I spotted this film in a branch of the Duane Reed pharmacy in New York on holiday, and it seemed like a bit of silly fun. And sure enough, the whole premise is ridiculous beyond words - but it turned out to be a thoroughly enjoyable action film for kids, and their parents too.

10-year-old Ricky Bernard (Jordan Garrett) has his head in the clouds most of the time, much to his father's (Larry Miller) dismay. As a member of his school orchestra, Ricky and schoolmates fly to a concert performance ... and once again Ricky's mind 'takes off' and suspects some criminal plot is happening.

Reluctantly aided by best friend Sashi, who is a fan of hot sauce (what a strange plot device that was) and others they try to get to solve the mystery. Oh yes, and Ricky's skills 1,000 hours of flight simulator experience prove to be handy when he is called on to save the day in the film's thrilling climax! It was good to see Eric Roberts and Mark Dacoscos play parts in a family film. And watching the DVD interviews everyone seems to have had great fun taking part.

I totally liked Junior Pilot; charming and good-natured performances, funny plot line and a real; sense of enjoyment and sheer silliness.

If you are looking for an entertaining family film, you could do far worse than buy this one.


I was geared up to not like this movie, and the first 10 minutes or so did nothing to allay my fears. It starts off with 2 high school gangs squaring off against each other with bad kung-fu. A scenario found in countless other Korean films. Ho-hum. Add the fact that the story was written by the same guy who wrote "He Was Cool" (which was barely passable) and, well, I thought I was in for a nondescript 2 hours.

But don't give up so quickly! "A Romance of Their Own" was directed by Tae-gyun Kim, who also did "Volcano High" (which I thought was loads of fun). Anyway, "Romance of Their Own" soon takes a turn much for the better. A high school girl, just having moved to Seoul, finds herself in the middle of attention from two prospective suitors. Each guy has his own merit, and it is not clear which one (if either) would be the right pick.

What follows is not your usual teen love triangle. The emotions are complex, and while you may not agree with certain choices or actions as the film develops, you can certainly understand why the characters make them.

The movie asks questions of the characters and the audience. Who does one choose? At what point is one obligated to even make a choice (and is it unfair to one if it seems he is being strung along)? After you (or your heart) has made a choice, how do you react (and how *should* you react) when new information comes up that sheds new light on the situation? There is one scene, near the end, that is very subtle but perfectly captures what I think would be a real-life reaction instead of over-the-top "movie reaction." The subtlety is in a character in the background of the scene. Recent events and revelations have left him confused and emotionally overwhelmed. Basically, he doesn't know what to make of things. Instead of having him "act out" something, or look all gape-mouthed dumbstruck, he just stares off at some fixed point unable to react or say anything at all. It's like someone just pulled the plug on him. His reaction rang true to me and I appreciated the scene.

Like most Korean films, there is a mix of action, bravado, slapstick, and melodrama. Korean films often take abrupt turns (see, "Sex Is Zero" for a great example), which can be quite a shock for the uninitiated. Go ahead and initiate yourself with this one. Like it, love it, or hate it, I think most viewers will be able to relate to and appreciate the characters' actions and reactions.


I saw this episode of Masterpiece Theatre and immediately came to IMDb to look it up. I was greeted by a comment from another user, who believed that it was nothing special, a 6 out of 10, and underwhelming. I would feel morally remiss if I didn't disagree.

Now, I am an avid fan of Masterpiece Theatre, but oftentimes the stories can be a bit silly on television, for example, "He Knew He Was Right" was absolutely horrendous. "Carrie's War," however, is probably the best I've seen so far. The entire cast does an excellent job, and it held my interest more than any other piece I've seen recently. The character Mr. Evans is of particular interest, and through subtle images of, for example, an untouched birthday cake or a garnet ring, my opinion of him went from bad to truly good. Truly. His ultimate demise, and the story of how everyone around him left him a cold hard man, is what brought out the bittersweet in this story for me.

The end is gratifying in every sense but one; that everyone did not get what they deserved, but overall things worked out. I absolutely recommend this to everyone.


This movie took me by surprise. I first saw it more than 10 years ago, and it stays with me still. It's got it's just plain boring points, and I, personally, would have ended it differently- this has not in the least bit discouraged me from watching it over and over and recommending it to others. The acting is _fantastic_. The cast and director do an amazing job with the script, and anyone who likes 'different' movies, who has the patience to sit and say, "What the hell is this?", and allow themselves to be drawn in should give this film a chance. If you just want Alan Rickman to be goofy or to see things explode this is not the movie for you.


I don't know what it is exactly, but the film is happily sitting on my shelf, with no thought of ever leaving me...Fulci has crafted one of the most ridiculous, bizzare, cheez-infested and well unique movies I've ever seen. Not sure what else to say about it, but I LOVE THIS MOVIE!!! The steak tartar scene is absolutely uproarious, and the whole nazi torture orgy fiasco is strangely hilarious...I'm not sure what Fulci was trying to do, but has anyone heard that, based on this film, Fulci accused Wes Craven of ripping him off with "Scream"? "Cat in the Brain" is a must for bad movie lovers everywhere...Yes I'll definitely say it's not a "good" film, but I guarantee certain scenes will stick in your mind forever! This is an exercise in craziness, people...I guess if I were a "serious" critic I'd give it a 3, but on sheer enjoyability (again I can't really explain my affections) I'd give it a 7....Really whacked out flick...


In the late eighties and early nineties the decline and death of independent video companies like Vestron and Media effectively shut off Italian horror films for much of it's American audience. Coincidently(?) Italian genre films also declined in quality and profitability.

Occasionally movies like Primal Rage, "sequels" like Beyond The Door III, Troll 2, and a few Dario Argento films limped out onto video but most remained unreleased (until DVD) in the US for nearly a decade or longer. Movies from these lost years became very sought after and talked about among horror fans.

Of these films, Cat In The Brain is probably one of the most hyped of all due to the legions of Lucio Fulci fans and the fact that it was not only directed by but also starred their idol, Fulci himself.

Though not quite Fulci's best, it's still better than most of his later efforts. His rabid fan-base will probably love it. Italian horror and giallo aficionados might also enjoy it, depending on their tastes but I'm not sure about anyone else. People who only watch Hollywood stuff might not want to take the word of the many glowing reviews here.

One thing I personally found fascinating were the scenes featuring probably Benito Mussolini's only lasting contribution to Italy, Cinecitta Studios. The name is instantly recognizable to any fan of Italian movies. Until I saw it here, I could only imagine what it looked like.


...the last time I laughed this much. It's a testament to the talent of Rowan Atkinson that he has managed to create a comic character with several layers and a clearly defined personality - without hardly ever speaking a word. The whole success of the program rests on Atkinson's shoulders, but he carries it with ease. Despite the fact that the show only ran for one season, anyone even vaguely in touch with pop culture recognizes the rubber-faced social 'tard, so great is the talent and effort put into the performance. At times exasperating, at times lovable, Mr Bean is an innocent, unlucky chap who also happens to be evil incarnate. The brilliance of this character cannot be put into words, you have to see for yourself.

The show gets almost too depressing at times, like in the infamous New Year's Eve sketch, or when Bean celebrates his birthday by going alone to a restaurant, offering himself a congratulatory card signed by himself, and being served a stake he doesn't quite fancy. Still, there are times when you can't help but feel impressed by the inventive methods by which Bean gets himself out of trouble, like when he disposes of said stake in numerous clever-ish ways, or when he changes into swimming trunks without taking his trousers off first! Whatever your reaction to Bean and his unorthodox lifestyle, you're bound to throw fits of laughter while watching.

Finally, I'd like to point out that although "Bean" is classified as a program for children, it is just as enjoyable for any grown-up with a sense of humour. Because the more "adult" jokes will go over the heads of the little ones and the intelligent slapstick (yes, there is such a thing) is funny no matter what age you are, "Bean" is the truest definition of a family show. This is justly a classic and it always brightens up my day.


Rowan Atkinson delivers an unforgettable performance as the clueless Mr. Bean who never goes far without his Teddy Bear. The appeal of Mr. Bean is largely his childish behavior and innocence. We don't know if he came from the sky or another planet. He is the kind of strange character that you can't make up quite easily. He is often alone and used to it. He has a hard time communicating through speech which might be why we only hear his grunts at times. There are other characters who speak to him and he responds. The character of Mr. Bean is a mystery and still is. He lives alone and does the unthinkable when he can do the sensible thing. Mr. Bean is rather an odd man out who does not mind it much. He rather live a simple life with his yellow car and teddy bear and hopes to get to work on time.


I've always enjoyed Frank Sinatra's music, and just recently I wrote a term paper about his life story. I've been fascinated by the life and legend of Ol' Blue Eyes. However, I've never seen any of his movies. So I wanted to see if his acting was as great as his singing. Well...it was! I was blown away by his performance in this movie! He really does a tremendous job as recovering heroin addict Frankie Machine, who's trying to put his life back together and audition as a drummer for a local band.

Otto Preminger's direction is great as well. I haven't seen any of his other movies. I read his biography on the IMDB. He seems like one of those directors who was sorely misunderstood, and people had conflicted thoughts about him. Seems like the kind of person who appeals most to cult enthusiasts. I haven't seen enough of his films to know for sure if he's really brilliant, but now I'm curious. I want to see more of his films, because judging by his attempt with "The Man with the Golden Arm" this guy has talent. I also loved the music for this movie. The score definitely contains the kind of music that I'll remember if I ever happen to hear it again. That's when you know you have a great score.

The supporting performances are fine as well, including Darren McGavin as the local drug pusher, Eleanor Parker as Frankie's wheelchair-bound wife and Kim Novak as his lover.

It's interesting to see how filmmakers handled the subject of drug abuse, as opposed to modern attempts in films like "Trainspotting" and "Requiem for a Dream." Back in 1955, just mentioning the word "drugs" caused controversy, and if you watch the film they kept the subject on a very discreet level. There's only one scene where Frankie is actually getting heroin injected into his arm, and they showed a close-up of the reaction of his face rather than showing the needle graphically poking into his veins. But it delivered its message without making it feel watered-down. In a powerful drama like this, with powerful performances and direction like this, you don't need graphic portrayals of drug abuse to keep the audience intrigued.

