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This movie was bizarre, completely inexplicable, and hysterical to watch with friends while drinking in a big empty house. I really love the opening stuff with Lisa wandering about lost in a gorgeous city. I want to be a beautiful stranger lost in some exotic European locale, though maybe not in a low budget horror flick. Definitely get the ending where there are the strangely non-sexual sex scenes that were cut out (in my DVD copy anyway). Don't attempt to understand it, just go along and watch out for the weird bits...which is everything. Don't watch this if you actually want plot or characterization or anything at all to make sense. Pretty beautiful, though you may just give up on this and decide to watch an actual horror movie, like say, Dead Alive.
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Before I comment about this movie, you should realize that when I saw this movie, I expected the typical crap, horror, B-movie and just wanted to have fun. Jack Frost is one that not only delivers but is actually one of the best that I've seen in a long time. Scott McDonald is great as Jack Frost, in fact I think he has a future in being psychopaths in big time movies if ever given the chance. McDonald is a serial killer who becomes a snowman through some stupid accidental mix of ridiculous elements. As soon as that snowman starts moving around and killing people, though, you will find it hard not to laugh. The lines that are said are completely retarded but really funny. The fact that the rest of the cast completely over-acts just adds to stupidity of the film, but it's stupidity is it's genius. The scene where the snowman is with the teenage girl is truly classic in B-movie, horror film fashion. I truly hope there is a sequel and I'll be right there to watch it on whatever cable channel does it. Of course it's only fun to watch the first few times and it's not exactly a good work of motion picture technology, but I just like to see snowmen kill people. I gave it a 7 out of 10, this is a great movie for dates and couples in the late hours.
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"Holes" is my all-time favorite movie! So far I have seen this movie three times in theaters and am looking forward to purchasing it on DVD this upcoming September. I read the book after seeing the movie and was amazed at how alike the book and movie were. The director of this film did an excellent job of re-creating the book into movie form. Also, all of the actors selected to play the roles did wonderful playing their characters, especially Max Kasch as ZigZag. Props to all those involved in making this movie, it was a real success! 10 out of 10 stars, I definitely recommend it for everyone to see!
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Overall I found this movie quite amusing and fun to watch, with plenty of laugh out loud moments. <br /><br />But, this movie is not for everyone. That is why I created this quick question-ere, if you answer yes to any of the following questions than I recommend watching this flick<br /><br />(1)Do you enjoy crude sexual humor? (2)Do you enjoy alcohol related humor? (2)Do you enjoy amazingly hot girls? (3)Do you enjoy viewing boobs? (4)Do you enjoy viewing multiple boobs? (5)Did I mention all the nice boobies in this film?<br /><br />If you noticed the spoiler alert, that is referring the mass amount of nudity you can expect in the movie, I myself have no idea what the plot was about. Not that it matters.
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I should have gone without seeing the movie after reading the review here. I saw the whole movie by fast forwarding and ended in 25 minutes. though its a low budget movie it could have been made better. <br /><br />The movie starts more like a thriller and in few minutes it tells you that you should switch off immediately. And why was the movie named "crash landing" when it was landed so well in such a bad climate. <br /><br />Without any acting, all the characters where just moving or doing like kids.<br /><br />And should not forget to comment on the joker - the main hijacker who would have been more suitable if this movie was a full time comedy.
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This incredibly overrated anime television series (26 episodes, 25 minutes each) is about a 14-year-old boy (and two of his girl classmates) who pilots a giant robot to defend Japan against invading beings called Angels. There is very little explanation given to the Angels or why their numbers have increased in recent times, and they just seem to pop out of nowhere for no apparent reason (why not attack all at once instead of at spaced out intervals that are convenient for the humans you're attempting to destroy?). The robot fight scenes attempt to employ a variety of obstacles, but the action itself is poorly executed and boring to watch. Almost every episode seems like a waste of space where nothing of interest occurs.<br /><br />Some might be intrigued by fans who mention the (very few) symbolic references herein, but that's all they are - shallow one-liners to religious or philosophical concepts that are randomly tossed in with zero craftsmanship. As a whole the series is incredibly tedious due to the superficiality of the characters, who are really nothing more than self-pitying crybabies. The psychology is pathetic, with hopelessly simplistic conflicts like "I hate my father" repeated over and over and over and over again with no progression beyond their face value. It's no understatement to say that these characters plunge this series from time-wasting mediocrity to anger-inducing garbage during the final episodes with their endless, angst-ridden diatribes of excessively repetitive psychobabble (some of which is totally meaningless).<br /><br />I'm not kidding when I say that this series just got worse and worse as it progressed. Every day I'd look at the DVD set sitting on my living room table and say to myself, "Damn, I've gotta watch the next episode at some point. (sigh) I may as well slug through another one tonight." The real kicker was that the episodes were only 25 minutes long, yet they were somehow able to digress into a completely uninteresting borefest within the opening 10 minutes. This is coming from a guy who will happily sit through 150-minute films with glacial pacing, so my criticism of this series is most damning indeed.<br /><br />Never in my entire life have I despised watching a series as much as "Evangelion." I had already purchased it based off of all the fanatical comments on IMDb, and I certainly wasn't going to let it collect dust after spending my hard-earned money. What followed was 10 hours of pure, unmitigated torture. My love/hate relationship with anime is turning into a hate/love relationship after this highly acclaimed disaster.<br /><br />"Evangelion" represents everything anime should NOT be - massive quantities of dull, pretentious tripe under the guise of intelligent cinema. The universal acclaim for this piece of crap is simply unbelievable; and the ridiculous assertions by fans that this series as "one of mankind's greatest achievements" is probably the most stupifying comment I've ever heard on IMDb - and I've seen some doozies.
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A serious comedy. Ross Hunter-produced movie version of the French play "Les Joies de la famille" (later Americanized as "A Very Rich Woman") is plush, well cast, occasionally funny...and unfortunately timeless. A wealthy California widow, who appears to be frittering away her money, is railroaded by her two grown, greedy daughters, both of whom are afraid Mama Rosie is carelessly spending their inheritance. The whole issue of a vital--but aged--woman sent to a rest home against her will, and later having to prove herself sane in a court hearing, is touchy material for a comedy (and to his credit, director David Lowell Rich doesn't overload the picture with crass gags or obvious sentiment). Some of the humor is a little broad and doesn't work, yet Rosalind Russell understands the gravity inherent in this scenario and never hits a false note. Sandra Dee is also good as Rosalind's granddaughter, and James Farentino is very charming as a young lawyer. The movie has so much to say about the importance of our elderly, and the ways in which they choose to spend their remaining time, that the seriousness of "Rosie!"'s theme almost gets lost in the rush to a happy ending. The picture leaves you smiling--and at the same time wondering how many older ladies there are who were never quite so lucky. *** from ****
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A couple of cowpokes help a group of Mormons cross some rough country on their way to a new settlement. This low-key Western is unusual for Ford in that it lacks any big stars. Johnson gets top-billing but his is basically a supporting role, although he and Carey work well together. Dru is given little to do other than provide the love interest. The best performance is given by Ford favorite Bond, playing the leader of the Mormons. In fact, this role helped him land a starring role in the long-running TV Western "Wagon Train" before his untimely death at age 57. Featuring beautiful cinematography, Ford regarded this as one of his favorite films.
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I saw this film 2 weeks prior to going on a snowboarding holiday, so for me it was really just to get my mind in mode for my holiday. The film boasts some sweet snowboarding skills, throughout the films in the action scenes. These moments were great, a bit like watching extreme sports channel. Sadly the story was quite honestly awful, the acting was generally alright, with a fairly small cast. This film is apparently comedy, at least it tries to be comical, but it seems like the comedy and the storyline was written by a teenager. The story lacks any depth or purpose and the comedy struggles to be anything more than a small snigger a few times during the movie. It might be worth renting just to see the snowboarding action, but then again there are plenty of movies out there that are totally devoted to snowboarding stunts and don't feature a UN-funny badly written story.
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First of all, nothing will ever compare to the original movie, but for gosh sakes, they're not trying to. It is just one persons opinion about what could have happened after Rhett left Scarlett at Tara. I for one thought it was a terrific movie and would like to add it to my GWTW collection. The scenery alone would make me want to watch the movie. Just view this movie as an extension of the original and don't think they are trying to replace Vivian Leigh and Clark Cable and you will enjoy it a lot. They really captured the spoiled selfishness of Scarlett in many of the scenes and you can see from the longing in the looks from Rhett that he is clearly still in love with Scarlett. The fact that you can recognize many of the actors in the movie is another plus even though some of them have only been seen on TV. I always wanted them to have other children after Bonnie Blue died in the movie and this satisfied my need perfectly. <br /><br />Lore60
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This was without a doubt the best of the "Dirty Harry" series. From the opening credits, you're swept up in a revenge tale that hits hard and is profoundly engrossing. Sondra Locke is perfect in the role of a traumatized woman out for revenge. Eastwood has many "aside" sequences that have nothing to do with the plot, but show Harry at his bad-assed best. Loaded with unforgettable characters in minor roles, this film rocks and should serve as the standard for detective/action flicks. This is the one Dirty Harry flick that's raw and devoid of any "fluff". I can watch this again and again (okay, not in one sitting) because it's a gratifying "out for revenge" yarn. The pace is quick and several of the scenes are unforgettable. "Go ahead - Make my day...You feel lucky, Punk? ...." classic Eastwood as only Eastwood, with his anguished, rubbery expressions, and whispery, menacing voice can do it.
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OK well i found this movie in my dads old pile of movies and it looked pretty good from the cover but the movie actually sucked!! OK the first story with the swimmer was pretty good but it took a while to get into, then the one with the boy was completely retarded! It wasn't even scary! His dream sounds like a little kid's bedtime story. Then the news girls one was completely retarded too. I'm sure someones going to call up the news guy and ask him to go out with you. But that one ended cool where she stabbed him and she was in the hospital and she saw him on t.v and he said all that junk to her. Next was that pretty gay story about the guy who brought back the dead people..OMG its so stupid I'm not even going to say any more about it.The last one was the best. It wasn't that scary but the idea of the story was pretty cool..uh yeah the girl gets possessed and she kills all her classmates or something. Then when they're all done telling their dreams to each other the losers get on the bus (TO HELL AHAHAHAH) and they see all the people from their dreams on the bus(Ha). The End.
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I loved this movie!<br /><br />Movies and plays fulfill their purpose when they expose social, political, and other problems that affect the majority. This movie served that purpose.<br /><br />I identify with the plot and know people to whom this has happened. At the time this movie was made, concepts presented in this flick were advanced for the public, yet had already happened to friends of mine by way of people in powerful positions. And, I know what it is like when people do to you what they did to Angela Bennett, because they have done it to me.<br /><br />I greatly enjoyed Sandra Bullock's portrayal of Angela Bennett/Ruth Marx. She portrays a pretty, intelligent, and witty young woman who has the courage to avoid giving up to overwhelming odds, fight hard to keep her sanity and restore her life, and try to protect those whom she loves. Losing her self-concept and succumbing to that age-old attempt to bolster a sagging self esteem by indulging in sex with a stranger added a poignant touch of reality.<br /><br />The climax of the plot reveals the only real solution to this kind problem.
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Narratives whether written, visual or poetic epics generally try to avoid too may characters; readers and viewers, after all, can be too easily overwhelmed by trying to keep track of who exactly is who. This is especially true in film, I think, simply because we cannot easily go back to refresh our memory in a cinema. Viewers like myself, however, don't have that problem because we see all our films on DVD or VHS.<br /><br />A year ago I was introduced to Audrey Tautou, a French actress, whom I first saw in The Fabulous Destiny of Amelie Poulain (2001) and later in A Very Long Engagement (2004), both of which were finely crafted and complex stories with a large cast of characters. This earlier offering exceeds the others in both ways: more characters and more complexity.<br /><br />Now, other directors have used those techniques before: Robert Altman with The Player (1992), Short Cuts (1993), Gosford Park (2001) and others; Paul Thomas Anderson did the same with Magnolia (1999). Stanley Kramer did it with A Mad, Mad, Mad, Mad World in 1963, a comedy of almost epic proportions. The difference with this film is, first the director lets us 'see' inside the head of some of the characters and second, some scenes are repeated as means to refresh the viewer's memory as the story flip-flops between different time periods.<br /><br />The basic the core, so to speak story concerns a young woman, Irene (Tautou) who is told, by a fellow commuter on a train, that she will meet her true love on that day. This occurs in the first few minutes of the film. The clever irony at this point is that Irene doesn't realize that the young man opposite (Gilbert Robin) may be that 'one true love'. And, nor does he...<br /><br />They go their separate ways with neither realizing the potential significance of their close encounter. However, chaos results throughout the rest of the day, not only for the two young people, but for the rest of the characters who appear in a series of cleverly constructed and interwoven vignettes that all seem to be going nowhere, and yet...<br /><br />If the story were simply that, it could tend to be boring, and even quite predictable. Not so. The script and the director rip into our expectations with a host of innovative scenes that are all too commonplace, but which are turned into believable, extraordinary events that allow the two possible lovers to meet again. For example, the next time some bird poo from the sky drops onto a book or paper of yours, consider your alternatives; two characters make an obvious choice that must occur before Irene and her man of destiny meet again. Or what about a stone chip flying onto your windscreen? Consider again what would happen...<br /><br />All of that is interesting enough. What was more interesting for me was assessing each new man who came along and trying to decide whether this guy was THE ONE for Irene, or whether it was, in fact, the young man on the train. That kept me guessing for a while.<br /><br />I'll let you think about that, should you see this delightful romp.<br /><br />Recommended for all.
