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I was thrilled by the fresh (pun intended) synopsis of this film and looking forward to watch it. The first few shots introduce some of the characters as well as the main location where the stories take place; the gardening allotments. The movie looks fantastic. Colorful yet simple. Magical yet genuine. Unfortunately, it only takes a few minutes to figure out where the movie will go. We quickly figure out this will be a manipulative, sappy tale illustrating a bunch of jaded people set in their ways confronted by "nice victimized" refugees and that it will have a happy ending where the jaded people realize the error of their ways and accept these people. <br /><br />The characters, particularly the prejudiced ones, are very "comic-booky" in nature. The story focuses mainly on two refugee families. One of them is headed by a single mom played atrociously by Diveen Henry. I am saddened to say that any emotion that might have been felt toward her struggles were defused by what was memorably bad acting.<br /><br />The other story is much more interesting and focuses on a father and his two children. All are scarred by their journey to this country by way of containers, where the wife and mother died but it is the husband who suffers the most. Benedict Wong gives a mind-blowing performance here. At first, his emotions are very subdued but as the story develops, he subtly makes us aware of the inner-struggles of his character. <br /><br />Unfortunately, the rest of the movie is just extremely boring. There were so many possibilities with this movie. There are several characters to keep track of, many of which might have potential but none of it is realized. Even worse, despite this movie being very much not Hollywoodian, some of the main plot threads are solved cheaply in a Hollywood b-grade way. Example:<br /><br />Character A likes character B Character B rejects his advances No problem! Let's have character C declare her love for character A so we can all have a happy ending. Yawn. <br /><br />I liked very much the plot thread of the Asian family. That was well done. Unfortunately, the whole allotment business, the communal aspect of it, the dynamic involving a large cast are all under exploited.<br /><br />What you're left with is a movie that has very little worth.
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It used to be my thinking that movies required plots, or some other means of making you care at all about the story line or anything that is going on. This movie has showed me that you don't actually have to have anything like that.<br /><br />I could sum it up simply as that. But, IMDb wants me to have more lines. It was kind of pretty. not compelling in the slightest. The way the characters talk in the movie makes you think it should have taken place over a matter of days, but there is no passage of time and i'm pretty sure it all happens in an hour.<br /><br />If you are looking to entertain yourself, then buy a gallon of milk and see how fast you can drink it before throwing up. It would be a far better use of your time. Time that you will never get back. Jurassic Park 3 was pulled off better than this movie.
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I've no idea what dimwit from San Francisco came up with this stupid plot, but apparently they need to get off whatever drugs they are taking and put their analyst on danger money -- NOW.<br /><br />Yeah, this is a plausible story, if you regard the alien abduction sequence in "Life of Brian" as plausible.<br /><br />This film is little more than a leftist pipedream. Had the US and USSR give up nuclear weapons, the result would've been to eliminate the only real obstacle that kept the two from engaging in a war. Bad as Korea, Vietnam and other wars of the era were, they were "proxy wars" fought to keep the superpowers from a direct engagement.<br /><br />This film makes me think about how realistic it was when some group of high school kids would go on a hunger strike against nuclear proliferation. As if someone would say "Mr. President, some kids at Drastic High are not eating!" and Ronald Reagan would reply "My God! I'd better revise my Defense policy!" Right.<br /><br />Like this film? Wouldn't it be better if the Soviet Union would've collapsed because they could not support their massive arms build... wait, that happened!
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In the 1940s, Veronica Lake made a meteoric rise to film stardom, thanks to her sultry beauty and, her highly exploited "peekaboo" hairstyle. She starred opposite big names like Alan Ladd and Fredric March, scoring screen successes in films like "This Gun For Hire" and "I Married A Witch". She held her own with female stars as well, and she surprised even her detractors with her performance as a bitter navy nurse in "So Proudly We Hail". But changing times and her own failings caught up with her, and by the end of the decade, her heyday was over. With two unsuccessful marriages behind her (and two more in her future) Veronica headed for New York City, where she made occasional television and summer stock appearances before dropping completely out of sight. It was briefly big news when she was found working as a barmaid in a second rate hotel in the early sixties. But by now, her longtime alcoholism and years of hard living had robbed her of her looks. Without them, public interest in her soon faded again. She did return to the stage in assorted vehicles, but her success was minimal. Eventually, she relocated to Miami, Florida, where she lived in relative obscurity. In 1966 she went to Canada for a part in an obscure movie called "Footsteps In The Snow" which had no U.S. release. The following year, she was discovered by some industrial filmmakers who had long wanted to produce a commercial feature. They approached her to star in their film "Time Is Terror" and convinced her to invest in the project. As one author put it, "If ever a movie queen suffered a terminal comedown, this was it". Surrounded by amateur performers and pathetic production values, she failed even to rise to a minimal level in this Miami, Florida shot quickie. Looking utterly ordinary in long shots, and luridly aged in close-ups, poor Veronica didn't act so much as walk through her part. As a deranged doctor, who has hit upon a successful youth restoration formula, using flesh-eating maggots!, she looks both bored and confused, her most unintentionally hilarious moment coming when she is forced to ad-lib while she struggles gamefully to don a pair of rubber gloves. The supporting cast is no help at all, merely advancing the plot by talking it to death. Director Brad Grinter apparently only required the actors to move while the camera was pointed at them, no need for anything resembling entertainment (There is, admittedly, one unintentionally hilarious scene involving a Private Detective/Nurse and a corpse in a wheelchair that predates ''Weekend At Bernie's'' by almost 20 years.) According to Veronica herself, the film was shelved for three years because no master shots were filmed. But in 1970, the production company scraped it together, changed the title to "Flesh Feast", and released it to cash in on Lake's just published biography. And, because former leading ladies such as Bette Davis, Joan Crawford and Olivia De Havilland had unexpectedly revived their careers in horror movies, this travesty was promoted as Veronica's "comeback film". This seems a strange course of action for the filmmakers to pursue, though, because it's unlikely that the (young) audience for a horror film of this quality either knew or cared who Veronica Lake was. As expected, it did nothing for Veronica's career, and she died in poverty, three years later. A previous reviewer cites a scene in which the female detective working undercover as a nurse in the doctor's laboratory (overseeing the theft of bodies from a nearby morgue) enlists the help of a multi-talented chauffeur to cut up the body parts. "Poor Mrs. Lustig," she sighs, "I hope she doesn't mind leaving her body to science." "Try not to think about it," advises the chauffeur, sawing away. "I guess you are right, Hans." concludes the detective/nurse, "What is done is done." What a sad end to the career of a still fondly remembered star.
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I'd have to admit that the draw of this movie is director Eduardo Sanchez, who helmed the wildly popular and successful Blair Witch Project. Besides, this is an alien movie of sorts, and sounded something like Stephen King's Dreamcatchers, one of those movies that the critics hated, but I enjoyed.<br /><br />But nope, unfortunately I felt that for the most parts, Altered is a waste of time, so I shall keep this review short. Premises are always promising, and Altered's no different. It tells the story of a group of men who experienced strange encounters when they were younger, and as usual, others will take you as a nutcase imagining stuff. Stories about alien abduction always have to deal with probes into the orifices, so I shall not go into details, but you get the drift it's damn uncomfortable, and something you'd like to forget.<br /><br />What if you're given a chance for revenge? That is, you manage to successfully hunt down, and capture one alive. What will you do? For this group, it's a gleeful payback time, or so they thought. And this is where the movie begins to develop into a snoozefest, with bad, uninspiring dialogue, and even worse acting. Even if it's low budgeted, there aren't many redeeming factors, be it strength of storyline, or any help from the cast in making their characters just a tad interesting. It's the standard cardboard fare from a vanilla plain script, coupled with some cheap scare tactics employed.<br /><br />What's good though is the makeup. Much effort has been put into making some of the stuff which I shan't mention, because that'll spoil just the few elements of what makes this movie tolerable. Other than that, there are the usual cheap special effects, blood and gory moments which is nothing you've never seen before.<br /><br />Watch this only as a last resort. Compared to the other monster movie in town - Feast, this one is less fun, and takes itself too seriously. Bogged down by an uninspiring direction, you've been warned.
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I did not have too much interest in watching The Flock.Andrew Lau co-directed the masterpiece trilogy of Infernal Affairs but he had been fired from The Flock and he had been replaced by an emergency director called Niels Mueller.I had the feeling that Lau had made a good film but it had not satisfied the study,so they fired him and hired another director.This usually does not work well (let's remember The Invasion).But The Flock resulted to be better than what I expected.It's not a great film but it's an interesting and entertaining thriller.The character development is very well done and I could know the characters very well.Also,the relationship between the two main characters is natural and credible.Richard Gere and Claire Danes bring competent performances.Now,let's go to the negative points.One element which really bothered me (there was a moment in which it irritated me) was the excess of edition tricks to give the movie more "attitude" and style.That tricks feel out of place and their presence is arbitrary.Plus,I think the film should have been more ambitious.In spite of that,I recommend The Flock as a good thriller.It's not memorable at all,but it's entertaining.
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"Houseboat Horror" is often regarded as the worst Australian film ever made and described as a typical slasher film,which carried the promotion 'See the movie that can't get an Academy Award'.An underground disco band members begins to die slashed to death by burned maniac as they are attempting to shoot a music video on a remote lake in the Australian outback.Badly acted and written slasher flick with zero suspense and annoying characters.It certainly delivers the gore:heads are split in half with a machete,throats are cut and a woman is killed with a horseshoe.If you like cheesy slasher movies you can give this one a try,but you have been warned.At least it's better than Swedish "The Bleeder".4 out of 10.
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What makes for Best Picture material? The Oscars have come in for a lot of stick for rewarding overblown spectacles that have aged poorly, and ignoring the "auteurs" who would be deified in decades to come. It wasn't because Hollywood was against art or creativity. The Academy Awards are the selections made by the industry itself, and that is why, at least in the classic era, they tended to reward the greatest collaborations, the most sensational meetings of creative minds.<br /><br />The Arthur Freed unit at MGM had been bound for Oscar-winning glory for several years by this point; it was only a matter of time before Freed, aided by his strongest director Vincente Minnelli and some the finest musical stars in the business, would land a Best Picture. Freed had arguably done more to raise the status of the musical than anyone else, crafting pictures which wove story and song together without losing the dynamic spectacle of the 30s musicals. The point about Freed musicals, is that the lyrics of the songs, unlike those of Hammerstein or Lerner, don't have to tell or even relate to the stories. What's important is that the tone of the song and the way it is presented fit into the structure of the film.<br /><br />An American in Paris was the first of three Freed musicals (the other two being Singin' in the Rain and The Band Wagon) which took existing classic numbers out of their original context and made them work in a completely unrelated story. The words don't fit the plot, but the routines fit the show. So, when Gene Kelly sings I Got Rhythm, he hasn't even got a girl yet, but the way it's done with the French kids joining in is a great bit of characterisation, and the upbeat tune and dance gives the movie the little lift it needs at this point. An American in Paris also uses the rule-breaking allowed in the genre to add little unconventional flights of fancy to tell the story, such as the series of dances which accompany the description of Leslie Caron's character.<br /><br />And what better director for this project than Minnelli, himself a painter and a pianist? At this time there wasn't really anyone who had a better feel for Technicolor. While some directors would saturate each scene in one colour or fill the screen with clashing shades, Minnelli's colour schemes are tightly controlled but never look forced. In the opening scenes the tones are fairly muted, but not drab, and in particular there is an absence of red. During Oscar Levant and Georges Guetary's meeting in the café, a few more vibrant shades are introduced. Then, during the first musical number, "By Strauss" Minnelli gradually brings in splashes of red a table cloth, a bunch of roses until it eventually dominates, as if the song has awoken the picture's colour scheme. For most of the songs, the colours are choreographed as intricately as the people. However, in some numbers, such as "Tra-la-la" he keeps the shades the same and instead opens out the space as the song swells up and the characters become more animated.<br /><br />The Achilles' heel of An American in Paris is its story. I personally find the romantic angle particularly unpalatable, playing as it does like a last hurrah for the misogynistic love stories that reigned supreme in the 30s; the headstrong, independent woman gets rejected while the meek, delicate girl is harassed into loving the hero. Even if you don't mind that, it is difficult to connect emotionally with the story because it is constantly overshadowed by the songs and dances. Compare this to Singin' in the Rain, which doesn't really have as many great routines or memorable set-pieces as An American in Paris, but it has a winning storyline. Singin' in the Rain was overlooked at the 1952 Oscars, yet it is regarded as a classic of the genre today. But I think people sometimes forget that cinema is an all-encompassing form of visual entertainment, not just a means of telling a story. An American in Paris is not deep or engaging or tear-jerking but, like a certain DeMille picture that won the top award the following year, it certainly is a great show.
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Just how bad? Well, compared to this movie, Cannibal Holocaust is Citizen Kane. There's the stilted acting, the atrocious dialogue, the half baked plot and like its companion piece way too much in the way of on screen animal slaughter that was actually done. Unlike Holocaust, Ferox is a straight forward movie. It doesn't pretend to be a pseudo documentary. In some ways that helps the production in that the film is very sharp and crisp compared to Holocaust's graininess. Unfortunately, we are once again given a group of people who are morally reprehensible. They torture the natives and essentially bring everything that they get upon themselves. There's really nothing in this film that makes it worth your while. I was fairly lenient with my review of Holocaust due to some actual attempt at a statement and style, but in Ferox's case there is no reason to watch this unless you solely get off on blood and gore.
