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The plot of this terrible film is so convoluted I've put the spoiler warning up because I'm unsure if I'm giving anything away. The audience first sees some man in Jack the Ripper garb murder an old man in an alley a hundred years ago. Then we're up to modern day and a young Australian couple is looking for a house. We're given an unbelievably long tour of this house and the husband sees a figure in an old mirror. Some 105 year old woman lived there. There are also large iron panels covering a wall in the den. An old fashioned straight-razor falls out when they're renovating and the husband keeps it. I guess he becomes possessed by the razor because he starts having weird dreams. Oh yeah, the couple is unable to have a baby because the husband is firing blanks. <br /><br />Some mold seems to be climbing up the wall after the couple removes the iron panels and the mold has the shape of a person. Late in the story there is a plot about a large cache of money & the husband murders the body guard & a co-worker and steals the money. His wife is suddenly pregnant. <br /><br />What the hell is going on?? Who knows?? NOTHING is explained. Was the 105 year old woman the child of the serial killer? The baby sister? WHY were iron panels put on the wall? How would that keep the serial killer contained in the cellar? Was he locked down there by his family & starved to death or just concealed? WHO is Mr. Hobbs and why is he so desperate to get the iron panels?? He's never seen again. WHY was the serial killer killing people? We only see the one old man murdered. Was there a pattern or motive or something?? WHY does the wife suddenly become pregnant? Is it the demon spawn of the serial killer? Has he managed to infiltrate the husband's semen? And why, if the husband was able to subdue and murder a huge, burly security guard, is he unable to overpower his wife? And just how powerful is the voltage system in Australia that it would knock him across the room simply cutting a light wire? And why does the wife stay in the house? Is she now possessed by the serial killer? Is the baby going to be the killer reincarnated? <br /><br />This movie was such a frustrating experience I wanted to call my PBS station and ask for my money back! The ONLY enjoyable aspect of this story was seeing the husband running around in just his boxer shorts for a lot of the time, but even that couldn't redeem this muddled, incoherent mess. | 0 |
First of all, in defense of JOAN FONTAINE, it must be said that Ginger Rogers would have been terribly miscast as Alyce, the young British lady who has the title role. Fontaine makes a fetching picture as the heroine here, but her acting inexperience shows badly and her dancing is better left unmentioned. Fortunately, she went on to better things.<br /><br />But here it's FRED ASTAIRE, GEORGE BURNS and GRACIE ALLEN who get the top billing--and they are excellent. Fans of Burns & Allen will be surprised at how easily they fit into Astaire's dance routines. Especially interesting is the big fun house routine that won choreographer Hermes Pans an Oscar. They join Astaire in what has to be the film's most inventive highlight.<br /><br />Unfortunately, not much can be said for the slow pacing of the story--nor some of the stale situations which call for a lot of patience from the viewer. It must be said that some of the humor falls flat and the usual romantic misunderstandings that occur in any Fred Astaire film of this period are given conventional treatment. Only the musical interludes give the story the lift it needs.<br /><br />Some pleasant Gershwin tunes pop up once in awhile but not all of them get the treatment they deserve. The nice supporting cast includes Reginald Gardiner, at his best in a polished comic performance as a conniving servant, Constance Collier and Montagu Love (as Joan's father mistaken as a gardener by Astaire).<br /><br />It's a lighthearted romp whenever Burns & Allen are around to remind us how funny they were in their radio and television days. Both of them are surprisingly adept in keeping up with Astaire's footwork.<br /><br />Director George Stevens makes sure that Joan Fontaine's hillside dance number with Fred is filmed at a discreet distance but clever camera-work cannot disguise the fact that she is out of her element as Astaire's dance partner, something she seems painfully aware of. | 1 |
Sistas in da hood. Looking for revenge and bling bling. Except da hood is a wild west town in the late 1800s. I do not remember any westerns like this when I was growing up. What would Randolph Scott say? If he saw Lil' Kim, he might say, "Alright! I have to admit that I tuned into this just to see her. Bare midriffs and low cut blouses are not the staple of the usual cowboy flick, but these are the cowgirls, and they are fine.<br /><br />Now, don't go looking for any major story here, and the usual stuff of ghetto crime drama are here in a different setting. And, when's the last time you heard John Wayne call someone, "Dawg"? And, I don't remember the Earp brothers hugging and kissing before they marched to the OK Corral.<br /><br />I watch this on BET, so I missed the action that got it an R rating, but I doubt if I will buy the DVD to see it unless I can be assured it was Lil' Kim in that action. | 0 |
This film was a big disappointment.<br /><br />I take the opposite view of the critics. This is not a case of the material not being up to the level of the actors; here the actors (Bette Davis and James Cagney) are simply not up to the level of the material. Clark Gable and Claudette Colbert were every bit as big as Davis and Cagney, and look how It Happened One Night turned out - an all-time classic. With a very similar story, Davis proves that she has no talent for comedy (good thing for her that this is just about the only comedy she ever attempted!) Davis' one-note performance oozes petulance, but none of the nuances of Colbert's acting in It Happened One Night. Cagney, who was a great comedy actor, just seems out-of-sync with his costar, Davis. The script provides some decent lines and gags, but the delivery seems better suited to drama than comedy.<br /><br />Part of the problem is the soundtrack, which, like the delivery of Davis and Cagney, seems more suitable to a light drama than a comedy.<br /><br />Jack Carson, who played similar roles throughout his career, has more capably handled very similar material. In a fairly typical supporting role Eugene Palette delivers a respectable performance. In a slightly different role as an old west relic, Harry Davenport, is very good. But in one of his poorest performances, William Frawley is quite irritating. His character's constant references to fictional cops are a poor effort at irony. <br /><br />I really love every one of these performers, and it is a shame that, as an ensemble they achieve no more chemistry and no better result than The Bride Came C.O.D. | 0 |
This is definitely the biggest surprise of the festival so far and without a doubt the best the festival has had to offer. I went into this film with little to no expectations after learning that the director was responsible for the awful vampire flick The Forsaken. and I left pleasantly surprised. The film stars Lori heuring of In Crowd fame as a young mother whose husband has just passed. She moves into an old family home in the mountains with her two daughters next to a mine that is a gravesite to overworked children back in the day. Unlucky for them the children return with a vengeance killing and eating everyone in their path. The film works on many levels. It's well done, suspenseful, it has spots of good cinematography and capable performances by Compton especially. The atmosphere is spooky yet slightly underwhelming, the score is decent and the makeup effects are gruesome and simplistic. The film keeps up a creepy and unsettling tone and the kids themselves with pale skin, torn up lips and hollow eyes are pretty scary and unrelenting. The film is original and inventive without being to artsy or complicated. I can't see this film making it into a wide release without some trimming and slight fine tuning. But they definitely have a good product on there hands and should pursue some type of theatrical distribution. However the theatre in which i saw it in was horrible. The sound was dreadfully messed up which i felt took away from the film majorly and it stopped in the middle because they couldn't center it on the screen which killed the mood a bit. All in all though it was the most satisfying of horrorfests entries maybe because it had the least expectations but nonetheless was a welcome addition to genre films. | 1 |