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For those of you unfamiliar with Alisdair Sims, he is of course THE definitive Scrooge of all them Christmas Carol movies. (Me? I guess I'm REALLY bad.. I haven't actually seen the darn thing). I guess those who HAVE seen Christmas Carol and so used to his character might find The Bells of St. Trinians rather surprising. You see, in this movie, Sims has two roles. One, he plays a heavy better, and in the other, he's in drag as a headmistress for a private girl's school! So once you get that through your thick skull, this movie offers plenty of delights. The plot is deals with the way the school tries to make some desperately needed money through a horse race. It's actually a little more complicated for the small kids to handle, but I think they would be preoccupied with their antics, and with the horses to really notice. The adults too might get tripped over all the thick accents being thrown around as well. But again, the story is reasonably light, the action crazy and frenetic, for one to really notice. PS, the kids all look like they come from the Eloise school of cuteness.
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You know you've got a bad film when you hear that the soundtrack is performed completely on a single cheap programmable synthesizer, without any melody or sense of rhythm.<br /><br />It's hard to see how anyone could take this film seriously, even while giving it a bad review. This film is way beneath 'bad'.<br /><br />The continuity of this film is outrageously butchered. In one fight scene, we the hero (wearing bluejeans and undershirt) turn a corner with two revolvers in his hand; he doubles back, only now he has two semi-automatics in his hands; he turns another corner and now he has an automatic rifle in his hands; he chases down a hallway and comes out (suddenly dressed in standard army fatigue jacket)with a shotgun; after which he exits the building with yet another automatic rifle. Or here's one for the books - a bus slams into a car at high speed; the car goes flying, thrown by a gigantic explosion - cut to the bus which is completely unscathed from the same explosion? The narrative continuity suffers from an equally numbing sense of unreality; the bad guys really want to kill the hero - obviously - but every time they knock him out or otherwise get him in a vulnerable position, they suddenly decide they want him "to live to see this!" Huh? One of the funnier moments of the film is when the hero is released from isolation because his lawyer has come to see him; then the bad guy decides he's not going to let the two meet after all; and this despite the fact that the the villain, the hero and his lawyer all know what's going on anyway, so the hero writes a note to the lawyer and next we see the note being passed to the lawyer by another prisoner, even though we never see the hero give it to him. (This lawyer, BTW, has complete access to the Offices of the ATF in California, including its confidential computer files.) Huh? Well, but it's a mindless action movie - so how're the action scenes? Not bad, surprisingly; unfortunately they happen to be stoled from about a dozen Hong Kong films made five or ten years previously. The opening scene, a shoot-out in a junker garage, actually has shots the composition of which are stolen directly from "Hard Boiled" - so clearly so that it's a wonder John Woo didn't sue for plagiarism.<br /><br />Other Hong Kong films stolen from include "Prison on Fire", "Island on Fire", "Burning Paradise", "Police Story" I, II, and III (aka "Supercop"). I thought I recognized a couple Sammo Hung clips here as well. In other words, the actions scenes are exciting only to the extent that they are successful duplications of action scenes from other films.<br /><br />There's nothing one can do with this film unless one shoots smack and just needs a lot of visual stimuli that needn't be make any sense.<br /><br />Very funny film, for all the wrong reasons.
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I know...I know: it's difficult (if not paradoxical) for there to be such a thing as "believable" fantasy. But, to me, there is also such a condition wherein TOO MUCH UNbelievability interfere's with, or distracts from my overall opinion of the movie. The latter was the case for me with regard to Goliath Awaits. Not only did I have too many unanswered questions concerning the storyline, but some of the acting, too, I thought, was a bit over-the-top. (Maybe, though, it was the writing: asking them to recite too many trite, predictable, cliched (over-?) reactions.) Others have said enough about the plot. I just wish that it was done - and, I think that it COULD have been - more convincingly. P. S.: This is a FRESH comment about this film - I just finished watching it a couple of minutes ago; not a recollection from years ago.
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SPOILER ALERT!!!<br /><br />You can listen to Wong Kar-wai's movies like a radio play: Invisible vibrations between the characters, the rooms where they stay in, the rhythm that presses them ahead, attraction and dislike - the whole spectrum of the atmosphere is played back by the sound track. The dialogue is mostly completely unimportant.<br /><br />The narration is similar to a childish amorous look at a beautiful woman and a sad man whose sorrows are noticeable, but helpless. "In The Mood For Love" is told from a child perspective, but the child never appears as a narrator. The aesthetic of the film is developed by an extreme light and color dramaturgy, harsh cuts, an unattached, almost documentary camera and a complex, unobtrusive sound.<br /><br />The genius use of Nat King Cole's "Perhaps, Perhaps, Perhaps", whose mysterious power grows the more often it is repeated and the melancholic waltz helps in the graceful choreography of the two protagonists. Maggie Cheung in her beautiful dresses is brilliant, the perfect vis-à-vis to the handsome, stylish Tony Leung. The audience assumes a romance between them, but Wong just sees sad resignation. The two potential lovers are revolving around each other like satellites, knowing that they never will share the same orbit. You wish that they will find each other. They won't and the emotional power of their non-love-sex-relationship makes the movie immensely fascinating.<br /><br />It is about broken luck and unspoken love. In all of Wong's films these are the leitmotives. Love, whether it comes too early or it comes too late to take the one and not the other person. The yearning of the characters that is never satisfied, their loneliness, the mourning, and the luck that they experience when it is too late.
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The material in this documentary is so powerful that it brought me to tears. Yes, tears I tell you. This popular struggle of a traditionally exploited population should inspire all of us to stand up for our rights, put forth the greater good of the community and stop making up cowardly excuses for not challenging the establishment. Chavez represents the weak and misfortunate in the same way Bush is the face of dirty corporations and capitalism ran amok. Indeed, Latin America is being reshaped and the marginalized majority is finally having a voice in over five centuries. Though, in the case of Mexico, the election was clearly stolen by Calderon. Chavez is not perfect, far from it. He's trying to change the constitution to allow him to rule indefinitely. That cannot be tolerated. Enough with the politics and back to the movie; The pace is breath taking at moments, and deeply philosophical at others. It portrays Chavez as a popular hero unafraid to challenge the US hegemony and domination of the world's resources. If you think the author is biased in favour of Chavez, nothing's stopping you from doing your homework. One crucial message of the film is questioning info sources, as was clearly demonstrated by the snippers casualties being shamefully blamed on Chavez's supporters. Venezuela puts American alleged democracy to shame. Hasta la revolucion siempre!
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"The Buddy Holly Story" shows the famous singer's beginnings in the dunk Lubbock, Texas, to his rise to stardom, to his tragic death in a plane crash. Strengthened by the fact that Gary Busey, as Holly, plays his own instruments, this movie is the biopic in its purest form. There are some things that seem a little hackneyed, namely the people of Lubbock considering rock 'n' roll to be the devil's music, but the masterful performances outweigh any weaknesses. If there's only one thing that's for certain in this great big world of ours, it's that Buddy Holly's music will never get stale. Whether it's "That'll Be the Day", "Peggy Sue", or another one of his songs, they still sound great after all these years. He remains one of the greatest singers in history.<br /><br />Just to show what Lubbock really thought of their most famous son, they didn't name a street after him until 37 years after his death! What a bunch of ingrates!
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Wow, its been quite a while since I've watched anything so mysterious in the way it is portrayed.<br /><br />A Detective Story uses old fashioned black and white images to portray a private investigator who dresses in an old fashioned trench coat and hat. The theme of this animation is reminiscent of that of Sam Spayed which was briefly mentioned by Ash.<br /><br />Sick of spying on cheating house wives because of his clients, Ash was offered a chance to track down a "computer hacker" which he thought was a worthwhile chance for a four figure sum he could not turn down and the rest is history.<br /><br />The ending was a little bit bland but still okay. For those out there who like old fashion stories this is the one for you.
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Simply delightful claymation feature from Nick Park and company spoofing such film-greats as "King Kong" and "The Wolf Man" has Wallace and Gromit as rabbit security finding it difficult to solve a major problem in their village..a giant were-rabbit is feasting lavishly on the vegetable crops of the citizens! What makes this even worse is that the great vegetable festival is about to commence and the citizens have all prepared dutifully to win the top of prize. What makes the situation even worse is Wallace is the reason behind the whole vegetable-eating rampage..he was testing out a new invention regarding taking his brain waves in an attempt to brain wash captured rabbits into disliking vegetable crops. What occurs is catastrophic as some sort of hybrid were-rabbit is created in the process..and it has more to do with Wallace than he could ever imagine. It'll be up to his loyal(..and startlingly intelligent)and fast-thinking dog Gromit to save the day.<br /><br />This is a clever and imaginative effort from the crew behind other Oscar winning claymation features starring Wallace and Gromit. Seeing good ole-fashioned claymation is refreshing considering the CGI boom that has featured rather lackluster fare here recently as the industry spits out more and more mediocre product. Here, we get a full feature with witty humor and some wild stunts featuring marvelous animation, not to mention gut-busting sight gags.
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Anyone who has ever doubted Ingrid Bergman's ability to play comedy need only look to "The Bells of St. Mary's". OK, so she's a nun with TB who's probably in love with Fr. O'Malley, (think what Luis Bunuel could have done with that), but she also displayed a wonderfully sly sense of fun that made you wish directors had cast her in comedies more often. In "Cactus Flower" she's a starched dentist's nurse, (Walter Matthau is the dentist), in love with her boss but keeping it buttoned up. When she's forced to act as his 'wife' in order to hoodwink his mistress, (don't ask), she lets loose and the buttons pop. And she's a joy to behold.<br /><br />The movie itself is a hardier than usual translation to the screen of a Broadway hit, (you can see it's three acts). It's a French Farce, (it was originally; it's taken from the play 'Fleur de Cactas' by Pierre Barillet and Jean-Pierre Gredy), and it hits all the right spots. Matthau uses his great hang-jowl expression to wonderful effect and a klutzy blonde newcomer, as she was then, called Goldie Hawn almost steals the film as the dizzy mistress who decides to give up her meal ticket because she feels sorry for 'the wife' even though 'the wife' is having a ball. Hawn made such an impression in the role that what she did steal was the Academy Award for Best Supporting Actress.
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A meteor drops from the sky and reawakens a plesiosaur that long ago used to terrorize the area around Crater Lake . As the monster eats the locals they try and find away of killing the monster.<br /><br />Recent attempts at sending up old horror and science fiction films like Lost Skeleton of Cadavra and Alien Trespass are kind of rendered moot when you have films like Crater Lake Monster available for screening. It's the sort of film that those films spoof and send up only this is the real deal. Its everything those films try to be only with out the tongue in cheek and its so much more fun because of it. This is a real drive-in sort of film that had the unfortunate luck of coming just as Star Wars changed the way we look at special effects. The monster, a mix of stop motion and a life size head, is a charmingly quaint little beast. The filmmakers spoil the audience with frequent shots of the monster and its mayhem. Sure its clear that its all fake, but isn't movies about suspension of disbelief? Actually I think its about really cool monsters, which this has.<br /><br />I like this movie in a low budget drive in sort of a way. If you want a real authentic drive in monster movie look no farther. This would be perfect for a double or triple feature with similar lake monster films (Boggy Creek etc.)
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Chilling, majestic piece of cinematic fright, this film combines all the great elements of an intellectual thriller, with the grand vision of a director who has the instinctual capacity to pace a moody horror flick within the realm of his filmmaking genius that includes an eye for the original shot, an ice-cold soundtrack and an overall sense of dehumanization. This movie cuts through all the typical horror movies like a red-poker through a human eye, as it allows the viewer to not only feel the violence and psychosis of its protagonist, but appreciate the seed from which the derangement stems. One of the scariest things for people to face is the unknown and this film presents its plotting with just that thought in mind. The setting is perfect, in a desolate winter hideaway. The quietness of the moment is a character in itself, as the fermenting aggressor in Jack Torrance's mind wallows in this idle time, and breeds the devil's new playground. I always felt like the presence of evil was dormant in all of our minds, with only the circumstances of the moment, and the reasons given therein, needed to wake its violent ass and pounce over its unsuspecting victims. This film is a perfect example of this very thought.<br /><br />And it is within this film's subtle touches of the canvas, the clackity-clacks of the young boy's big wheel riding along the empty hallways of the hotel, the labyrinthian garden representing the mind's fine line between sane and insane, Kubrick's purposely transfixed editing inconsistencies, continuity errors and set mis-arrangements, that we discover a world guided by the righteous and tangible, but coaxed away by the powerful and unknown. I have never read the book upon which the film is based, but without that as a comparison point, I am proud to say that this is one of the most terrifying films that I have ever seen. I thought that the runtime of the film could've been cut by a little bit, but then again, I am not one of the most acclaimed directors in the history of film, so maybe I should keep my two-cent criticisms over a superb film, to myself. All in all, this movie captures your attention with its grand form and vision, ropes you in with some terror and eccentric direction, and ties you down and stabs you in the heart with its cold-eyed view of the man's mind gone overboard, creepy atmosphere and the loss of humanity.<br /><br />Rating: 9/10
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The Tender Hook, or, Who Killed The Australian Film Industry? Case No. 278. This sorry excuse for a period drama takes a cast and idea with potential Rose Byrne, Pia Miranda, Hugo Weaving, in a Jazz-era gangster drama and turns it into a sloppily paced and executed soporific. McHeath (Weaving) is a boxing promoter and gangster and functioning illiterate; for no apparent reason he's given to singing Bob Dylan and Leonard Cohen songs before bouts. How post-modern. How stupid. Anyway. There's a boxer, Art (Matthew Le Nevez), who becomes McHeath's latest protégé, over his unfortunately Aboriginal stablemate Alby (Luke Carroll).<br /><br />McHeath's flapper moll Iris (Byrne) makes the goo-goo eyes at him. Sexual tension squelches under the surface. Miranda plays Daisy, a friend of Iris's (these flower girls stick together) who keeps turning up in scenes unannounced. They practice dancing together and talk about "hooking up" with guys. In the 1920s. I stopped counting anachronisms after that. There's a subplot involving Japanese beer and a backstory of Broome pearl fishermen. I don't know what it was all about. For some reason that is not exactly (at all) explained, Byrne puts cocaine in Art's lemonade. McHeath thinks he's a drunk and sacks him. Byrne plots and schemes to help him out again. She's a big one for the plotting and scheming. Most of which causes trouble. McHeath's two gunsels, portly Ronnie (John Batchelor) and Russian Donnie (Tyler Coppin), debate bumping off McHeath when he realises their part in one of Iris's schemes, but Ronnie wimps out when he sees McHeath crying. A lot of practically incoherent scenes get in the road of the film finally ending.<br /><br />Director Jonathan Ogilvie spends a lot of time working with cinematographer Geoffrey Simpson creating some pretty images, but utterly fails to generate a sense of style, which might have compensated for and decorated the wispy, pathetically underpowered script; unfortunately Ogilvie's sense of film grammar, the lack of structuring of the scenes and exposition, is stunningly incompetent. In an early scene, Daisy suddenly appears in the car with the protagonists. How she got there, and indeed who she is, seems to have slipped Ogilvie's mind. There are many more examples of this sloppiness. Where he chases poetic sparseness, he achieves only wan irritation. He gains awkward performances from actors who are normally reliable, badly miscasting Weaving and leaning on Byrne's ability to project a kind of haunted doll-like humanity whilst saddling her with an incomprehensible character.<br /><br />It might not matter so much if the story had more substantial characters and stronger plotting preferably not stolen from a dozen old noir films and festooned with witlessly sprinkled pop-culture quotes. But it doesn't. It's boring.