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Time for Hollywood to sit up and take notice! If the actors are acting snooty, all you need to do is get the animators who worked on this little marvel. Renaissance is probably the first animation flick which makes you forget that you are not seeing human beings. Although the voice overs by the cast (Craig, McCormack, Pryce etc.) are some of the best i have ever heard but even then the emotions portrayed by the 'cartoons' are unnerving.<br /><br />This style of animation is not very new but the use of light and shadows makes the movie a living painting. Ironically, such technical wizardry makes you forget that this is actually a very very nice movie. The pacing and plot development are marvelous and the dialogs crisp.<br /><br />Plot: Disappearance of a mega corporation's top employee unravels a tale of deceit and corruption with a Cold hearted hero at the helm. Can't say much without giving it all away...except that while the movie keeps you at the edge of your seat, the climax leaves you speechless.<br /><br />A must watch..even for the 'grown-ups' who smirk at 'cartoons'
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I saw this movie considering this as a normal Hollywood movie but then came to know that its a Movie made for TV channel.On my DVD cover out of 2 critics comments one of the critic stephen farber from moviline reveiwed it as A best movie of the Year..<br /><br />All the character were simple and decent performances except the Brain's character which never gets scope which director wanted to keeps mystery till end.. there was suspense till end but when you see the end that lady Police Officer and main culprit had a Lesbian affair seems to be totally stupid idea.God knows what happens to DAVE the male lead character..<br /><br />The other Critic from Mr. Brown's Movies said that Shocking and Effective but doesn't quite live up to all the Hype... which i saw after watching the Movie .for which i was partially aggree...i should have read this first before taking the movie..
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Walt was particularly fond of quality. So how come the producers at Disney would release such a terribly edited, roughly acted (even for family fare!) mess of a movie? THE BIG GREEN had a good concept. And, since it is Disney, you know how the movie is going to turn out obviously. But THE BIG GREEN is horrible. The jokes are lame. And Steve Guttenburg, still alive, pulls in another terrible performance on his resume.<br /><br />Kids with too much time on their hands in small town Elma are offered an opportunity by their new teacher to play soccer. The kids don't know a thing though. And, gracious for us, we get to see Steve Guttenburg try to hit on the teacher from beginning to end.<br /><br />The speed up camera work does not work. THE BIG GREEN is full of speeding the pace of characters to move the movie along. Kids are not idiots. They will catch on if you give them enough of a hint without showing all that garbage. Guttenburg, for once in his life, should have turned down an offer to join this movie. Also the pretty Olivia d'Abo should have called this one off too. THE BIG GREEN can be known as 'The Big Bomb.'
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Let me start by saying that Liev has gained a ton of respect from me after seeing his directorial debut "Everything Is Illuminated". Anyone who has read the book knows how saturated the story is with nonsensical and hilarious vocabulary by Alex along with countless flashback scenes and crazy dreamlike sequences. Liev took all of this and made it work. The movie itself is great - the soundtrack, the performances, the cinematography - it all works. There is a lot of story missing about the town and its inhabitants, but there's only so much you can do with an indie, so this part of it didn't bother me too much. It's just disappointing that not a lot of people will see this movie or even know that it exists because of the lack of promotion that came with it. I didn't even know it was in theatres. I didn't know when the DVD came out. You'd think that since Frodo Baggins was one of the main characters, SOMEBODY wouldve at least released a commercial for it. I had to see the trailer on my "Paradise Now" DVD (released on DVD in the Spring of '06) to even know that it had a "Fall of 2005" theatrical release date. Haha - sad really.<br /><br />Anyhow, if you stumble across this review somehow because one of your friends read the book and loved it or saw the movie and are recommending that you see it - take my advice and watch it. It's a very good experience.<br /><br />8 out of 10.
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This satire is just really, really dead-on, and nobody is spared. But even though this movie has plenty of laughs within the silly story and the grotesque imitation of Hitler (here cleverly renamed as "Hynkel", and speaking in a hilarious kind of pseudo-German), the general tone is pretty sad, maybe because of the movie's place in history. And the actors aren't even exaggerating that much I suppose. One of the greatest movie moments of all time must be the Jewish barber's ending speech, if only things could have ended in that way. It's not even really the character talking anymore, it's Chaplin saying something he really wanted to say. If you ignore the technical aspects, the movie doesn't feel dated or old, it actually moves at a pretty nice pace. And the sharp humor we find everywhere in this work will never die, the only thing I don't care for is the slapstick, but that just comes with the era I suppose. This is an incredibly daring, harsh take on fascism, it's so hard-hitting still after all these years.
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Rating-10 Classic Waters! One of his best and most shocking films! Divine is THE most filthy person ever! Mink Stole also delivers a superb performance!
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Drive was an enjoyable episode with a dark ending. Basically a man and his wife are infected in their inner ear by a high pitched sound wave being emitted by some military equipment. Some favorite parts of mine from this episode are Mulder's dialogue in the car, and the scene where Scully goes in with the Hazmat team and find the little old deaf lady completely unaffected by what they thought was a virus. The ending of course is tragic in its realism because it leads the viewer to believe that they are going to actually be able to pull off this elaborate plan to save the victim but when Mulder arrives the man is already dead. 8/10
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This is a film that is far more enjoyable than its rating of 7 would suggest. In many ways, it's like a 50s version of VALLEY OF THE DOLLS--with much of the excesses and sleaziness of VALLEY polished up a bit for the audiences of 1959. Like this later film, both are about three young ladies who are on the fast-track to success--though this time it's in the publishing world instead of the entertainment industry (though one of the ladies in THE BEST OF EVERYTHING does have aspirations of Broadway).<br /><br />The film begins with Hope Lange coming into the company for her first day of work. She's assigned to tough-as-nails boss, Joan Crawford, who is appearing in her first supporting role in decades. Despite how nasty Crawford seems, Lange is determined not to give in--to make it in this job. And, over time, she quickly moves up the ranks from secretary to editor. At the same time, her two new roommates also try to move up the ranks--one through the stage and one through a relationship with a rich playboy. Like VALLEY OF THE DOLLS, all of them have their ups and downs (mostly downs) but by the end of the film there is some hope that at least some of them will make it--battered and bruised, nevertheless.<br /><br />In this film, men are mostly pigs. The only guy who seems decent is played by Stephen Boyd, so naturally Hope Lange neglects him for a ne'er do well ex-boyfriend. As for the guys played by veteran character actor Brian Ahern and the rest, they are sexist scum and eventually you understand how Crawford became so bitter and nasty.<br /><br />This film has it all--adultery, premarital sex, abortion, etc. and is certainly NOT an artistic triumph. However, thanks to excellent production values and a juicy script, this one is a joy to watch. Just don't expect Shakespeare!!
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As a devotee of Ms. Frank, I remember being so excited that the play was being re-made for TV. That is, until I saw it... This film is a prime example of how IMPORTANT casting is, and how directing plays such an important part in creating the sense of purpose. The casting of any CENTRAL role is CRUCIAL to a production of this sort...shows like AUNTIE MAME and MAN OF LA MANCHA are totally dependent on the charisma of the lead actor. And in the cast of this movie, the whole thing is destroyed by the atrocious casting of Melissa Gilbert in the lead role. There is not ONE SINGLE MOMENT that Ms. Gilbert even comes close to inhabiting the sensitive, mature spirit of Anne- Ms. Gilbert is "white-bread" throughout the movie... the only time I was close to tears was during the reading of Anne's most haunting line: "I still believe, in spite of everything, that people are truly good at heart"- this is spoken by Ms. Gilbert so rushed, so lacking in conviction, that she might has well burped and achieved the same effect. Film and dance legend Marge Champion was the dialogue coach for this production- she should have refunded her salary! Despite Ms. Gilbert ruining DIARY, other performances are satisfactory for the most part- special kudos to Joan Plowright as Edith, Scott Jacoby as Peter and Clive Reville as Mr. Dussell. Maxmillian Schell does not have the deep-rooted soul and spirit as Otto as does the creator of the role on stage and film(Joseph Schildkraut), but he's okay. Doris Roberts and James Coco as The Van Danns are relatively superficial in their parts- they're shrill and bombastic, but again, only on the surface. This COULD be due to the fact that the pacing of the project is way too rushed(as noted in previous postings)- this film clocks in 45 minutes shorter than the film version- the difference owing to the pauses for dramatic effect, which apparently is necessary to propagate the appropriate MOOD for the story. This is NOT mandatory viewing, especially for youngsters learning about Anne Frank for the first time- stick to the original film version, and or even better, the TV production of ANNE FRANK: THE TRUE STORY starring Ben Kingsley, which is the CLOSEST thing to capturing the heartbreak and reality of Anne's situation ever filmed! Note: Especially appalling is the fact that Melora Marshall, who plays Anne's sister Margot, is NOT included in the opening credits along with all the other members of The Secret Annex... she's listed in the post-credits along with the actors playing Miep and Mr. Kraler. If I was Ms. Marshall, I would have SUED!
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Even in her glasses wearing geek mode Kathy Ireland is very easy on the eyes but her acting is not easy to watch. Most of the actors in the film either take it way over the top (beyond "campy fun") or act slightly embarrassed at being there. The effects and soundtrack are nothing special and fairly low budget. The plot line REALLY stretches ones ability to suspend disbelief. Catch this one to laugh at if it comes on a premium movie channel or network Saturday afternoon TV, but DO NOT waist money on this thing.<br /><br />One worthy mention for trivia purposes is that one of the underground mobsters is played by Deep Roy. Deep is now famous for playing (and doing it well) all the Oompa Loompas in Burton's "Charlie and the Chocolate Factory."
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In this strangely-lackadaisical apocalypse, the world suffers from a dual plague of zombies and vampires, but no one seems to be too worried about it in this Grade-Z film which bares less resemblance to Sheridan Le Fanu's famous short novel than my mother's lasagna recipe. Bored attendants still run gas stations and doctors still make house calls and helpful police officers still show up with radiator fluid just when you need it. The plot, and I use that term loosely, involves a father and a daughter trying to rendevous with "the general," whose daughter is missing, at a church to kill a vampire who, very conveniently, happens to be traveling with the father and daughter. I must confess that a moment or two of genuine humor can be found between vast stretches of unintentional humor. The film also boasts just enough nudity to keep a boy of fourteen interested. Anyone older beware.
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Bela Lugosi gets to play one of his rare good guy roles in a serial based upon the long running radio hit (which was also the source of a feature film where Lugosi played the villain.) Lugosi cuts a fine dashing figure and its sad that he didn't get more roles where he could be the guy in command in a good way. Here Chandu returns from the East in order to help the Princess Nadji who is being hunted by the leaders of the cult of Ubasti who need her to bring back from the dead the high priestess of their cult. This is a good looking globe trotting serial that is a great deal of fun. To be certain the pacing is a bit slack, more akin to one of Principals (the producing studios) features then a rip roaring adventure, but it's still enjoyable. This plays better than the two feature films that were cut from it because it allows for things to happen at their own pace instead of feeling rushed or having a sense that "hey I missed something". One of the trilogy of three good serials Lugosi made, the others being SOS Coast Guard and Phantom Creeps
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This could have been a very good film, a very interesting look at ancient tradition and oral history, but it should have been a short subject. As it is , it moves at a snail's pace; sure that's part of the life being portrayed, but this was unbearable. I fell asleep watching them make soup and that was a highlight.
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This movie has Richard Pryor, Rosey Grier and others. It's a curious WW2 movie, and serves as a statement about racism. It is worth watching to understand the fact that Movies reflect how we feel about the issues when they are produced and not about the period of time they portray. Meaning this is a 70's movie not a 40's movie (WW2). Still, there is some good action scenes of 7 seven black men led by a white captain trying to capture a Dam. The story centers on the Captain learning that these men are soldiers and not just a service company. There is a scene that could be from a Civil War movie and not a WW2 movie that reflects what the movie is all about. The Black Lt. gives a German women a innocent peck on the cheek, and the white Capt becomes upset. I enjoyed the movie from a curiosity stand point since the stars and the Genre were interesting to me.
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Another pretentious film from Vicente Aranda. If "Juana la loca" shinned of the same, at least its quality was superior (mainly thanks to the great performance of Pilar López de Ayala), but "Carmen" is boring and full of topics (ardent brunette with a dagger in the stocking, poor man dragged to madness due to passion, Sierra Nevada gangs, "toreros",...)<br /><br />Obviously Paz Vega is a pretty woman, but about its talent there're more doubts, and Sbaraglia role is so stupid that results almost incredible. The script is weak and and Aranda's presumptuous character influences the entire film. With these ingredients the result could not be good.<br /><br />Not the worst film I've seen, but a complete failure, in my opinion.
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It should be against the law not to experience this extremely funny stand up show with Eddie Murphy. I have never seen anything like it.<br /><br />Murphy goes on for almost 70 minutes about dicks, pussy, tits and insaults so many famous people including his own "family". Among the people who gets it by murphy are: Elvis, Mr.T, Michael Jackson, Stevie Wonder, Mick Jagger, Luther Vandross and James Brown. I have seriously never laughed so hard of anything my entire life. I mean, when a person doesn't know who Mr. T is, but still laughs so hard of Murphy as Mr. T, there's something about it. At the time I saw the show I couldn't remember who Mr T. was but still laughed. Now I know who he is and that just makes it so much more funny. Because that's what Eddie do - he can make those impressions so good that it don't matter who the hell he's trying to do, it's still hilarious. And on top of that, we learn that Murphy actually is a very good singer. Please watch it..
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A fascinating relic of the turbulent cultural/political aura of the late 60s (taking in the class struggle as well) which, ironically, in view of its outdated and occasionally embarrassing conservative views, makes full use of the permissiveness that prevailed for a while in mainstream cinema and which came about as a direct result of the liberal attitude it purports to criticize! Norman Wexler's incisive Oscar-nominated script is superbly enacted by Peter Boyle (in a powerhouse performance) who manages to make his garrulous, down-to-earth yet hypocritical and opportunistic character (with a barely-disguised fascist streak which comes to the fore in the remarkable violent conclusion) likable, even admirable; indeed, he comes across uncannily like a flabbier version of the young Marlon Brando! Similar to other generation gap movies of its era like TAKING OFF (1971) and HARDCORE (1978) but also nihilistic vigilante films like DEATH WISH (1974) and TAXI DRIVER (1976) - interestingly enough, two of these also feature Boyle - JOE ultimately emerges as an engrossing and powerful drama which could have been a masterpiece if it had had a more experienced director at the helm...