Though, short lived "The Amazing Spider-Man" was one of the best made for TV versions of a famed comic book hero. Only "Wonder Woman" (Lynda Carter) (the best of the genre and "The Incredible Hulk" (Bill Bixby, Lou Ferrigno) were better.<br /><br />"The Amazing Spider-Man" outclasses the 1966-1968 "Batman", because the high camp elements of the latter often ruin the adventure. "Spider-Man" outclasses all three television interpretations of "Superman"- "Lois and Clark", "Smallville", and of course the George Reeves "Superman" which brings up the rear.<br /><br />"The Amazing Spider-Man" was an action drama, during the late 1970's, the pre-CGI era, when stunts had to be performed by stunt men, not in the database of a computer. "Spider-Man" had its own very talented stuntman to perform the death defying daredevil acrobatics. His name was Fred Waugh, who donned the spidy suit for the action sequences. Nicholas Hammond, better known as one of Julie Andrew's children on the all-time movie classic "The Sound of Music" was Spider-Man during the dialogue scenes. Hammond's Spider-Man also had his own secret identity as Peter Parker, similar to Christopher Reeve- Superman/ Clark Kent, Adam West-Batman/Bruce Wayne, and of course Lynda Carter as Wonder Woman/ Diana Prince.<br /><br />It's unfortunate that the series only had thirteen episodes. Because when the first episode hit the airwaves in November of 1977, the entire country was watching it on CBS that Wednesday night. In all fairness, CBS should release this pilot episode as well as "The Deadly Dust", the "Captive Tower" etc. on DVD shortly. "Spider-Man" was short lived, but did have a cult following, and in my opinion was a heck of a lot better than the movie interpretation of the famed comic book hero starring Toby McGuire.<br /><br />CBS might be hesitant to release these episodes for two reasons. (A) There might not be a broad market for them based on the lack of longevity of the series and a generation of children and young people who weren't born when the series originally aired in the 1970's. (B) One of the early "Spider-Man" episodes dealt with a terrorist with designs on the World Trade Center, which was attacked twice many years after this show went off the air, in 1993, and of course the devastating attack against this country on 9/11/01 in which the towers were destroyed and many innocent lives were lost.<br /><br />However I don't think that it would be in bad taste to release this "Spider-Man" episode even if the show was adventure, derived from a comic book, and camp in nature. The live action "Amazing Spider-Man" doesn't have a large following but it has a cult following. If and when CBS releases it out on DVD this cult following could be explained along with the episode in which Spiderman saved the towers in 1978, but how in September of 2001 real life proved to be different from the movies. I like to follow the news, but I also like Science Fiction/Fantasy. Therefore I am eagerly awaiting the release of "The Amazing Spider-Man on DVD". | 1 |
This film started out very promising with the story about a director who loses his sight and a blind woman who is bound to help him. However, somewhere in the middle it seemed like the script writers didn't know where to go from there.<br /><br />One unbelievable event followed the next (Russia must be very small because they are all bumping into each other all the time), the motivation of the female lead character comprehensible (why does she still follow him after they got off the ship? Why doesn't she try to borrow a mobile phone on the ship to call somebody?), the side stories were completely ridiculous (was the story with the mother and the boyfriend supposed to be funny? And what was the story with the younger sister about?). Still with all this seeming arbitrariness of the plot, the movie managed to be completely predictable.<br /><br />The saddest thing about it is that there was a lot of potential. As I said, the idea of the film was good, the visuals and the score were very beautiful and the actors of the main characters were good, too. So this could have been a really good film... but it wasn't. | 0 |
Although DiG! was being hailed as being closest to what the music industry is like it is highly fabricated. The director has misled the audience into believing the Brian Jonestown Massacre disappeared off the face of the earth post-'98. And the rivalry between the Dandy Warhols and Jonestown has been milked. The truth of the matter is not really exposed in this film.<br /><br />That said this film is endlessly quotable and is an interesting watch as we get a look at two groups of very talented musicians creating their art. One of the best things this film has going for it is a unique perspective between the indie music scene and the larger corporate scene.<br /><br />Recommended mostly for the music and the two fantastic bands. | 1 |
1st watched 8/7/2004 - 3 out of 10(Dir-Brett Thompson): Silly, juvenile-focused movie about three kids being zapped into their favorite cartoon with their parents experiment. The script left much to be desired in this Hanna-Barbara like rip-off of some Saturday morning 'live-action with people in dinosaur costumes kids show' with some goofy cavemen hanging around. Nothing really to admire about this and nothing much to be said either. I'm just amazed I found this at a Blockbuster video store as bad as it was and the way the stores are ridding themselves of old VHS movies. I guess they couldn't even sell it, so back on the rental rack it went. | 0 |
A very "straight" nice old lady, desperate for money to save her house and possessions, grows "pot" in her house, smokes it with a few old-biddy friends and then sells it. That's the story for this low-key comedy, emphasizing the absurdity of the situation and some of the humor the predicament brings. For much of the film, it works. The humor isn't of the laugh-out-loud variety but it does keep you entertained for an hour-and-a- half, so I guess it serves its purpose.<br /><br />There ARE funny moments and Brenda Blethyn is fun to watch in the lead role. But the ending really ruined a "cute" movie with insultingly-bad messages that only the ultra-liberals of the film world would like to see happen.<br /><br />Like most people, I would prefer a happy ending, too, but it should not all warm and fuzzy for those who blatantly break the law. Also in here are the typical (1) children out of wedlock but that poses no problem and is deemed okay; (2) clerics portrayed as morally weak people; and (3) even a medical doctor who gets stoned, too! <br /><br />Hello? And reviewers here blast Hollywood? This is exhibit A how a secular society has lowered the standards in the UK and Europe in general. Hey, people: at least have a trace of morality instead of nothing but a Timothy Leary "If it feels good, do it" message. | 0 |
I guess there are some out there that remember Nicole Eggert from her little girl days on such TV shows as T.J. Hooker, Charles in Charge, and Who's the Boss? You perverts, you! Maybe you remember her from Baywatch when she grew up and got breast implants. No matter, you will certainly forget her in this supposed comedy about man-eating aliens.<br /><br />There are so many things that do not make sense and are never explained. How did she recognize the alien? Why was the alien hot for paprika and cinnamon? Why didn't the alien eat her? You get the picture.<br /><br />Before the alien eats her boyfriend and assumes his identity, you get to see her in the body of Alex Meneses. This Mexican/Ukranian beauty is the only reason to watch this trash. Stay for the shower scene and the boyfriend, and go on about your business. | 0 |
You get 5 writers together, have each write a different story with a different genre, and then you try to make one movie out of it. It's action, it's adventure, it's sci-fi, it's western, it's a mess. Sorry, but this movie absolutely stinks. 4.5 is giving it an awefully high rating. That said, it's movies like this that make me think I could write movies, and I can barely write. | 0 |
New York attorney plots to rid himself of his senile mother after meeting an attractive, available woman. Screenwriter Robert Klane, adapting his own novel (the kind of paperback kids would buy for the dirty parts), doesn't seem to have any knowledge of mental illness: to him, it's just an excuse for prurient comedy and scatological jokes. George Segal--who, in the 1960s, starred mostly in war and espionage pictures--had become, by this time, one of America's greatest sad-sack comedians; his nutty reactions and batty responses rival only his mother's inscrutabilities. Segal is paired well with Trish Van Devere, and their moments of connection (though also played for laughs) are really the only sequences one can gravitate towards. Ruth Gordon, lovable as is she, is simply around too much--and more of her amounts to less. This is one of the worst directed and edited films I have ever seen from so-called professionals. Promising scenes which ultimately don't play out for the full effect are haphazardly disconnected from other moments which flail around endlessly, causing the crass, rickety movie to self-destruct long before it's actually over. *1/2 from **** | 0 |
After a very disappointing Part 3, I kinda wondered if I should even bother with The Next Karate Kid, while I could see why this saga wouldn't continue, I still enjoyed The Next Karate Kid most out of the second and the third Karate Kid movies. While there are some very unrealistic moments and situations, it was very enjoyable and the story is a catchy and warm one.<br /><br />Hilary Swank, has this girl come far or what? She plays a rebel girl who has lost her parents to a car accident and when Miaugi sort of "babysits" her per say, he notices that she has karate skills. He offers her more lessons if she becomes more serious in life. Now of course there is the boy that likes her and the mean bullies that are pretty similar to the first Karate Kid, but I would recommend this one. I think you'll be pleasantly surprised.<br /><br />7/10 | 1 |
