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This movie illustrates like no other the state of the Australian film industry and everything that's holding it back.<br /><br />Awesome talent, outstanding performances (particularly by Victoria Hill), but a let down in practically every other way.<br /><br />An "adaptation" of sorts, it brought nothing new to Macbeth (no, setting it in present-day Australia is not enough), and essentially, completely failed to justify its existence, apart from (let's face it, completely unnecessarily) paying homage to the original work. If there's one body of work that has been done (and done and done and done), it's Shakespeare's. So any adaptation, if it's not to be a self-indulgent and pointless exercise, needs to at least bring some new interpretation to the work.<br /><br />And that's what this Macbeth fails to do. As it was done, this film has no contemporary relevance whatsoever. It's the same piece that we have seen countless (too many!) times before. Except with guns and in different outfits.<br /><br />Apart from the fundamental blunder (no other way to put it) of keeping the original Shakespearian dialogue, one of the more cringeful moments of the movie is the prolonged and incredibly boring slow motion shoot out towards the end, during which I completely tuned out, even though I was looking at the screen. I never thought I had a short attention span, but there you go.<br /><br />I suppose the movie succeeds on its own, very limited terms. But as Australia continues to produce world-class acting talent, its movie-makers need to stop being proud of succeeding on limited terms, and actually set high enough standards to show that they respect for the kind of acting talent they work with.<br /><br />A shame. An absolute shame.
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I am a Christian and I say this movie had terrible acting, unreal situations and a completely facade front for Christianity. You might as well watch "Remember the Titans" and at least not mix Christ in a football film like a formulaic steroid for losers. Let me make some really pressing comments of what bothered me in this film.<br /><br />1. The school was in Georgia and was a white academy school. I did not notice a single black student or player in the school. I deal with the White "Christian" Academies in the south and they were built for no other reason than to reestablish segregation. This is troubling when the movie is about Christianity and Christ changing lives...how about changing the hearts of segregation? (note: I loved the token black coach; like it made up for the entirely white team and all the black 'Giants' players.) <br /><br />2. The uncritical acclaim by everyone Christian about this movie. Can I get a couple people to say that it was bad acting, bad filming, bad writing and in short poor compared to other movies. If we were to compare this to another football movie, would it have the same charisma and energy? <br /><br />3. The half-baked Christianity which was shown made even less sense to me than the unrealistic ending. If Christianity is about simply reading a little scripture and praying to begin a complete life change, then don't wonder when no one will listen to what Christians have to say. We want to sell Christ as a cure-all. He doesn't need sold and He doesn't need to be attached to such whimsical lifestyles. No wonder everyone considers Christianity to be anti-intellectual with this unreal presentation.<br /><br />I recognize this film may be inspirational to a few people. To most, it will not be. It will not give a real picture of struggle and heartfelt tension. Most importantly to me, it is not Christian by any means or stretch. It has values but it falls short as a 'pull-yourself-up-by-the-bootstraps' message as shallow as positive thinking. If you live alongside people who struggle and/or those in third world living conditions, this movie will be hollow as most churches are today in their religion.
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Burt Reynold's Direct's and star's in this great Cop film, Reynold's play's the Sharkey of the title, who is a tough cop whilst working in undercover a drug bust goes wrong, and is demoted to vice, <br /><br />The machine of the title refer's to the motley crew Reynold's's assemble's to bring down a crooked governor who is involved in high class prostitution Cocaine and contract murder,<br /><br />The motley crew is played by Brian Keith, Blackploitaion favorite Bernie Casey, Richard Libertini,(as alway's quirky as an ace sounds-man) Charle's Durning, as the chief, The beautiful English rose Rachael Ward play's Dominoe a $1000 dollar's a night hooker whom Reynold's's protect's and eventually fall's for, When staking out an apartment used by the governor.<br /><br />Italian actor Vittorio Gassman, play's the High stake's pimp, who has a deadly gang of triad's at his disposal, And Henry DeSilva, play's His psychotic brother hit man who is highly strung On prescription painkiller's and angel Dust,<br /><br />The action packed finale see's the remaining member's of the 'Machine' Engaged in a deadly shootout with Desilva, which culminate's in one the Most spectacular stunt's ever put to Celluloid,<br /><br />Alas Hollywood has ran out of idea's and is contemplating a remake of Sharky's Machine! Why bother a 25th Anniversary Special Edition DVD would be ideal, not a silly ass remake,
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This series was a cut above the rest of the TV detective series of the day but somehow didn't find an audience.<br /><br />The idea of a blind detective may not be totally new but added so much to the story. And who could forget Pax, the beautiful guide dog in the series!<br /><br />Whilst the stories themselves may have been no better than the average series, the settings , in New Orleans, the acting and the music (I note the comment about the music score in other comments ...I remember that clearly) all work to make a good television series even better!<br /><br />Well you never know ...one day Paramount might just dig into its archives and release it on DVD!
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I find it hard to believe that anyone would put this movie in the same context as the Exorcist. Where the Exorcist was subtle and creepy, Stigmata was blunt, clumsy, and way too formulaic.<br /><br />This is one of the most visually beautiful films I've seen in a while, but the imagery does not make up for the downward spiral of patronizing exposition that makes it unbearable. <br /><br />My interest in this movie was peaked when it was compared to The Exorcist, and my visit to the official web site increased that interest. The web site had many tales of "actual" stigmata throughout history. However, scene by scene, the movie is so obsessed by its quest for "genuineness" that it becomes comical at first, then outright hard to watch toward the end. I began getting suspicious when the priest charged with investigating potential miracles walks into the beauty parlor where our would-be heroine cuts hair and, evidently, flirts with priests.<br /><br />The plot: A woman without faith in God begins receiving the wounds of Christ (the Stigmata) and is baffled and upset about the ordeal. A priest is sent straight from the Vatican to investigate the case. Is Frankie possessed by Satan, or a vessel for Jesus Christ?<br /><br />The only miracle in this film is that it finally ends.
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Not sure if this counts as a spoiler or not, so beware:<br /><br />Just a small but crucial thing to watch for, an intriguing possibility: the boys steal a green Citroen at one point, for a joy ride, and return it to the owner having done purposeful and vengeful hidden damage to the car, hoping that the owner will crash. Is it the very same car they steal much later from the picnicking family? We know the original owner sold it. They drive off at the end on a dangerous road, one which I understand has been closed to all but pedestrians for the last ten years. A whole new slant to the end of the film.<br /><br />On another matter, this film could have been called "Scent of a Woman". I don't recall another film, certainly not American, that treats the scent of a woman in such a frank and open manner, much like the "nose" of a fine Bordeaux.
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This review contains what might be a spoiler if you never read the book or saw the cover of the video box. So if you want to approach the movie not knowing anything about it, except that I like it a lot, stop here...<br /><br />The production values are not first rate, but the acting between the leads is, and they give the romance between them more life than Shute does in his novel (although I generally prefer the novel). My very faint objections to the film as opposed to the book is that the film dumbs-down some of the relationships with secondary characters, and between the lead characters in a scene toward the end of the film, to provide for some not at all realistic dramatic tension and as a general plot device. All this is handled much better in the book, with the result that I find the end of the book quite a bit more touching than the end of the movie.
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Every time I watch this movie blood comes gushing out of my eyes. Yes, you read that correctly: I've watched this wretched, foul thing more than once.<br /><br />Caddyshack 2 went wrong for so many reasons: Harold Ramis dialing in a script and abandoning the direction duties, Rodney Dangerfield (wisely) walking away from the project because they wouldn't allow him to tinker with the script, Bill Murray showing excellent judgement and not being part of it, and a puppet being pushed forward as the feature player of a cast who deserved much better.<br /><br />I can't help but think of Dyan Cannon in this and wonder why she's perpetually laughing and smiling. The only conclusion I can draw is that she is indeed the face of pure evil. Stay with me a moment. She must have been watching as the film came together and revelled in the untold agony that it would inflict on countless soon to be extremely sorry movie goers who would have this film inflicted on them. She may also have been extremely drunk. That's what I need to be right now to wash the foul taste of this complete and utter failure out of my mind. If I'm lucky it'll be washed out forever.<br /><br />I have seen this film several times. I blame several of them on childhood and being a very dull and dim-witted boy who apparently had no aesthetic sensibility. Perhaps puppets are just funnier when you're a kid. No, the Muppet show is funnier now ... guess I was just dull. Caddyshack 2 is that rare kind of film that is so extraordinarily disappointing on so many levels that you convince yourself after the end credits that it couldn't have been as bad as all that. It WAS. It IS. It will only get worse with time.<br /><br />My reasons for going back to this film, mercifully, are becoming fewer. Randy Quaid is limited in his role as Jackie Mason's lawyer. His opening scene isn't bad and brought out my only chuckle. We see him a few more times but it becomes as tired as the rest of the movie and descends with unfortunate rapidity from incidentally amusing to vapid wasteland. Randy Quaid acquits himself well, and this film owes him big time because if there was reason to watch this film as anything other than a torture tactic, he was it.<br /><br />Maybe that's the trick of the movie. It has enough potentially endearing qualities that people watch it, are horrified at what they've done to themselves but later because the pickings were so slim can remember only what did actually amuse them. Years later they unwittingly watch it again and the cycle repeats.<br /><br />Jackie Mason takes a lot of the blame for this film but in fairness, I'm not sure he deserves it. He's really trying out there but it is impossible to not to notice that he spends the entire movie doing a Rodney Dangerfield impersonation. That's who the movie was written for but I'm not sure even he could have saved it. Ultimately this fails miserably through terrible direction, bad editing (shall we count continuity errors?) and a rehashing of the same story with none of the wry humour or heart that made the first film endearing.<br /><br />Dragged kicking and screaming up to a three out of ten instead of two by Randy Quaid's bulldog determination. It isn't even bad enough to laugh at. I've definitely seen worse, but trust your memory -- this one is a dog. If you've never seen it you've made excellent life choices and I salute your excellent judgement.
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This appalling film somehow saw the light of day in 1988. It looks and sounds as if it had been produced 20 or 30 years earlier, and features some of the worst songs ever included in a major motion picture. I weep for the parents and children who paid top dollar to see this.
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"House of the Damned" (also known as "Spectre") is one of your low budget haunted house horror flicks, filled with mediocre performances and cheap effects. It is about a family that inherits an old Irish mansion, and after moving in begin to experience strange phenomenon and ghostly apparitions, including the ghost of a young girl who was murdered and buried within a wall in the mansion's basement. The couple's young daughter is then whisked away into some other dimension and they seek help from a group of paranormal investigators for help.<br /><br />The ideas this film borrowed from the 1982 haunted house film "Poltergeist" are obvious. I will say that this movie does have some slightly creepy sequences, but it is sometimes very, very boring. The acting here is nothing special, the mood is alright, the score (which was mostly this dramatic Irish opera music) was somewhat annoying, and the CGI special effects are really horrible. I mean, it was 1996, you would think they could have done a little better than they did. The ending where the house was on fire was the poorest special effect I've seen, very very cheap. But hey, this was a cheap movie.<br /><br />Also, the translucent monster wolf thing that their daughter sees looks horribly fake. And what was it's significance in the film anyway? What the heck does a wolf-monster have to do with a haunted house? The special effects in here are what really ruined this movie. The acting was pretty bad too. I usually enjoy many low budget horror films, but not this one. "House of the Damned" is nothing special at all, only consider watching it if you have nothing better to do. But you'll probably want to pass on it. 4/10.
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"Bend It Like Beckham" reminds me of the best of those 80's teeny-bopper movies directed by John Hughes. Everything takes place in a bubble-gum colored world where everyone is attractive, there are some easily-resolved conflicts that occasionally take away from the mostly happy proceedings, and vast amounts of plot are summarized by montages set to bouncy pop tunes. Nothing wrong with this, however. "Bend It Like Beckham" is an absolute treat from beginning to end. My wife and I found ourselves totally won over by the cornball cheesiness even as we were making fun of it, and at the end, as embarrassing as this is to admit, we applauded (and we saw this, by the way, in our living room, not in a theatre). Watch this movie and enjoy.<br /><br />Grade: B+
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I saw it at a German press screening. Without giving too much away: Most critics really seemed to like it very much. There was even applause afterwards, which is quite unusual for that species. From my point of view and until now, it was the funniest movie of the year. It keeps the charm and wit of the three W+G shorts and it is enlarged with many references to these and other movies. Of course, there are obvious allusions to monster- and werewolf-movies, especially to "An American Werewolf in London", "Jaws", "King Kong" and even to Peter Jackson's "Braindead"/"Dead Alive", but also to other genres.<br /><br />Characterization was better done in "Chicken Run", but that movie had a complete new "cast" where introduction was necessary. Here, you are already able to know the two main characters. So, the new "Wallace and Gromit"-movie is enjoyed best if you watched (and liked) the shorts already, yet it also works on its own. "Chicken Run" had the more convenient, but also more "storytelling" plot. Instead, this new Aardman masterpiece keeps that crazier and somehow more "isolated" feeling of the W+G shorts. Children should also enjoy it very much, especially because of the sweet rabbits (if you love cute bunnies, this is a must-see for you!!!) and because Gromit has a lot do to and really steals the show (children also love dogs... :-) ). But many jokes are thought for a more adult audience (there are even soft sexual allusions in it). The movie manages, like "Shrek 1+2" and "The Incredibles", to fulfil high level entertainment for the whole family, with adding a British and at least a little bit darker edge to the humour of American animated movies.<br /><br />The animation is as expected superb, and they kept true to the Aardman style because they didn't put in too many digital effects - I realized just a few when it came to Wallace's inventions.<br /><br />Finally, the score works fine in the movie, although one of the main themes definitely is "borrowed" by Randy Edelman's "Dragonheart" score.<br /><br />The bad thing is: It will probably take another six years from now until we can see a new animated gem from Nick Park & Co.
