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Watching Stranger Than Fiction director Marc Forster's The Kite Runner is the cinematic equivalent of eating your vegetables because this art-house epic rated PG-13 is good for your movie-going diet. No, this isn't the kind of movie that I like to slouch on the couch and eyeball at the end of a tough day. The Kite Runner isn't your typical mainstream movie designed to entertain you and make you forget about your troubles. First, no celebrity stars appear in it. Second, nothing is cut and dried, black or white, or so outlandish that you don't believe an image that you see. Third, The Kite Runner lapses into subtitles when the characters occasionally speak in their native tongue. Fourth, Forster's film isn't a romantic trifle about boy-wants-girl, boy-loses-girl, and then boy-wins-girl back. Fifth, this foreign language film may make you feel uncomfortable and challenge your assumptions about life, friendship, and survival. The chief themes here are cowardice and redemption. The protagonist commits a cowardly offense in the first half of the action that he must atone for at the cost of his own personal safety and integrity. Right, The Kite Runner is about redeeming oneself for the sins of the past. We're talking about personal accountability, so don't rent or buy this wonderful movie for a boy's night out celebration or something to take the bad taste of the day out of your system. Based on Khaled Hosseini's bestselling novel, this culturally enlightened melodrama about right and down initially looks like one of those light-hearted friendship movies about adolescents in the vein of The Adventures of Tom Sawyer and The Sandlot. About a half-hour into its 127 minutes, this escapade about two youngsters who fly kites in Afghanistan turns dark and unsavory. Nevertheless, if you can handle the remaining hour of the plot, you'll emerge gratified, relieved, and perhaps even entertained. <br /><br />The Kite Runner opens in San Francisco in the year 2000 as our protagonist, Afghan émigré Amir Jan (Khalid Abdalla of United 93) and his wife Soraya (Atossa Leoni of The Florist) receive two boxes of published copies of Amir's first novel. No sooner has Amir had a chance to bask in his triumph of a life-time as a storyteller than the phone jars him from his reverie and he is drawn reluctantly back into a past that is best left forgotten for him. Rahim Khan (Shaun Toub of The Nativity Story) calls Amir from Pakistan to make a request. Rahim was a servant in Amir's household back in the 1970s when Amir lived with his wealthy Pashtun merchant father Baba (Homayoun Ershadi of A Taste of Cherry) in Afghanistan before the Soviet invasion. "You have one more chance to be good," Rahim informs Amir without sugar coating his request. Basically, Rahim wants Amir to fly to Pakistan and then enter war-torn Afghanistan and rescue Rahim's young grandson Sohrab (Ali Danish Bakhty Ari) who is being held a prisoner against his will as a sex slave for Assef (newcomer Abdul Salam Yusoufzai) a cruel Taliban chieftain and Amir's once dreaded adversary. <br /><br />The Kite Runner shifts from San Francisco in 2000 to an extended flashback set in Kabul in 1978 when life was idyllic. Twelve-year-old Amir (Zekiria Ebrahimi) and the son of his father's servant, Hassan (Ahmad Khan Mahmoodzada) love to watch movies, such as John Sturges' western The Magnificent Seven, when they aren't flying kites. Incidentally, this is kite flying like you've never seen kite flying. Not only do the kids fly them, but they also compete with other kids to see who can cut the strings of another kid's kite. The kite fighting flight scenes generate the same kind of excitement that the dog fighting scenes had in Tony Scott's Top Gun. Hassan is Amir's best friend but unlike Amir, Hassan belongs to the reviled Hazara minority. Earlier, young Amir and Hassan had a confrontation with young Assef (Elham Ehsas) and his two flunkies. Assef was about to beat them up, but Hassan pulls out his slingshot and threatened to use it on Assef. Assef had no choice but to back down. Meanwhile, Amir was prepared to suffer the hand fate had dealt him. Amir's father Baba laments his son's lack of spine and fears that he will grow up half of a man because he is a coward, unlike the plucky little Hassan who bails Amir out of predicaments. Anyway, Amir and Hassan emerge from the showdown with Assef without a scratch. Later, after Amir sets a new record with his kite flying and fight skills, Hassan runs after a kite to claim it. Hassan is the eponymous character referred to in the title. Hassan claims the fallen kite but he finds himself at the mercy of Assef and his two minions. Assef lets Hassan kept the kite, but his minions pin Hassan spread-eagle, belly down in an alley while Assef sodomizes the youth. Worst, a traumatized Amir watches the assault from nearby but lacks the courage to intervene on behalf of his friend who would have intervened for him.<br /><br />Aside from the extraordinary aerial scenes with the kites, The Kite Runner is down-to-earth, straight-forward stuff. When Amir returns to Afghanistan to rescue Sohrab, he masquerades as a Taliban fighter but he doesn't carry a firearm. The rescue scene in The Kite Runner is rather like the escape scene from The Midnight Express. While Forster doesn't explore the local politics or plunge us into the ethnic and cultural issues at stake here. Indeed, Troy scenarist David Benioff had to eliminate some parts of the book and the racial and ethnic prejudices aren't clearly delineated so you have to accept some things on faith. Forster lensed the film in nearly China to give it an authentic look. Forster deserves credit for making this two hour plus epic fascinating. The performances, especially by the children, stand out for their believability. The Kite Runner is a film that you won't easily forget.
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I have the good common logical sense to know that oil cannot last forever and I am acutely aware of how much of my life in the suburbs revolves around petrochemical products. I've been an avid consumer of new technology and I keep running out of space on powerboards - so I know that even the energy crunch associated with Peak Oil will change my life appreciably.<br /><br />The End Of Suburbia shows, in a rational and entertaining manner, just how much my whole family's lifestyle will have to change in my lifetime. I am particularly concerned for the future generations who will have to pick up the tab for our excesses, however the film-makers do offer a glimmer of hope in that they acknowledge human resourcefulness and determination - and the sense of community that tends to be engendered by shared hardship.<br /><br />There is no point in trying to pretend that Peak Oil is baseless propaganda - or in treating it like the approaching radioactive cloud in "On The Beach" (i.e. with suicide pills at the ready). Even with our best efforts, times will get harder all over, and I'm hoping there's enough compassion and humanity to go around.
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THE. WORST. FILM. EVER. MADE.<br /><br />After watching this supposedly gay made film, I suspect someone rounded up a brain damaged half blind neo-nazi and had him make the worst gay film ever, all in some deluded attempt to attack gay culture. I had to stop the movie and call a friend to come over just so I had someone to scoff at when I paused the movie out of shock, disbelief and outrage at such sheer stupidity.<br /><br />On top of all the horrible writing and acting and illogical and stupid plot, its just a poorly made film. A dog with a handycam tied to its tail could have churned out better.<br /><br />Seriously, after reading the few positive reviews this movie has here, I suspect the writer must have a half a dozen IMDb accounts. Anyone who says this film is even watchable as anything other than a joke, is a liar or being paid heavily to say so.
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Sarah Silverman is a dangerous Bitch! She's beautiful, sexy, funny and talent, dark and demonic. I read the other 'comment' on this show as well as the message board stuff and people just don't get it. Nothing that appears on T.V. is an accident. Too much money, time and work is put into the production of a T.V. show for there to be mistakes. This show is stupid because Sarah wanted it to be stupid. This show is juvenile because Sarah wanted it to be juvenile. I thought the jokes were great and the theme show as well as the other musical numbers are wonderfully bizarre. It's a lot like Pee-Wee's Playhouse for maladjusted, slacker twenty-something glue sniffing, Future Pornstars of America from the Valley. The cast is awesome. The scenarios and action is well-paced. I hope this show succeeds since Comedy Central didn't let David spade keep his show. Who plays Sarah's sister? She not in the cast listing on the show's home page. I would love to see her stand-up. Does anyone know about her up-coming show dates or DVDs that may be floating around out there?
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First off let me say that this has to be on the top of my list of boring movies. Nothing, and I mean nothing in this movie is even remotely thrilling. Most of it is very confusing and as it progresses you just wish it would end!! Some people want a movie that makes them "think" through the entire thing, to which I say..."More power to you"!! I on the other hand just want to be entertained. Which brings me back to this stinker, entertainment it is not. This movie is stupid and a complete waste of time. Seems that most here agree also. Most of this didn't make any sense, and by the time you think you have one scene figured out another lame scene comes around and....well I guess you see where this is going. Avoid, this one sucks....bad!!
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First of all, I'd like to say that I really enjoyed this movie. However, that said, I can't say that it was a "good" movie. I went into the theatre with pretty low expectations (something I've learned to do). I'm glad I did, because the plot and development wasn't stellar. The jokes were low-grade humor. But, I was in the right mindset to enjoy them.<br /><br />I wasn't the only one. In fact, the entire theatre was laughing out loud. I didn't hear anyone complain after the movie came to a close. I even saw one guy fall out of his chair laughing! But again, I have to warn you, Grandma's Boy is NOT a top-quality film. It is a funny (albeit low-brow) movie, and if you go with the right mindset, you'll really enjoy it. Oh, and don't take kids to it.
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GLORIFYING not GLAMORIZING World War II.<br /><br />We've had quite a few documentary series about World War II on the regular Television programming. Without looking up any information in some encyclopedia or film book, it seems that this old memory can recollect most names entirely on it's own.<br /><br />There was CRUSADE IN EUROPE,which was the title of the war memoirs of one General of the Army and later the 33rd President of the United States of America, Dwight D. Eisenhower. It told the story of the conflict in Europe as viewed by the Supreme Allied Commander.<br /><br />Then there was a CRUSADE IN THE PACIFIC(subject matter self-explanatory),which I don't remember much about. Newspaper Man/Author, Jim Bishop was the host/navigator of BATTLELINE.<br /><br />And there was the excellent WINSTON CHURCHILL, THE VALIANT YEARS.* The Series was a co-production of the British Broadcasting Corporation and the American Broadcasting Company. It first aired in 1960-61 season here in The States and boasts of having Richard Burton's speaking the words of Sir Winston.<br /><br />It is the 1952 NBC Television Network's Production of our subject matter today, this VICTORY AT SEA that wins the cigar, hands down.<br /><br />To begin with, this had to have taken the production several years of carefully and literally sorting through thousands of hours of film. The movie footage referred to here was the official filmed record taken by members of the Armed Forces of the United States, independent newsreel film, Motion Picture Record of our other Allied Partner Nations,as well as captured Axis pictures from Nazi Germany, Fascist Italy and Imperial Japan.<br /><br />Once that was accomplished, the various corresponding film had to be cut and edited into a series of 1/2 hour installments. This was done with great skill, being that there were so many scene changes, whether done abruptly or as a dissolve. The look of ever episode appears as smooth as if it had been a single motion picture project.<br /><br />The writing of the Spoken Word to accompany this finest of real life film was no less amazing and unique. The highly polished and meaningful eloquence wastes not a word and at times even understates the description of action, rather than exaggerating it. The narration goes to Mr. Ralph Graves, who was a talented Actor of Stage, Film, Radio and Television. He certainly gained a measure of immortality by way of his golden toned voicing of the written episode descriptions.<br /><br />Lastly, VICTORY AT SEA enjoys the luxury of having an original score, both opening theme and incidental music, penned by Richard Rodgers of Broadway fame.(Rodgers & Hart, Rodgers & Hammerstein) His compositions are intricate, full, variable and even "classic" in the true sense.<br /><br />The Classical Arrangement was played by the NBC Sympphony Orchestra under the Direction of Robert Russell Bennett and as a soundtrack record/cassette tape/compact disk, it has been continually available and in demand ever since its first release, 55 years ago! And, really small wonder, for it is this musical score that is so mesmerizing to the viewer/listener. It truly puts the frosting on this cake.<br /><br />* SIR WINSTON CHURCHILL, THE VALIANT YEARS also had a beautiful and highly memorable original score. This also was composed by Mr. Rodgers.<br /><br />** We had in additional "Ace in the Hole" in our house in the person of our Father, the Late Clement J. Ryan(1914-74). Dad had been in the U.S.Navy during the war, being inducted in 1943 or'44. Our Pop was always on hand to explain and further elucidate any of the situations that were depicted in the series.<br /><br />He and our Mother the now 90 year old Bertha (nee Fuerst)Ryan already had my older sister, Joanne(1942-90)as a Dependant.
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Opera (the U.S. title is terror at the opera) is somewhat of a letdown after some of Dario's other movies like Phenomena, Tenebre, and Suspiria. (i still can't find Inferno anywhere.) it's one of those movies that has a great first half but midway through it's like someone started slowly letting the air out of the screenplay and logic.<br /><br />the basic plot involves a beautiful opera singer who is being stalked by a deranged obsessed fan. this killer begins killing people close to her in a most unique fashion. he binds and gags her and tape tiny sharp pins under her eyelids so if she tries to close her eyes she'll gouge out her eyes. this forces her to watch while the killer murders her acquaintances in typically brutal and gory Argento fashion.<br /><br />unfortunately, about midway through the film becomes sluggish and illogical. (this is especially directed towards the killer's motivations. i still haven't completely figured out why he's such a nut.) the ending especially come out of left field in the worst possible sense.<br /><br />but, for about the first hour or so this is some of Dario's best filmmaking and the camera work is breathtaking. too bad it couldn't maintain it through to the end.<br /><br />rating:7
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Ahh this film had so much potential! A good cast of quality B actors, the thighs of Jessica Simpson and... that is about it!<br /><br />I believe some guy in some unnamed marketing department had an idea. Basically, lets do a kind of Legally Blond film, but do it in New York. That big bright city of chances, power and money and where everyone is a heartless, power/money hungry person. Let's add to this Jessica Simpson, small town bimbo, that brother of Owen Wilson and for some no apparent reason Andy Dick (only because of him you should ignore this film).<br /><br />Basic story line:<br /><br />Boy leaves girl for NY, girl follows, boy cheats, girl stays in NY with cousin, gets a job under false pretenses, mucks up, is courted by other boy (Brother Wilson) and together save the day and kiss.<br /><br />a few words come to mind when reflecting upon this film, i.e. dire, awful, unbearable, intolerable and xenophobic<br /><br />Just don't watch this film, you will be happier. One reviewer referred to Guantanamo and i definitely agree with him. This film induces shock. And I know what you are thinking... at least at some point will I see Simpson naked or close too. It's not gonna happen, spare yourself the time and YouTube her. You will have better sexy time!<br /><br />The films editing is flimsy, the acting is unbearable, and why do they use blue screens?<br /><br />In conclusion; this is cinematic treason which should be punished to the maximum<br /><br />Another question why does Willie Nelson always play a kind of father figure in almost every Jessica Simpson flick and why are there no black, Latin, Asian or European people in this movie?