"The Man with the Golden Arm" is a dramatic gem that all film buffs should check out. It really is an amazing piece of work!

My score: 8 (out of 10)


Otto Preminger's "The Man with the Golden Arm" is a reference to heroin addiction - something that must have been rather risky to film back in 1955, fifty years ago (the censors today STILL have a problem with drug content in films!).

The lead role was originally offered to Marlon Brando, then snatched by Frank Sinatra before Brando could respond. Sinatra convincingly portrays a pro card dealer and ex-heroin addict who returns home to the city only to find himself battling the demons of temptation.

Preminger is one of my favorite directors (his "Anatomy of a Murder" starring James Stewart is a brilliant and revolutionary courtroom drama). Preminger pretty much helped change the face of cinema back in the '50s - "Anatomy of a Murder" was extremely controversial when it came out due to both its plot and content (references to rape, women's "panties," seduction, etc.) and "The Man with the Golden Arm" deals with a topic that is equally volatile.

However, Preminger pulls it off without becoming exploitative. This is like a forerunner to "The Panic in Needle Park" (1971) and bears more than a few similarities in terms of general motifs to the classic Billy Wilder movie "Lost Weekend," starring Ray Milland. These three films in particular are probably the best movies about alcoholism predating the 1980s and still remain relevant today.


STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

One time heroin addict Frankie Machine (Frank Sinatra) gets out of prison to his bumbling jailbird partner Sparrow (Arnold Stang), needy cripple of a wife Zosch (Eleanor Parker) and bit on the side Molly (Kim Novak.) He's trying to make it big as a drummer in a band, but until his big break comes along he's stuck doing the only other thing he was any good at other than being a junkie- dealing cards in high stakes games. And try as he might, even prison hasn't cured him of his addiction to the devil's drug- causing him to lie to and deceive all those around him and driving him to desperate measures to feed his habit. His yearning to come off it is his only motivation towards a happy ending.

When people think of Frank Sinatra they generally think of classic high pitched songs like Under My Skin, New York New York and It Had to Be You. But lest anyone forget he was actually a renowned actor too and, if his performance in the acclaimed From Here to Eternity wasn't enough, he will also be remembered for this cutting edge drama, dealing with what was at the time the ultra taboo subject of drug abuse.

The film is often listed as one of the first to feature graphic heroin use (probably the reason behind the 15 certificate) in a time when it was a subject that was still very much pushed underground. In his portrayal of the main protagonist, Sinatra is fine, perfectly conveying the despair, desperation and sincerity of a man losing every second chance that is being given to him. His cold turkey scene is much more intense than Ewan McGregor's in Trainspotting. The first co-star to make an impression is Parker as Machine's demanding, needy cripple of a wife, using her husband's guilt and sense of duty to all the effect she can. Novak as his secret lover still manages some strong moments but is less of a star than Parker. Stang does his usual comic relief thing, as the bumbling sidekick who trails the leading man around with his waspy New York accent.

Director Otto Preminger does allow the pace to drag a bit sometimes but this is still a powerfully absorbing film all the way, with plenty of unexpected twists and turns and which should be admired for being one of the first films to bring such a grim subject so powerfully to life. ****


A middle aged man, Robert Jordan, set in his ways, takes on a boy scout troop after his predecessor leaves under duress. Jordan takes on the pack mostly to learn what the boys like so he can revive his flagging radio program which is losing it's appeal to the younger set. He has a rough go at first with the boys, especially so with Mike, an 8 year old who forms an attachment for the older man which is anything but reciprocated. Do things work out for Jordan and the scouts? Check out this entertaining and amusing film from the old days.


Robert Jordan is a television star. Robert Jordan likes things orderly, on time and properly executed. In his world children are to be seen, not heard. So why would Mr. Jordan want to become the master of a rambunctious band of Boy Scouts? Ratings. His staff figures that if learns how to interact with the youth, they will be more inclined to watch his show. Of course watching Jordan cope comprises most of the fun.

Like Mr. Belvedere and Mr. Belvedere Goes to College this one is sure to please.

ANYONE INTERESTED IN OBTAINING A COPY OF THIS FILM PLEASE WRITE TO ME AT: IAMASEAL2@YAHOO.COM


Subject Matter: Cosmology, Quantum Physics and Stephen Hawking

Soundtrack: Phillip Glass

Have I died and gone to Heaven?

You will be enraptured.


This is one of the best episodes from the entire X-Files series, creepy beyond words. The tension and suspense in this episode is very well executed, in its entire 45 minutes it managed to be almost as scary as an entire movie. This episode joins the ranks of best episodes with such greats as "Home", "Humbug" "Bad Blood" and "Milagro" for being the best in their respective season.

Mulder and Scully's growing relationship is put to the test in this episode: Can they really trust each other? This episode also contains a tiny scene that will leave romantic viewers smiling.

Mulder: "Bring your mittens"


I read Angels and Demons about 3 years ago, and I can honestly say to is one of the few books that I couldn't put down while reading.

The movie however was pretty much what i expected, a lot of action, with somewhat of a mystery storyline. Tom Hanks plays, in my opinion, a much better role, of Professor Langdon than in The Da Vinci Code.

You won't have to worry about this being as bad as The Da Vinci Code, this is everything that it wasn't. Much more interesting, more action, more suspense, and less of the unneeded controversy. If you haven't read the book, no worries you will still find it very interesting. And if you have read the book, well lets say you might be a little let down because I found many scenes missing that I was looking forward to.

Overall, Pretty impressive film for any everyday movie goer. But, maybe not something too special for Dan Brown fans.


I bought this DVD from Walmart for cheap, thinking it would be a typical, crap straight-to-video monster junk, but it turned out much better than expected. There isn't really any criticism to say about it... it's obviously low budget, but that just adds to the cheesy old fashioned fun. It's very cool and entertaining.

There's everything: horror, sex, a great plane crash and good characters. And I'd say it's pretty original, cuz it really doesn't come off as any other movie I've seen. It has it's own unique look, which I liked very much, that's why this film deserves credit. I look forward to seeing more of these awesome movies from "The Scare Master", Brett Piper, whom I've never heard before this one.

The DVD menu is really creative with groovy music playing over it, so it's perfect just to keep it on when you're not yet ready to sit down and watch it. It also includes some special features, which are really interesting. But we never get to see the director or hear him in the commentary, must be shy. This comes out of Edgewood Studios in Vermont, USA. I highly recommend it to all horror buffs, you'll love it!


Brett Piper again makes a very good film that is trashed by the so called film "experts." it is low budget, but fun, and the leading lady is very sexy. I wish i could see more of Irene Joseph. Good viewing fun. I bought the DVD and enjoyed it. The special effects are stop motion animation, and much better than the computer generated crap they call effects today. I always enjoy Brett Piper movies, and if you liked this I recommend Bite Me, Screaming Dead and anything else he has done. I look forward to seeing more of his work and well as more of Ms. Joseph. I simply cannot see why this woman hasn't been in more movies, as her acting is excellent.


Set in Venice mainly on the Lido, Visconti's "Death in Venice" is a triumph of filmmaking combining the excellence of Dirk Bogarde's characterisation and expert photography of the resort area in all its various daily moods. For those who love Venice, this is a film to cherish.

Mahler's music frequently heard throughout the film heightens the drama. The mood it creates is not always happy. But then what else would you expect with a title like that?

There is not a lot of dialogue in the film. Rather sparse in fact. It's mainly background noises and chatter and laughter among the hotel guests. The intriguing part is to interpret the exchange of glances between Gustav von Aschenbach a composer of some renown and a slim teenage youth Tadzio who see each other from time to time across the tables of the hotel dining room, on the beach and at odd unexpected places around Venice. They seem to acknowledge each other's presence shyly at first with little more than the suggestion of a smile but later with a strong and riveting and urgent gaze.

Each viewer will have his own interpretation. The composer has lost a child of his own. Is this behaviour an expression of yearning for the child he loved? Is it perhaps a sexual attraction towards this fragile young man with his dazed somewhat girlish stare? Could he be discovering some new inspiration for a yet unwritten musical masterpiece? Who knows?

From beginning to end this film captures the true spirit of 19th Century Venice. The elegance of the ladies, the deck chairs on the sand, the children frolicking in their neck-to-knee bathing costumes, the glow of sunsets and a general feeling of satisfaction with the world. While some may think the pace is rather slow at times, the film has an overall gentle quality, but with a simmering indecision between two repressed human beings. Be prepared for a sad and beautiful ending.


In Luchino Visconti's film Death in Venice, it is not only the beauty in the surrounding world that decays, but in the pursuit of beauty itself Gustav von Aschenbach decays into a mere shell of a man. To understand the decay, we must acknowledge the beauty which enchants us, it is best described, and explained in a quote from Socrates found in Thomas Mann's version of Death in Venice, "beauty alone, is lovely and visible at once it is the sole aspect of the spiritual which we can perceive through our senses Else whatif the divine, if reason and virtue and truth were to speak to us through the senses? Should we not perish and become consumed by love?" We see in the film this very thing happen, the man becomes enveloped by a longing for beauty, which turns into a longing for the boy, Tadzio. Even though the levelheaded part of his mind tells him that adoration of beauty can lead to sensuousness and abandon, he cannot contain himself.

It would be easy to describe this as a beautiful film; early on we see the extravagance of the parlor, and we are treated to a perfect summarization of turn-of-the century upper class life, all captured on film perfectly by cinematographer Pasqualino De Santis. But Visconti does not indulge in the picturesque aspects of Venice. Instead, the glorious and sensuous artistic achievements of the past are based on materialism and sensuous beauty, and these things are relegated to the past. The city we know to be of incomparable beauty and uniqueness is nothing more than a leisure resort with a nosy hotel staff. The streets become exhausting labyrinths filled with disgusting filth and rot, the city decays in step with the protagonist. Only through the flashbacks are we allowed a glimpse of why this famous composer is a frail and innocuous man. The death of his daughter, and presumably his wife, along with the failure of his music allow us to understand why he is destroying himself.