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Acclaimed Japanese director Takashi Miike can't seem to get the wheels moving with this torpid thriller, an adaptation of Yasushi Akimoto's book concerning an evil old woman (and child abuser!) who is part of a new urban legend: if your cell-phone rings with a strange tone--and you see the message 'One Missed Call'--you will replay the message only to hear your own final words before your death. Most successful part of the film is the trenchant satire of Reality TV cameras intruding on the future victims, but the not-so-elaborate deaths (which include a hidden piece of red candy!) are disappointing and dispiriting. The frequent shots of ravaged dead bodies are actually displayed rather discreetly, and this overall politeness may be the reason why the film is ultimately so staid. Hollywood predictably jumped on the far-fetched plot in 2008, yet the U.S. version fared no better. NO STARS from ****
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If there was a ZERO rating, I would give it to this movie. Today was the second time I tried to watch it and I still couldn't make it through from beginning to end. I can't believe the multiple stars given by others & can only assume they either know the actors or are a publicist in disguise! The acting is atrocious all around, the script is blah, the kid playing Nichole shows zero emotion even when she's being threatened. The "southern" accent from the actress playing Amber's mom is laughable - I'm from Georgia and have friends from Texas - believe me NOBODY talks like that! None of her emotions seemed real in any scene. The subject matter is very serious and deserves much better treatment.
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The Gang of Roses. "Every rose has its thorns."<br /><br />A mix of old western and hip hop, blended perfectly together. The clothing styles, the scenery, and the plot are all suited to what the director wanted. <br /><br />Plot - in five years, they robbed twenty-seven banks and then vanished without a trace. Now, a small western town is under siege, and one of the first victims is Rachel's sister. The Rose Gang is ready to ride again. And this time it's personal.<br /><br />Rachel (Michael Calhoun), Chastity (Lil' Kim), Maria (Lisaraye), Zang Li (Marie Matiko) and Kim (Stacey Dash), five gunslinging women who split up after five years of riding together. When Rachel's sister is killed, she ends up rounding up her friends once again and riding on a trail of vengeance. <br /><br />A good, muck around version of western. (If you've seen Bad Girls, well this is a little bit better in the ways of the female characters).<br /><br />I gave it 10/10 because the characters, plot and scenery made it for me.
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Here's a well-made war story, nicely shot and well-acted. The portraying of the Italian and German occupancy of Greek island Kefalonia is well-done. John Hurt as Pelagia's father and the island doctor is superb, Nicolas Cage does a good job as the Captain from the title, Penelope Cruz does a good job of being beautiful and batting her eyelashes at Cage. There's heroics and humor, there's drama and romance, and it is all set on an idyllic island.<br /><br />Oddly enough, a very similar, or should I say almost identical, storyline, with the same characters going through the same series of events, is told in a novel by the same title, written by Louis de Bernieres. This wonderful historical novel tells the story of beautiful Pelagia, daughter of doctor Iannis, and their life on Kefalonia during WWII. Pelagia's fiancee, local fisherman Mandras, enlists when the Italian Army invades northern Greece from Albania under false pretenses. When the Axis finally prevails, with a lot of help from the Germans, a garrison of Italian soldiers is stationed on the island, and Captain Corelli plays a big part in keeping the occupation a peaceful time. As Mandras joins the partisans, charming Corelli and his mandolin are quartered with the doctor and his beautiful daughter. Of course, this makes it a novel about love. But it is also a war novel, a summary of Greek history, a tale of Communist uprising in post-war Greece, a portrait of the madness of Mussolini, and, most importantly, an ode to island life on Kefalonia.<br /><br />Some of these elements return in the movie, but in general, it is an impossible book to film. I am glad nobody ever tried.<br /><br />The movie 'Captain Corelli's Mandolin', however, is worth seeing. Just make sure you read the book *after* you see the movie.
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I caught this during a brief run in a Philadelphia theater. Despite its local provenance (and its relation to a hometown tragedy, namely the beating death of Eddie Polec in 1994), I really have to come down hard on this movie. The director, for reasons best known to himself, decided to shoot the entire film guerilla-style, with nonstop handheld cameras and rapidfire cuts. Such technique might work for the scenes of jarring violence, but is utterly inappropriate for the rest of the material, which makes up the majority of the film. A stroll down the sidewalk, a brother-to-brother discussion on a sofa, hell, even a kiss on a first-date are all shot cusinart-style, distracting this viewer from ever being able to enter into the drama. Martin also undercuts his narrative by packing in far too many topics: besides the birth of mob violence, we get anorexia, alcoholism, divorce, racism, parental abuse...did I miss anything? No doubt a better cast (and a better-focused direction) would have knit these threads together, as Martin surely intended, to demonstrate how one moral flaw leads into and sustains a host of others...but good intentions do not necessarily a great film make. Just a sprawling mess. Martin, I know you're from my town, and I'm down with you man, I really am...just do a better job next time, like you did in Two Plus One.
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One of the best comedians ever. I've seen this show about 10 times and will probably watch it at least 100 more. My friends and family quote from this DVD so often, you'd think we did nothing other than watch it. The beginning part about Alcatraz is a little bit slow, but either wade through it or zip on through to the part where Eddie is on stage. Watch for the "Cake or Death" part (Joking about the Church of England) and the "Hitler/Pol Pot" part (Hard to explain, just watch it). The best part of the show may be Eddie's facial expressions. He can really say a lot with his eyes. (Mascara, eyeliner, and eyeshadow probably help, huh?) Fair warning: Eddie does have a tendency to throw a lot of four-letter words in.
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I rented this movie because the DVD cover made it look like it was going to be a ridiculous college comedy like van wilder or animal house. I took it to my friend house to watch for movie night. We ended up stopping it 15 minutes into the film, and watched Copper Mountain instead. I don't know if any of you have seen Copper Mountain, but it isn't great either. However, I would have to say that the Alan Thick Jim Carrey Duo made it a more enjoyable watch.<br /><br />I later finished Puddle Cruiser. This movie was slow and the humor was forced. This movie reminded me of some stinkers that I saw in some of my earlier production classes in college. I was left wondering "was this the film that enabled Broken Lizard to make Supertroopers?" Also how could this movie suck so bad? Supertroopers was good and Club Dread was decent. Don't see this movie!
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Yes. Watch this movie if you like brave films. This is maybe the best Mexican picture since Midaq Alley just because the excellent cast, the outrageous direction and a sublime soundtrack. Many people did not like 'Cronica
', they think it's very aggressive but they didn't understand that it was just a representation with hyper realism of the Mexican society but so similar to all the third world families. I hope that Benjamin Cann and Bruno Bichir (who in this movie gives another example of his greatness as an actor) soon get together again with a new film. Just Remember how Los Olvidados (Luis Buñuel) was misunderstood when released, but now we consider one of the best movies of all times. Please, prepare yourself and watch this film.
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But, lets face it... it got a few nostalgic sighs out of me.<br /><br />The show is just so consistently great that it is allowed to have a few hiccups. I get a new season, and just power through them like I have 2-days to live. I like the idea of wrapping it up, but it was much more of an end of season episode which would explain the following:<br /><br />Dr.Cox isn't supposed to be bald for a couple more episodes, only explanation I can think of is they changed the rotation of the episodes or had to re-shoot the beginning.<br /><br />and that my friends, is why the hell cox is bald.<br /><br />Anyways, the show is awesome...bring on the 7th season.
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As horror fans we all know that blind rentals are a crap-shoot. Sometimes we find a real gem, but many times we find that the film we've just spent our hard earned money on is nothing more than a putrid steamer made worse by the completely undeserved rave reviews and film fest awards listed on the box. Such is the case with Five Across the Eyes ( a title I'm sure is a double entendre referring to both the films budget and the compulsion anyone watching it might have to using all five fingers to stab their eyes out ).<br /><br />The story, or, at least what the *ahem* writers think passes for one, centers on a group of teen girls who unwisely decide to go on a backwoods joyride late at night after leaving a football game and run afoul of a crazy woman who plays cat and mouse with them as punishment for what she thinks the girls found in her car after a fender-bender in a gas station parking lot.<br /><br />In fairness, it's an interesting idea. Some of the best horrors have very simple story lines. It's in the execution of Five Across the Eyes that this idea falls flat. The film tries to be a cross between The Blair Witch Project with its shaky camera work and The Texas Chainsaw Massacre in its bare-bones approach to the material but succeeds at being neither. What we get instead are redundant scenes of chase, torture, release; chase torture, release, in that order for 94 minutes with long interludes of bitching, moaning, and incoherent rambling acting as plenty of padding in-between chase sequences.<br /><br />The look of the film is incredibly grainy and dark, which, in a better made film might have enhanced the tension and the realism. Here it's merely annoying. The characters are undeveloped and the viewer is hard-pressed to find anything to sympathize with them. One character stops to get a first-aid kit and tend to some scrapes on her face while gunshots heard in the background indicate her friends may be getting killed. Another girl mutters hilariously dumb lines like "Don't go out there, she'll get you, if she gets you she'll kill you and if she kill's you you're dead".<br /><br />It was an accolade from Fangoria magazine and Dreadcentral.com listed on the box that compelled me to check this one out. Talk about a fake orgasm! Perhaps my expectations would have been met had this been in the comedy section. I'm all for low-budget Indie horror but this one takes the crap-cake. Give Five Across the Eyes (or FATE; get it?) a pass.<br /><br />RazorFriendly gives FATE 1 slash out of five /
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Roll up! Roll up! It's Big Gay Bruce and his Big Gay Death Cannon! Plausible plot? Unnecessary! Decent acting? Unnecessary! Respect shown to its mighty progenitor? Unnecessary! Yes it's another offensively stuffed turkey in the Butch Bruce canon.<br /><br />I mean where do you start with this film? Okay, let's begin with the woeful misapprehension people might have that this was, in some way, related to either the book or the original film, The Day of the Jackal. It's not. In fact it's so different (and so bad) that Fredrick Forsyth asked to have his name taken off it. Now I'm not necessarily a stuffy Brit who can't hack Hollywood remaking British films. Well, okay, maybe I am a bit like that, but fortunately it's a redundant point in this case. This film is so different to the original that the name and the odd reference are the only things that survive.<br /><br />Now let's move to the premise. Cheesy Russian gangster gets killed in a Moscow police raid (somehow involving the FBI although no one bothers to explain why). In revenge, brother of gangster decides to wreak vengeance by killing the wife of the US President (although again no one bothers to explain why this is a good move although to be fair it was pre-9-11, so he wasn't to know it would have resulted in the US airforce carpet bombing Eastern Europe). Gangster hires "nasty" killer (Willis). Police hire "cuddly" killer (Gere), "cuddly" killer tracks "nasty" killer. Police fanny around and periodically get killed. "Cuddly" killer kills "nasty" killer. First lady is saved and we all realise that the IRA are just this bunch of real sweet guys y'know, who just happen to want to kill innocent people. Nice.<br /><br />Let's put to one side the distasteful Hollywood habit of playing in the troubles of Northern Ireland like it was a sandpit in a theme park (I deal with this point more extensively on the message boards). If Hollywood directors want to cast the Belfast butchers as hookers with hearts of gold, that's up to them. I, of course, reserve the right to despise them for it. It's a free country.<br /><br />More egregious, however, is the fact that the film manages to patronise and insult the Irish while trying to support them. That's not politically distasteful, it's far worse: it's incompetent. It's no wonder, for instance, that Gere still looks so damn good, given that he slept through the entire six months it took to make this piece of cra*p. The fact that Gere's accent is not only Southern Irish, but an appalling parody of Southern Irish shows that the filmmakers weren't looking much beyond America to make money from this film. Then there is that lovely scene at the end where Sidney Poitier (a complete waste of space in this film) says he's off for a coffee, offers to get our "cuddly" IRA man one, then casually says "Ah, but then you guys drink Guinness don't you". Yeah that's right Sidney; the Irish live on Guinness and potatoes.<br /><br />While we're on the subject of Poitier: why? In the original film the detective is the tracker. In Jackal, Gere is the tracker. So what does Poitier do? Well, he just hangs around and looks like a tw*at of course. He's got absolutely nothing to do apart from call in the marines at the end, and he only does this because the nice IRA man tells him to.<br /><br />While we're on the subject of Gere: why? I suppose it's only a matter of time before Hollywood remakes Gandhi with Vin Diesel playing ex-Mujahideen Commando Mahatma Gandhi beheading his way through 1940s and 50s India (he is, after all, a bit dark of hue and therefore very likely to be a Muslim fundamentalist). Let's not forget that Gere's character is a killer and therefore a nasty piece of work. And if he's not, why does he know The Jackal? If he's not, why does he know all his moves? And if he is, why is he such a limp biscuit and such a "loveable" person? <br /><br />All this goes to show that the makers of this film couldn't be bothered to (a) think about the plot (b) have the characters making decisions that were in keeping with their character(c) avoid cheesy stereotypes like having the big boss bad guy kill his own friend I honestly thought this had turned into a Bond movie (d) give the "central" characters something to do (e) credit the audience with a modicum of intelligence.<br /><br />This film is an insult to the British and Irish killed at the hands of terrorists, it's an insult to the Irish people, it's an insult to not great, but pretty good film it rips off, and an insult to the intelligence. But most of all and most unforgivable it is an insult to my a*rse for having to sit through the over two hours of run time it took to finish. Honestly, you'd think with no plot, no characters and no dialogue, it would be over in no time. But they didn't even have the decency to quit early.
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I saw it in Europe-plex. Great movie!! <br /><br />This film is an exploration of the Spirit and the Flesh in modern times. Protagonist Jim Kirk, drives an unwieldy RV across America, stopping often to fill his gas-guzzling tank. He is middle-aged and confused . He fuels his thick, diabetic body with cups of coffee and radio chatter. He is the Flesh: agitated and sometimes spaced out, fairly oblivious to the growing tension around him but feeling it as twinges of discomfort. <br /><br />The Spirit suffuses the film through speeches and other sounds, as well as what appears and goes by in the visual field. The Spirit eventually collides with the Flesh and Kirk goes down, unable to comprehend what has happened to him. He's been in denial about just how bad things have become due to he waywardness of all of us, because we are all focused on the needs and desires of our flesh. We're all in the same denial and so we, like Kirk are in danger of going down and being blown away by desert sands just like him.