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The best screen performance ever by George C. Scott. The screenplay by Chayefsky, the irony-freighted dialogue, is near perfect ('Just where do you train your nurses, Dachau?'). Rigg is wonderful as the rescuing angel who saves Scott from doom, as is the whole cast. It's a hilarious and serious movie. It is a movie of the period, the 60's, but it is not in any sense dated. What it is about, the chaos and irrationality of the system vs. the sanity of the individual, is timeless. And the "We heal nothing. We cure nothing" monologue (delivered, shouted actually, as no one else but Scott could) with its references to cloning and other 'wonders' of modern science could literally have been written this morning.<br /><br />
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This is not the worst movie I've ever seen. I did not feel like I wanted to remove my eyeballs forcibly after watching Galaxina. It just is not good. The jokes are almost funny, but fall short. All of them. The few gags that come close are beat back down by repeating them over and over. The production values are, well, non-existent. The sound is bad, the lighting is bad, ... it just seems cheaply made; overly so. The dialog ... well, often it is missing - many awkward silences; they are all just standing around, and it seems like someone should be saying something. The film even seems ambivalent about what it wants to be - it is not always clear that it was intended as a comedy - like maybe that developed after shooting started. It feels like someone's film project that they threw together the night before it was due, and if they had put two weeks into it, it could have been good.<br /><br />And I'm easy to please. I thought "Mom and Dad Save the World" was a hoot. I like "Pluto Nash". "Mystery Men" is one of my favorite movies. "Spaced Invaders" is well nigh unto a classic. This turkey just doesn't do it. "Space Truckers" was more believable.<br /><br />Avery Schreiber, who can be very funny, tries too hard. His part calls for a straightman, and he plays it leaning toward sitcom. Dorothy Stratten is OK in her role, but not particularly noteworthy.<br /><br />Oh, yeah, the "My watch is always slow." line was funny. I'll give this movie all the kudos it can get, it needs it.<br /><br />The space vehicle models are not bad, but they are few and are not used effectively. The space scenes are vague. No sweeping passes, no close up detailed fly-bys, not even appropriate action scenes when they dock. (The Infinity does crash land very oddly at one point.) The flight dynamics are terrible; worse than anything you've seen, they're jerky, not smooth. The initial battle is stilted and static; even though the two ships have just shown that they can maneuver in their jerky fashion, they trade (slow) shots at close range in a manner that is more reminiscent of a 16th century sea battle, except not as exciting.<br /><br />The aliens - imagine if all of Star Wars was the cantina scene. That many rubber masks could get dull rather rapidly, no? A few are used as sight gags that work OK the first time, but not the fifth.<br /><br />Mercifully, if you attempt to watch Galaxina, you are likely to fall asleep. (I got busy doing something else and missed the last ten minutes, and did not feel like it was worth replaying it. If that doesn't say "It sucked", I don't know what does.) Sadly, there is a lot of potential, and this could easily have been a good movie. It would be easy to remake this and have a decent film.<br /><br />MadKaugh
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It's like someone took a fantasy-type video game and put it in a blender, and the resulting scene mishmash is what we have to sit through.<br /><br />Now let me go on record by saying how much I love Chinese fantasy films. From the fun and silly, to those focusing on martial arts, to the more dramatic and romantic typesit's a genre I very much enjoy. Films like "A Chinese Odyssey: Pandora's Box" and "A Chinese Odyssey: Cinderella" (both of which were written and/or directed by Jeffrey Lau); "The Bride with White Hair"; "Butterfly & Sword"; "Green Snake"; "A Chinese Ghost Story"; "Swordman II"; "Zu: Warriors from the Magic Mountain"; "Crouching Tiger, Hidden Dragon"; and others. Which is why I was looking forward to "A Chinese Tall Story." One of the film's characters is the "Monkey King" (aka Sun Wukong), an extremely well-known character in Chinese mythology, first told in the stories of the "Journey to the West," the epic adventure written about 500 years ago. (The story of the Monkey King and his disciples is also the focus of the "Chinese Odyssey" films, amongst many others). Other familiar characters that appear in the film are Zhu Wuneng (the pig character) and Sha Wujing.<br /><br />So how does it all go wrong? Well, let's take an example familiar to Western audiences. How about the Robin Hood mythology? A well known story from ye olden days. Let's say that our Robin Hood film starred Wesley Snipes as Robin Hood, and Haley Joel Osment as Friar Tuck. Maid Marian is none other than Rosie Perez. Let's give Sir Robin an Uzi as well, because you never know when you might have to waste the Sheriff of Nottingham. They might need rocket packs also, and while we're at it, give them a tactical nuclear weapon because that sure could come in handy. If you think this sounds like a really neat retelling of the Robin Hood tale, then "A Chinese Tall Story" is the movie for you! As I indicated above, this movie is a jumbled mess. In the first 30 minutes, we are introduced not only to Sun Wukong, Zhu Wuneng, and Sha Wujing, but also to the monk Tripitaka (who is actually the main protagonist), kidnapped children, a "millennium bug demon" (which shoots laser beams), an underground Tree God, a lizard imp tribe, an angelic girl in an intergalactic egg, the Lord Chancellor Tortoise, a Sea Dragon King, a ever-morphing magic golden staff, a chatterbox imp girl, wormholes in space, and the Four Heavenly Knights. All this wouldn't be too bad--the tales and myths passed down over the years certainly do have all sorts of fantastical elements. But I guarantee you the Chinese mythology does not include much of the stuff we get subjected to in the last half of the film. (Helpful advice to the filmmakers: Just because your computer effects guys CAN come up with cool looking spaceships and depictions of intergalactic war, does not mean they SHOULD).<br /><br />You know your Chinese mythology movie is on the wrong track when the director asks (and I am not making this upit's a direct quote from the commentary) "I asked the composer whether or not we can have a more rock-and-roll type music when she transforms into some kind of android-like thing." Is there a story hidden in here somewhere? Yes. Yes, there is. Most of the adventure follows Tripitaka (played by Nicholas Tse"Gen-X Cops," "Time and Tide," "My Schoolmate the Barbarian") and Meiyan, the lizard imp girl (played by Charlene Choi and a computer). Choi is the best thing going in this film. You may know her as half of the Canto-pop group "Twins" and from other films such as "The Twins Effect" (a fun flick) and "Just One Look" (a surprisingly good drama/romance/comedy). Poor Choi, being a lizard imp and all, is hardly recognizable with her warts, snagged out teeth, doughy nose, and hunched back. That is until the computers get a hold of and beautify her, which somehow makes it worse. Tse is passable, but all of the supporting actors were abysmal. A couple of recognizable faces in bit parts are wasted.<br /><br />At one point I was debating with myself if "A Chinese Tall Story" was a spoof. I was almost able to convince myself that it was when the intergalactic egg girl (played by a very pretty Fan Bing-Bing) got out and lit up a Marlboro (!) while talking with Tripitaka who was practicing martial arts dressed in a Spider-Man costume (!!). But it is not a spoof. Of course there is the typical Hong Kong silliness, but the movie takes itself seriously enough, with enough scenes of romance and pathos (scored with a sledghammering of violins and evocative cellos) and rousing action and adventure.<br /><br />You might think that you could watch this on a Netflix rental and it wouldn't cost you anything. (Oh, but it'll cost you, all right).<br /><br />Is there anything good to say? Sure. The colors are vibrant (they are the best thing about this movie). And the filmmakers certainly were trying very hard. Too bad all that effort went into a movie that is not much more than a bad video game.
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Elizabeth Rohm was the weakest actress of all the Law and Order ADA's and her acting is even worse here. Her attempts at a Texas accent are amateurish and unrealistic. Nor can she adequately summon the intense emotions needed to play the mother of a kidnapped child; at times while her daughter is missing she manages to sound only vaguely annoyed, as if she can't remember where she left her keys.<br /><br />This is an important true story, so it's too bad that the awful acting of the lead actress distracts so much from the message. The rest of the cast is talented enough, but they just can't overcome Rohm's tendency to simply lay on a particularly thick imitation of a Southern drawl whenever actual acting is required.
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***SPOILER ALERT*** Disjointed and confusing arson drama that has to do with a sinister plan to burn down a major vacation resort before New Years Day. Being insured for ten million dollars the man behind Valley View Estates in the Blue Mountains in Australia Julian Fane, Guy Doleman,is determined to bring his own project down in flames in order to collect. This has to happen by January 1, two weeks hence, before the insurance policy on the project runs out.<br /><br />With his mind totally on his work builder and architect Howard Anderson, Tom Skerritt, has no idea that his boss, Julian Fane, is planning to burn down the resort he's building and possibly set him up as the fall guy. Anderson gets a bit suspicious when insurance investigator Sophie McCann,Wendy Hughes, informs him on some very fishy goings on between Fane and the insurance company Proud Alliance. It turns out that Proud Allience is actually owned, or 60% of it, by Fane himself! This explains whey Fane is having all these arson fires happen in order to collect the ten million dollars of insurance which is at least twice as much as the entire Valley View Estates is worth!<br /><br />We later have Sophie McCann murdered, in a faked swimming accident, to keep her from finding out whats happening with the suspicious fries around and in Valley View Estates. It's when Lloyd's of London, who's underwriting Proud Alliance, insurance investigator George Engles, James Mason, shows up that Fane takes a powder leaving his ace arsonist on his own and out of control to blow Fane's entire plan.<br /><br />Meanwhile Anderson has gotten wise to both Fane and Engles who unlike Fane wants the Valley View Estates to go under for reasons which are never made quite clear, just watch the last few seconds of the film to realize that, by it's writer and director. The arsonist is exposed as he's about to do in his girlfriend with Anderson coming to her rescue. We then have this wild chase scene with the arsonist getting lost in the Valley View construction site only to have it set on fire, with the help of Howard Anderson, where he ends up burning to a crisps by the time the fire department came to hose him down.<br /><br />The sudden and unexplained ending never made clear to just what happened to the Big Cheese in this whole scheme of things the sinister and evil minded Julian Fane. It's as if Fane got away Scot-free and only his unstable and deranged henchman, the arsonist, who was only the instrument of Fane's crimes ended up as the only person who payed from them.
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I am a fairly big fan of most of the films that have been based on Stephen King's books - this one rates as one of the scariest and most memorable.<br /><br />I have just finished rewatching it for about the tenth time and I still find it heart-wrenching as well as scary.<br /><br />The scene where Gage is on a sure collision course with the monster truck is one which stands out. And the "No fair" uttered by little Miko Hughes near the end is a touch of brilliance.<br /><br />
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This show came to Canada via PBS in the mid 90s and I really, really loved it then. Even 10 yrs later watching the various news networks, I cant help but think of the cynical manipulation that goes on in the name of ratings and the various "show ponies" we all see on TV as depicted in various Frontline episodes. The scripts are tightly written and the actors all have impeccable comic timing and none of it is encumbered by an idiotic laugh track. There is a lot of funny material here really well executed and we don't need to be told when to laugh and what to laugh at. I don't understand why this show never took off in North America as its truly a gem! I was really excited to see the DVDs available, even though they are PAL format. I figured I would rip them to my computer and then watch the converted files. I took a chance and ordered it from ABC
6 to 8 weeks later, I had all 3 seasons. Even better it worked on my NTSC DVD player. I suspect any player bought in the past 2 yrs that does xvid/divx will play them. Great stuff! 10 yrs later the episodes all hold up really well! You don't need to know anything about Australian politics to get the humor as it will all be familiar to western audiences. My wife and I had a 10 day Frontline fest and are still chuckling weeks later after watching all 39 episodes
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I can't even begin to imagine why everyone hates this movie so much. It had me literally crying with laughter several times ("I trust you slept well?" "actually, we had a bit of a rough night." "ah, the perils of adultery.").<br /><br />admittedly, the ending is a little flat, but still has its moments (the booger ball's obvious fake spalsh as flew into the ocean, "beach house paradiso").<br /><br />personally, i think this is the funniest movie i've ever seen.<br /><br />10/10
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I could have done with the seven gunslingers just staying away. This sequel should never have been done, the first did it all and better. The plot was a turkey, the acting was turkey, the direction, production, camera work... all turkey. Whoever put out this junk should be tarred and feathered. May they not return again!
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... Oxford, Mississippi, at least. Okay, the Paris we get is Paris, Culver City apart from the Establishing library footage of the real McCoy but it IS Paris in spirit than which nothing, nowhere, is better. Okay, Kelly is no Astaire but then who is and Caron is no Hepburn, ditto but Alan Lerner is light years ahead of the vastly overrated Comden and Green who scripted Kelly's other 'big' 50s musical Singin' In The Rain (a curious replication of lyricists writing screenplays featuring songs by OTHER lyricists and just to balance things the Gershwin numbers are far superior to the Arthur Freed/Nacio Herb Brown numbers so Alan Lerner didn't have to feel too outclassed). The story needn't detain us any more than the anomalies -Kelly hasn't got change of a match and is a painter, i.e. bohemian, yet he is able to scare up a perfectly good suit at a few hours notice when Foch invites him to dinner at her hotel; in the well-documented Love Is Here To Stay sequence the lovers are strangely unmolested by passers-by, other lovers and the bridge in the background is totally free of both pedestrian and vehicular traffic - this is, after all, a feelgood musical so it stands or falls by the score and in this case it stands four square. As feel good musicals go it's definitely in the top 10.