Alfred, with whom Aschenbach has in depth conversations on the meaning of beauty and who can create it; but Alfred is more than a friend, he is Aschenbach's alter-ego, and what Alfred says articulates the composer's own doubts and fears. The scene in which Aschenbach decides to leave Venice is immediately followed by a clip of Alfred telling him that he is weak, alienated and lacks feelings. In the end we might be able to conclude that these flashbacks are not reality at all. It is a decay of memory, rather than objective renderings of the past, these flashbacks become distorted memories. We can say that these are decayed memories because even Aschenbach alludes to it, he declares, "reality distracts and degrades us;" and, following the scene in the travel agent's office we see Aschenbach confront Tadzio and his family and warn them - leave Venice, but directly after the encounter we see him sitting with the clerk again and realize it was all in his imagination, he employs long scenes without dialogue that are framed by the poignant music of Gustav Mahler. He allows the viewer's mind to wander as we watch Aschenbach's life and respectability decay with the beauty around him.

Slowly the viewer realizes that our hero is overwhelmed by exhaustion that is mixed with a growing awareness that the town is suffocating in filth. The crumbling city sets the stage for the middle aged man's attraction to Tadzio, it is romantic longing for something so idealized and ambiguous that it can never be consumed, even in fantasy. The beauty of this Polish boy kindles a fire in him that, at first, makes him glow, then consumes him. The film concludes with von Aschenbach sitting feebly in a beach chair watching Tadzio fight with his friend, we see the black dye from his hair running down on his cheek and it looks like rotten blood, it is a vision of his life's expiring moments, though before his last breath. The final decay has happened, all around him the city is soiled, and with it he has become what he detests. As Aschenbach dies he has the same painted face as the old man on the ferry at the beginning of the film, a man that had disturbed him. It was the pursuit of beauty that initiated his decay, in the pursuit of artistic beauty he could not sense his own demise, and that of the city around him; his sensuality is indulged in, while constantly kept in check by the presence of death and decay. It is these three themes that tie The Damned and Death in Venice together, beauty, death, and decay, these themes are Visconti's art, the beauty of his work is in the decay of beauty itself.

In this film we are treated to the deliquescence of one great man. We see the honored composer Gustav von Aschenbach in the pursuit of true and pure beauty, and it is in the pursuit of this trait that it decays all around him and leads him to a miserable, lonely death watching the target of his affection. I believe that through these movies Visconti is trying to tell us that what is beautiful cannot last. Decay is intrinsic in the world around us, and when we become distracted, it can destroy the splendor. In Death in Venice, it is because of culture and through the pursuit of beauty that all is deleted. Beauty and deliquescence are woven together like thorns in Visconti's works, at once beautiful and destructive, it is these themes that define his art.


Morte a Venezia is one of my favorite movies. More than beautiful, it's really sublime. It gives you important aesthetic experiences, it's a masterpiece. I also recommend the novel. Luchino Visconti is a genius.


Fantastic film! Wow - this is really a treat. I can't believe that I discovered such a gem of a movie.

A pretty young girl traveling south to Florida meets a friendly older couple with an RV, after she has a flat at a rest stop. However she learns that things aren't as they seem and the couple gets a bit creepy after she spends some time on the road with them.

Everyone in it was just so perfect for their parts you just about believe that you are watching this happen in real life in front of you.

Newcomer Emily Grace did a fantastic job as the really cute, yet somewhat shy Alice. Emily gives you the feeling that you can understand what she is experiencing and you can see just how she got into the situation that develops in the film. I'm sure we'll be seeing Emily in more films in the future.

Contrary to what some others have said, the lighting and photography in this were just perfect. The editing was done well too - just the right way to put together images of the highway to give you the feeling that you are traveling along with the cast on their road trip.

I didn't see it on the big screen, but I can only urge everyone to go out and see it. More films like this are *exactly* what we need.

SF


If you're into alternate realities, contemplating what's real and what's just a fantasy, this is an edge-of-your-seat thriller that'll keep you guessing and really make you think. Try to get a copy of it and see for yourself! I watched it at an L.A. film festival recently and it was by far the best one in the group that I saw. It helped that it was actually about something, unlike the others that were screened. It's very well directed and the production value is top notch. I would compare it to Jacob's Ladder in that it keeps you guessing as to what the true reality is of the world that we're in. You should definitely try to hunt this film down and if it's screening at any festivals near you, try to check it out.


Ken Loach showed the world the down-and-out flip side of Swinging London with "Poor Cow", about London woman Joy (Carol White) hooking up with a thief and having a son with him, only to see the man end up in the slammer. While his friend (Terence Stamp) manages to help her out some, he proves to be little better in what a loser he is. It soon becomes clear to Joy that she's going to have to make a serious decision about where she's going in her life.

One thing that I determined - I don't know whether or not this is accurate - was a use of irony in the movie. Her name is Joy, but she experiences no joy in her life. Even if that wasn't intended, it's still a movie that I recommend to everyone. Featuring songs by Donovan (one of which - "Colors" - appeared in another Terence Stamp movie: "The Limey" (which, incidentally, came out in 1999, when I was as old as my parents were when "Poor Cow" came out)).


Closet Land. The title itself conjures up thoughts of secrets. And that is really what's at the heart of this Amnesty International film. Government secrets, personal secrets, both are integral pieces of this story.

By far the greatest acting seen in too long a time, both Alan Rickman and Madeleine Stowe were phenomenal in their portrayal of a Government Interrogator and Victim respectively. With only the two actors in this unusual standard length film, it is instantly clear that both actors were dedicated and talented enough to pull the viewer into this tiny bubble of a world and shut the door.

A WORD OF CAUTION...

What isn't mentioned on the description of this movie is that there is a subplot that deals with childhood sexual abuse. While there is no graphic detail about the abuse, the nature of it may be difficult for some viewers to watch - especially given the intensity of the film on whole.

I'm not a big fan of Amnesty International films, but this movie drew me in because the acting was so exceptional, and I can't help but make this movie one of my personal favorites.


After the across-the-board success of MY NAME IS BARBRA, CBS television permitted Barbra to create an even more elaborate follow-up as her second special. Streisand wisely knew, in order to follow in the ground-breaking success of MY NAME IS BARBRA, that her second special would indeed need to raise the bar even further in inventiveness and spectacle. Not surprisingly, she succeeded once again. Even more impressively, Streisand managed to mount this large production without sacrificing the intimacy and vision of MY NAME IS BARBRA.

Once again, the special is divided into three distinct Acts. Filming on location at Bergdorf Goodman's department store was so successful in the first special, that Streisand and company decided to film on location once again for the first Act of this second special. The decided-upon location this time was the Philadelphia Art Museum, which would allow endless chances for Barbra to "enter" different art works that would correspond with the songs being performed. In addition to the numerous artistic possibilities that this location made possible, the museum would offer the perfect opportunity to take advantage of filming in color.

After the recording of "Draw Me a Circle" that is set against the opening credits, Barbra then dashes around the museum in a maid costume to the strains of Kern and Harbach's "Yesterdays." She stops to admire various paintings and statues, often becoming the character that is depicted and singing a thematically appropriate song. Streisand performs a bittersweet rendition of Hammerstein and Romberg's "One Kiss" as Thomas Eakin's CONCERT SINGER, delivers a hilariously campy performance of Chopin's "Minute Waltz" as Marie Antoinette, embraces abstract art with the frenetic rhythm of Peter Matz's "Gotta Move," and performs a wrenching rendition of "Non C'est Rien" as a distraught Modigliani girl. The high point of Act I, however, is when Streisand compares profiles with the bust sculpture of Egyptian Queen Nefertiti, while singing a tour de force rendition of Rogers and Hart's "Where or When." The Act II circus medley allows Streisand to interact with various farm and circus animals, while singing various songs with farm/circus/animal themes. Some highlights include Barbra singing "Were Thine That Special Face" to a baby elephant, performing "I've Grown Accustomed to that Face" as a serenade to a piglet, the campy "Sam, You Made the Pants to Long" sung to a group of baby penguins, and Barbra comparing profiles with an anteater while crooning "We Have So Much in Common." Streisand also swings on a trapeze and leaps from a trampoline to the chorus of "Spring Again," and then slows things down by performing a haunting version of "I Stayed Too Long at the Fair" while seated alone on stage. Barbra also gets the chance to show off her pet poodle Sadie in this segment, and even speak a little French.

The Act III concert is once again the high point of the hour. Dressed in a slenderizing white wool dress, the concert segment is performed on a uniquely-designed stage with a partial staircase that leads nowhere. Streisand opens the Act with a sultry rendition of Harold Arlen's "Anyplace I Hang My Hat Is Home," before launching into heartfelt versions of the familiar standard "It Had to Be You" and the rarely-heard "C'est Si Bon (It's So Good)." Streisand then really amazes the audience with a breathtakingly powerful, octave-soaring performance of the Sweet Charity ballad "Where Am I Going," of which Streisand delivers the definitive rendition of. Streisand also introduces the then-newly written Richard Maltby, Jr.-David Shire ballad "Starting Here, Starting Now," which contains an impassioned vocal from Streisand that ranks among the very best vocal performances of her long career.

More than anything else, Color Me Barbra was a showcase for Streisand's ever-increasing, mega-watt star power. Despite the presence of even more visual razzle-dazzle, Streisand herself is always the main attraction. Her voice sounds as beautiful as ever, and this special was the first to showcase how strikingly she photographs in color. As with MY NAME IS BARBRA, COLOR ME BARBRA was another rating-smash and spawned yet another Top-Five, Gold-selling soundtrack album. Simply put, COLOR ME BARBRA defies tradition and emerges as a sequel that is nearly on par with a classic original.