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This is a lame comedy.<br /><br />Here's why: A man and wife sitcom. Okay.<br /><br />The Husband is a douche bag. The Wife is the Einstein.<br /><br />How original is that? <br /><br />Jerry Stiller is just the same guy on Seinfeld.<br /><br />The gags are lame. No witty one-liners.<br /><br />I have had enough. Stop this now.<br /><br />The Last Word: Stupid. The destruction of the average white guy continues on ABC. The worst part? Kevin James is actually a funny comedian. He just isn't here. Leah Remini is great eye candy, but is unlikeable. Wasted talent is the word. Bad sitcom.
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I'm a horror/gore movie freak and this flick was so bad, I felt embarrassed for not only the "actors", but also the director and the poor sap of a producer who actually put his money up for this schlock.<br /><br />From the title, you'd expect some great carnage, somewhat of a storyline and at LEAST some direction or dialog. Instead, you get what looks like a slightly more violent and sexual Three Stooges episode. At least I laugh at the Three Stooges. While watching this crap, I turned another TV on and started watching Howard Stern until something interesting happened.<br /><br />Needless to say, I kept watching Stern.<br /><br />Watching this "film" I realize that I could produce a film with three monkeys, 2 DV cameras, $50 dollars in loose change and a broken PC. This film is my inspiration to get into no-budget film making. Watch this movie if you dare, but be warned...there is a lot of nothing in here but a whole lot of talking and very little action. This makes "KaZaam" look like a Meryl Streep film.<br /><br />I'm sure Germany didn't ban it due to sex or violence. Other countries need to take heed.
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I've read all the complimentary posts on this muddled semi-noir and am puzzled at the high regard for what seems, in the cruel light of 2007, a very sloppy late-RKO assembly-line product. All that endless documentary footage of fish, waves, fish, waves has little to do with the central conflict and just pads the running time. The editing is downright careless: Scenes just end, and are followed by other scenes that have little to do with what preceded them. The dialog bears the stilted traces of the Odets origins: high-flown metaphors that never could have come from the limited imaginations of these workaday people. But what's really surprising is how horribly overacted the triangle is, on all sides. I love Stanwyck, but she snarls and contorts and lashes out wildly -- an undisciplined performance several notches below her standard. Douglas, overplaying at being lovable, then goes onto a would-be murderous rampage and is similarly hammy, as is Ryan, snarling and shouting most unnaturally. The less interesting second couple at least provides recognizable human behavior: Keith Andes, whose character is kind of a Neanderthal by today's standards, nevertheless is smooth and persuasive as Stanwyck's (much younger, one presumes) brother, and Marilyn Monroe, as his girlfriend, is natural and unaffected. On Monterey's windswept coast (and all that Monterey footage, while largely irrelevant, is interesting as a document of what the town looked like), amid all the overheated hysteria, these two are islands of sanity. A final point, and a spoiler: Perhaps the Breen Office mandated it, but does anybody believe the happy ending for a second? Stanwyck may temporarily have regressed into being an obedient wifey, but I give the marriage a month.
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The basic idea for this movie was good, but there was no real character development and the pacing was slow. Maybe because I saw it in a sloppily edited, pan&scanned video version ? (It went straight to video in France.)
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Prix de Beauté was made on the cusp of the changeover from silence to sound, which came a little later in Europe than in Hollywood. Originally conceived as a silent, it was released with a dubbed soundtrack in France, with a French actress speaking Louise Brooks' lines, but was released as a silent in Italy and other parts of Europe. I was lucky enough to see the Cineteca di Bologna's flawless new restoration of an Italian silent print at the Tribeca Film Festival. I haven't seen the talkie version yet, but I think it's safe to assume the silent version is much more satisfying, since by all reports the dubbing is poorly done (Louise Brooks is clearly speaking English, so there's no way her lips could be matched.) Also, the film is made entirely in the silent style, with few titles and little need for dialogue. Prix de Beauté tells its story visually, with exciting, imaginative camera-work. The opening is instantly kinetic, with rapidly-cut scenes of urban life and swimmers splashing at a public beach. Throughout the film there is an emphasis on visual detail, on clothing, machinery, decoration, and symbolic images such as a caged bird, a heap of torn photographs, a diamond bracelet. This is silent film technique at its pinnacle.<br /><br />Louise Brooks, of course, is responsible for saving the film from obscurity. Seeing this makes it only more heartbreaking to reflect that this was her last starring role. Lustrously beautiful, she dominates the film with her charisma and also gives a perfectly natural yet highly charged performance. Her role here, more than in the Pabst films for which she's best known, is a woman we can fully understand and sympathize with. She plays Lucienne Garnier, a typist with a possessive fiancé, who yearns to get more out of life and secretly enters a beauty contest, with immediate success. She is then torn between the excitement of her glamorous new life and her love for the man who insists she give it all up or lose him. All of the characters are drawn with nuance. The fiancé inspires pity and is not merely a brute: he loves Lucienne, but is a limited man who can't cope with her having a life apart from him or attracting the attentions of other men. Even the "other man" in the story is not the simple slimeball we first take him for, though his intentions may be just as possessive as the fiancé's.<br /><br />*************************WARNING: SPOILERS BELOW***************** <br /><br />The film has many fine set pieces, including Lucienne's triumph in the "Miss Europe" contest, shown through the comic reactions of assorted audience members, who wind up pelting the heroine with flowers; her misery as a housewife, peeling potatoes while the pendulum of the cuckoo clock marks time behind her; a nightmarish trip to a fun-fair (in the silent version, this occurs late in the film, after her marriage) at which Lucienne, crushed among the low-lifes and depressed by her husband's macho antics, decides that she can't go on with her present existence; and especially the final scene in the projection room where she views her talkie screen test. Louise Brooks may never have looked more beautiful than she does here, with the projector's beam flickering on her alabaster profile, her shoulders swathed in white fur, her face incandescent under the black helmet of hair as she watches herself singing on screen. The double shot of her exquisite corpse and her still-living image on the screen is particularly poignant: Louise Brooks' image, like Lucienne's, remains immortal despite her frustratingly aborted film career.
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The final installment sees Sho Aikawa and Riki Takeuchi (looking cooler than ever in his reversible overcoat!) pitched against each other for one last battle, this time in the future. The plot owes a lot to Blade Runner, but done in Takashi Miike's low budget, frenetic, comic style. I did feel that it was the weakest of the three DOA films, and although the ending was still outrageous, it lacked the shock value of the previous two. Compared to the likes of Ichi the Killer and Visitor Q, DOA:Final is nowhere near as extreme, but is faithful to the other two films in the trilogy. That said, fans of the first two (and fans of Miike) will get a lot from this as it ties all three films together and gives a final explanation of the relationship between the two protagonists.
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<br /><br />Average adventure movie that took a serious story and "Holywoodised" it.The watering down effect done particularly towards the average script snatched away this movie's place as a would be solid classic. Why water down such a great storyline?Probably because it deals with "sensitive" colonial subject matters and the producers do not want to create political heat,just quick profits thank you.The directing,cinematography and soundtrack and acting was good.The screenplay was average.The charm of Connery made up for his wrong Arabic accent and all the scenes with President T. Roosevelt were masterpiece takes.The costumes/sets here was very good.Too bad we did not get more of a serious historical drama since this is what the story demands.Only for big fans of the lead actors or fans of exotic Romance/Adventure Holywood movies.....
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Full marks for the content of this film, as a Brit I was not aware that there was segregation in the US Navy during WWII. A very brave attempt to bring this fact to the world. However, the movie is pathetic, direction is non existent, the acting is wooden and the script is just one cliché after another. I can honestly say that this is one of the worst movies I have ever seen. I sat and cringed from the start until the end at the very poor way that this had been put together. This could have been a great movie, the story for many of us outside of the US was new, unique and also interesting. The sad fact of the matter is the way that it was put together. It is unfortunate that a true story like this, which could have changed people's attitudes, has been squandered on a low budget, badly directed movie. I only hope that some time in the future, one of the major studios will take this theme and do it justice.
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Horror Gods Boris Karloff and Bela Lugosi should be more than sufficient a reason for any Genre-lover to watch a film, and, even though the most convincing one they are not the only reason to watch this particular little Sci-Fi/Horror gem. While Lambert Hillyer's "The Invisible Ray" of 1936 does not nearly share the brilliance of other contemporary films starring Karloff ("Frankenstein, "Bride Of Frankenstein", "The Mummy",...) or Lugosi ("White Zombie", "Island Of The Lost Souls", "Dracula",...), or both ("The Black Cat", "The Raven",...), this is doubtlessly a highly entertaining film that no lover of cult cinema should consider missing. Compared to other Universal Horror pictures, the storyline seems a bit silly, but in a delightful manner. Karloff and Lugosi, of course, shine as always, and the film furthermore profits from great sceneries and an excellent photography. Karloff plays Dr. Janos Rukh, a brilliant scientist who has invented a technique to look into the past through a telescope, and finds out that a meteor has hit the earth thousands of years ago. Stunned by Rukh's invention, the celebrated French scientist Dr. Felix Benet (Bela Lugosi), invites him to join an expedition in to find the meteor. In Africa, Rukh makes a discovery that is capable of causing great beneficence and great destruction alike... It is somewhat odd that Karloff, who was in fact British, plays a Hungarian scientist here while Lugosi, who was Hungarian, plays a French Scientist, but they are both excellent as usual. As far as I am concerned, these two Horror Deities could have probably been filmed reading the telephone directory, and I am sure they would have made something out of it - either man is an icon of the Horror genre, and seeing them together is a treat for every fan of the genre. By the way, this is one of the few films, if not the only one, in which it is obvious that Lugosi was actually taller than Karloff. Frances Drake makes a very good female lead in her role of Dr Rukh's beautiful young wife. The rest of the performances are also good, if not particularly worth mentioning. Other than the casting of Karloff and Lugosi, the film's greatest qualities are probably the atmosphere due to great settings and photography, as well as the wonderfully cheesy and highly entertaining storyline. My main complaint is that I would have wished for more screen time for Lugosi, and for his role to have a bit more significance. He is fantastic as always, but his role could have been bigger, and more sinister. Otherwise, "The Invisible Ray" is a wonderfully entertaining film which should satisfy every lover of classic Horror/Sci-Fi cinema, and a must-see for all my fellow Lugosi/Karloff fans.
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I did not expect a lot from this movie, after the terrible "Life is a Miracle". It turns out that this movie is ten times worse than "Life ...". I have impression that director/writer is just joking with the audience: " let me see how much emptiness can you (audience) sustain". Dialogues are empty, ... scenario is minimalistic. In few moments, photography is really nice. Few sarcastic lines are semi-funny, but it is hard to genuinely laugh during this "comedy". I've laughed to myself for being able to watch the movie until the end. If you can lift yourself above this director's fiasco, ... you will find good acting of few legends (Miki Manojlovic, Aleksandar Bercek), and very good performance of Emir's son Stribor Kusturica.<br /><br />In short: too bad for such a great director ! Emir Kusturica is still young and should be making top-rated movies. Instead, he chooses to do this low-budget just-for-my-private theater movie, with arrogant attitude toward the world trends and negligence toward his old fans.
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I also viewed this film at the Santa Barbara Film Festival. It was an excellent film about adult family relationships. Paul Reiser wrote the film and included some similarities to his family. It was funny, warm, poignant, and moving, as well as entertaining. A film like this would do very well with the word of mouth reviews. I would definitely tell my friends and family to see this film. Let's only hope they'll have the chance. I would rate this film as one of the best movies I've seen in a year. It contains no violence, action scenes, murders, sex, so evidently distributors question whether or not to pick it up. Believe me, there are people out there who would love to go see a movie like this that has redeeming value, instead of the many typical big box office blockbusters we are usually given.