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Hmmm, yeah this episode is extremely underrated.<br /><br />Even though there is a LOT of bad writing and acting at parts. I think the good over wins the bad. <br /><br />I love the origami parts and the big 'twist' at the end. I absolutely love that scene when Michelle confronts Tony. It's actually one of my favorite scenes of Season 1. <br /><br />For some reason, people have always hated the Reincarnation episodes, yet I have always liked them. They're not the best, in terms of writing. but the theme really does interest me,<br /><br />I'm gonna give it a THREE star, but if the writing were a little more consistent i'd give it FOUR.
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A doctor and a policeman in New Orleans have only 48 hours to locate a killer infected with pneumonic plague.<br /><br />An effective, and classy, little thriller directed by Elia Kazan that blends documentary realism with a race against time pulpy heartbeat. Set and filmed in and around New Orleans, Panic In The Streets is taken from the story Quarantine, Some Like 'em Cold by Edna and Edward Anhalt who won an Oscar for original story. It also boasts a fine ensemble cast that deliver top rate performances for their director. In turn, Richard Widmark {bringing the method a year before Marlon did for Kazan in A Streetcar Named Desire}, Paul Douglas, Jack Palance (as Walter Jack Palance) & the wonderfully named Zero Mostel, all get sweatily moody as the pursuers chase the pursued to halt the onset of a potential Black Death epidemic.<br /><br />Where the film scores its main suspense points is with Kazan's astute ability to cut back and forth between the protagonists without altering the flow and mood of the piece. From Widmark's Public Health doctor, with hypodermic needle in hand, running around trying to locate the bad guys so he can do good; to the bad guys themselves who are bemused as to why there is such a wide scale hunt for them; the tension is stacked up to fever breaking point. To which thankfully the final thirty minutes becomes a cracking piece of cinema. With Palance excelling as a nasty villain that ironically puts one in mind of Widmark's own Tommy Udo from Kiss Of Death three years prior.<br /><br />It's an imaginative and intelligently written story, one that cunningly links rats and criminals to being carriers of disease. A blight on society as it were. It's noirish elements, such as paranoia, blend nicely with its basic procedural thriller being. While some memorable scenes are suitably cloaked by the stifling atmosphere that Kazan has created. Although some of the early character psychologizing threatens to steer the film down some over talky based alleyway, this definitely is a film worth staying with to the end. Not essential film-noir, and maybe not even essential Kazan, but certainly a highly recommended film that begs to be discovered by a new generation of film lovers and reappraised by the old guard who may have missed it back in the day. 7.5/10
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Wow! That James Purefoy looks exactly like Thomas Jane!<br /><br />That's the most profound thought I took with me after having seen the rather underwhelming George And The Dragon. For a fantasy comedy, the story was very dull and the effects unspectacular.<br /><br />The problem wasn't the acting. James Purefoy makes a good knight, and his various side-kicks are not bad characters. I even thought Patrick Swayze in this role was a pretty good idea, too. Flat-chested Piper Perabo also had some nice potential. I even liked the kid.<br /><br />But the story and everything that happens, and the *way* it happens, was just "eh". Not interesting. Compared to another recent fantasy comedy, Ella Enchanted, which was actually funny, this movie comes up terribly short. I'm sorry for the decent actors who were in this yawn-inducing trudgery.<br /><br />4 out of 10.
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W. Somerset Maugham's Of Human Bondage is supposed to be a English language classic. If so, much must have been missing from the film version here. Phillip's (Leslie Howard) attraction to Mildred (Bette Davis) is so utterly inexplicable as to make the scenario seem like the post-breakup retelling of a relationship from the man's point of view. Being a family lawyer I've heard many such accounts; the man depicts himself as noble and always correct, and the woman is a hellion who has had no other objective than to exploit the man.<br /><br />Indeed, unless one is willing to laugh at the social assumptions of the film maker, this is an uncomfortable movie to watch. Phillip even indulges Mildred when she brings over a baby of indeterminate paternity, but the real high point comes when Phillip allows Mildred - enraged and now of dubious sanity - the free run of his flat, with predictable results. Bette Davis was attractive for about five years of her life, but that period didn't occur here. In fact, by the end of the movie she looks a lot like the Baby Jane character she would play thirty years later.<br /><br />I note how Howard's character is always impeccably dressed and groomed. It tells me that Phillip craves middle class respectability. Someone like that could not run from a woman with a course Cockney accent fast enough. Phillip is, for most of the movie, a student; such a person would have been more believable if he had been younger, and had the disheveled looks that bespeak the low income and the low self esteem that often accompanies student status - an English Raskolnikov, as it will. And balanced that by allowing Mildred a modicum of charm.
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I saw "Mystery Men" on my birthday in 1999 while I was away on vacation. When I came back home, I went to see it again. Keep in mind, I was twelve, but at that time it was the coolest movie ever. I even collected the ultra-rare action figures (I have them all except for the Bowler, which is the hardest to find. They made Mr. Furious, The Shoveler, The Blue Raja, The Spleen and Captain Amazing, in case your wondering. There IS a William H. Macy action figure in existence!). I've watched it many times over the years and it still remains a favorite of mine, due mostly to fond childhood memories. It's not a perfect movie, but it definitely deserves another look and perhaps a cult following.<br /><br />The story: a bunch of low-level superheroes save the day. This was executed again in the mediocre, direct-to-video "The Specials" as well. But this is the other end of the spectrum: big budget (huge budget, almost $100 Million I think) studio comedy. Yes, the effects are overblown and the huge sets and wonderful production design are a bit much considering the plot. But don't think this as a stupid, special effects-y superhero movie--it's a PARODY. They fight a villain named Cassanova Frankenstein, people. He has a psychofrakulator, whatever that is (it's a doomsday device, he'll take over the world, yada yada.) And resident superhero Captain Amazing (a Zapp Brannigan-esque Greg Kinnear, with commercial-product-logos on his costume, nice touch) is kidnapped. Time for the Mystery Men: Mr. Furious (Ben Stiller, gets mad), The Shoveller (William H. Macy, beats people with shovels), The Blue Raja (Hank Azaria, British, throws forks), The Bowler (Janeane Garafolo, bowls), Invisible Boy (Kel Mitchell, guess what he does), The Spleen (the great Paul Reubens, farts), and The Sphinx (Wes Studi, cuts guns in half with his mind, I am not kidding). The rest of the fantastic cast of character actors includes Geoffrey Rush as Cassanova, Lena Olin heavily edited out as Cassanova's bride, and the one and only Tom Waits as a crazy weapons dealer. So...with Macy, Kinnear, Olin, and Rush there are four Oscar-nominees (and one winner) and Tom freakin' Waits! It's not perfect though. It's overlong and there are some gushes of corniness here and there (The Shoveller's full of them).<br /><br />The dialogue definitely outweighs the physical comedy, which is sometimes lacking (there's a guy who farts for his power, case closed). The dialogue is definitely a highlight, the cyclical ramblings of the Sphinx, the mixed metaphors of Mr. Furious, etc. It's downright a funny movie, (it will almost make you forget that this was the film that let "All Star" by Smashmouth out into the world.) <br /><br />Unfortunately, the film did not do as well with critics and audiences as it should have. A sequel was originally planned (the film is in fact based on a comic book and characters from "The Flaming Carrot" comics. The Flaming Carrot was planned for the sequel I believe) but this did not do well at the box office. It could have been a hard sell, a superhero comedy with the guy from "There's Something About Mary." It also could have been the fact that it was released on the same day as "The Sixth Sense"--which ended up being the biggest hit for the month of August--as well as "The Thomas Crown Affair." Two other misunderstood classics were released on the same crowded weekend, oddly enough--"Dick" and "The Iron Giant." Critics gave MM passable reviews, but it was quickly forgotten. Sadly enough, on Comedy Central's Roast of Jerry Stiller, comedian Jeffrey Ross commented to Ben Stiller that, "I saw 'Mystery Men' and I fired MY agent." Ben is then seen to mouth the words, "I should have to." Don't listen to him. Give "Mystery Men" a chance.
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In my opinion, the movie is an excellent example of the realities of war and a tribute to the soldiers of all nations who fought and bled into the soil Gallipoli. The lack of violence in no way detracted from the magnitude of the tale in hand. It is honest, true and brave, just like the men that fought and died at the Hellespont. The lack of brutal depictions of violence are just and proper. Those men suffered enough for freedom, liberty and the right to self determination in a free and better world. They never wished to ever see such scene's again.That is the legacy of the event of Gallipoli. To suffer scene's of gratuitous pyro-technics and blood and gore is best not shown for the maintenance of proper respect for the combatants of this crucible of nationhood.<br /><br />This film glories in the magnificence of men fighting for their lives,with honour, courage, dignity and irrepressible spirit and humour in the face of appalling adversity. This film is not interested in making a spectacle for fools to cheer over. The brutal outcomes that occoured from these personal combats of these men is not a thing that those that survived ever wished to see on a screen for entertainment. They saw enough of that at the time, and would much rather have never seen it at first, and never wished to review such scenes again on a screen in the name of "entertainment". The brutal horrors of the actualities of the vicious combat fought at Gallipoli were scenes that haunted their waking and sleeping hours for the rest of their natural days. It was the painful internal scars they, the men of all those nations who fought, carried inside to their graves. They all fought,and many died in the face of it all and somehow they, those mighty hearted men, managed to laugh in the teeth of constant dread death because they would'nt insult their mates by not being prepared to die game beside them. That's Australasian for brave, game is, but it applied to all combatants to a greater or lesser degree, but word from the boy's that fought was that Johhny Turk was as game, that is as brave, as you would ever wish for a soldier to be.<br /><br />ANZAC's and Turks were fighting to establish their place on the world stage, and from 25/04/15 onwards, their respective claims for equality in Nationhood were made known and undeniable to that world. The director has made a masterpiece that truly honours the spirit and memory of those soldiers and serves as a reminder to future generations of all ages, for children can be taken without fear of frightening them for the sake of visual "horror" and it's morbid and pointless appeal. And children should attend this movie so as to learn what happened at that sacred shore before they were born. So that they can remember. For it is the nature of men, that they soon forget.
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the town of Royston Vasey is a weird, but wonderful place. The characters would be just wrong and too disturbing but the fantastically brilliant writing means that it works, and it works very well. Most people will know others with a touch of some characters, but hopefully no one knows people with extremes of personalities such as Tubbs and Edward, the stranger-hating owners of the local shop, or the pen-obsessed Pauline who treats "dole scum" with much contempt.That was only a few of the strange inhabitants. The TV works consists of 3 series and a Christmas special. There are references to many horror films, such as the wicker man. A more recent addition to the range of works is a film, the league of gentlemens apocalypse, of which I will not say much but highly recommend. All in all the league of gentlemen is a hilarious comedy show with genius writing and brilliantly bonkers characters. I would definitely say that it is worth watching as you wont regret it!
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I guess this movie is a fitting tribute to the first Superman film,as it is just as crummy and painfully long as the original.<br /><br />After an opening scene consisting solely of murky intergalactic visuals, the credits pay homage to the even-crummy-looking-for-their-time futuristic sweeping credits of the original Superman film.<br /><br />Then there is some more murky stuff. Ma Kent sees some kind of murky ruckus on the farm, and spends a good portion of my life slowly walking up to some debris in the cornfield. Then Superman sneaks up on her and faints.<br /><br />Next we catch up with Lex Luthor in a scene about many murky close-ups of an old lady as she dies. We don't see Luthor's face until the end of the scene, an early instance of the film's drive to leave no hackneyed stone unturned. Lex Luthor is a guy who doesn't like Superman because he is not human. Also, he probably doesn't like humans either, as the movie occasionally features some kind of plot about Lex Luthor planning to kill most of Earth's population.<br /><br />After a while, Clark Kent shows up back at his old job (I forgot to mention, he had been away on a five year trip where nothing happened). Then he finds out Lois Lane has an illegitimate kid and is dating Cyclops. It upsets him so much that he loses control of his super strength to such an extent that he accidentally breaks a picture frame.<br /><br />At this point we see that Miss Lane is on some kind of jet attached to some kind of space shuttle. It is some kind of important event on account of it is on television. Then we learn that there are people in a control room monitoring this event. There are also people watching it on television and there are pilots in the cockpit. The film then reminds us that these people are involved by cutting between them for most of the summer.<br /><br />As the events leading up to the inevitable disaster started to build, I excused myself to get a soda. I accidentally walked back into the wrong theater and watched that movie about Al Gore showing slides in its entirety. I tried to find my way back to Superman Returns, but I somehow wandered into Prairie Home Companion, which I watched twice in a row. Then it was time to stop messing around.<br /><br />I walked back into the first theater, found my seat, and looked up to see that the impending Lois Lane space shuttle disaster was almost upon us. Still, it seemed to be taking forever, so I wandered around the theater, met a girl, got married, raised a son and sent him off to college. While attending my son's medical school graduation, I remembered that I should probably check in on Superman Returns, so I excused myself and raced back to the theater only to learn there was no need to hurry. It still took about another half hour before things went wrong for Space Shuttle Lane. When they did, Superman saved everybody, which was pretty cool.<br /><br />. And then there is a a subplot where Superman turns really creepy and starts stalking Lois Lane and her family with his x-ray vision and super-hearing. Then he tries to get her to cheat on Cyclops, who seems like a good guy.<br /><br />Meanwhile, Lex Luthor is involved in some kind of contest to display every possible generic villain behavior before the end of the movie. I forgot to bring my scorecard home with me (they give you one at the door), but I think he scored damn close to one hundred percent. I hope he wins the million dollars.<br /><br />At this point, things start to gear up for the big murky finale. I think maybe the projector was broken, on account of the movie seemed to be in some kind of loop for a while here. I remember seeing murky things growing out of the water, Superman getting sick, Superman getting better, back to the murky things, he's sick again, no wait, he's okay again.<br /><br />Then Lex Luthor unleashed his final bad guy move: yelling at his girlfriend a little bit.<br /><br />Then Superman died and came back to life. I thought the movie was over, so I left.<br /><br />Ninety years later, the nursing home where I lived felt a little chilly. I realized I left my sweatshirt back in the theater, and I went to retrieve it. When I did, I was slightly surprised to find that Superman Returns wasn't over yet. I tried to ask some of the viewers what I missed, but most of them were only skeletons with long gray beards by now.<br /><br />I sat back in my old seat and watched as Lois Lane puttered around her house for a while. Then Superman showed up and started quoting the beginning of the movie, and since I already saw that part I thought it was okay to leave.<br /><br />So that is my review of Superman Returns.<br /><br />Oh, also, if you like jokes about people eating dogs or jokes about one dog eating another dog, you will love this movie. On account of there are two jokes like that in it.