Marie: You are smooth. Dan: No, I'm not smooth. I'm Dan.<br /><br />If you're anything like me, smooth and single do not go together. You see someone you like, rare enough as that can be, and you want to say something but you don't. Or maybe you do say something but it ends up being perhaps the least intelligent thing you've ever said in your life. More often then not though, you stare from afar and admire without having to deal with taking that which most agree is the only way to get anywhere in life a risk. You can't blame a guy for being a little frightened though. Maybe he's been burned hard before or maybe he's trying to focus all his energy on his career. There are reasons, some valid, some not, and all of them can be interpreted as excuses rather than reason. You tell yourself you don't need it or it isn't the right time for you but you still wish it were happening. Any way you break it down, it's not easy. Sound familiar? If you thought yes even just a little, then DAN IN REAL LIFE, the new comedy from director Peter Hedges, is a must-see. It will reach inside of you and somehow manage to both break and warm your heart all at once.<br /><br />The Dan from the title is Dan Burns (Steve Carell), an advice columnist who is admired for his insight into living a balanced, fulfilling and morally uplifting life. Four years or so before the film opens on Dan waking up to his day, he lost his wife and love of his life. After that tragedy, Dan was left to raise their three daughters alone. Between that and focusing on his career, finding love again was not one of Dan's priorities. And so he became more functional than feeling. Removed from the power of intimacy, Dan no longer knows what it means to be that close to someone and has resigned himself to never knowing that again. That is, until he meets Marie (Juliette Binoche) in a book and tackle shop in Connecticut on a quiet morning. They're interaction is casual, comfortable and it catches both of them off guard. There is only one problem really. She is already seeing someone. Unfortunately for all involved, that someone is Dan's brother, Mitch (Dane Cook). His entire family has come up to their parents' country home for their yearly visit and Dan must now spend the weekend pining and yearning for the fleeting feeling he had with Marie that morning. It only lasted an hour or so but it only took that long to awaken Dan's heart from its coma.<br /><br />With so many family members to deal with (Jack Mahoney and Dianne Wiest are at the helm), DAN IN REAL LIFE does drift away from its grander purpose from time to time. While the cyclone of kids and parents and aunts and uncles makes for trying times for Dan, Hedges also uses it unnecessarily as a means to distract, with the presumption that it would ultimately make for a more complete film. Luckily, Hedges has got Carell to carry the heavy burden. It is a pleasure to watch Steve Carell come into his own more and more with every picture he makes (despite the occasional EVAN ALMIGHTY-sized misstep). He is charismatic, charming and obviously a sharp humorist. As Dan, he is also self-deprecating, awkward and scared. Carell is the rare comedian who pushes himself to find character in his roles rather than rely solely on his comedic instincts and established persona. Perhaps more importantly, he is entirely relatable as Dan. Whether he's flopping down on the cot in the laundry room where he is subjected to sleep as the only single adult at this reunion or fidgeting around the kitchen, unable to stan d still in his anxiety, Dan is every guy who has even been unsure of himself and felt alone in the crowd. Carell gives Dan so much heart that he becomes the heart of the film itself at the same time.<br /><br />I wondered after seeing the film if I enjoyed the it as much as I did, despite its slight shortcomings (Juliette Binoche I know you might like to lighten up every now and then but I don't recommend it unless there is chocolate involved), because of where I am in my life. Would someone who has found that someone else derive as much meaning and comfort from this film? I can't say. What I can say, as someone who knows what it means to be lonely, DAN IN REAL LIFE knows what it means to be surprised by life and love and how these moments and people need to be appreciated and cherished. It also knows that anyone who might be feeling lonely on any given day or for months at a time needs to be reminded that surprises still happen. | 1 |
Eliza (Elizabeth Moorman) is a farm girl from the country coming to the city looking for love. She has met a man that has told her of an Astrologist who will show her the stars. This is a journey of souls...Eliza is put to the test, can she realize her true love when she sees him or not? Tommy (Tommy Lee Jones) is a construction worker trying to find himself in his native heritage. They show each other different ways of looking at things. All the while Eliza is still looking for love and Tommy is trying to protect the reservation that his grandmother lives on. This is a twisted story of looking beyond the obvious and finding beauty in the simple everyday things. The style is artsy and chock full of symbolism. The psychedelic camera styling might scare away the average moviegoer, but the deeper message and the interesting frames make this movie worth watching. It is a movie that explores the underworld of the weird, wretched and devastated individuals. This one strays from the path but certainly worth watching! | 1 |
Imagine if you will an alternative universe where someone has made SEVEN where instead of a talented cast and crew they've cast a politically conscious environmentalist and a stand up comedian as the leads . If your imagination can't stretch that far just watch THE GLIMMER MAN as it's the next worse thing <br /><br />!!!! MILD SPOILERS !!!!<br /><br />Jack Cole is a cop with a hidden past and it's very ironic that he's played by Steven Seagal since he's also someone witrh a hidden past , but don't tell anyone because it's top secret . Perhaps the biggest secret is how someone like Seagal became a movie star in the first place since THE GLIMMER MAN continues in the vein of all of Seagal's other movies in that it's utter , utter crap . Look at the way he's introduced as his partner walks into his office " Yoi love beads man . In you're in the wrong office " Steven replies with something that is side splittingly witty , or he would if anyone was able to understand a bloody word he said because for much of the movie he just mumbles away . In fact the only time I could make out his dialogue was the scene at the school where he bursts in on the gunman holding the class hostage <br /><br />" Don't make me kill you " <br /><br />Is this what a cop would say to a suicidal gunman ? I'm just thinking that in another movie where Steven isn't the hero ( ie A good movie ) the cop would say something along the lines of " Don't kill me , I've got a wife and a couple of kids waiting at home " . So anyway suicidal gunman goes to blow his head off but Steven saves his life by hurtling them both through two sets of windows . It goes without saying that you shouldn't try this at home<br /><br />As the story progresses Steven ( I've given up on calling him Jack though credit to the screen writer for giving Steven a sensible name ) becomes involved in a case a plagiarism where someone has been stealing bits out of other superior movies featuring serial killers . As Steven finds more victims you can see him thinking " What was that movie that starred Morgan Freeman as a cop ? " as he inspects the bodies , oh and the action keeps switching back to the hero's domestic life just so we know that this guy's good as a family man , this guy's very good as a family man such a pity he's so bad as a movie star | 0 |
"Triumph of Love" is proof that not every Comédie-Française author who uses cross-dressing disguised courtship like Shakespeare is worth seeing. <br /><br />Or maybe something was lost in the translation of this adaptation of Marivaux, a Commedia Dell Arte-inspired playwright of whom Brittannica says: "His nuanced feeling and clever wordplay became known as marivaudage." <br /><br />While Mira Sorvino has fun dangling three mixed-up romances, her pants role wasn't even up to Cherubino in "Marriage of Figaro."<br /><br />The herky-jerky editing is annoying and just seems to indicate that a lot of takes were needed for each long speech.<br /><br />Best was Fiona Shaw as the fooled spinster, as well as the costumes.<br /><br />The glimpses of audience we see and the closing curtain call to wink that this is all artifice doesn't really help.<br /><br />(originally written 5/29/2002) | 0 |