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Begotten is, no doubt, someone's attempt at originality, but, what we have here is art in its most morbid, grotesque form, so, for that, Begotten has my respect, but, to be realistic, it makes no difference what this abomination is about, but for the record...<br /><br />In the ultimate in incoherent horror, we begin in an unknown time, in an unknown place. Right off the bat, we are plunged into the psychotic nightmare that is Begotten, a god is, seemingly depressed, mutilating himself with a razor, I mean, really trying like hell to end it all, it takes a while (why wouldn't it?) After this ultra-morbid introduction, something is happening, something is rising from the corpse, say hello to Mother Earth. What does she do? Well, she gives birth to a thing. The thing would have probably preferred to stay in the womb, but that's life. The psychotic nightmare realm of Begotten welcomes the thing the only way it knows how. The thing, along with Mother Earth is mutilated by unknown, hooded, assailants, with evil intentions being the only clarity available. From this point on, things drag as they've never dragged before. Interesting, grim images, with a totally decent soundtrack, is the high points of the remainder. Not to give the impression that I don't recommend this evilness, because I do, but only once, and only for people with an appreciation for the dark side.<br /><br />From my description, it may appear that I don't "get" Begotten. Trust me, I get it, and yes, Begotten is art if I've ever seen it. Everything in this film, regardless of how unrelated it may seem, is significant. That, perhaps, is the only thing that makes Begotten art. With that said, most of us require some form of entertainment value, and this is coming from someone who enjoyed The Chooper. Probably the most intriguing first five minutes, I've seen in a film, but let's be realistic, the next 7 hours and 55 minutes would put one in a coma, that is, unless it's just meant for some kind of psychedelic purposes, in that case, never mind. But, how would one rate such a uniquely boring masterpiece? Depending on how much your attention span can take, It should be either 1 or 10, any other number just wouldn't make a statement. It hurts to do this, but as far as entertainment value goes, Begotten just ain't it. 1/1
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Like the other comments says, this might be surprise to those who haven't seen the work of Jeunet & Caro or Emir Kusturica. But have you already seen Delicatessen, there is nothing new it this film. I thought Delicatessen was great when it came out, but this film just arrive too late to be of any interest. I don't think it's a worse film than Delicatessen but it's a bore to see it now, like it probably would be to watch Delicatessen again. There is really no point to the film, nothing that really matter or stays with you. There may be a distant similarity to the films of Kusturica, but he's really in a different league, so you should rather go see his films than waste your time on Tuvalu.
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This film is great. As often heard, it is indeed very realistic and sometimes brutal, but unlike some other people I am clearly not of the opinion that it is depressing, negativistic or dismantling Austria as a proto-fascist society. Quite the contrary: While there are indeed some very heavy scenes in HUNDSTAGE and some characters are to be called very bad persons, at the same time you watch love, beauty and humor in Ulrich Seidls film. And that's exactly what distinguishes HUNDSTAGE for me from other films that try to show the lives of the 'ordinary people' in an intense, realistic way; their hustle, their wishes, their dark sides: Seidl clearly never tries to prove, that the lives of the working-class people are trash! In my opinion, viewers who come to this conclusion seem to be very afraid of admitting, that nearly nobody's live is as 'clean' and 'normal' as we would like other people to believe. And that every live has its dark and often depressing sides. The most beautiful scene: The old Viennese man, watching his old girl dancing 'the oriental way', as he is calling it. I think everybody who finds this scene ugly lacks a sense of beauty and should ask themselves what it is, that's proto-fascist: The characters in HUNDSTAGE or viewers, who are turned off by the body of a 70+ year old woman, dancing with all her charms for her lover.
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I understand the purpose of the director to tell stories that aren't stories, but the way he tried to show time passing by (the couple of joggers, who first appear jogging together, than jogging with a stroller (sic!), than the man alone...) and to link the "adventures" of the characters (the final scene, with the maid climbing a mountain seeing the big black guy on another cliff, and then seeing the boat with her former employer and saying "Oh, a boat!") were awful. At the same time, I liked the way he portrayed the middle-high class, even in an excessive way. I think it is a lousy movie. If you want to watch it, do it as a film school student, trying to see technical aspects and issues. It will help a lot.
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| 9,326
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As a former Erasmus student I enjoyed this film very much. It was so realistic and funny. It really picked up the spirit that exists among Erasmus students. I hope, many other students will follow this experience, too. However, I wonder if this movie is all that interesting to watch for people with no international experience. But at least one of my friends who has never gone on Erasmus also enjoyed it very much. I give it 9 out of 10.
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A handful of nubile young college sorority sisters decide to go camping with a professor. A giant druid want to sacrifice them to prevent the apocalypse come the year 2000, they also have to contend with bikers, an Indian and a loch ness monster type thing. Worth watching for only 3 reasons, George 'Buck' Flower (a sadly unsung B-movie staple) is on hand as a hobo and the other 2 belong to the stunning Savannah (in one of only 3 non-porn roles she had). Both have very small roles. Too bad everything else in the movie is horrendously bad.<br /><br />My Grade: D- <br /><br />Retromedia DVD Extras: Original Trailer <br /><br />Eye Candy: 4 pairs of breasts, 2 asses
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| 1,666
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This is a film which should be seen by anybody interested in, effected by, or suffering from an eating disorder. It is an amazingly accurate and sensitive portrayal of bulimia in a teenage girl, its causes and its symptoms. The girl is played by one of the most brilliant young actresses working in cinema today, Alison Lohman, who was later so spectacular in 'Where the Truth Lies'. I would recommend that this film be shown in all schools, as you will never see a better on this subject. Alison Lohman is absolutely outstanding, and one marvels at her ability to convey the anguish of a girl suffering from this compulsive disorder. If barometers tell us the air pressure, Alison Lohman tells us the emotional pressure with the same degree of accuracy. Her emotional range is so precise, each scene could be measured microscopically for its gradations of trauma, on a scale of rising hysteria and desperation which reaches unbearable intensity. Mare Winningham is the perfect choice to play her mother, and does so with immense sympathy and a range of emotions just as finely tuned as Lohman's. Together, they make a pair of sensitive emotional oscillators vibrating in resonance with one another. This film is really an astonishing achievement, and director Katt Shea should be proud of it. The only reason for not seeing it is if you are not interested in people. But even if you like nature films best, this is after all animal behaviour at the sharp edge. Bulimia is an extreme version of how a tormented soul can destroy her own body in a frenzy of despair. And if we don't sympathise with people suffering from the depths of despair, then we are dead inside.
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As an anti-football person, I (on the surface) grudgingly took my younger brother to see this film, although secretly I hoped it might be East is East II. The trailers looked fun so I thought I'd give it a go.<br /><br />It took about ten minutes but after that I was glued to the screen, and that wasn't anything to do with the neck cramp caused by sitting too near the front due to a packed auditorium. The acting was fresh and vibrant, the characters engaging, and the jokes genuinely funny. The entire auditorium was laughing out loud every minute or so. Football fan or no football fan, sport became irrelevant to the main principles of love, friendship, family, independence and rivalry. Add a dash of Sikh culture and you have the formula for the best British comedy I've seen in a long time, dare I say it.... better than East is East.<br /><br />This film trots along nicely at a lovely pace, never dwelling on anything longer than necessary nor leaving anything unfinished, keeping the viewer entertained and mentally engaged. Though not a characteristically twisting-and-turning film, there are some pleasant surprises on the way and things don't always happen as you would expect.<br /><br />Saying that, there were elements of predictability but these were exploited satirically more than used as script-fillers. I suppose depending on your particular penchant for happy-endings you could be either delighted/let down by the ending. Personally, if there was any other outcome I would have written a strongly worded letter to the script writers.<br /><br />As for the actors, I would have to say that Juliet Stevenson (Paula) put in the finest performance. I never knew that people like that existed but she her realism with sometimes bizarre concepts has convinced me that they possibly do! Prize for the most unconvincing (of the main characters) goes, unfortunately, to Kiera Knightley (Jules), but don't get me wrong, even she offered a great performance, it's just that someone has to be last of the best and sorry Kiera, this time you're it.<br /><br />Tip: Don't leave before the credits. Once the lights came back up I realised to my horror that perhaps I shouldn't have watched this film after all. My beloved but forgotten Ice Junkie had melted into a sugary blue juice. Oh, what am I saying, it was absolutely brill and I can't recommend it enough. I will definitely buy it when it comes out and add it to my collection of 3 videos. I'm a student. I only splash out if it's really worth it.
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...in a TV-movie 70's kind of way. It's one of those movies that show up in the wee hours, but rarely because more modern late-hour schlock movies bump it off. It has likeable performances by Graves and Wynn. Generally, it's just a harmless little piece of nothing that doesn't offend too badly. Nothing good, a lot that's mediocre.
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| 4,089
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A good picture is worth all the words. This film has the most poetic scene ever dreamed of about people with Down's syndrome. And I won't spoil it by telling you. You'll want to see it yourself.<br /><br />Pasqual Duquenne is an amazing actor. I did not need to understand a single word he said to understand his meaning.<br /><br />The film has a magic of it's own. After watching it I understood better that we put too much value on achievement and not enough on the people we love. Passion and simplicity is all we need.
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| 15,254
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Sharky's Machine is easily one of Burt Reynolds best efforts. It also stands as one of the best contemporary crime dramas. Erotic and violent, the movie distinguishes itself by setting the story in Atlanta, and delivering a chaotic detective case, to you(the viewer), on a silver platter. Dedicated and determined, Sharky must stop the murder of Dominoe, a lovely lady of the night, who's clientel is anything but ordinary. Before long, Sharky's crimefighting Machine uncovers a conspiracy of the highest order, which threatens to corrupt the inner body of Atlanta. As a resident of Metro Atlanta, I recall the excitement in town during the movie's production. Sharky's Machine goes to great lengths to give an accurate portrayal of Atlanta. Twenty years removed and 2,000,000-more people later, the film stands the test of time. Trust me, Atlanta has not changed. One of the highlights of the picture is Dar Robinson's daring stunt(a classic, symbolic ending). It was even featured on That's Incredible, ABC's reality show of the period. It's just too bad that Hollywood does not make enough films like this one. Kick back, each your popcorn, and watch sterling silver cinema action.
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As it is generally known,anthology films don't fare very well with American audiences (I guess they prefer one standard plot line). New York,I Love You, is the second phase of a series of anthology films dealing with cities & the people who live & love in them. The first was 'Paris,J'Taime', which I really enjoyed. The film was made up of several segments,each written and/or directed by a different director (most of which were French,but there is a very funny segment directed by Joel & Ethan Coen). Like 'Paris', this one is also an anthology, directed by several different directors (Fatih Akin,Mira Nair,Natalie Portman,Shakher Kapur,etc.),and also like 'Paris'deals with New Yorkers,and why they love the city they live in. It features a top notch cast,featuring the likes of Natalie Portman,Shia LaBeouf,Christina Ricci,Orlando Bloom,Ethan Hawki,and also features such seasoned veterans as James Caan,Cloris Leachman,Eli Wallach and Julie Christie. Some of the stories really fly,and others don't (although I suppose it will depend on individual tastes---I won't ruin it for anybody else by revealing which ones worked for me & which ones didn't). Word is that the next entry in the series will be Shanghai, China (is Rome,Italy,Berlin,Germany or Athens,Greece out of the question?). Spoken mainly in English,but does have bits of Yiddish & Russian with English subtitles. Rated 'R'by the MPAA for strong language & sexual content
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First and foremost, Zorie Barber (Zeke), might be one of the worst actors I have ever seen. As a character that's supposed to be a hip, Village writer into the martial arts and proud of being mysterious, why is he so hyper, over-dramatic, and plain horrible? Did he know anything about his character before they started filming? Did the director? Don't the martial arts teach discipline? Aside from that, this film misses the target with its lame jokes and seen-it-already gross-out humor. Hand in toilet? <i>Trainspotting</i>. Masturbation? Hmm. <i>Fast Times at Ridgemont High</i>, <i>American Pie</i>, the list goes on.. .Bad dialogue: In one sequence, Eric says "it's none of my business <i>but</i> . ..." and 30 seconds later Mia says "why is this any of your business?" Bad editing: At least five minutes worth of film are wasted on NYC traffic shots. <hr>It's also impossible to believe that the four main male characters would be a tight-knit group of friends in any world. I can't comment on what makes everyone laugh, but if you enjoy low-brow, basic bathroom humor and insults, by all means, enjoy. If you want something a little smarter but on the same lines, see <i>Boomerang</i>. If you want a solid what-goes-around romantic comedy, go for <i>The Tao Of Steve</i>. But anyone who thinks <i>Whipped</i> is witty and an accurate portrayal dating, well, I cannot agree at all.
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| 1,552
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Perry Mason: The Case of the Glass Coffin finds Raymond Burr defending David Copperfield/Rick Blaine like magician Peter Scolari from a murder charge involving one of his assistants. A trick involving a suspended glass coffin in midair goes awry and the body of Nancy Grahn comes a tumbling out.<br /><br />Nancy was one of six female assistants who work with the act and we learn two things about her. First in a moment of drunken weakness, Scolari got seduced by her and she claims she was impregnated. Secondly she is living under an assumed name and had a secret from her past.<br /><br />Billy Moses who probably never thought he'd be doing such rough stuff back in law school gets to tangle with a couple of good old boys when goes seeking the truth in Grahn's home town. A little more action than usual for Ken Malansky, he almost gets himself killed. <br /><br />One big flaw in this mystery is simple forensics. The medical examiner's report should have provided concrete evidence that the victim was killed in such a way that Scolari could not possibly have done the deed. The police should have been looking in a different direction for the killer. <br /><br />When you see who the killer is you won't blame the individual, but you'll also see how the investigating officer James McEachin got it wrong from the start. It kind of spoils this particular Mason film.
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| 4,482
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I grew up watching Inspector Gadget. It was, and still is, one of my favorite cartoons, if not my absolute favorite. I learned a lot of geography and history from the spin-off Inspector Gadget's Field Trip. I wanted to slip on a banana peel and become the greatest detective ever.<br /><br />But the film has ruined the reputation of the wonderful cartoon.<br /><br />Matthew Broderick, an actor with potential, was definitely NOT the role for Inspector Gadget. First thing- in the film, Inspector Gadget is smart. Not so in the cartoon. In the film, Gadget solves the mystery mostly by himself. In the cartoon, it was almost always Penny, Brain, and the awesome book (I still want her book!). If Gadget solved the mystery, it was by accident. Gadget in the film seems to be a competent detective, but in the cartoon was pretty dumb, which was where the humor came from.<br /><br />Another thing is that it's too much "Good Guy v. Bad Guy" in the film. It's not just meant to be a silly Saturday morning cartoon. Also, Gadget never should have a love story, but Disney Corporation is filled with idiots.<br /><br />Also I miss the true gadgets that Gadget had, and especially the Gadget car. In the movie it was a chic convertible. In the cartoon it was a sedan police car and could turn into a van. It also barely had any gadgets and was mainly there to get him from place to place.<br /><br />But if anything, the one thing that was terrible about the movie was that it was a feature movie. Inspector Gadget was a silly Saturday morning cartoon. The movie was too serious, too overdone, had too much of a plot and wasn't even remotely as funny.<br /><br />Tip for those who haven't seen it: NEVER see it. EVER. Watch the cartoon, it's a true classic.