I was surprised, "Once More, My Darling", had not generated enough votes (at this writing) for a "user rating". It's a "screwy" comedy I have enjoyed many times over the years. Robert Montgomery's mission places him in some very improbable situations, and he's just the man for the job. He maintains his trademark "befuddled" look throughout the film and hysterically, too. Ann Blyth plays his precocious/eccentric pursuer, who assumes a relationship that does not exist. Her character is kooky enough to warrant the unearned nickname "Killer", but remains cute and cuddly.

Among the glut of "B" movies from the late 1940's and 1950's, "Once More, My Darling" is a standout. This one is worth looking for....


Like all of the very earliest films, this "movie" is very, very short--lasting about one minute! So, because of its brevity, it's not really possible to compare it to more modern films. But, for its time, it's actually a very remarkable film. Much of this is because the prints were hand painted--making Annabelle appear red and other colors as she does her amazing dance. I've actually seen two different versions--one where she is red and another where she changes color throughout. I think the red one depicted on the DVD "The Great Train Robbery and Other Primary Works" is the best of them. The dance itself is very hypnotic and much like a piece of amazing performance art. And, unlike other one minute (or less) films of the day, this one is one I could see repeatedly--it's just that visually compelling and odd.

If you want to see it online, there is a 36 second version on Google Video (type in "serpentine dance").


I first watched this in black and white, circa Christmas in the early Sixties, when it was shown on British television. I was absolutely hooked, and watched it over again whenever it was repeated on TV (possibly two or three times only, as it happens - if only we'd had video recorders then!).

As outlined by other contributors, the plot describes the return of Hoppity the Grasshopper, after a period spent away, to a Forties American city. He finds that all is not as he left it, and his good insect friends (who live in the 'lowlands' just outside the garden which belongs to a songwriter and his wife) are now under threat from the 'human ones', who are trampling through the broken down fence which prefaces the property, using it as a shortcut.

Insect houses are being flattened by their feet, and are also often burned by cast away cigar butts and matches. Old Mr Bumble and his beautiful daughter Honey (Hoppity's childhood sweetheart) are in grave danger of losing their Honey Shop to this threat.

To compound their problems, devious insect 'property magnate' C. Bagley Beetle has romantic designs on Honey Bee himself, and hopes, with the help of his henchmen Swat the Fly and Smack the Mosquito, to force Bumble to give him her hand in marriage.

Will the heroic and fearless Hoppity win the day, and manage to save the community of bugs from their dastardly fate, and especially his precious Honey from hers? Enjoy the classic songs ("Katy Did, Katy Didn't" is a superb, swinging, upbeat example), and the colourful visuals, as the tale unfolds.

Time has not blunted my fascination for this masterpiece of animation and story-telling, and I was much pleased to find that it had been released to video, although I later found out that it was in NTSC PAL format. Never mind, I sent off for the video immediately, and only then bought a portable TV/video combination (complete with NTSC playback).

I have enjoyed many nostalgic viewings since then, and have even discovered that the TV rights have switched from BBC (who informed me they were unlikely to ever show the film on any of their stations) to FilmFour, who have (at last!) been showing it on their digital stations in early 2007.

My granddaughter (aged three) was absolutely entranced while we watched it together - and this is a child who has been influenced by the digital age and the resulting computer-generated productions!

I would thoroughly recommend this film for any age, and especially the youngest of viewers.

Give Max Fleischer a posthumous Oscar!


well, i may be bias as i grew up watching a VHS copy of this film that is now ready to snap and have just spent the last couple of hours tracking down a DVD copy as a birthday pressie for my Dad. The film is so harmless and inoffensive it suits all ages.... much better than anything Disney ever made in my opinion (and i used to work in the Disney Store!!!). The characters are enjoyable and the award for best scene is a tie between the disrupted wedding (especially the musical talents of Swat, the fly. and Smack the mosquito), and the amazing night club scene. The musical numbers still have me humming 20 years after i first watched it. there is no other film that i can better recommend whilst baby-sitting, and in fact every child i know (thanks to my Hoppity loving parents) have seen this film, many times. It will always get top marks for its fabulous love story, a brilliant baddy and over all originality.


First off, I never got into Dr. Who until recently. Honestly, I never got the opportunity to watch any of the previous incarnations (pun intended) since it was never "big" here in the US as it is everywhere else.

That said, I must say (obviously) that after finishing the 2nd season, that this is one of the best sci-fi shows I've ever seen.

Now, I watch a lot of Sci-Fi shows from all over and this show stands out.

The first season was tops to begin with, with Christopher Eccleston in the title role and I thought he was terrific. Of course, so was the lovely Billie Piper who just adds such humanity and warmth to the character of Rose that no one could've done it better. Let's not forget Camile Coduri as Jackie and Noel Clarke as Mickey/Ricky who are just a blast to watch. Then there's David Tenannt. At first, I thought he was too gawky-looking to play the character (his ears!!), but after watching the 2nd season, he fits in just fine. His sharp acting and physical comedy is almost flawless. He's great with snappy dialog and can turn serious without batting an eye.

Aside from the great acting from the cast is the acting from most of the guest actors that have appeared. A lot of them are veteran actors but some are new to me and are damn fine.

The production and direction of the show is top notch. Occasionally, there'll be some cheesy effects here and there, but that's always been a factor in the original series and, like those episodes, is negligible.

My favorite thing of all about the series: The stories. Writing folks, is always the key to great entertainment. Russell T. Davies has written many of the episodes along with a few other writers and they have done an excellent job. They've managed to bring excitement, ingenuity, intelligence and fun with clever concepts and great dialog. I also appreciate the fact that they can breach the older Doctors' past story lines and enemies well (my friend explains much of this to me while we watch the show) and respectfully.

I won't mention anything about the 2nd season and how it ends since the Sci-Fi channel just started airing the 2nd season.

I wouldn't want to spoil it. It's so much fun and excitement. You'll never want to take your eyes away nor miss a word of dialog.

It really is that good.

PS: Thanks to the producers for Nicholas Briggs back! **EXTERMINATE!**


I never saw Doctor Who before (at least not in any focused way), so I was new to the concept. I have to say that the new show works very well. It's funny (it really also ought to say "Comedy" in the genre description; many plot turns are only acceptable because of their comedic value), it's well-written and it's making a meager budget go a long way. The human dimension is very strong and engaging, which is very rare in current TV shows.

I've seen the first eight episodes, and #6-8 were my favorites so far. Even types of stories that are all too easy to screw up (with time-travel, saving one's dead parents and that sort of stuff) works out amazingly well here.

Christopher Eccleston is a joy to watch as the witty and light-hearted though occasionally morose Doctor - if they can find a good replacement for him, I'll be quite surprised. But I'm willing to give the new guy a chance. There's little doubt, however, that the Eccleston episodes are going to go down in history as classics.

The relationship between the Doctor and Rose is particularly refreshing. The Doc is much more of a father figure to her than a romantic interest, and yet there are hints of romantic innuendo between them, which however is much more emotional and human than sexual.

A good show. The biggest drawback is the low budget - a show like this ought to have better special effects. And why they don't simply use some cheaper effects, I don't know. In this day and age, SFX don't have to cost a bundle - just look at the Star Wars: Revelations fan film.

8 out of 10.


Russell T Davies has been tasked with re-creating a slice of my childhood: hiding behind the sofa, watching scary monsters battle with Dr Who. He, and his crew, are clearly all true devotees of the original series.

In much the same way as the Star Trek movies used their budget to make the Gene Rodenberry's original concept far more believable, Russell T Davies has both money and the advantages of excellent CGI to create the best monsters ever. I am sure that this series was made with a budget that anticipated both export and DVD sales and it really feels as if no expense was spared.

The accompanying series Dr Who Confidential shows the work that goes into each episode which is a really useful behind the scenes insight. Interviews with the cast and writers help retell the story from each characters perspective and are far more useful than simply watching the whole programme over again.

How does David Tenant rank in the pantheon of his illustrious predecessors? Time will tell but tonight, seeing Billie Piper play alongside Elisabeth Sladen, who was the Doctor's companion in the 1970's confirm that she has both the acting ability, screen presence and script to be the No. 1.


To paraphrase Thora Birch: "I kind of like this movie. It's the exact opposite of everything I hate in a film".

This obscure film was too low key and intelligent to get a theatrical release, any chance for success would have needed a costly promotional campaign. And a coming of age story where nothing spectacular happens - where instead the focus is on character development, has a limited target audience. Whoever heard of a mature teen movie?

But if you have an opportunity to see this or if you can part with a few bucks for the DVD, you could do a lot worse. "My Teacher's Wife" is nothing revolutionary but it has a lot going for it and holds up well to repeated viewings.

Jason London (as high school senior Todd Boomer) is the star and fits this character as well as his parts in "The Man In the Moon" and "Dazed and Confused". He is helped out by exceptional work from his supporting cast. Tia Carrere in the title role is a revelation (she can act) as Todd's calculus tutor and love interest. Christopher McDonald as the teacher in a nice self-parodying performance. Zak Orth and Alexondra Lee as Todd's best friends, and Jeffrey Tabor as his father.

As someone commented earlier, this is a "mature" teen movie because the romantic relationships are universally unsuccessful-at least by traditional happy ending standards. Even Todd's parents are indifferent to each other, with his father panting after the title character and his mother (Leslie Lyles) literally on the telephone during her entire time on screen (a device that provides increasing comedy relief with each successive appearance). The London-Carrere romance has unexpected charm and is far more believable than any other older woman storyline you are likely to find.

But the real strength of the film is the evolving relationship of the three friends. There is no overwrought melodrama here, just three immature people who alternate between testing and trusting each other, subject to all the dynamics that three young people can bring to this kind of thing. They actually manage to pull off a "believable" three-person relationship, perhaps the first one in cinema history.