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I only comment on really very good films and on utter rubbish. My aim is to help people who want to see great films to spend their time - and money - wisely.<br /><br />I also want to stop people wasting their time on garbage, and want to publicize the fact that the director/producer of these garbage films can't get away with it for very long. We will find out who you are and will vote with out feet - and wallets.<br /><br />This film clearly falls into the garbage category.<br /><br />The director and writer is John Shiban. It's always a bad sign when the writer is also the director. Maybe he wants two pay cheques. He shouldn't get any. So remember the name - John SHIBAN. And if you see anything else by him, forget it.<br /><br />I won't say anything about the plot - others have already. I am a little worried by how much the director likes to zoom in to the poor girl's face when she is crying and screaming. These long duration shots are a little worrying and may say something about the state of mind of Mr. Shiban. Maybe he should get psychiatric help.<br /><br />Enough already. It's crap - don't waste your time on it.
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I seriously love this film so much, I never get sick of watching it. The only line I really can't stomach in this is when Riff calls herself a teenage lobotomy but other than that, everything else is perfect. I've never been a fan of PJ Soles and it didn't help to hear that she didn't even know who the Ramones were until she filmed this movie, but I can ignore her snarly little face for the most part. Most people who watch this over and over are fans of the Ramones and really.. that's the only reason I love it so much. I never get tired of seeing DeeDee mess up his Pizza lines or Joey mess up the name of the teacher over and over, haha. One of the best parts of the film is seeing them sing do you want to dance , down the halls of the high school.. I love it. The special edition DVD has a good retrospective, surprisingly PJ Soles isn't on it. Maybe she was working on another project *laugh* Anyway, great film, even better if you're a Ramones fan.
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This entertainingly tacky'n'trashy distaff "Death Wish" copy stars the exceptionally gorgeous and well-endowed brunette hottie supreme Karin Mani as Billie Clark, a top-notch martial arts fighter and one woman wrecking crew who opens up a gigantic ten gallon drum of ferocious chopsocky whup-a** on assorted no-count scuzzy muggers, rapists, drug dealers and street gang members after some nasty low-life criminals attack her beloved grand parents. The stunningly voluptuous Ms. Mani sinks her teeth into her feisty butt-stomping tough chick part with winningly spunky aplomb, beating jerky guys up with infectious glee and baring her smoking hot bod in a few utterly gratuitous, but much-appreciated nude scenes. Unfortunately, Mani possesses an extremely irritating chewing-on-marbles harsh and grating voice that's sheer murder on the ears (my favorite moment concerning Mani's dubious delivery of her dialogue occurs when she quips "Don't mess with girls in the park; that's not nice!" after clobbering a few detestable hooligans. The delectable Karin's sole subsequent film role was in "Avenging Angel," in which she does a truly eye-popping full-frontal nude scene, but doesn't have any lines.) The film's single most sensationally sleazy sequence transpires when Mani gets briefly incarcerated on a contempt of court charge and shows her considerably substantial stuff in a group prison shower scene. Of course, Mani's lascivious lesbian cell mate tries to seduce her only to have her unwanted advances rebuffed with a severe beatdown! Strangely enough, the lesbian forgives Mani and becomes her best buddy while she's behind bars. Given an extra galvanizing shot in the vigorously rough'n'ready arm by Edward Victor's punchy direction, a funky-rockin' score, endearingly crummy acting by a game (if lame) cast, a constant snappy pace, numerous pull-out-all-the-stops exciting fight scenes, and Howard Anderson III's gritty photography, this immensely enjoyable down'n'dirty exploitation swill is essential viewing for hardcore fans of blithely low-grade low-budget grindhouse cinema junk.
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I wasn't expecting a lot from a film directed by Sidney J. Furie and starring Dolph Lundgren but I was surely expecting more than a got. A one-liner user comment - 2nd rate action movie - didn't seem too depreciative to me for a Lundgren film. On the other hand, I wouldn't have bothered to watch this film if its rating was below 5.0 but hey, the movie had a 5.9 out of 10 score, which seemed pretty acceptable to me for this kind of production.<br /><br />Now I understand that the 37.5% of people who rated this film a 10 (excellent) was clearly a publicity stunt because DETENTION is the regular Nu Image garbage you have seen before, over and over.<br /><br />Lundgren does not convince as an ex-military turned a history teacher assigned to a rough school. His acting is just plain terrible, emotionless and contrived. Lundgren's inability to act becomes more visible in the scenes with the juvenile delinquent kids. Either they are great actors or, compared to Lundgren, they seem great actors - just because they seem natural and believable.<br /><br />DETENTION has some elements that could have been potentially interesting for this low budget movie - a closed-for-weekend high-security high school, four teens in detention with a war-veteran teacher and a group of ruthless criminals trying to get in - but the story (something like THE BREAKFAST CLUB meets DIE HARD, or is it PANIC ROOM?) is full of unbelievable situations, lots of clichés and stereotypical characters. And let's not forget Dolph Lundgren is the main actor.<br /><br />Alex Karzis and Kata Dobó play a Bonnie and Clyde couple in love and they deliver the most acceptable performances of the movie, even if he seems a low-budget version of Sam Rockwell and she, a Milla Jovovich wanna-be. In a movie where everything fails, their craziness and style supplied enough fresh air to prevent my interest from dropping to ground zero.
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This film can not even be said to be bad for it is sadly, just painfully mediocre. Lacking any real wit or imagination, a thin plot is stretched to the absolute limit and the `jokes' (which are predictable and threadbare) are spun out to such inordinate length that boredom and yawns quickly overtake the viewer. Another notch to mark the sad decline of John Waters and a reminder that what `shocked' or amused us 30 years ago doesn't work quite the same way now. We've seen it all before, and it no longer breaks any taboos because they have long since evaporated. A major miss.
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If you see this movie, you know you will see an extense video-clip of popular music. But you will find more. Incredible FX, great music and a nice time to enjoy with your kids. If you compare this movie, you have to remember is a pop extravaganza. Clips of "Man In The Mirror", "Leave Me Alone", "Smooth Criminal" and Beatles' "Come Together".
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I can't come up with appropriate enough words to describe the horror I felt sitting in that cinema watching Ramgopal Varma Ki Aag, the director's half-hearted attempt to pay tribute to that classic Bollywood western, Sholay. The biggest problem with Varma's remake is that he doesn't even try to make a credible film. It's evident in every single frame of this movie that Varma's heart is just not in it. What you see on screen is a bad joke at best, a gimmick on the part of the filmmaker, and it pains you to see what little regard he actually shows for a film he claims he's been a fan of all his life.I've seen several bad films over the years, but I can't remember one that's been as much of a torture to sit through as this one. Consider yourself very brave if you're able to survive the entire film, because it tests your patience like few films have before.Varma may borrow his plot and characters from the original film, but his version is trite and hollow and doesn't have any of the spirit and energy of Sholay. Ramgopal Varma Ki Aag is actually a mockery of that timeless gem because it turns out to be everything that the original film was not - way-over-the-top, too-long-too-boring, and entirely mindless. Much-loved moments from Sholay are parodied by Varma and for that you want to wring his neck. One of the most memorable scenes in Sholay in which Dharmendra as Veeru climbs up the watertank and threatens to jump down to his death is turned around in this film with Ajay Devgan playing Hero, pulling a pistol to his head threatening to shoot himself. How you wish he'd pulled the trigger and spared us all the agony.Not only does Ramgopal Varma Ki Aag fail as a remake of Sholay, it's a pretty bad effort even as a stand-alone film. The eardrum-damaging background score sounds more like someone clanging vessels in the kitchen, and the camera-work alternates between dramatic and head-spinning. Partners in this terrible crime of bringing this ridiculous film to screen are the film's mostly dead-as-wood actors. Sushmita Sen as Devi the widow takes both her role and the film too seriously, punctuating her lines with pauses, staring into camera for effect, and generally performing like her life depends upon it. Mohanlal as Narsimha, struggles with his Hindi dialogue and looks embarrassed to be delivering some of the stupidest lines in his illustrious career. Newcomer Prashant Raj playing Jai-equivalent Raj has no acting chops to speak of and can't strum up any of the brooding intensity Amitabh Bachchan brought to the part in the original film.As Hero, the new-age Veeru, Ajay Devgan is entirely hopeless, failing miserably in his attempts at comedy. But the film's weakest link, easily the most shocking casting decision is Nisha Kothari as Ghunghroo, who steps into the shoes of Hema Malini as Basanti, the endearing airhead from Sholay. Nisha Kothari is not only the worst actress in this country, but possibly the worst actress in this whole wide world, she gives the word annoying a whole new meaning, and she makes you want to slit your wrists every time she's on screen. And then, there is Amitabh Bachchan playing Babban Singh, Ramgopal Varma's version of Hindi cinema's most popular villain Gabbar Singh. The only actor in this ensemble who recognises the film's over-the-top tone and plays along accordingly, Bachchan constructs a menacing character who is a treat to watch. He's meant to be a comic book villain who snarls and sneers and hisses and hams, and he does all of that to good effect. But because he's trapped in such a doomed enterprise, his performance doesn't really help elevate the film in any way.No surprises here, I'm going with zero out of ten and two thumbs down for Ramgopal Varma Ki Aag, it one's of those painful movie-watching experiences you wouldn't subject even an enemy to. It's not like Varma hasn't handled a remake before. With Sarkar he gave us a smart, gripping take on The Godfather, and it's a pity he's made this Sholay bhature out of such a much-loved classic. Ramgopal Varma Ki Aag is his worst career decision ever, it's also a dark spot on his resume he'll be embarrassed of forever. I suspect this film will go down in movie history as Ramgopal Varma Ka Daag.
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Ben (a fine Charles Bateman), his young daughter K.T. (a cute Geri Reischl), and his new girlfriend Nicky (the extremely attractive Ahna Capri) are on their way to a birthday party for K.T. They unexpectedly get waylaid in a remote Southern town where no-one is able to leave, and with the exception of Ben, K.T., and Nicky, no-one can get in either. To top that off, children are disappearing and adults are being murdered at an alarming rate. Ben helps some of the locals - Sheriff Pete (L.Q. Jones), Tobey (Alvy Moore), and Jack (Charles Robinson), the local priest, try to solve the mystery.<br /><br />This early 70's devil-themed horror movie actually predates "The Exorcist", and combines a "Bad Day at Black Rock" type plot of a rural town with a great big skeleton in its closet with horror elements, for interesting results. It actually sent a few chills down my spine this viewing, as it inexorably moves along its ominous path. The moody and solemn atmosphere is established quickly and holds for the duration; the ever-growing sense of panic gives it a real kick. Some memorable set pieces include the bizarre opening of a toy tank turning into a real one and squashing a car flat, not to mention Nickys' twisted nightmare, vividly and stylishly realized by director Bernard McEveety and crew. Jaime Mendoza-Navas' music is subtly sinister and gives it that extra sense of eeriness.<br /><br />The steadfast and professional cast does some fine work, especially the ever engaging Strother Martin as the affable Doc Duncan, and producers / actors L.Q. Jones and Alvy Moore.<br /><br />Just the fact that the whole plot is right under the noses of our heroes makes it that much more scary. Jack the priest starts leading them in the right direction, but will they be in time to put a stop to things? It's an enjoyable little chiller worth re-visiting; just speaking for myself, I was able to appreciate it a lot more after giving it a second chance. I can say now that yes, it is indeed under-rated, telling a good story in an interesting, unconventional, and effective way.<br /><br />8/10
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This movie was an impressive one. My first experience with a foreign film, it was neither too long, nor too complex. I myself enjoyed the subtitles; and the plot was surprisingly fresh. The story of an adult son visiting his elderly father and retarded brother after a long separation appeared cliched at first, but it proved to be very touching and realistic. There was also some subtle humor so as not to depress or bore the audience.
