkor to find the secret of the zombies and destroy it.<br /><br />The story is played out against the backdrop of a love triangle involving Louque, Duval's daughter Claire (Dorothy Stone), and Clifford Grayson (Robert Noland), all a part of the expedition. When Louque laments over his lack of forcefulness and resolve, Grayson offers him advice to go after what he wants in life with all his power. That advice begins to transform Louque, particularly after he's successful in obtaining a stone tablet resembling a photo from the ancient city. Having followed a temple priest into a swamp, Louque now appears to hold the secret he had been seeking, though it's not made clear how he has instantaneously been able to command the power of "zombiefication". All it takes is placing his right fist to the forehead simulating a third eye, and casting his thoughts out to those he wishes to control. This comes in handy for winning back his girl, and taking Grayson's early advice as he comments to his servant, "Buna, we're learning to be ruthless".<br /><br />Fans of early "B" horror flicks will recognize the use of Bela Lugosi's signature eye stare, plucked from the 1932 film "White Zombie", also from director Victor Halperin. Of the two movies, "White Zombie" is preferably superior, both in story content and in it's depiction of the undead, where the zombies have a more sinister appearance and are more threatening. In "Revolt", the zombies are enemy soldiers with a glazed over look that merely react to their mentor's commands. In fact, the actual revolt of the title occurs only when Louque releases the soldiers from his mental command in deference to his love for Claire; they overrun his compound and kill him in the process.<br /><br />Not to be too harsh on the film, it plays out decently within the parameters of it's story outline, but if you're thinking "zombies!!!" within the traditional context, you'll probably be disappointed. If you want to sample an early treatment of the subject, the aforementioned "White Zombie" with Bela Lugosi is the way to go.
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This is probably one of the worst "wanna be a low budget hit films" to credit the dinosaur genre. The film is so predictable you could go away, cook yourself dinner, go answer the phone or whatever and when you're back you'll know exactly what has happened. The special effects are so poor you would have thought Lego bricks were used and the "super fast" dinosaurs were so tame that it makes a pet dog look like a super predator. The acting is over cooked. They try so hard, yet there just isn't enough character behind them to get into the characters and as for the scientist... Yeah okay we know exactly whats going to happen to the blonde chick in glasses. Stereotypical was created for films like this. If you want to watch this film, I suggest you aren't in as a serious mood as the cast and crew obviously were. And if you are really really into dinosaurs and know everything in the world about them, don't watch it, you might break the screen - the facts are that far off.
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Memoirs of a Geisha is a beautifully filmed movie, there is no doubt about that. And the acting is generally excellent, at least in terms of how it portrays the characters as they are scripted.<br /><br />However, so many details small and large are just _wrong_ that it just bothers me too much to be able to enjoy it fully. A small detail that typifies the kind of lack of sensitivity of sorts is one scene (no this does not spoil anything) where Mameha rings a bell that hangs at the door of the house where Sayuri lives, on a snowy winter day. The bell she's ringing is a fuurin, or wind chime - that is only left hanging outside of houses in Japan in the summer! People in traditional Japanese homes didn't have doorbells - they just opened the door and announced themselves. (You may think this is such a trivial detail, but I would equate this to a movie made about America where a Christmas wreath is hanging on the door in July and no one thinks anything of it.) And don't even get me started on the totally wrong hairstyles given to the maiko and geisha, which is vaguely pan-Asian/Chinese/kung-fu-ish, and nothing like real thing. I think this rather cavalier attitude towards the culture they are trying to portray really comes out in the attitudes and the portrayals of people and situations too. <br /><br />So, I suppose that the less you know about Japanese culture and the world of the geisha and maiko in Kyoto (which is what "Miyako" is), then I suppose the more you will enjoy this. I honestly think this movie could have been so much better...as it is, it's just another Hollywood version of "exotic Japan".
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More wide-eyed, hysterical 50s hyper-cheerfulness that gives new meaning to anti-social, pathological behaviour. Danza and Grayson will leave you begging for mercy.<br /><br />It's a shame that all the people involved in the making of this movie are now dead (or in nursing homes). I kinda thought about suing them for torture. As this movie started unleashing its shamelessly aggressive operatic assault onto my poor, defenseless ear-drums, I felt instant, strong pain envelop my entire being. That damn muscular vibrato can shatter Soviet tanks into tiny bits, nevermind glass.<br /><br />"Why didn't you switch the channel if you didn't like it?", you might ask angrily. Fair point, fair point... The answer is that I wanted to, but the pain was so sudden and excruciating that I fell to the floor, writhing in agony. With my last ounces of energy, I tried to reach the remote but couldn't.<br /><br />A silly little fisherman with the questionable talent of singing with an annoying opera voice is discovered by Niven, who then proceeds to "pigmalionize" him. Lanza is in love with asymmetrical Grayson, but she predictably treats him with contempt until they finally hook up. This may seem like a rather thin plot, but this noisy movie is so chock-full of singing and music that there is barely any dialogue at all. This movie is RELENTLESS. Forget about torturing hippies and war prisoners with Slayer's "Reign In Blood" (as in a South Park episode). Whatever little conversation there is amongst the silly adults that infest this strange 50s musical world, it's all infantile - as if they were all 6 year-olds impersonating grown-ups. I can only envy people who find movies like this funny. It must be great being easy-to-please: what a world of wonder would open up to me if only I could enjoy any silly old gag as hilarious, gut-busting comedy. <br /><br />But let's examine this phenomenon, the 50s musical. My best guess is that 50s musicals offered the more day-dreaming idealists among us a glimpse into Utopia or Heaven (depending on whether you're church-going or Lenin's-tomb-going), or at least very cheesy version of these fantasy-inspired places. TTONO is more akin to a representation of Hell, but that's just me. I don't seem to "get" musicals. People talk, there is a story - but then all-of-a-sudden everyone starts singing for about 4 minutes after which they abruptly calm down and then pretend as if nothing unusual happened! When you think about it, musicals are stranger than any science-fiction film.<br /><br />Worse yet, TTONO (my favourite type of pizza, btw) is not just a 50s musical, but one with opera squealing. Opera is proof that there is such a thing as over-training a voice - to the point where it becomes an ear-piercing weapon rather than a means of bringing the listener pleasure. The clearest example of this travesty is when Lanza and Grayson unite their Dark Side vocal powers for a truly unbearable duet. I tried lowering the volume. I lowered it from 18 to 14. Then from 14 to 10. Then 8. I ended up lowering it to a 1, which is usually so low that it's only heard by specially-trained dogs and certain types of marsupials, and yet I STILL could hear those two braying like donkeys!<br /><br />Take the scene in the small boat in the river. Danza starts off with one of his deafening, brain-killing tunes, and then... nothing. No animals anywhere to be seen. Even the crocodiles, who are mostly deaf, have all but left. If you look carefully, you might even see the trees change colour, from green to yellow, in a matter of minutes. No, this was not a continuity error, it was plain old torture of the flora. And those trees were just matte paintings! Imagine how real trees would have reacted.<br /><br />The reason glass breaks when a high C is belched out of the overweight belly of an operatic screamer is not due to any laws of physics relating to waves and frequency, but because glass is only human - hence can take only so much pain before committing suicide through spontaneous self-explosion. I can listen to the loudest, least friendly death metal band for hours, but give me just a minute of a soprano and I get a splitting headache.
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I happen to be the director's nephew. It's taken me years to get my hands on a copy of this film and I can confirm that it is indeed one of the worst movies of all time. My uncle doesn't even have a copy of it anymore (I asked). I'm looking forward to bringing him a copy.<br /><br />Currently the film's average rating is 1.9/10. As far as I can tell, that should put it somewhere in the mid-30s in the IMDb "bottom 100," however with only 206 votes, it hasn't yet placed.<br /><br />It's sad that the film doesn't even get the respect of a bottom 100 title.<br /><br />Anyhow, I'm giving copies of the movie to family members this year for holiday gifts. Best/Worst gift ever?
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I unknowingly had this movie on my shelf for a while in a Mill Creek Collection, and one night I just decided to watch it; though not expecting much. As the beginning credits roll around I'm surprised to discover this film was made under the Filmirage company. Filmirage brought the world such amazing stinkers as "Troll 2", "Ator the Invincible", and "Quest for the Mighty Sword", so I was compelled to watch.<br /><br />As the movie started out it had potential to be pretty decent, even though it was unoriginal. The gore scenes could have been improved if they were extended and more frequent. But after a while into the film, the pace started dragging and I found myself thinking "Okay someone better get killed soon",or "Someone better mutate". At the onset of this drag, when I was having these thoughts, though someone may have gotten killed or have mutated, however as noted, the gore and effects weren't very good. What made matters worse was that the scene transitions were confusing; example: first Dr. Houseman would be at the Zoo, then he'd have a flash back about possibly killing someone, finally he'd wake up in a cold sweat in bed-- making the audience ask "Was he dreaming he was at the zoo?". Like the movie's pace, these scene transitions got progressively worse.<br /><br />I could try to say the character development of Dr. Houseman was pretty good, but towards the end of the film, that is, once you've seen what the Doctor has metamorphosed into, hopefully you'll laugh-- which really, is the only reason to see this movie at least once; this movie unintentionally runs like a long-winded joke.<br /><br />The costume of the um, thing that Doctor Houseman becomes can also be seen in Joe D' Amato's "Quest for the Mighty Sword", which was made in the same year. You've gotta love Filmirage movies, they're always re-using the same stuff!
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What a mess!! Why was this movie made? This, and other movies of its "caliber" should be teaching tools on how not to make a movie. Children may like it, but anyone over 10 may or will disapprove. To make matters worse was the fact that such great talent like Whoopi Goldberg and Armin Mueller Stahl were entirely wasted in a film unworthy of any notice.
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Its hard to make heads or tails of this film. Unless you're well oiled and in the mood to mock, don't view Santa Claus. It mixes Santa, Satan, Merlin, and moralizing in a most unappetizing way. It certainly is not for fretful children.
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It happened with Assault on Prescient 13 in 2005, it happened with The Lost Boys in 2008 and now it's happened with another classic from the 80's Wargames... :( Why, oh why, oh why won't Hollywood ever learn? Leave them alone...! They can't be remade...! They suck....! We all hate them....!.<br /><br />Those of you who haven't seen the original 1983 version with Matthew Broderick & Ally Sheedy, go rent/buy it now....!! The hardware may look dated, the special effects are not new millennium but it still beats this rubbish hands down....<br /><br />For those of us who lived through the 80's when hacking was sexy, the Internet was something mysterious and your disks came as a 8" floppy variety, well we now possess the wisdom to avoid this film like a Thermonuclear War! <br /><br />Never before has "a nice game of chess" seemed the better option....