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| 15,606
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Tremendous fun both as a film and as an excuse to sit back and play the 'oh, that's whassis name' game. Every star of the golden age of English films seems to be in this one and it was a joy to see them. And the greatest of them all, Richard Wattis, was as tremendous as ever. <br /><br />There is actually a plot that trundles along very nicely, there's also some splendid jokes and comedic moments, but the key to this films triumph is the characters within it. Alastair Sim is magnificent and somehow convinces you that a six foot, big-boned Scotsman could be the headmistress of a girl's boarding school. George Cole, Beryl Reid and Irene Handl all have their moments but, with Alastair and Richard, the star of the show is Joyce Grenfell. She is an absolute one-off and brings a smile whenever she's on the screen...her rolling-walk and plum accent done to perfection. <br /><br />And for those playing the , that's whassis name' game, you can even spot Arthur Mullard, Barbara Windsor and Ronald Searle if you look carefully.
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| 19,935
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if you're a fan of the original ten commandments, this movie will make you weep inside. granted, i'm only about 1/2 hour into it currently, but it's so painful, i felt it was my duty to warn away real ten commandments fans before they are subjected to this bastardization. i didn't think it was possible to actually make the special effects worse than they were in 1950s when the original was shot, but this 2006 remake proves me wrong. i can forgive some lame special effects, but the craptastic dialogue, melodramatic lifetime movie-style schlockiness, and the stilted we-are-wax-figures-come-to-life acting makes me hope they'll rewrite the plot and drown moses in the red sea.
| 0
| 8,579
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Someone reviewed this movie as a "waste of time" because he/she was expecting the "beautiful scenery of Brazil and Portugal" but then everything looked "washed out" or gloomy, or something to that effect. I believe this person missed the entire part of the film. This is reality. The point of this movie is to show that life is not, indeed, ideal, and to show what people go through in their lives for family, love, and survival. A young man leaves his slum in Sao Paolo, Brazil, to go to Portugal to visit his mother's home country after her death. He discovers that not everything is free, and that Brazilians are looked down upon by native people from Portugal. He eventually finds a life, a love, but the story does not end as expected and this is not a "fairy tale" story. The part that got me most was the ending song, "Zeca Bailero (Honey Baby)" by Gal Costa. It fit so well with the movie; especially the ending.
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| 21,610
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The first time I saw this was when I was with a date, and she thought it was an awesome movie. I didn't.<br /><br />The second time I saw this was last night on TV. It still sucks.<br /><br />As a love story this sucks. As having Julia portray a street hooker, this is repulsive. To me she was a librarian with a miniskirt and heels. She had no tough shell to her. She wasn't tortured, anguished, enraged, starving or anything else. Her "HOOKER" character was so flawed, like comparing a cubic zircon to a diamond. The two simply don't fit, no matter what they look like.<br /><br />The ONLY cast I felt was worth watching was the 2 bitchy saleswomen, whom were excellently cast. They did such a fine job that I hated them for the few seconds that they were on screen. They had real definition, for the minor roles. OK, so the movie wasn't entirely trash...the two ignorant saleswomen saved the film.<br /><br />Aside from those two women sales people, the rest of the cast...including the big names was just crap. Either everybody was an ass-kisser or had absolutely no reason to fill any dialog in the movie aside from just complimenting Julia Roberts or kissing ass to Richard Gere.<br /><br />This was a movie about how when you walk around in high-heels and a tight skirt in Beverly Hills, people leer at you and guys who work in hotels gawk as if they just had a baseball bat struck to their face.<br /><br />While in reality, the women who are dressed to the nines in Beverly Hills are hookers and prostitutes to a higher degree, but since they aren't wearing the gaudy Madonna looking jewelry or the patent boots, they can look down on the others who do.<br /><br />The hotel cast was sickeningly sad to watch, and anybody who had any real character had less than a minute of screen time.<br /><br />This is an insult to romantic movies, comedies, dramas and even to prostitutes who face wealthy customers on a daily basis with hopes of having their lives work out perfect.<br /><br />The story is about Julia Roberts being PIMPED (yes PIMPED) by a multimillionaire in a business suit and limousine.<br /><br />She is still owned, still told how to act, how to move, what to wear, what to say, where to go and what to do. He is more controlling than a street pimp, but the folks at Disney/buena vista butter it up to make it easier to swallow.<br /><br />Had Richard Gere been a black man with a gold tooth and an AK-47 at his side instead of an attaché case, this movie would be about how a woman has to struggle to get away from the harshness of prostitution. Same story, different characters will make a very different outlook.<br /><br />Oh yeah, change the white man for a black man or Asian or Spanish, have the land business deal be changed to a deal of weapons or narcotics and the entire concept of romantic comedy is thrown away.<br /><br />As far as I'm concerned, Pretty Woman is still trash, dressed with ribbons and bows.<br /><br />I didn't like it 15 years ago, when I didn't understand it and was led by the Hollywood hype. I hate it now that i can see past the pretty decorations that is called "love".<br /><br />This movie is NOT a romantic comedy. It's a story on how to control a woman as long as you have the means and income to do so.<br /><br />This is an insult to strong women, weak women and women in general, as well as to my television screen.<br /><br />Do I hate it? Yes. Does it suck? Yes Would I recommend it to you? NO...well maybe if I really hated you.<br /><br />Will this review get posted? We'll see.<br /><br />Anywayz, that's all for now.
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| 11,158
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T.Z. Post, college professor, receives a false letter stating he inherited $750,000. Now with financial means, he withdraws his life savings of $4,000, and decides to finally going out & live. After having his baggage sent on a train to Chicago, he meets a traveling vaudeville troupe, and decides there good enough for him to put on a show on Broadway. The night of the show, poor Prof. Post has to hide from his creditors, settle the relationship woes between girlfriend Pansy and & floozy diva Eleanor, and still make sure the show must go on. After watching many of Keaton's silent gems, this one is a pain to sit through, but I felt, it could have been a lot worse. Supporting cast Durante, Todd, & Selwyn come off very annoying at times, but still likeable. A pre-Charlie Chan Toler is good as the frustrated show director. 90% of the script is badly written as MGM is trying to pass this off as a poor man's Marx Bros. film where many of the sight gags fall flat from the beginning. Compiled with Keaton's drinking problems at the time, this movie just is a sad moment in Buster's life. Rating- 3.
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| 3,732
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I sat through almost one episode of this series and just couldn't take anymore. It felt as though I'd watched dozens of episodes already, and then it hit me.....There's nothing new here! I've heard that joke on Seinfeld, I saw someone fall like that on friends, an episode of Happy Days had almost the same storyline, ect. None of the actors are interesting here either! Some were good on other shows (not here), and others are new to a profession they should have never entered. Avoid this stinker!
| 0
| 12,001
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Let me clarify that. This is not a "good movie", but I am so glad it is out there, I am so glad I saw it, and for the role that it plays in my DVD collection, it is sublime. It is the ultimate PG-13 romp, it is college as we imagine it will be when we're freshmen in high school, it requires so much suspension of disbelief that it may as well be taking place on Mars. It is so wholesome that even when it tries to be dirty it wouldn't make your grandmother uncomfortable. Watching it requires so little sophistication, (in fact, thinking too hard about what's happening will get in the way of your appreciation of this work), it makes me feel like I'm 12 again. And that kind of experience is worth more than $9.99.
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| 16,347
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Greetings from Lithuania.<br /><br />This is the first question that comes to head after watching this "movie". <br /><br />You know, I saw a lot of bad movies in my life, but after watching this one, i only had two questions: 1) Is this was just a parody (spoof) <br /><br />2) How could people create such a thing!? <br /><br />If You never saw this "film", than you REALLY don't know what is a REALLY bad "film". I mean BAD. The script - Are you kidding my? Acting is so horrible that i thing "the actors" where just having fun in this movie. I know, this is "B" movie, but come on?? Is this have to be a reason to be such a garbage?? <br /><br />Oh! And what an ending!!! A must miss ending! Just when you thing that this is the worst thing you have ever saw, wait until the ending - because THAT kind of ending You have NEVER saw before (and I hope You will never see). <br /><br />Awoid this "movie" at any cost, and don't say i didn't warn you...
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| 1,952
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At first I couldn't tell if it was an art film or a documentary. The day after I had a unique movie after taste experience or perhaps a revelation. The film is a human quest to destroy everything that exists, including life on earth. The lead is clueless and cold. He is like all of us he wants to get rich, to laugh, to travel, to eat and be entertained. He moves from one place to another in a giant RV without direction or motive only to pass time and entertain himself. By the end it's too late. Since my first viewing of USA it had grown on me like a custom fit dream where life on earth is nothing but a weird experience. I am an artist and a Buddhist and this film communicated to my senses. It was an ideal embodiment of impermanence. This may sound strange but somehow this film was able to touch me in a profound way like no other. I recommend it.
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| 15,604
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Yet another recent comedy that shows that Hollywood can't even do the basics when it comes to film-making that it used to do in its sleep for decades. If the writer/director had any brains they would have based the film around Stamp's character of tyrant boss Jack Taylor. When he's in the film early on it's nothing special but it is mildly promising and occasionally amusing. Once he departs for the majority of the film and Kutcher has his 'hilarious' adventures house-sitting with guest after boring guest dropping in, the film totally disintegrates.<br /><br />As a result, what should have been a passable timewaster turns into an inept stinker.
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| 7,680
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This is movie is actually one of my all time favorites. I'm not a Renny Harlin fan because most of his movies suck, but TLKG hits its mark time after time. TLKG is about a woman named Samantha Cain (Davis) who suffers from amnesia. she is married with a kid and as she qoutes "I'm a goddamn member of the PTA." and then her world comes crumbling down as the pieces fall into place about her earlier identity. Samuel Jackson plays a con artist cop who does PI gigs, he is dragged along by her to solve her identity and to get paid some cash for his work. along the way we find out Samantha is really Charlie Baltimore, a secret spy that was left for dead years earlier. the plot is great, making this story seem real and Jackson does a great job as second fiddle to Davis (whom always does a great acting job). the explosions are endless, the action is intertwined with memorable scene after memorable scene. pretty impressive visually though the kid got on my nerves at the end (watch out of the cars!) I'm tired of little kids screwing up a film to be saved but still, this movie is worth it as the kid adds to the film. again, this movie is really good, i never understood why it didn't make more at the box office but if it was a man starring in the movie I'm sure it would have grossed a hundred million. what is good is that over the years more people are discovering this movie and giving it good marks as the average of this film on this site has risen over the years. i hope it goes up further as this is one great action film. and i love action films
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| 14,673
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I have to admit I have always found it difficult to watch an Antonioni film from start to finish at the first try, and even for this one, I ended up watching it in three parts on repeated occasions. In the end, I realised perhaps it was better that way, because it forced me to stop thinking in the usual terms of plot and just enjoy the scenes one by one. <br /><br />The first part seems a lot more fragmentary, which is not a bad thing, it just requires more of an effort to follow. When it gets to the desert scenes, all efforts are repaid in full. The stunning cinematography is only a part of it, what really makes it all unforgettable is how the landscape is made into an overwhelming presence, the silence and vastness of it, the sense of sadness and freedom, the way it fuses and contrasts with the two young characters. The desert is dead, but at the same time it feels less distant and alien than the urban scenes in the first part. The dance between the airplane flying over and the girl's car makes for a series of great shots. The love scenes in the desert are simply beautiful, it is hard to imagine this kind of approach from a film of our times. There is of course something very stylish and studied about them, but at the same time they manage to express a sense of natural, spontaneous innocence that is very rare these days. It all feels loose and unscripted (thanks also to the understated acting), but that is the result of a maniacal attention to detail and form, which comes to its climax in the series of explosions at the end, a really mesmerising spectacle. It just leaves you in awe.<br /><br />I don't really care for some the usual objections: boring - well, yes, it is, if you want all films to follow a classic plot development and be packed with action twists, but then if all cinema was like that, that would be truly dull and sad; pretentious - maybe, but when that kind of ambitiousness is coupled with actual skills, depth, and style, pretentious is a compliment. The "political" criticisms make the least sense to me, I don't see the point of approaching a film like this with ideological blinders or worse, patriotic requirements. It just defeats the purpose. Perhaps it's true that, like a previous commenter remarked, Antonioni viewed these young 'hippies' and the politics of protests and riots with the police with the fascination of a foreigner, but I think that adds something rather than detracting from the film. It's not true that hippies did not exist in Italy at the time (think of the '68 protests, like in France), although they were obviously different from the American counterpart and in some ways even more militant. But his interest in this film was not narrowly political. The events seem more like a pretext for a film whose appeal has a universal, timeless quality.<br /><br />A special mention for the fantastic soundtrack. Amongst other things, this film, along with Easy Rider, is probably one of the main earliest precursors of the contemporary 'artsy' music video as well as the concept of a film soundtrack that would stand on its own, but unlike the former, it uses music in a much more subtle way, blending it with the landscape rather than the action. <br /><br />If you want traditional narrative in a film, then don't bother. If you want to be stunned, be patient and you won't regret it.
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| 18,636
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Ugly, heartless Hollywood crap that expects nothing but ugliness and heartlessness from its audience. The scenes WITHOUT Spacey reveal how truly awful the film really is. But the scenes WITH Spacey are just so entertaining that you hang on in there right to the end. Yes, he could play this part in his sleep but he does it so well, he's such a joy to watch, so believable and marvellously monstrous. Enjoy it for his performance, but don't expect anything else from this movie. If you want to see a great film about the evils of modern Hollywood, check out Robert Altman's "The Player". This sad little potboiler is not remotely in the same league.