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Obviously, the comments above that fawn over the movie were made by someone who's on the crew. I don't recall ever seeing a movie that's more insulting to the talented actors or the audience watching. In my 30 years of watching movies, this is the only one I have ever walked out of. Bad humor, bad jokes, bad gags, bad editing, bad plot, etc. <br /><br />Note to producer: It's never funny to hunt humans based on race. Great that you tried to be politically correct by incorporating all races, but you're still hunting humans based on race, and that's sickening.
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| 3,963
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This movie, no correction, this THING, this abysmal abomination from the burning pits of hell should have been killed before it even left the writer's head. I could not possibly come up with enough adjectives to describe this movie. But let's try anyway. Horrible, bad, nauseating, tasteless, crap, vomit inducing, gut wrenchingly bad, hideous, nasty, putrid, there just aren't enough words in the English language! The "plot" involves a serial killer who becomes a snow man. Don't ask how, not important. The killer snowman runs about killing people. How, you may ask, can a snowman kill someone? In tasteless ways that make you want to remove your eyes if only so you don't have to endure that Styrofoam snowman anymore. In ways that make you want to fill your ears with hot wax so you do not have to endure his snow puns anymore. Don't watch this movie! Destroy it on sight! For the sake of your very soul don't watch it!
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| 1,858
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This is surely one of the worst films ever made and released by a major Hollywood studio. The plot is simply stupid. The dialog is written in clichés; you can complete a great many sentences in the script because of this. The acting is ridiculously bad, especially that of Rod Cameron. The "choreography" is silly and wholly unerotic. One can only pity the reviewer who saw 23-year-old Yvonne's dance as sexual; it's merely very bad choreography. The ballet scene in the film's beginning is especially ludicrous. If you are into bad movies and enjoy laughing at some of Hollywood's turkeys, this is for you. I bought the colorized version on VHS, making the movie even worse. Yvonne's heavy makeup, when colored, has her looking like a clown all the time. And she's the best part of this film. What a way to launch a career.
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| 385
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After the mysterious death of an old friend,a group of teenagers find themselves in the possession of Stay Alive,a horror survival video game based on the gruesome story of Erzebet Bathory known as The Blood Countess.The group begins to play the grisly game and soon they are murdered one by one in the same method as the character they played in the game.As the line between the game world and the reality disappears,our heroes must find a way to defeat vicious Blood Countess. "Stay Alive" is an incredibly poor teen slasher flick without any iota of suspense.Writer-director William Brent Bell doesn't have the damn clue how to make a watchable horror movie.The jump scares are irritating,the blood/gore level is almost non-existent and the story doesn't make sense.The dialogue is utterly bad and the acting of all involved is embarrassing."Stay Alive" is easily one of the worst mainstream horror flicks of 2006.Stay away from this stinking turd.
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| 3,856
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This was an excellent movie - fast-paced, well-written and had an intriguing plot. The special effects were innovative, especially in the opening scene. The training segment got a bit silly but overall it was a tense movie.
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Shame represents a high point in the career of a master. Ingmar Bergman penetrating, existential study of a couple on the island of Gotland dealing with surviving a long war. Liv Ullman and Max Von Sydow give painfully detailed performances in this spare, stark drama. The films intensity rests in Bergman's keeping our focus on the minute, intimate relations of his two characters - both accomplished musicians - trapped in a landscape they have ceased to understand. We see the way the external pressures of the war complicate and corrode their relationship. Both characters are forced by the material circumstances of the war to betray their own sense of ethics. In one of the most powerful episodes Bergman forces us to reflect on the manipulative power of the cinematic medium by showing us a filmed interview with Ullman's character that has been re-edited and distorted for political effect by one side of the conflict and is used by the other side as evidence of war crimes in a brutal interrogation scene.<br /><br />
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The scariest thing about freshman director Carter Smith's new horror movie "The Ruins" is the closing credits that list comedian Ben Stiller as one of the executive producers. What was Stiller thinking when he sank his bucks into this chiller about cursed carnivorous undergrowth that creeps up on its victims and devours them. Oscar-nominated scenarist Scott B. Smith of "A Simple Plan," adapting his own bestselling novel, sticks steadfastly to the standard clichés and conventions of all twentysomething scary sagas where reckless youth do everything but tote signs begging the forces of evil to eat them. Were cretinous characters not enough to contend with in this nihilistic nonsense, we're treated to yet another film where American tourists find themselves in jeopardy simply because they are Americans. Furthermore, unlike really good horror movies that explain why the monsters have a need to feed, "The Ruins" provides no explanation for the supernatural shenanigans of its villainous vines. <br /><br />The set-up for "The Ruins" resembles the 2006 horror movie "Turistas" where slimy South Americans trapped brainless American backpackers and harvested them for their internal organs. Indeed, "Turistas" generated some legitimate thrills and chills. "The Ruins" spawns nothing in the way of either thrills or chills. A malicious mastiff that suddenly lurches on-camera to snarl at our heroes is as close as it gets to a thrill. <br /><br />The rest of "The Ruins" borrows from another movie: "The Descent," a superb, 2006 chiller about a bunch of babes plunged into a nightmare experience when they get lost in warren of caves inhabited by albino mutants with a blood lust for murder. A couple of other movies that served either intentionally or unintentionally come to mind, too. They are the straightforward 1968 Hammer horror classic "The Lost Continent" about murderous vegetation that menaces innocent bystanders in a sea of derelict ships and the Roger Corman cult class "The Little Shop of Horrors" (1961)about a New York florist that grows a man-eating plant in his shop.. <br /><br />"The Ruins" unfolds in the scenic, sunny Mexico where four frolicking American college kids, Eric (Shawn Ashmore of the "X-Men" movies), Stacy (Laura Ramsey of "The Covenant"), Jeff (Jonathan Tucker of "Sleepers") and Amy (Jena Malone of "Pride & Prejudice"), are wrapping up their tequila-soaked spring break. Stacy loses a prized earring in a motel swimming pool, but a helpful Teutonic, twentysomething tourist, Mathias (Joe Anderson of "Copying Beethoven") recovers it, and the group embraces him as newest best friend. These people live to party, and they have already made friends with a trio of Greek tourists. Mathias tells them about his wayward brother who has accompanied a cute female archaeologist to a remote Mayan pyramid that isn't listed in any guidebooks. He offers to take them with him and they accept. <br /><br />First rule of horror movies: if nobody knows about the place where you're going, you'd be well advised to avoid it. Since they have only one day left, and they haven't done anything adventurous, our two couples along with their Spanish-speaking Greek friend, Dimtri (newcomer Dimitri Baveas), decide to follow Mathias and check the pyramid out. They catch a bus into the interior of Mexico and look for a taxi to take them on the next leg of their journey. A cabbie glances at their map and warns them to stay away. Second rule of horror movies: when the natives warn you to steer clear, you steer clear. A crisp twenty dollar bill helps him change his mind, and he hauls them off to their destination and then he skedaddles in a heartbeat. <br /><br />No sooner have our heroes found the mysterious Mayan pyramid covered with undergrowth that looks suspiciously like a variation of Mississippi kudzu in the jungle than superstitious natives appear. They know that the pyramid is haunted, and they kill Dimtri without a qualm when he tries to dispel their fears. The remaining protagonists scramble to safety atop the pyramid while the paranoid natives surround them to prevent them from escaping. Eventually, the vines slink out to greet our heroes and eat them. At this point, "The Ruins" turns into "Bug," the recent and ridiculous Ashley Judd schizoid movie about insects that get under your skin. Before long our heroes are carving each other up in a futile effort to extract the vines from under their skin. One particularly gruesome scene shows the Americans lopping off the German guy's legs to save his life. By comparison, it makes the tortures of the Spanish Inquisition look tame. <br /><br />"The Ruins" ranks as just another vine mess with nothing to redeem it.
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This was one of the funniest and greatest sitcom to hit national television. Its unfortunate that the show is not placed amongst great sitcoms where it truly belongs. The actors did a superb job and seasons one thru six were the show at its peak point. Although season seven was not as great when compared to the previous six, it was still funny. Season 8 was the real problem kicked in. Without Topher grace or Ashton Kutcher the show simply fell apart. Not too say, the other actors weren't great if any of 2 main characters had left such as Danny Masterson, Wilder Valderamma Kurtwood Smith, Debra Jo Rupp, Mila Kunis and Laura Prepon ( Don Starks and tommy Chong are great too) left the show it would have the same affect. And the inclusion of Randy ( Josh Meyers) didn't help either because he was not well received by the shows fans. I believe if the show ended a year ago it would have certainly gone down in history as one of the sitcom greats. Season 8 was a little dull but the finale was excellent. I am going to miss the show, i just hope i wake up one day to find out the show is back as That 80's show with the same cast because i am going to miss the hell out of it.
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First I bough this movie on VHS than I just had to buy it on dvd, it is on of my favorite movies of all time. I have read the book, but I really think the movie is much better. I loved Gwyneth Paltrow as Emma and Jeremy Northam as Mr. Knightley was an excellent chose. He was brilliant!<br /><br />It's a 10/10 movie!!!<br /><br />
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I think this is a great version, I came on here before, to help me find which version I should use and I went to Jane Eyre 1983 and read a comment from users comment and then helped me to get this version. I do not regret picking this version and neither will you. I tried watching all the other versions and none matched up to it,There is nothing like the book,and TRUST ME if you are reading the book you want something that is going to match up with it. When you are looking for something real and moving after you have read the book it is hard because you want something that is going to match up with that. I would say God personally led me to this version. It points to true love for a humans. I would say God's love is greater.if there is anything better, I would like to see it. but so far there is none like it!
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Even if you're a fan of Jean Rollin's idiosyncratic body of work, you will be caught off guard by this exceptional foray into science fiction territory. For once, there's not a single diaphanously gowned vampire girl in sight ! True to tradition, the budget proved way too tight to realize the director's vision entirely. Yet this is largely compensated by his obvious love of genre cinema, dedication to his craft and sheer ingenuity. Jean-Claude Couty's atmospheric cinematography makes the most of the foreboding locations and Philippe Bréjean (a/k/a "Gary Sandeur") contributes a startling soundtrack that fortunately doesn't resemble any of the sappy stuff he composed for hardcore.<br /><br />Shot in and around a Paris office block before and after working hours, the film was largely cast with porn regulars Rollin was already quite familiar with from his "Michel Gentil" cash-gathering XXX efforts, most notably French f*ck film royalty Brigitte Lahaie in the demanding lead. Playing Elisabeth (rather well, I might add), she's picked up wandering a nearby highway one night by Robert (Vincent Gardère), driving home at the end of a long work day. Barely able to piece together the string of events that got her there, Elisabeth seems to lose her memories mere moments after events occur, even forgetting Robert's name and heroic savior role before their night flight comes to an end at his apartment. Prior to making love, she rightfully describes herself as a virgin (further credit to Brigitte's thespian skills that she can handle the line so convincingly, being after all one of the more active adult actresses of the '70s) because she cannot recall a single touch preceding his. Because of this nifty bit of context, the relatively long sex scene that follows totally eschews the gratuity of other "commercial" interludes Rollin has had to include in other works to assure funding.<br /><br />When Robert leaves for work, he's inevitably erased from Elisabeth's feeble mind. A mysterious doctor (comedian Bernard Papineau effectively cast against type) and his menacing assistant Solange (striking porn starlet Rachel Mhas) move in on her during her protector's absence and take her back to the place she turns out to have escaped from. Here we get one of the movie's strongest scenes as she's re-introduced to her roommate Catherine (the late Cathérine Greiner a/k/a hardcore performer "Cathy Stewart" in a quietly devastating turn), both girls desperately supplying fictitious shared "memories" for one another in a bid to outrun their inevitable fate. That deterioration is not solely limited to the mind becomes painfully clear when they are served lunch and Catherine's unable to control her movements in trying to eat a spoonful of soup. It's also Catherine who gets to voice the filmmaker's compromise with the demands of commerce as she urges Elisabeth to get naked and hold her because sex is all they have left now that both mind and physical faculties have deserted them.<br /><br />Several rather explicit - if not quite hardcore - sex scenes make up the movie's mid-section and French porn aficionados should recognize the likes of Alain Plumey (a/k/a "Cyril Val"), Jacques Gateau and Elodie Delage, along with a blink and miss bit from future porno princess Marilyn Jess whose rape at the hands, mouth and member of Plumey was only present in the film's rarely screened XXX version FILLES TRAQUEES. The pivotal part of Véronique, a girl Elisabeth almost seems to remember and whom she seeks to escape anew with, is beautifully handled by the exquisite Dominique Journet - in her unforgettable debut - who would go on to play a sizable supporting role in Franco Zeffirelli's LA TRAVIATA. The six feet under ending reveals the deteriorating condition to be the result of a nuclear spill, the quarantined "patients" ultimately leaving a barely breathing empty shell, unceremoniously disposed off in a fiery furnace. The final shot offers a particularly heartbreaking variation on that of Chaplin's MODERN TIMES as Elisabeth, approaching complete meltdown by now, and a wounded Robert stumble along the railroad bridge, clumsily clasping each other's outstretched hands.