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A quite usual trashy Italo-Western, stupid storyline full of clichés and lack of logic, some mediocre actors, dirty settings, lots of punch-fights and people shoot dead on a massive scale.<br /><br />This has nothing to do with Django. - At least not in my German translated version, this German DVD-release is called "Adios Companeros" and has Macho Callaghan fighting against Butch Cassidy and Ironhead because their gang killed his one (he's the only survivor). Then you have Butch Cassidy and Ironhead fighting each other because they quarreled and the gang split. And you have Ironhead fighting against everyone because he's just the biggest and most greedy asshole anyway. Yeah, that's it, no more cleverness in the storyline, hehe.<br /><br />A small role by Klaus Kinski as Reverend Cotton is remarkable (that's why I bought this DVD). In one scene he attempts to separate two men fighting by hitting them and screaming "I said love!" and in another scene he wins a competition in throwing horseshoes and goes nuts for a second - FANTASTICFANTASTICFANTASTIC!!!<br /><br />It's also remarkable that JOE d'AMATO aka Aristide Massaccesi did the cinematography - I love this master of incompetent exploitation-thrash, so it was an "aahhh" for me.
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The storyline is absurd and lame,also sucking are performances and the dialogue, is hard to keep your Eyes open. I advise you to have a caffeine-propelled friend handy to wake you in time for a couple Gore-effects.Why they bring Alcatraz in?In this case,becomes increasingly difficult to swallow. All the while ,i wondered who this film aimed for?Chock full of lame subplots (such as the Cannibalism US Army-captain)This is low-grade in every aspect.BTW this Movie is banned in Germany!!
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and this movie has crossed it. I have never seen such a terrible movie in my life! I mean, a kid's head getting cut off from the force of an empty sled? A snowman with a costume that has the seams clearly visible? This was a pitiful excuse for a movie.
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Misty Ayers had a smoking body, and that's all this movie was about. Pure exploitation flick. I started playing a game with myself, counting the number of times they looped the stock orchestral music. And of course the music is completely unrelated to the scenes. Case in point: casually walking into a room and saying "Hello" was scored with chase music from a roman epic. I'd like to know why this film sat on the shelf for 11 years before being released. What I learned from this movie: that women's low-rise panties existed in 1954. I'm talking Sigourney Weaver in the original Alien movie panties. At least 20 of the first 30 minutes is Misty leisurely taking off and putting on her clothing (except for bra and panties, sadly). Also includes horrendous dubbing, leading to a "Look out! Godzirra!" effect.
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R Balki tries to tell you a story that had been earlier told by Ram Gopal Verma in Nishabd in a sensuous way. This time it is mixed with mature humors.<br /><br />Amitabh Bachchan is a Chef and owns an Indian Cuisine in London. He is very dominating and arrogant and respects his job just like any other job. According to him, Cooking is an art. Still cannot make Hyderabadi Biryani properly.<br /><br />Enter Tabu who sends her the proper Hyderabadi Biryani made by her and they soon starts meeting up and finally falls in love with each other
Amitabh is 65 and Tabu is 35
. No probs! But one Hitch! Tabu's father Paresh Rawal!! The couples decide to meet the father for the approval of their marriage. But Amitabh realizes that Tabu's father is much younger to him. And the complications begin
Performance wise all three actors are brilliant. The script of the film is very tight and interesting. The dialogues of the film are catchy. But somewhere you feel that your stomach is not properly filled. The comedy is sometimes not properly understood. The film also tries to go lengthy at some parts.<br /><br />Musically nothing much to sing about except the Title Track. The camera-work is good. Director R Balki could have given much better from this script. But in the second half he himself looks confused. The "Satyagrah" scene of the father looked irritating. But the lines spoken by Amitabh Bachchan during that scene are clap worthy.<br /><br />On the whole, Cheeni Kum needed to have more sugar!
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This movie is another Christian propaganda film in the line of The Omega Code. Not that that is necessarily bad but for the fact that most propaganda films sacrifice sincerity and realism for the message they wish to deliver. If you enjoy a styrofoam portrayal of life on the streets and the way the Gospel can change a life, than perhaps you may enjoy this movie. I say, save your money and rent The Cross and The Switchblade or The Mission. When will Christian directors learn that sometimes people say bad words? It was frustrating to see criminals depicted who are not allowed to swear (huh? criminals say bad words?) and flat characters I really could not relate to. Also, it would've been great if the movie had shown some T&A. Now that would be something I'd like to pay to see. Who was the blockhead who compared this communion wafer-thin story of a movie with The Boondock Saints and The Sting?
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In an attempt to bring back the teen slasher genre that was taken away by spoofs like Scary Movie and Shriek if you know what I did last Friday the 13th, Valentine fails. Why did people like Halloween? Because it was original, new and went beyond anything that's ever been done. Why did they like Scream? Because at least it made sense. Valentine is just a stupid slasher-flick that has hardly any gore what so-ever. The plot is so similar to Halloween and Urban Legend it's not funny. And the moment the killer comes on screen, you know who it is, it's just sssssssssssooooooooooooo predictable. The teen slasher genre is DEAD Get over it!<br /><br />0 out of 10
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Lipstick is another glossy movie failure.I am trying to think of one good thing that I could say about the movie, and I am having trouble coming up with something.I guess the red dress that Margaux Hemingway was wearing in the end of the movie was the best part.The writing and the script was not the worst that I have ever encountered,but it could have been a lot better. Lipstick was very pleasing to the eye to view.The sets were very glossy and nice to look at.The cast was okay. I felt like Anne Bancroft's character was the only feasible character in the entire movie.It was sad to see Chris Sarandon waste his time on this one.
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This has the absolute worst performance from Robert Duval who sounds just like William Buckley throughout the entire film. His hammy melodramatic acting takes away from any dramatic interest. I'm not sure if this was deliberate scene stealing or inadvertent but it's the only thing I can recall from a truly forgettable film. This picture should be shown in every amateur acting class of an example of what not to do. Thank God, Duvall went on to bigger and better things and stopped trying to effect a cultured accent. He is a good character actor but that's about it. Klaus is so much better. His performance is muted and noteworthy.
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I caught this film at the Edinburgh Film Festival. I hadn't heard much about it; only that it was a tightly-paced thriller, shot digitally on a very low budget. I was hoping to catch the next big Brit-Flick. But I have to say, I was severely disappointed. "This Is Not A Love Song" follows two criminals, who, after accidentally shooting and killing a farmer's young daughter, become embroiled in a deadly game of cat and mouse when the locals decide to take matters into their own hands and hunt them down.<br /><br />The real problem is that this is yet another example of style over substance in a British film. The camera angles and editing are completely at odds with the story, as are the over the top performances, and the appalling use of slow motion, which only serves to make the whole thing look like an expensive home video. There are repeated attempts to make the film look edgy and gritty, which instead come over as hilarious and over the top(Cue a pathetic, obligatory drug scene, and countless, pointless camera zooms). No amount of cliche's such as this can disguise the fact that this is a pretty bad story.<br /><br />We've seen this kind of thing many times before, and made a hundred times better, particularly in John Boorman's masterful "Deliverance." But while in the latter film, we actually cared about the characters, in this film, I found myself just wanting them to be hunted down and killed as quickly as possible. Even this wouldn't have been so bad if their adversaries had been frightening or worthwhile, but instead, are merely a collection of stereotypical, inbred-looking countryfolk. Again, another offensive, overused cliche' coming to the fore. Surely there are some nice people in the country, filmmakers?<br /><br />In its defense, "This Is Not A Love Song" does contain a couple of good, suspenseful moments, but it's hard to see this film doing anything other than going straight to video, or, at a push, getting a very limited cinema release. It's not a patch on last year's Low-Budget hunted in the hills movie, "Dog soldiers". Maybe British Cinema could actually get kick-started again if the right money stopped going to the wrong people.
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Since the Little Mermaid was one of my favorite Disney movies when I was little, I was curious about its sequel.<br /><br />The Little Mermaid(one) is a classic animated feature with top quality everything, a grand music score, and targets a general audience. In contrast, the Little Mermaid 2 is targeted primarily at young children, because it is spontaneous, reflects a child's self perspective, the music is bouncier and less dramatic, and the ending feels like recess.<br /><br />The Little Mermaid 2 starts out when baby Melody is presented to Ariel's side of the family. Abruptly without any visual cues to aid the drama, a giant tentacle grabs the baby. I laughed, wait a minute it's not funny, the baby's being attacked! Okay, I'll stop laughing. Morgana's crime in broad daylight and her spontaneity, takes away potential drama since it happened so quickly.<br /><br />Throughout the feature, Melody seems superhuman, which I defend is how most children envision themselves. This quality in Melody's character is clearly brought out toward the end when she fights Morgana without an inch of fear on her face.<br /><br />Like the first movie, Melody has a lot of Ariel's problems, except the reverse. Queen Ariel turns out to be like her father by restricting her from the ocean, whereas King Triton restricted Ariel from the surface. Ariel and Melody both rebel against their parent.<br /><br />The music is more emotionally moving in the first. This sequel has a bunch of songs, but not as much orchestral work went into it. It's great for little ones, because it doesn't take an orchestra to impress them.<br /><br />The ending in the first movie was strong and uplifting. The sequel ends with a bouncy song and everyone playing in the water. It's definitely more targeted at kids, because instead of the ending being solemn and leaving you blown away, this ending leaves you thinking, "It's time for recess!" Ultimately, this movie is fun for kids, so we should let them have fun.
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There are two kinds of 1950s musicals. First you have the glossy MGM productions with big names and great music. And then you have the minor league with a less famous cast, less famous music and second rate directors. 'The Girl Can't Help It' belongs to the latter category. Neither Tom Ewell or Edmond O'Brien became famous and Jayne Mansfield was famous for her... well, never mind. Seems like every decade has its share of Bo Dereks or Pamela Andersons. The plot itself is thin as a razorblade and one can't help suspect that it is mostly an attempt to sell records for Fats Domino, Little Richard or others of the 1950s rock acts that appear in the movie. If that music appeals to you this is worth watching. If not, don't bother.
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I really do not have any clue as to why some people find the power rangers television show even remotely interesting at all. The costumes are completely ridiculous and the people playing in them also look completely foolish at the same time. There is absolutely anything remotely interesting about the power rangers. This is just a higher priced television commercial designed to sell extremely cheesy plastic garbage to the unsuspecting children around the world. From the notes, I can see that it's been banned in the country of New Zealand and from what I have seen, I can agree with their decision. Avoid this show at all costs, it's terrible and ridiculous.
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This was a disappointing horror film about a snotty young girl and her nightmares. For a horror or "thriller" film and hype, it's way too tame. There are only a few tense moments in here, not anywhere as near as many as should have been for a film of this genre. Even those "tense" scenes weren't much. The music made them more dramatic that they actually were.<br /><br />There is a lot of symbolism in here, so the elitist critics label this "a thinking person's horror film." Well, if they think about it, I'm sure they will come to the same conclusion I did - a waste of money at the video rental store.<br /><br />Summary: a yawner that offers an unlikeable lead character and generally poor acting. Vastly overrated and certainly not what it is advertised.