Then again, what do I know? I'm only a child.


this movie is not as bad as some say it is infact i think it`s more enjoyable than the original . maybe that`s why some people hate it as much cos they dont want to admit it`s a good (not great) movie.<br /><br />most if not all fx were done by C.G.I which i didn`t mind at all cos it was an enjoyable movie. Phil Buckman - (Chris) was in my opinion the best guy in the movie Julie Delpy was rather attractive she brought the sexiness to the movie.

there were a lot of wisecracks in the movie which i thought were good. this movie is in my collection but the original is not because i dont like it as much as this one. i was not bored when i watched this movie it kept me watching unlike some horror movies i could mention like oh say = driller killer & suspiria (dario argento`s movie) thats to name but two.<br /><br />this is an ok werewolf film it should be in people`s collection if they like werewolf movies maybe i`ll get the original at some point maybe. i have only one complaint and that is Phil Buckman - (Chris) should have been in it more than he was but apart from that the movie was fine.

rating for this movie 8/10 an ok werewolf movie not the worst one out there.


Krajobraz po bitwie like many films of Wajda is, perhaps, not understandable for the "rest of the world". Story based on the few short stories of Tadeusz Borowski, who during WWII was the prisoner of Oswiecim, Dachau and Dautmergen camps. Borowski in his books describes inhuman life in the Nazi camps from the point of view vorarbeiter Tadek - porte parole of author who also was on the privileged position among the prisoners. Borowski was merciless for the humanity and merciless for himself. He describes the human history as the endless chain of exploitation and humiliation. Ironically, after the returning to Poland he stopped writing artistic prose and became communistic propagandist, producing stream of anti-imperialistic and anti-american press publications. After few years he committed suicide. In the movie Wajda changes point of view. Vorarbeiter Tadek - character created by the Tadeusz Janczar - plays only supporting role. Story is focused on the poet, destroyed, burned out by the war and imprisonement and his one-day love affair with Nina, Jewish girl who escaped from communistic Poland although she actually hates jewish life and mentality. As the background we can observe sad grotesque of so-called "dipis" (displaced persons) life, who after the liberation are settled by the Americans in SS barracks. Marches, patriotic kitsch mixed with hunting for the extra dose of food and/or prostituting German girls.


This film is a work of pure class from start to finish, for a moment forget the famous 28 minute no dialog heist, forget that it's set in Paris and forget it's Noir. The film itself, the premise and the execution make this a pure gold experience.. it's sharp intelligent and thought through in great detail, just like the heist itself. It portrays real characters that are not only believable but whom you empathize with. It's a film that doesn't glamorize the notion of a robbery but shows it for what it is.. theft. It shows that a heist is hard work and ultimately not worth doing. Now all things considered put on top of that a daring 28 minute sequence with not a word spoken and set in gorgeous Paris with truly great attention to detail and fantastic cinematography and that last scene ...when you look up and see those trees... wonderful use of raw and basic filming techniques... it is a master piece in my view and I'm glad to have seen it.


After seeing NAKED CITY and NIGHT AND THE CITY (which is still my favorite Dassin) I was more than excited to watch his "Masterpiece" (O-Word Criterion) RIFIFI.

Now i am a little bit disappointed about the story.

So I have at least these five questions in my mind:

1. In the final Countdown Louis Grutter shot from the inside a house the main Character Tony le Stéphanois. He couldn't know if he is still alive or not, but he didn't care about it and ran directly after it outside the house (with the money) to reach his car. So of course Tony wasn't dead and shot him. BIG QUESTIONMARK.

2. In another important scene the specialist in safes Cesar gave directly after the robbery as a present a diamond ring (which was a part of the robbery) a Woman which was working for Louis Grutter in a night bar. Stupid, because before this character wasn't THAT stupid. And of course Louis knew directly that Tony planned the jewel robbery. SMALL QUESTIONMARK.

3.After the Gangsters behind Louis Grutter murder Mario Ferrati and his wife,Tony and his best friend Joe planned a revenge against Louis gang. At the same time they don't care for the security of Joe's wife and his five years old child. Of course Louis gang kidnapped the son. CHEAP and SIMPLE.

4. The perfect heist: Of course this is the best 30min. long scene in the whole Plot, without any word spoken in the whole time, but was this a perfect heist?? Comparing with other movies which handle with this theme i could only smile when for example Tony was taken a fire-extinguisher to banned the alarm. Also too SIMPLE.

5. The Grutter gang went to the house of Mario, because they knew (however....) the jewels will be there. Then they murder Mario and his Wife. And then? They are not searching for it! NO. They ran directly out of the apartment. And more. They not observing the apartment after it so Tony can go after a while (which was the same day) inside to take the jewels. BIG QUESTIONMARK.

Over all: it's a good movie. Because of the brilliant 30min silent heist scene. Because of the very good cut (The end scene in the car through Paris is stunning) . Because of a very good actor called Jean Servais. Because of this Black/White fever you will get while watching it. Because of some other reasons too other user wrote about, but please don't tell me this is a stunning story.


Man with the Screaming Brain certainly isn't a perfect movie, but I'm pretty sure it was never meant to be anything more than a star vehicle for Bruce Campbell, meaning it works as kind of a summary of his entire career: slapstick, sarcasm, cheese, action, and happy endings. Campbell is, as a writer, uneven--there are lots of things in the story that don't make a great deal of sense (why does the robot suddenly have breasts merely because a female brain has been implanted into it?), and some of the scenes feel like retreads of other, better incarnations (the scene in the restaurant, where Yegor and William battle for control of William's body, is straight out of Evil Dead II). There are, however, lots of little touches and non-sequiturs that feel rather brilliant, such as when William is in the height of his panic and screams at a statue, "What are you looking at?!" The movie looks like a Sci-Fi Channel original, probably because it was. The acting is actually pretty good. I particularly enjoyed Tamara Gorski as Tatoya; she was ruthless and cunning, yes, but seemed to have a tragic air about her in certain moments that the story never explored. Ted Raimi handled the standard "bumbling assistant" role admirably enough, and Bruce is funny as the arrogant, sardonic, condescending American jerk. (Now that he's writing his own films, you'd think he'd give himself a role that he hasn't been typecast in already.) Man with the Screaming Brain is a bizarre, nonsensical B-movie that ought to be enjoyable for anybody who can avoid taking a cinematic experience too seriously.


One of the best sitcoms to run on Indian television along with Dekh bhai dekh and Idhar udhar. Great acting, well paced and an extremely amusing script made this a truly memorable series. The fun filled opening montage (sung by none other than the inimitable Kishore Kumar)gave a very accurate picture of what one could expect. I used to borrow it from my local video library years after Doordarshan had stopped airing it. I wish Indian television would revert back to serials such as these rather than the asinine saas-bahu soaps and reality television which is all its good for these days. Anyone who's found of genuinely good comedy ought to go and get this series. You'll might also enjoy a couple of Pakistani sitcoms such as ups and downs and aik aur aik which are certainly comparable to India's best.


I really liked this movie, it totally reminds me of my high school days. The soundtrack is awesome. I am a huge nic cage fan and this is my favorite movie that he is in. I love the storyline, it is a total love story, against the odds kind of thing. I think anyone who graduated in the early eighties (1980-1984) should see the movie. It totally brought back memories of high school for me.


The Merchant of Four Seasons is a film about a lack of love. The film starts off with the main character; Hans Epp, returning from a spell in the foreign legion. He returns to his mother, not to be told how much she loves him, or how much she's missed him; but to be told that he is worthless and, even worse, that she would have preferred the man he went with to have come back instead. It is the character's relation to women that makes this film so hateful; the fact that his wife is taller than him is symbolic of his relation to the other gender; he is consistently humiliated by them, and it is through his relations with them that his life isn't as great as it could have been. This is also shown clearly by the way he treats his wife after a drink. He lost his job as a policeman through lust for a woman, and even his wife; a woman that is supposed to love him, never really shows any affection for him. Even at the end, his wife is more bothered about what her and her daughter will do than the state of her husband.

The Merchant of Four Seasons is a thoroughly unpleasant film. There isn't a scene in the movie where someone is happy, and not only that; but the movie seems deliriously blissful to wallow in the misery of it's central characters. The movie is certainly not recommended to anyone who is currently having a hard time, that's for sure. Despite all the misery, the film never steps out the bounds of reality; every event in this movie can - and most probably has - happened, and that only serves in making the movie more shocking. The film is, of course, helmed by Rainer Werner Fassbinder; the cult German director that committed suicide in 1982. This is only my second taste of the man's work, but through just two films, it is easy to get an idea of the type of art that he creates. Both films are downtrodden and gritty - yet realistic pieces of art. His characterization in this movie is subtle; we only ever get to know the characters through their plight's and not through their character. This is a very clever way of showing the audience that it is their surroundings that define the people in the film, not the people themselves - and as nearly everyone that sees the film knows what living in an urban society is like, it wont difficult for the majority of people to relate to.

The Merchant of Four Seasons is not a film that is easily forgettable; the movie is high on substance and low on style, and that makes for a very memorable picture, and one that everyone who considers themselves to be a fan of cinema should experience. It is with that in my mind that I give this film my highest recommendations; it's not sweet and it's not pleasant, but you will not see a more realistic portrayal of depression, and this is most certainly a movie that will stay with you.


I'm a Geena Davis fan for life because of this movie. I've always loved Samuel L Jackson. And the two make a great pair on screen. This said, I think 'TLKG' is the best action movie I've ever seen, forget the twist endings that audiences have now come to expect and that filmmakers now try (mostly failing) to incorporate into their movies.

10/10


I was happy to find out that at least now this movie is beginning to get the appreciation it deserves (just view those votes). Not top-class action like "Die Hard" or "Lethal Weapon", but still something like a solid 7 out of 10: fine script, good actors with working chemistry, and a director who knows what he wants (sadly, this was director Harlin's last good film. "Deep Blue Sea" managed to reach 'an OK rollercoaster-ride'- status, but "Cutthroat Island, and especially, "Driven" are well-deserved flops!) Personally I think the turn-off at the box-office might have been the "Woman as an action star"-theme. Well, give her a chance, because Davis does deliver a performance above par. And, after all, this film doesn't concentrate so much on the "feminine"-side, but instead on good ol' action, buddyism (Jackson as a sidekick is given a lot of room in here, plus his share of action- and about a thousand killer wisecracks!) and on the plot (from Shane Black, the writer of "Lethal Weapon" and "The Last Boy Scout". The latter of which as a movie is on very many levels much like this one...the theme, the clever plot, also as good and as underrated!) Overall: if one hasn't seen this one yet, don't forget to rent it for the next quiet Saturday night!