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Watching Smother was perhaps the longest not-quite-90-minutes of my life. There wasn't a laugh to be had; in fact, I don't remember ever cracking a smile. Diane Keaton was horridly unfunny as a middle-aged chain-smoking dog hoarder, the textbook overbearing mother character, a relentlessly irritating woman who clearly suffers from some kind of personality disorder. She is manipulative, conniving, melodramatic, childish, narcissistic, and worst of all, boring.<br /><br />I suppose I should briefly mention the other characters, but why bother? It was just a long string of movie clichés--the dippy, socially inept distant relative who's just trying to break into "The Industry", the gruff and long-suffering but somehow still lovable father, the mild- mannered wife who just can't take it anymore (but eventually moves beyond the discord and resignedly comes home), the herd of unhousebroken dogs who like to chew throw pillows while everyone is away, etc.<br /><br />God, what a snore. I've never been a Diane Keaton fan and Smother only reminded me why. Overacting is overacting, no matter how many pictures you did in your prime. Her attempts at physical comedy were especially humiliating. What was the director thinking?<br /><br />While I like Dax Shepard and can even sometimes tolerate Liv Tyler, their performances were so lackluster and dull that it was clear that neither actor gave a damn about this movie. That was okay, because neither did I. Keaton's endless self-absorbed prattling was intolerable and at times Shepard's dislike for her seemed genuine. By the end of the movie I wanted to slap her myself.<br /><br />Awful.
| 0
| 6,931
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Hellraiser: Bloodline is where the sequel mediocrity of the Hellraiser series well and truly sets in. Gone is the imagination and invention of the first two movies. Gone is the ethos of Pinhead and his minions. Gone are the sick desires of humans. In fact everything that once made Hellraiser so original has been trashed by this mess of a picture.<br /><br />All that is left is that basic premise of Christian mythology that there is a Hell with evil Demons. What happened to the evil that men do? This watered down excuse for a Hellraiser movie is padded out with endless Psycho Babble, so that Pinhead becomes a nonsense spouting philosopher and not the harbinger of doom as he is meant to be. <br /><br />The film uses the most basic of film formulas with characters separating and getting individually killed. Pinhead is not Alien. The link between the box and the 'demons' or 'Hell' is never established it just arrives at a sacrifice and sits on a sideboard.<br /><br />The lead female Character is called 'Rimmer' and the producers obviously think it really funny because everyone keep saying her name. Really the film should have been retitled to give it that characters name.<br /><br />Shame on you Kevin Yagher and Alan Smithee.
| 0
| 10,733
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The first installment of this notorious horror series presents a woman being kidnapped by a gang of black-clad men who torture her for several days before finally killing her.She is beaten savagely,spun around in the chair endlessly,has her finger nails pulled,animal guts are thrown at her,hot boiling water is poured on her and finally her eyeball is punctured with a needle(really sick and nasty scene).The makers of this unforgettable torture show tried to make it as real as possible and for me this one is the closest thing to a snuff film you can get without committing murder on tape.Of course some of the special effects are rather poor but the idea of making a snuff is pretty gruesome.I have seen also "Flowers of Flesh and Blood" which is more gory and sadistic,but less disturbing.Anyway,this one is a must-see for horror fans!
| 1
| 22,847
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A scientist on an island is in deep sorrow about the loss of his son who died of kidney cancer. So he thinks: why not turn my dead son into a hammerhead shark. Well, who wouldn't? It's a little hard to cope with the fact that the hammerhead shark that's killing everybody is constantly being called "Paul". Also, William Forsythe's cast as a MacGyver-kick-ass-savingtheday- kinda hero lacks credibility. On the other hand there are a few hot chicks who make you actually look at the screen while shark Paul bites another one to death. As a matter of fact I find bad b-movies quite amusing. But for my taste it would have been a much better movie if it was made for say 1000000 bucks less. Then it might have been fun.
| 0
| 2,273
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Henri-Georges Clouzot's film is quiet an example of the french transition cinema. A film between the realism of the postwar cinema and the full-of-magic and symbolism nouvelle vague. With some spots of the American classic films (but not imitating it) the director tales us a story about love, crime and the importance of points of view. We can find great actors too (Suzy Delair is impeccable).<br /><br />Is interesting too, how we can find aspects of this film nowadays. Quai des Orfèvres inheritance is palpable in Woody Allen tradition. Plunging a crime situation in a picturesque environment. The naive ending is also typical in Steven Spielberg's good-ending films. And finally I would like to point out, the deja voo sensation during the photography session between Jenny Lamour (Suzy Delair) and Dora Monier (Simone Renant) in which the first one confess that she thinks her husband is being unfaithful and exactly with the woman who is photographing her. That scene is exactly the one between Natalie Portman and Julia Roberts in Closer (Mike Nichols, 2004).
| 1
| 24,935
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The feel of this movie was amazing. Adam Sandler's performance was very inspiring. As he played a very rattled and fragile character, he took his ability to the very edge and really worked the role. His character was really interesting. I can see myself reading the script for this movie and not being half as interested in the part as Sandler made me. For someone who plays primarily comedy roles, he pulled off a serious role with what seemed to be his own quirks and input. I especially loved the scene in which Adam and Don's characters rode the motorized scooter around the city. I familiarized with the moment, because it seemed like Don was witnessing one thing Adam does to get away from it all. With his video games, music, and many other things he does to keep him from thinking about the past, riding his scooter with his headphones on seemed like an escape from his thoughts. This movie is definitely worth the watch.
| 1
| 21,956
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I know I should like this film, and I do for the most part, but as other's have mentioned, it is a bit long in the tooth. I to also found the raging hormones of the all male crew to be a bit annoying. It's a wonder they didn't start panting and howling at the moons as well. I also have to say that overall, the movie leaves me cold. It's a very sterile atmosphere that permeates the film. On the plus side the effects are great (besides the cartoon monster), as are the effects, props, costumes and of course Robbie. If the robot was not in this film, I don't think it would have been as popular as it was/is. The second half of the movie picks up steam once we start to investigate the forgotten gadgets of the "Krell." As many times as I've seen this movie, the Krell still leaves me scratching my head as to exactly who or what they were. Based on what was being produced at that time, besides "This Island Earth," Forbidden Planet is miles above the average Sci-Fi movies of the time. Being filmed in color also adds to its enjoyment. Certainly a classic in its own right, flaws and all, and deservedly so.
| 1
| 20,278
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Brilliant technology. But what good does it do if the content is hollow and foolish. I have left after < than 30 minutes of watching, being bored and irritated. <br /><br />The theatre administration returned my money, but the time waisted and aggravation remained. I have been had and no thanks to the stars whose names were the main attraction. <br /><br />George, Meryl, Bill - I hope you were well paid. You might have even liked it. So I apologies for my limited mind. A lot of people seemed to like it too. Look at the comments. Oh well...<br /><br />Wish to know - what is remotely redeeming in a story about Mr Fox the husband, the father, the citizen, the ...whatever.
| 0
| 9,964
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The dehumanising effect of war is a much-studied subject in the movies; as is the equally dehumanising, but potentially life-saving, dehumanising effect of military training. Joel Schumacher's 'Tigerland' follows the standard template, we see men treated like dirt but emerging as soldiers, with a degree of mutual respect for their commanding officers, and judgement is reserved on whether such an extreme process can be considered justified; as is judgement of the merits of the war for which they are being trained (typically, as here, Vietnam). But 'Tigerland' has an interesting take, by centring its account on a cocky dissident named Bozz (played outstandingly well by Colin Farrell), who understands that all power governs ultimately by consent, and the lack of awareness among the powerless of their own complicity. Around this character, a taught, gripping plot has been constructed, and it's also a plus that the action never leaves America (whereas Stanley Kubrick's 'Full Metal Jacket', to name just one other film of a similar type, lost focus once the action shifted to Asia). Although this is not a film of staggering originality, it's supremely well done and captivating viewing throughout: the best film from this director that I've seen, and among the very best of its genre.
| 1
| 16,317
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At first I was convinced that this was a made-for-TV movie that wasn't worthy of primetime. But after a few minutes of dumb-struck awe, I realized that there was at least comic value in the over-the-top stunts and c-movie acting. This movie would have gotten a 1 if my wife and I hadn't laughed so hard as we watched it in wonder that the actors could keep a straight face. It was like a less-funny spy version of The Big Hit (I laughed so much I actually bought the Big Hit DVD) with even-worse acting. We were disappointed that Nick chose to marry Elena, and not Jim, after all of the hugging and high-fives. A few rum and cokes will definitely help it go down easier.
| 0
| 10,537
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If the following sounds tempting, then by all means rush down to your local Blockbuster and rent this movie post-haste:<br /><br />1. Awful 60's hairstyles, from pathetic perms to dodgy ducktails.<br /><br />2. The worst child actor in the world ever, who does nothing but cry and say DADDY in the most annoying voice imaginable.<br /><br />3. Lots of stock footage of alligators and monkeys that doesn't mesh with the film. At all.<br /><br />4. Stereotypical Indians who use blowpipes and talk gobbledegook. Oh, and it goes without saying they whoop around a campfire.<br /><br />5. Hilariously fake plane crash mechanics where the cast actually throw themselves into the corners of the cardboard set.<br /><br />6. The exterior shots of 5, which look suspiciously like a toy jet on a string being led around a studio lit with blue light.<br /><br />7. Terrible special effects which make the ones used in the first Star Trek series look cutting edge by comparison. ( Special mention: The little boy's blond hair glowing. Oh dear..) <br /><br />8. Laughable editing and continuity, where background items move between scenes, the soundtrack changes completely without any warning etc.<br /><br />9. Not got enough money to hire a professional dancer? Get any lady from off the street to prance about like an idiot! No-one will notice the difference! Er..<br /><br />10. A 'thrilling' climax involving quicksand, snakes (more stuff from the archives) and a ton of fake blood. Don't forget to put in a stupid 'tribal' sounding song either!<br /><br />The more sensible among you however, will wait for it's inevitable appearance on MST3K when this classic TV show is resurrected and then you can watch it in the spirit it was intended. Any other kind of enjoyment to be derived from this crap is unthinkable.. not to mention unworkable. So don't even try it. 0/10
| 0
| 9,333
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I, for one, absolutely loved this movie.<br /><br />It is not a "typical Asian horror" where you would see a gruesome looking ghost (usually a woman) that is going around scaring people. You barely see any ghosts for a majority of the film, but the way this movie keeps you interested in the plot and characters is genius. This is not the movie for you if you're into gore (e.g. Saw, Hostel) or "surprise scares" where stuff pops out at you (Hollywood horror, slasher films), but this movie has an underlying "creepy" factor throughout the entire movie which I loved. Noroi is a progressive and somewhat experimental approach to horror amongst the ridiculous remakes and unoriginal crap being released by Hollywood in today's society.<br /><br />Please don't let the documentary-style of filming turn you off (why should it?!). It is far superior to the Blair Witch Project because, for one, the acting in Noroi is brilliant and it really makes you really feel like you're watching something you're not supposed to be seeing.<br /><br />Noroi is definitely one of the best horror movies I have ever seen. Only a few films have made it into my Top 5 horror; and this movie holds a solid #1 spot on my list.
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| 22,960
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- After their sons are sentenced to life in prison, Adelle (Debbie Reynolds) and Helen (Shirley Winters) begin receiving threatening phone calls because someone fells their sons got off easy. The pair decides to move to California to escape the publicity of the trial and to start a new life. They start a dance school that is soon very successful. One of the students has a rich unmarried father with whom Adelle quickly falls in love. In the meantime, Helen is busy raising rabbits and becoming a little too infatuated with an evangelist on the radio. It's only a mater of time before everything falls apart and the women enter a world of madness and murder.<br /><br />- I can't help but compare What's the Matter with Helen? to Whoever Slew Auntie Roo?, also starring Shelly Winters. Where that movie seemed almost restrained in its presentation of Auntie Roo's madness, there's nothing holding Helen back in this movie. It may take a good deal of the movie's running time, but once she snaps, Helen is one Bad Mad Mutha. You don't want to mess with her. Winters is so delightfully demented that it was impossible for me not to enjoy her performance. I'm not going to spoil the movie, but the things Helen is capable of are totally over-the-top.<br /><br />- As good as Winters is, Reynolds is totally ridiculous in her role as the gold-digging tap dancer. I got the impression that she thought she was in a movie that would get her nominated for some award. This ain't Citizen Kane! Quit acting so serious. Hey, Debbie, don't you realize that you're main purpose is to be a victim of Winters' insanity.<br /><br />- I just love these former-female-stars-in-the-twilight-of-their-career horror movies. What's the Matter with Helen? is as fun as any.
| 1
| 24,532
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Surely one of the mysteries of the modern world!! - this film is NOT considered to be within the top 100 films of all time????<br /><br />If you watched this film and thought it was anything other than wonderful please let me know how? - Al Pacino's performance is as good as it gets!
| 1
| 24,311
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Preston Waters is off to a bad summer. Besides his birthday coming up, nothing else looks promising.<br /><br />First he has to share his own room with his brothers who are going to run a business. They can't do it in their rooms because they don't have enough space. Off to a birthday party he only gets $6 tokens while others get $32, $35, and even $50. When one of his birthday cards comes early, he only gets a check made out for $11.<br /><br />Going to the bank he learns he needs $200 at least to start an account. Leaving the bank, a bully steals the check. Pursuing after the kid nearly gets him run over (definately his bike gets ruined) by a criminal named Quigley (played by Miguel Ferrer). Quigley's just come from the bank too from giving the owner $1,000,000 to give to this guy tomorrow. Quigley starts to write a check for the damage, but only succeeds in writing his name before a police car circles the area. Afraid, he gives Preston the check, informs him to give it to his dad to finish out.<br /><br />That evening though, Preston tells his dad that he doesn't want a new bike, he wants his own room back, better yet his own house. His father confines him to his room for the rest of the evening. Moping in his room Preston figures things can't get any worse he realizes that he forgot about the check as it's still in his shirt pocket. It's blank.<br /><br />Using the computer and after careful consideration, he makes it out for $1,000,000. The next day, while trying to cash it at the bank he's taken to the owner who thinks he's the person he's supposed to give the $1,000,000 and does. He's not though as the real person named Juice comes in a moment later.<br /><br />Now the three have to track Preston down.<br /><br />Meanwhile, Preston has fun buying all sorts of stuff including his own house and even going on dates with a disguised bank lady who's really and FBI agent (who's trying to track the 3 bad guys down). He makes this person up named Mr. Macintosh who he works for and even plans a party for him on his birthday.<br /><br />But eventually things catch up (the money runs out, the bad guys get him).<br /><br />Overall, a pretty funny flick. Miguel Ferrer plays his role very good. If you enjoyed him in Another Stakeout, you'll love him here. He does all sorts of wicked crazy things.<br /><br />Rick Ducommun (the stressed out boss from Ghost in the Machine) plays a wonderful friendly chauffeur in this movie.