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Instead, go to the zoo, buy some peanuts and feed 'em to the monkeys. Monkeys are funny. People with amnesia who don't say much, just sit there with vacant eyes are not all that funny.<br /><br />Black comedy? There isn't a black person in it, and there isn't one funny thing in it either.<br /><br />Walmart buys these things up somehow and puts them on their dollar rack. It's labeled Unrated. I think they took out the topless scene. They may have taken out other stuff too, who knows? All we know is that whatever they took out, isn't there any more.<br /><br />The acting seemed OK to me. There's a lot of unfathomables tho. It's supposed to be a city? It's supposed to be a big lake? If it's so hot in the church people are fanning themselves, why are they all wearing coats?
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I found the writing in this movie absolutely terrible.<br /><br />The only thing that saved this movie from me rating it as a 1 out of 10 was Lacy Chabert's performance who I thought played the multiple personalities really well. For me she was definitely the highlight of this movie.<br /><br />Dina Meyer was pretty as always but I found her role pretty bland so I don't think one can say that her acting was great.<br /><br />As for the male lead, Armand Assante, his interpretation of the role reminded me mainly of doctors in cheese 1980s hospital series.<br /><br />All of that I could have lived with. However the terrible, terrible, terrible end/solution, the role of the psychic and even the role of psychic were just some of the worst writing I have seen in a long time.
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When I go out to the video store to rent a flick I usually trust IMDb's views on a film and, until this one, had never seen a flick rated 7.0 or above on the site I did not enjoy.<br /><br />Sidney Lumet, a legendary director of some of the best films of the 20th century, really misstepped here by making one of the biggest mistakes a filmmaker can: filling a film's cast with thoroughly unlikeable characters with no real redeeming qualities whatsoever.<br /><br />I like films with flawed characters, but no matter how dark someone's personality is we all have a bit of light in there too, we're all shades of gray with some darker or brighter than others. Mr. Lumet crossed this line by filling this movie with totally unsympathetic and almost masochistic pitch-black characters.<br /><br />Ethan Hawke's Hank is a 30-something whining, immature, irresponsible man-child divorced from a marriage with a wife that hates him and a daughter who thinks he's a loser, which he very much is. His indecisiveness and willingness to let others do the dirty work for him because he's too cowardly to do it himself leads directly to their bank robbery plan falling apart and mother getting killed. By the time he stands up to his older brother at the end of the film, it's more pathetic than uplifting. Ethan Hawke plays his character well, but isn't given much to work with as he is portrayed as someone with a boot perpetually stamped on their face and he doesn't' particularly care that it's there.<br /><br />Speaking of which his character's wife is equally as bad. Just about every single shot of the film she's in is her verbally berating him for rent and child support money and further grinding in his already non-existent self-esteem with insults. Seriously, that's just about all the character does. Her harpy-like behavior borders on malevolent.<br /><br />Albert Finney plays their father Charles, and while Mr. Finney has been a great actor for many decades, he spends about 90% of this film with the same mouth open half-grimace on his face like he's suffering from the world's worst bout of constipation. For someone who's been an actor as long as Mr. Finney, you think he'd be more apt at emoting. Even though he doesn't show it much, his character is supposedly grief stricken and anger-filled. And when he smothers Andy at the film's conclusion it's akin to Dr. Frankenstein putting the monster he helped create out of it's own misery.<br /><br />Marisa Tomei isn't given much to do with her character. Stuck in an unhappy marriage with Andy and having an affair with his brother for some unfathomable reason. When Andy's world begins to spiral out of control she logically jumps ship, but it really doesn't make her any less selfish or self-serving than any other character in the film, but probably the one with the most common sense at least.<br /><br />And finally we come to Andy, played by the always good Philip Seymour Hoffman, is the only reason I rated this film a 3 instead of a 1. His performance of the heroin-addicted, embezzling financial executive who's "perfect crime" of robbing his parent's insured jewelry store goes awry is mesmerizing. His descent from calm master planner of a flawed scheme to unstable, deranged homicidal maniac is believable and tragic. Hoffman's character ends up being the film's chief villain, but it's hard to root against him given the alternatives are an emotionally castrated little brother and a father who's self-admitted poor early parenting led to his son's eventual psychosis and indirect, unintentional murder of his mother.<br /><br />Ultimately this film is really only worth watching for PSH's great performance and it's family train wreck nature. Just don't expect there to be any characters worth cheering for, because there really aren't.
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Disney goes to the well one too many times as anybody who has seen the original LITTLE MERMAID will feel blatantly ripped off. Celebrating the birth of their daughter Melody, Ariel and Eric plan on introducing her to King Triton. The celebration is quickly crashed by Ursula 's sister, Morgana who plans to use Melody as a defense tool to get the King 's trident. Stopping the attack, Ariel and Eric build a wall around the ocean while Melody grows up wondering why she cannot go in there.<br /><br />Awful and terrible is what describes this direct to video sequel. LITTLE MERMAID 2 gives you that feeling everything you watch seemed to have come straight other Disney movies. I guess Disney can only plagiarize itself! Do not tell me that the penguin and walrus does not remind you of another duo from the LION KING!<br /><br />Other disappointing moments include the rematch between Sebastien and Louie, the royal chef. They terribly under played it! The climax between Morgana and EVERYONE seemed to be another disappointment.<br /><br />I will not give anything away, but in 75 minutes, everything seemed incredibly cramped and too much to handle. An embarrassment to Disney, LITTLE MERMAID 2 is better left to rent and laugh at. Then you can prepare for the rest of the other sequels Disney is going to drown you in later on.
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This movie is a crappy and forgettable Sean Connery vehicle. The performances are generally crappy especially by Capshaw, Fishburne, and the usually solid Ed Harris. Connery seems miscast as a Harvard Academic. The movie absolutely gets worse as it goes along. It is a third rate mystery that becomes extremely contrived by the time it unravels. The movie squanders an excellent supporting cast. George Plimpton also turns up in a minor role to add some gravitas to Connery as they debate the death penalty. The violence and the atmosphere pepper a third rate mystery/thriller that is manipulation to the highest degree. The scripting and direction are extremely poor. Connery's charisma and screen presence are the film's only virtue. Manipulative, Violent, and Ridiculous. 2/10 Avoid It.
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If John Waters had written and directed "House of 1000 Corpses" after being struck about the head repeatedly with a heavy object, the result would probably be something like "The Blood Shed." It's mildly entertaining for the first half hour, but then it slides into a sort of featureless glop of constant screaming and people doing things to each others genitalia with electric carving knives, cutlery and pliers. Susan Adriensen (Sno Cakes) is incredibly annoying and Terry West (Elvis Bullion) is almost as bad in whatever it is he's doing in front of the camera.<br /><br />Maybe the best thing about "The Blood Shed" is that it won't take most viewers very long to forget about it.
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In this movie, Chávez supporters (either venezuelan and not-venezuelan) just lie about a dramatic situation in our country. <br /><br />They did not say that the conflict started because of Chávez announcement firing a lot of PDVSA best workers just for political issues.<br /><br />They did not say anything about more than 96 TV interruptions transmitted by Chávez during only 3 days in "CADENA NACIONAL" (a kind of confiscation o private TV signals). Each one with about 20 minutes of duration.<br /><br />They did not tell us anything about The quiting announcement made by General en Jefe Lucas Rincon Romero, Inspector General of the army forces, who is a traditional supporter of Chávez. Even now, in despite of his announcement, he is the Ministro de Interior y Justicia. After Chávez return he occuped the Charge of Ministro del Defensa (equals to Defense Secretary in US).<br /><br />They did not say anything about Chávez orders about shooting against a pacifical people concentration who was claiming for elections.<br /><br />They did not say anything about the people in this concentration that were killed by Chávez Supporters (either civilians and Military official forces).<br /><br />They present some facts in a wrong order, in order to lie.<br /><br />They did not say anything about venezuelan civilian society thats are even now claiming for an elections in order to solve the crisis and Chávez actions in order to avoid the elections.<br /><br />That's why i tell you.... This movie is just a lot of lies or a big lie.
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I can't say that Wargames: The Dead Code is the worst movie I've ever seen, as it had one or two decent moments, but I can easily say it's the most transparent movie I've ever seen. Not once did a plot device present itself without me guessing it 10+ minutes in advance. There was no subtlety to anything the movie did, no intelligence evident at all behind the scenes. Every spoken or typed line's intent was so glaringly obvious it was impossible to "get into" the movie.<br /><br />I found myself laughing at the horribly thought out plot line, and the bumbled attempts to reclaim the audience, far more often than I found myself enjoying the movie.
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Prom Night 2 is an OK horror movie but prom night is way better and this movies about how the prom Queen Mary Lou in 1957 gets killed by her boyfriend and comes back 30 years later for revenge.The best actor in this movie is Micheal Ironside and the movie stars other OK actors and actress like Justin Louis (I),Wendy Lyon,Lisa Schrage and Richard Monette(I).And there are some good gore scenes like when Mary Lou kills the girl that is trying to hide in her locker by crushing the lockers together and how one of the students are on the computer and Mary Lou electrocutes him to death.Over all this is an OK/good horror movie and my rating is 4 out of 10.
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*****THIS REVIEW MAY HAVE SPOILERS - but that determination would be negligible in such a classic and well-known story*****<br /><br />The CINDERELLA story ranks as my favorite fairy tale. The world will never have enough of this wonderful tale.<br /><br />The problem is that everyone wants to tell their own version of the tale. This cannot work if the story deviates or attempts to throw some interesting ideas together with some magical photography and scrumptious looking production designs with poor direction and editing.<br /><br />This Cinderella story is more like an Ugly Duckling that never hatches or rather, is never transformed into a swan.<br /><br />All the production value that money can buy, cannot purchase good cinematic timing and dramatic development - or good acting.<br /><br />The entrance of Cinderella at the ball as so poorly done, there was no drama of anticipation nor excitement of discovery.<br /><br />The writing made me very nervous, too. The Prince Charming was the most undesirable of memory. Why would any girl want to marry a boorish, self-absorbed prince who disliked women? <br /><br />Turner's turn on the Stepmother role was an embarrassingly painful showing that demonstrated one-liners more than acting nuance.<br /><br />Even the Cinderella part held little interest or sympathy.<br /><br />Perhaps only one sentence will describe this attempt: So cheaply '90's,<br /><br />What MUST be mentioned and mentioned in shameful excess is the glorious photography, matte work and production design. It was a pleasure to peruse the landscapes, sets and settings as the story unfolded.<br /><br />For some Cinderella storytelling, go for two gems:<br /><br />1) Rodgers and Hammerstein's Cinderella Musical with Lesley Ann Warren. Even with the obvious stagey TV - 60's look to the sets, this is the best version on celluloid - bar none. An all star cast makes every effort to provide the highest entertainment. Engaging, diverting and memorable writing and music. This is the classic.<br /><br />2) Ever After- this Drew Barrymore gem maintains the historical perspective, alters the story line but not enough to derail the effective development of the salient points of this classic tale. The characters of the principals and of all of the supporting roles were written smartly and acted well.