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In a farcical key, Gaudí Afternoons can be taken as a mediocre exercise. Marcia Gay Harden and Judy Davis pivoted a good cast (Juliette Lewis' new-age freaky character has been incredibly taken from reality, I know an American young lady who squawks like her!!) but GA does not show much beyond its overtoned plot.<br /><br />Even though movie-making is all about make believe, there were certain noticeable screenplay inconsistencies. Two samples: you pay 14 euro to enter the chapel where Cassandra and Frankie met, NEVER at 7 am, and you cannot leave a terrace without paying the bill (they'll charge you on the spot if they don't know you) or get off a taxi THAT quickly (you Americans always tip cabbies even though they don't expect to, but the sequences portrayed in the movie were ridiculous). Don't believe me, reader: come over and see for yourself.<br /><br />If you've never been here before you might not care about all this, but good movies should be believable disregarding of your origin. Nobody knows about GA here, and I will make sure that does not change in the future.
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Thank God that there are films out there that don't follow the same old Hollywood crap formula. I think the digital revolution and the DVD revolution is actually making it possible for more interesting work to get out there even if you have to dig harder to find it. I love it when a film takes its time to draw you in deeper and deeper into its inner emotional reaches. It really was like taking a trip through the soul of America and that soul is disturbed and confused. What really blew my mind was the way they used Martin Luther King's speeches about Vietnam and references to his assassination in a way that hit me hard. I found myself choked up every time i heard his voice. I've heard him speak before, of course, but the way they used the speeches here made me feel like I understood his message in a way I'd never thought about.<br /><br />What can you say about a movie that has heavy statistics about war, oppression and a plea for compassion at the end of it where a credits crawl would usually be? In fact, there's no credits at all in the film. You have to access them by selecting them in the features. Somehow that made me think a lot. All in all I can't say enough about this DVD. Brilliant.
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When this first came out 6 months after the tragedy, I didn't want to see it. I didn't want to open old wounds. I regretted it. Now I have seen the movie. Thank God I did. It shows you the bravery of all the FDNY and NYPD. I salute you. It offered me closure. I can now move on with my life.
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This film plays like a demented episode of VH1's "Where Are They Now", or "Behind The Music". In the first half of the movie (that depict his "glory days") Abbie Hoffman is unintentionally portrayed as a sort of delusional rock star. You know the kind; the poseur lead singer, the pretty boy, who didn't write any of the music, doesn't have a clue, but gets all the glory for nothing and chicks for free. Consequently he takes his success for granted, abuses it, and ultimately destroys it along with himself. Indeed Hoffman's glory days ended abruptly when he was busted for dealing cocaine, skipped bail, and went into hiding. <br /><br />The second part of the movie deals with that time in hiding. In it we see Hoffman as a pathetic crybaby endlessly blaming everyone, anyone, but himself for his downfall. Eventually the times pass him by completely; and he can never to come to grips with that. How sad. THE END. End credits roll and OH NO! We learn that Abbie Hoffman eventually committed suicide in 1989.<br /><br />I'm sure this is not the image the filmmakers intended for Hoffman in making this movie. Given that Tom Hayden and Gerald Lefcourt were involved, I'm sure they intended this film as some kind of homage to the life of a man who was after all, an icon of the 60's and of the Left's anti-war movement. In this they have failed miserably. The film presents Abbie Hoffman as a mindless caricature. We are never told about what drives him. How did he arrive at his views? How did he manage to capture the imagination of a whole generation? How did he organize such a vast movement? Why at the height of his fame did he get involved in dealing cocaine? Why? Who knows, and since the filmmakers don't seem to, ultimately who cares?
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| 7,783
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Why this film was only released in 4 states is beyond me. I thought this film was a divine story. The name says it all: Seeing Other People. This movie has more logic than laughs, which I suppose is why it works so well. Common sense also makes an appearance in what would seem to be another puerile sex comedy. Alice is getting her feet frozen in the cold, when she feels irrationally about the way she might perform for her fiancé, not just sexually, but as a partner, and friend etc. This starts what seems to be an almost archetypal journey for the both of them. One fling after another leads to trouble, as if it wasn't a bad idea from the start. Witty dialogue and comic set-ups make this one funny as hell! Nicholson and Mohr set the tone of the film early on, and keep the promise they anticipate. Other highlights are Lauren Graham, Andy Richter, and Helen Slater(in her first theatrical film in 10 years!). Climax begins to take an insane turn, but a simple ending makes this one far more enjoyable than most movies today. Mohr fans will see something different in his Ed character, and fans of Helen Slater will enjoy her shiny moments of a quick, but excellent come-back. Any Richter takes home the award for most moralistic character. Romantic and funny, or just plain fun. Seeing Other People is a gem, which needs to be noticed.
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I had no idea that Mr. Izzard was so damn funny, It really boggles the mind that he is not more well known! His command over the crowd and his timing is perfect.The monologue about Star Wars will kill ya too! If only all the stand up performers had his wit...
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OK, here's the short of it... this movie is full of corny dialogue, over the top acting, and a threadbare script.<br /><br />There are moments that intended to be very dramatic but simply come off humorous because of the over the top acting and poorly written lines. I couldn't help laughing at moments that were meant to be very serious. The bright spot in this movie is the circus. Seeing the circus in its heyday was certainly a treat.<br /><br />There are moments that come through as good. But then it nosedives right back into B-movie territory. I was tempted to stop watching it several times.<br /><br />I certainly don't know how it won best picture, however. It must have been a slow year!
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Much as we all love Al Pacino, it was painful to see him in this movie. A publicity hack at the grubby ending of what seems to have once been a distinguished and idealistic career Pacino plays his part looking like an unmade bed and assaulting everyone with a totally bogus and inconsistent southern accent.<br /><br />The plot spools out this way and that with so many loose ends and improbabilities that the mind reels (and then retreats).<br /><br />Kim Basinger is there, not doing much. Her scenes with Pacino are flat and unconvincing. Hard to believe they meant a lot to each other. There's no energy there.<br /><br />Tea Leone, on the other hand, lit up the screen. She was electric and her scenes with Pacino were by far the most interesting in the movie, but not enough to save Al from embarrassment.
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| 11,220
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Taste is a subjective thing. Two people can watch the same movie with one of them loving it and the other one hating it. As it concerns 'Halloween:the Curse of Michael Myers' I fall into the latter category.<br /><br />I'm of the opinion that John Carpenter, in 1978, made one of that decade's finest fright films, which despite its flaws, still holds up well into the 21st century. It reused many of the old horror film devices but utilized them in original and effective ways. It had no pretensions that it was anything other than a movie about an escaped mental patient stalking babysitters on Halloween night. And yet there were 'ideas' in the film but they were subtly introduced and not hammered into your skull. It juxtaposed the myths of the macabre festival with the reality of what was taking place in the story and it did this with a wonderful ambiguity. <br /><br />The 'filmmakers' of this 'film' probably wouldn't even understand that previous paragraph. That's why we're saddled us with this miserable and inept piece of disposable celluloid. Direction, script, acting are of the lowest strata imaginable. This is the type of film that is so mind numbingly dull and nausea inducing as to make you want to crawl back into the womb and die. It is also truly, truly sad to see veteran British actor Donald Pleasence wasting his acting abilities with this saliva puddle of a movie. He seems drained of all his energy and resigned to the fact that this may be his last film. Maybe that's what killed him.
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WHENEVER an idea was successful during those "Golden Days" of the Silent Movies, you could bet your bottom dollar that it would be repeated; although "Reworking" is the term that is used. Of course one could make the argument that this reworking business has never left us, for success in the Movies or TV always leads to a trend; with all competing parties vying to come up with their own version of said hit Movie or TV Program.<br /><br />TO this last premise we strongly disagree; for this is copycatting or plagiarism, plain and simple.<br /><br />THIS, the last Silent Laurel & Hardy Short, surely must have been quite well received; for ANGORA LOVE (Hal Roach/MGM, 1929) was reworked on the Roach Lot, not once, but twice over the next three years. We were treated to LAUGHING GRAVY (Roach/MGM, 1931), in which the Goat was replaced with a cute, little puppy-dog. Also, the weather is transformed into the dead of Winter, in the middle of a blizzard. They also made other line-up changes with substituting Landlord Edgar Kennedy with Landlord Charlie Hall.<br /><br />THE second reworking of the hidden animal premise is the 3 Reeler, THE CHIMP (Roach/MGM, 1932), which substituted a female ape from a dissolved and defunct Circus, to which Stan and Babe were former employees. The Circus paid off its employees with their assets and the Boys received the Chimpanzee as their final payday.<br /><br />BACK to our original 'victim', today's subject, ANGORA LOVE. Recomember? THE short starts off simply enough. The boys encounter the Goat on the street and the Nanny in return follows them back to their rooming house; after Stan feeds a doughnut to her. The comic moments that follow are generated with the interplay between L & H and slow-burn exponent, Edgar Kennedy, their Landlord. The incident's impact is amplified by having the interplay occur at night. And as luck would have it; their room is situated directly above the Landlord's quarters.<br /><br />IN addition to the noise, the bathing of the goat, its odor and Landlord Edgar's suspicions about Laurel & Hardy's having another person illegally in the room; we were most amused by a little throw-away gag, which may well have been missed by the Censors. While admonishing the boys about the noise they'd been making and reminding them of the house rules about any unauthorized person's being in there overnight, regardless of their sex.<br /><br />ITS camera shot is made from inside The Boy's room, over their shoulder. With Edgar in the hall and facing them, he warns; "Remember, this is a respectable establishment!" Just as he says this, a lady clad in evening clothes walks across and behind the Landlord; followed by a uniformed Sailor, who cocks his hat forward as they pass! POODLE SCHNITZ!!
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This movie is bad. I saw the rated and the unrated versions. They are terrible!! Now, I know it's suppose to be a low budget, porn spoof of spiderman, but Spiderbabe is just not good at being bad-good. It's not funny! Not funny at all!! I wanted to laugh. I tried to laugh. But this movie let me down. At least the unrated version has lots of nudity to look forward to. And is it me, because Mundae is not a great looking woman. From the waist down she's okay, but on the way up leaves much to be desired. She does look good in that school girl outfit. Please, if you must watch this spiderbabe, rent it first. Rated or unrated, doesn't really make any difference, they're both bad to me!!
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A brutally depressing script and some fine low-key performances by Peter Strauss and Pamela Reed and some good location shooting in Ohio power this fine TV movie about hard times in the rustbelt. As the mills close and the union jobs disappear, the blue-collar workers are threatened by everyone: management, owners, their wives and children. Strauss is completely believable in his role, and Pamela Reed is, as always, wonderful. See if you can recognize John Goodman before he put on weight.<br /><br />The heavy metal score -- was someone making a pun? -- is, at times, obtrusively annoying, but the cinematography by Frank Stanley is knockout, particularly the mill scenes.
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"Americans Next Top Model" is the best reality show! I was entertained 99.9 percent of the time watching it.I kept my eyes open the entire time. (well, I did blink) It can be sad, funny, or addicting.(mostly addicting)"America's Next Top Model" kept me wanting more and that's pretty much the point. It is also on more that one channel. Sometimes it's on MTV other times it's not. I hope it gets more fans and grows to be a hit series! It's great for pretty much all ages so every can enjoy it! :)<br /><br />Also, if you watched the show before, haven't you noticed that Tyra has a different hair style each time in the judging room? She'll have it short and curly one week, and then long and straight the next.
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William H. Macy is terrific in this Alfred Hitchcock-esque film. Macy stars as a film critic who accidentally kills one of his girlfriends. The characters that ensue are hilarious. James Cromwell gives a terrific performance as a blackmailing private detective. As always, Macy is incredibly funny and gives a phenomenal performance. See this movie whenever it is on t.v. and check your video stores because this is one you don't want to miss.
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I'm still new to the Krimi genre and the only one I've seen prior to seeing this one was the earlier and somewhat disappointing 'The Dead Eyes of London', which didn't exactly inspire a great hope for the rest of the genre in me. If I'd seen this one first, however, the feeling would have been different as while The College Girl Murders is a bizarre and rather wacky attempt at a crime flick; it's great fun to watch and it's really hard to hate a film that throws so many weird and wonderful ideas into the script and manages to pull it off with style. The film begins in a lab where a crazy scientist has invented a new and highly toxic poison that kills its victim and makes it look like they died from a heart attack. This poison is used by a mysterious criminal mastermind who breaks common criminals out of jail to carry out his murders using this poison (and then has them put back in jail). As the title suggests, it's a nearby college full of girls that provides most of the victims. There's also a mysterious monk dressed in a red robe who marauds around breaking necks with a bullwhip.<br /><br />Of course, with a plot like that; this is not exactly a serious affair and the director clearly knows that as there is a very tongue-in-cheek vibe to the film, which does bode well with the plot. The fact that there are so many different sides to the plot does unfortunately mean that everything does not run smoothly; although this isn't a big problem as things are kept ticking over nicely throughout the film and there's always enough going on to keep the audience interested. The atmosphere is superb and the colour scheme on display is great too look at. Of course, the film is based on an Edgar Wallace novel and clearly the man has a great imagination; the locations used are also superb and while a killer's lair decked out with a host of wild and exotic animals might not serve any relevance to the plot, it does help to give the film that extra 'something'. You cant expect a conclusion that fully makes sense after all the stuff that goes on in this film; but the reason for the murders sort of makes sense and is a satisfying way for the film to climax. Overall, College Girl Murders is an excellent little mystery flick and one that comes highly recommended!