Ahh, yes, the all-star blockbuster. Take a so-so concept, stuff it into a script and load it down with every single freakin' special effect that the Wizards of Hollyweird can conjure up, then round up the usual suspects: hot up-and-comers, has-beens, wanna-be's and never-wuzzes, and stick 'em all in ensemble roles of various sizes in front of the unforgiving eye of the cameras. And hope to gawd that some of them aren't too old to remember their lines.<br /><br />Leave it to the bishops of Box Office to apply the concept to horror films at last, as was the case with the post-EXORCIST thriller THE SENTINEL. Novelist Jeffrey Konvitz decided to try and one-up Ira Levin's ROSEMARY'S BABY scenario of creepy (and ultimately satanic) neighbors in a New York brownstone. The result was a controversial best-seller that some claimed bordered on the plagiaristic, and an equally controversial, top-heavy/star-laden vehicle co-written and directed by DEATH WISH's Michael Winner, but for many unsettlingly different reasons.<br /><br />Cristina Raines (NASHVILLE) plays successful model Alison Parker, who is pretty much over- stressed and over-worked, (I won't add "overpaid." I mean she IS a model, so that would be redundant), not just by her 24/7 schedule, by also by her insistent , 'wanna-get-married- right-NOW' boyfriend Michael (Chris Sarandon of DOG DAY AFTERNOON and the classic SOB.I.G. movie LIPSTICK). One of the ways she decides to try to get away from it all is to move into her own place; a big, beautiful brownstone in Manhattan which she's able to get dirt-cheap, (that should've been the BIG red flag - cheap real estate in New York!), from the mysteriously accommodating broker Miss Logan (Golden Age screen vet Ava Gardner, fresh from the storm drain in EARTHQUAKE.)<br /><br />Things seem fine at first, but ah, yes...then comes the noises and the loud pounding from the apartment upstairs at night. And what about the REALLY strange neighbors like Gerde (Sylvia Miles) and Sandra (a VERY early Beverly D'Angelo), the nice "single friends" (read: lesbians) living together, and kindly old Mr. Charles Chazen (a nicely creepy Burgess Meredith), who seems maybe a little too concerned with Alison's welfare? And that's not to mention other assorted squirrelly cohabitants (You'll never hear the phrase "Black and white cat, black and white cake" again without wanting to laugh milk through your nose and possibly vomit simultaneously.) Especially the old blind priest living in the penthouse...<br /><br />Things really start to go downhill when an apparition-laden nightmare of Alison's morphs into a grisly murder, (in one of the movie's most underwear-staining scares), and both Alison and Michael, with some assistance from Alison's BFF, Jennifer (Deborah Raffin), begin to piece together the puzzle that reveals the brownstone's dark origins, as well as the murderous agenda of its other-worldly inhabitants, not to mention Alison's connection to them, which as it turns out is anything but coincidental.<br /><br />Although there's nothing controversial about the overstuffed cast, which seems to feature every actor of diverse genres looking for work at the time, (Arthur Kennedy, Jose Ferrer, Martin Balsam, Eli Wallach, John Carradine, and even early appearances by Christopher Walken, Jeff Goldblum and Nana Visitor!) Winner and company went back to bombastic basics and pulled a "Tod Browning"...by enlisting real-life physically-challenged actors to appear in THE SENTINEL'S climactic everything-and-everybody-goes-to-Hell sequence, which I guess any ballsy director would do, finding himself unable to access Linda Blair and a case of green-pea soup. It does definitely leave you with arctic fingers playing your spinal cord like a zither, knowing this juicy little tidbit of info as you watch. And it does feature a technique to which filmmakers have only begun to return very recently: live on-set makeup and special effects that don't involve CGI, (which was pretty much non-existent back then.)<br /><br />THE SENTINEL has that kitschy, late-Seventies cheese factor, but does manage to distinguish itself from time to time with some gasp-inducing moments like the one mentioned above, not to mention that queasy feeling of dread that horror writers find it easy to play upon, of isolation and things that go bump-and-shriek in the night. After all, what living-single-in- the-big-city person hasn't lain in bed in the dark, and listened intently to the sounds of what they HOPE is "the building settling?"<br /><br />Konvitz followed up THE SENTINEL with an inevitable sequel, THE GUARDIAN (not to be confused with the William Friedkin supernatural thriller namesake), that was never adapted for the screen. =sigh of relief= | 1 |
The most ridiculous thing about this ridiculous movie is its conceit that if one becomes a saint, he or she and his or her family and his or her significant other live forever. Let's forget that in order to become a saint, the saint must be dead, and saints don't have significant others. That, for a millennium, Nick has been the Jolly Elf to Fred's Scrooge is never even hinted at! Open on Nick learning how to make toys, then on Fred learning how to run numbers; Nick giving a sick child a dolly, Fred repossessing the dolly, along with the family farm! After a few more such episodes, morph to present-day Fred venting his spleen at Siblings Anonymous as his fellow losers nod in empathy. There, I just wrote a more cohesive storyline than this idiocy!<br /><br />This Santa, who is one "ho, ho, ho, ho, ho" away from a massive coronary, is a neurotic wuss saddled with the Queen of the Harpies, an operation straight out of Mega-Mall Hell, and answers to a Board (huh?) which just gave the Easter Bunny his pink egg. Oh, and his right-hand man is a ditzy blonde in a skin-tight mini-dress and go-go boots. Ho... ho... ho... ho... ho!<br /><br />But what really sent me over the edge was Slam being named #1 on the Naughty List. Shouldn't a Naughty List be reserved for the future Hitlers and Stalins? Children who are the true embodiments of evil? Nope, to Old Sausage-Fingers, a good boy who lashes out because he is unwanted and unloved is the Demon Seed!<br /><br />The nimrods behind Fred Claus should be boiled in their own pudding! Bah! | 0 |
Some Janapese modern horror movies are very good. Strong plot, scary moments, good acting, while others are just.... unfortunately, Uzumaki belongs to the latter camp.<br /><br />I will rate the movie based on 3 elements: Plot, Scary Factor, and Acting.<br /><br />1) Plot - true to the name the movie, the plot moves in circle and never really explains itself. OK, the town is captivated by the spiral curse, but why? And why do people act so foolishly? There is a fleeting attempt to explain about what is happening by the reporter.. unforutunately...<br /><br />2) Scary Factor - if this was meant to be a horror flick, it has failed miserably. I can't really remember one good scary scene with plenty of build-up to it. <br /><br />3) Acting - very monotonous. People walking around, saying meaningless phases. I can't really feel much empathy for our tragic heroes.<br /><br />All in all, there are much better modern Japanese horror movies out there with coherent plot and strong characterization. Don't bother wasting your time on this wannabe. | 0 |
From the get go, you won't be able to look away, and you won't want to. "The Melancholy of Haruhi Suzumiya" (Suzumiya Haruhi no Yuutsu) is one of the most entertaining animes I've seen in a long time. If you can look away from the insane, and sometimes perverse, humor, it's easy to find a brilliantly constructed and masterfully executed work.<br /><br />Part of the brilliance comes from the fact that the episodes are not in chronological order, so you may not understand some of the things they talk about at first, but as the series progresses you'll find yourself saying "ah, so that's what they meant!" Even though this might confuse some people, after watching the show you'll be hard pressed to make a case against telling the story in this fashion.<br /><br />After all the focus is on the characters. The title character, Haruhi Suzumiya, is by far one of the most eccentric heroines of any anime ever. Her opening speech to her class, in which she declares she is "not interested in normal humans," and is searching for "espers, aliens and time travelers," is absolutely bizarre, but she's lovable that way.<br /><br />Then there's Kyon, the "normal" guy who is pulled into the madness surrounding Suzumiya-san. He's the narrator, and his quick wit always makes the scene that much more entertaining. He finds himself caught in the middle of various factions all trying to influence Haruhi Suzumiya, and the other three characters are representatives of these factions; ironically, they are the very beings Haruhi is searching for, and yet they cannot reveal themselves to her.<br /><br />The first is Yuki Nagato, a quiet girl who happens to be the only member of the school Literary club, and also a representative of the Integration Thought Entity; she is basically an alien, though the best description of her is a computer program in a human body. Her purely emotionless responses make her comically deadpan and always make you think there's more than meets the eye. Then there's Mikuru Asahina, the time traveler, who happens to be incredibly cute, a major ditz, and the subject of Suzumiya's plans to advertise her club, the SOS Brigade, to the world. The end result is that Suzumiya does things to her that border on sexual harassment, making her dress up in fetish uniforms. The final character is Koizumi Itsuki, the timid and perpetually optimistic philosopher who happens to be Haruhi's "esper," though he can only use his powers in certain conditions.<br /><br />The end result of all these characters is a comedy unlike any other, that is both crude and deep, and always brilliant. Don't believe me? Watch the first episode, their "student film." You'll see what I mean. | 1 |
I stumbled on this late last night n TCM.<br /><br />Hadn't seen it since it came out originally, but had never forgotten it.<br /><br />I had completely forgotten how gorgeous and talented Signe Hasso was when she was still young, ditto for Shelly Winters before she balooned out.<br /><br />Ronald Coleman, though, was the quintessential state actor of his time - I had read Othello in high school English - and HATED it. After seeing "A Double Life" I read it again and finally understood what the play was about.<br /><br />The Gordon/Kanin writing team was at its peak when this script was done -<br /><br />A movie well worth remembering and rewatching, | 1 |