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This hodge-podge adapted from a Gore Vidal novel (actually one of the great American writers) makes THE MAGIC CHRISTIAN and VALLEY OF THE DOLLS look like Fellini art-works. Raquel Welch, with an incredible body (and she's actually not very tall) in a lead role (except for KANSAS CITY BOMBER when she was quite good) playing Rex Reed's (bad movie reviewer; not critic) alter-ego, only to be surrounded by drag queen (great chick) Mae West, horny John Huston, a young and "naive" Farrah Fawcett (pre-Lee Majors; what a shame), and other various creep-azoids to pretend to spoof WAY too may things has nothing going for it except inter-spliced old films clips (i.e. Widmark in KISS OF DEATH, Lena Horne)...JUST so they can continue to bleed the life out of everyone.<br /><br />A 2 out of 10. Best performance = ?. It's so bad, it's worth seeing!
| 0
| 8,862
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As others have mentioned, this movie is similar to THE FLY (both versions) and the lesser known sci-fi flick ALTERED STATES. The big difference is that those two movies were well made by people who knew what they were doing and were good at it. METAMORPHOSIS did not have these advantages. METAMORPHOSIS is a potentially interesting science fantasy story that had the wrong people in charge of it and the wrong actors playing the roles.<br /><br />The story follows scientist Dr. Peter Houseman (Gene LeBrock), an obsessed man working on a genetic cure to aging and death. When the university he works for threatens to cut funding, he decides to inject the anti-aging serum into himself. As a result, Dr. Houseman spends the rest of the movie slowly turning into a lizard. And oh yes, watching the good doctor go through the process of becoming that lizard is a great joy. It really is so bad that it's good. Some of the lines are classic: "What WAS it?" "A nightmare...from the past!"<br /><br />Many of the reviews that I've read for this point up how stupid and ridiculous the last five minutes of this movie are. I'm just going to go ahead and spoil it: the good doctor goes from being a shuffling half-man, half-lizard thing to being what appears to be a man in a rejected Godzilla costume, when the police finally gun him down. In the final scene, some obnoxious kid is seen with a little pet lizard which he claims will never die, and the movie's heroine, Sally Donnelly (Catherine Baranov) evidently decides that the little lizard is the final incarnation of Dr. Houseman. The camera then gives us a close-up of the lizard's face; this is, I assume, the director's way of showing us that the lizard is EVIL. Yes, it is goofy, but I fell over laughing so I can't complain.<br /><br />I watched this movie because it was a part of the Chilling Classics 50 Movie Megapack that I purchased. I'm sure many of those who are reading this did exactly the same thing, as the 50 pack is the only way to see this movie on DVD. If you have recently bought the boxed set and haven't watched this movie yet, it really is worth your time, even if I did just ruin the ending for you. It might also be possible to find this movie online for free.
| 0
| 5,154
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This is a film I saw when it first came out, and which I have seen a few more times over the years. It's always enjoyable.<br /><br />One thing is that the comedy does not take sides: it skewers labor and capitalists equally. Only Sid seems outside the classic struggle, even though he's responsible for it. <br /><br />Spoiler warning: do not read further if you haven't seen the film <br /><br />This is a fantasy, though presented fairly plausibly. Ask yourself: could someone support most of his or her weight in a single strand of fabric? It would cut through almost any support.<br /><br />Also, when cornered in an alley, Sid uses a garbage can cover like a knight's shield. Cute symbolism.<br /><br />Someday, I'll get this on DVD.
| 1
| 21,916
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The fact that this cruddy series could elicit dozens of comments (much less hundreds of 'votes') speaks volumes as to the decline of Western (or at least American) civilization.<br /><br />Read Proust, you morons!! Or at least Dave Barry or Calvin and Hobbes anthologies.<br /><br />Chuck Norris. Wrap your brains around the fact that in order to rate or write about this series you'd have to have spent minutes..nay, HOURS...viewing this poor sod treading the boards and spewing lines with less emotional impact than the gal who used to call off the correct time on your local service.<br /><br />PLEASE DON'T WATCH THIS SHOW!! SPARE YOUR FEW REMAINING BRAIN CELLS!
| 0
| 8,837
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Every once in a while, Eddie Murphy will surprise you.<br /><br />In a movie like "the Golden Child", especially. This is a movie you'd figure would star maybe Harrison Ford or Kurt Russell or someone. But Eddie really does work; he's smart, he's funny, he's brave, kind, courteous, thrifty, clean and everything else a hero should be.<br /><br />Having been chosen to secure a mystic child who holds the key to protecting the world from complete evil (embodied perfectly by Dance), Eddie goes from California, to Nepal and back, all while the beautiful Kee Nang (Lewis) wonders if he's all he says he is and a crazy old holy man (Wong, perfect as always) knows that he is.<br /><br />It's exciting, breathtaking in spots, shocking and, of course, funny. Eddie is the only action hero I know who could begin a movie by making rude remarks behind some guy reading a porno magazine and end it with smart-aleck remarks about Ed McMahon.<br /><br />No problem with this "Child": it's a "Golden" find.<br /><br />Nine stars. Viva Nepal!
| 1
| 13,688
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President Harry S. Truman once said that the only thing new in the world is the history you don't know.<br /><br />Seven years before Richard Rhodes' superb Pulitzer Prize-winning "The Making of the Atomic Bomb", the BBC produced a seven-part miniseries, "Oppenheimer", that was a character study of the people who designed and built the weapon that ushered in the Atomic Age, permanently joining science and technology to the state (and, in particular, the military), not merely making history, but changing the world forever.<br /><br />The production is impeccable, the casting nothing short of miraculous; not only the main characters, but even secondary characters bear uncanny resemblances to the persons portrayed. In particular are Sam Waterston in the title role of American physicist J. Robert Oppenheimer, scientific director of the Manhattan Project, who was based at the Los Alamos, NM, laboratory (the site for which he personally chose); Manning Redwood as General Leslie R. Groves, who oversaw the entire Manhattan Engineering District (the project's formal name); David Suchet as physicist, and ultimate nemesis of Oppenheimer, Edward Teller (who, nearly forty years later, whispered into Ronald Reagan's ear and brought us the Strategic Defense Initiative - "Star Wars") and Jana Sheldon as Kitty Oppenheimer. The attention to detail is uniformly excellent throughout.<br /><br />Part thriller, part love story - and ultimately a tragedy, this series faithfully recreates a chapter in world history - and that of science - that we dare not forget. Highest recommendation.<br /><br />(NOTE: Viewers who enjoy this series will also enjoy Jacob Bronowski's 13-part series "The Ascent of Man" and the BBC film of Michael Frayn's play "Copenhagen".)
| 1
| 13,643
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You see a movie titled 'battlespace', what are you going to think? Space battles with cool as heck explosions and everyone shooting at each other. What do you get with this movie? Well, you do get SOME space battle goodness, but for a great majority of the time it's just stupid people wandering around doing almost nothing. NO ONE TALKS!!!! What is this nonsense?! We get a narrators, and a ton of British computers, but thats about it. The main protagonist must be the worst one I have ever seen, as she doesn't even have any dialog, and sleepwalks though scenes (literately!). Some of the things happening are just stupid, like they use a rocket (like to go to space) for basic transportation planet side, why not just use one of those nifty space ships? In any case, the music is almost non-existent, with a few boring dull lifeless samples, but the main thing you will notice is the Atari sound effects the ships use...you have got to be kidding me. I can also tell that the budget was low, because everything looks fake, which is not what you would expect from a movie, especially what should be a super cool space battle movie. I seriously think the budget must have been in the double digits it is so bad, making you laugh more than you should at how plain bad it is. I am starting to think that they paid the actors based on how much dialog they had, because their is very little here (if you can't tell already that is my main gripe here, as I probably said that like 3 times already).
| 0
| 5,699
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Target is the story of a special agent who, after carrying out orders to assassinate Turkish "Terrorists" (note that this is one of those American "movies for guys who love mindless nationalistic super-patriotic crap movies"), returns home to find that his ex-wife and two kids are taking hostage. Charlie Snow has just a couple of hours to do whatever the terrorists tell him in order to get them back.<br /><br />This was by far one of THE worst movies I have ever seen. And, had it not been for someone I know actually (and probably, mistakenly) taking it out of the video store, I would never have watched this giant pile of garbage to begin with.<br /><br />The movie plays out like any generic action movie story I have ever seen before. In fact, these are the kind of things they spoof on variety shows, that is how bad it is. I half expected In Living the Color's 'Homey the Clown' to Mad TV's Will Sasso doing his Steven Segal impression to bust out on the screen half way through, to remind you that this was just an exaggerated action movie, but now our characters are here to spoof how ridiculous it really is. There were not even any good fighting or action sequences. By the way things are played out, you wouldn't even think that anyone was kidnapped, that there were any terrorists, or that anything remotely interesting was going on.<br /><br />Not only is the story completely and utterly uninteresting, the acting is so terribly wooden. Just watch the part where Stephen Baldwin, as former special agent Charlie Snow, is talking to the kidnappers on the telephone. They tell him that they have his wife, and they put her on the phone. She says "Charlie, help!" or something to that effect. And Baldwin replies "it's okay, honey" in such a deadpan manner, you think he was reading the script and trying to sound out the words phonetically. I imagine that, despite being such a ridiculously bad movie (one that belongs on the bottom 100 on IMDb--a list that they should expand to at least 250 movies and should contain nearly every Stephen Baldwin movie), someone with some talent could have at least made the effort not to ham it up as much. Someone. Anyone. I couldn't get past the fact that everyone sounded like they were reading from a script. Save that is, the only person in the whole friggin movie who has any talent whatsoever (and thus should not have been in this), Mad TV's Deborah Wilson.<br /><br />This was the capital cheese fest. How truly embarrassing.
| 0
| 7,875
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Great "documentary" of how scientist's believed dinosaurs behaved, captured with some of the most spectacular CGI since "Jurassic Park". Done completely seriously, like a prehistoric episode of "Nation Geographic". Grabs your attention from the first frame and never lets go. My favorite part was when the Diplodocus fights off the Allosauros.<br /><br />10 stars. This is what science is all about.
| 1
| 20,936
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SERIES THREE- BLACKADDER THE THIRD " If you want something done properly, kill Baldrick before you start" Hot on the heels of the second series the show returned with the current owner of the famous name down on his luck and in service as butler to the Prince Regent, a vain and stupid foil for Blackadders venom, played by Hugh Laurie. Baldrick is still in tow as the other piece of the comedic jigsaw. The format is similar to the previous show, after all now they had found the winning formula why change things. We see Blackadder trying to get rich off of the back of the gullible regent in many more ingenious ways, trying to make Bladrick an M.P.or trying to woe a suitable bride for the prince. In many ways this is one of the most accurate of the series historically, the prince regent did take control of the throne during his fathers bout of madness and some of the characters lampooned tell a lot about the times. Samuel Johnson, William Pit and Wellington all pass through the events and all manage to steal their scenes, not an easy thing with such a stellar cast
| 1
| 18,215
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I cannot accept the negative comments of other reviewers. They are too critical, perhaps because they are stuck in the past. I would like to see a comment from someone who had never seen Basic Instinct 1, perhaps someone very young ? I left the cinema feeling glad that I had not been swayed by the IMDb reviewers. 14 hours later I am still trying to find flaws in the plot but I cannot think of anything serious. My advice to everyone is see it for yourself and make up your own mind.<br /><br />It follows a similar pattern to Basic Instinct 1 but the plot is less confused. It still left me wondering at the end but in a more satisfactory way. Sharon Stone is as sexy and evil as before and wears her 48 years extremely well; this remains her defining role. David Morrisey was satisfactory even though he is no Michael Douglas. Of the supporting cast I particularly liked David Thewlis as the police detective.
| 1
| 14,503
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Although i had heard this film was a little dry, I watch whatever Scott Bakula is in. At the start of this film I had high hopes for the classic cheesy but enjoyable Scott-gets-girl ending and until 20 minutes before the end it was going great. The plot twist was crazy and unexpected and very clever. I kept my fingers crossed that it would work out and it would all be some horrible misunderstanding, right up until when the credits rolled and I realised that there was not going to be a happy and contented ending. Unfortunately i was left regretting that i'd watched it and hurriedly putting on some quantum leap to restore my faith in the goodness of the Great Scott!