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EARTH (2009) ***1/2 Big screen adaptation of the BBC/Discovery Channel series "Planet Earth" offers quite a majestic sampling of nature in all its beauty with some truly jaw-dropping moments of "how the hell did they get this footage?!" while taking in the awesome scenics of animals in their natural habitats and environmental message of the circle of life can be cruel (witness a Great White Shark gulping down a walrus seal as a quick meal!) and adorable (the various babies and their 'rents). The basso profundo tones of narrator James Earl Jones solidifies its 'God's eye views' and profundity. Culled from literally hundreds of hours of footage, the only gripe comes from the fact this should have been in the IMAX format and could've even gone longer! Oh, well, there's always the next time (since Disney Studios has produced this count on a series of more to come). Dirs: Alastair Fothergill & Mark Linfield.
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The kids, aged 7 to 14, got such a huge kick out of this film that we gave a copy to all of the other kids on our birthday list this year. They all loved it! Kids from 2 to 7 watch it repeatedly and frequently, and we get a kick out of watching it with them.<br /><br />It's rare that a film entertains the kids for so long, and offers laughs for the adults, too. Most enjoy it more than the first.<br /><br />Top-quality production and an excellent cast, led by Christopher Showerman as a superior George--athletic, energetic, and wholly credible, with a lovable innocence and a particular knack of taking a tree in the face--well supported by the inimitable Christina Pickles as the evil mother-in-law, Thomas Haden Church as the evil jerk rival, and everybody else. This is fun.
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| 20,999
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For those who are like me and are used to watch and enjoy high budget Hollywood films, on huge screens with a surround audio, this film seems to be so distant. However it surprised me how close can it be to any human while I watch it. It is so natural that you feel like nobody wrote a scenario or nobody directed it. You are the director and you are writing the scenario while you watch it. For me, the time I spend on watching a film is the only time which I go to another world. This film is the first sample for me which shows that it is not always a must to watch millions of dollars of budgeted films, surround audio capabilities to go to another world. This films sends you to another world (or maybe makes you return back to yourself) without millions of dollars of budget, or technical capabilities. I felt like that I'm reading L'etranger from Camus.
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Superhero movies pretty much always suck, and this is no exception. Its only redeeming quality is the fact the movie COULD have been even worse. I would put 'Batman & Robin' and 'Steel' above this movie, so yes it is that bad...<br /><br />If your looking for a black superhero, check out 'Blankman' its not a "serious" superhero movie but at least its entertaining.
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| 11,998
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To grasp where this 1976 version of A STAR IS BORN is coming from consider this: Its final number is sung by Barbra Streisand in a seven minute and forty second close-up, followed by another two-and-half-minute freeze frame of Ms. Streisand -- striking a Christ-like pose -- behind the closing credits. Over ten uninterrupted minutes of Barbra's distinctive visage dead center, filling the big screen with uncompromising ego. That just might be some sort of cinematic record.<br /><br />Or think about this: The plot of this musical revolves around a love affair between two musical superstars, yet, while Streisand's songs are performed in their entirety -- including the interminable finale -- her costar Kris Kristofferson isn't allowed to complete even one single song he performs. Nor, though she does allow him to contribute a little back up to a couple of her ditties, do they actually sing a duet.<br /><br />Or consider this: Streisand's name appears in the credits at least six times, including taking credit for "musical concepts" and her wardrobe (from her closet) -- and she also allegedly wanted, but failed to get co-directing credit as well. One of her credits was as executive producer, with a producer credit going to her then-boyfriend and former hairdresser, Jon Peters. As such, Streisand controlled the final cut of the film, which explains why it is so obsessed with skewing the film in her direction. What it doesn't explain is how come, given every opportunity to make The Great Diva look good, their efforts only make Streisand look bad. Even though this was one of Streisand's greatest box office hits, it is arguably her worst film and contains her worst performance.<br /><br />Anyway, moving the melodrama from Hollywood to the world of sex-drugs-and-rock'n'roll, Streisand plays Esther Hoffman, a pop singer on the road to stardom, who shares the fast lane for a while with Kristofferson's John Norman Howard, a hard rocker heading for the off ramp to Has-beenville. In the previous incarnations of the story, "Norman Maine" sacrifices his leading man career to help newcomer "Vicky Lester" achieve her success. In the feminist seventies, Streisand & Co. want to make it clear that their heroine owes nothing to a man, so the trajectory is skewed; she'll succeed with or without him and he is pretty much near bottom from scene one; he's a burden she must endure in the name of love. As such, there is an obvious effort to make the leading lady not just tougher, but almost ruthless, while her paramour comes off as a henpecked twit.<br /><br />Kristofferson schleps through the film with a credible indifference to the material; making little attempt to give much of a performance, and oddly it serves his aimless, listless character well. Streisand, on the other hand, exhibits not one moment of honesty in her entire time on screen. Everything she does seems, if not too rehearsed, at least too controlled. Even her apparent ad libs seem awkwardly premeditated and her moments of supposed hysteria coldly mechanical. The two have no chemistry, making the central love affair totally unbelievable. You might presume that his character sees in her a symbol of his fading youth and innocence, though at age 34, Streisand doesn't seem particularly young or naive. The only conceivable attraction he might offer to her is that she can exploit him as a faster route to stardom. And, indeed, had the film had the guts to actually play the material that way, to make Streisand's character openly play an exploitive villain, the film might have had a spark and maybe a reason to exist.<br /><br />But I guess the filmmakers actually see Esther as a sympathetic victim; they don't seem to be aware just how cold-blooded and self absorbed she is. But sensitivity is not one of the film's strong points: note the petty joke of giving Barbra two African American back up singers just so the film can indulge in the lame racism of calling the trio The Oreos. And the film makes a big deal of pointing out that Esther retains her ethnic identity by using her given name of Hoffman, yet the filmmakers have changed the character's name of the previous films from "Esther Blodgett" so that Streisand won't be burdened with a name that is too Jewish or too unattractive. So much for ethnic pride.<br /><br />The backstage back stabbing and backbiting that proceeded the film's release is near legendary, so the fact that the film ended up looking so polished is remarkable. Nominal director Frank Pierson seems to have delivered the raw material for a good movie, with considerable help from ace cinematographer Robert Surtees. And the film did serve its purpose, producing a soundtrack album of decent pop tunes (including the Oscar-winning "Evergreen" by Paul Williams and Streisand). But overall the film turned out to be the one thing Streisand reportedly claimed she didn't want it to be, a vanity project.
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| 2,226
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I found it very very difficulty to watch this after the initial 5 minutes of the film. I managed to stomach 45-50 minutes before switching it off in disgust and watching Monster House instead (which, by the way, is great fun).<br /><br />The story has massive holes in it. The plot line is hugely over stated and dull, the acting is awful, especially from Justin TImberlake who should really stick to what he is good at (looking daft and singing like a castrato). Morgan Freeman looked incredibly uncomfortable, especially when made to dance around to rock music for no apparent reason half way through the film after him and Timberlake meet. Freeman and Timberlake's characters seem to be supposed to have some sort of father/son relationship of sorts or something, which simply isn't evident at all apart from the fact that; though Freeman's character seems to have nothing but contempt for the ignorant and rather stupid character of Timberlake, he never the less pulls out all the stops to help him uncover a completely ridiculous cover up.<br /><br />It would take some incredible suspension of disbelief to give any credit to the story line, which is simply absurd and blown out of all proportion.<br /><br />Don't watch this film, it is a pure waste of time.
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| 912
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**SPOILERS** Shocking yet true story of the horror that befell the Alabama/Georgia border town of Phenix when it was taken over by a gang of organized hoodlums who turn it into the Sin City of the South.<br /><br />With crime skyrocketing and no one to turn to a group of concerned citizens get well respected Phenix lawyer Albert Patterson, John McIntire, to run for the office of State District Attorney. With the criminal element of Phenix doing everything, from intimidation to outright murder, to keep the voters form getting Patterson the nomination he still wins with the other 86 counties of the state, not including Phenix's Russell County, giving him the nod by just over 1,000 votes.<br /><br />Terrified in what Patterson would do when he takes office head of the Phenix Mob Rett Tanner, Edward Andrews, has a hit put out on him. Patterson is gunned down while driving to his office but his killers are spotted by Ellie Rhodes, Kathryn Grant, who soon becomes, through an informer in Patterson's office, Tanner's next person in line to be targeted for murder. What Tanner & Co. didn't expect is that the late Albert Patterson's son John, Richard Kiley, got the news from Ellie about his dad's murder before his boys could shut her up! That major miscalculation on Tanner's part will end up putting an end to both his criminal organization as well as his freedom!<br /><br />Powerful documentary-style crime movie with the actual persons involved in the events given some 15 minutes, at the start of the film, to tell their stories. This despite the fact that they were still in danger of being murdered by the Tanner Mob that was still at large at the time their interviews were filmed!<br /><br />Finishing what his brave dad started John Patterson single handedly brought the story of Phenix City to the front pages of both the state and national newspapers giving Tanner the very negative publicity that he tried so hard to avoid. With the now Alabama National Guard flooding into Phenix City the blood-thirsty and gutless, in not willing to stand up to people with guns in their hands, Tanner Mob evaporated from sight like a morning mist after the sunlight hits it! And with John Patterson now taking the place of his murdered dad as the state of Alabama's new Attorney General you can be sure that the Patterson Mob has seen its last days of pushing people around as well as murdering them. The only thing that they'll see now in the future is the gray prison walls and bars that will be their home sweet home for the rest of their rotten and miserable lives!<br /><br />Very probably the most graphically violent movie to come out of Hollywood up to that time "The Phenix City Story" didn't pull any punches in showing how a group of lawless and powerful criminals can turn a quite American city into living hell for everyone in it. No one was speared from these ruthless gangsters who didn't even think twice when it came to murdering even women and children if that's what it took to keep them in power! As for the Phenix City Police Departmentn they had better thing to do then enforced the law that they were sworn and paid to uphold. They were out having coffee and donut's while their city was being burned to the ground by the gangsters like Tanner who had them in their hip pocket!
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When this first came out, my dad brought it home- we were amazed by it- It was so different from anything we had seen before. I was looking for a specific movie last night, and I found "The Mind's Eye" again. The box is falling apart, and I am surprised that the tape still works! Although it is not 'Finding Nemo' quality graphics, it is still very good. They should sell this again- it is a landmark for computer animation imagery. Highly recommended!<br /><br />This is what it is:<br /><br />"The Mind's Eye" is a spectacular odyssey through time. Your journey begins at the dawn of creation and moves through the rise of man and technology. Travel in the world of abstraction and on into the future with breathtaking computer animation imagery.<br /><br />"The Mind's Eye" joins the imaginations of over 300 of the world's most talented computer animation artists with a powerful, original music soundtrack. This unique collaboration takes you on an incredible voyage into "The Mind's Eye."
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This movie had all the elements to be a smart, sparkling comedy, but for some reason it took the dumbass route. Perhaps it didn't really know who its audience was: but it's hardly a man's movie given the cast and plot, yet is too slapstick and dumb-blonde to appeal fully to women.<br /><br />If you have seen Legally Blonde and its sequel, then this is like the bewilderingly awful sequel. Great actors such as Luke Wilson should expect better material. Jessica Simpson could also have managed so much more. Rachael Leigh Cook and Penelope Anne Miller languish in supporting roles that are silly rather than amusing.<br /><br />Many things in this movie were paint-by-numbers, the various uber-cliché montages, the last minute "misunderstanding", even the kids' party chaos. This just suggests lazy scriptwriting.<br /><br />It should be possible to find this movie enjoyable if you don't take it seriously, but it's such a glaring could-do-better than you'll likely feel frustrated and increasingly disappointed as the scenes roll past.
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| 8,232
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"Strike Force" or "The Librarians" is a fun action movie that doesn't it take itself too seriously. William Forsythe stars as Simon, who is looking for a missing daughter of a wealthy client. He meets up with Sandi (Erika Eleniak) who is also looking for someone-her sister. But there are evil bad guys afoot. The most evil of them all is Marcos Canarious (Andrew Divoff). Marcos likes to kill people. So now, Simon and Sandi have to team up to bring down the villains. The whole cast is great, with Divoff stealing the movie. There are also cameos by Ed Lauter and Burt Reynolds. If you are looking for a good action film, watch this and have a good time.
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William Shatner in small doses is tolerable. Unfortunately, instead of leaving his character as a minor irritation, and in that moderately amusing, it has been seen fit to enlarge his role and overdo it. Just as occurred in the original Star Trek series. I guess I will never understand American humour, which frequently goes 'over the top' to get the message through. I vote with my feet. I no longer watch the show, which is a shame, because the rest of the cast were good. It is pity that Shatner's overdone role also, affects James Spader's performance. But the majority demonstrate the way society is going, I guess. I don't travel the same routes. Frank
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Overall, this is entertaining and odd film. Don't try to make sense of it. There are more holes in the story than a computer could keep up with, but Robert Cummings and a cast of minor characters are mostly fun to watch in this "Fugitive"-like story.<br /><br />Unlike the popular TV show and then 1993 movie, this fugitive isn't looking for a one-armed man, but a two-armed Nazi saboteur by the the name of "Frank Fry." Cummings ("Barry Kane") gets blamed when a defense plant blows up in Los Angeles and goes on the lam looking for the man who did it (Fry) to clear his name.<br /><br />The first 40 minutes or so are very tense and interesting. Then Priscilla Lane ("Pat Martin") enters the story, and it starts to bog down a bit with some sappy dialog. Director Alfred Hitchcock often did that with his female characters, to the point I wonder if he had a clue how woman talked. Lane's character here was a little lame.<br /><br />Actually, the villains played by Otto Kruger ("Charles Tobin") and Norman Lloyd ("Frank Fry") were the best, in my opinion......just fascinating. Kruger's acting and dialog was especially good.<br /><br />If you haven't seen this film but saw Hitchcock's well-known "North By Northwest," you'll chuckle at the ending and really enjoy it. Instead of a climactic scene at Mount Rushmore, here we have a memorable last 10 minutes at the State Of Liberty. As usual, Hitchcock camera angles are great and fun to view.