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| 6,473
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I found the DVD version of this movie at a rummage sale. The basic premise is an affair between a teacher/coach a student. The acting is weak and the plot razor thin.<br /><br />This movie had all the depth and plot development of an adult film.
| 0
| 4,267
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Quick summary of the book: Boy, Billy Tepper, about 12 years old is school's main trouble maker, and if he gets kicked out of one more school he'll be sent off to boarding school. His upscale boy's school in Switzerland (or somewhere like it) gets taken over by Arab terrorists, why I'm not really sure. Billy has no friends, and likes to use his laptop to hack into his school's database. He, with the help of two teachers thwarts the terrorists' plans, and save the entire school. The book wasn't bad, but was sooooooo cliché.<br /><br />Now about the movie; they switched Arab terrorists to Cuban terrorists, and make Billy about 17 and the leader of his group of friends. They like to get into trouble, but normal teenage stuff. This movie was believable. Maybe not realistic, but the characters are real. You can watch Billy, Joey, and the rest of the guys and see real kids acting out the way they did (or at least wanting to).<br /><br />Great action scenes. Not everything goes as planned for either side. Overthrowing the terrorists was messy, and good guys did get hurt. I won't say who, but it is heart wrenching (I know, I use that word a lot). Sean Astin is excellent. As a teenager he usually played the dopey best friend. This movie proved once again that he could play the leading man, kid, whatever. The only performance that may have upstaged his was Wil Wheaton's, who played the only son of a New Jersey mafia man. He hated his father, and everything he stood for. (A far cry from Wesley Crusher) Usually this genre of film is one I watch for the soul purpose of making fun; but not Toy Soldiers. The story line flows, the dialogue is usually believable. I can't think of a single moment where I found myself shouting at the TV "Oh that would so not happen" Great movie that should be in everyone's collection.
| 1
| 24,510
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This was a very strong look at prejudice and group mentality. The cast is composed of superb actors doing a remarkable job. The sets are beautiful and just a bit stylized. The art direction is top notch along with great cinematography. The story is taut and shows how prejudice and bigotry can flourish easily. It is disturbing for its realistic violence and protrayal of a fairly typical community. I was very impressed.
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| 17,261
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***SPOILERS!*** I sometimes wonder what makes sequel-makers think that they have to explain (and therefore destroy) the mysteries behind iconic Horror films. The original "Hellraiser" of 1987 was an absolute masterpiece and probably one of the scariest films ever made. The 1988 sequel "Hellbound" was also a fantastic Horror film, though I personally didn't like how the viewer got background information on the Cenobites, some of the all-time creepiest Horror-villains in the original. The third part, "Hell on Earth" (1992) was already quite a mess, whose makers obviously thought it necessary to add a dose of humor to the formerly incomparably creepy lead-cenobite Pinhead (a typical 90s stupidity) and therefore destroyed most of his scariness. This fourth part "Hellraiser: Bloodline" (1996) is slightly more atmospheric than the third one, but it lowers this quality by inventing even more silly and completely unnecessary 'background information' about the cenobites and the opening of the gates to hell.<br /><br />Seriously - did we need to know how the mysterious puzzle boxes that open the gates to hell are being made? I think not, and that is not the only mystery about the cenobites that is stupidly destroyed in this film. The setting of "Bloodline" goes back and forth in three different periods. The film begins in a 22nd century space-station, when scientist Dr. Merchant (Bruce Ramsay) attempts to close the gates to hell forever. When government soldiers disrupt his mission he has to explain his reasons. In 18th century Paris, Merchant's ancestor was a toymaker assigned to build a puzzle box by an aristocrat obsessed with the occult. An evoked demon, the princess of hell, took over the body of the beautiful Angelique (Valentina Vargas). Since the only person capable of destroying the gateway to hell is the one who built it, the bloodline of the toymaker would be cursed and his ancestors infested by cenobites throughout the ages... The film, which takes place in the 18th century, the present, and the 22nd century, really is quite a mess. I admit that the part set in the 18th century has a creepy atmosphere and is by far the best part of the film, but its also its smallest part. The parts set in the present and in the future are quite weak, and filled with stupid and unworthy elements. The film's undoubtedly strong points are the terrific make-up and gore-effects, the absolutely ravishing Valentina Varagas as the she-demon, and Pinhead (Doug Bradley), who, in spite of having lost some of his creepiness, still is a menacing villain. It is an almost offensive idea for "Hellraiser" fans, however, that Pinhead is supposed be defeated by a ridiculous light-show. Overall, "Bloodline" is not a complete disaster, but it sure is an unworthy sequel to a series that began so brilliantly. Even director Kevin Yagher was obviously embarrassed about it, as he preferred to be credited as Alan Smithee. Overall, this is only recommendable to hardcore Pinhead-fanatics, and most of them are probably going to be angered by another diminution of their favorite demon's creepiness. All others are well-advised to stick with the brilliant first, and excellent second part of the "Hellraiser" franchise and skip all the others. The makeup effects in "Bloodline" are creepy as hell, but almost everything else is disappointing. My rating: 3.5/10
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| 10,735
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The Man With a Golden Arm was one of a trio of great films around that same time that dealt with drug addiction. The other two were Monkey On My Back and A Hatful of Rain. But I think of the three this one is the best.<br /><br />Maybe if Otto Preminger had shot the thing in the real Chicago instead of those obvious studio sets the film might have been better yet. Who knows, maybe Preminger couldn't get enough money to pay for the location. It's the only flaw I find in the film.<br /><br />Frank Sinatra is a heroin addicted card dealer who was busted for covering for his boss Robert Strauss when the game was raided. He took the cure while in jail and wants a new life as a jazz drummer. But a whole lot of people are conspiring against him.<br /><br />First Bob Strauss who wants him back dealing, especially because a couple of heavyweight gamblers are in town. He uses a few underhanded methods to get Sinatra's services back. Secondly Darren McGavin is the local dope dealer who wants Sinatra good and hooked as a customer again. And finally Eleanor Parker his clinging wife who's working a con game to beat all, just to keep him around.<br /><br />Frank Sinatra got a nomination for Best Actor for this film, but lost to Ernest Borgnine in Marty. Sinatra might have won for this one if he hadn't won for From Here to Eternity in the Supporting Actor category a few years back and that Marty was such an acclaimed film in that year. His scenes going through withdrawal locked up in Kim Novak's apartment will leave you shaken.<br /><br />Eleanor Parker does not get enough credit for her role. She's really something as the crazy scheming wife who wants Sinatra tied to her no matter what the cost. If she had not been nominated that same year for Interrupted Melody, she might have been nominated for this. 1955 marked the high point of her career. <br /><br />Darren McGavin got his first real notice as the very serpentine drug peddler. His performance is guaranteed to make your flesh crawl.<br /><br />Elmer Bernstein contributed a great jazz score to accentuate the general dinginess of the bleak Chicago neighborhood the characters live in. Not a place you'd want to bring up your family.
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| 13,987
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Oh dear me! Rarely has a "horror" film bored me, or made me laugh, as much as this one. After a spirited start with an intriguing premise, it descends into not much more than a slasher flick, with some supernatural and sexual asides. The usually excellent Alice Krige is wasted in this one, and the plot twists are ludicrous. Don't bother unless you're really desperate. Rating: 3/10.
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| 1,682
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The Secret Fury, in many ways a run-of-the-mill romantic suspense drama (directed by Mel Ferrer) boasts top-notch principals in Colbert and Ryan; it stays puzzling if not quite gripping until towards the end, when implausibility conquers suspension of disbelief -- as so often it does in this genre. But for some viewers the film's highlight will be the portrayal of blowsy Leah by Vivian Vance -- the immortal Ethel Mertz on "I Love Lucy." Oddly, Vance had very few film roles; her true home was Broadway, where (among other gigs) she understudied for Ethel Merman. Here she contributes a winning turn as a chambermaid suborned to play a minor part in a nefarious scheme; watch her half-heartedly trying to wave away the smoke when she's puffing a furtive cigarette in the hotel's linen-storage room -- a transgression for which she ultimately pays the supreme penalty.
| 1
| 17,529
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Finally a true horror movie. This is the first time in years that I had to cover my eyes. I am a horror buff and I recommend this movie but it is quite gory. I am not a big wrestling fan but Kane really pulled the whole monster thing off. I have to admit that I didn't want to see this movie, my 17 year old dragged me to it, but am very glad I did. During and after the movie I was looking over my shoulder. I have to agree with others about the whole remake horror movies enough is enough. I think that is why this movie is getting some good reviews. It is a refreshing change and takes you back to The Texas Chainsaw ( first one), Michael Myers, and Jason. And no CGI crap.
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| 15,387
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Beloved tale of hero "Benji" ("Higgins" the dog) who is many different things to many different people. In his busy day "Benji" grabs breakfast at the house of two young children, has a chat with an officer of the law, chases an old lady's cat and reminds an aging café owner to start on the day's special. Helper to some, amusement to others, he is companion to all.<br /><br />Trouble arises when his young friends are kidnapped and taken to the abandoned mansion that he calls home. From here on we know only "Benji" can save the day.<br /><br />Plot is routine from writer/producer/director Joe Camp, and he does tend to over do the slow motion effects. Audiences though will find it hard to resist the lovable little pooch, and kids of all ages are sure to adore him. Cast were never going to be anything but background to "Benji".<br /><br />Not what you'd call inspired, but fun family fare. Academy Award nominee for "Benji's" theme, "I Feel Love".<br /><br />Saturday, July 13, 1996 - Video
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| 3,843
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Five Across the Eyes starts as five young teenage girls are driving home in time for their curfew, they stop off at a store & accidentally hit another car & decide to just drive off & leave it. Soon after the other car forces them to stop & a crazy woman with a shotgun gets out & shouts at them, makes them take their clothes off & makes them pee on them & then randomly drives off. Shaken & shocked the girls think their ordeal is over but the crazy woman comes back for seconds as she seems intent on killing the terrified girls who are lost & are low on gas...<br /><br />Produced & directed by Greg Swinson & Ryan Theissen with Swinson writing the thing & Theissen responsible for the cinematography & editing I have to say that Five Across the Eyes is easily one of the worst films I have ever seen if not the worst, I mean I'm struggling to think of a film I have seen that's worse. Now let me start off by saying that I am sure a lot of the film-making decision taken here were deliberate to try & provoke atmosphere, tension, realism & suspense but there is not one aspect of Five Across the Eyes that I didn't hate it to be honest it looks like a bad home video that has been put up on YouTube & even then it's still slightly embarrassing & a frankly worthless waste of 90 odd minutes of my time that I could have been doing something more entertaining & fun like pulling my fingernails out with pliers. The reviews on the web seem quite positive but on the IMDb (the amount of 1 Star comments is revealing & they can't all be wrong, right?) & it's message board which I think is much more of an indicator of what the average person thinks it's absolutely trashed by just about everyone & the phrase 'the worst film I have ever seen' is used a few times & to be fair most of these negative comments mention th same things & I have to agree with them. The story is terrible, alright I suspect it's meant to be minimalistic but this minimal? There's never any reason or explanation for the events that happen & it just feels totally random. It goes on for ages, the amount of plot here would struggle to fill a thirty minute made for telly program let along a full length feature. The dialogue is awful with these annoying girls who don't seem to have a brain cell between them taking about random stuff & screaming a lot. Oh god the screaming, there are seemingly endless scenes of these girls screaming or crying or whining which not only irritates & annoys & prevents any sane viewer feeling any sort of sympathy for them it also makes what they are trying to say almost impossible to hear properly. Then there's the real killer, the entire film is set & shot within the confines of a mini van, seriously the camera never leaves this car & as you can imagine it gets really boring, add that the low body count of just one person killed on screen & Five Across the Eyes is a film that I hated with a passion.<br /><br />On a technical level again I can see that the film-making style here was a deliberate choice but I have to be honest again & say Five Across the Eyes is the worst looking film I have ever seen. As a fan of film I like my films to look like proper films as it's a visual medium & I definitely don't want them to look worse than the average YouTube video or my home films shot on a camcorder while I was drunk. It really does look that amateurish & that bad, it's a complete eyesore & I hated every moment of every second of it. Just think The Blair Witch Project (1999) only ten times worse looking & sounding & you will be almost there. There are times during Five Across the Eyes when you literally can't tell what's going on or happening because of the camera-work & the almost pitch black & grainy contrast levels. The violence is tame too with a few splashes of blood & a stabbing at the end.<br /><br />Low budget doesn't even begin to describe Five Across the Eyes, with a supposed budget of about $4,000 this is easily one of the lowest budgeted films ever given a wide release. The two vans in the film were owned by members of the production & that's basically pretty much the entire budget right there, the locations. The acting is pretty bad by the main cast, I just hated all the fake put on crying & screaming that didn't convince at all but did irritate immensely.<br /><br />Five Across the Eyes will go down as one of the worst films I have ever seen & I have seen a few films, whenever anyone now ask's me what's the worst film I have ever seen Five Across the Eyes will definitely get a mention. I hated it, every single aspect & wretched moment of it.
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| 8,294
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The word 'classic' is thrown around too loosely nowadays, but this movie well deserves the appelation. The combination of Neil Simon, Walter Matthau (possibly the world's best living comic actor), and the late lamented George Burns make for a comic masterpiece. It is interesting to contemplate what the movie would have been like had not death prevented Jack Benny from playing George Burns' part, as had been planned. As it is, the reunion scene in Matthau's apartment is not likely to be surpassed as a sidesplitter. Definitely one of my desert island films.<br /><br />"Enter!!!!!!!!!"