| 0
| 9,446
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Sometimes the Academy doesn't recognize the potential of some films, or doesn't nominate them because they are controversial or strong. Sometimes they are nominated, but don't win anything (I hope this doesn't happen this year with "American Beauty"). This is exactly what happened with "Boogie Nights", which was the best film of 1997. The Academy preferred to give the best picture Oscar to "Titanic", a purely commercial and hollow film, and other awards to the overrated "Good Will Hunting" and the irritating "Full Monty". The other pictures which were nominated in the main category were "L.A. Confidential" and "As Good as it Gets", great movies, but "Boogie Nights" is still better and should have been remembered in more categories.<br /><br />This amazing film tells the story of Eddie Adams (Mark Wahlberg, in a surprisingly great performance), a 17 year old barman who takes the attention of Jack Horner (Burt Reynolds, in a redeeming acting), a director of porn films. Eddie has a special 'gift', and this helps him to get into the world of porn movies. He changes his name for Dirk Diggler and starts to make a huge success. But fame... doesn't last forever. Other characters also have their parallel stories- Amber Waves (Julianne Moore, perfect), Buck (Don Cheadle) and others, including Rollergirl (Heather Graham), an actress who accepts to do anything, but she has to be wearing her roller shoes.<br /><br />What could have been a banal, trivial film, turns into a perfect, memorable one in the hands of Paul Thomas Anderson. What makes "Boogie Nights" such a great film is its execution, added to a clever, well written screenplay, great soundtrack, etc. Each character is very well developed, and each of them has his/her importance in the context. Each feeling, weakness, fear, emotion is explored, resulting in a masterpiece of the modern American cinema.<br /><br />"Boogie Nights" is a strong, impacting picture that should be seen by everyone who really likes cinema. Under a plot that seems banal at first impression, there is a wonderful story of highs and downs, things that we face in our lives. It is an amazing portrait of the end of the '70s and the beginning of the '80s, exactly an age of highs and downs. That's what makes this film so special and a true masterpiece. <br /><br />10/10
| 1
| 23,772
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This is one of the best films I've seen from the silent era (sad to say, I've yet to see too many with the exception of Chaplin/Keaton stuff). Very visually brilliant, with insanely influential style in editing and composition. Really unique (especially for its time) camera angles and extremely hectic editing. Definitely a must see for the film nerd.<br /><br />The downside is that it is a bit too in your face about its politics (I have no problem with politics in film, as long as they are subtle or at least somewhat ignorable as a backseat to the story). Also, it's not an "entertainment" film, which is fine, but it's not something I'm going to watch a billion times. This is art, plain and simple, like it or not.<br /><br />Worth an A+ for influence alone, but based on personal enjoyment, I give it an A-.
| 1
| 23,234
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Ok, needless to say, this film is only going to appeal to a certain audience; namely stoners and like-minded people.<br /><br />That being said, if you are one of these aformentioned people, this film is a MUST. In fact, I think it should be mandatory for head shops to sell a copy of it to anyone purchasing their first bong. What Monty Python's Holy Grail is to geeks and nerds, so is this movie to potheads. I first saw this film 10 years ago or so, and I still crack up every time I watch it. The jokes perfectly lampoon the pothead lifestyle, far better than latter day knockoffs like Half-Baked attempt to.<br /><br />There isn't a plot, so to speak; the film is more of a collection of various skits; as the films protagonists wander around Los Angeles in their legendary haze. Despite this, the film has an excellent sense of pace, and doesn't drag at all. Many people cite Up In Smoke as C&C's best work, but I would have to say that Next Movie is superior.<br /><br />So if you're in the mood for an hour and half of belly laughs, light up, tune in, and let your mind float away =)<br /><br />Oh, and FREE TOMMY CHONG!
| 1
| 18,074
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My brother-in-law and his wife brought the movie over one night to watch on video. This should have given me the first clue that it would be horrible. It was. From the very first frame to the last this movie is terrible. It does not even quite register as a "B" movie. Maybe an N or a P. One of the worst 5 movies I've ever seen. From the rubber raptor-on-a-stick to the still-breathing corpses in the car to the beyond horrible closing lines, this movie isn't worth watching if you've received it for free.<br /><br />Skip this one altogether--unless you want to play Mystery Science Theatre with your friends, it will provide good ammunition.
| 0
| 11,821
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As social satire, Idiocracy is just as good as Office Space, but with a wider scope. To criticize this film as too puerile due to potty humor is to kind of miss the point, I think. There are certainly fart jokes etc., but they're not really intended to be funny to the audience - they exist to define the state of "culture" in the world of 2500 AD visited by Joe, as a background to the bizarre state of affairs in which he awakes. The real humor of the film lies in the many sight gags and attitudes present in this future society that are just a shade off of what we encounter in our daily lives, and which should serve as a warning. My personal favorite is the depiction of Fox News. The subtle brilliance in the film lies in the fact that it also digs at "smart" people, and average Joes like the protagonists. Note the times in the film when Joe and Rita almost subconsciously conform to the idiots around them, and you realize that Idiocracy is not created to pick on any group of people in particular, but on the culture of idiocy in general. I don't know what to say about the "made for conspiracy theory" behavior of Fox in releasing this film, but if it's not playing in your local theater, demand it. We all need to see this film, if not for the social commentary, at least for the fart jokes...
| 1
| 16,990
|
Wow, I can't believe I waited so long to see this film. I just never got around to watching it. The plot has nothing that interests me. I know nothing about soccer (football.) I am one of those American fools that has no clue. I had never even seen David Beckham before this film. I chose to ignore the buzz surrounding this film at the time it was released in America. Enough about me. <br /><br />Truth be told, it was a mistake to ignore this little piece of movie-making heaven. What a fun film. It's full of color and exuberance. I had a goofy grin on my face through the whole movie. Parminder Nagra is so sweet and lovable, you can't help but root for her. No wonder why the American television show E.R. has snatched her up. I have a new appreciation for Indian culture. Those people know how to have a good time. The wedding scenes are dazzlingly beautiful. <br /><br />The only problem I had was deciphering some of the British slang and dialogue through the accents. I turned on the English subtitles to make sure I didn't miss anything. (This is not a criticism of the film!) I'm sure audiences worldwide have trouble understanding the constantly changing slang in American films as well. <br /><br />This is a perfect date film. It has a great sports plot like Rocky, and a strong sense of feminism that is empowering for women. I watched it with my wife, and sixteen year old niece, and we all loved it. I highly recommend it.
| 1
| 15,198
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I can't really condemn the movie because it does work. There is enough film noir elements to consider it a noir movie, but I think it's only just in the category.<br /><br />There's nothing sinister in this piece, and that's where the noir elements fail. Sure, the disease might be considered sinister, but I have a hard time seeing that. The movie hints at a darker side: Blackie may be trafficking human beings, the New Orleans police are only too willing to arrest a reporter, the specter of the plague hangs over all of the people in the movie... but those are really only hints.<br /><br />There's no attempt made to question Reed's motivations, as one with do with Marlowe or Spade, nor is there any attempt to bring a humans side to Blackie, which would make him even more contemptuous if the human trafficking was actually played out.<br /><br />That lack of depth is what fails the movie in the end.<br /><br />The story is decent, the acting is good, the writing and direction are well done... but there is nothing to make this a movie you should return to over and over. Worth watching once, maybe twice if you don't remember it from years ago, and then putting away.
| 1
| 17,426
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Thank goodness not all Dutch people are that ruthless. I think Jason is being judged like that by most people, simply because he has a famous father. Maybe he's not as great as some of those actors, but he's definitely not as bad as suggested. <br /><br />I watched the movie some years ago, and I actually loved it. I knew Jason from other movies and of course Robin of Sherwood. But I must say I really liked his acting from this movie on. It was really good!<br /><br />During the movie, I actually forgot he was the son of. Sean.. who?<br /><br />And if you're a Shakespeare lover, I can recommend this movie. I'm sure you'll enjoy it!
| 1
| 18,933
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Some films are just plain silly beyond explanation. This is one of them. Words cannot do justice to the wooden acting, the stupid plotline, and the ever-predictable outcome. About the only thing that makes this film halfway worth watching are the scantily clad women (and the mute guy for you ladies) in it. The leader of the warrior women and Valeria are quite appealing to the eye. But that's about all this movie has going for it.<br /><br />Some silliness in point: One scene, when they start to journey to the lair of the Dark One, they are walking away from a supposedly destroyed land. But we clearly see a 1980's New York behind them. About 2/3rds of this movie looks like it was filmed in a high school basement. The deadly sock puppets look about as scary as a sesame street monster. I have to agree with Latronic in that many 1950's trash b-movies did a better job than this. About the only one I can think of that didn't was Teenagers from Outer Space.
| 0
| 11,607
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<br /><br />There is STAR TREK canon -- lots of it. From canon we know the history of the future. Advances in technology, events, places, first contacts with new beings, names, dates, etc.<br /><br />ENTERPRISE pretty much disregards much of ST canon. An unfortunate fact for long time serious fans. As one, I assumed that the producers would at least take a look at the first few episodes of TOS and retro back from there -- but no.<br /><br />The phase pistols, like much of the technology, look much more modern than found in TOS. An old style Starfleet laser gun, a slow gold speckle transporter effect -- that's what I expected to see. Also, I did not expect to hear pure beep-based sound effects similar to TNG but far apart from TOS sound effects. <br /><br />In the earliest view of TOS (the original pilot: THE CAGE), we see a Starfleet with a more formal military aspect -- a bit of old earth Navy. With ENTERPRISE, we see a shocking disregard for rank. There is more military code in the cartoon STAR BLAZERS than in ENTERPRISE.<br /><br />It is fine that Captain Archer is unsure about the needs of the Universe (quite unlike Kirk who never lacked confidence in his application of human justice), but inside ENTERPRISE everyone seems like an equal. Unprofessional, unsure, more distant from the feel of formal military service than found in any ST series -- and that says a lot!<br /><br />The casual country music opening theme song heralds the journeys of a family rather than the adventures of an important large military vessel.<br /><br />ENTERPRISE looks to show us a mostly fun, warm-fuzzy exploration of human relationships rather than take us on a historic, bold, gritty, high-rick exploration of space.<br /><br />I would have selected Adrian Paul to play the Captain and an older human to be the doctor. Still, I liked the actors for the most part. Linda Park, an outstanding ballroom dancer from Boston College, is sure to develop nicely. The characters making up the crew seem to be thoughtfully created.<br /><br />ENTERPRISE begins its run stronger than did the past three STAR TREK series. Let's hope for a good future!
| 1
| 12,900
|
Swinging bachelor Matthau, a successful dentist, is stringing along his blond mistress Hawn, having told her that he's a married man with three kids. After she attempts suicide Matthau decides to get responsible and marry the girl. Worried that she's going to be a "homebreaker", bright eyed Hawn wants to meet his wife and explain everything to her. Matthau employs his faithful nurse Bergman to act his wife and that's when things really get complicated.<br /><br />A farcical comedy with irresistible leads quite often hits the mark but isn't for one second believable. The script asks us to believe that us men are such one-dimensional turds that it's truly beyond belief. But maybe this comedy doesn't need to be analyzed too deeply, just sit back and enjoy the ever so funny Matthau, the ever so charming Bergman and débutant Hawn, who here basically created the dumb-blond girl role.
| 1
| 21,315
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Someone on these Boards has predicated that the whole thing is being dreamed by the best friend of the protagonist, albeit a friend he hasn't seen for some 20 years. I'm reluctant to dismiss this out of hand but it does raise some viable questions. Why WOULD a telephone engineer - or a shoe salesman or butcher for that matter - WANT to create a mythical world and weave it around a friend populating it in the process with a set of equally mythical supporting characters. With an imagination that good the friend should be WRITING not Dreaming. Dream or not SOMEONE, and the obvious candidate is director Paolo Sorrentino, has created a very watchable world in which Tony Servillo makes stillness a Fine Art. We are asked to believe that forty-something Titta La Girolomo (Servillo) 'upset' the Mafia some years prior to our meeting him and as penance he is a virtual prisoner in a small Swiss hotel from which each week he drives to a local bank with a suitcase containing nine mill large in used notes. Other than this weekly trip he is free to do as he likes and what he likes to do is smoke, play cards with a man who cheats and a wife who reminds the husband how far they have fallen socially, and ignore the friendly overtures of Olivia Magnani, who has spent two years trying to get a smile and/or a 'good evening' out of him. For reasons best known to himself and which are inconsistent with a man who has no interest in anything or anyone, Servillo spends a certain amount of time every day applying a stethoscope to the wall of his bedroom and listening to the private conversations of his card-playing partners. Eventually he does respond to Magnani - he has to do so or they would be no film. This is plot 6f: the one about Destry, who never wears a gun, or Sean (Duke Wayne), the 'Quiet Man' who refuses to rise to provocation and fight until the obligatory scene where the gun is strapped on and the fists cocked - but instead of contenting himself with a polite come stai oggi he removes 100,000 from the suitcase and buys her a car. The final inconsistency occurs when Magnani tells him she will pick him up the following day at 4 pm in her car and they will drive into the mountains to celebrate his birthday. We've established that she lives locally so why she is then seen driving from somewhere miles away, ignoring a police roadblock to drive off the road and overturn the car is anyone's guess. This inconsistencies apart this remains a fine piece of film-making with an excellent lead performance and a very good supporting one.