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This movie was fabulous. It is definitely a top 5 hitchcock film. The directing and camera shots are nearly flawless(aside from the dog scene when he licks the guys hand, clearly in slow motion). The plot is well written and realistic. It was very believable that an innocent man could fall into a trap like that.<br /><br /> I would rate Bruno as hitchcocks second most interesting character( of course bates is first). Robert Walker plays a very believable maniac. He didnt overact the part which made it believable(much the same how perkins didnt overact his part). Overall this is an excellent movie, an absolute must see for any hitchcock fans.<br /><br /> <br /><br />
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Written and directed by Steve Gordon. Running time: 97 minutes. Classified PG.<br /><br />It was the quintessential comedy of the decade. It won Sir John Gielgud the Academy Award. It was even featured in VH1's "I Love the 80's." And it looks just as good today as it did upon it's initial release. Arthur is the acclaimed comedy classic about a drunken millionaire (played with enthusiasm and wit by Dudley Moore in an Oscar-nominated performance) who must choose between the woman he loves and the life he's grown accustomed to. While the basic plot is one big cliche, there's nothing trite about this congenial combination of clever dialogue and hilarious farce. Arthur Bach is essentially nothing more than a pretentious jerk, but you can't help but like him. Especially when he delivers lines such as, "Don't you wish you were me? I know I do!" He's also a delineation from the archetypical movie hero: unlike most wealthy characters we see on the silver screen, he's not ashamed of being filthy rich. In one scene, a man asks him, "What does it feel like to have all that money?," to which he responds, "It feels great." Moore lends such charisma and charm to a character that would otherwise be loathed by his audience. And Gielgud is simply perfect as the arrogant servant, addressing his master with extreme condescension in spite of the fact that his salary depends on him. Arthur is one of those movies that doesn't try to be brilliant or particularly exceptional: it just comes naturally. The screenplay -- which also earned a nod from the Academy -- is saturated with authentic laugh-out-loud dialogue. This is the kind of movie that, when together with a bunch of poker buddies, you quote endlessly to one another. It also looks at its characters with sincere empathy. There have been a number of comedies that attempt to dip into drama by including the death or illness of a principal star (including both Grumpy Old Men's), but few can carry it off because we just don't care. When this movie makes the dubious decision to knock off the butler, it actually works, because we genuinely like these people. Why should you see Arthur? The answer is simple: because it's an all-around, non-guilty pleasure. At a period in which films are becoming more and more serious, Arthur reminds us what it feels like to go to the movies and just have a good time.<br /><br />**** - Classic
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I'm glad that I saw this film after Mr.Sandler became famous.<br /><br />It is bad....bad,bad,bad. There is no plot. It's like watching a painfully dull home movie.<br /><br />I really enjoy his other films......but if you're a fan like me....stay away from this one. It may change your thoughts on Adam. You may never recover from the horror that is this film....I've had a better time watching old folks play scrabble in a home.......
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| 334
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Harrison Ford playing a playing a cop in a crime thriller. The perfect ingredients it SEEMS for top entertainment with Harrison back to his Indy and Han Solo best, protecting a witness from ruthless and merciless murderers. How easy it is to be fooled. If the film concentrated on the main, supposed, themes of crime and suspense instead of putting up barns and shoving ice creams in peoples faces it possibly could have been more worthwhile. Unbelieveably predictable with the best method of despatching of a foe is with corn.
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Though not in the whole film, Andy Griffith again plays his role best in this CBS tv-movie. The plot is easy-Griffith's character dies and his last wish is that his wife and kids scatter his ashes is the place he named (Mountains Somewhere). Though it will never be seen on TV and never be released on video, if you do get the chance to watch this--TAKE IT.
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In the same tune as his Americana Drums Along the Mohawk, John Ford captures American history in a way that is fictional yet very believable. Henry Fonda made three consecutive films in this era with Ford and all three are about a certain time and place with emphasis on the setting and the cultural surroundings. In Mohawk, pioneer America is in full bloom with Americans fending for themselves against Indians and other forces. Here, Ford shows us 19th century America; a time when invention and creativity were beginning to blossom and this nation truly was becoming great. Amongst it all was a tall, lanky, young lawyer from Illinois named Abe Lincoln and this film fictionalizes his life as a lawyer, foreshadowing the greatness he would later accomplish.<br /><br />Fonda is superb in this movie, capturing the essence of what is considered to be the persona of Lincoln, although no one knows exactly what he was like then. The sets and supporting cast also work well together and give a unique balance in Ford's picturesque of the American dream and its many forms. This is not a film to be taken literally but rather symbolically, showing that Lincoln was indeed warming up for the events in his life that were to creates his legacy. We even get some scenes between him and a young Mary Todd; and it is hard to see how they did end up together but that is not the point. I believe this is simply a tribute to the greatness of Lincoln, widely regarded as the greatest American president. His quiet and straightforward demeanor was rare then and would be today. Indeed, our government surely needs more men like him.
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I really enjoyed the detail that went into the script.<br /><br />Jonathan Rhys Myers (misspelled) and Jewel were outstanding in their support roles. As was Jeffery Wright. Toby McGuire gave as fine a acting job as ever depicted, when he had to amputate his best friend's arm, knowing he would die without the procedure. <br /><br />Attention to detail, with good dialect coaching to catch the Southern accent incredibly well.<br /><br />Why this movie was swept under the rug by the Hollywood promoters I can only imagine. I have strong suspicions. Which makes it all the more appealing to me. I have given a dozen DVD copies out for presents.<br /><br />Completely overlooked movie. Rent or buy it and give it your full attention for a couple of hours, then judge.
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Roy Thinnes and Joan Hackett are superb in this 1970 melodrama. The lush settings, the haunting music, and plot twists make it a truly interesting film. I had seen it when it first came out on TV. Once more it aired when I had a VCR, but I did not have a chance to tape it. Would love it on VHS if someone has a copy. Apart from the suspense (which is worked in beautifully) I feel the story is unique, and is pretty much true to the book, MRS. MAITLAND'S AFFAIR by Margaret Lynn. I would say that it was one of the greatly overlooked best films of the 1970's out of movies made for TV. I have given the film a number #10 rating, because it is done with so much originality. There is a true pathos and air of romance which has the viewer sympathizing with the culprit.
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***SPOILERS*** Well made and interesting film about the alienated youth of America back in the 1950's. Back in those days many parents caught up with making big bucks and living high on the hog forget that their children, especially teen-agers, needed a lot more then a car and and hefty allowance in order to feel part of the family. They also needed love and attention, to their growing up problems, which is what 16 year-old Hal Ditmar, James MacArthur never got from his successful movie producer dad Mr.Tom Ditmar, James Daly.<br /><br />Never really connecting with his dad Hal grows more and more distant from both him and his caring mom Helen Ditmar, Kim Hunter, as well as from society. After his dad put Hal down about him wanting to borrow his car, a late model luxury sedan, he and his friend Jerry, Jeffery Silver, drive in Hal's beat up and barley operational 1930's jalopy to the local treater to catch the latest western flick.<br /><br />Feeling like striking out at the world Hal acts like a real first-class jerk sticking his smelly feet almost into the faces of a couple, Eddie Ryder & Jean Corbett, sitting in front of him and Jerry trying to watch the movie. This leads Hal, as well as his friend Jerry, to not only be kicked out of the theater but with him belting the theater manager Mr. Grebbs, Whit Bissell. It turned out that at least Hal was willing to leave the theater, without even getting his money back, but when Grebbs tries to grab him Hal wheeled around and belted him right in the kisser.<br /><br />Hal now in real hot water, he's charged with assault and battery, put's on his "James Dean" act, at the local police station, making like he's either too cool or just plain stupid to realize what he's done; almost knocked Mr. Grebbs teeth out. It's when Sgt.Shipley, James Gergory, tells Hal that his dad is coming to pick him up when he finally sobers up to the fact of what he's done.<br /><br />The rest of the film has Hal try to straighten himself out but is unable to do that because the low esteem that his dad has of him. Begging his father to understand that what he did, in belting Mr. Grebbs, was in self-defense Hal's father acts as if he's been there, at the theater, and saw the whole incident with his son Hal acting like a street thug instead of of a young man being grabbed and pushed without provocation.<br /><br />Not excusing what Hal did, in laying out Mr. Grebbs, he in fact was willing to admit his hooligan behavior but he wanted both Mr. Grebbs and his dad to at least treat him with an iota of consideration; Gebbs in the fact that he provoked Hal and Mr. Ditmas in not even bothering to hear him out! Feeling like a wanted criminal without anyone, but his mom, to really turn too Hal slowly loses it only to later have both Sgt. Shipley and Mr. Grabbs agree to drop the assault charge. You would think that by now Hal's has finally learned his lesson but the real lesson, more then a stretch behind bars, that Hal's so desperately needed was a lesson that his father totally ignored! Being there when his son needed him most and in that Mr. Ditmar failed with flying colors.<br /><br />Things do in fact straighten out for everyone in the movie only after Mr. Grebbs gets belted, ending up with a butte of a shiner, again by Hal who, going back to Grebbs theater, tries to get him to phone his dad and tell him that Hal was only defending himself when he first, not the second time around, clobbered him. In the end Hal learned a real lesson in getting along with people an not letting his problems become other peoples problems. But most of all Hal's father Mr. Ditmar learned the most valuable lesson of all in how to understand his frustrated and alienated son and act like a father toward him instead of a combination jail-keeper and a sugar daddy. Like the song says "All you need s Love" to get things on the right track and it was both love and understanding for his son Hal that Mr. Ditmar, until the very end of the movie, lacked the most off.
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This movie has been promoting in everywhere in Spain with a huge publicity campaign, after watching it, you realise that someone has stolen your money. Paz Vega is horrible as Carmen, she´s not natural at all and she looks like she´s making a fashion magazine cover in all the shots ("the best" is when she as an andalusian woman ...¡can speak basque and fluently¡, Leonardo Sbaraglia is much better than her as Jose, but the story is very slow, the plot don´t work, and the screenplay is really very very bad...I think Penelope Cruz (the film was written for her)would have been a much more credible and sexy Carmen.<br /><br />What a waste of time and money
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Melvyn Douglas and Joan Blondell co-star in "The Amazing Mr. Williams," a 1939 mystery/comedy that's quite good, although forgotten, probably due to the number of incredible films that came out in 1939.<br /><br />Douglas plays a talented police detective married to his job, while his girlfriend waits for a wedding that is constantly postponed. What happens in this film is no exception - he's called to a murder scene just as he's about to walk down the aisle yet again.<br /><br />Both stars were excellent at comedy, worked together well (and often), and help make this battle of the sexes fun. Edward Brophy and Donald McBride are on hand for excellent support.<br /><br />As you can read in other reviews, Melvyn Douglas doesn't make much of a woman.<br /><br />Entertaining if a little on the long side.<br /><br />One of the comments here trashed Melvyn Douglas, one of our greatest actors. He literally floated effortlessly through dozens of films as the other man and the best friend before coming into his own in films as an old man. He wasn't lazy, but rather, a very hard-working actor (who made it look easy) who had a Broadway career simultaneously with his film career. He just wasn't cast as a leading man in films or given very challenging roles under the studio system. I challenge anyone to see his devastating performances in "Hud" and "I Never Sang for my Father" and call him lazy or make reference to his smirk.
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I watched to movie today and it just blew my mind away. It is a real masterpiece of art and I don't understand why most of the people think it's garbage. The main idea of the movie - take your ego away and then you will have true power! This was the main battle at the end of the movie and Guy Ritchie has shown that in a magnificent way. "The greatest enemy will hide in the last place you will ever look" - do you remember this from the movie? Because our true enemy is in us - it is our ego... That voice that always tells us that we are important, that gives us our pride, that tells us not to give, but only to take, that creates our aggression, that wants to be in control, that creates all the negative feelings and thoughts. GR expressed this idea in an astonishing way and has shown that the only way to gain true control is when you loose control and you just let go of your personal importance. A superb movie!
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My introduction to a lifelong love of Shakespeare. My brother was 5 and I was not quite 7 when WTTW Chicago broadcast An Age of Kings. It became a family ritual to watch, including the reruns. As an autumn series, my father used to buy us a rare treat for the Midwest--pomegranates; and my mother would pop corn on the stove. Wonderful acting from actors whose names meant nothing to me then (although I will never forget the achingly young Sean Connery as Hotspur), but do now! And they published the scripts in paperback so we could follow along and figure out the language. I managed to memorize most of Richard III over that. So glad to see it coming out on DVD! Highly recommended for all ages and any level of familiarity with Shakespeare or English history.