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| 7,252
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This tough-to-see little picture played at the Mods & Rockers 2007 festival. It is a wonderful and loving look at Harry Nilsson, using many famous faces who sit for interviews, rarely seen TV performances and behind-the-scenes footage of Nilsson at work. There's even a few shots from "Son Of Dracula". This movie is the final and fitting tribute to one of the finest voices, the most clever songwriter and the funniest man in popular music. It's a crime that this man's name is not as well known as some of the songs he wrote and/or performed. His friends tell incredibly funny stories about this talented hulk with a subconscious wish for self-destruction. As a bonus, you even get Eric Idle performing the song with wrote for Nilsson's final album during the closing credits. It's funny, it's sad. It's not in general release. If this picture plays anywhere near where you live, see it!
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| 14,573
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I love this show!<br /><br />Every time i watch an episode i repeat that line and remind myself how good of a show this is. I am a huge sci-fi fan and this show has grounds to be the most important science (fiction?) show in the history of film/TV. There are so many theories in this show about the universe i could start a religion. Its amazing, season after season the show gets better and better.<br /><br />I've been a fan of MacGyver since i was 5 (19 now) and i find it so ironic that my 2 favorite TV shows of all time star Richard Dean Anderson. Its also interesting how each character is practically the opposite of the other.<br /><br />Back when i first saw Stargate the movie, i instantly liked it and considered it one of my favorite sci-fi flicks, then hearing a TV show would spin from it i got really excited, but didn't get showtime till the fifth season was almost over.<br /><br />Though, I'm disappointed to hear that Roland Emmerich and Dean Devlin wanted to do a trilogy of movies but the studio optioned the series instead. <br /><br />Id say though that it turned out just fine. Maybe even better.<br /><br />This show is amazing, and i hope it never dies. Atlantis here we come!
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| 13,409
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I have three comments to make about this film, which I discovered hanging out forlornly in a lower shelf at Blockbuster. First off, it is interesting to see the approaches film makers take in trying to film essentially unfilmable works. Some have, as Kubrick did with "Lolita", gotten the original author to write a screenplay that is something like the original work. Of course that can't happen here; Kraft-Ebing is long dead. Some have used the premises of the original work as a launch point to go in a completely new, unrelated direction (the recent adaptation of "Tristram Shandy" comes to mind here). You can dumb it down - the film of "Slaughterhouse Five" is to my mind an example of that. Or you can simply take the format of the original and try to render it in cinematic vignettes. That would be the approach of Woody Allen's "Everything You Wanted to Know About Sex", and, arguably, this film. Upon consideration, it is probably the only thing one can do with a scholarly work like "Psychopathia Sexualis". The potential loss is that whatever cumulative point the original work had is obscured or destroyed. And so it is here.<br /><br />Point two is the cinematic style. Some would call it an "homage" to Murnau, Pabst, Carl Dreyer, etc., but I think it more crude than that. Its far too heavy handed and self-conscious to be effective for long. It is eventually just annoying.<br /><br />Point three is perhaps a less intellectual observation. How did the people responsible for this manage to make a film about wild sexual deviations and perversion that is so incredibly boring? I found the film impossible to pay attention to, and anyone who is not automatically drawn to depictions of sexual deviance will find it so as well. I don't want to be completely uncharitable and say the film is pointless, but I have to say that whatever point the film makers had is rather obscured by the nature of the source material, the overt copying of filmic styles, and the stubborn refusal to engage the audience on an emotional level (possibly for fear of being accused of titillation).<br /><br />The film is a dubious exercise from the start and doesn't really work for me, I'm sorry to say.
| 0
| 8,363
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An inspired choice of director for this latest Brit-Flick, Rose Troche, who burst on the scene with the budget-free tale of NY Dykes, _Go Fish_ brings a gently Jaundiced view to this tale of a Londoner choosing the slightly inappropriate milieu of a male bonding society to declare his lust for a fellow seeker of masculine truths. The highlight for me is a scene where the society try to revert to being primitive hunter-gatherers but end up ordering a take-away. The film as a whole is wonderfully acted and Troche, who'd never be accepted by some of the lesbians she portrayed in her previous film, relishes the bigger budget by indulging in some wonderfully lingering pan shots that contrast with _Go Fish_'s grainy hyperkinesis. A really enjoyable film
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Hollywood now has officially gone too far and I really hope that this travesty of a motion picture creates a genuine backlash against their crap machines, in spite of the good box office returns. If you are an industry person reading our comments looking for hints on what to do next, STOP. Stop making our TV shows into these repellent, stupid, money grubbing waste of time movies that suck. By doing so you are proving one thing: Hollywood is out of ideas, and going to see the movies they churn out only perpetuates the cycle of disgust. What's next -- You guys gonna go & ruin The Bionic Man??<br /><br />The film is just plain wrong, and manages to get the most stupid, simple fact of the show totally incorrect by forgetting (or ignoring) that Tom Wopat & John Schneider's Bo & Luke Duke were *REFORMED* moonshiners. They had been busted, learned their lesson, gone straight, and were there to help people and be good neighbors who just happened to shoot dynamite tipped arrows from hunting bows & drive like Steve McQueen. Denver Pyle's Uncle Jessie was also the moral center of the family, always insisting that the Boys do good, even at their own expense or embarrassment while he made sandwiches and coffee for when the chores were done. They always did the right thing and had a sort of earnest naiveté about them that was quite appealing. We wanted to be more like them than we were, sorta. My favorite gimmick from the show was how they always buckled their seat belts before roaring off, which was apparently too moral for this film.<br /><br />By transforming the Duke family into a pack of leering, wisecracking, criminally minded, redneck baiting, misogynistic losers the movie has no moral standpoint, where the show was all about how honest or incorruptible the Dukes were -- Are the Duke boys in this movie supposed to come off as good guys? I wanted to punch them both in the nose. They seem to have a lot of free time on their hands that could be spent doing chores back at the farm and end up pursuing less than noble ends, if not acting like a pair of 14 year old boys who haven't grown up. There should be no marijuana use, no gawking at buxom, nubile coeds & their breasts, no shenanigans involving the Brothers in da Hood. All of it looks like the work of a marketing consultant who took a poll at the mall of what 14 year old boys like to see in movies. The problem being that 14 year old boys cannot possibly remember the show, IMHO shouldn't be seeing this movie either, and the parents who might feel nostalgia for the show will be disgusted by what the writers, director & producers did to our collective memories just to part us from our money, which is exactly how I feel. What were they thinking???<br /><br />And boy did they *EVER* get Daisy wrong. Jessica Simpson all dolled up like a Pamela Anderson mall slut may be the only reason for anyone to see this disgrace, but you can service your needs just fine downloading some promotional stills of her, printing them up & pinning them to the wall in a restroom. She is hardly in the film at all (which is the movie's only saving grace), and the ten minutes or so they used her was STILL excessive. Catherine Bach's Daisy may have had the same kind of shorts, and long legs that make people feel funny just looking at her, but the Daisy she played was a *PERSON*. The pratfalls she elicited by simply being who she was had an almost natural ring to it. She remains one of the most outrageously sexy pop culture icons ever created but there was somebody at home. And most importantly she was a sweet, caring person who couldn't help it if the guys went Ga Ga over her.<br /><br />By contrast, Jessica Simpson appears phony, contrived, made up, costumed, posed, aloof, bored, out of place, and I don't think she even looks that great in the outfit. She doesn't look like a person but a plot device, conjured up during a deal with someone representing her agent. Ms. Simpson would be well advised to fire that person immediately and pretend like the whole thing never even happened. Whatever the joke was, she isn't in on it and is disgracefully exploited for T&A. If that's all she wants from her career, executive produce the sequel if only to ensure yourself enough screen time at least, because this effort was just pathetic.<br /><br />The bottom line is SKIP IT. For the cost of two tickets and a Slurpee to go you can pick up one of Warner Bros. excellent box set collections of the original shows on DVD and the entire family can watch them together. That was why it worked. The only real purpose I can see in the film might be it's future use as an interrogation tool at Guantanamo Bay. Twenty minutes of this & they'll be singing a choir.<br /><br />1/10, and I mean it. And STAY THE HELL AWAY FROM THE BIONIC MAN, you schnooks.
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| 3,239
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I went to see suspecting I would hate it, I did. Everything about it was wrong; it was like they were filming a different book. Granted the locations and houses very lovely (if not a little miscast-yes even the house were wrong for their parts) Keira was too modern, dull and frankly I found it unpleasant to watch her. Were everyone else sees Darcy as a sex god the writer of this saw him as sexually frustrated and inadequate. Bingley was stupid and dippy (he isn't meant to be) and the Bennett's were shown to be destitute and for some unknown reason farmers, this is incorrect and ludicrous. The very idea that Mr Bennett would answer the door in his night gear with the rest of the family dressed in their underwear to in the middle of the night is stupid. They had servants. Mr Collins was not repulsive and greasy merely stupid and obnoxious, Georgina Darcy was ugly and old and Miss Bingley wore a sleeveless dress, what! As if! It is Historically inaccurate and even the ending is unsatisfying. I could go on for days. I hated it so much as not only was it nothing like the book but I fear that for many people it will be their fist experience of this great novel and it will give them the worst possible idea of it. The BBC version is so superior it's not even funny and everything about this version is an insult to its memory. In short if you must see it be sure you have read the book first or seen the BBC version other wise you will be lead done the deluded road that this is what it's like, which its not!
| 0
| 9,621
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I mostly rented this movie to see Shannon Elizabeth. She played well in this movie, but the plot sucked. The movie wasn't really about anything just about trying to stay single after making a pact when one of Jerry O' Connell's friends gets married. The other friends put together this money and who's ever last to get married get's the money ($10,000) from all his friends. Anyway the movie just try to follow through by making no since and trying to make it more funny then making since. I'm glad I only paid .50 for this movie. It really wasn't good at all. I rated it **** out of 10 stars!
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| 8,160
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It amazes me that production companies will sue because of reproductions they will not supply. I've been looking for this movie on DVD for a while and VHS for years. One can get all sorts of movies on line...old movies, new movies... but it all targets a particular group. This movie is very nostalgic for many. I'm not sure why I can't get a copy. Maybe if enough people will write in, the copyright holder will get a clue. It's about time for this to happen. Yes, it's date, but so is The Wizard of OZ. It doesn't seem like this should be so difficult. So, for now, I'll keep seeing those illegal copies on search engines like many others.
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Drifting around on bootlegs, sometimes thought an urban comic book legend, the first FF movie is pretty much as bad as everyone fears. I guess Marvel Comics now pretends it doesn't exist, what with the 2005 version out in theaters earlier this year. But it's out there, a reminder and the last of the first wave of bad, low budget Marvel super-hero adaptations (Captain America, Punisher, most of the TV movies). 'Low budget' is too easy a description for this FF pic. Due to basically no funds, showing the powers of the super foursome was limited to very quick shots (Mr.Fantastic), quasi-animation (Torch), and fades (Invisible Girl-the easiest to do). The Thing suit was not bad and probably half the budget; the face part was especially almost convincing. The acting? Alex Hyde-White as Reed is pretty good; the other 3 are OK, tho Jay as Johnny acts like a spaz at times to sort of show off his 'fiery' temper. The dialog is comic-book style, and it's the supporting cast which ends up floundering trying to make it work. Dr.Doom is way over melodramatic and unintentionally comical, and his two main henchmen are a case study of how not to act or write dialog.<br /><br />The plot? Not too good. It was quite faithful to the origin story of the FF (more so than the later big budget version), and even though the non-budget, again, restricted showing, for example, the actual crash landing, it kept the essential ingredients of how they discovered their powers in an isolated area - it's the best part of the picture, tho you have to wait a full half-hour for it. I also found the music odd in places; when the 4 are bathed in those cosmic rays, a kind of church choir is heard, as if it's a religious experience. The rest of it, however, is hopeless. Even with no budget, the story could have done without the Jeweler character (resembling the Mole Man villain of the books); it spends way too much time with him and his underground gang, as well as the blind Alicia. These sections are a waste of celluloid and very boring. The climactic struggle with Doom & his men starts fine, but degenerates into an awful mess as the Torch races a laser beam (cool animation but belonging in a cartoon). Fans can have a laugh at the bad FF FX and witless storyline, if they don't get depressed & outraged first.
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| 9,973
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Having low expectations going in, the opening new footage (clocked at over five minutes) of 'Husbands' came as a pleasant surprise. I won't say the new footage was grade A material, but it provided a very solid foundation for what "could have been" a good all-original film.<br /><br />Unfortunately, this was put together in 1955, during a time of one day shooting schedules. After the new footage, Jules White decided to just thumbtack stock footage from 'Brideless Groom' into this short, making for a not-so-smooth story transition, which Jules and Felix Adler try to remedy with a quickie bit of new footage at the end, giving us the old, worn-out ending of the boys (Moe & Larry in this case) getting shot in the butt.<br /><br />3/10
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| 1,034
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This is one excellent Sammo Hung movie. Actually, this is a great piece of Hong Kong action cinema. The story tells the story of pedicab drivers in Macao looking for love and getting mixed up w/ a vicious pimp. The performances are excellent and the characters are all likable and well-defined. The story is involving and has enough romance, drama, comedy, and suspense to keep one watching between fight scenes. Sammo Hung proves here that he's probably the best fight choreographer in the business. The action is simply amazing, esp. the fight w/ Lau Kar Leung and the finale. Billy Chow and Sammo Hung are amazing. A must see for any fan of action.