| 1
| 18,872
|
i read the book "7 years in Tibet" from Heinrich Harrer and was fascinated of it. then i immediately grabbed the DVD and started to watch the movie. i remember the first time i saw it back in 98, i kinda liked it. well, now i watched it again in full knowledge of the book it is based on. and soon i realized how WRONG it all was told:<br /><br />when they enter Lhasa the people start to stick their tongues out of their mouths and Thewlis and Pitt have the impression that its the way to say hello in Tibet, so they greet back... in the book Harrer explains, that sticking the tongue out is a sign of absolute humbleness and loyalty in Tibet and they may do it in front of the Dalai Lama but certainly not for these two europeans! not only the mother but even the Dalai Lama himself was wearing glasses in the public. in the book Harrer mentions, that no one in Tibet wore glasses to that time(sorry forgot the reason, but its explained in the book too).the young Dalai Lama did, but only when he was alone and nobody could see him! and what about that Mao tse tung lookalike, destroying the mandala in front of the young "living buddha"?? childish... and the tailor made Harrer and Aufschnaiter tibetan clothes not European designer suits! why are so many events that really happened eliminated from the story, just to fill the time with a fictional love interest (the female tailor...)that is completely unimportant? just like the whole story about harrers son, rolf. not one word is mentioned about him or even any family member of harrer in the book. but that was OK for me because "7 years in Tibet" is not a book about harrers person. its about tibet. I'm very disappointed by this "adaption" of the famous book. and i bet heinrich harrer was, too... 3 stars, just for the cinematography.
| 0
| 8,300
|
One of the worst movies I've ever seen. Yes, I know I'm not the target audience. Target audience is females, either college age or middle aged or any aged I guess. I'm none of these so the makers don't mind if I don't like it. But that won't excuse the fact that the dialogue and the plot are horrible. The main character, Phoebe, goes on a journey to Europe to find out what happened to her sister, Faith, who committed suicide. Phoebe is an inane character that i hope no one identifies with. Faith is also a character with very little believability. Wolf is the only person who seems to be somewhat reasonable. As I said the dialogue is boring and uninteresting. The plot does completely stupid things at times. The absolute worst is that Phoebe and Faith's father is an artist but his paintings are completely dreadful. There is nothing new, interesting or refreshing in this movie. If your a guy, you will pray for the ending. If your a chick you might be able to sit through it but you will be unimpressed.
| 0
| 3,185
|
If Deborah Messing were not already cast as "Grace", this might be a tolerable film. However, it is simply another story of a frustrated spinster with issues, who hires a paid escort (Dermot Mulroney) she reads about in a Time magazine article to travel to London for her sister's London wedding. How new is this plot?<br /><br />Neither funny, nor remotely romantic, the Wedding Date slides over the storyline of deceptive sex by bride and best man, and paid for escorts to pass off the film as Four Weddings without Hugh, and definitely, a dead end deal for the naive groom who is ignorant to the sexual history of his bride (Amy Adams). While Messing has perfected the repressed princess, 30- something woman with a failed relationship history, her neurotic and drunken moves on yet another faux beau is simply the restating of her TV series. If this woman is an actress, get a role that does not rehash what is already on prime time.<br /><br />Lots of drunken female bonding, cricket visual jokes, and Mulroney in a towel (nice!), but the film is a bore with the obvious happy ending. Expected Messing sequel: Divorce Date.
| 0
| 6,702
|
An atrocious offense to the memory and genius of Welles, this senseless assemblage of self-indulgent improvisation on a grand theme should have been locked up in storage along with a number of other unfinished Welles' projects no one has ever seen. Now we know why! To add additional insult to prior injury, the appalling English language dubbing by amateur America dubbing actors and even the great man himself only heightens all the sloppy mistakes in story-telling and construction. It's as if every weekend some good hearted Spanish soul gave Orson a few pesos, a 35mm camera and some short-ends of negative film left over from some other production and told Welles to drive out to the Spanish countryside and just keeping shooting anything and everything until the film stock ran out. It's true that if Orson had really shaped this film himself instead the notorious Jesus Franco, he might have thrown out 85% of what he shot, but we will never know. As Welles never took the time to edit his own work here, and somewhere along the way he or his heirs sanctioned someone else to do so, he is not entirely blameless for the debacle. Those who wish to prove that in his early days Welles was the luckiest of young men because he surrounded himself with the likes of John Houseman, Herman Mankewiecz, Greg Toland, Bernard Hermann and Robert Wise need no better proof of his adult inadequacies than this mess of a film. In his sad old age Welles was capable of doing anything when he needed a few bucks or pesos, including selling his artistic soul. The devil certainly got his due with this one!
| 0
| 8,444
|
In my opinion, National Velvet is one of the top family classic's of all time. It features Mickey Rooney as (Mi Taylor) and Elizabeth Taylor as (Velvet Brown).<br /><br />Velvet wins a race horse, named (Pie) in a raffle. She falls in love with it right away. With the help of Mi, an ex-jockey, they train it to race in the Grand National's. After the jockey who was scheduled to race Pie backs out at the last moment, Mi convinces Velvet to take his place.<br /><br />This was a well put together motion picture. Fine storyline and top notch acting. The inner play between Elizabeth and Mickey was magical. This is a wonderful family picture expertly Directed by Clarence Brown. The photography is stunning. This is a movie you will enjoy for years to come.<br /><br />This picture is what made Elizabeth Taylor a household name. Both Mickey and Elizabeth remained close after the film. They still send post cards to each other after all these many years. <br /><br />One side note. Elizabeth loved the horse "Pie" so much that the studio gave it to her.
| 1
| 19,395
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I watched the entire movie recognizing the participation of William Hurt, Natascha McElhone, and Desiree Nosbusch. I'm glad that I had no idea of the presence of Peter Weller. At the end of the movie I said "THAT was Peter Weller?" Kudos to Mr. Weller for an outstanding performance. Weller played a major character, and his performance was such that I didn't even recognize him.<br /><br />Overall the plot was bad, the writing was bad, and the performances, aside from those of Nosbusch and Weller, were subpar. The scenery and setting were interesting, and Weller was amazing.<br /><br />4 stars, of a possible 10.
| 0
| 3,623
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Drab, dreary and a total waste of my time. The plot is incomprehensible (so don't think about it too much). The acting is odd and wooden - I would have sworn that they were all professional body builders trying their luck at acting, but that might be an insult to body builders. There are no interesting special effects to redeem this disaster, but lots of fires, explosions, a gratuitous sex scene, etc. The only thing that caught my attention was that it takes place after a war between the US and Iraq that somehow goes nuclear...hmmm. Is Roger Corman psychic? Let's hope that "Iraq" was just a lucky choice for Corman and that the rest of his scenario doesn't come true. <br /><br />
| 0
| 858
|
Oh how awfully this movie is! I don't know if it is a horror film or a drama, cause the story and the both genres are not established very well! The story is not moving, it is slow, boring, and sleepy from the beginning to end. This movie really bores me! But I really liked the camera work, it is authentic, fresh and clear, the acting is great too, the little boy was the great performer in this movie, but it hasn't made me to jump from my seat. But this movie makes me grab a pillow, lay on the bed and sleep until the credits roll...<br /><br />Boring! Not worth watching! I tell you, this movie sucked!<br /><br />1/10
| 0
| 11,731
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Apparently, The Mutilation Man is about a guy who wanders the land performing shows of self-mutilation as a way of coping with his abusive childhood. I use the word 'apparently' because without listening to a director Andy Copp's commentary (which I didn't have available to me) or reading up on the film prior to watching, viewers won't have a clue what it is about.<br /><br />Gorehounds and fans of extreme movies may be lured into watching The Mutilation Man with the promise of some harsh scenes of splatter and unsettling real-life footage, but unless they're also fond of pretentious, headache-inducing, experimental art-house cinema, they'll find this one a real chore to sit through.<br /><br />82 minutes of ugly imagery accompanied by dis-chordant sound, terrible music and incomprehensible dialogue, this mind-numbingly awful drivel is the perfect way to test one's sanity: if you've still got all your marbles, you'll switch this rubbish off and watch something decent instead (I watched the whole thing, but am well aware that I'm completely barking!).
| 0
| 10,568
|
I have nothing against a fast-paced fright-flick, but this Stephen King-derived nonsense is too freshly-scrubbed, too bright and modern. The plot, about a new teenage boy in a small town who is a "Sleepwalker"--sort of a cross between a vampire and a werewolf--and who feeds on the blood of female virgins, begs for a more mysterious, ambiguous treatment. This thriller is given an inappropriately colorful look and feel, with hardly any atmosphere. The kids are predictably pretty and energetic, but the big plus is Alice Kridge as the boy's mother; Kridge, from "Ghost Story", never broke out of the filler-female mold, and it's a huge loss that she hasn't been used more. Her performance is creepy and intense, and gives hint that "Sleepwalkers" might've been a much better film with a different focus and tighter direction. It's too over-the-top and commercially-driven, with an uneven tone that swings wildly from thriller to comedy to drama. Stephen King pops up in a cameo, as do real-life directors John Landis and Tobe Hooper. *1/2 from ****
| 0
| 1,677
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One type of western I greatly enjoy is when the apparently weak, which is reluctant to fight and answer the challenge of the strong, finally decides there is no other way. There is a great moment in this film when John Parrish (Glenn Ford) goes into the saloon and decides to stand up to the gunfighter Wade Matlock. It is the type of scene that makes the audience applaud. In my opinion The Violent Men is a great western, I would rank it among the best. It makes great use of the wide screen, a spectacular scenery of the mountains. The women have a crucial part. Caroline (May Winn) is engaged to Parrish, but you feel that she is only using him as a means of getting out of there and moving east. She wants him to sell the ranch no matter what price. Martha (Barbara Stanwick), is tired of helping her crippled husband Lee (Edward G. Robinson) but she will do anything to have an always bigger ranch and more power. Meanwhile she is betraying her husband with his brother (Brian Keith). Her daughter Judith (Diane Foster) is seeing all that happens but feeling impotent to react because she does not want to hurt her father. Parrish unites all the small farmers and uses the strategy he learned in the army to go against the Anchor ranch. Like he had warned Lee, "Don't make me fight because you won't like my way of fighting".
| 1
| 17,369
|
Peter O'Toole is Arthur Chipping a Latin Teacher with strict adherence to detail and thoroughness in helping young minds grasp the meaning and definition of Latin words and phrases. He is seen as being cold and unfair and not in touch with the times. But upon meeting Stage Actress Singer Katherine Briskit (Petula Clark) not only at a late supper after a performance of London is London but at an Amphitheater in Greece his closed minded world starts to open up.<br /><br />Goodbye Mr. Chips is an MGM musical remake of the 1939 movie also from MGM. During this time musicals were out and the Hollywood studio system was in total shambles. When it premiered in New York Los Angeles and London the musical numbers were left intact but when it came to the local main street theaters world wide it was sans songs therefore making the movie shorter and gaped to the max.<br /><br />Thanks to MGM/UA Home Video under Ted Turner in the late 1980's early 1990's when VHS and Laser Disc were the main home video formats of choice the musical numbers were re-instituted and the gaps closed. Laserdisc though was the only format chosen to view Goodbye Mr. Chips in the Widescreen Letterbox Format.<br /><br />For awhile now the Original Motion Picture Soundtrack was only available on the original out of print Vinyl and Cassette Tape and can still be found today on Ebay.<br /><br />Thanks to the wonderful people at Film Score Monthly.com in 2006 the soundtrack has been digitally remastered and remixed into a 3 CD set featuring the completely reconstructed score, the original 1969 general release album score, and narrated sequences source music and interviews a plenty. You also get 1 unused song which is a real lost gem, "Tomorrow with Me" by Petula Clark which would have been chosen in place of "You and I" before hand.<br /><br />This movie is both a classic musical and a real tribute to educators everywhere. I most certainly would buy this movie if Warner Bros. MGM and Sony would put their money where there mouth is and get this film restored from all master film sources and put it on both DVD and Blu Ray with all the bells and whistles put back into place with all the extras you can find and stuff into a release.
| 1
| 17,512
|
this took me back to my childhood in the 1950 's so corny but just fab no one ever could play FLASH GORDON like LARRY BUSTER CRABBE, just great. i have two more series to view flash gordon's trip to mars and flash gordon conquers the universe cannot wait<br /><br />
| 1
| 22,342
|
I saw this film when it first came out, and didn't know what to expect exactly. What followed the Overture was one of the most pleasurable filmgoing experiences I have ever had. A lush score of songs and music by Britisher Leslie Bricusse (of Doctor Doolittle & Wilie Wonka and the Chocolate Factory fame as well as making his mark on the Broadway musical scene), and scored by the incomparable John Williams. There's not a bad song in the entire film. Plus some of the most exquisite cinematography, costume design and filming locations I have ever seen in one film. Not to mention the Academy Award nominated performance by Peter O'Toole, and the equally strong performance, in my opinion, by the wonderful Petula Clark. Now, given that Peter is not the same caliber a singer that Petula is, he still manages to sell his songs to the audience, and that, after all, is what it is all about. This is a faithful adaptation of the excellent book by James Hilton, and deserves to be treasured for generations to come. I recommend this film for family viewing, though most men will consider this a 'chick' flick. But if you like a truly great film musical, then this film is for you. But be warned that a standby box of Kleenex is just as important as popcorn for your viewing pleasure.
| 1
| 17,509
|
A mean spirited, repulsive horror film about 3 murderous children. Susan Strasberg is totally wasted in a 5-minute cameo, even though she receives star billing. If your a Julie Brown fan, you'll want to check it out, since she's naked in a couple of shots. All others,avoid.
| 0
| 107
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