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I don't know what the Oscar voters saw in this movie, but they must of seen some pretty hard stuff to see in it to be able to award it with the best picture Oscar. All I know is that fortunately there was Gene Kelly to play in it or this would have been twice as bad as I believe it is. First of all, I don't think Leslie Caron was really fit to play such a role. She isn't that talented, she isn't a great dancer and she's not good looking at all. It's a shame that one actor or actress may ruin a movie just like by playing in it because if Leslie Caron hadn't been in this, it might have made a terrific movie. The story was intelligent, the directing wasn't bad, and, as I said, Gene Kelly was pretty good. Now I'm not saying all this stuff about Leslie Caron just to criticize her, I'm just saying it because I think that's what the worse part of the movie is. She's probably a good actress but I can't tell because I haven't seen her in anything else but I think she was pretty bad in "An American in Paris". So if you want to see it, go ahead but I'm telling you, you're way better off watching "Singin' in the rain".
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I cant help it but i seem to like films that are meant to be scary and are just plain bad. I have personally listed it in my own top 10 worst movies right under creatures of the abyss!. Watch this film and have a laugh just don't expect to see any academy awards for acting. More chance of understanding the film its self. In all honesty though i have seen much worse than this. Plus some maniac cruising round the desert wiping the same people out that just died is that unbelievable that its got to be original. i think its one of those love or hate movies. you can make up your own mind yes its awful but it pulls it off somehow thats why i love it
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It's not just that this is a bad movie; it's not only that four of the "best" Mexican movie makers are in this film; and it's not only that the script is terrible. It's just that...this movie sucks...big time. This people are wasting money in terrible scripts. It's supposed to make a criticism about Mexican society but we're fed up with this kind of films. Is bad language supposed to be funny? I don't get it. Mexican cinema is in big trouble if this kind of movies are going to continue playing (and being written and produced).<br /><br />Please, don't think this kind of movies are well received in Mexico: We hate them and they don't reflect us.
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It was almost worth sitting through this entire god-awful "film" just to know that I can never experience anything as bad as this again. Acting - 0, script - 0, fight scenes - 0, male lead - 0 (cheddar bob from eight mile as a suave war hero who gets the girl), Nadia Bjorlin - 10 (She is gorgeous and not a terrible actress). This is the criteria I used to average it out to a two. I lost count but I believe ever movie cliché, ever, is in this movie. When the driver that supposedly killed her father miraculously shows up at the end to race against her, from out of nowhere it cemented the previous statement. Plus he just shows up for no reason. He was never even mentioned before. I don't know what else to say here. Just watch it when it comes out on TV in a couple years. At least that way some of it will be edited out for commercials.
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I love movies. I love independent efforts and major studio productions. I love films with stars and I love those featuring unknowns. I love dramas, comedies, action-adventures, science fiction, mysteries, westerns, any genre except horror. I love foreign films as well as those in English. I love good movies and I even love bad ones, because almost no film ever fails to entertain or amuse on some level. Except for "Even Cowgirls Get the Blues."<br /><br />When I attended a late-night showing of "Cowgirls," I joined an audience of around 10. Less than halfway into it, I alone remained. Soon not even I could tolerate the disturbing mess unfolding before my eyes, and I left as well. To this day "Cowgirls" remains the only movie I have ever walked out of.<br /><br />I don't quite know how to describe this incoherent, vacuous, trashy, meaningless film, or how to adequately convey its lack of redeeming value. Suffice to say that it ranks as one of the worst major films of all time, preposterous and inexcusable on every level. It tries to be clever, but its conception of feminism seems hopelessly anachronistic. It tries to be funny, but its humor is coarse and cringe-worthy. This is one of the few films which manages to profane its own ethos, by depicting protagonists in so off-putting a manner that you revolt against them and their values. If you want to watch a movie, watch "Waterworld," "Ishtar," anything but this. Except for the new "Alexander." If you're choosing between that and this, read a book instead.
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This is the most saccharine romance I ever sat through. The perfect film for an idle housewife in kerchief, housedress, and ostrich-trimmed high-heeled mules to watch in the afternoon, lying on the couch eating bonbons. In fact, bonbons play a prominent role in the movie.<br /><br />The only reason I was able to watch to the end, is that I finally was able to gaze at Keanu Reeves' dreamy face in almost every scene. In most of his films, he moves too fast to get a good look. The only rapid action in this show is Giancarlo Giannini waving his hands with Latin emotionality - more Italian than Mexican, really. <br /><br />The dialog is as stiff as wood. Unfortunately, no bodices are ripped - the hero is disgracefully perfect-mannered and mild. The aristocratic warm-blooded old-world family cliche is as old as the hills. What does it matter if they are Irish or Italian or Mexican? This is a fairy story.<br /><br />I knew before the titles finished running that this would not be the movie I hoped for. The glowing grapes looked like the paragon of all food ads in Women's Day Magazine. I didn't see his name listed, but the art director surely was Thomas Kinkade, who paints the million dollar canvases of Irish cottages snuggled in fuchsias. This film was literally seen through rose-colored glasses. If you like dreamy pink and blue sky, this film is for you! (The bonbons looked really good, too!)
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Green Street, as it was called in the UK, or Hooligans is a bad film. The story is full of fantastical ideas and premises that anyone who lives in England, has been to a football match or knows the first thing about football will spot immediately.<br /><br />My first main gripe with Hooligans is the poor casting of the two main characters. Don't get me wrong, I like Elijah Wood and have a great respect for his work, but despite his best efforts he struggled to pull off this role. The main motivation for his character is anger at the system and anger at betrayal, however he spends much of the film placid and cheery, only displaying his pent up aggression in one brief scene towards the end of the film. This linked with his looks and physique make him a thoroughly unconvincing addition to a gang of football hooligans. At no point during the film was I convinced that a) he could handle himself in a fight against such thugs and b) the 'firm' of thugs would accept such a person into their fold.<br /><br />The other main character is played by Charlie Hunnam. Charlie looks the part, and is fairly convincing as a thug. Unfortunately, being a native of Newcastle Upon Tyne in the North of England, he demonstrates the worst East London accent since Dick Van Dyke tried to go cock-en-y in Marry Poppins. Details such as this probably will not bother an American audience who will be less attuned to regional dialect in the UK, but being from the UK it was a problem I couldn't ignore and it contributed to ruining the movie for me. The supporting cast all gave convincing performances and were well cast, especially the role of Bover. The lad playing this character would have been much more suited to the main role that Charlie played. With a film like this, you have to convince the audience that your characters are plausible, unfortunately, the casting failed. Imagine if you made a film like The Godfather and had Sean Hayes (Jack) from Will and Grace playing Michael Corleone's part. You would not be convinced. The story in Hooligan is also full in implausibilities. I am no football Hooligan, but I am a fantatical football fan. I know how cliquey a group of 'regular' football supporters can be, as such it deem it impossible for a non-football fan, who is not a fan of the club in question, is not from the area in question and not even of English nationality to be embraced by a 'firm' who equate to a secret organisation in some severe cases. My final, and biggest, problem with this film, is the way it portrays football hooligans. I take objection to the film's idea that despite being very violent individuals, hooligans are excused as they live by some sort of code of ethics in their own world and should be admired for being brave and loyal to each other. This is complete rubbish. Football hooligans are complete scum. They take football, the national sport of England and use it as an excuse to terrorise, frighten and intimidate people. They only represent a tiny percentage of football fans but give the whole game and people of this country a bad reputation. They are not brave or loyal, they are cowardly and evil. If the 'GSE' in this film truly loved their club, West Ham, why would the devote their lives to being a stain on its name. Hooligans are an embarrassment to football and to English society. Football hooligans do for the reputation of football what Hitler did to the reputation of Germans. Although this film tries/intends to show the 'gritty' side of football violence. It does nothing more than promote it as some kind of excusable activity for extreme fans of the sport. It does not show the poor innocent by-standers at football matches who have their day ruined by some idiot throwing coins/lighters/glass into the crowd. It does not show the innocent home and property owners who have to put up with graffiti and broken windows. It does not show the REAL fans of football clubs who suffer indignity and embarrassment when their teams supporters are banned from travelling to away matches or abroad to European games because the thugs among them ruin it for everyone. If you want to see a good film about football violence, watch the BBC drama 'The Firm'.
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I got to see an early preview of this movie and I hope they have time to edit it in what ever way they can to improve on it before it comes out Aug 3rd. It stars Andy Samberg from Saturday Night Live as 'Hot' Rod Kimble. He's plays a teenager in a small town who wants to be a stunt man like his late father. When we meet him, he's jumping a mail truck on his mo-ped, yes, a mo-ped, and almost makes it. This would be worthy of a 'Jackass' movie if he wasn't honestly trying to do this. Isla Fisher plays the slightly older and much more mature girl-next-door, Denise. She seems to like Rod enough to join his 'crew'. Jorma Taccone (also SNL) plays his half brother, Kevin, who documents the stunts with a camcorder. Sissy Spacek plays Rod's mom, Marie. She remarried Frank Powell, played by Ian McShane. Frank's a real tough guy who enjoys beating Rod in some real drag out brawls. It's clear that Rod's not going to earn Frank's respect till he can beat him. We find out Frank needs a $50,000. heart transplant and Rod is determined to raise the money just so he 'can beat his ass' once he's healed, and prove himself a man. A long fall down a mountain side convinces Rod to 'go big' on one stunt. Rod sets out to get seed money by charging for doing stunts that would make you cringe if you saw them in real life. Like the human torch- at a children's birthday party. There were those at the showing who managed to laugh at most of the stunts. Just when all hope and money is lost, along comes a sponsor who saves the day by getting the 15 school buses Rod wants to jump. He gets exclusive broadcast rights and sets up phone lines to get donations. Rod gets a new outfit and a real motorcycle. The whole town turns out and the world tunes in. Does he make the jump? Does he get the girl? Do they raise the $50k? Does Frank get his ass beat by Rod? Wait till this 90 minute movie comes out on video to find out.
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Whatever the merits of the film, it is poorly researched. As others have pointed out, the movie shows locals in Iran speaking in Arabic, rather than Persian. That is enough to lose credibility for anyone who has the slightest knowledge of the area or the country. The landscape could not be more different from the actual.<br /><br />Other factual errors: A train is shown to be operating in Afghanistan, while Afghanistan does not have railways. The Turkish ambassador is wearing a Fez (the red hat), whereas the Fez was banned by Turkey much before the time in which the movie is set. The Turkish ambassador's daughter is actually dressed as an Indian, and Indian classical music is playing in the background in many scenes. I suppose the filmmakers meant to show an exotic woman, and sari was what they decided would make her exotic.