SPOILERS IN THIS REVIEW

The Long Kiss Goodnight is yet another prime example of a common affliction of many modern films; it starts off on a very interesting concept - a trained assassin whose memory was erased regains consciousness of herself - and the initial setup is engaging but then it seems the writers don't know very well where to go next and the whole thing trails off down increasingly confusing and/or inane paths, leaving the disappointing taste of something that was OK but promised to be a lot better. The baddies are remarkably unremarkable, and even Jackson's comic sidekick turn seems more like something from his pre-Pulp Fiction days; it looks like Harlin, as in Cutthroat Island, made every effort so that no-one would upstage his then wife. Her character is by far the best of the film and this fact only makes you feel even more frustrated that they weren't able to do something better with it.

However, there is still something about this film which for me sets it apart from the run-of-the-mill hollywood actioner and places it above average, if only just. It is something very subtle I can't quite put my finger on; it's a disturbing, cold, dark, even sickly edge, a nightmarish and unreal feel, a decadent air, a mean streak, which keeps cropping up in various ways. It's in the dark reddish photography and almost permanent night the characters dwell in, it's in Samantha's dreams in front of the mirror, it's in her vicious eyes and smile whenever she's about to kill a man or when she announces how she will enjoy watching her nemesis die with her daughter listening, it's in Mitch's comeback at the wheel of a car while he is spurting so much blood from his mouth he can hardly speak... I don't know, it's an atmosphere, something I can't define but which gives me the creeps (a bit) and which makes this film still oddly intriguing for me.


I've been looking forward to the release of this movie since I first heard the concept two years ago, and I was not disappointed. I won't bother summarizing the story since everyone else has, but I will say that it was just plain entertaining throughout. The performances were great, as was the music, and the main characters were likeable.

My only complaints are: (1) the story was definitely lacking; the movie wrapped up very abruptly- in fact the writing became pretty lax in the second half, as though the writers weren't sure what to do with the plot. Since the plot wasn't nearly as important as the music and the action, this didn't really affect the entertainment value of the film, so this is not as major a complaint as it would seem.

(2) This is really nitpicky, but the music that the characters in the movie were listening to was sometimes dated after 1985, when the movie was set. INXS' Devil Inside was from 1987 and AC/DC's Are You Ready was from 1990, among other mistakes. This bothers me a bit, since they obviously went to lengths to make a good period piece, they could have checked the copyright date on these songs to make sure they were 1985 or earlier. Again, not a big deal.

Oh, I thought of something else that was strange. The Steel Dragon band members were supposed to be English, but for some reason Dokken bassist Jeff Pilson and Ozzy guitarist Zakk Wylde played band members, and they each had a couple of speaking lines in AMERICAN accents. That was kind of lazy also, but it was still cool to see actual musicians playing musicians, so I will forgive that as well.

I could probably nitpick all day, but I don't want to give the impression that this wasn't a super entertaining movie. I will probably buy the DVD when it comes out, and I will certainly buy the soundtrack CD simply for the six Steel Dragon songs (some of which were sung by the singer from the band Steelheart, if you remember them!). The highlight of the film was possibly a great outtake where Mark Wahlberg is lipsynching to a rock song on stage and suddenly someone plays "Good Vibrations" by Marky Mark and the Funky Bunch. The surprised look of Mark's face is priceless. Classic rock and roll flick! Score: 8/10 due to extreme entertainment


So, you wanna be a rock star? See this movie. You don't like rock, you say? Or you're REALLY into heavy metal? Then put on your favorite album and dream yourself away, this movie has nothing to offer. Rarely have I ever seen a movie being able to portrait the dream of being in a rock band as good as this. I had long hair during the late 1980's and early nineties, and I have played guitar for the last 15 years or so. Did I like Rock Star? Oh yes. The music is good, not great, the actors are good, and believable, even Jennifer Aniston plays her part to perfection. And Mark Wahlberg is perfect as the wannabe rock singer. So you know what you're going to get. A movie about dreams coming true, being stepped on, and finally figuring out what life is really about. It's a good solid seven out of ten, no more, no less.


`Rock star' is not on its way to any `stairway to heaven' category as one of the best rock films of all time, but it does make you `jump' from time to time because of its high-level energy. The film's theme is on a die-hard rock group fanatic who actually becomes the lead singer of his favorite band. The story is based upon the true story on what happened to the heavy metal band Judas Priest. If you think this movie is filled with a witty screenplay and intellect direction- then you got `another thing coming'. However, what did `shook me all night long' was the fine acting of Jennifer Aniston as the rock star's devoted girlfriend. I could not say the same about the rock star himself; Mark Wahlberg was much better as a porn star than a rock star. I did enjoy the 80's retrospect journey the movie intakes. It reminded me of my teenage years where everything `smelled like teen spirit'. I guess the film is worth a viewing, but for you to have a better time watching it make sure you bring along some `girls, girls, girls.' *** Average


After his earlier movie "Videodrome", which definitely shows similarities to this movie, director David Cronenberg again ventures himself in the world of virtual reality, in which truth and fiction mix. It's virtual reality taken to a whole other level.

"eXistenZ" is an highly original movie that is well directed and acted out but above all very well written. The movie features a fascination and well thought out concept, which gets greatly executed by director David Cronenberg.

"eXistenZ" is a movie that knows to constantly fool you. Just when you thought you figured things out, another surprise awaits around the corner. Things are never like how you think they are, especially when the line between truth and fiction gets explored. You just never really know what is the reality and what is the game-world, right till the ending. It makes the characters and events all very unpredictable and also provides the movie with a great ending that will leave you thinking even more.

The movie has a perfect kind of game-play storytelling, mostly with its character appearances and its puzzling events. They have to complete a certain step or task first before they can continue in the world and find out what their purpose in the game is.

The movie knows how to create a perfect balance between realism and surrealism, without ever going over-the-top with either one. The storytelling keeps the movie as simple as possible, though of course the movie isn't always that simple to follow because of its events, dialogs and unusual environments.

The movie is not only just weird though. I was actually surprised to see that "Videodrome" has an higher rating on here, thought it's a far more inaccessible and 'odd' movie. The movie is also still made entertaining and has a good fast pace. It doesn't ever allow the movie to get stuck in its more philosophical moments and deeper meanings. It also makes this movie perfectly watchable for people who normally don't watch this sort of movies.

The movie is good looking, with subtle effective special effects a great visual look, that also provides the movie with a certain required 'gaming' feeling.

The movie is well cast, with Jude Law in a role you don't too often see him in, that of a shy insecure person. It once more shows how actually versatile Law as an actor is and that he is way more than just another pretty face from Hollywood. Jennifer Jason Leigh also was a great female lead. She hasn't really played ever that many big parts in big productions but with this movie she shows why she nevertheless always have been regarded as a big movie star. The movie also features some other well known actors, in much smaller roles, such as Ian Holm and Willem Dafoe.

An highly original movie that is well worth watching, especially if you have seen "Videodrome" previously.

8/10


eXistenZ is simply David Cronenberg's best movie. All the people compare it to the Matrix. They're not even similar. If you enjoyed Cronenberg's other works just a little bit, you'll love this one...


This was a movie I came across by accident. I was flipping through and saw it was on Showtime so I watched it. Now i watch it at least once a month. This is a movie that is filled with symbols that might cause some people to trash it. Don't listen to people that hate this movie, if they want an action movie with expensive f/x they should have rented a movie that promises them. If you are in the mood for a good sci-fi, i highly recommend. If purchasing on DVD I recommend the Alliance Atlantic edition of the film, it contains many more extras than the Dimension Films edition.


This film is one of the best of 1986 with creepy, yet intriguing performances from Crispin Glover and Dennis Hopper! The Reagan years were pretty bleak for a lot of people, not just teenagers, but this flick really captured the desperation and despair. Well-directed with great script (apparently based on a true story), I don't really see any weaknesses in this. The opening shot was brilliant.

Keanu Reeves was decent for a change and Miss Skye was right on the money. Hopper had three other great performances that same year (Blue Velvet, Texas Chainsaw II, and Hoosiers). I imagine this has a cult following and I wonder how this picture would fare if it was re-released. Super stuff!


I have seen this movie a number of times and find it very compelling and sad. The lack of real emotion from most of the characters is very disturbing. They seem empty, hopeless. The story is based on a real event.

A teenage girl is murdered by her boyfriend for no obvious reason - apparently he just felt like it. Then he boasts about it to his friends and as they don't believe him he takes them to view the body - a number of times. No one reports the murder. There are two strong leads - Keanu Reeves and Crispen Glover - Crispen Glovers character is seriously annoying.

Keanu's character Matt appears to be the only one who has a sense of right and wrong. This is Keanu at his best - a flawless performance and very believable - anyone who thinks this man can't act should watch this movie. Matt's little brother is almost the most disturbing character in the movie. Only twelve and no compassion or love factor in his life. It is very sad to think there are kids out there like this. It really makes you grateful for what you have. 9/10.


Apparently this movie was based on a true story. I'm not sure how accurate it is, though. But it really reminded me of how when I see that someone has been murdered on the news, it's amazing how much it doesn't affect me. Sure, I think it's terrible, but I honestly don't care. I move on. It seems that murder is trivial now. This is what River's Edge shows. Nobody really seems to care about this girl and her death, not even the killer. Then what's the point?