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When people nowadays hear of a 1940s drama, they usually appear to create a distance of irony claiming that it's another tearjerker with great stars in the lead of tragic, melancholic roles. This opinion, however, does not resemble Neorealist movies, in particular this one directed by Count Luchino Visconti. OSSESSIONE as his debut once censored and once cherished as nearly a realistic masterpiece is still loved by some people and strongly criticized by others. The contradictory opinions about the film that have appeared in these 65 years seem to have been caused by the content of the movie itself, exceptionally controversial for modern times as well as the past. At the same time, while being based on the novel by James M. Cain, THE POSTMAN ALWAYS RINGS TWICE, it is one of the most genuine screen adaptations where director remains his own style, view, his own art. I have seen the film twice and the second viewing led me to very detailed analysis part of which I'd like to entail below.<br /><br />First, Visconti's movie seems to touch all psychology and actions that people may do in life, in particular those absorbed by desire. These people make such tragic decisions in spite of terrible consequences they are bound to face. Gino (Massimo Girotti) a traveler with "bear like shoulders" turns up at the crossroad of a motorway near Ferrara and enters the tavern. Although many people go there to have a meal, Gino occurs to get something more - much more: the indefatigable desire of beautiful Giovanna (Clara Calamai) a woman already married to an elderly man who runs the bar, Mr Giuseppe Bragana (Juan De Landa). Her body and her song possess his mind totally and from the moment of their first love, the couple plan to get rid of the old obstacle and build up a new life together... However, are people bound to wrong deeds in face of desire? Can one build love upon murder? What is love and what is loyalty? Does desire lead to a dangerous addiction or even obsession? Such questions intensely arise while watching the movie, when, to the core, the viewer is supplied with an insight into characters. "We have to love each other affectionately" answers Giovanna seemingly giving a cure to all crying conscience but may desirous love justify and cure everything? "Isn't it what we both wanted" says one of the couple... it occurs that it's not. Therefore, the content of the film appears to be very dangerous if not analyzed with intellect and heart. Yet, it constantly remains thought provoking.<br /><br />Second, OSSESSIONE has a very strong point that talks to modern viewers: brilliant moments and marvelous cinematography, which go in pair with memorable sequences and visual power. These make a modern viewer realize that a film made almost 70 years ago is absolutely entertaining to watch. They range from tasteful erotic images to purely technical shots. Who can possibly skip that moment in Ferrara where Gino meets a beautiful girl, a sort of "Ragazza Perfetta" (perfect girl), a dancer Anita and buys her ice cream. His desires show him totally different direction... Do viewers remain indifferent at Gino-Giovanna's first meeting? The first focus of camera is on Giovanna's legs seemingly representing carnal desire over love that Gino experiences. A marvel of shot is Gino and Giovanna leaving the investigation room and the closeup of their shadows that directs our attention towards their suspicious look.<br /><br />Third, OSSESSIONE can boast outstanding performances both from the leading pair as well as the supporting cast. Massimo Girotti once said in an interview that working in this movie had been one of the most difficult jobs he had ever done; yet, consequently, what comes out is a flawless acting. He portrays a bisexual man torn within desires who commits a crime but cannot stand any of the objects that remind him of his victim, which represents conscience. His bisexuality is indicated through the character of Lo Spagnolo (Elio Marcuzzo) whom he meets in very surprising circumstances in the train for Ancona. Clara Calamai, who was cast in the role after eminent Anna Magnani had refused, fits very well to the role and we may claim that there is a true chemistry between the couple. They are both very convincing. Besides, I liked Juan De Langa in the role of Bragana: he portrays an old husband not affectionate to his wife and still crazy about high art. In some of his most witty moments, he asks his wife to wash his back or walks in the empty streets singing his favorite opera songs after sort of karaoke performance.<br /><br />In sum, we, as modern viewers who are capable of critical view, have to look at this film very objectively. It is art for sure thanks to the aspects aforementioned, it is a powerful story as well thanks to the controversy it carries; yet, is it educational? Visconti was not Fellini who said that he did not carry any message for humanity. In such case, his films would only entertain (which is, of course, not entirely Fellini's style, too). Visconti always had something to convey. What did he want to say here? Is the film against bad marriage? Or is it against wrong actions of people absorbed by desire? The final shocking moments say for themselves. Though you don't have to agree with the vision, OSSESSIONE is really a wonderfully realistic film, one of Visconti's best 8/10
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My friends and I rented this movie mistaking it for another one about skateboarding. Watchin Steve Guttenberg as an action hero is hilarious. The movie is so incredibly predictable and over the top that it ended up being a laugh fest. Even though I gave it a 1/10 this movie should be seen especially if u manage to catch it on TV anywhere.
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I have seen both the MST3K version and the uncut version. I rather enjoyed it. Either way, it wasn't that bad of a movie. Sure it moved a bit slow at times. I liked it.<br /><br />As far as MST3K goes, they only did the movies they could get the rights for. Not all the movies they ripped apart where bad movies, it was just so easy to make fun of them. Take SoulTaker for example.<br /><br />Joe Estevez and Robert Z'Dar's characters where so inanimate and boringly silly I couldn't help but laugh. I couldn't take them seriously. It really created a unique feeling though.<br /><br />Vivian Schilling did an excellent job with the script. A world better than 95% of the garbage in the theatres today. Her role was played well. Not too screamy not to masculine but just right. The camera really likes her in this movie. I would have casted her in that role after ready the script.<br /><br />Anyways, this movie deserves a bit more credit than it is given. Please watch the uncut version if you see the MST3K. It deserves that much.
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What starts out as generational conflict in this movie, ends in understanding, solemnity and grace. The movie meanders through Europe with the father and the young son cramped in a car over 3000 miles. The cramping forces lifestyles, beliefs and life skills to collide. There's really no clear winner. It all adds up in the end as experience, experience of multiple layers of life. For those interested in understanding Islam, this movie offers a generous and gentle outlook, without being pushy about the agenda. It's a coming of age story for the young son, his dismissive and rebellious nature turning to openness for receiving more ways of life.
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These days, writers, directors and producers are relying more and more on the "surprise" ending. The old art of bringing a movie to closure, taking all of the information we have learned through out the movie and bringing it to a nice complete ending, has been lost. Now what we have is a movie that, no matter how complex, detailed, or frivolous, can be wrapped up in 5 minutes. It was all in his/her head. That explanation is the director's safety net. If all else fails, or if the writing wasn't that good, or if we ran out of money to complete the movie, we can always say "it was all in his/her head" and end the movie that way. The audience will buy it because, well, none of us are psychologists, and none of us are suffering from schizophrenia (not that we know about) so we take the story and believe it. After all, the mind is a powerful thing. Some movies have pulled it off. But those movies are the reason why we are getting more and more of these crap endings. Every director/writer now thinks they can pull it off because, well, Fight Club did it and it made a lot of money. So we get movies like The Machinist, Secret Window, Identity, and this movie (just to name a few).
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The Kid was born retarded. It pulls in a half-dozen directions, features dialog and action lifted from much older and better-known flops, and might be funny -- if only the writers knew what funny is.<br /><br />Disney stuff has gotten a lot better in the last couple of decades, but don't let that fool you. They should have given The Kid a wide berth, sang it a lullaby, then ran the train into a ravine. Mercy killing.
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Earth has been destroyed in a nuclear holocaust. Well, parts of the Earth, because somewhere in Italy, a band of purebred survivors--those without radioactive contamination--are holed up in a massive mansion surrounded by lush grounds, waiting for the next opportunity to go hunting for those with polluted blood. The Final Executioner is the story of one of their would be victims, Alan (William Mang, who looks, not surprisingly, a lot like Kurt Russell), and his efforts to take down the legally sanctioned hunters, who are led by Edra (Marina Costa) and Erasmus (Harrison Muller Jr. ). Alan has been trained to kill by former NYPD cop Sam (Woody Strode) who mostly hangs around giving his pupil moral support and mooching for tinned meat. Strode is by far the best thing about the film, though he doesn't look at all well and only appears for about a third of the running time. As for the story, it's a blending of elements from better films and stories, including Ten Little Indians, The Most Dangerous Game, and Escape From New York. The Final Executioner moves along at a fair pace and provides reasonable entertainment for less discriminate action fans.
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"When a Killer Calls" is an unusually nasty slasher flick, with some very unpleasant and unsettling sequences. The decision was clearly made to try and cash in on the remake of "When a Stranger Calls" by pretty much putting in -- almost word for word -- the phone call sequences from that movie. They seem very forced.<br /><br />Additionally, the filmmaker commits the cardinal (but all too common) sin of having the heroine's friends being repulsive jerks. So for the beginning of the film, we really like and are rooting for the babysitter (a nice believable job by Rebekah Kochan), but then she's joined by standard slasher-flick teenage friends and the mood is ruined.<br /><br />The flick sort of works, but it probably a lot more unpleasant than you'll be expected, so be fore-warned.
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The sun was not shining, it was too wet to play, so I went to the movies, that cold, cold, wet date day.<br /><br />"The Cat in the Hat" was the name of the flick, and when it was over, my stomach was sick.<br /><br />Mike Myers played the Cat, his humor was lame, and kids needn't see this, the humor was not tame.<br /><br />the film was like drinking milk, from a rabid cow, so it IS fun to have fun, yet the filmmakers didn't know how.<br /><br />This film, in short is atrocious. The acting was bad, the plot was tweaked too much, and the humor was surprisingly very crude.<br /><br />It starts with Conrad and Sally, A rule breaker and a future sheriff. When their Mother has to go to work, she gets Mrs. Kwan to babysit. Possibly the lone funny part in the movie is when Mrs. Kwan is watching a Taiwanese court room, a `la C-SPAN. She soon falls asleep, and here comes the Cat.<br /><br />The film starts to spiral out of control. The Cat came to try to let the kids have some fun. He's got Thing 1 and Thing 2, Who suddenly start trashing the house. He improvises a TV Infomercial, and accidentally slices his tail off. And when the Cat goes full Carmen Miranda, it's not funny. Possibly his only funny disguise is as a hippie activist. And there's a fish who tries warning the kids about the Cat.<br /><br />Too bad he didn't warn us this film was as much fun as sour milk, or chopping your tail off.<br /><br />Soon the kids are outside looking for the family dog, who has the key to a crate on his collar. If the crate is not locked soon, their house will be home to the Cat's universe. Here it gets a little more interesting, but not enough to save the film.<br /><br />The acting, overall, is horrible. Mike Meyers brings his brand of irreverent Austin Powers humor to the Cat, Saying things like "You dirty ho" and imagining himself as a woman for the rest of his life after a whack in the testicles while posing as a pinata. Spencer Breslin is great as the trouble-making Conrad, and Dakota Fanning is cute as Sally, though they alone are not enough to save this horrendous Aortic Dissection waiting to kill John Ritter(accident waiting to happen). Alec Baldwin's slick and slimey Lawrence Quinn is disgusting, ever trying to woo the kids mom, who is played by Kelly Preston. And Sean Hayes is Mr. Humberfloob, Mom's boss, and is also the voice of the fish. The latter three are also bland.<br /><br />Overall, if I were a parent I would not take my kids who are into potty humor, cause there's plenty of it and more. Save your $7.00 and see something else. As the late great Dr. Seuss once said,<br /><br />It is fun to have fun, But you have to know how. Really, Universal, stop! Theodore's already turning over in his grave.<br /><br />Like my Mom always says, "Curiousity killed the Cat".- The Cat In The Hat * out of *****
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This movie exemplifies a certain brand of comedy horror of a strictly adult kind but quite different to the Troma movies (with which it shares certain qualities). The humour is rough and ready but fast and furious. If the idea of hideous dolls with evil powers and twisted minds don't make you shrug with boredom, reach for the six-pack of beer and enjoy the best "Chucky" film yet.
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"House of Dracula" isn't all that bad of a film and is rather decent at times.<br /><br />**SPOILERS**<br /><br />Arriving at the home of Dr. Franz Edelmann, (Onslow Stevens) in his seaside home, Count Dracula, (John Carradine) discreetly seeks a cure for vampirism. He starts work on a potential cure involving blood transfusion, the Wolf Man, Lawrence Talbot, (Lon Chaney Jr.) arrives at his estate looking for a cure to lycanthropy. Working with the two patients, he discovers a possible cure in a mold found near the laboratory, and after searching the area, he finds the Frankenstein Monster, (Glenn Strange) buried nearby. Becoming obsessed with reviving it, Dr. Edelmann keeps neglecting Dracula and Larry's requests, and after demanding that they get their treatment instead of him working on the Monster, they turn on each other in a climactic showdown.<br /><br />The Good News: This was a rather decent film. There is one main idea that is quite creative and imaginative. This is the first film to openly propose the idea of vampirism as a blood disease, and one that can be transferred from person to person through the exchange of bodily fluid, something that would be taken up by later genre works but rarely as directly as this. There's even a microscope slide of the parasite that is believed responsible for the condition. It works in some rather nicely used ideas and comes across as a rather nifty idea, even if some of the execution is a little stale. The fact that each of the creatures has at least one standout scene is a nicely done idea. The Wolf Man has a marvelous scene where he transforms inside a prison cell to the doubting members of the search party and goes crazy. Dracula's initial appearance of appearing as a bat and flying toward a prone figure sleeping and then appearing in human form looks really impressive. The Monster rampage is well handled and an appropriate amount of destruction is caused. The large bat that Dracula transforms into always looks decent for once, and is quite realistically done. It's a thoroughly decent affair.<br /><br />The Bad News: There are several things that weren't all that great about this one. The fact that the film combines so much potentially intriguingly plots and ideas that it really doesn't know what to do with them. There are several different back-stories that have to be mingled together and which should be clear enough to mix well together and seem coherent. This really doesn't have any of that. The plot is rather flimsy and doesn't really give a preferential treatment to any of the stars, and instead concentrates on one then another and then includes all three in the ending. The monsters only seem to get engaged with each other for the smallest possible reason makes it a big distraction. The ending is for once a big let-down, and seems entirely like it was changed at the last minute. There's a few other small things that weren't all that spectacular, and pretty much also contribute to this.<br /><br />The Final Verdict: It's quite a decent film and manages to get through most of the time with an entertaining style. Nowhere near the classic status of each monsters' debut features, but it's a nice enough watch for fans of the monsters and of Universal films in general.<br /><br />Today's Rating-PG: Violence
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"CIA Codename:Alexa" is an absolute horrible rip off of Luc Besson's classic film "La Femme Nikita"(1990). The film is basically about a woman who is taken in and trained by the CIA and is forced to do a secret mission for them. (Pretty much the same story structure of La Femme Nikita) The acting combo of Lorenzo Lamas and O.J. Simpson is perhaps the worst in cinema history. Lamas' "acting" is simply a bad Steven Segal impersonation. Watching Orenthal act in this film is an excruciating experience.<br /><br />The writing and acting is so poor in this film at times it is laughable. There are so many action movie "conventions" in the film it is ridiculous: unnecessary car explosions, people flying thru glass windows, terrorists, bad ponytails, etc. The musical score resembles David Michael Frank's score for "Hard to Kill" (1990), which furthers the Steven Segal theme of this movie. There is plenty of martial arts in the film, and it is pretty well done for a low budget American production. The mindless action and over the top acting never lets up, and I have to admit I was mildly entertained. <br /><br />Lorenzo Lamas had the look of an action star back in the early 90's but he is certainly no action star, that is why he is doing soap operas and not action blockbusters. My recommendation is that you skip "CIA Codename:Alexa" and check out "La Femme Nikita" instead.