excellent drama. very dark. i have never seen california photographed in such a way. bridget fonda as the deaf wife beaten by her husband is superb. the film gripped me from start to finish. very understated performance by sutherland. the direction was very european. amazing to get such a performance from fonda. | 1 |
This documentary was very thorough and exposing, and at the same time entertaining, which I thought was rather impressive. I felt as if they did a very good job covering the sport from its' origin until present day, but nonetheless, there is a reason why I do not give such a high score to this film...<br /><br />I felt as if at times the story focused too much on the 'proper nouns' of the sport, so to speak: too much on individual locations at which to surf, and especially too much on individual surfers. I felt as if the documentary had more to do with the nature of the sport, the ideology of the sport, etc. it would have been better (although this of course was covered, I do not think it got as much time as it warranted). <br /><br />And for many people who are not absolutely nuts about surfing, at times hearing them go on and on about specific locations and specific surfers could become boring. Although the video clips and the in-depth research is well-respected, it could have been presented in a way that would be better for those who are not avid surfers.<br /><br />Furthermore, my biggest disappointment was at times they spoke of how utterly amazing and miraculous certain events in surfing history were yet they did not have the actual footage of these events unfolding, and the whole time you are waiting to see on the silver screen this amazing, breath-taking event that these men are talking about as life-changing moments, and in the end all you get is a lot of men talking about it, and not the actual footage. It was far too tantalizing to myself to hear these stories, and then be unable to see them. I understand the difficulty of obtaining footage of everything, but please: do not brag an event up so much, and then not show it. <br /><br />Overall, a very fresh documentary that I enjoyed watching; not the best documentary due to the above reasons, but being very fresh and having some extremely exciting footage and a good soundtrack, it is a documentary that I would advise everybody to check out. | 1 |
14 years since this show was made and it is still is the best show ever made. The writing was 1st class and the production second to none. This show would never be made today and that this a shame. I hope if you are thinking about finding this show to watch that you do. <br /><br />AG came out the year I left high school at the time my fav TV show was the x files this gives you an idea of why I first got into this show. AG was a far better program with better writing but only got one reason? I know this is not the only program to only get one season another example that comes to mind would be the lone gunman (x files spin off) it had good writing and was funny but also only got one season. It does not seem right! <br /><br />We also have to remember that this show was around before shows like twilight made dark shows 'cool' so I think this may have also let to the show going down hill. <br /><br />Watch this program and enjoy it! 10 out of 10 for me. | 1 |
Chances are, you'll think this movie is incredibly stupid the first time you watch it. But if, by chance, you watch it a second and third and fourth and fifth time (I'm well into the hundreds by now), you will find yourself spitting a line from it here and there and cracking yourself up! My friends and I have actually thrown Fear of a Black Hat Parties to get more of our friends, "as they say, down with the riots". | 1 |
"you can't take it realistically." -sheets<br /><br />Zombie Bloodbath 2 (ZB2) is a world all of its own. I've really never seen anything like it. The only thing I can think to compare it to is psychedelic drugs. Forgive the clichéI don't simply mean that it's incoherent and absurd, though occasionally it is. I mean that it takes you through such a broad range of intense experiences and unexpected emotions so quickly as to overwhelm you, and when it's over, you find that it's all happened while you were sitting on the couch.<br /><br />It is worth noting that it's extremely low-budget, as a disclaimer to those who, after seeing "Shaun of the Dead," consider themselves fans of underground zombie films. Also of note is that it is much more "brutal" than you'd expect. Children get disemboweled, and someone taunts a teenage girl before shooting her in the groin. Her corpse is subsequently "raped." These are certainly not flaws, and indeed I feel it is to the film's credit. But if it doesn't sound like your kind of movie, don't waste your time.<br /><br />(I don't mean to over-hype it, regarding brutality. Don't go in expecting "Inside" or something.) I hesitate to give away any of the plot, because it's really full of surprises. Even the opening scene, which has nothing to do with zombies, is at once a classic horror scene and something quite original.<br /><br />Man, I'm three paragraphs in and I've hardly said anything at all. Here's why I thought the movie was awesome: 1. It's big, and it keeps moving. At one point, you expect it to turn into another NotLD clone, a board-up-the-windows movie where everyone stays in a farmhouse and argues with one another. By the end of the film, however, the farmhouse scenes will seem like a distant dream. There are also a number of outdoor, urban scenes. These are rare in low-budget zombie films.<br /><br />2. The makeup/gore is much better than ZB1. More convincing and more creative. Something kind of funny: the early zombies look really lame. Then, halfway through, they suddenly look really good, with prosthetics and everything. Some of them look like Fulci zombies, some are reminiscent of Mr. Tongue from "Day of the Dead." And it's got big scenes of dozens of zombies shuffling around. Never gets old.<br /><br />3. There's something oddly emotional about it. One character asserts that heaven exists, and that our dead/undead protagonists are now in heaven. In the context of the film, we believe it to be true. Though the characters behave with typical horror film stupidity, they genuinely seem to care about each other, and accordingly, I found myself caring about them.<br /><br />4. The pacing is great. There's hardly a dull moment.<br /><br />My only observation that borders on criticism is that Todd Sheets comes up with the most bizarre dialog I've ever heard. I personally feel it adds to the experience, but I don't think he does it on purpose, so I can't fairly give the film a perfect rating. (Example: when a car breaks down, the owner yells at the passengers. Then he says something to the effect of, "Sorry I yelled at you guys. You don't know what it's like to have your dad standing over you with a straight razor when you're five years old." wtf?) At the very end, it gets to be more than I can handle. Involves a montage with Bill Clinton, and then some preachy end credits explaining the zombie metaphor. Really, by this point, I was firmly re-living my drug experiences.<br /><br />Highly recommended. 7/10. | 1 |
This is the ultimate of horror movies this year. "House of Wax" is one of the scariest movies I've ever seen. This version really puts the Vincent Price version of the movie to shame. I only know a few of the young cast in the movie. The ever troublesome Paris Hilton; the pain in the you know what seems to be more seductive than ever. At least, she didn't try to copy her infamy. Well if she likes to do horror, she's better than "Wheel of Fortune's" Vanna White. She beats Vanna HANDS DOWN! And the scene of where "House of Wax" was made was no joke. The house was made of wax, and the victims were able to get out of there before the get waxed like their friends. Those two twins Bo and Vincent(the deformed twins) were maniacs from the get-go. The parents raised them well, except for Vincent. And I think they became equally warped. How come the the one in the other pick-up happen to be creepy, but not as bad as the other two. That's another story in the book. I guess he had to follow his heart, and not the other twins who turned Ambrose into a tourist "trap" for unsuspecting victims. This movie is like "The Phantom of the Opera" meets "The Rocky Horror Picture Show". And this movie is one of the scariest one in 2005! Rating 4 out of 5 stars. | 1 |
It is playing on SHOWTIME right now but is going to be released as a movie called THREE or has been released for 2006. Mess ups include a supposed nude body comes out of the waves with her bottoms on. You can have fun finding the others. It was a decent stranded, hungry, cold, crazy person video but that is about it. And of course what would a movie be without sex. The lady has a nice body and the men are pretty, but the story is the same as Swept Away or A Savage is Loose type with some blood. Wonder if the movie studios know they made a big booboo and already released this show and now gonna release it as THREE. Billy Zane should have worn a top hair piece or shaved his head completely. Juan Di Pace is awesome and there is a couple good sex scenes. There is a voodoo woman that loves the character Di Pace plays and in real life her name is Di Pace too. Not aware of any connection but probably kin or married. | 0 |