The killer in this story is John, and for the large amount of the movie he hides out with another killer named Feck, played by Dennis Hopper. Feck is older, and you can see the generational gap. He says he loved the girl that he killed. When he asks John if he loved the girl he killed, he simply replies, "She was okay." The movie only seems to offer one solution: life is more important than death. A character's life is spared, people get second chances, and one hopeless case is killed.

The acting is really good. After watching this movie I could only come to the conclusion that Crispin Glover is either a brilliant actor, or a terrible actor. I still have no idea. He was my main reason to see this movie, though. But the best performance is clearly given by Dennis Hopper.

Even though the fashion is really 80's and characters sometimes mention then-current issues, I still think River's Edge is as relevant today as ever.

My rating: 10/10


I think this is a pretty good movie, but one thing makes it VERY interesting to me. It is blatantly obvious once you look out for it: the main characters in this movie are the inspiration for the bullies on The Simpsons. Layne is Jimbo, John is Kearney, and Tony is Dolph. There is even an episode of The Simpsons where Jimbo uses the line "I poked her with a stick."

The Jimbo-Layne connection is the most obvious with the knit hat and long hair and the voice. Kearney has the shaved head, unlike John, but is the big, dumb one. The Tony-Dolph connection is pretty obvious with the long, parted haircut and even the second-tier status.


River's Edge is more than just the story of a murder. It's an indictment of the wave of apathy that has plagued pockets of youth for decades now. Our main characters are a group of what my high school would have referred to as "stoners". One of them just decided to strangle his girlfriend because she apparently had the nerve to "talk sh*t" to him. This dangerous young man played by Daniel Roebuck has an intensity that will startle you. He takes the other kids in the group out to show them his girlfriend's body, and strangely enough, nobody seems really freaked out about it. The balance of the film punctuates the desperate circumstances in which these people live, and how guilt is eventually able to worm its way inside even these apathetic kids.

River's Edge is certainly not condoning or championing the behavior of its characters. We clearly see the dangers presented by such unchecked apathy and having only the desire to get drunk or high. We are shown the dysfunctional home lives these kids have, and perhaps this is meant to explain their awful behavior. But could it only be unstable homes that lead to this type of destructive living? Crispin Glover is his usual whacked-out self. He drives around town in a state of complete paranoia after the murder. He tries to sympathize with why his friend had to commit the crime, but clearly he does not understand what could have made the young man do it. Dennis Hopper plays an older man these kids get their dope from. Though he is certainly a rebellious figure, he cannot relate to the apathy and rage of the younger generation. Witness his confused reaction as Roebuck describes how killing his girlfriend made him feel. As wild as Hopper's character is, even he knows this young man should not be walking the face of the earth.

What will you think of these kids? Well, there is really no way to like their characters. Some are less despicable than others, but you cannot help either hating or feeling sorry for them. Twenty years later, there is still an apathy alive and well in a great many young people out there. When do these kids get lost? What makes so many of them want to act anti-social? This film, and the questions it poses about teenagers will stick with you for a while. That's a fact.

8 of 10 stars.

The Hound.


Deep Water examines the pressures and ambitions on an ordinary man in a compelling documentary. The testimony and archive footage are a fascinating insight to the late 1960's and a ground-breaking round the world yacht race. The personal conflicts of duty to family, self and reputation are played out in one of the most memorable and affecting films I have seen. I was not familiar with the history of this story and the drama was successfully and clearly directed. The story is mostly respectful to the participants with heroes and villains implied rather than ruthlessly exposed. Most of the interpretation is left open to the viewer allowing room to personally relate to the situations and characters. This movie is a bitter sweet experience with an entertaining mix of thoughtful suspense, joy and drama.


This is a story about a journey made by a man who once had a dream and guts. Donald Crowhurst was an English businessman and amateur sailor who competed in the Sunday Times Golden Globe Race, a single-handed, round-the-world yacht race.

I was very intrigued by the story after listening to a radio interview from the producer John Smithson, who is also the producer of "Touching the Void", one of the first documentaries that made a commercial success in 2003. I had gone to the cinema with great hope and not much previous knowledge on the historic event, and I'm relieved that it didn't let me down. For 92 minutes I was led through a haunting story and came out with much to think about.

Without any reenactment, this film made great use of the limited audio and video archive footage they found and turned it into a compelling story which allowed the audience to understand Crowhurst from a personal level. The story unveiled itself as people who had direct links to the events including his wife and his son, and the eventual winner, also the only one who made it back out of the 9 competitors, Robin Knox-Johnston gave their own accounts of what happened almost 40 years ago.

Crowhurst's logs(journals) that he kept during the 243 days at sea are so haunting that it made it much easier for me to come to understand what being in total isolation can do to a man. While Crowhurst's body was never found, the other competitor Nigel Tetley whose yacht sank just weeks before claiming the prize for fastest passage committed suicide three years later after unsuccessful attempts at properly completing a circumnavigation.

Everything could take its toll, especially the sea.

The director Louise Osmond was also at the Q&A session after the showing together with producer John Smithson. I had no idea that it's a female director and that just came as a very nice surprise. The film is getting a limited release in the UK (a couple of days in certain cinemas). Catch it in cinema while you can, unless you have a state of the art sound system that can recreate the sound of the bashing Southern Ocean.. then I'm sure they'll soon have it on DVDs too.


Black Scorpion is a fun flick about a groovy female super heroine who wears leather tights and drives a car that can morph into her snazzy armored Scorpion Mobile. She battles the evil Breathtaker and all of this is an excellent recipe for a good time IMHO. I loved the bit about her having to say "Yo" to get the car's computer to take orders! Breathtaker is so evil he wants to give the entire city asthma! It's all so over the top and that's the beauty of it! The scene where Black Scorpion "attacks" her partner steals the show. You'll know it when you see it. This DVD also has a fun interview with Joan Severance. She's a doll. Black Scorpion is a fun DVD. Loved it!


Yes, indeed we have a winner- a winner in best dumb-action-movie!

The only reason I chose to vote a 10 for this movie is because it's so incredibly bad-made that it actually becomes funny.

"Night Hunter" is basically about Jack Cutter, a Vampire hunter (Vampire hunters have been in his generation for centuries, apparently), and his mission, being that he has to kill the last remaining Vampires.

This movie contains one of the cheesiest scenes I have ever seen in my life. Not to mention the really bad gun-shooting scenes. When people are shot in this movie, blood splatters- thick as ketchup all over the place, this makes the movie seem so cheap and lame that you just lose interest. A constant shaking of the camera is what annoys me the most during the fight-scenes. This is, I suppose, done to create an "action-effect", though in my opinion it gives no effect whatsoever. Its completely ridiculous!

All stunt-scenes are done extremely badly. E.g a scene where the dead Vampire-leader gets thrown off a roof. When the corpse hits the ground, it bounces like a wobbly rubber-doll. A scene where Jack sniffs the ground, getting a vision was so lame it got me laughing hysterically.

Lame music, cheesy scenes, bad acting and plain dumb filming techniques are obviously the functions that make this movie such a malfunction. To state that this is a good movie would be the same as stating that nuclear bombs are good for humans. Clearly those of you who say that this is one of the best action-movies, haven't seen many in your life.

This is basically a B-class vampire-action-movie that deserves 0/10 but which I'll give 10/10, just for its ability (being the lousiest action-movie I have ever seen)of making me laugh and because I just can't live without it.


Sony Pictures Classics, I'm looking at you! Sony's got the rights to Harry records -- you need to distribute the film and you'll get radically increased sales of his back catalog! Anyhow, this is a great study of a fascinating musician, woefully underknown, full of great stories, greater music, and it could have been 3 hours longer and I'd have loved it even more. Saw it at the American Cinemateque Mods & Rockers Festival at the Aero Theatre in Santa Monica, where it played to a packed house. They were turning people away at the door! I went to many of the Mods & Rockers festival films, and let me assure you that no other film came even close to selling out, let alone turning people away. See it in the theatre, buy the DVD, and make sure some slow-on-the-uptake company [*cough SONY cough*] picks it up ASAP!


i watched the longer version and could not take my eyes off the screen. 219 minutes passed and yet it seemed like only an hour had gone by. the characters were very believable and entertaining, and the photography was excellent. the story pulled me in and held my attention. i will definitely watch this again and again. this true story telling at it's best... not Hollywoods usual cheap thrills and skin deep glitz. i've seen a quite a lot of reviews on this movie. most seem to pan the film or give it faint praise. basically, it's a great film that received unfairly harsh reviews. watch it for yourself with an open mind. if you like westerns, historic period pieces, albeit historically inaccurate you'll enjoy the movie. Superb!!! 10/10


This is a nicely-done story with pretty music, lots of dancing, lots of big sister/little sister interaction (almost all of it positive), and lots of wishes granted. There are funny moments that older children and adults will enjoy, such as when King Randolph exclaims, "They're just SHOES! Aren't they?" And tender moments such as when Princess Genevieve comforts her youngest sister, Lacey, after a blunder.

The animation is perhaps not as good as Disney, but it still is very good. The facial expressions are nuanced, particularly for Genevieve, King Randolph, Duchess Rowena and her servant, Derek the cobbler, and little Princess Lacey. My only quibble on the animation is in the dance sequences where the dancing princesses become absolute carbon copies of each other without the slightest deviation -- even the three youngest copy the dance steps perfectly. I would have liked to see a little more individualism in the dancing, considering that these girls are not professional ballerinas or chorus dancers.

The resolution of the story is handled cleverly to get rid of a villainess without actually hurting her. There is some violence done to guards in the story, and the villainess's monkey is mean to other animals in the story.

My 4-year-old daughter loves this movie and has watched it repeatedly, and I have found it to be quite acceptable for her to watch.


I had the privilege of being one of the Still photographers on the set of "Grand Champion" and enjoyed every minute of the 42 days I worked on the movie. I have been in the Photography business for 25 years and have worked on 16 movies and I can't think of a time when I enjoyed providing my craft more. The Kids were wonderful to work with and little Emma Roberts has so much energy she's a real trip. She even grabbed one of my camera during the stockshow scene rehearsal and started shooting. Some of her images were used for PR. I could have made more money working for a production with a bigger budget but I doubt I would have had the fun and been around so many great actors and the great people of West Texas as I was.