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Near the closing stages of Baby Mama, one of the central characters goes on to describe the basic outline of everything that came before and summarises that it 'was all just a mess'; I really couldn't say it any better than that. And while the feature does have its odd ray of hope every now and again, the vast majority of what is present is too neutered to be considered relevant and too unremarkable to be worth anyone's time. A lacklustre cast, mundane script and vague, caricature characters ensure that Baby Mama certainly isn't taxing on the ol' noggin, but it never makes up for this through its proposed sense of humour. Consisting mainly of very routine, cliché jokes based around an odd couple (rich and poor) trying to live with each other as they prepare to bring a baby into the world, the film is far too esoteric to deliver laughs outside its very thin demographic.<br /><br />As a story on finding love, it's not that bad, but playing this plot line as a side-story of sorts to work alongside the comedy-orientated odd couple tangent, characterisation is notably weak, resulting in a lukewarm romance that never bubbles. As characters themselves, both central figures are mildly amusing when put together in small spaces, but when left alone quickly unravel and bare their emptiness; so while we may eventually come to find the character's interactions with each other amusing at times, the comedy never branches beyond distant chuckles; we don't feel for the characters and don't find them inherently interesting, but rather their dynamic. Unfortunately however, although this dynamic works best, or at least better than the individual personas, as mentioned above, it rarely stems outside of the typical confines of the odd-couple formula.<br /><br />Kate (Tina Fey) is a successful business woman who has hired working class, dumb-blonde Angie (Amy Poehler) to be her unlikely surrogate, and after Angie decides to leave hopeless husband Carl (Dax Shepard), both eventually have to learn to live together despite their obvious differences. Yes, it's the typical odd-couple premise, and one that we have already seen in this year's What Happens in Vegas, yet what Baby Mama lacks that the aforementioned movie had is both chemistry between performers and semi-layered characters. Kate and Angie both fail to ever show much of a personality outside of their two dimensional outline and as such both performers are neglected to play out roles that demand chemistry to produce out of thin air. In fact, the movie's only real engaging performance and character comes from the underused talents of Romany Malco who gets lumbered with playing a door-man. Of the few times that I laughed during Baby Mama, most of those moments were because of this man, and the remainder usually fell to Shepard.<br /><br />It's a rare thing of course to find a movie which embodies its script's themes in the way which its world is shot and presented to us through the camera, and yet director Michael McCullers goes from page to screen effectively enough. Yet, for a film about babies, multi-million dollar business and cultural stereotyping, this isn't necessarily a good thing. Baby Mama is grade-A, hammy, plastic tinsel-town with capital bore topped with sugar. So not only did I feel emotionally distant to the characters because of their two-dimensional nature, but I simply didn't care for the world they inhabited. The dialogue, along with sets, costumes, and the script's general themes are painted in pastel blues and pinks so much that all shades of humanity are lost in the director's incessant need to make his movie feel like a neutered fantasy; these aren't characters and that isn't our world in any way
so why should I care? At the end of the day however, a romantic comedy's ultimate gauge of success or failure comes down purely to its chemistry between its love interests, and the frequency of its laughs; Baby Mama has little going on in any of these departments. Of course to say that the film is without any value at all would be unfair. I'm sure female audiences in a similar boat as lead character Kate may get a slight kick out of the proceedings, but anyone else will probably just feel numb and probably bored. In this respect Baby Mama avoids being unbearable, but never convinces in being anything remarkable or worthy of a look to anyone outside of its immediate audience; a comedic dud and a romantic mismatch, Baby Mama is too light-headed to be interesting and too shallow to be entertaining.<br /><br />- A review by Jamie Robert Ward (http://www.invocus.net)
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The over-heated plot of "Bonjour tristesse" is taken from a juvenile first novel by Francoise Sagan, which became a best-seller, though God knows why. For teenagers wanting to get rid of a potential step-parent it may have a certain appeal. Don't be taken in by the fact that David Niven plays the playboy father and Deborah Kerr the step-mother-in- prospect. Unfortunately, too much rests on the frail shoulders of Jean Seberg. She's beautiful and easily fulfills the image of a spoiled teenager. The problem is that she can strike poses but she can't act. Anyone who saw her as Joan of Arc in Otto Preminger's St. Joan -- Seberg's first film -- knows she was incapable at 19 of carrying a film. This movie, also by Preminger, fulfills the "promise" of the first. It was her second movie; she was now 20. What was Preminger thinking? That Niven and Kerr could compensate for Seberg's lack of acting capacity? Not a chance? Seberg's character is at the center of the story and, pretty though she is, convincing though she may be physically as a 17 year old, she can't meet the emotional demands of the role. I don't know if she ever became a successful actress in her short life because she did not have an impact on my consciousness in her later pictures. But anyone who thinks this film is better than mediocre needs a taste check. In spite of Niven and Kerr, this remains a juvenile story executed in juvenile fashion by a beautiful young girl who badly needed acting lessons.
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A craven, cowardly film. Director Boorman shows Cahill burglarizing rich houses, but the male occupant is shown being unfaithful with the nanny, thats all right then. The forensic scientist investigating Cahill is blown up in his car, but he is rat faced sourpuss, and doesn't look like a nice man, so thats all right too. The Beits, owner of Russborrough House, made their money by exploiting 'darkies' digging up diamonds, so it's okay to rob priceless art from them and hide it in a bunker in the Wicklow mountains. The Garda kill his ferrets and are implicated in his murder. The moral equivalencing is sickening, Boorman looks for a hit film, but doesn't have the guts to stand against the criminality of the generals gang, who terrorized the neighbourhood, and unleashed another wave of scumbags upon Dublin. He even liaised with the Generals son while making it. Disgusting. Shame on him for his cowardice.
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...and you can look at that statement in different ways, by the way. First of all, it's a mess because of all the gruesome and extremely violent scenes. Your wildest imagination doesn't even come close to some of the explicitly shown scenes here. Entire parts of this movie are just plain sick, disgusting, offensive, brutal and they bring you close to puking your guts out. Now, I love horror movies and I am very 'pro-violence', but I do think that it has to lead somewhere !! Is that too much to ask ? Cradle of Fear is just a series of utterly sick and twisted thoughts. The "movie" contains out of four separate chapters connected by a wraparound story. This results in endless showing of torture, murder and sickness only to find out that the victims have something in common. Not very informative, if you ask me. And yet - it has to be said - the basic plot idea surely HAS potential. It's about a cannibalistic hypnotist who made a deal with the devil himself to avenge himself and cause misery and death to everyone who was involved in his trial. Personally, I think that is an interesting topic, so they should have focused on that a little more instead of wanting to create the most disgusting movie ever.<br /><br />Secondly, the whole production of this movie was a mess. They didn't have much of a budget and they spent it all on fake blood and guts...Tons of it !! The acting performances are a joke and some of the worst I've ever seen. Any other special effects besides the make-up looks very amateurish ( Like that attempt to a realistic car crash, for example ). There's no tension or atmosphere to detect anywhere...not even an attempt to build up one.<br /><br />Cradle of Fear is a failure and a missed opportunity to say the least. With the presence of death-metal icon Danni Filth ( from the band Cradle of filth..get the link ? ) this movie is obviously only meant for the eyes of twisted teenagers who try to be controversial. Troubled girls and boys who take pleasure in worrying their parents by watching crap like this. And then people keep complaining that the amount of suicides and juvenile delinquency is increasing...Bah. I can imagine that this movie can cause a lot of damage when you're easily influenced or dispose of an unstable mind. For every self-respecting horror fan, this movie is an insult.
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Jean-Marc Barr (Being Light, The big blue, Dogville) has directed and interpreted this strange movie which is the second installment of some kind of trilogy. I might be wrong but I don't think this movie's part of the Dogma '95 manifesto, though it really looks like it. I'm not really sure of what I think about this film. All actors are good. They deliver pretty good performances, especially Rosanna Arquette and Jean-Marc Barr. The story is somehow interesting. But I don't know, there's something about the movie that I don't like. The sex scenes are way too long. It goes from an interesting work of art to an erotic piece of crap I don't know exactly where it stands. Sure it's not a bad movie, but I won't suggest people to see it neither I'll tell them not to watch. Just do as you want. If you feel curious and you're open-minded, give it a try, you might like it.
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This film is notable for three reasons.<br /><br />First, apparently capitalizing on the success of the two 'Superman' serials, this low budget feature was made and released to theaters, marking George Reeves' and Phyllis Coates' initial appearances as Clark Kent / Superman and Lois Lane. Part of the opening is re-used in the series. Outside the town of Silby, a six-mile deep oil well penetrates the 'hollow Earth' allowing the 'Mole-Men' to come to the surface. Forget about the other holes (those in the plot).<br /><br />Second, unlike most SF invasion films of the fifties, the hero plays a dominant (and controlling) force in preaching and enforcing tolerance and acceptance of difference against a raging mob of segregationist vigilantes. No 'mild mannered reporter' here! Clark Kent, knowledgeable and self-assertive, grabs control of the situation throughout ("I'll handle this!"), even assisting in a hospital gown in the removal of a bullet from a Mole-Man! As Superman, he is gentler than Clark towards the feisty Lois, but is also the voice of reason and tolerance as he rails against the vigilantes as "Nazi storm troopers." <br /><br />Third, you will notice that the transition from the Fleisher-like cartoon animated flying of Superman in the two serials to the 'live action' flying in the 'Adventures of Superman' had not yet been made.
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This piece of crap might have been acclaimed 60 years ago, but it is one of the most racist movies ever made with the Native American Indians played by white men. The right-wing Republican James Stewart was a huge racist in real life, just like his close friend John Wayne. In 1971 Stewart had actor Hal Williams fired from "The Jimmy Stewart Show" (a short-lived series that mercifully flopped) just because Williams was black. As if that were not bad enough, this film is very dated and boring. Watch "Dances with Wolves" instead for a less racist view.<br /><br />Stewart was in his forties when this awful movie was made, and even with his ridiculous wig he still looked like a paedophile chasing after 16-year-old Debra Paget. I'm surprised it was even allowed.<br /><br />0/10.
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The longer this film went on-and it seemed to tediously go on for ever- the more annoyed I became, as quite frankly, what a waste of time sitting through this total nonsense. How on earth do people get to make films like this,or indeed receive finance for such rubbish? Don't be fooled by the relatively high ratings on IMDb as it just proves you can fool some of the people all the time. And in this picture the main players have an obsession with guns, so it is not difficult to work out the way this movie will ultimately unfold. America can never understand that the rest of the world finds it bizarre how society in the USA has such an obscene and fatal 'gun culture'. <br /><br />Anyhow:<br /><br />The lead actor portrays a loser who escapes into a fantasy world of being a cowboy in an Urban sprawl.He comes across a family with two spoiled brat children, a teenage girl and boy; taken care of by a strict single parent father who can barely cope. The cowboy is seduced by the teenage girl or vice-versa, and the impressionable boy is seemingly taken in by the lunacy of the loser.<br /><br />The cowboy spends the whole time in a state of unreality and depression.A total loser who prefers to go to the beach then work for living, and then commits a burglary on his family as he is too lazy to make money legally.<br /><br />Ask yourself:<br /><br />Who wants to watch either a sad failed loser in a fantasy world holding a death wish, or indeed view a poor family who are in effect not much better than white trash?!<br /><br />This film is pointless drivel.<br /><br />It only saves itself from getting the lowest mark possible by some half listen able music:<br /><br />2/10.