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This delectable fusion of New Age babble and luridly bad film-making may not "open" you up, to borrow one of the film's favorite verbs, but it might leave your jaw slack and your belly sore from laughter or retching. Based on the best-selling book by James Redfield, first (self) published in 1993, this cornucopia of kitsch tracks the spiritual awakening of an American history teacher (Matthew Settle) who, on traveling to deepest, darkest, phoniest Peru and sniffing either the air or something else more illegal. Namely what he discovers is a schlock Shangri La populated by smiling zombies who may be nuts or just heavily medicated, perhaps because they're often accompanied by a panpipe flourish and an occasional shout out from a celestial choir. Although there's a lot of talk about "energy," that quality is decidedly missing from the motley cast whose numbers include Thomas Kretschmann, Annabeth Gish, Hector Elizondo and Jurgen Prochnow, all of whom are now firmly ensconced in the camp pantheon. For those who care, the plot involves the military, terrorists and the Roman Catholic Church; Armand Mastroianni provided the inept direction while Mr. Redfield, Barnet Bain and Dan Gordon wrote the hoot of a script. In short, easily the worst film seen in 40+ years of viewing movies.
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| 4,542
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Like another reviewer said, this movie is not a heavy melodrama, but it deals with harsh realities. A very very playful movie that does not dwell for a moment. Some very good acting and some wonderful smiles as well.
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THE FBI STORY (1959) was Warner Bros. 149 minute epic tribute to the famous criminal investigation agency! From a book by Don Whitehead came a somewhat laborious screenplay by Richard L. Green and John Twist and was directed with only a modicum of flair by Mervyn LeRoy. However it did have splendid colour Cinematography by Joseph Biroc and a helpful score by the studio's musical magician Max Steiner!<br /><br />The movie charts the history of the Bureau from its lowly beginnings in the twenties to modern times and its all seen through the recollections of aging fastidious agent Chip Hardesty (James Stewart) as he relates his investigative experiences - in flashback - to a class of budding young agents. But it's all very long-winded and episodic! And as it progresses it begins to look like a TV mini series instead of a major movie production as the young Hardesty runs the American crime gamut from taking on such notorious criminal figures as "Baby Face" Nelson, Ma Barker, Dillinger etc. to sorting out nefarious organisations like the Ku Klux Klan, Nazi spy rings and the Red Menace. And here it has to be said that only for the screen presence and appeal of its star THE FBI STORY would probably have ended up a forgotten disaster. Moreover, this is another problem with the picture - Stewart is left to carry the entire movie almost on his own! With the exception of Vera Miles - who has the thankless role of being his long suffering but devoted wife - he is surrounded by a cast of minor players! Throughout you find yourself half expecting someone like Robert Ryan, Jack Palance or even Raymond Burr to make a welcome entrance as a mobster or a police chief or whatever. But nothing quite as imaginative as that ever occurs! Pity!<br /><br />The film does however manage to give a good look inside the workings of the Bureau! With the help of Stewart's narration we learn about the thousands of men and women who work for the organisation which includes the hundreds of agents in the field. And we are also treated to a peek inside headquarters which houses the gigantic records section and we also get a glimpse of the chemists and fingerprint experts meticulously going through their daily chores.<br /><br />Another plus for the movie is Max Steiner's remarkable score! Heard over the titles is a powerful, rousing and determined march while for the picture's gentler moments there is an attractive love theme. But quite ingenious is the menacing and ominous march theme for the Ku Klux Klan sequence. And better still is the rhythmic Latin-American music the composer wrote for the South American scenes especially the exciting Fandango like orchestrations for the arrival of the Federal troops on horseback. THE FBI STORY was one of five scores the composer wrote in 1959 which included Samuel Bronston's naval epic "John Paul Jones", the charming Rom-com "Cash McCall", Delmer Daves' seminal western "The Hanging Tree" and Daves' "A Summer Place" from which derived the Young Love Theme - which was to become a major hit tune for Steiner better known as "Theme From A Summer Place".<br /><br />THE FBI STORY just about passes muster as a movie thanks to Biroc's rich colour Cinematography, Steiner's wonderful music and of course Jimmie Stewart who makes anything watchable!<br /><br />Classic but implausible line from THE FBI STORY............. As the bland Nick Adams (who has just blown up a plane with 43 people on board, including his mother) is being led away handcuffed he turns to the arresting officer and blurts: "In case I get any mail you can send it to Canyon City prison for the next month or so - after that you can send it to HELL". Wow!
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I actually though that Black Snake Moan was great movie which takes place in the south. The story follows a man named Lazarus whose wife dumps him for his brother and finds Rae abandoned and beaten up on the side of the road. Lazarus finds out that Rae is a sex addict and was abused as a child so he decides to take matters into his own hands by tying up Rae with a chain to cure her of her wickedness. Samuel L Jackson and Christina Ricci have great chemistry together and their performances make you believe that through their struggles and search for redemption that Lazarus and Rae become best friends. I was also amazed by Sam's ability to play an electric guitar and being able to sing. S Epatha Merrkensen is great as Lazarus' love interest Angela, Justin Timberlake plays Rae's boyfriend Ronnie who is underused in the film but does the best that he can to deliver a fine performance.
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A long time ago, I watched this movie from the middle on cable. I then had a crush on Mary Moronov. I saw her again in Eating Raoul. I was convinced that she's the hottest woman on screen.<br /><br />I maybe biased about this movie. 9 out of 10.<br /><br />This's the only movie I own on original tape.
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Che: Part One was a fascinating experiment, which did not only tell a very interesting story, but it also tried to do something different with the "biopic" genre.Che: Part Two is the excellent culmination of this experiment.<br /><br />This movie offers all of the same attributes from the first one, from the extraordinary performances (specially from Benicio del Toro) to Steven Soderbergh's brilliant direction, without forgetting its intention of breaking with the conventional rules from the biopics.That is what I admire from Soderbergh's experiments...they always try to do something different and unusual, and they succeed most of the times.<br /><br />The final message from this film is perfect, and it includes everything we have been told about Che Guervara's life.The only fail I found on Che: Part Two is that a few parts felt a bit irrelevant.<br /><br />In summary, I give Che: Part Two a very enthusiastic recommendation because, as the first one, it is a brave and fascinating experiment which challenges the spectator and leaves us thinking.
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"The King is Alive" is a flawed and contrived mess of a movie which comes off like a self indulgent auteur's excuse to transport a bunch of actors to a Godforsaken Namibian desert where he can play major-Dogme-domo and film his selfishly conceived, silly, overwrought drama with utter disregard for the real forces of human nature, market appeal, common sense, and even good art. In other words this is one dumbassed flick and if you don't believe that, your penance is watching it. Only for filmheads, critics, dilettantes, and the like. (D)
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... a recommendation! Gloria Grahame runs the kind of orphanage where discipline is imparted with a meat cleaver, orphans are hung on meat hooks to punish them and the bodies are kept in the deep freeze so that they can be brought out for when social services call. That the orphanage is strapped for cash we know because Gloria puts all the orphans to work, and also because there don't seem to be enough clothes to go round - especially for the older nubile female orphans (age range appears to be 12 - 30 ish). The new arrival, however, turns out to be more than a match for Gloria - and has indeed just taken out her own mother & mother's lover (in a witty claw hammer and arson opening scene). Predictably, Gloria ends up on a meat hook herself. This one was made for about tuppence but was/is a HUGE HUGE HUGE hit on the grindhouse circuit. My DVD cover promised "disturbing and politically incorrect scenes", and it sure wasn't lying. I believe it is regarded as the Citizen Kane of orphanage set torture porn movies. 4/10
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The first one was the best. The second one sucked because the dialog was terrible. Although, the storyline wasn't so bad (in fact, all story lines are good and bad). Throughout the movie, I dosed off a few times. I know that Jackie Chan is a great martial arts expertise, but not a good actor in Rush Hour 2. Chris Tucker, too, wasn't good. And Zhang Ziyi, what can I say, a few lines, terrible acting (But that's based on her script). All the characters there were not that good. But, some of the things I like in Rush Hour 2 is always the action and less sex scenes. I know that Jackie Chan doesn't do those things which is good for him.
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I should've realised it was a sign of things to come when the trailer for this film bored me.<br /><br />Having watched several "indie" films on the strength of the reviews on here, and subsequently finding that my view is completely opposite to those other reviewers, I began wondering if it's possible I am watching completely different films from these people, or are they perhaps friends/family etc of the film makers trying to 'big up' their work? Hmmm.<br /><br />Are you interested in seeing an amateur's homage to Pulp Fiction and 11:14, except done with worse actors, a silly score (undermines various scenes) and unbelievable jumps in logic? If not, then skip this film.<br /><br />Here is my open letter to two of the players in this film.<br /><br />Alfonso Morgan, please, please, please, stop trying to 'be' Samuel L Jackon a la Pulp Fiction. No-one can do what he does as well as he does.<br /><br />Director, please come up with something original. It does you a disservice to churn out this stuff pretending to be Quentin Tarantino.<br /><br />Simply dire, and I really cannot see how anyone could say this is a good film. It is a disgrace that people have somehow managed to put a score of 8.5 on this, the same as films like Pulp fiction or Goodfellas. It is no-where near these movies; a 4 or 5 would be a more reasonable average rating, I give it a 3.
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A bad movie, but with one reel that is worth savoring. For most of the film, the jokes are bad, the songs are bad, even W.C. Fields is bad. Then there is one sequence with Bob Hope and his movie-ex; the dialogue is witty and the song (a version of "Thanks for the Memories") light, cynical and delightful. Who parachuted in for this one bit? Yet it makes the whole thing worth the original 25 cents admission.
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| 7,330
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I thought this movie was great, not only because of it's storyline but because it was portrayed greatly by the excellent cast. I read that Drew Barrymore wasn't exceptional as Josie Geller because she is beautiful. Yes she maybe but in the movie she played outside herself, which brought on a plain girl searching for who she is in the world. The story is sweet and definitely for the hopeless romantics out there, I for sure am. David Arquette is mad as her brother Rob, and Michael Vartan is gorgeous as Sam Coulson. Leelee Sobieski did an excellent job as her mate Aldys, someone who wasn't afraid to be herself. I think this movie should get more credit rather than being branded as a "teeny boppy" flick
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OK, so Mr. Agrama's company (which is involved in some dubious business with former Italian PM Silvio Berlusconi) produced a horrendous mish-mash by a Mr. Carl Macek.<br /><br />What is this horrendous mish-mash I'm talking about? Well, Macek took three entirely unrelated Japanese sci-fi animated series (namely, Macross, Southern Cross and Mospeada), added TONS of dialogue - believing firmly that the American audience is too dumb to understand the narrative and artistic virtue of silence - , edited the whole lot heavily for violent content, added some metaphysical mumbo jumbo, dubbed it using some of the worst voice actors this side of acting Hell (Reba West's singing was - and still is - unbearable and a total outrage, especially compared to Mrs. Mari Iijima)... And the result was an 85-episode series with hundreds of continuity problems and plot holes.<br /><br />Of course, the mecha were cool to look at (especially those in the "Macross Saga") and the plot parts that remained unscathed were good. But whatever was good about Robotech was not the result of Macek's work or the "voice talents" he recruited. It was because of the toils and efforts of the (uncredited - why? would I be too bold to accuse HG of plagiarism here?) Japanese creators. Those of us who eventually got wind of the real deal and compared the originals to Robotech now wish we had never been exposed to Robotech. The originals are so much better, naturally, and make a lot more sense.<br /><br />Robotech, however, DID something worthwhile: it prompted legendary anime creator Leiji Matsumoto to start a campaign for the protection of Japanese anime creators' intellectual property from such unauthorized and uncalled-for reworkings that talentless people like Carl Macek produce.
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I tend to be inclined towards movies about people who choose to cross the barriers of censorship, and express what they really want to express. Eric Bogosian's character of Barry is like Howard Stern, but much more intelligent. The character itself is very fascinating. As an Oliver Stone film, I guess I was expecting more. The film sags a bit during the third act. Plus, it's pretty obvious that "Talk Radio" is based on a play, with its long dialogue scenes. But overall, the film works. Bogosian is great in the lead, and the fact that he also wrote the play from which the movie was based on probably helped him. If you want to check out one of Stone's greater films, I better suggest you check out "JFK" or "Salvador." This is not his best work, but a good movie nonetheless.
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Will all of you please lay the hell off Todd Sheets!?! Let's give you $30,000 to make a movie and see what you come up with! The guy got 735 zombies and a regular cast to work for FREE! Sure the acting is laughable at times. Yes the make-up is not greatest you'll ever see. But it's not the worst either, if you want to see that, go watch Zombie Nation with it's raccoon zombies.<br /><br />This is pure, good old fashioned Guerilla Film-making! Todd is a consummate professional, and an all around nice guy. There are holes in the plot, yes. The plot does seem far-fetched. But what the hell, I still love this movie. I wish Todd Sheets would come out of hiding and do the remake of this that he was going to. If anyone has ever tried to make a movie, they know that just finishing it, is an achievement in and of itself.
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Well, "Cube" (1997), Vincenzo's first movie, was one of the most interesting and tricky ideas that I've ever seen when talking about movies. They had just one scenery, a bunch of actors and a plot. So, what made it so special were all the effective direction, great dialogs and a bizarre condition that characters had to deal like rats in a labyrinth. His second movie, "Cypher" (2002), was all about its story, but it wasn't so good as "Cube" but here are the characters being tested like rats again.<br /><br />"Nothing" is something very interesting and gets Vincenzo coming back to his 'Cube days', locking the characters once again in a very different space with no time once more playing with the characters like playing with rats in an experience room. But instead of a thriller sci-fi (even some of the promotional teasers and trailers erroneous seemed like that), "Nothing" is a loose and light comedy that for sure can be called a modern satire about our society and also about the intolerant world we're living. Once again Vicenzo amaze us with a great idea into a so small kind of thing. 2 actors and a blinding white scenario, that's all you got most part of time and you don't need more than that. While "Cube" is a claustrophobic experience and "Cypher" confusing, "Nothing" is completely the opposite but at the same time also desperate.<br /><br />This movie proves once again that a smart idea means much more than just a millionaire budget. Of course that the movie fails sometimes, but its prime idea means a lot and offsets any flaws. There's nothing more to be said about this movie because everything is a brilliant surprise and a totally different experience that I had in movies since "Cube".
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