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Originally filmed in 1999 as a TV pilot, "Mulholland Dr." was rejected. The next year, David Lynch received money to film new scenes to make the movie suitable to be shown in theaters. He did so - and created one of the greatest, most bizarre and nightmarish films ever made.<br /><br />The film really doesn't have main characters, but if there were main characters, they would be Betty (Naomi Watts) and Rita (Laura Elena Harring). Betty is a perky blonde who's staying in her aunt's apartment while she auditions for parts in movies. She finds Rita in her aunt's apartment and decides to help her. You see, Rita's lost her memory. She has no clue who she is. She takes her name, Rita, from a "Gilda" poster in the bathroom. So the two set out to discover who Rita really is.<br /><br />David Lynch has been known for making some weird movies, but this film is the definition of weird. It's bizarre, nightmarish, and absolute indescribable. It's like a dream captured on film. By the 100-minute point, the film has become extremely confusing - but if you've been watching closely, it will make perfect sense. Having watched the movie and then read an article on the Internet pointing out things in the film, I now understand the movie completely.<br /><br />The acting is very good. Watts is terrific. Justin Theroux is very good as a Hollywood director facing problems with the local mob. The music is excellent. Angelo Badalamenti delivers one of his finest scores. And the directing - hah! David Lynch is as masterful a filmmaker as ever there was.<br /><br />Is this your type of film? Well, that depends. You should probably view more of Lynch's work before watching this movie. You'll need to be patient with the film, and probably watch it a second time to pick up the many clues Lynch has left throughout the movie. For Lynch fans, this is a dream come true.<br /><br />"Mulholland Dr." is a masterpiece. It's brilliant, enigmatic, and masterfully filmed. I love it.
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A retired diplomat, played nicely by Michael York, goes to Russia to get revenge on the Russian gangster that murdered the diplomat's policeman son. There the diplomat meets an exceptionally strong and decent Russian cop who helps him bring the Russian gangster to justice.<br /><br />I remembered the old action flicks of the 1980s that always portray the Russians as evil bad guys out to undermine the righteous U.S. government. It's interesting to see this time the Russian guy as a hero.<br /><br />Not a great flick, it's really typically a "B" action flick. Michael York lends some class to this mediocre movie. Alexander Nevsky, who plays the Russian cop is kind of "blah" but surprisingly has some chemistry with Michael York. Face it, Michael York is such a good actor that he'd have chemistry with anyone he's doing a scene with. Disappointingly, the handsome Adrian Paul gets killed within the first 15 minutes into the movie. Now, if Adrian Paul was in this movie longer, it would've been an above average "B" action flick. All I can say about Adrian Paul is that he is real nice to look at for the first 15 minutes of the movie. The villain, played by Richard Tyson, is your typical bad guy. He's very blonde and very villainous in this movie.<br /><br />Rent this flick if there is nothing else on TV to watch. It's okay. It doesn't suck too bad. The action scenes are decent. The acting could be better, the plot could've moved much faster, but hey, you get to see what Russia looks like today!
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Dan Dailey gives a sincere and colorful performance as the great Dizzy Dean. His handling of the character is very true to life and captures the flavor of Dean's background and limited education. The film of course centers around Dizzy Deans rise to fame and his sudden trip to the sidelines with an injury he chose to ignore, much to his regret. His wife is splendidly portrayed by Joanna Dru who gives a very down to earth quality to the woman who loved and supported the ballplayer who rose to a "dizzying height" so quickly. The portrayal of Dizzy's later career as a sportscaster is honest and unflinching, reflecting his troubles which stemmed from his poor education and his colorful language both on and off the air. Dizzy was quite a character and Daily has breathed life into his story with admirable skill. If you enjoyed this film, I recommend the comedy "Kid from Left Field" (1953) wherein Daily plays a down and out has-been ballplayer idolized by his young son (Billy Chapin). Daily again fleshes out a ballplayer in a completely satisfying manner. I heartily recommend Pride of St. Louis to baseball fans everywhere.
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I've seen this movie n I can say that this is really a bad movie. The director's gone nuts... of course.. he does know a lot about the army, but then he certainly is a cheap guy. There are a lotta technical flaws in the movies as well...<br /><br />Okay... here's my doubt- in the end when they rescue the family (including a girl who was just raped)... why do they leave them there outside their place? I didn't see any ambulance around! There are a lot of aspects in the movie that are real... but then I just wish the Major had narrated/helped/assisted some other good director n made the movie.<br /><br />Mohanlal surely does deserve a better director!
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If you have never viewed this film and like old time veteran actors, this is the film for you. Seeing Frank Sinatra when he was very young and extremely thin with sunken in cheeks and a wonderful voice which sang some great old songs. Michele Morgan, (Millie Pico) gave an outstanding performance with plenty of dance and musical numbers. Leon Errol, (Cyrus Drake) gave a great supporting role along with Victor Borge, (Sir Victor Fitzroy Victor) who performed classical piano and no slap stick comedy like he did in his career. This is not a great musical, but Frank Sinatra was a great joy to see at the beginning of his career in the 1940's.
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Not having seen the film in its commercial debut, we just caught with it via DVD. Expecting the worst, "Hitch" proved to be a pleasant experience because of the three principals in it. Thanks to Andy Tenant's direction, the film has an easy pace, and while predictable, the comedy has some winning moments.<br /><br />Hitch is a sort of "date coordinator" for losers like Albert, who is not exactly what one would consider a hunk. Yet, Albert is a genuine guy who, without some professional help would go unnoticed by the same women he would like to take out. Enter Hitch, to prepare him to overcome the obstacles that he can't overcome, and even though Albert stays overweight and never gets to master social graces, he conquers us because he is a real, in sharp contrast with all the phonies making the rounds in Manhattan.<br /><br />The basic mistake most production designers make, when preparing locales for Hollywood films, is how out of touch with reality they are. The apartments in which they situate these characters are so rare to find that only by the magic of the movies can these people live in places likes these. Evidently most of the movie people are dealing with fantasy since most city dwellers would kill for spaces so fabulous as the ones they show in the movies, let alone these same people depicted in the film would not be able to afford them.<br /><br />Will Smith is a charismatic actor. He has a disarming way to charm without doing much. The surprise of the movie though, is Kevin James, who as the overweight Albert, not only win us over, but he proves he can hold his own in his scenes with Mr. Smith. Eva Mendez is fine as the main interest of Hitch. In minor roles we see Adam Arkin, Amber Valletta, Michael Rappaport, and Phillip Bosco, among others.<br /><br />"Hitch" is a fun film to watch thanks to the inspired direction by Andy Tenant.
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It's hard to believe that a movie this bad wasn't produced once, but four times! Most movies require a certain `suspension of reality' to enjoy, but this one takes it just too far. The basic scenario is an Air Force pilot who is shot down over a `Middle Eastern' country. The US government drags its feet in recovering him, leading the Pilot's son (Doug Masters) to attempt a rescue mission.<br /><br />The problem I have with the movie is that it depicts the US Air Force as one colossal joke. In the movie you'll find that Doug and his friends on the air base manage to secure two F-16's, all the munitions, the fuel, the Intel for the mission, and so on. Security on this base seems to be a joke. Nobody seems to have a problem that a sixteen-year-old kid is fully qualified to pilot an F-16!<br /><br />If that wasn't enough, you would think the producers would at least attempt to get the munitions right, since people like to see things `blow up'. Not so! Several times in the movie, Doug fires off AIM-9 Missiles on ground targets. AIM stands for `Air Intercept Missile', meaning a weapon used to strike targets in the AIR. He also fires off 15-20 missiles, where the maximum an F-16 can hold is 6 AIM-9's. The movie also lacks continuity. You'll see the aircraft configured with one set of munitions, and in the next scene, it has a totally different munitions package. Also, 20MM doesn't just completely destroy anything it touches! An F-16 will hold 500 rounds of 20MM, and it's mostly used for self-defense.<br /><br />I could go on forever with plot holes, flaws, and outright wrong information from the movie, but I won't bore you. If you're in the mood to see a good Air Force movie, your choices are rather slim. Most military movies deal either with the Army, Navy or Marines. Until Hollywood can come up with an Air Force movie on the lines of `Saving Private Ryan' or `A Few Good Men', we'll be forced to watch movies like the `Iron Eagle' series.<br /><br />
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Well, I had seen "They all laughed" when it came out in<br /><br />Europe around 1982 and had kept a vague but dear souvenir of it. I 've just seen it again on tape, almost twenty years after... Bogdanovich has a true heartfelt tenderness over his characters and a kind sympathy which is difficult not to feel also. Excellent comedians and actors, good lines all over and for everyone and pretty good editing, too. I laughed and smiled all the time. Just as we all do, at times. Go get it.
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(I'll indicate in this review the point where spoilers begin.) My dissatisfaction is split: 30% tone-deafness, 70% lackluster writing.<br /><br />The 30%: I agree with the first commenter's synopsis about the lack of diversity in the characters and scope of the stories. I was surprised how, this film, at best, woefully shortchanges the real NYC by presenting a collection of people and relationships so narrow as to come across as if it's inhabited only by the cast of Gossip Girl (this is coming from someone who likes Gossip Girl). A few minority characters are written into the stories, but they are included by obligation, while we can see the gears under the film so clearly, striving to "be diverse" but falling ever-so-short.<br /><br />The 70% is why everything falls short. All characters, white plus a few token minorities, are one-dimensional, cardboard cutouts of people concepts. Worse, their interactions with each other are scripted in such a way that for each vignette in the film the audience is treated to what I'd say is a "gag": we get a basic conceit, then some punchline intended to be a clever twist. But even if we suspended cynicism for a moment to say, "Okay, that was a surprise"...the stories are still not that interesting, because they, too, are shallow. When you fashion stories so that their existence hinges solely on the unexpectedness of the ending, you're writing jokes.<br /><br />Spoilers below...<br /><br />The movie primarily tries to tell romantic stories. That's fine. But romance is amazing, deep, sometimes complex. These "romantic" stories each feature a girl and a boy who at some point share the same location and get to look at each other. Words exchange, thoughts are projected through voice-over, but they too only manage to communicate to the audience merely that one person is attracted to another.<br /><br />Meaning, there is no seduction (in the broad sense), no tension, and neither confrontation nor communion between the wills of two different people trying to reconcile their existence to accommodate the Other. The only story involving a superficial "seduction" is told just so the audience ends up being surprised that the guy (Ethan Hawke) gets outwitted by the girl he's hitting on, who unexpectedly turns out to be a hooker. Sure, his words when trying to pick her up are interesting to hear and we are amused as we'd be if we were next to them, but there is nothing of substance to this story outside of "A then B". So it unfolds, if something like a postcard could "unfold", with all the other tales as well: A then B--That's It, the only point being that these happen to occur "on set" in Manhattan. By the way, the only Brooklyn we see is the Coney Island sketch; the only Queens is the flickering of a train ride taken by a character traveling to the West Village.<br /><br />It's easy to pick at movies that play into all the common stereotypes of race, gender, sexual orientation, and so on. _New York, I Love You_, however, deserves to be held to stricter scrutiny because of its title. We expect to see the real New York, and real New Yorkers, but instead we have paraded before us the selected slice of a demographic, its characters flown in from The O.C., plus a few others to make it SEEM as if we are paying attention to diversity. But when we look closer at who those characters are, the whole sham becomes an affront to the very notion of diversity and the ethnicities and cultures the movie shamefully fails to represent.<br /><br />For example, the story with the Latino man with the little white girl in the park, who gets mistaken by two ladies as her manny (male nanny) when in fact he's the father. Notwithstanding the last scene of this part was unnecessary from a dramatic-construction point of view (it would have been far more interesting to end it when the mother and boyfriend/stepfather are strutting the girl away), it is frankly a bit disgusting that the scene where we learn for sure that the girl's father is Latino ALSO must inform us that he is a sexually desirable dancer. What, the dad can't be just some guy from South America? Now that he's obviously hot, is the audience better prepared to accept that he had a kid with a middle-to-upper-class white woman? Are we that naive as to require such? As if a Mexican construction worker would obviously be too unpalatable.<br /><br />It's not my place to dictate where the movie should have gone. But in every conceivable set-up and plot twist, the direction taken screams status quo, appeals to safety. All these stories could have been made more interesting, even if we were forced to keep the single-dimensionality of the characters inhabiting them, at the very least by not choosing from standard and obvious stereotypes. Asian girl living in Chinatown being leered at by a scraggly old white guy? How 'bout an Asian cougar pursuing a white college kid instead. Again, I'm not saying the entire conceit has to be changed. It's just that every. damn. story premise. is so hackneyed--and thus they fail to convey anything about why one might love New York, outside the trite. The real way to have improved the film would be to have written a script worth reading.<br /><br />I will concede the pleasantness of the soundtrack, the good pacing of the movie (even if what was being paced was, well, dredge), and the general feel of many of the scenes. The movie was just fine to sit through, and I wouldn't dissuade anyone from doing so. However, it is telling that the most significant homage paid to non-superficiality is when the old opera singer says (paraphrased) "That's what I love about New York: everyone's from a different place." Well, you wouldn't know it from watching this one.
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| 771
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IT IS So Sad. Even though this was shot with film i think it stinks a little bit more than flicks like Blood Lake, There's Nothing Out There & . The music they play in this is the funniest stuff i've ever heard. i like the brother and sister in this movie. They both don't try very hard to sound sarcastic when they're saying stuff like "My friends are going to be so jealous!" Hey, whats with the killer only wearing his mask in the beginning? Thats retarded! I practically ignored the second half of this. My favorite part about this movie is the sound effect they use when the killer is using the axe. The same exact sound for every chop!
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I have to say, Krasinski is the only reason I even watched this film. He is good. However, everything else about this film is so far below average that it's not worth the time and effort spent viewing this film.<br /><br />This film has loads of technical/aesthetic issues: namely, shot selections, framing, camera movements within monologue sequences, extremely bad editing (probably due to the total lack of fluidity in and between shots), and overall terrible acting (except for Krasinski).<br /><br />It was far too theatrical (in acting and presentation) to develop any sort of suspenseful moment in this film...which is surprising, because it's all about a bank robbery, which should be at least somewhat exciting.<br /><br />How does a film this bad get made, and then released, AND THEN distributed?<br /><br />Kind of reminds me of a C- film student's thesis project, probably not even that good though.
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Well, it was funny in spots. This film is a 4 or maybe a 3. Its a film that sits on the video shelf and gathers dust. Rent this one after you seen everything else. Beats boredom, but not by that much. My wife like like this film better then I do, maybe its not that bad.