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After viewing the film, I was truly shocked to see such a high rating on IMDb.<br /><br />'The Fantastic Mr. Fox' is an adaption of a beloved children's classic, portraying the story of the smooth, slick protagonist Mr. Fox (or 'Foxy') as he attempts one 'last' heist to steal from the dreaded Boggins, Bunce and Bean. That's right, one short, one fat, one lean, or however it goes.<br /><br />I don't quite know where to start with my criticism.<br /><br />Well, I'm in my late teens and was never a fan of Roald Dahl, but I like his material well enough, having read a few of his books as a child and seen Matilda and Charlie and the Chocolate Factory over and over again. This film, however, struggles for an audience. Is it aimed at children? Adults? I'm still unsure! Many of the 'jokes' would bore a child, especially as Mr. Fox visits a lawyer for example, or complains about being poor. Also, an audience of (I'm assuming) children is expected to sympathise with a character who steals and kills chickens. I'm all for the food chain, but you practically see Mr. Fox biting down on their necks! Surely that's a bit much? And also, the plot... well, it's kind of boring. I stayed only with the hope of it getting better, but instead I just got more and more annoyed at Mr Fox and his son Ash for making stupid decisions.<br /><br />The humour, meanwhile, falls flat. I laughed only once or twice, even though I specifically recognised attempts at jokes. I think part of it is that the voice acting is so incredibly flat and monotoned. The voice actors have no sense of comic timing, instead aiming for the subtlety of humour that only works with certain mediums. George Clooney aims to portray Mr. Fox as charming and sleek, but his voice has no character. Meryl Streep shows no emotion, I didn't even realise Bill Murray had a role until the end credits, and Ash, twelve-years old in fox-years, sounds like he's about 30.<br /><br />I love animation, particularly stop motion, but the visual style actually creeped me out a little bit. Characters are tall, spindly and lacking any warmth of design. They move with very little fluidity and often the animation is jerky and strange. There is also a distinctive 'mixed medium' feel, as 2D components are added in sporadically and unsuccessfully. Characters look straight at the camera and talked; it was very awkward. There was one or two moments when Kylie looked straight at the camera, didn't move and had swirls on his eyeballs. It actually freaked me out.<br /><br />Fantastic Mr. Fox had so much potential. Lots of people still seem to like it - look at the reviews. Maybe it just wasn't for me.
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This is the biggest Flop of 2008. I don know what Director has is his mind of creating such a big disaster. The songs have been added without situations, the story have been stretched to fill the 3 hrs gap and most disgusting are the action stunts performed by the actors it's like everyone are having superpowers they can run in between the bullets are fire and nothing happens to them and one person fighting with 100 people. Only the best performance was by Anil Kapoor man he is all time at his best playing the role of villain with a comic act speaking Hinglish... Akki is also done a good job.... But the movieee just forget it.
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There is a key aspect of film that Jobson seems to have forgotten - it has the ability to tell a story by showing it to you. You don't need to tell the audience what to think, because they'll see it. The action here is interspersed with some of the most ponderous narration unleashed on the unsuspecting public - the purple prose of the sensitive fifth former. And it should be unnecessary because their is a fine cast here and some beautifully composed and shot visuals. Maybe Jobbo felt that the basic story needed a lit bit of support. And he may have been right, it lacks a basic credibility: 70s Edinburgh wasn't exactly full of beautiful brainy girls with a penchant for the Velvet Underground and a soft spot for a passing sociopath. From the too neat and new looking clothes that character wears to the cod intellectualism that tries to link it all together, it's all too contrived for my taste.
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I will warn you here: I chose to believe those reviewers who said that this wasn't an action film in the usual sense, rather a psychological drama so you should appreciate it on that basis and you will be alright.<br /><br />I am here to tell you that they were wrong. Completely wrong.<br /><br />Well, no, not completely; it is very disappointing if you are looking for an action flick, they were right about that. But it is also very unsatisfying on all other levels as well.<br /><br />Tom Beringer wasn't too bad, I suppose, no worse than usual; but what possessed them to cast Billy Zane in this? Was it some sort of death wish on the part of the producers? A way to made their film a guaranteed flop? In that case, it worked.<br /><br />If they were actually aiming for success, then why not cast somebody who can act? Oh, and might as well go for a screenwriter who knows how to write. Ah, yes, and a director who knows how to direct.<br /><br />As someone who sat through this mess, actually believing it would shortly redeem itself, I can assure you it never did. Pity, it could've been a good film.
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<br /><br />According to reviewers, the year is 1955 and the players are 20 year-old college kids about to enter grad school. Jolly joke!<br /><br />1955? The synthesizer keyboard was not invented yet, but there it is on the bandstand. The Ford Pony Car was not invented yet, but there it is playing oldies music. The synthesizer appeared to be a model from the mid 1970's. The Pony Car at best is from the mid 1960's.<br /><br />20 year-old college kids? Josh Brolin had seen 32 birthdays when this made-for-TV movie was produced.<br /><br />The plot is so predictable that viewers have plenty of spare time to think of all the errors appearing upon their TV's.
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STRANGER THAN FICTION angered me so much, I signed up on IMDb just to write this review. STRANGER THAN FICTION is a surprisingly complex, touching and thought-provoking movie until the very end. Once you suspend multiple lapses of logic (why didn't Will Ferrell hear Emma Thompson's voice 10 years ago when she fist started writing her book? "The phone rang. The phone rang again." How could she not know it's him calling? etc.), the movie challenges one's thoughts about mortality, fate, and sacrifice.<br /><br />The brief history of literary themes provided by Dustin Hoffman should especially entertain former English majors. And Maggie Gyllenhaal is always a pleasure, even though Will Ferrell might just as easily be an ax murderer as a bumbling soul. Her quick trust of him is a mighty big leap of faith.<br /><br />Ah, but the ending. Until the very end, I would have given 9 out of 10 stars to this movie. The movie as a metaphor for life's journey, as a tribute to the notion of 'writing true,' as a reminder that great literature is either comedy or tragedy, but not both, is outstanding. The entire movie leads the viewer to understand and accept the moment of Will Ferrell's fate. And no matter how endearing a character he may have become, we know full well why we will accept the ending. The last act occurs, the screen goes white, the credits roll. A profound and powerful end to an almost perfect film. An end that would have been debated for weeks.<br /><br />NO!!!!!!!!!! No credits rolled. Say it isn't so. Say Hollywood didn't tack on another 10 minutes of crap that completely undermined the integrity and heart of the movie. Dustin Hoffman got it right when he said, "It's no longer a masterpiece; it's OK." An apt review of the movie. Except to me, it wasn't even OK. I was so offended about the betrayal of 'writing true,' about the decision to pander the film that I actually burst into angry tears explaining this on the ride home from the movie. I don't often cry. I could care less about most movies, but I am still angry about this one.<br /><br />My questions for Zack Helm, the writer, are this: did the original movie end when the screen went white? And were you forced by the vapid movie powers-that-be to tack on an ending unfaithful to the core of the movie? Or did you tack that maudlin ending on yourself? I've read you're brilliant. I hope your original script ended the movie the first time.<br /><br />I know Zack Helm will never see this review, and I've been unable to find a contact for him to ask myself. But, please, movie-goers, am I the only one who feels this way about STRANGER THAN FICTION? One good thing came from me seeing this movie: I doubly admire LOST IN TRANSLATION now.
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This movie was the beatliest mormon movie made yet. It made the RM & Sons of Provo look like well done films! It was supposed to be funny from what I was told. The best part was the best actor in the movie-Travis Eberhard-if he wasn't in the movie it probably wouldn't have been made! He ruled!<br /><br />10. It wasn't funny 9. It was beat 8. It had Thurl Big T Bailey, who's character made no sense 7. It was made in Provo 6. It didn't make fun of Brokeback 5. It had Larry H. Miller in it 4. It was the 1st movie Clint Howard wasn't funny in 3. Gary Coleman chose the perfect movie 4 a comeback 2. They should have cast at Surreal Life auditions 1. It was made by Halestorm Entertainment!!
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To call a film about a crippled ghost taking revenge from beyond the grave lame and lifeless would be too ironical but this here is an undeniably undistinguished combination of GASLIGHT (1939 & 1944) via LES DIABOLIQUES (1954); while still watchable in itself, it's so cliché-ridden as to provoke chuckles instead of the intended chills. However, thanks to the dire straits in which the British film industry found itself in the late 1970s, even a mediocre script such as this one was able to attract 10 star names - Cliff Robertson (as the conniving husband), Jean Simmons (in the title role), Jenny Agutter (as Robertson's artist half-sister), Simon Ward (as the enigmatic chauffeur), Ron Moody (as an ill-fated doctor), Michael Jayston (as Robertson's business partner), Judy Geeson (as Simmons' best friend and Jayston's wife), Flora Robson (as the housekeeper), David Tomlinson (as the notary reading Simmons' will) and, most surprisingly perhaps, Jack Warner (as a gravestone sculptor) - although most of them actually have nothing parts, I'm sorry to say!
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I must pat myself on the back for watching this movie all the way through because it truly was painful. An incapable painter becomes a fully capable hit-man? This movie was rife with absurdities of which if I mentioned them all I would be giving away the movie. Norm Peterson aka George Wendt must really be in a rut to have agreed to do this movie. The acting was deplorable and the story was even worse. As a sane minded and rational individual, I could not understand where the writer came from nor where he was going with this movie. There was ineptness on the part of every main character, there was a string of hapless and ridiculous events, then the movie ended. One absurd act after another with dialogue doesn't make a movie, it only makes a talkative train wreck.