First I am a teenager. OK, and I have to say this movie was pretty good. I think any kid ten and under will like it, but people my age an up might be a little, um, a, well, we'd describe the movie as LAME! But I liked it. It may be that I still act like a kid, or I visit a cattle farm every weekend, but this movie was cute. I did like how the actors were like kids, not little blonde cutesy pies, wearing three layers of clothes, a trendy hat, and about a thousand assecories (like most shows today, to name a few, Drake & Josh, Lizzie Mc Guire, well any kid show.) And the setting was perfect, but there was a flaw. The family was in debt, right? Why in the world did their internal house look like something out of a "western" versace store? That was one flaw.

The cameos are great, there's about five hundred of them, and the only explainable one is Julia Roberts being the main little girl's aunt. How in the world did they get everyone else? This movie seemed to be on a tight type budget.

I liked this movie, it was a fun one to watch, and I thought some parts were far fetched (Like a cow selling for $750,000? Ha! my butt a cow sells for that much!) But otherwise it was good, I liked it, and I could watch it again. But I'd never buy it, there's not even special features on the DVD! What's up with that? But do rent it, especially if you have little kids running around the house.


With its rerelease by ADV Films, I've had a chance to watch "The Giant Majin" for the first time without the deep cuts and unkind words of a late night Horror Chiller Theaters. Guess what? It's a pretty damn good movie!

The sets are authentic, the acting in subdued and believable, and the giant Majin is stately, powerful, and unstopable. I loved the subtle fantasy touches (the enchanted wood, luck charm, etc), and the potrayal of the god as a little less than 'good'.

This movie is begging for a remake in the new century!


Zachary Scott does what he does best, i.e., plays a worm, in "Danger Signal," a 1945 B movie also starring Faye Emerson, Mona Freeman, and Rosemary DeCamp. Scott plays a writer who kills women after he gets their money. On the lam from his last murder, he rents a room in the home owned by the Fenchurch family, Hilda (Emerson) and her mother (Mary Servoss). Scott throws himself at Emerson, and she's dazzled. Mid-romance, her younger sister Anne (Freeman) comes home from a medical treatment. When she mentions that she was Uncle Wade's favorite and he left her $25,000 (big bucks by 1945 standards), Scott loses interest in poor Hilda and makes a play for Anne. Anne looks like Rebecca of Sunnybrook Farm until she starts sneaking around with Scott - overnight, she ages 10 years and becomes downright nasty to her sister. Finally getting the message that her tenant is no good, Hilda calls in a psychiatrist (Rosemary DeCamp) to psyche him out and advise her.

Psychological dramas were all the rage during and after World War II, and Scott does an excellent job as a smooth sociopath. This was his forte - as a weak-willed sheriff in "Flamingo Road," he exhibited no real presence. As for two-timing, we saw him do that in "Mildred Pierce," where he proved himself particularly good at it. Emerson is a bookish stenographer with her hair pushed off her face and her big glasses, but after hours, she's lovely, and gives a strong performance. DeCamp was always an underrated actress - here, she sports a soft German accent and is delightful.

This is a highly entertaining film though a very routine story. The acting truly elevates it.


1. I've seen Branaghs Hamlet: Branagh is too old, speaks frequently with a high pitched voice (unwillingly funny!) - not a convincing Hamlet, and his directors qualities - poor ! (see also much ado about nothing from Branagh - the funny parts of the dialogues have mostly been cut out not speaking of the directors mistakes in the dialogue cuts!) 2. I've seen Hamlet 2000: I think the scenario is an interesting idea - but such lousy actors - all of them 3. Orson Welles Hamlet is OK - but this BBC Hamlet is the best! Derec Jacobi is convincing - seems a bit of a lunatic - very suitable! and Patric Stewart - wonderful, and Claire Bloom is a very attractive queen. You believe those actors what they are saying - I think this is the best compliment.


I hadn't planned on leaving a review, but seeing some of the other dreadful reviews for this movie, I had to say something.

I'm not going to give away the ending or anything, but I do give away some important plot points in this review, so you should be aware of that. The short (non-spoiler) version of my review - Samuel L. Jackson and Geena Davis both kick butt in this movie, and it's a lot of fun. Watch it.

This movie is one of my favorites of all time. Geena Davis is perfect as the action heroine, torn between her existing life as a housewife and mother, and the memories that are resurfacing of her former life as a CIA Assassin. Her performance is superb as she plays both facets of this relatively complex character perfectly.

Samuel L. Jackson's performance is, as always, also excellent, as the Private Investigator that Geena Davis' character hired to look into her forgotten past. He does a great job of playing the unwitting sidekick to Geena Davis' tough character. Some of the lines he utters in this movie are the best he's ever used in any movie he's been in.

Seriously, if you haven't seen it, do. It's a fantastic story with lots of unexpected twists and turns, and it's extremely well directed and acted.


Let me start by saying overall I enjoyed The Long Kiss Goodnight. I would give it a 7/10. The Good: 1. Acting: Samuel L Jackson is entertaining in almost any role. In this movie he doesn't play his usual character, the type that is in control, instead Geena Davis is in control and Sam is along for the ride. His timing on his lines are great and he is the high point of the movie. Geena Davis also gives a great preformance as Samantha Caine/Charlie Baltimore. She is a believable action hero and I don't think too many other actresses could pull off the preformance Geena Does. 2. The Action: This is a very action packed movie. Things are pretty much always crashing or blowing up or someone is chasing someone else. The special effects are pretty good especially for being almost 8 years old. I can see some green screen stuff but it doesn't detract too much from the acting.

The Bad: 1. Why did it take half of the movie to set up the plot? This film needed to be edited in the script stage so that it didn't run as long as it did. Maybe a drama or something can run this long but people really need to be into the movie the entire time to sustain it. I think that if you can stick out the first half you will be pleseantly suprized the second half. 2. Geena Davis is cold weather and a tank top but she never seems cold. 3. Some things are unrealistic. Sam Jackson flies through a giant sign after he is blasted out of a room and then he lands in a tree and just gets up. When you see this part you will think it's a gag. overall fun movie 7/10


When this movie came out, I had seen Geena Davis play only soft, feminine roles... This movie was anything but soft and feminine. Great lines, great action...she and Samuel L really clicked. Too violent for the kiddies, but if you and your significant other are trying to agree on a movie, try this one on for size. Go Geena! Go Geena!


In Everything Is Illuminated, Elijah Wood plays Jonathan Foer, a Jewish American who is looking for the woman who saved his grandfather during WWII. In a sense, the woman that saved his entire family.

This is a heart-felt tale about someone who is on a seemingly hopeless journey. A stranger in a strange land so to speak. Jonathan is not entirely prepared for this adventure, he sticks out like a sore thumb in the Ukraine (he would probably stick out like a sore thumb anywhere). But what he discovers is more, much more than he anticipated. This movie will make you laugh and will make you cry. Elijah Wood is really good in this film, based on the novel by Jonathan Safran Foer.

From someone I talked to, this movie is somewhat different from the book. A book I gather is really good. Nevertheless, this is a good movie, it has something for everyone and I really enjoyed it. Can someone say Oscar?


"Everything is Illuminated" is like viewing a fine piece of museum quality artwork. It absolutely inundates the emotions through a very broad spectrum. Jonathan Safran Foer is played with candor by Elijah Wood. He is in search of his paternal heritage in the Ukraine. His travels bring him in contact with Alex, played very well and with extreme humor by Eugene Hutz. His grandfather is the most emotional tie to this film and he is aptly portrayed by Boris Leskin. If one finds little humor in the human characters in this cinema, then one has only to turn to Mikke, a real dog who is called Sammy Davis Jr. Jr. by Alex and his grandfather. They also call him the "seeing eye bitch". The cinematography is spectacular. The colors are a very important part of the patchwork of the film. It is a film worth the time and emotional investment.


Beginning where it left off, Doctor Who, Rose, her alternative dad, Mickey, his alternative counterpart Ricky, and Mickey's small gang of rebels find themselves at the mercy of this realities version of the Cybermen, this second part of the 2 episode Cybermen arc feels more like a Doctor Who episode, as opposed to the previous part which honestly felt like more of an episode of the defunct show "Sliders", which granted was a great show in it's own right. The arc as a whole was enjoyable enough as I'm one to subscribe to the maxim that ANY Who is good Who, but at the same time it's inevitable that this will be compared to the Dalek episode of the previous series. And said comparisons would only make this seem like a lesser work, as it is. I just feel that this story could've been done in one episode. Remember in the first part of the review I said that these type of stories dealing with alternative realities usually have no lasting repercussions, well that's not the case here, but what changes overall feels tagged on and not really in keeping with the character.

My Grade: C+


This is one of Peter Sellers' best movies. Why is it never shown on TV or movie theaters? Will it ever be released as a home movie? Is it too derogatory for the medical field? I would love to see this movie again. I would like my son, who is a doctor,to see it. Laughter is the best medicine and Peter Sellers is the best doctor for this.


This telecast of the classic musical "Sweeney Todd" does not do the production justice, but is still quite enthralling.

Firstly, the most enjoyable aspect of this version is the production design, from the wheeling multi-set to the startling trapdoor. Then, the staging is excellent, right down to the slashing.

The main failing here is in the performances people give. Oh, they're believable, all right-- but it is quite frustrating when nobody seems to be hitting their cues on time in a song as fast-paced as, say, "Kiss Me." In fact, the actress playing Johanna is not only off-tempo to a dismal degree, but also slightly off-key. And Angela Lansbury's slightly overdone cockney accent is a bit irritating. One more thing, too-- what, exactly, is so bad about Judge Turpin's performance of "Johanna" that it is banned from the American theatre, but not the cannibal anthem "A Little Priest"?

Otherwise, this is an excellent production. It's a thrill to watch people do what they love-- and I'm not even peripherally talking about "meat pies with a twist".