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I thought that this movie was pretty lame. If you're looking for cheesey, you may like this. I, myself, don't mind a fair amount of cheese, but this was ridiculous. The progression of the movie bored me and the storyline was very weak.<br /><br />The only thing entertaining about this movie was the day-glo zombies, but even that isn't reason enough to see this flick.
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| 10,997
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This film just goes to prove that not every film made during the glory days of Hollywood is worth seeing. Just because you've got an excellent ensemble cast doesn't mean that this can overcome a script that was probably written by a chimp! Think about it--the film featured Richard Widmark, Lauren Bacall, Charles Boyer, Gloria Graham, Lillian Gish and Paul Stewart and yet it still was a bad film! The basic premise of the film isn't bad--a private psychiatric hospital where the staff are more screwed up than the patients! Also, the subplot involving the overworked husband and wife (Widmark and Graham) had a lot of promise. However, the script was handled with all the finesse and deftness of a drunk buffalo--with bellicose and way over the top scenes again and again in the film. In fact, it was less like a drama and more like a very bad episode of "General Hospital". Subtle, this film ain't!! Realistic, this film ain't!! <br /><br />While most of the reason this film reeked was the awful script, but I also blame the producers as well for miscasting and misusing come veteran actors. For example, Paul Stewart may not be a household name but this character actor had exceptional talent--especially when playing gangsters in Film Noir movies. Yet here, Stewart is cast as a very nondescript psychiatrist with some bizarre European accent--it just didn't work since this was well outside his acting range and his character was totally undeveloped and one-dimensional. Also, Charles Boyer just seemed hopelessly miscast and totally out of place. Seeing this fine romantic actor as a psychiatrist in the heartland of America just seemed bizarre.<br /><br />Overall, this is a rather awful film. It is very watchable in a train wreck sort of way but it certainly isn't very pretty. My wife and I disliked much of the movie but also felt it could have been very good had the writing been competent.<br /><br />PS--In a case of art imitating life, Oscar Levant played one of the patients. In real life, the brilliant Levant spent much of his life in and out of mental institutions.
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| 7,803
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This movie is great from start to finish about a group of med students that get together and literally kill each other by stopping their hearts and then revive themselves. They then research what happens from the "near death" experiences. As each one goes through the experience, they become haunted by their deepest fears that seem to materialize as reality. This ranges from dead kids with hockey sticks to dead fathers that seem to be upstairs.<br /><br />The cast is first rate and Oliver Platt is hilarious in one of the best roles of his career. I am not a big Keifer Sutherland fan but even he does an excellent job. This is a movie that I can watch over and over!
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This is Paul F. Ryan's first and only full-length feature. He hasn't done anything since. However, he managed to get an amazing ensemble cast to portray the characters of his story. I don't know when or why the idea emerged in his head, but Ryan wrote a screenplay which later became his own directed movie, "Home room".<br /><br />Busy Philipps carries the movie on her shoulders as Alicia, a troubled girl; the ones we always see in television series. With dark hair and black clothes; a package of cigarettes in the pocket, weird look and disturbing eyes (with makeup, of course). An event has occurred at her school; a shooting. Some students have died, and she saw everything. Now Detective Martin Van Zandt (Victor Garber) is investigating the case, and, as expected, Alicia is a suspect. But the shooting is just the genesis; the movie is not about the shooting.<br /><br />Lying in bed in a hospital room is Deanna Cartwright (Erika Christensen). She is one of the survivors of the hospital. The script establishes a bond between them, by the school Principal (James Pickens Jr). He is helping all the students to recover from the event, but Alicia doesn't seem to care. She's isolated. So the Principal punishes her; she needs to visit Deanna every day until five o' clock. Then the movie starts.<br /><br />I can't even describe how wonderfully written I think the movie is. I can identify with the characters and the situations they live; I like reality. These things could happen to anyone. And the things they say are totally understandable. They're growing up and trying to deal with things they haven't experienced; they're doing their best. Without knowing it, Alicia (when she visits Deanna for the first time) and Deanna (when she sees Alicia standing in front of her) are commencing a journey of that will define their personalities and ideas for the next step in life; after high school.<br /><br />The director leads Christensen and Philipps through their roles very well. Look the contrast between them. Deanna seems naive and with plain thoughts; no complexity inside of her mind. When Alicia enters her room and sees tons of flowers she asks: "Who has brought them?". "Many people", Deanna answers; although some days later we learn they're from her parents, who come every week. The parental figures are all well represented, but are not as important as their sons' characters. Deanna is lonely. Alicia seems mature and violent; smoking cigarettes and talking roughly. But after two days of visiting, she finds herself coming back to the hospital every day; even sleeping in Deanna's room all night. When they both have a fight afterwards, I believe Deanna says: "Why do you keep coming back?". Alicia is lonely too.<br /><br />The ending of the movie, without ruining it, comes a bit disappointing; it's something I wasn't waiting for. It eliminates some of the strength the movie has. The revelation comes totally unnecessary; ruining the logical climax the movie could have had. It was an excellent script anyway; and an excellent direction. A damn fine movie.<br /><br />When it comes to Erika Christensen, this was the role she needed to fly higher. Her role in "Traffic" was impressing, but this was the big step; the main role. Maybe not many had the chance to see her in this film, and that's a pity. She hasn't made one false move since then. She has even come out with good performances in awful movies. On the other hand, Busy Philipps, who proved to be very promising in this movie (what a transformation), hasn't got many opportunities for other roles.<br /><br />The same I say about Paul F. Ryan (in directing, of curse), and I expect he is sitting now in his computer finishing his new script; I'm waiting for his next movie. I'm hoping the best for all of them.
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| 12,563
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Ah, I loved this movie. I think it had it all. It made me laugh out loud over a dozen of times. Yes, I am a girl, so I'm writing this from a girl's perspective. I think it's a shame it only scored 5.2 in rating. Too many guys voting? It was far above other romantic comedies. Just because I'm female I don't enjoy all chic flicks, on the contrary I prefer other genres. Romantic comedies tend to be shallow and not as funny as they meant to be. But like I said, this movie had it all, almost, in my opinion. Great script, good one-liners, fine acting. Although Eva Longoria Parker's character reminded very much of Gabrielle from Desperate Housewives, but so what? It was awesome. I will keep this film for rainy days, days when I feel low and need a few laughs.
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| 22,689
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This film is a travesty, and isn't fit to keep company with the superior original. The plot is an absolute mess, and the film is way too long. Everytime they're struggling, they desperately inject a sentimental reminder from the first film.<br /><br />"Gregory's Girl" is one of the top 10 British films of all time, this one is awful.
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| 3,718
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Whatever happened to Keaton is what I want to know.<br /><br />Actually I don't, I crawled away, heaving, thinking she must owe half the bookies in Vegas, or maybe not, maybe she was just brainwashed, blackmailed and bored to death. Rich enough to adopt a third-world country, she somehow had to star in yet another cookie-cut, cliché-ridden drool'athon, based on the same character-franchise she's been rehashing since 'Father of the Bride'('91). You'd think she's going head to head with Mr.Bean.<br /><br />(Spoilers) <br /><br />So hubby (Dax) get's fired by obnoxious son of boss, his mom (Keaton)leaves his dad after classic row, and crashes over with her own dog-show in tow, oh those little rascals. Hubby's got cold-feet for diaper-duty, wifey's clock a-ticking and hey, let's toss in a space-cadet as second house-guest for good measure, all in one day because that's so funny and original. Wife gets fed up and walks away, mom leaves dad for space-cadet and the couple makes up in time for closing credits, 86 very long minutes later.<br /><br />Now if you have to have a space-cadet, he can't be devious as well, he can't scheme some excuse for his stayover, and if mom leaves dad, she can't hop into a cab dressed as a pumpkin just because some scriptwriter agonized over how to cheer thing up. <br /><br />Plus that gag whereby they invite her in only to then discover she's got her canine entourage in the cab has got to be outlawed by now. And you only get one obnoxious 2-dimensional boss to denigrate. Another movie-killer would be the movie-script the space cadet is toiling away at, supposedly more lame than the actual one, again, dejas-ad-nausea.<br /><br />Liv Tyler doesn't seem happy here, her voice was weird at times, it had me wondering if they later had her redub some of it, and she's a smart one, she's handled great roles and we'll forgive her for Jersey Girl, it was disaster-prone, could happen to anyone. Dax Shepard was watchable and that's being generous considering the material.<br /><br />Personally, it's the director, the screenwriters and especially the producers that I would love to see tar'n'feathered before shipped to Guantanamo as playthings for the prisoners, and that's me keeping this 'lite'.
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| 6,930
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This is a failure so complete as to make me angry.<br /><br />All of the subtlety and structure of Reggio's early films is gone, leaving nothing but a hash of digitally smeared images whose sole purpose seems to be Whining About Bad Things Humans Do. Just how do Star Trek-like wormhole graphics, slo-mo colorized seascapes, mutiplicities of obviously fake computer icons, and shots of athletic competition that, incidentally, show that no one has ever been able to top (or even match) Leni Riefenstahl for filming bodies in motion, edited together with an overlay of video colorization that a 1980s "Dr. Who" producer would have rejected as "too cheesy," add up to a polemic against "civilized violence"? There is no intellectual, emotional, or visceral connection between these images as assembled and mutated by Reggio and way too many digital effects artistes, and the cautionary tale I assume he wanted to produce. With all of the "dramaturgical consultants" involved, no one seems to have pulled his head out the his own feeling of Saying Something Important and considered that they might all be failing to say something new.<br /><br />Only people who watch too much television could make such a film and believe that it's meaningful; this is kindergarten Stan Brakhage, and ultimately gutless in its relentless obviousness. The only irony and tension evident here (unlike in "Koyaanisqatsi" where the relentless beauty and strangeness of time-altered ordinary images forced you to consider their meaning) was when the DVD I was watching jammed and skipped. This is MTV for the Noam Chomsky crowd, based on reflex rather than reflection and signifying nothing. Two stars for the music, which is in Glass's best pomo-Cesar Franck style and features some passionate cello from Yo-Yo Ma. (I hope for his sake that he didn't have to record his parts to a playback of the film; there are some things you shouldn't have to do even for a paycheck.)
| 0
| 9,162
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'The English Patient' is a love story set in Europe as World War II ends... It is a wartime romance mystery epic, like 'Hiroshima, Mon Amour,' 'The Sweet Hereafter,' and 'After Life.' Anthony Minghella weaves extravagant beauty around a central character whose condition is grotesque, and puts emotional barriers between the characters and the audience...<br /><br />This adult love story is an intimate portrait in the tradition of 'Casablanca' and 'Dr. Zhivago.' The film sweeps gracefully attaining a level of eroticism and emotional connection that many similar films had missed... Told in flashback, it is a masterpiece of intimate moment and spectacular largesse...<br /><br />Ralph Fiennes plays the English patient, Count Laszlo de Almasy, a Hungarian cartographer of few words, who works for the British government, and is stationed in the North African desert...<br /><br />Count Laszlo is the unidentified survivor of a plane crash turned over to the Allies, taken into custody by a medical convoy in Italy, and essentially left to die in peace, in an isolated monastery in Tuscany, under the care of an inspiring pretty nurse who injects him with morphine, and reads to him a book, considered his great treasure, and his one surviving possession...<br /><br />Hana seeks to stimulate his touching memories, wrapped up in his head, released in lost pieces from his disturbed mind...<br /><br />Fiennes gives a haunted, pained performance, playing the young man whose veneer of charm cannot plainly cover his heart's capacity for passion... He makes us sympathize with the character in showing self-doubt and weakness... As a badly burned man, he has only cherished memories... His joy and heartbreak are completely clear and visible in his eyes... He remembers falling under the spell of an attractive English married woman... He remembers the way this turns him from a harsh abrupt wanderer into a man willing to betray everything for love... His tragic love affair forms the heart of the motion picture...<br /><br />Kristin Scott Thomas matches Fiennes' work with a radiant sensuality... She is captivating as the married European woman, conveying the audience with the energy and enthusiasm for life that the Count finds irresistible... Their different world, despairing and hopeful, menacing and resilient, is simply beautiful... With intense passion and intelligence, this attractive blonde burns the screen as the different wife...<br /><br />Juliette Binoche seems to shine as the French-Canadian nurse full of life and energy... This vibrant young woman has a heart of gold, kissing wounded soldiers, but she thinks that she is a curse as anybody she ever loved tends to die on her...<br /><br />Colin Firth is good as Katherine's husband... He is a British spy flying into the tough desert in a yellow biplane to take aerial maps of the whole North African continent... He quickly becomes friend of the Count, yet when he realizes that his wife has committed adultery, his face reflected a peaceful fury...<br /><br />William Dafoe plays a double-agent spy who covers his anger with a strange charm... He is a crippled war veteran who has a hidden agenda... This cunning Canadian man seems to know of some dark secret in Almasy's past... He believes the 'English patient' is partially responsible for the mutilation of his hands, and is busy seeking revenge on everyone even remotely involved...<br /><br />Naveen Andrews is Hana's ardent lover
He is a handsome Sikh, and an explosives expert with a dangerous job
There's a scene that is stuck in my head because it literally had me on the edge of my seat for what seemed an eternity
In this particular scene, the military sapper has to cut the wires on a bomb that has been hidden on a bridge
It's on a timer and he only has a few minutes left
The scene cuts back and forth between his tense face, the wires and his dirty fingers as they try madly to figure out how to untangle and cut the wires without detonating the bomb
<br /><br />All the conventional elements of the genre are at peaks of excellence in "The English Patient." John Seale's cinematography is breathtaking, and Gabriel Yared's majestic music is dreamy, and romantic
This is a rich motion picture with ambition and style, a fever dream, lyrical and complex
We are almost able to feel the heat of the desert, the pain of the burnings, the intimate flush of humanity that becomes the most haunting element of this epic love story...