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I can't praise this film enough. It had a lot of that hand-held, first-person shaking camera which I love (and some hate, because it makes them sick), like REC, Cloverfield and Blair Witch Project.<br /><br />It is a long movie for its kind, but I didn't even notice because the film was so interesting. By just showing the footage from a paranormal reporter's work the movie keeps up the pace, making it a real-time experience for the viewer.<br /><br />While I would never call this film the "scariest horror ever made", I'd have to say it's certainly one of the best I've seen. The fear factor here is constructed by details in the images, camera glitches, events linked to one another which lend a very mysterious and haunting tone to the movie. The horror is more in what is not shown, but left to our imaginations. The ending is perfect, and be warned that you might have nightmares afterwards. A second viewing is highly recommended, though.<br /><br />Watch this one alone in the dark, don't expect anything and you'll have fun.
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Most book adaptations are bad but this film left out key parts of the storyline and changed the description and some characters. They rewired the storyline and combined scenes and changed the order. They added ridiculous things into it that never happened in the book and would never happen.<br /><br />If i hadn't read the book beforehand it would have been an incredibly dull film, it didn't make you care about the characters, like them or dislike them. It turns the characters into jokes.<br /><br />Awful.<br /><br />Ridiculous.<br /><br />Waste of two hours of my life.
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Key West, for too short a time was "appointment TV" for my family. I'd stop by Red Lobster and pick up a Party Tray for the night it was on. The irony of the situation was that I was working for a Fox Affiliate at the time, and every one at the station was incensed at them not renewing the show. Everyone in that cast was excellent. Fisher Stevens... perfect. Who couldn't fail to identify with an "everyman" who dreams of being a writer in Key West? Jennifer Tilly was always remarkable (and she is one HECK of a Texas Hold'em Player). You can still find the pilot episode on YouTube. Wish they'd post the Hurricane one. That episode alone, should have won an Emmy, as well as the rest of the cast.
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Hitchcock's original classic benefited tremendously not only from the performance of, but also the 'look' of Anthony Perkins. He projected a kind of clean-cut innocence: a young teen-idol type of persona. He was not an actor who had portrayed baddies before this; nor was he physically suited to the role of what the public might have imagined a psychopath to look like, especially in the 50's when this ultra-chilling aspect of mental illness (split personality psychosis) was relatively unexplored in film. Which is exactly why the casting of him as Norman Bates was a slice of true Hitchcockian genius. Audiences were taken by surprise to put it mildly.<br /><br />That's why this re-make does not work, even a little bit, in spite of trying to be an exact copy. Whereas Anthony Perkins looked like someone you would never think of as being a serial killer, Vince Vaughn is easily imaginable as one. He lacks the frail look of Perkins and his acting chops are clearly inferior as well, at least in this role (honestly - has there ever been an actor who could convey nervousness as genuinely as Anthony Perkins?). While it was a pointless re-make to begin with, the miscasting of the story's most important character sucks this film down completely.<br /><br />As a side note, I feel that Hollywood's propensity for re-making great movies because 'young' people refuse to watch anything that's not filmed in color not only stinks to high heaven of corporate greed but is exceptionally disrespectful to the original work. As for viewers who can't watch black and white - it's their loss. Hopefully they'll mature sometime in the future and no longer require shiny colours to hold their attention. When they do they'll discover that sometimes black and white works far better. With the background muted, the story and performances are that much more front and center. And in many cases the mood or atmosphere created through black and white cinematography is just not attainable in colour.
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My brother brought this movie home from the rental store and I remember expecting it to be such a bore. I think the title especially put me off. I can't ever remember starting a movie with such low expectations and being so completely won over. I watched the movie twice before I let my brother take it back to the store. It is very infrequent that a movie speaks to me the way this one did. I was completely caught up in Ruby's situation as she tries to make her way through her life. The bad thing about this movie is that it seems to end so quickly. I could have kept watching for hours. Another downside is that I have been unsatisfied with everything Ashley Judd has done since. She is so perfect in this movie. This film is easily in my top ten favorites of all time.
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The cover of the VHS says it all: "Without doubt, the most powerful movie of its kind since the Texas Chainsaw Massacre". I'm a huge fan of 70's and 80's slashers and I have to say, I agree 100 %. The characters are believable, the actors have an excellent charm (especially George Kennedy as the forest-ranger). There's the twisted atmosphere, that only TCM has, an astounding soundtrack to reflect the emotions and the filming locations that are the most beautiful in the history of horror. This has to be one of the most beautifully shot horror films of all time! Jeff Lieberman as a director of this 1981 low budget film does and excellent job and with his other works (Blue Sunshine, Wrong Turn) added, he must be one of the most underrated directors in the filmindustry today.
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I'm a fan of this generally excellent though sometimes rather dull show but Season 3 has taken some terrible plot directions. The episode HERO is an example of what I mean.<br /><br />The story as it eventually unravels is that the Cylons deliberately allow Bulldog - a pilot captured several years earlier during a black ops mission - to escape, steal a Cylon ship and get back to Galactica. The plan is that when Bulldog gets back he will figure out that Adama left him to his fate and be so enraged that he will kill Adama, which he very nearly does.<br /><br />Now the problem is this - the Cylons set it up so that Bulldog thinks he has escaped by himself. This means that Bulldog gets off the Cylon ship with no assistance. So he kills a Cylon and walks out of his holding cell - that much we see. Then, we must suppose that he walks to the flight hangar, manages to get into a Cylon fighter ship and learn how to operate it, takes off and flies back to Galactica. Just like that.<br /><br />Now Starbuck managed to get one of them working in Season One, which was barely believable in itself, but she only had to fly it visually out of orbit before making contact with Galactica. Bulldog has to programme his ship so that it makes several jumps through hyperspace and manages to catch up with Galactica somewhere thousands of light years away, in an unknown direction. How does he manage to programme a ship that contains completely alien technology? Cylons connect to their computers by touch, there are no visual consoles or keyboards. And having managed that miraculous feat, how does he then know where Galactica is, bearing in mind that Galactica took off some 3 years before and is trying ever since to evade the Cylons - it does not leave beacons behind? Even allowing for the suspension of disbelief that must apply to any sci-fi show, this episode still absolutely no sense whatsoever.
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Recently I borrowed a copy of this mess of a movie, which took me three sessions over three days to get through. That's another comment in the making.<br /><br />But what I wanted to comment on first was the carelessness on the special features of the DVD. It included a game of memory, which asks the player/viewer to match up pairs of animals in order for them to board the ark. However, every time it reveals the chosen animal, the screen prompts the player to find (or congratulates the player on finding)"it's mate." This is a spelling error since it should be "its mate" as possessive pronoun, not a contraction for "it is." It is an annoying error to keep repeating 16 or more times to finish a game. Of course, it's a kid's activity really, but teaches kids incorrect spelling.<br /><br />And, oh yeah, the game never changes. It is the same game with the same locations of the same animals each time. Plus it doesn't keep score, like the number of moves it took to solve the game. So there is no lasting value or challenge to it. It's just a feature to list on the packaging.<br /><br />Simply put, there could have been more thought and care put into this "special" feature, just like there could have been more thought and care put into this muddled film.
| 0
| 9,649
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This was unusual: a modern-day film which was ultra-nice. In fact, it was so nice it bordered on being too hard to believe in parts. As I watching this based-on-a-real-life story, I was thinking, "nobody is this nice, this tolerant." Mainly, I was referring to Ed Harris' role as "Coach Jones." I think they went a little overboard on his character, but that's better than the reverse: showing him worse than what he was in real life. Odd to see Harris playing the role, too, since he has a long resume of playing nasty, profane characters.<br /><br />Anyway, I never complain about a nice, feel-good film, and it is nice to see a bunch of well- meaning, kind people. Those folks direct their friendship, love and compassion to "James Kennedy," better known as "Radio," a mentally slow high school kid played by Cuba Gooding Jr. The story takes place in the mid 1970s in South Carolina. Gooding does a nice job with the role, too. However, like Sean Penn's role of a mentally-challenged man in "I Am Sam," an hour-and-a-half of a character like this is plenty. After that, the loudness of those guys gets tiresome to hear.<br /><br />Note: It was interesting in one of the documentaries on this DVD to find out that, in real life, in took years for "Radio" to make his transformation, not months as shown in the film.
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Even if Voskhozhdeniye was your favorite film it would only be possible to watch it, at most, every ten years. Its just too emotionally strenuous.Widely regarded as Shepitko's finest film, THE ASCENT is the story of partisans operating in the Byelorussian forest in the dead of winter in German occupied Soviet Union.<br /><br />While assaulting the audience with the sheer physicality of the wartime experience, particularly the privations of cold and snow, the actual struggle for survival against both nature and the fascists, there is always a subtle, barely inferred sub-text of moral judgment and the question about whether a man can be moral or immoral in one context but otherwise in another.<br /><br />A partisan group hiding in the woods is attacked by a German patrol and loses their food supplies. Two men, Rybak, who knows the area, and Sotnikov, a Jewish schoolteacher, are assigned the task of going to a small village for food. They find the village burnt to the ground with nothing edible and nothing more than charred timbers and foundations in which in one cubby hole there's a children's mirror hidden. The overwhelming feeling is that whoever brings the brutality of war to a land and a people become truly cursed. I thought of the war that the Americans and British brought to Iraq and about how bringing the horrors of war to people is the act of a degenerate nation.<br /><br />The two move on to a nearby larger village where they obtain, under duress, a lamb from the collaborator headman. The German's arrive and the two partisans escape under fire. Sotnikov is hit in his foot and holds off the German's as Rybak gets away with the lamb. Sotnikov becomes so desperate that prepared not to be taken alive he removes his boot in order to put a bullet into his head. Just then Rybak returns and drags Sotnikov out of the line of fire.<br /><br />Rybak drags Sotnikov through the forest, bloody meter by meter all done in one long take. Each meter is an agony and yet he still pulls him through deep snow, up ridges, across depressions, over black bush stumps which crack as they snap under the weight of the men. There are several similarities to the cinematic vocabulary of Tarkowsky here - the long takes documenting a process, the effect of using repetition, and the resulting emotional stress which builds the longer the shot goes on. In the background, unnoticed because of the action, there hangs a question- did Rybak commit an immoral act by going back for Sotnikov? Whether under the moral standards of Marxist-Leninism or merely the common imperative of the survival of the group, wasn't his duty to get the food back to his starving band and leave Sotnikov to cover his escape? To sacrifice one man in order for the group to survive? Which leads to the question - Can a man who is immoral under one philosophical system be expected to be moral under a different moral system? The partisans come as if another curse of war to a farm house containing a woman with three small children. She is embittered by the scourge of war and barely hanging on with her three children. They are barely rested when more Germans show up. They make their way to leave and are directed to the loft to hide.<br /><br />Sotnikov's cough gives them away. When a German pops his head in to have a look and no one responds he threatens to fire across the loft and Rybak's nerves break and they are captured. Now who has the moral responsibility here? Sotnikov for coughing or Rybek for cracking? The two partisans and the mother are trussed up and taken to a nearby town passing ominously under a wrought iron arch at the entrance. They find the headman and a small girl already in custody. They are interrogated by a turncoat Byelorussian played by Tarkowsky favorite Anatoli Solonitsyn. Sotnikov keeps his head during interrogation and torture and only asks what the interrogator's prewar profession was? He doesn't answer but from his ease standing behind a desk the likely answer was 'schoolteacher'.<br /><br />Rybak on the other hand begs for his life and even offers to join the police. The previously unnoticed character defect, making a 'wrong' moral decision, the ambiguity (sentimentality) of which disguised it from judgment, now becomes obvious, unsettling and very ugly.<br /><br />The five sit in a dark cell. They are all scheduled to die the next day. From here the elements of a Christian parable become stronger. Genuine Rembrandt lighting and compositions are used as other Old Master poses of Christ are represented. He decides he can save everyone if he takes on the guilt for everyone. He must be kept alive until morning so he can save everyone. He asks the mother for forgiveness and the headman knowing what is taking place doesn't feel such despair at dying uselessly as he did before.<br /><br />Morning comes. The Germans don't care if Sotnikov takes on all of the sins of his companions or not. They will all be hung. They trudge up a steeply inclined street which is a virtual Via Dolorosa. A bench is taken up to the site of execution which is the gateway to the town. Five ropes hang from it. The bench only stands three, so Sotnikov stands on a tree stump which Rybak kicks out from under him. They all are hung.<br /><br />As Rybak descend the road with the Germans, someone in the crowd calls him a Judas, an unnecessary allusion, Shepitko's only misstep. Rybak imagines several times being shot in the back trying to escape, dying an honorable death and tries, unsuccessfully, to hang himself in the shithouse, but leaves with the Germans as the beaten dog he is. However if Rybak was morally right to go back and save Sotnikov's life, is he wrong to try to save his own life?
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I first saw The Victim (aka Out Of Contention) well over 25 years ago when I was very young. Being a passionate fan of Bewitched since I was a child, I loved to watch anything that starred Elizabeth Montgomery. This movie was (and still is) a real treat - whether you are a fan of Miss Montgomery's work or not. Elizabeth always shines in her roles, such as her portrayal as the rape victim in A Case Of Rape and as the suspected murderess in The Legend Of Lizzie Borden. Her performance in The Victim as Kate, a terrified woman trapped in an isolated house during a storm, with a killer after her is brilliant. If you like exciting suspenseful thrillers than this is one movie that will keep you on the edge of your seat till the end. Another great performance well worth mentioning is that of Eileen Heckhart who plays the eerie and suspicious housekeeper. Unfortunately like most of Miss Montgomery's movies, The Victim is not available on DVD and I believe that although it was released on VHS some years ago, it is a rarity these days. I was lucky to have taped it when it was aired on television some ten years ago and so have a nice copy of this very good movie. A must see!
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This is a classic example of an increasing problem with films. Why is the background noise and the soundtrack dramatically louder than the dialogue? What sense does that make? This film isn't alone. Most films seem to do this now. For 2 years, I wondered if it was just something wrong with my TV, but then I got a new TV & there it is again. BACKGROUND noise that could be taking place a city block behind the actors drowns out the dialogue.<br /><br />It was even more distracting in this film because, in the English version anyway, the woman mumbles constantly. I kept hoping Jean Reno would say "Excuse me, would you speak up or get the marbles out of your mouth." If you watch it on DVD & you have even high-school French, I recommend the French version with subtitles.<br /><br />I give it 4 because Reno was so good in Leon. People rave about the scenery, but I saw it on a TV & I lived in the Rockies for a few years, so "Enh".