In the very first episode of Friends, which aired 22 Sept 1994 "The One Where Monica Gets A Roommate" there is a song playing as Rachel sits in the window towards the end of the show, the line that plays is: "If you ever need holding".... does anyone know the artist singing or the title of the song? It is seems as if it is a great song....I would love to get a copy of it. Thanks for the assistance. I am looking for the album/cd it is on so I can purchase it. <br /><br />I have the shows which are available for purchase and enjoy this show over and over again. It just seemed to be believable...thanks for the hours of entertainment you have provided over the years. | 1 |
I know when you buy a used (oops, excuse me, previously viewed)DVD for $5.99 you shouldn't have very high expectations, but even that was a steep price for this poor boxed disc.<br /><br />I will give the producers credit for providing a complex challenge for the viewer . . . to determine which is worst, the acting, the scripting, the camera work, the special effects . . . they all pretty much tie for just plain terrible. Oh, it has the absolutely WORST faked car crash ever used in a motion picture anywhere.<br /><br />Now all this is pretty serious ridicule for a movie fan who proudly features 'Police Academy', 'Naked Gun', 'National Lampoon's Loaded Weapon" and a host of other campy discs in his collection. But, at least those folks know that ones tongue should be planted firmly in ones cheek, the cast of PW, unfortunately use their tongues in an attempt to deliver inane dialogue. And, although it is almost beyond my belief, the movies characters seem to think they might actually be doing something of value. A back room pornographer would be ashamed to release this mess.<br /><br />Oh . . . lucky me bought the worst video ever made at the same time . .."Fraternity Demon" . . . maybe the name should have given me a hint. | 0 |
When I first saw this I thought bits of it were fairly scary. But the horror is a little undermined by the fact that the dozy teenagers are so irritating that you don't really care what happens to them. There are some genuinely good moments such as Angela's speech about demons, and the briefly-seen demon itself is effective. But this really doesn't stand up to repeated viewing or close analysis. It's all pretty tacky and cheap-looking and often downright silly, pornography and unfunny wisecracks all too often replacing horror. The music is excellent, however, and the epilogue is certainly amusing, but this film doesnt have much to recommend it, just comes across as another Jason-type stalk-and-slash fare. | 0 |
I watched Love Life on holiday, when it was filmed at a film festival in Florida. It was a lovely surprise to find a British film that wasn't derivative or exploitive. A beautiful romantic comedy for a change that will charm the pants of audiences prepared to sit back and enjoy the gentle pace of the film. The transitions between scenes I found a bit distracting, but as whole I think Love Life is a winner, a ruby in the dust. One for all the family. A pleasant change to see a British film for teen audiences that isn't littered with four letter words. Try and see it. | 1 |
I thought the whole movie played out beautifully with fresh images and interesting cinematography the whole way through it. The actors were on top of their character's backs in nearly perfect timing and looked great. The music was lush and well-thought-out. It even had a decent twist of an ending. So what's with everyone voting it down? The story wasn't entirely fresh (felt like a remnant of "Running Man" with the whole television show idea), but the attitude towards Christianity and Judaism about how the public picks their Messiah certainly sounded true enough. It made sense to follow this one man who was put before a modern crowd and to put him on a pedestal because of his opportunity.<br /><br />It's possible that Christians or other religious people pick this up because the movie has the word "God" in it, but that shows what the filmmakers were trying to do is to teach a possibility to people who maybe never saw the world like this, especially in the modern world where Christianity has been more and more accepted and forgotten about by some.<br /><br />I gave it a 7/10 stars here on IMDb. I thought every ounce of the movie was entertaining and original, for the most-part. Check it out if you're not too offended to see an entertaining film from Madrid, Spain, about possibilities of the coming modern Messiah to a TV near you. | 1 |
A very intelligent and exciting thriller that doesn't rely on action but on situation, which is all to rare these days. I would compare this film to The Day of the Jackal, another film about the pursuit of a dangerous international criminal. The acting across the board is superlative - Aidan Quinn has a tricky double role as the vicious terrorist Carlos and as the Navy man who impersonates him. Donald Sutherland plays the amoral CIA agent who hires him. Ben Kingsley plays the Israeli officer who assists in the plan. This is a very tense and effective film, and it's remarkable considering just how little action there is in it. The first half of the film is all set-up, as the Navy man prepares to impersonate Carlos. The second half is a breathless actioner, the action coming out of the characters and their situations, thus making it all the more gripping. A really tight film that shouldn't be overlooked. | 1 |
Saw this at Sundance one of the first years I attended the festival - blew me away...<br /><br />It went by much too fast, and I've never been able to find it again. I figured it would show up on a compilation somewhere, but still no joy. My memory's foggy on the details - I just remember being surprised over and over again, and on the edge of my seat.<br /><br />Anyone reading this have any leads? Online, DVD, beat-up VHS copy - I'd try to make it worth your while...<br /><br />Over the years, I've probably seen over 200 short films (used to live near Aspen where they have an incredible Shorts Fest in April). This definitely ranks among my favorites, and I hope to see it again!<br /><br />Many thanks to anyone with leads on how to see it :) | 1 |
I've got as much testosterone as the next bloke, and Raquel Welch at her finest is certainly worth a look; but the fact is that a cardboard cut-out could act better, and an hour and half of Ms. W showing off her considerable assets does not a movie make.<br /><br />Considering the cast, it's surprising that it's as bad as it is. I've never been a big fan of Wagner, and his tough guy Harry is about as convincing as a 9-dollar bill. Godfrey Cambridge and Vittorio de Sica, both of whom I usually enjoy, seem to be sleeping through their lines; and as for Edward G...well, I can only assume he was there for the paycheck.<br /><br />This film is a mess: from non-existent plot, through stop-start action and unfunny script to puerile slapstick and annoying 60's 'caper' music. If it weren't for Miss Welch, I'd have given it a 0.<br /><br />That said, she is a treat to the eyes - even better than her delicious cameo in 'Bedazzled' - and for that reason alone I gave it a 3. | 0 |
Gamera vs Viras was made lazily and much of it suffers as a result.<br /><br />Space Aliens try to take over Earth and are stopped by Gamera. So they send another ship that manages to kidnap two young boys. The aliens then take control of Gamera and get him to attack mankind.<br /><br />First of all I must say that I really enjoyed the monster fight at the end between Gamera and Viras. Viras looks like a big squid with a beak. He has no energy weopons and does not shoot any rays out but he can close the apendages on top of his head to make a sharp pointy weopon. SO overall this is not a bad monster for Gamera to fight and is decent. Viras really injures Gamera badly by stabbing his underside of his shell with his pointy head and I am surprised Gamera was able to survive this.<br /><br />Unfortunately Gamera vs Viras decided to use footage from previous Gamera films to fill time for this film. They re show the battles between Gamera and Barugon and Gamera and Gaos when the aliens look at Gameras past battles. However when they show Gamera's battles with Gaos they show the battle between Gamera and Gaos in the city first, then they show the final battle between the two. After they show re used footage of the final battle between Gamera and Gaos they show the FIRST battle between Gamera and Gaos!!! Talk about showing the battles in non chronological order. THey did not even need to show the first battle they should have just stopped after they showed the final battle between the two.<br /><br />Another issue is that they decide to re show footage of Gamera attacking cities when the aliens order him to attack Tokyo. So they show the scene from "Gamera vs Barugon" where he destroys the Dam. After the show scenes from "Gamera The Invincible" which is a huge issue for me. Mainly due to the fact that "Gamera The Invincible" was in BLACK AND WHITE!!!! Using stock footage from a black and white film in a COLOR film is really lazy and that is not a good thing.<br /><br />Also the dubbing is bad once again. The two little kids are not that annoying but it would be nice to see a Gamera film that did not involve little kids.<br /><br />So the over use of footage from other Gamera Films is a deterrant to this film. The final fight is awesome so basically I recommend skipping to the final ten minutes and watching this film. The rest is something that has already been seen before. | 0 |