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A one is the highest rating I could have given this movie, considering zero and negative numbers are not allowed. Pee yew, pointless mess of a movie with a lot of wasted b-list actors who have done better work, written and directed by some guy with the mentality of a twelve year old who smirks and giggles at stupid puns, and poop and fart jokes. For example, Gene Stapelton's (Ding-Bat from All in the Family) character telling Marilu Henner's character that she "swings both ways" sexually, was a cheap attempt at humor indicative of the general lameness of the movie... You want good, cheeky humor? Rent Animal House, American Pie (part one only), Old School or Office Space.
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| 1,319
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I have been wanting to see cut since the day i have heard of it, which was sometime last year. Anyway i got to see today, and when the movie started i thought that it started rather week but it got better after 10 mins or so. I thought that the movie was pretty good. but the thing i didn't like was how the killer was created, i was thinking just before i rented that it would probably suck just like Urban legends: final cut, i almost died it. mostly everything in UL final cut needed to be improved. CUT is 100 times better than UL:final cut. The best part of CUT is the killer and the death scenes. The killer kicks MO F***ING ASS.<br /><br />i give cut a 8 out of 10
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| 23,252
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Admittedly, I watched the MST3K version of this, but it's not actually too bad outright, at least compared to others which deserve my cinematic hatred.<br /><br />The story centers around a troubled girl wrongly sent to a "reform school" called Girls' Town. Along way, races, redemption, and wackiness (unintentional) happen. The story and acting are a little flat, as is the action. However, the entire thing is actually entertaining to a degree if you are absolutely bored.<br /><br />Overall, just a simple sub par 50's flick, but far from the worst movie ever made, with some bright spots in the movie (The Ave Maria sequence was good for me).<br /><br />If you get a chance to watch the MST3K version, you won't be disappointed. By it self, not so much, but I can think of worse methods of torture ("Spiker" anyone?).
| 0
| 8,108
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Other reviewers seem to have held this film in high regard. For something made by an eighteen year old film student, I would say bravo, but that is not the case. If you want to watch a good movie about graffitti stick to the documentaries. It is filmed with the same quality as a digital home video. The two main characters are dismal actors and once again that would be okay if this were a student film. The plot follows a lonely artist who skateboards around Portland writing graffitti. He is joined by another and they skate around together creating art. Then comes the unnecessary gay love scene. Then comes the dispute between them that is never actually discussed because this film has about as much dialogue as a charlie chaplin picture. This movie does show the gravity street artists give to their form well, and the music is nice, but overall I wouldn't really call it a film.
| 0
| 8,521
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Annie's wig does not look good. she is not cute and pretty enough to play Annie. Annie sticks out in the movie, as her outfits look like Halloween costumes. terrible acting and terrible plots. This movie is such a change from the 1982 version. I think that a younger and smaller girl should have had the lead role. Ashley Johnson portrays a very boyish Annie. Not appealing at all. At least the casting director got it right with Daddy Warbucks. Ms. Hannigan was also miscast. Camilla Belle played Molly alright. "Warning" this movie might insult your IQ so you might just want to only show it to very young children. 8 and younger. Some of the plots are too fictional and could hardly take place in the real world.
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| 12,269
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Ram Gopal Verma usually makes so-so cookie cutter formula fare, lifted from some Hollywood flick. His every film after Shiva is in the cookie-cutter genre. Occasionally, he makes a truly horrible movie like this one. <br /><br />For the first 55 minutes, we are introduced to the only 2 characters, a struggling gymnast masquerading as a skilled dancer (go figure!) and a wannabe actor trying to strike it rich in Bollywood. They fall in love, zero becomes hero, dancer/gymnast gets no break, gymnastics, angst, the usual heartbreak, more gymnastics, angst, song, dance, angst, some more gymnastics, more ridiculous gymnastics and before you know it, you're fast asleep. And this despite the HOT SEXY HOT HOT SEXY HOT bod of the leading lady-cum-gymnast-cum-dancer.<br /><br />But hey, you're not alone!! The editor, director, photographer, in fact the whole cast and crew are asleep thru-out the entire production. Only difference being they got paid to snooze while you paid money for this crap, so you lose. Ha, joke's on you. Don't feel sorry for yourself but for our poor broke gal as she tones up daily in her high-rise penthouse in the sexiest of leotards and exercise-wear. Puh-leese, when will the poor thang get a break, she's STARR-VINNNG?!<br /><br />Antara Mali cannot act. RGV's lost his marbles. Abhishek tried hard but failed. No plot. No story. Nothing. She must've paid RGV handsomely to make this all-nonsense stuff in addition to free gymnastics lessons on his casting couch. What a super deal. No need for an acting career.<br /><br />Such absolute rubbish can only be "Made in Bollywood" of course!
| 0
| 9,053
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Joe Don Baker. He was great in "Walking Tall" and had a good bit-part in "Goldeneye", but here in "Final Justice" all hope is gone...the dark side has won. <br /><br />As with most of humanity, my main experience with this one was on MST3K, and what an experience it was! Mike and the robots dig their claws deep into Baker's ample flesh and skewer this flick completely. It's obvious they were just beginning with "Mitchell" on their anti-Joe Don kick and here lies their continuation on a theme.<br /><br />It makes for a funny experience, though: there are plenty of choice riffs. My favorites - "John Rhys-Davies for sale", "It's 'Meatloaf: Texas Ranger'", "none of them are sponge-worthy", "Why was she wearing her prom dress to bed", and my favorite - "'Son of a...'? What? What was he the son of: son of a PREACHER MAN?"<br /><br />By itself, "Final Justice" is, as Joe Don puts it in the movie, "a big fat nada". But here, it actually has some entertainment value. You get a chance, catch THIS version of "Final Justice".<br /><br />Two stars for "Final Justice". Ten for the MST3K version ONLY.<br /><br />Oh, and try not to visit Malta when Joe Don's in town.
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| 3,072
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I love Paul McCartney. He is, in my oppinion, the greatest of all time. I could not, however, afford a ticket to his concert at the Tacoma Dome during the Back in the U.S. tour. I was upset to say the least. Then I found this DVD. It was almost as good as being there. Paul is still the man and I will enjoy this for years to come. <br /><br />I do have one complaint. I would of like to hear all of Hey Jude.<br /><br />Also Paul is not dead.<br /><br />The single greatest concert DVD ever.<br /><br />***** out of *****.
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| 15,350
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I saw this film at the Edinburgh Film Festival, and would not recommend it. It is two and a half hours long, during which nothing much happens at a wading-through-porridge pace.<br /><br />The main characters are gormless and totally lacking in charisma or personality. No-one smiles at all during the film (neither would I if I had their lives), and although Domino seems to have a healthy sexual appetite she doesn't seem to enjoy sex at all.<br /><br />The whole experience is depressing and ponderous, the director lingering over each scene in a way that drove me crazy rather than striking me with the beauty of his technique.<br /><br />Too many questions were left in my mind: why does he sniff the Algerian man's head? Why does he levitate? What is he looking at over the allotment fence? Why does he kiss Joseph? Why did we go and see this rubbish rather than ordering another bottle of wine in Bouzy Rouge?
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| 4,342
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I first saw this movie when I was in elementary school, back in the 1960s. I was fascinated with the character played by Ingrid Bergman and it was my introduction to the French Quarter of New Orleans. The first part of the movie is the best as she comes back to exact some revenge on her father's wife and daughter (her mother had been driven out in disgrace). During this time she meets the wonderful Clint Maroon, played by Gary Cooper. The chemistry between the two is great. The second half of the movie takes place in Saratoga, NY (the Saratoga of the title) and I never enjoy it as much as the New Orleans setting but it's still very good. I give this movie a ten - partly out of nostalgia but mostly because it's just a darn good movie and the characters besides those of Bergman and Cooper are equally wonderful (Flora Robson comes close to stealing the scenes from Bergman). It used to be shown on TV periodically but it's shown rarely if ever - it would be a good one for one of the classic movie stations to pick up and put into their programming cycles.
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The story by Norman Maclean is a masterwork; Redford's film is a mediocrity. He adds banal scenes of the Maclean brothers going over a falls and of them double-dating in a seedy bar that were not even hinted at in the story. The cipher, Brad Pitt, trying to play the charismatic Paul Maclean, a genius outdoors, proves either risible or depressing, depending on what the original story meant to you. Some of the fly casting scenes are beautiful. Also, Tom Skerritt as the father and Craig Sheffer as Norman are strong and masculine, as men were once expected to be. None of the women make an impression in the film, which is regrettable, because Maclean loved the women in his story and made this clear, even poetic.
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| 190
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If you like to see animals being skinned alive, their heads smashed, dogs throats being crushed my men stomping on them, then this one is for you! But if you are somewhat normal, and don't need to see real footage of animal cruelty, pass this one up. This movie tries to shock the viewer, and it sure does.With the animal snuff at the beginning, and the killing of babies in the movie (fake at least)its was enough to make myself turn it off.I've seen movies like this before that show slaughterhouse footage (BTK movie) and this kind of footage should not be allowed in a horror movie.We watch gore and horror because we know its just make-up, and special effects, so we shouldn't sit down to watch a movie and see the real killing of animals, its not what we rented the movie for.If anything, there should be a large warning label put on these types of garbage movies so people won;t be surprised by it. As a very hardcore horror fan, this one turned my stomach. The entire movie cast and crew need their heads checked.
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| 5,720
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American boy Jesse took the train to Vienna in order to take the plane for USA. On the train he met a French girl Celine. Although they met the first time, they talked like good friends. When the train stopped at Vienna, Jesse begged Celine to accompany him to have a tour on Vienna. Then the romantic story unfolded.<br /><br />At first they were cautious. The funniest scene was their listening to CD in music store. They peeked at each other, though their eyes did not contact. After in-depth conversation, they relationship became close. Then I saw the most romantic scene that they pretended to call their respective friend. Their deep love for each other was expressed completely by words.<br /><br />Love is a strange thing. When you really want it, it will not come as you wished. Love needs mutual understanding. Without it, love will not last long. Spiritual harmony is the most important for love.<br /><br />Excellent screenplay and performance resulted in huge success of the movie.<br /><br />One of the best romance movies. 9/10
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It's wartime drama - WWII, with French and Jews and Germans, but this one is somehow fun, earnestly so. Director Jean-Paul Rappeneau co-wrote the script to his well-received film "Bon Voyage" (2003). Unlike director Bertrand Tavernier's "Safe Conduct" aka "Laissez-passer" (2002), w-d Rolf Schubel's "Gloomy Sunday" (1999), or w-d Claude Berri's "Lucie Aubrac" (1997), "Bon Voyage" is as chipper as its title sounds - c'est la vie (whatever) - and we have the beautiful talented Isabelle Adjani to thank for. It is her delightful performance throughout as the center of attraction (and attention), the cause and effect of it all, that made the film so enjoyable as it is. Hell, what's another derailment of her plan and expectations - will worry about that another time. The backbone of the story does revolve around a pair of young enthusiasts: Grégori Derangère as Frédéric and Virginie Ledoyen (from Francois Ozon's "8 Women") as Camille. The incomparable Gérard Depardieu, the witty Yvan Attal (of "My Wife is An Actress") and versatile Peter Coyote (juggling French, English and German here) are some of the stellar cast involved. <br /><br />There are many characters coming and going in this plot of a movie, and how it's all juggled is a skilful knack that requires no analysis - Rappeneau is simply a genius. The story just builds upon itself, one episode after another, or even with overlapping events, but never confusing - that's the delight of it all, somehow every detail turns out right on the screen and we just lap it all up like a tastily presented French dessert, literally so. There's thrills, trills, tender hesitant moments and taut ominous escapes, all playing out in front of our eyes. <br /><br /> From reading the Director's Note on the Sony Pictures Classics' Bon Voyage official site, Rappeneau indicated this is his most personal and successful work ever. Depicting Bordeaux 1940 from memories of his childhood years is very much close to his heart and he "had worked and reworked the script for almost 3 years." This film is a labor of love all round, the cast and crew complementing the director's passion and a formidable script by collaborative writers along with the director and his son Julien - adaptation efforts by Gilles Marchand, Patrick Modiano, and Jérôme Tonnerre.<br /><br />Music by Gabriel Yared (varied in tone from his previous film scores like "The English Patient" or "Talented Mr. Ripley"), who provided a befitting theme that kept the pace and rhythm of the plot going - almost like a train going non-stop, reflecting Adjani's Viviane's vivacious energy (even when she's tired), keeping her going as she meets whatever comes, walking on with head held high and stylish attire always, no looking back, let alone time for regrets. <br /><br />Ah, mustn't forget the wonderfully translated, skilful subtitles by Ian Burley, who also did subtitles for films in Italian: "Bread and Tulips" (2000) aka Pane e tulipani, "The Last Kiss" (2001) aka L'ultimo bacio, and Tom Tykwer's "Heaven" (2002).<br /><br />If you find this much too light a wartime relationship drama, try w-d Mäx Fäberböck's "Aimée and Jaguar" (1999, in German, based on a true story) with brilliant performances from Juliane Köhler as Aimée and Maria Schrader as Jaguar.