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Need a lesson in pure, abject failure?? Look no further than "Wizards of the Lost Kingdom", an abysmal, dirt-poor, disgrace of a flick. As we all know, decent moovies tend to sprout horrible, horrible offspring: "Halloween" begat many, many bad 80's slasher flicks; "Mad Max" begat many, many bad 80's "futuristic wasteland fantasy" flicks; and "Conan the Barbarian" begat a whole slew of terrible, horrible, incredibly bad 80's sword-and-sorcery flicks. "Wizards of the Lost Kingdom" scrapes the bottom of that 80's barrel, in a way that's truly insulting to barrels. A young runt named Simon recaptured his "good kingdom" from an evil sorcerer with the help of a mangy rug, a garden gnome, a topless bimbo mermaid, and a tired-looking, pudgy Bo Svenson. Svenson("North Dallas Forty", "Inglorious Bastards", "Delta Force"), a long-time b-moovie muscleman, looks barely able to swing his aluminum foil sword. However, he manages to defeat the forces of evil, which consist of the evil sorcerer, "Shurka", and his army of badly costumed monsters, giants, and midgets. At one point, a paper mache bat on a string attacks, but is eaten by a 1/2 hidden sock puppet, pitifully presented as some sort of dragon. The beginning of the film consists of what can only politely be described as bits of scenes scooped up from the cutting-room floor of udder bad moovies, stitched together in the vain hope of setting the scene for the film, and over-earnestly narrated by some guy who never appears again. Words cannot properly convey the jaw-dropping cheapness of this film; the producers probably spent moore moolah feeding Svenson's ever expanding gullet than on the cheesy fx of this flick. And we're talkin' Brie here, folks... :=8P Director Hector Olivera("Barbarian Queen") presents this mish-mash in a hopelessly confused, confuddled, and cliched manner, destroying any possible hint of clear, linear storytelling. The acting is dreadful, the production levels below shoe-string, and the plot is one tired cliche after another paraded before our weary eyes. That they actually made a sequel(!!!) makes the MooCow's brain whirl. James Horner's("Braveheart", "Titanic","The Rock") cheesy moosic from "Battle Beyond the Stars" was lifted, screaming and kicking, and mercilessly grafted onto this turkey - bet this one doesn't pop up on his resume. Folks, you gotta see this to believe it. The MooCow says as a cheapo rent when there is NOTHING else to watch, well, it's moore fun than watching dust bunnies mate. Barely. :=8P
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Watching The Tenants has been a interesting experience for me. It is the first film I have ever seen where I have shuttled at speed through parts of the (non)action - and I can normally watch anything from turgid action movies to Serbo-Croat indie and find them fascinating.<br /><br />The Tenants is frustratingly sluggish and over-orchestrated. One of the main problems of the script is there is little realistic character dialogue, apart from the set pieces where characters 'collide' in a very structured setting (to make this work, the film needed to feel more conceptual, which it didn't). This leads to a lack of realistic character development; everyone seems two-dimensional.<br /><br />The worse for this is the character of Bill Spear, aka Snoop Dogg. I found his characterization very uncomfortable and very unsympathetic. At one point, I even stopped the film because I got so annoyed by the character's aggressive, violent and monotonal delivery, the lack of any other personality layer apart from that of the reactionary "on" switch (which gets really predictable after a while) and I so desperately wanted him to have some redeeming qualities. However, one reason for this jar might be the nebulous time scape of the film (supposedly 70s, it feels and looks more early noughties). If it had been more securely fixed in the 70s, his character might have seemed more understandable.<br /><br />The lighting of the film was also awkward. All the way through, the soundtrack attempts to provide a certain gritty, jazz-infused atmosphere that just did not come off, largely because the set was too well-lit.<br /><br />The Tenants, to me, is an unbelievable film. It doesn't depict real people or propose any interesting ways of thinking about race, identity or the life of a writer, be they white or black.<br /><br />Strangely, I came away with the feeling that this project needed David Lynch; his eerie, clastrophobic and obsessive look and feel would have lifted both the actors and the script into something quite remarkable.
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This is a very bad western mainly because it is historically inaccurate. It looks as if it were shot on a back lot in California instead of where Jack Slade lived and died, Idaho, Colorado Territories, and Montana. It fictionalizes everything that is known about this mysterious 'bad man,' 'good man.' The script is horrible; there is very little direction, and lousy acting. Dorothy Malone is completely wasted as his wife. Mark Steven never seems to know how to portray this mysterious Jack Slade. In real life, Jack Slade was a very good stage line superintendent. He was feared by his local townsmen for his hard drinking. When drunk he would start fights and cause other problems in Virginia City, Montana. To insure that he could never terrorize them again, vigilantes lynched Jack Slade after he ignored their warning to leave town immediately. This is a horrible movie. I can not recommend anyone to watch this movie other than to see how Hollywood butches history at will, even to this day.
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Buck's role as The Kahn brings to mind Bob Barker (of The Price is right) running a country the same way he runs his show. But there's lots more to chuckle and snort through in this turkey. Kurt Thomas as the baby-faced "hero" displays some considerable acrobatic skills, but not a whit of acting talent whatsoever. There's a few spooky moments (in the Village of Crazies, mostly), and some mildly impressive martial arts sequences. But any given "Ninja" movie will give you much more entertainment, and you won't feel as guilty about laughing.
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I don't like using the word "awful" to describe any work of the cinema for which a great deal of time, effort, talent and money is spent in its creation but Zefferelli's attempt to adapt Charlotte Brontë's novel 'Jane Eyre' is a total waste of time.<br /><br />The script is lacking in finesse and power, everything explained to the viewer in no uncertain terms, leaving little to the imagination. The lead actors are woefully miscast, clearly hired for their star names, and the musical score drippy and dull. Charlotte Gainsbourg and William Hurt have absolutely no chemistry with one another at all. She is like a wet noodle, worse even than Joan Fontaine, who at least was capable of some modicum of emotional involvement in what should be a story of frustrated passion. And William Hurt acts the entire film on one tone and that tone is flat and devoid of energy. Of course the limp and vapid script does not aid any of these otherwise fine actors in their efforts to bring any whiff of life to this flick.<br /><br />Joan Plowright's Mrs Fairfax is like some Disney creation who keeps popping up to sweeten scenes in which she would have been best left out. <br /><br />There is no mystery surrounding the story of Rochester's first wife. The role of the would-be second wife, played like a Barbie Doll by Elle MacPhearson, is an empty cipher.<br /><br />Fiona Shaw, a very great actress, is completely wasted as Jane's Aunt, Mrs Reed. She would have been better-cast as Mrs Fairfax. Only Amanda Root, as Jane's beloved school teacher, evokes any authentic sympathy or believability. <br /><br />I saw this version of 'Jane Eyre' after viewing Robert Young's for British television, made in 1997, starring Ciaran Hinds, Samantha Morgan and Gemma Jones. There is no comparison. Young's vital, romantic and deeply moving version is like an exploding nova compared to Zefferelli's wet squib.<br /><br />I will be interested now to see the 1970 version with Timothy Dalton, about which I've read some very good things on this web-site. I am amazed at how many people liked Zefferelli's Yorkshire picture book. <br /><br />About all I can say good about this film is that the house is beautiful and the cinematography vividly colored, beyond that it is a complete dud.
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This programme bugs me! There is no humour to it and is far too serious to be called "fun"! It's just far too educational for my liking! The characters are very stereotyped and unappealing. The plots are redundant and the morals are just repeated over and over again. Where's the fun in it? Also I feel this has been on the BBC for far too long and is broadcast way too much. Does it really need to have a slot on T.V every 2 or 3 months when a brand new show runs out of episodes? I think it's time that the BBC starting bringing back some of their older shows like: Inspector Gadget, Bananaman, The Smurfs, Snorks, Moomins, the Raccoons and Count Duckula other than continually giving contracts to these newer shows! I thought the BBC where bring back Danger Mouse, so what's going on with that?! 3/10
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OK me and a friend rented this a few days ago because we like to keep track of b-movies since we do them ourselves. Anyway, the cover contained blood and weird looking naked girls with fangs and stuff... and Tom Savini! There is just no way this movie can fail! Right? wrong!! It just seems like such a waste! There was really no story, the dialog was terrible (is anyone there? x 1000!!!), the characters were.. well, they really lacked any kind of personality... The effects were terrible.. and whats up with these long artsy shots of scared people running around doing nothing.. with extreme closeups of eyes and stuff? We were sitting the whole movie waiting for something... anything to happen... but no... "oh, here comes the nymphs! great! oh.. they're kissing... again... and now for the violence! OK... nothing really happens... again... oh, now they run around... and the closeups of eyes... again... oh, heres Tom Savini! Oh... he died... right... OK, maybe now something cool or even interesting will happen.. no.. oh! Cool! a severed head! the end... oh crap.." And finally, since i'm so full of myself.. i'll tell you this! Give me a van, six actors, a weird looking house, Tom Savini, a couple of naked girls with fangs and buckets of blood and i could make the coolest movie you've ever seen... I've made movies with zero budget in two days that has better effects, better acting and a better script than this... what is this Johannes guy doing?? Making cool movies is easy!It could have been so great... I'm really upset!!
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Why is this film so bad? Well, if being so stupidly annoying and unfunny is a reason, then this film is it. The character of Corky Romano is unlikable at best and downright infuriating at worst. The gags are predictable but that isn't what makes it bad. They are the lame sort of predictable jokes that your unfunny friend would say.<br /><br />Corky Romano is about a mild mannered vet that tries to do right but is so clumsy. His quiet life is thrown for a loop when the family that once spurned him now needs him to infiltrate the FBI to destroy any trace of the family's crime history. However, it isn't that easy for Corky because the FBI believes him to be a super agent and pegs him with the duty of spying on his very own family. Mishaps and mayhem ensue but it really doesn't feel like any comic hijixn are there. Corky ends up in love with his beautiful FBI partner and has to set the record straight with both the FBI and his family if he is to settle down to the quiet life again.<br /><br />I think what makes this film irritating is both the lead actor and the supposed jokes. Chris Kattan reveals his alarming limitations as and actor here as his one note slapstick routine falls flat about 10 minutes into the film. It is okay to have a full movie based solely off of dumb, slap stick humor. Will Ferrel, Kattan's SNL partner, seems to have made a full career out of it. The only difference between Kattan and Ferrel is that Ferrel knows when to tone it down and rely on other ways of telling a joke. There is absolutely no diversity in Kattan's routine. It's hard to hear the same joke twice, but for a whole movie that is just pure torture.<br /><br />The other problem with the movie was the lack of truly original and FUNNY jokes. The gay mafia brother, the awkward guy sch-tick, and plenty of other forgettable jokes appear none as funny as the first time you barely laughed at it. It seems as if the screenwriters had more of a fun time writing this than any one had watching it. Even with a cast that has some comedic talent (Chris Penn, Peter Falk) the jokes that commence are tired. There is no chemistry too. This film was obviously one for the pocketbooks for the actors. No body seemed to care about it, or even try. Sad thing is, no body told Chris Kattan that.
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When I saw this "documentary", I was disappointed to see Serbian Propaganda in action once again. Even though Serbia and its nationalist politics is main reason of Yugoslavian breakup, it is not mentioned in this "documentary", which is made by Bogdanovich whose name tells us that he is Serbian and his movie that he is far from being objective. It is one in the set of lies pushed by Milosevic regime. Everyone else is guilty only Serbians were right and victims, even though most of the War Criminals tried in Hague are Serbs, even though Serbs are one who have committed genocide against Bosnians , and attacked Slovenia, Croatia,and Bosnia all independent nations recognized by the UN.Breakup of Yugoslavia was not avoidable because Serbians did not want to release the grip their nationalism has put on Federal Yugoslav government, so SLovenia, Croatia, Macedonia, and Bosnia were forced to become independent nations in order to protect their interests.If you are interested in an objective documentary about breakup of Yugoslavia, and fact led documentary this is not it . You should watch "Yugoslavia:Death of a Nation", Made by Discovery channel and BBC.