I agree with the above comment, I love the realism in this, and in many movies (not just movies on eating disorders) the producers seem to forget that. They take an every day problem and create a hugely dramatic scene and then come the end of the movie everything is perfect again, which I dislike because its not reality. Not meaning to say things can't get better, and not meaning to say things don't in this movie, but it doesn't spend most of the movie creating all these problems, and come the end of the movie everything is perfect again. When people have eating disorders people don't just admit it and want to get better, and then life is peachy, it takes time, and I like how in this movie we grow with the characters, we go through the difficulties with them, getting better and worse, because it is a very important part of the movie. It gets into the minds of people with eating disorders, and shows the complications and pain, in a very realistic way, and I loved that. I also love how it shows The secrecy and betrayal people feel when suffering from eating disorders, it is scary to see how people react when they find out, especially if they approve of it. I thought this movie was very touching and beautiful and well told, and defiantly one of my favourites. | 1 |
This is an very good movie. This is one that I would rent over and over again. It is not like your normal superhero movie. This movie blends comedy, action and great special effects. It even has a person in it that does a lot of voices on The Simpsons. William H. Macy is the bomb. | 1 |
This was a wonderful little American propaganda film that is both highly creative AND openly discusses the Nazi atrocities before the entire extent of the death camps were revealed. While late 1944 and into 1945 would reveal just how evil and horrific they were, this film, unlike other Hollywood films to date, is the most brutally honest film of the era I have seen regarding Nazi atrocities.<br /><br />The film begins in a courtroom in the future--after the war is over (the film was made in 1944--the war ended in May, 1945). In this fictitious world court, a Nazi leader is being tried for war crimes. Wilhelm Grimm is totally unrepentant and one by one witnesses are called who reveal Grimm's life since 1919 in a series of flashbacks. At first, it appears that the film is going to be sympathetic or explain how Grimm was pushed to join the Nazis. However, after a while, it becomes very apparent that Grimm is just a sadistic monster. These episodes are amazingly well done and definitely hold your interest and also make the film seem less like a piece of propaganda but a legitimate drama.<br /><br />All in all, the film does a great job considering the film mostly stars second-tier actors. There are many compelling scenes and performances--especially the very prescient Jewish extermination scene towards the end that can't help but bring you close to tears. It was also interesting how around the same point in the film there were some super-creative scenes that use crosses in a way you might not notice at first. Overall, it's a must-see for history lovers and anyone who wants to see a good film.<br /><br />FYI--This is not meant as a serious criticism of the film, but Hitler was referred to as "that paper hanger". This is a reference to the myth that Hitler had once made money putting up wallpaper. This is in fact NOT true--previously he'd been a "starving artist", homeless person and served well in the German army in WWI. A horrible person, yes, but never a paper hanger! | 1 |
Based on the true story about Christopher Boyce (Hutton) and Daulton Lee (Penn), and their involvement in selling American secret Government documents to the Soviets during the 1970s. Boyce works for the Government, and his job is to guard these particular documents, which ultimately disillusions him about his Country's affairs and practices. He then enlists his drug-dealer friend, Daulton Lee, who has become a wanted man, to be the courier for these sensitive documents. Lee infiltrates the Russian Embassy in Mexico, and makes contact with Alex (Suchet), and they both begin to play the espionage game.<br /><br />Lee's interest is purely about money whilst Boyce is acting out of anger towards the system he is involved in. Alex believes Lee to be the inside man in the American government. Things start to become array when Lee's drug addiction and reckless behaviour in handling the courier position offsets both Alex and Boyce. Lee becomes more paranoid, and the initial espionage game becomes more deadly and consequential for everyone involved.<br /><br />This is a true spy thriller without the cheesy action. The character motives and analysis of real-life subjects is sympathetic but very well written, and the film cleverly interweaves the real-life events with underlying political themes about human predatory behaviour. Where a bigger nation uses their political power to control the smaller nations. Well directed, and intense in parts, especially where the protagonists become immensely in over their heads in the spy game. Timothy Hutton and Sean Penn give amazingly riveting performances in a film that questions authority and yet there is no simple answer to the political message or the complexity of that system. The plight of the protagonists becomes the underlying message within 'The Falcon and the Snowman', and makes it a clever political thriller with a poignant element about society, human relationships, and the American system. Great film!<br /><br />****1/2 out of *****! | 1 |
Time travel is theoretical, so I can give the script some leeway.<br /><br />I also understand the concept that by changing just one variable, you can potentially change the way history unfolded.<br /><br />What I cannot understand, however, is the way the change in time unfolded. We are subjected to a series of "timewaves" which progressively retrograde planetary evolution. While this is a convenient plot device, as it allows our heroes enough time to resolve the problem, it makes no sense whatsoever. Surely, if you change a variable, and that variable has significantly, or even completely, altered planetary evolution, then by the time you come "back to the future", the evolutionary process has already been established and there would be no need for waves? After all, why would a change that happened 65 million years ago need to wait until now to be effective? The fact that the moth was projected forward in time may give it some credibility, but the life of that moth 65 million years ago was significantly altered, ergo, any change to evolutionary history would have begun then, and not be dependent upon a return to our current time.<br /><br />To solve the problem, the team goes back in time to prevent the change in variable from ever happening. By doing this successfully, we see that the changes to evolution never happened, and that no-one even remembers the events! Surely, what works for the solution should work for the original change? I like a good rollicking sci fi adventure, but unless it is set "in a galaxy far far away" it needs to have at least some grounding in theoretical possibility to make it truly entertaining.<br /><br />Good premise, bad plot, reasonable acting and, in all fairness, just a twist on Jurassic Park.<br /><br />Not on my "watch again" list. | 0 |
THE QUICKIE (1 outta 5 stars)<br /><br />Pretty poor movie... an old-as-the-hills story about a high-ranking gangster who wants to quit, passing on his empire to his inept son. Of course, it's not going to be easy for someone in that line or work to just quit... so a contract is put out on his life. After throwing a big party an exterminator (Jennifer Jason Leigh, who I guess is *never* going to act in anything other than TV movies or low budget direct-to-video trash ever again) is called to the scene. Our "hero" makes a pass at her... offering her big money for a "quickie"... she turns down his offer, even though she needs the money... but winds up staying overnight anyway... even after being brutally harassed by the overzealous son who thinks she was sent to kill his father. Ugh. The story just goes on and on... you can see every "twist" and "turn" coming a mile away. Weird soundtrack by some group called "The Tiger Lillies" will drive most people nuts... but I thought there was one kind of cool track towards the end. Or maybe I was just excited because I could tell that the movie was almost over? Jennifer, Jennifer, Jennifer... what the hell happened to you? | 0 |
While watching the film, I'm not sure what direstion it was to take. There's a reason a writer shouldn't direct his work and even act in it as well, you can't do it all. I felt the story really suffered in this film due to the director wearing so many hats. Ms. McTeer is the film. To add to her amazing talents, her portrayal of this woman was why I was engaged. Here is a British actress who can do anything. In my view, conflict is what makes drama and a great story. I felt this film didn't have that. Everything was somewhat easy for the characters, there were no real obstacles preventing the chahracters from getting what they wanted. Watch the film for the sweetness, but most of all for Ms. McTeer's brilliant performance. | 0 |
Two people living in the same flat complex find their partners are having an affair with each other. As they try and piece together how it happened, they also embark on an emotional journey that aches for a resolution