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I first heard of this movie at the "Flashback Weekend" in Chicago 2007 for the "Nightmare on Elm Street". Robert Englund was really talking the movie up and he was great in his part of "Hatchet". The same can be said for Tony Todd. Knowing this is a low budget first time director / writer it delivers every bit as much as the big budget and also cameo laden "Holloween" (2007) remake/re-imagining.<br /><br />Technically it falls short in a couple of places. The alligator attack seen was shoot too dark. When it happened the dark head of the alligator against the swamp clamping on to the black pants became almost invisible. The mood music in the swamp scenes was too loud in volume and canned, like a bad sitcom. And just like "Holloween" (2007) someone is smart enough to have a gun, but of course shooting the killer is only a pause button for the killer. The ending, well, as soon as I saw where it was going I knew what was going to happen, not very original.<br /><br />The highlights of the movie are the characters and their interactions. Unlike "Holloween" (2007) we got to meet the people and care what happened to them. Ben (Joel Moore, who is also the lead of "Spiral")the sulking lead and Marcus ("Not Another Teen Movie")as the best friend and funny man to root for during the movie. Shapiro (Joel Murry "Dharma & Greg"), Jenna (Joleigh Fioreavanti) and Misty (Mercedes McNab of "Buffy the Vampire Slayer: The Series", "Angel: The Series" and "The Addams Family" movies) give a convoluted reason for topless women. Mr. and Mrs. Permatteo played by television regulars (Richard Riehle "Grounded for Life", Patrika Darbo "Step by Step")as the older couple that you know don't stand a chance, even the tour guide Shawn (Parry Shen) is a fleshed out character. I hope to see more from all involved in this film, but I think it will play better on home video than in the theater, sorry.
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| 3,740
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Mean-spirited, ugly, nasty retro-action thriller, about a bodyguard who is determined to find (and destroy!), the killers of the girl he was supposed to protect. This film is almost an anachronism in today's politically correct atmosphere. Director Scott doesn't have any desire to apologize for the inherently immorality behind the film's dramatic structure. Scott is either not aware or doesn't care for 30 years of social advances. I really don't think we will see a more violent film any time soon, so you better go and see this one while you can. Despite its relentless grimness, I think the movie is a powerful example of cinema at its most sinister, exploitative, and effective. Scott has a tough thing to sell, but I think I'm a buyer. The extraordinary technical aspects of this film are just too effective for me to ignore. Scott's directorial choices are simply astonishing, and he pulls a great performance out of Denzel Washington. Sensitive souls need to stay away from this one, but I recommended it to those viewers looking for a great, action-filled movie.
| 1
| 20,503
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As long as you can get past your puritanical instincts and realize that pornographers are people too, you'll realize the depth p.t. anderson gives to his characters. Also, an incredible soundtrack. The songs are so tightly tied to their scenes, you won't be able to hear them without thinking about the movie again.<br /><br />Philip Seymour Hoffman is worth the price of admission alone.
| 1
| 23,776
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Is this a good movie? It's hard to say -- but in 1953, for many people, it was a remarkably effective movie, suspenseful, scary and then, amazingly, actually touching when "the old gentleman" meets his unhappy death at the end of the movie.<br /><br />Yes, what lurks in the Maze turns out to be something of a surprise and, for a lot of people, a hilarious one. But the basic idea (ontogeny recapitulates phylogeny) was a very real one at the time the book was written, and does have some basis in fact. Not that it would ever result in what we see in the movie, of course.<br /><br />But working on what must have been a very low budget, one of the greatest production designers -- and the person for whom the term "production designer" was invented -- creates a very eerie mood that was strangely compelling. At times, of course, the movie is very silly, but it has its moments.
| 1
| 16,303
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I made sure to see this film because it is a 1950s sci-fi film--one of my favorite genres. Unfortunately, while I was looking forward to either bug-eyed aliens or power-mad conquerers, the aliens in this film were a MAJOR disappointment! First, you only see one very briefly at the beginning (and he looked pretty ordinary) and you also only got a tiny glimpse of a spaceship! Second, the alien was neither the evil conquerer or the benevolent friend of mankind--but a real odd-ball. And finally, the plot itself seemed so dumb, preachy and heavy-handed that it elicited more yawns than thrills.<br /><br />As the film begins, five people from five different parts of the world (Germany, Britain, Russia, China and the USA) are kidnapped by an alien. The alien gives each of them devices by which they CAN destroy all life on the planet if they so choose--because, the alien admits that HIS race of people would love to inhabit the Earth but they themselves won't kill to get it. Then, he returns them all. While it's 100% obvious that no one would WANT to use these devices, the alien then announces on TV the identities of the five without telling that the weapons are THAT powerful! So, all the militarists in the world want to find the five and force them to reveal how the weapons work. Much of the rest of the film consists of some of the five going into hiding and one being tortured to get him to reveal how the device works--as the Soviets want to use it!!! This part of the film just seemed pretty silly. Sure the USSR was an evil and corrupt nation (sorry, but it's fact--especially under Stalin), they never would have thought of using it like they did in the movie! Later, one of the five (the German scientist), somehow figures out that the devices can also be used to kill only all the EVIL people who hate freedom. So, he uses it to wipe out all the evil Commies and presumably others who were anti-freedom and the world then becomes a paradise!! Preachy, silly and full of plot holes--this movie just isn't worth your time, though it is an interesting relic simply for the way it addresses Communism--in particular, the tensions between Nato and the Soviets.
| 0
| 7,120
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Where do I begin? I sat down ready to laugh a bit and I was blown away! This movie is just perfect, it's indescribable. Jackass Number Two in all honesty was grosser, more obscene, funnier and more entertaining than the first. This was just what I needed tonight.<br /><br />There are so many scenes in this movie that will make you say "Oh My! No Way!" or "Ouch!". Perfectly mastered and set up, each event and scene were coordinated way before and therefore made it even more perfect. I loved every minute of it! I'm just going to say that there was even a scene where it was necessary to censor particular footage in order to prevent an NC-17 rating! It was so hilarious that they had to put it in anyway! Amazingly good.<br /><br />9/10. Incredibly funny, Do Not Miss Out!
| 1
| 22,116
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This movie was by far the best ever... I think whoever shot it with the Sony hand-held camera was a genius and the special effects were spectacular especially the chicken breast heart...thank goodness this movie only cost me a dollar to rent.. Also the green toxic boob discharge was amazing......I could have shot this movie with my friends in high school. .................................................................... I would not recommend this movie to anyone ... you might want to kill yourself instead of watching it..... I also feel like this was a move for porn stars trying to make it into the legitimate movie business............give it to her Larz
| 0
| 4,383
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And obviously I didn't see it! <br /><br />But looking at the cast and seeing that Doug Masters is back from the dead, I know now to avoid this like the plague! I hate it when Hollywood, producers, writers, directors or all of the above think that audiences are stupid that they're not going to catch continuity errors. A supposedly dead Doug Masters returning is a big giant one, won't you say?<br /><br />And I can't believe that someone like Louis Gossett, Jr. would return for something like that.<br /><br />Did Jason Gedrick really decline this? Well, I hate to say it, but even if he took the role again, it would have still had that same continuity error. I bet (if he really turned it down), he must have been incredulous seeing that his character died in the second film.<br /><br />I'll probably catch it by accident on a late night air on some channel, but no way am I going to rent this or buy the DVD!
| 0
| 10,457
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I think 'Blackadder the Third' is the best one of the series.<br /><br />Actuelly all the episodes are funny, personally i really like the episode with the 'French invasion', but the one with the superstitious actors, in 'MACBETH' is also really funny, the way Rowan keeps playing on with them is really (English) Humor at the highest level.<br /><br />Actors: 'Never say that again, always call it the Scottish Play; Blackadder: Oh, So you want me to say the Scottish Play? Actors: YES Blackadder: Rather than MACBETH...!<br /><br />I am a big fan of Rowan and i have the majority of his work, but i think he did the series of Blackadder especially good.<br /><br />I Hope Rowan is going to continue his great style, but i think we can count on him, because he is already working on a Bean 2 Movie, that will be out this year, i can't wait...<br /><br />I Give this 3rd Blackadder a 9 out of 10 Rating.
| 1
| 18,218
|
This film gives a look at the suffering a family experiences at the death of a child, and the healing that can finally come to them.<br /><br />The family learns of the death of their son on Christmas Eve, 1991, ruining the Christmas season for them. They do not celebrate it again for many years. There is an interesting comment by the daughter that will remind viewers to consider the needs of surviving children in such a situation.<br /><br />The Matthew character makes a reference to Jesus, but I suspect that other comments he makes come from non-Christian sources. I wonder if any other viewers would recognize those comments. If so, it would be an interesting addition to the data on this movie.
| 0
| 6,772
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It's rare that I feel a need to write a review on this site, but this film is very deserving because of how poorly it was created, and how bias its product was.<br /><br />I felt a distinct attempt on the part of the film-makers to display the Palestinian family as boorish and untrustworthy. We hear them discuss the sadness that they feel from oppression, yet the film is shot and arranged in a way that we feel the politically oppressed population is the Jewish Israeli population. We see no evidence that parallels the position of the Palestinian teenager. We only hear from other Palestinians in prison. I understand restrictions are in place, but the political nature of the restrictions are designed to prevent peace.<br /><br />I came out of the film feeling that the mother of the victim was selfish in her mourning and completely closed minded due to her side of the fence, so to speak. She continued to be unwilling to see the hurt of the bomber's parents, and her angry and closed-minded words caused the final meeting to spiral out of control. It is more realistic, in my mind, to see the Israeli mindset to be a root of the problem; ignored pleas for understanding and freedom, ignored requests for acknowledgment for the process by which the Jewish population acquired the land.<br /><br />I have given this a two because of these selfish weaknesses of the mother, which normally would be admirable in a documentary, however in the light of the lack of impartiality, it all seems exploitative. Also for the poor edits, lack of background in the actual instance, and finally the lack of proper representation of the Palestinian side. Ultimately, it is a poor documentary and a poor film. I acknowledge this is partially the result of the political situation, but am obliged to note the flaws in direction regardless of the heart-wrenching and sad subject matter.
| 0
| 9,824
|
I'm from Texas so I thought I knew big hair, but the female villain in this movie had humongous hair. Whenever she was on the screen I couldn't concentrate on anything but her hair. Take about stage presence! There seemed to be a lot of people with hearing problems in this movie also. There was a traffic warden writing out a parking ticket who somehow didn't notice the owner plunging toward the car screaming at the top of his lungs until he hit the car. Then there was a guy in a phone booth who couldn't hear a huge bulldozer coming at him until it was 5 feet away. All the hit men in this movie seemed a bit deaf, no one had to sneak up on them. The one handed 'hero' of this movie was so whiny and ineffective that it was funny. The bar-fight was pretty funny. There is a priceless scene where the hero and his girlfriend just had sex and judging from their expressions, it wasn't good for either one of them. It made me laugh out loud. This movie is on the 50 Movie Pack Martial Arts set if you want to see a lot of bad movies (with a few decent ones).
| 0
| 8,202
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Marlon Brando and Frank Sinatra HATED each other while doing this film and in the years following it.Brando asked Sinatra for some singing lessons,but Sinatra (who was already upset over the fact that he was cast as Nathan Detroit,when he wanted the part of Skye Masterson)wanted to be the star singer in the production and didn't want any one to be better than he was.He told Brando to get lost,so to get back at him Marlon kept screwing up the scene in the diner where Sinatra was eating cheesecake so that he would have to keep eating,eating and eating.In the later years,Sinatra gave Brando the nickname "Mumbles" or "Mr.Mumbles" because of the way he talks.
| 1
| 15,985
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A drifter looking for a job is mistaken for a hit man in a small Wyoming town, leading to all kinds of complications. Cage is perfectly cast as the unlucky schmuck hoping to make a quick buck and get out of town but finding he can't escape the title town. Hopper does what he does best, playing a psycho known as "Lyle from Dallas," the real hit man. Walsh as a crooked sheriff and Boyle as a femme fatale round out the fine cast. The script by brothers John and Rick Dahl contains delicious twists and turns, and John's direction creates a terrific "neo noir" atmosphere. Witty and very entertaining, it sucks the viewer in from the start and never lets up.
| 1
| 21,934
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I love the way he experiments. Ab Tak Chappan was a thrill to watch just as much Satya and company was. Jatin the new comer also lived up to his role and Nana Patekar was at his best. Suchak was really irritating but I think he fit the character he was playing - he had really ugly teeth. The story has a great progress and no songs in the movie makes it better. I only wish he signs up Urmila for his other up coming movies. I think they are the best director and actress combination I have seen. I have not seen Naach as yet but I am looking forward for it. I for some reason don't find Antra Maali that exciting to watch on the screen - unlike Urmila.
| 1
| 13,586
|
I really wish i could give this a negative vote, because i think i just wasted 83 minutes of my life watching the worst horror movie ever put to film. the acting was just god awful, i mean REALLLYYYY bad, the dialog was worse, the script sounded like it was written by.... i can't think of anything horrible enough to say. And the day "outside" and the night "inside" shots make you think the events took over several days. Terribly acted, directed, written, etc etc. all the way down to the gofer how gets lunch for everyone. STAY AWAY FROM THIS ONE AT ALL COSTS. If my only saving grace to stay out of hell is by doing one good deed, it is to tell the world to not watch this crap. This movie is the exact reason why horror movies are never taken seriously.
| 0
| 6,124
|
This has to be one of the worst films I have ever seen. The DVD was given to me free with an order I placed online for non DVD related items.<br /><br />No wonder they were given away, surely no one could part with money for this drivel.<br /><br />How some reviewers can say they found it hilarious beggars belief, the person who includes it in the worst five films ever has got it spot on.<br /><br />How on earth a talented actor like Philip Seymour Hoffman could get involved in this rubbish is unbelievable. Mostly toilet humour and badly done at that.<br /><br />Anyone wanting to be entertained should avoid this at all costs.