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Was there a single positive to this film? Critics who knew nothing of video games could spot the gaming errors made. No damage taken with damage clearly visible towards the beginning being a primary example.<br /><br />And I may have missed something, but wasn't Super Mario Bros. 3 suppose to be a game that had never played before? Well if that IS the case, and I did not miss anything... how did Fred Savage's character, and even the girl, know so much about the game already? We're talking things that some people don't know about by their second or third play-through.<br /><br />Beyond the factual and gaming errors there is the general low quality of the film itself. Nothing here is honestly very memorable. The kid wasn't even that good at playing video games in the footage they showed. A lot of kids I knew way back in those days were significantly more experienced. On top of all this the acting and storyline are just mediocre at their strongest points. The characters are bland and completely uninteresting, the 'Wizard' (the youngest child) is a very silent, completely dry child cliché of a little kid who almost never talks because of a trauma. It isn't that this is unrealistic, it's the fact that it had to be thrown into the movie to actually even begin to form a plot that would exceed even 30 minutes.<br /><br />Honestly, the only value that is to be found here is that of a nostalgic nature. If you grew up with this movie you're going to like it whether it was good or not. It was about kids playing video games, and at the time you saw it you likely had an obsession with the NES as well. But unless you loved it as a kid there just isn't anything that's going to keep you interested, and very little that will prevent you from turning it off.<br /><br />No sir, I didn't like it.
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I have watched anime but I'm not a die hard fan; and I don't read manga. I say this because many of the reviewers who are waxing lyrical about this film seem to have that background. I have seen "St. John's Wort," and although it isn't a masterpiece by any stretch of the imagination, it made me pick up "Shinobi," especially since everyone seems to love it.<br /><br />Well, I watched it this afternoon, and fought very hard to keep watching. Yes, it's very beautiful - the slow motion water scenes, the autumn leaves on the trees, even the CGI eye flicker - majestic. I liked the hawk, the costumes, even some of the fight scenes, but overall this was dull as dirt.<br /><br />It seemed as if someone took "Romeo and Juliet" - the translation even mentions that they are star crossed lovers - and threw in some "X-Men" for good measure. Two of the characters split Wolverine's powers - the guy dressed in a bear costume had his claws and the grey-haired guy had his ability to heal himself. Then you have the girl who has a poison kiss - that's Poison Ivy (from Batman). Why do they give these women such dumb powers? Poison girl shows her leg then kisses you to death. Man, that's some great power for you. And the other girl, can create bugs from this yellow dust that she rubs on her hands. The other woman, one of the star crossed lovers, has the power of a hypnotic stare. Wow.<br /><br />I sort of made it to the end of the film, by fast forwarding it, and did see a bit more tragedy than I expected. Some people are comparing this to "House of Flying Daggers" and "Hero." Don't make that mistake. They may share similar endings, but that's where the similarities end. "Shinobi" is made by an amateur - the other films are made by an experienced filmmaker.<br /><br />I would say avoid this film unless you're 12 to 18 years old.
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Geez, as a Gay man who lives in NYC I can gratefully say that I have never seen the underbelly of Gay Culture that is portrayed in this film - and I am glad of it!!! Was this film broadcast on TV across the United States there would be a great anti-Gay backlash and I cannot say that I would blame them. The people in this film do not represent the average Gay American or even the average Trandgender American, what they do represent is a sheer and utter nightmare. The inclusion of obviously underage characters is appalling and the obvious racist sentiments (anti-White) are blatant and unsettling - society cannot be blamed for people who have chosen drugs, unemployment and rejection of education on the part of the film's "cast" - the actions of these people are not acts of desperation, but rather a rejection of anything resembling personal ambition and a willingness to make something out of one's self.
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I chose "Dead Creatures" because I thought it was a zombies movie just like "28 days" or so... but not at all. It isn't even a horror movie. Nothing happens, except for a group of women that seem to have been infected by a strange virus that make her to eat human flesh in order to survive. <br /><br />That plot gives rise to a series of disgusting scenes of cannibalism...<br /><br />Very VERY BAD MOVIE.<br /><br />*My rate: 2/10<br /><br />------------------<br /><br />------------------
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I believe that war films should try to convey the terror of war, avoid idealism and respect some rudimentary military principles. Zvezda barely does the first. Zvezda being a Russian war film, I was expecting patriotism, sentimentality, beautiful poetic pictures, a lush score, Slavic cheekbones and cruel Germans. What I didn't need was the naive love non-affair, the unrealistically silly war scenes and the abuse of the syrupy soundtrack in a film which avoided carefully all historical or political references (Stalinism, Nazism, Holocaust) only to end on a passing but nonetheless insulting to our sense of history endnote about "liberating Poland". A missed opportunity as a film but not as propaganda apparently.
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OK, so it was written in 1996, before 9/11, so you can give it a little credit for worrying about terrorists and the idea that the CIA director makes a plot to blow this doomed plane out of the sky before it brings doom to the world, is prescient. That's it. That's the good stuff. The acting...fair. The plot...silly. The "twist"... unnecessary. DOOOOOOOOOOOM It isn't as though no one ever thought of what to do when a plane gets contaminated. Don't you think bureaucrats have a manual for "plagues" and how to contain them? Proper execution of such a plan is always a problem, as we saw after Katrina. But they have a plan. It isn't to send them off to Iceland and then to Mauritania. And if the virus is carried in the air, why was the plane door open and the "shooters' standing there with no protection? In fact, did it ever occur to anyone to shoot her legs? That would stop her. But not as dramatic. I'm a sucker. I always watch a movie to see the end, once I started it. But this was a waste of time, and for the most part, predictable. I saw it using a recorder so I didn't have to watch all the ads, that was a plus. It's a good example of why I watch so little network TV. Rubbish.
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After hearing the word of mouth of just how bad this film is I took the plunge and bought the DVD. That said everything previously mentioned about this film is true. For a film that claimed to have a budget in the millions it just does not show on the screen at all. The list of problems with the film could drag on forever. Chief amongst them is the film is simply too long. It dragged on for a few minutes short of 3 hours. Nearly an hour probably could have been cut off the run time had the editor simply removed the overabundance of scenes dealing with nothing more then the main character wandering around aimlessly. <br /><br />Secondly, as many had pointed out from the "trailers", the special effects are anything but special. The tripods looked OK in a few shots here and there but beyond that everything was grade-Z 1970's or 1980's quality. Probably the worst effects of all were the horses, which stiffly tottered back and forth as they moved. The heat ray effects were laughable, as people were reduced to bones that somehow were still able to flail about without any muscles. Also pitiful was the Thunderchild sequence, in which the Thunderchild, described in the book as an ironclad ram, looked nothing of the sort. Instead it resembled a World War 1 era destroyer, complete with deck guns (which fired but had no visible crew), and torpedo tubes. <br /><br />The colors and backgrounds were just as bad as the effects. Most laughable of all was a scene early on in which the main character and his wife go for a nighttime stroll and he points out Mars to her in the sky. Well, the sky is black, but the views of the characters and the landscape around them is broad daylight. There is also a very sharp demarcation between the real landscape, bathed in full sunlight, and the fake black night sky with overly large fuzzy stars. To detract even further, the color of the scenes made no sense. In some they are bathed in orange light. In others green light. In still others it's blue light. In some instances the outsides are orange lit but the interiors of houses are green or blue. The frame-rate and camera is very shaky, giving everything a stuttering look.<br /><br />Finally, the acting is overall sub-par. One man portrays two characters who's sole difference was one lacked a mustache. This led to some confusion at times as to who was who and where they all were. The English accents, even to American ears, are outrageous. <br /><br />In summary, this movie could very well make a claim to being the worst film released in recent times. I have not seen Gigli or some of the other recent flops but this one, because of it's poor quality in every respect, must easily be worse then anything that mainstream Hollywood has put out. I would not be surprised if the movie makes it to the bottom 10 or 20 in the IMDb rankings. It's a pity that Mystery Science Theater is not still around.
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**May Contain Spoilers**<br /><br />A dude in a dopey-looking Kong suit (the same one used in KING KONG VS. GODZILLA in 1962) provides much of the laffs in this much-mocked monster flick. Kong is resurrected on Mondo Island and helps out the lunkhead hero and other good guys this time around. The vampire-like villain is named Dr. Who-funny, he doesn't look like Peter Cushing! Kong finally dukes it out with Who's pride and joy, a giant robot ape that looks like a bad metal sculpture of Magilla Gorilla. Like many of Honda's flicks this may have had some merit before American audiences diddled around with it and added new footage. The Rankin/Bass animation company had a hand in this mess. They should have stuck to superior children's programs like The Little Drummer Boy.
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To be honest, i'm surprised by the positive votes that this film has received. The movie just drags along its 81 minute life span, and the audience has to suffer the whole way through. Actually there are some positive moments in this film; Charlie Spradling gives a decent performance. She is given some pretty pathetic dialogue and she handles it pretty well. Scott Valentine(Merrideth's boyfriend in Family Ties), on the other hand, is a pretty rough watch. I guess the highlight of his performance is witnessing the guy laying on the beach wearing tiger-patterned chummies....give me a break. Also, Valentine gives us a boorish and pathetic portrayal of a suffering vampire who misses the day(to see a much more convincing rendition of the suffering vampire see Denice Duff in "Bloodstorm: Subspecies 4"). The movie moves so slow and is only positively punctuated by, and to be honest, Charlie Spradling's dance scenes. This movie can honestly only be recommended to the die hard fans of Charlie Spradling (which i am, and i still had a rough time watching it!).
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Style but no substance. Not as funny as it should be. Not as deep as it wants to be.<br /><br />This is another in the genre of films about the difficulties of filmmaking. A young filmaker is hired to finish a campy 60s sci-fi movie called Codename:Dragonfly. Think Barbarella, or Danger Diabolique.<br /><br />But Jeremy Davies is an angst-ridden filmmaker. He's no hack he's an artist. The movie he wants to make is a diary of his life. Hardly original.<br /><br />All the characters outside of Jeremy Davies filmmaker are as thin as rice-paper. Characters that might be interesting, such as his father, his doppelganger, or Jason Schwarzmann as a hack director are introduced and then shown the door without adding a thing.<br /><br />This movie is full of eye candy but when compared to other films about filmmakers such as Stardust Memories or 8 1/2 it pales in comparison. Those movies are funny, provocative with well-developed characters. Those movies have lessons that apply outside<br /><br />The movie wants to be comic and campy but its just derivative and there is not one funny scene. The filmmakers describe it as a send-up but what's the satirical target? The actors say it's an homage but I think I would rather a full-length version of Codename:Dragonfly.<br /><br />Coppola is clearly amused by the setting as is evident by the visual humor of the sci-fi movie within a movie. But he fails to share why we should be amused.<br /><br />Outside of the sci-fi movie its just a mess. There are continuity errors, the filmmaker chooses a sci-fi weapon after its already been chosen. What?<br /><br />Just because he has a scene were the filmmaker is confronted by the critics complaining about the lack of story, lack of a point, a scene where he admits empty cleverness does not mean that he has addressed those criticisms.<br /><br />I guess if your Roman Coppola you can get away with making a movie about an angst-ridden idealistic filmmaker who doesn't know what he wants to say and so ends up saying nothing. In that sense it may be considered autobiograhical.<br /><br />I would watch it at Circuit City on a wall full of TVs if I had a choice. Watch the 15-minute Codename:Dragonfly movies included on the DVD as extras and then send it back.
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