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"Victor doesn't have much, but that's not stopping him from trying to go out with Judy, the prettiest girl on the block. All he's got is hope and a one-bedroom apartment he shares with his family. His grandmother doesn't trust him, his brother worships him, and his half-sister just declared war. But Victor thinks love really can conquer all in this warm, genuine, and touching romantic comedy about life in the part of the city most people never see," according to the DVD sleeve's synopsis.<br /><br />Peter Sollett' "Raising Victor Vargas" elicits engaging "debut" performances from lead actor Victor Rasuk (as Victor Vargas) and the cast. Mr. Rasuk and juicy Judy Marte (as Judy Gonzalez) are sexy and endearing as "Lower East Side Kids" discovering the joy of sexual attraction. Considering how attractive they look in this picture, it's not hard to predict they hook up - and, although you may wonder how "innocent" they really are, their characterizations seem true.<br /><br />Victor's brother "Nino" is played by Victor's real-life brother Silvestre Rasuk, who looks the part his older brother is playing. Sometimes, it's nice to see movie brothers who actually look alike; and, hopefully they will work together again. "Cuckoo for Cocoa Puffs" sister Krystal Rodriguez (as Vicki) and old world Altagracia Guzman (as Grandma) round out the sex-starved Dominican immigrant family. So, are hand-held-camera coming-of-age films in vogue, or what? <br /><br />******* Raising Victor Vargas (5/16/02) Peter Sollett ~ Victor Rasuk, July Marte, Silvestre Rasuk
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Have to agree that this movie and it's talented director do not receive the plaudits they deserve. Here's hoping that the DVD will do very well and bring both to the attention of a wider audience. The actors gave excellent performances and the plot is excellent. Perhaps overall the movie is a little long but May Miles Thomas seems to enjoy her actors when they are giving strong performances and therefore sometimes holds them in longer close ups than necessary. Good for the actors I am sure but sometimes as the audience you are ready to move on so to speak with the plot. May Miles Thomas deserves more recognition from the Film business as one of our foremost digital movie directors,
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I saw this film at a store in the cheap section. I actually vividly remembered seeing the commercials and trailer for it years ago. I thought "What the hey' and bought it, basically because the plot sounded interesting and Claire Danes has always been someone of talent in my eyes (this was also before I became a huge Kate Beckinsale fan).<br /><br />So it's about two girls who sneak off to a vacation in Bangkok, get busted for narcotics (which they are innocent of) and then are sent to a Thailand prison. The film follows what will happen to them and at times questions their innocence.<br /><br />Both Claire Danes and Kate Beckinsale give great performances, and the plot of this film wraps itself up unconventionally, and raises some nice moral discussion questions.<br /><br />I think this is a solid good film, but there could have been some improvements. It could have been longer...it would've helped to solidify these characters and more insight into the politics of Thailand's justice system would've helped.<br /><br />Nevertheless, other than that, it's a good film with some great performances.<br /><br />P.S. For all you pop-culture junkies be on the lookout for a two-minute role by Paul Walker. I didn't even notice him the first time I saw the film.
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This movie is one of the most awful I've ever seen. Not only is the dialogue awful, it never ends. You'll think it's ending, but it's not. How long is it, 140, 160 minutes? I don't even know. I do know that I'll never watch it again. It's like someone took a romantic comedy, took out the comedy, then decided to downplay the romance, leaving us with the pile of crap that managed to make its way to the screen. But don't take my word for it, find out for yourself how terrible this film is.
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I have found this epic to be of an astonishing, striking, even heartbreaking beauty. Some kind of monumentality in beauty and decorative richness, a magnificent dramatic movement and dynamism. The choreography herein is hugely enjoyable, the actors are thoroughly enjoyable. I have been a big fan of CROUCHING TIGER
as well, but this one was even better. They have Kitano's ingenuity in delighting in what is pleasurable. This beauty affirming adventure cinema is an act of courage. When was the suspense so exquisite and genuine? And the art of showing huge crowds, gigantic armies
. The film has something deeply satisfying, and a steadfast good taste. There is an enormous pleasure in making such a deliberately impressing and clean show
.It's good beyond words. Few, few adventure films ,let alone epics, gave me such an uninterrupted delight.<br /><br />Fan can be monumental.
is not monumental artbut is monumental fun,like Leone's movies, like some '60s epics; also like the hobbits trilogy. It is largesized fun.
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The riddle as a concept is an interesting idea, but i'm afraid is miscast, Vinnie if given the Hard man role is his element as in Lock Stock and Snatch. In this movie Vinnie plays a Newspaper sports writer (greyhounds to be precise),who during the course of the movie is easily is beaten up with ease and bundled over a balcony by a man who 10-15 years his senior. I'm sorry Vinnie is tough looks tough and has so to cast him like this is foolish. Trying to investigate the double murders of a friend and a drug addict found near the Thames. He takes on the role of policeman, whilst the real police are bit part players, interceeding with flashbacks from Charles Dickens.<br /><br />When Vinnie is on screen his reputation precedes him he looks tough but does'nt in this part need act tough, snarling at the camera in parts. If you watch the Mean Machine, he is perfectly cast, and believable and does a very decent performance. <br /><br />Getting back to the movie what confuses the matter somewhat is the flashback to Charles Dickens who is narrating a different story with characters who are also appear in present day, these two stories are it appears unrelated apart from the same actors are used. <br /><br />The sound on the movie especially from Julie Cox is inaudible at times, and not really fleshed out what her role in the movie is short of Vinnies Love interest, she starts the film as a Detecive, but quickly becomes the Girlfriend.<br /><br />The Death of the Prostitute is sort of answered but yet/not answered . Strip out the Charles Dickens stuff and you may have a decent movie.<br /><br />Vinnie, is slowly becoming Britans Steven Segal, stick to the supporting actor role, your'e quite good at it.
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badly directed garbage. a mediocre nihilist sadistic gorefest ... if you are the sort of person who likes that ... see a shrink. even if you are that person it doesn't make this a good film, the acting is really poor, the story full of plot holes, the director really should just give up and find a real job as he has no talent for this one. I can see why people dislike uwe boll .. we have had a few of his films on lately and this is the best of them, which is really sad! A complete absence of any sort of humanity seems to suit some people but here it just grates. Horror films can be full of desolation, they can be miniature works of art, they can be just good viewing when there is nothing else on ... SEED is just really really poor.
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Let me start by saying how much I love the TV series. Despite the tragic nature of a middle-aged man seemingly unable to pursue his dreams because of his overbearing, manipulative father, it was incredibly light-hearted and fun to watch in practice. In my opinion, it is without doubt one of the greatest British sitcoms of all time. The TV series has my 10 out of 10 rating without reservation.<br /><br />This movie spin-off on the other hand is a true tragedy in every sense of the word. Hardly any of the essence of the TV show is transferred successfully onto film. This movie has a very dreary, depressing tone that almost moved me to tears on several occasions. Seeing Harold being beaten up in a pub (and not in a comical way) is not my idea of comedy but is most definitely one reason why fans of the TV series will not like this movie. The movie was painfully unfunny except for the scene where Albert bathes in the sink and is seen by a neighbour.<br /><br />The romance between Harold and Zita is completely out of tone and it makes me wonder whether the producers of this movie ever bothered to watch the TV series. In the TV series, Harold always went after respectable girls, not strippers.<br /><br />Albert's reactions to the remarks made against him by Harold's girlfriends were absolutely priceless in the TV series. In the movie, Albert says virtually nothing when such an opportunity rises.<br /><br />Most movie spin-offs of British sitcoms tend to be quite dull, with the notable exception of the ON THE BUSES films (which in some respects were actually better than the TV series itself!). But, STEPTOE AND SON has to rank right at the very bottom of the pile, even below GEORGE AND MILDRED.<br /><br />My advice - skip this one and see the second spin-off, STEPTOE AND SON RIDE AGAIN instead. It has a much lighter tone, is more faithful to the TV series, and is actually very funny.
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Hey guys, <br /><br />i have been looking every where to find these two movies and i can't find them anywhere in my local area. (I am Australian). Could You please help me and tell me where i can buy it from. In General Home Ward Bound 1 and 2 are the best movies i have ever seen and are good for people of all ages. It was my favourite movie wen i was 5 and it still is even now when i am a teenager. It is a great movie for the whole family. My entire family loves this movie except for my younger sister because i have watched it that many times that she is sick of it. I love this movie and i cant wait till i can buy it again on DVD.<br /><br />Sally
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Not many people have seen this film, and it is a shame because it is a work of art. The characters are brilliant, the dialogue is sensational and the use of themes leaves the audience wondering. I truly loved this film and can't wait to see more of Matthew George's work.
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Anywhere But Here is not exactly anything new, but the excellent performances by both of the main actresses made it worth watching. Sarandon and Portman are a mother and daughter who move from rural Wisconsin to sunny Beverly Hills, California, in search of a better life. The main conflict comes from the fact that Natalie would much rather have stayed in Wisconsin with all of her friends and family, and she felt that she was forced to go to California with her overbearing mother. <br /><br />(spoilers) While it's true that the film as a whole is disappointingly predictable, Susan Sarandon and especially Natalie Portman give performances that are so good that they almost make the material seem new. Anywhere But Here doesn't cover any new ground, but it does have the rare quality of being able to take overused subject matter and make it fairly interesting again. Also seen in this movie is the most heartbreaking facial expression seen in years, seen on Natalie Portman's face when her mother drops her off on the side of the road and she watches the car fade into the distance. Particularly noteworthy is the ironic subplot about Natalie's mother pressing her to become an actress, as well as a very convincing performance from Shawn Hatosy as one of Natalie's very close cousins from back home. His death is a tragic cliché almost always seen in movies like this one, but the rest of the film makes up for numerous weaknesses like this. Not great, but Anywhere But Here is definitely worth a look.
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| 13,109
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Russians never dropped children's toys filled with explosives over Afghanistan, that never happened!!! Who did invention of that?? Hollywood portrays Russian army as horrible, dreadful troops of evil! That is disgusting!! United States President Jimmy Carter had accepted the view that "Soviet aggression" could not be viewed as an isolated event of limited geographical importance but had to be contested as a potential threat to the Persian Gulf region. The uncertain scope of the final objective of Moscow in its sudden southward plunge made the American stake in an independent Pakistan all the more important. A great deal of damage was done to the civilian children population by land mines.
| 0
| 2,332
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Meryl Streep was incredible in this film. She has an amazing knack for accents, and she shows incredible skill in this film overall. I really felt for her when Lindy was being persecuted. She was played realistically, too. She got cranky, upset, and unpleasant as the media and the government continued their unrelenting witchhunt. I didn't expect much from the film initially, but I really got interested in it, and the movie is based on a real person and real events. It turned out to be better than I had anticipated. Sam Neill was also outstanding; this is the best work I've seen from him, and I've really liked him in other movies (The Piano, for example). I gave the film a 7, but if I could rate just the acting, I'd give the it a 9.5, and a perfect 10 for Streep.
| 1
| 22,995
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BLACK EYE (2 outta 5 stars) Unimaginatively-filmed '70s action movie looks like it was made for TV... only the occasional cuss word and a subplot about lesbianism tip you off that the movie was actually made to be shown in theatres. Fred Williamson plays a tough guy ex-cop who becomes a tough guy private eye. He stumbles upon a couple of murders and attempted murders linked to a mysterious cane. There are some fistfights, a Bullit-inspired car chase, a fairly original elevator scene and even time for Williamson to confront the rich, lesbian lover of his girlfriend (Teresa Graves). There is also a scene with Williamson bullying a poor old man by tearing up some priceless old autographed photos in his memorabilia shop. Yeah, way to go, tough guy... maybe you can find a cripple to beat up later? Obviously meant to cash in on the success of "Shaft" (this and about six thousand other movies), this movie doesn't have enough edge or enough originality to make much of an impression.
| 0
| 2,079
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This movie felt so real. I actually felt all of the emotions portrayed here during my life at various times - that of both Rory and Michael. I have Duchene's Muscular Dystrophy like Rory so what you see here is exactly what I've actually felt myself. Some won't believe there ARE disabled people like Rory, full of anger and rebellion. I know they exist because I'm one of them.<br /><br />The story is great. For a drama, character-driven movie, the story moves fast. I was never bored, maybe partly because I was seeing stuff that is close to my heart. But I think most people, with intelligence, will be glued to the screen and care about the characters. The acting is phenomenal! James McAvoy is perfect as Rory O'Shea, who has Duchene's muscular dystrophy. He Steven Robertson deserves an award for his portrayal as Michael Connolly, who has cerebral palsy.<br /><br />Michael's love isn't returned by a girl and Rory helps him come to terms with it. I've felt this many times and the question is "doesn't she love me because I'm just not the one or because my disability turned her off?" No matter what the girl says, we will always be skeptical as to the truth. It's just natural and it hurts either way.<br /><br />A few parts made me cry a little because it is sad and I have to face the issues myself. People without a terminal disability just cannot begin to fathom how it can feel. This is a must-see film for everyone. Disabled people are everywhere and greatly misunderstood. This film brings a little light on some of the facts of life, which are so taken for granted by the able-bodied. We want to be just like you - to live on our own terms, to go out, to get drunk, to be loved. On the outside, we can't do much but on the inside, we're dancing!
| 1
| 16,055
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Follow-up to 1973's "Walking Tall" continues the real-life drama surrounding Tennessee sheriff Buford Pusser, but this installment plays like a lame TV-movie. Bo Svenson takes over the lead role from Joe Don Baker, but he's much too mild for the part; he comes off like an ambling country singer with a bat instead of a guitar. Good supporting actors like Richard Jaekel, Luke Askew and Robert DoQui end up with very little to do. I would give the film one-star strictly on its good intentions, but the screenplay is a transparent and lazy mass of routine predicaments and the production is cheapjack. Followed in 1977 by "Final Chapter-Walking Tall" and in 1978 by the television film "A Real American Hero".
| 0
| 3,707
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