| 0
| 9,699
|
Strangeland seems to have a love/hate relationship with many of its viewers. I personally loved the movie, and everything about it.<br /><br />The acting in some places could be improved upon, but the filming adds to the atmosphere where the acting can't. In some areas, the dialogue is a bit cheesy and over dramatic, but really, what do you expect from the late 90s? Over all, Dee did an amazing job in writing what I believe to be one of the most terrifying thrillers I've ever seen. It plays on the fears of many age groups--adult, parents, and children. Every parent fears that their children will get too involved with chat rooms and will meet strangers from the internet. And it *does* happen in the real world. And every child and adult fears being kidnapped and tortured against their will; that happens too in the real world. Which is what makes this movie such a sensitive subject for many.<br /><br />My only warning is if you *know* you are sensitive to things such as strong violence, visible torture, and gore, then you do *not* want to see this movie. If you are unsure about if this movie will entertain you, then read as many reviews as you can, ask people you know who have seen this movie, and be prepared to turn the movie off at any time should you become disturbed.
| 1
| 18,121
|
This was just an awful movie. I've watched it once when I was roughly 12, I am now 19 and I don't think I will ever forget this movie.<br /><br />I still feel sick whenever I think about it, it was just everything horrible that could possibly fit in one movie. I really don't understand what kind of person would enjoy this utter rubbish. It's not enough to simply turn off your mind to enjoy this movie, I can enjoy the dumbest made-for-TV Disney movies as much as the next person, but this is something else completely.<br /><br />Usually I don't like to judge a movie until I have seen it myself, but believe me I am doing you a favour. Do not watch this movie.
| 0
| 11,918
|
What I've seen of Wolfgang Petersen's films has been pretty good. He knows how to direct action, create suspense and get you interested. Eastwood tends to be great, sometimes excellent. This goes for both his acting and his directing. They both hand in solid work here. The concept isn't bad, and the cat-and-mouse game works well. Malkovich performs rather well, and his and Eastwood's playing off each other adds to the film. I suppose this won't introduce anything new, really... but it never really claims to, nor needs to. It's two great actors, each playing a basic type of role that they have proved at other points in their careers that they can manage remarkably well, and with a magnificent director at the helm. Really, it's entertaining, well-done, and it just plain delivers. Editing and cinematography are good. Acting and character writing is, as well. The film manages to be suspenseful and intense, and if you let yourself, you will probably be entertained and engaged, even if there are superior films out there. The pacing is pretty much spot-on. I recommend this to any fan of the principal actors, the director and/or this type of film. 7/10
| 1
| 17,903
|
"Eaten Alive" goes down much easier than Ruggero Deodato's "Cannibal Holocaust," but it's also a far more sillier film. I mean, at times it can be unintentionally hilarious, but the plot is so mind-numbingly idiotic that it was impossible for me not to lose all patience by the end. Tough guy Robert Kerman (Cannibal Holocaust) teams up with Janet Agren (The Gates of Hell; here with an intolerable accent) to search the jungles of New Guinea for Agren's sister, who's been brainwashed by the leader of a religious cult (Ivan Rassimov). Along the way, they fall witness to (sometimes real) animal torture and some cheesily rendered cannibalism. As directed by Umberto Lenzi, the movie is so over-the-top it's hard to take seriously, but if you enjoy trash cinema with more than a few unintentional laughs, it's not bad.<br /><br />4/10
| 0
| 8,999
|
First I am a teenager. OK, and I have to say this movie was pretty good. I think any kid ten and under will like it, but people my age an up might be a little, um, a, well, we'd describe the movie as LAME! But I liked it. It may be that I still act like a kid, or I visit a cattle farm every weekend, but this movie was cute. I did like how the actors were like kids, not little blonde cutesy pies, wearing three layers of clothes, a trendy hat, and about a thousand assecories (like most shows today, to name a few, Drake & Josh, Lizzie Mc Guire, well any kid show.) And the setting was perfect, but there was a flaw. The family was in debt, right? Why in the world did their internal house look like something out of a "western" versace store? That was one flaw.<br /><br />The cameos are great, there's about five hundred of them, and the only explainable one is Julia Roberts being the main little girl's aunt. How in the world did they get everyone else? This movie seemed to be on a tight type budget.<br /><br />I liked this movie, it was a fun one to watch, and I thought some parts were far fetched (Like a cow selling for $750,000? Ha! my butt a cow sells for that much!) But otherwise it was good, I liked it, and I could watch it again. But I'd never buy it, there's not even special features on the DVD! What's up with that? But do rent it, especially if you have little kids running around the house.
| 1
| 14,613
|
Had no idea what I was going to experience viewing this old film from 1940. However, I always enjoy viewing Laraine Day, (Katie Lattimer) who plays the role as a younger sister to Jean Muir, (Helen Lattimer) and also their mother, Billie Burke, (Mrs. Julia Lattimer). Thought I was going to be bored with the story of two sister's and a mother who is overly protective of her daughters until they meet up with Robert Cummings, (Ridley Crane) who has the reputation of being a millionaire playboy who has plenty of gals and is a heavy drinker who parties all the time. One night, Helen Lattimer goes on a date with Ridley and he proceeds to get bombed out of his mind and simply cannot drive his car. It is at this point in the film when this becomes a drama and changes the complete direction of this film which will definitely hold your attention right to the very end of the film.
| 1
| 22,101
|
Unfortunately I made a mistake and I paid 7 Euros at the movie theater to watch this shallow meaningless movie. My points;<br /><br />Film is based on 2 things;<br /><br />1) Ethnical point of View: As it happens on most of the American Films, the writer thinks itself as an expert after learning 2 or 3 things about the Asian culture. But unfortunately it is not enough. Knowing kunefe and 2 names of other foods doesn't make a person understand a culture. For example shaving is the sign of clean life in Asia but everyone was trying the girl to stop that. Lebanese people are Christian (Ok they got that) and their cultural forms and beliefs and approaches are completely different from other Arabic countries. The main difference between eastern and western culture is we don't make ethnocentrism. So we don't judge people after their first question about our life as the father figure did in all of the film. <br /><br />2) Sexual revolution of a girl: There is nothing much to say about this. Show me 10 girls which had these on their sexual awakening than I will say that I am wrong.<br /><br />I wrote this comment because the producers are promoting the film in the black humor genre. Please watch Dr.Strangelove and understand the meaning of black humor. A black humor has to reflect the truth and has to focus the audience to the funny parts of it. Where is the truth? Where is the meaning about the movie.
| 0
| 10,023
|
Hunters chase what they think is a man through the forest, though the audience sees he is a werewolf. The hunters never seem to realize this, because after they shoot him, he looks normal when they decapitate him.<br /><br />A doctor transplants the werewolf's eyes into a man who lost his own in a laboratory experiment. The man, Rich, gets to have sex with his nurse (Stephanie Beaton) before he even gets his bandages removed.<br /><br />After he leaves the hospital, he finds his wife has been cheating on him too. When a smoke machine sends clouds past an amateur painting of a moon (with a fake tree branch on the foreground), he turns into a werewolf! His torso grows larger, splitting his shirt, and he grows a giant werewolf mask on his head that has red lights in the eyes. His pants stay intact. The mouth chews unconvincingly, though some sort of robotics (or hidden hands) in the eyebrows give him a baleful look at times.<br /><br />Despite the poor werewolf costume, there is a fair amount of blood and gore, and those are fairly well done. There's even a pretty good decapitation later in the movie. However, when a man falls from a height, a rather bad dummy does the job.<br /><br />Rich has a friend named Siodmak who is some sort of occult expert, and he also accidentally stumbles across a small man with crutches named Androse who is also such an expert. They try to help him a little.<br /><br />Rich kills people who have done him wrong. A policewoman investigates the murders and tries to hit on Beaton, who doesn't much care for lesbian scenes so nothing comes of it.<br /><br />Quite cheap, but between the nudity and blood and gore, and a not-terrible story combining (sort of) The Most Dangerous Game with The Hands of Orlac and The Wolf Man, it's somewhat entertaining. Available on its own, or in the box set Scream Queens Vol. 1.
| 0
| 4,703
|
I think they really let the quality of the DVD production get away from them. I rented this DVD from 2 movie stores and the second time I finally got it to play on the 3rd DVD player I tried.<br /><br />Anyone else have this issue? It's really hard to give the film an un-biased review after going through such a hassle to play it. For one, I've never seen a Finnish horror film before so I was sort of bummed that the movie was done in English. Also since it's never made clear what is wrong with Sarah, she just came off as retarded and therefore I really just hoped someone would shoot her in the face and make all the horrific happenings go away.
| 0
| 7,314
|
Anna (Charlotte Burke) develops a strange fever that causes her to pass out and drift off into a world of her own creation. A bleak world she drew with a sad little boy as the inhabitant of an old dumpy house in the middle of a lonely field. Lacking in detail, much like any child drawing the house and it's inhabitant Marc (who can't walk because Anna didn't draw him any legs) are inhabitants of this purgatory/limbo world. Anna begins visiting the boy and the house more frequently trying to figure what's what and in the process tries to help save the boy, but her fever is making it harder for her to wake up each time and may not only kill her, but trap her and Marc there forever.<br /><br />Wow! Is a good word to sum up Bernard Rose's brilliantly haunting and poetic Paperhouse. A film that is so simple that it's damn near impossible to explain and impossible to forget. While you may find this puppy in your horror section it's anything but. It's more of a serious fantasy, expertly directed, and exceptionally well acted by it's cast, in particular Charlotte Burke and Elliot Speirs (Marc). And yet, it's not a children's movie either, but meant to make us remember those carefree days of old that are now just dark memories. Rose creates a rich tapestry of moody ambiance that creates a thrilling backdrop for the brilliant story and great actors to play with. Paperhouse stays away from trying to explain it's more dreamy qualities and leaves most things to the viewers imagination. There's much symbolism and ambiguity here to sink your teeth into. Paperhouse enjoys playing games with the viewers mind, engrossing you with it's very own sense of reasoning. As the story unfolded I was again and again impressed at just how powerful the film managed to be up to the finale which left me with a smile on my face and a tear in my eye.<br /><br />Bernard Rose's visuals are brilliant here. He's able to create an unnervingly bleak atmosphere that appears simple on the surface, but as a whole is much greater than the sum of it's parts. The acting is of young Charlotte Burke in this, her feature debut, is a truly impressing as well. Unfortunately she's not graced the screen since. A much deserved Burnout Central award only seems proper for that performance. Toward the end the movie lags a bit here and there, but I was easily able to overlook it. I wished they had took a darker turn creating a far more powerful finale that would have proved to be all the more unnerving and truly riveting in retrospect. The movie as is, is still one for the books and deserves to be seen by any serious film lover. It's a poetic ride told through the innocent eyes of a child, a powerful film in which much is left to be pondered and far more to be praised.
| 1
| 15,742
|
"Dressed To Kill", is one of the best thrillers ever made. Its dealings with sex and violence make this a film for adults. Brian De Palma, once again, proves why no other director can match his use of the camera to tell a story. He directs many scenes without dialog, and he tells much of his story, strictly through the use of his visuals, and Pino Donnagio's brilliant score. Filmed in Panavision, the film MUST be seen in widescreen, as De Palma uses the entire width of the film to tell his story. Cropped, on video, "Dressed To Kill", is barely the same movie. Solid performances from its cast, superb direction, and, perhaps, the finest film score ever written, make "Dressed To Kill" a must see.
| 1
| 19,338
|
THE BOX (2009) * Cameron Diaz, James Marsden, Frank Langella, James Rebhorn, Holmes Osborne, Sam Oz Stone, Celia Weston. Truly disappointing adaptation of genre legend Richard Matheson's sci-fi chiller "Button, Button" by on the wane wunderkind filmmaker Richard Kelly who truly stretches a small, well-crafted piece into a grab-bag 'WTF'-a-thon! Mysterious (and ridiculously maimed!) man, Langella, posits a million dollar offer to 'struggling' couple Diaz and Marsden (both surprisingly vanilla bland to the hilt!): a box with a red-button, that when pushed, will kill some stranger in the world (!) Sure strings are attached but does that really matter here? What does is why in the name of God does Kelly trowel on so much oddness (i.e. nose-bleeds; watery transport systems that's right Watery.Transport.Systems) when the tension should be strung as tautly as possible (oh the possibilities). If this sounds like a bad TWILIGHT ZONE episode you are half right (the '80s TV re-boot actually did a decent small-screen adaptation; in fact rent that instead!) One of the year's worst films.
| 0
| 869
|
Let's see: what are the advantages to watching Piranha, Piranha? Well, if you've never seen anything to do with Venezuela, there's a lot of travelogue footage of both Caracas and the countryside (and jungle-side), and of the various native peoples at work and play, as well as plenty of indigenous wildlife. If you like William Smith, he plays a bit of a git (as he has always been wont to do).<br /><br />And that's about it. If it wasn't for William Smith, this could probably pass as a fund-raising film for Save the Children or some other organization that benefits the "third world". The only time you really see the fish of the title is during the opening credits. No mutant killer fish like in Roger Corman's singly-named Piranha. You'd figure with twice the fish in the title there would be twice as many monster fish preying on the characters, but alas, this is not the case.<br /><br />The story starts with a photojournalist and her brother coming to Venezuela to do a story on one of the last untouched places on the planet, but their motivation quickly changes to one of wanting to find diamonds, which are apparently fairly plentiful there.<br /><br />There's not a lot of real action or danger in this movie. What could've been an exciting motorcycle race is dulled by the mass of landscape and animal footage that is inserted in it to draw out the films running time. There's not a whole lot more action until the last fifteen minutes or so of the movie (which is probably about how long the movie would last without all the traveloguery).<br /><br />In my view, the only ways that a movie can really be a BAD movie is to be boring or incredibly stupid. Piranha, Piranha certainly qualifies for that former badge, and is pretty damn close to the second. The only reason I won't rate it a "1" is that the added footage is more interesting than the rest of the movie.
| 0
| 8,325
|
Yet another foreign war movie that puts hollywood to shame. Real in the same proportions that hollywood productions such as harts war and windtalkers are unreal. A moving story backed up by strong acting and great film making.
| 1
| 18,758
|
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