<br /><br />Building on his previous success with Happy Together and Chungking Express, Wong Kar Wai gives us this rather old fashioned and marvellous story of reawakened passions, yearning and unrequited love. <br /><br />Possibly, In the Mood for Love is not to everyone's taste. It wanders in rather lazily at 98mins: not particularly long for a film, but it appears longer because not a lot really happens. But this lazy feel conceals a quite tightly constructed film. Most of the story is cunningly woven around a series of set piece role plays, where the characters act out presumed scenarios between their respective spouses, trying to work out how the affair started. I say cunning because, of course, this makes it difficult for the audience (and the characters) to tell what is "in-role" and what is genuine. <br /><br />If all this sounds rather arty and self-conscience, that's because it is. Unashamedly so. And it is played to perfection by two of Hong Kong's finest, Maggie Cheung and Leung Chui Wai, with some excellent support from Ping Lam Siu and Rebecca Pan.<br /><br />It is also a virtuoso performance by Wong Kar Wai, who treats the audience to a sensory, and sensual, overload. Bringing together Christopher Doyle (who later deployed his lush, over-ripe style on Hero) and Pin Bing Lee (whose beautifully understated style can be seen on Springtime in a Small Town) was cinematographic genius. It has all the bold beauty of Doyle, without, frankly, the Athena-poster cheesiness of his work on Hero. The music, as always with Wong, is prominent. From Nat King Cole singing in Spanish, to the haunting strings of the main theme, it perfectly matches the eclectic beauty of the images. <br /><br />All in all a top film, whether judged on plot, acting, cinematography or soundtrack. Similar to, but more accessible than, Wim Wenders' Wings of Desire, this is a beautiful, old fashioned story about love lost and regained. <br /><br />And watch out for Tony Leung's hotel room 2046, which presaged Wong's recent film of the same name. | 1 |
Cheech & Chong's Next Movie (1980) was the second film to star to pot loving duo of Cheech Marin and Tommy Chong. The lovable burn out smokers are now roommates. They live in a condemned building looking for ways to score more smoke and just lay about all day. But Cheech is the "responsible" one. He has a job and a steady girlfriend. One day, Cheech wants to get his freak on so he tries to get Chong out of the house. Another problem arises as well, Cheech's brother "Red" (Cheech is another role) is in town and wants to hang with him. Firguring that he could kill two birds with one stone, Cheech pawns Chong off and Red. What kind of adventures will Chong and Red get into? Will Cheech get his freak on? How long will Chong go without some smoke? Just watch CHEECH & CHONG'S NEXT MOVIE to find out!!<br /><br />Tommy Chong takes over the directorial reigns for the sequel. He received some experience when he did some uncredited work on UP IN SMOKE. Funny but not as good as the first film. But Cheech and Chong fans will enjoy it. Followed by NICE DREAMS.<br /><br />Recommended. | 1 |
(There are Spoilers) Driving down a lonely country road one rainy afternoon Joanna Kndall, Margaret Colin,is distracted for a brief moment and runs down a little girl riding a bicycle on the side of the roadway. Doing what she can to keep the injured youngster comfortable Joanna goes to call for help at a local service station. Before she can give her name Joanna hangs up the phone in order to get back to the girl and see if she's all right; it's then and there when the nightmare begins for Joanna. <br /><br />Heart-wrenching drama that can effect any one of us when you try to do the right thing but are influenced by the words and feelings of those around you. Getting back to the accident site Joanna sees it's cordoned off by the highway police. Before she can tell them what happened, and her involvement in it, Joanna starts to have second thought about turning herself in. <br /><br />What would at first have been a tragic accident turns out to be a hit-and-run with Joanna facing time behind bars, if caught. Even far worse she has to live with herself in what she did seeing almost every day the family of the little girl she ran down Kelly Corey, Dallas Deremer, who goes to the same school as her two daughters Mindy & Holly, Gretchen Esau & Kira Posey. Joanna's life starts to come apart as she tries to keep the truth from her friends and family, not to mention the Eaton Police, of what she was involved with in little Kelly's accident. <br /><br />You can easily see how the words of her friends and neighbors as well as her husband Doug, Drew Phillbury, about the hit and run, effected Joanna. It was those words that had Joanna unable to bring herself to admit what she did not just for her own concern but her two daughters and her husband as well. Feeling that they'll be shunned by the people that they knew as friends as well as neighbors for years. <br /><br />Joanna on the verge of losing her mind tries to implicate her friend Nancy Grayson, Sherry Hursey, in Kelly's hit-and-run accident by trying to plant her earing, that she lost in Joanna house, at the accident site. It's then that she realizes what she's doing and suddenly stops,keeping her from making an already bad situation even worse, not wanting to have Kelly's accident but also innocent Nancy's freedom and reputation on her conscience as well. <br /><br />Margraet Colin gives a stunning performance as the guilt ridden Joanna Kendall and you can really feel for her seeing how she's being eaten up inside and not knowing just what to do. Wanting at first to turn herself in to the police a series of miscalculations causes Joanna to become a fugitive from the law. When she eventually did Joanna became the most hated and despised person in Eaton. <br /><br />Not being herself, when still at large, Joanna's husband starts to feel that she's either back to smoking or even having an affair. Never in a million years would Doug have thought that Joanna was the person who ran down little Kelly and left her to die on that rain soaked road! The look on his face, with his mouth quivering, when he found out the truth said it all.<br /><br />The last few minutes of the movie took a lot out of you knowing what Joanna was going through, not to downplay the suffering of the injured Kelly Corey and her parents, and how she now has to face the music for what she did and have to live with it for the rest of her life. | 1 |
Don't waste time reading my review. Go out and see this astonishingly good episode, which may very well be the best Columbo ever written! Ruth Gordon is perfectly cast as the scheming yet charming mystery writer who murders her son-in-law to avenge his murder of her daughter. Columbo is his usual rumpled, befuddled and far-cleverer-than-he-seems self, and this particular installment features fantastic chemistry between Gordon and Falk. Ironically, this was not written by heralded creators Levinson or Link yet is possibly the densest, most thoroughly original and twist-laden Columbo plot ever. Utterly satisfying in nearly every department and overflowing with droll and witty dialogue and thinking. Truly unexpected and inventive climax tops all. 10/10...seek this one out on Netflix! | 1 |
George Sluizer's original version of The Vanishing aka The Man Who Wanted to Know offers one of European cinema's most quietly disturbing sociopaths and one of the most memorable finales of all time (shamelessly stolen by Tarantino for Kill Bill Volume Two), but it has plenty more to offer than that. Playing around with chronology and inverting the usual clichés of standard 'lady vanishes' plots, it also offers superb characterisation and strong, underplayed but convincing performances.<br /><br />Unfortunately, I can only assume that when it came to the remake, Sluizer was so determined that no-one else was going to get the chance to ruin his film when he was perfectly capable of doing it himself, but few people could have anticipated how comprehensively he trashes his own work. His career never recovered from this disastrous misstep.<br /><br />Chief culprit is an astonishing performance by Jeff Bridges that has been over thought through in every detail to a truly disastrous level. A friend who produced one of his earliest movies noted that Bridges was a great instinctive actor as long as you stopped him thinking about what he was doing, and this film is the proof of the pudding. Every movement is overly mechanical in its precision, making him look like a rusty clockwork toy, while his voice is a bizarre mixture of Tootsie, Latka Gravas from Taxi and a Dalek who have all been taking elocution lessons from Dok-tah E-ville. No banality of evil here, just a looney walking around with an invisible sign over his head saying "Please. Let. Me. Kill. You. Thank you. For your. Consideration.' But the blame really needs to be shared out here. None of the performances are good: often, they don't even look good Keifer Sutherland looks more like a baby hamster than a distraught man at his wits end in the hurried scenes at the gas station, Nancy Travis flounders badly and Sandra Bullock makes no impression at all as the object of his obsession. Not that they're given any help by either director or writer Todd Graff. The script is particularly weak. The chronology has been altered to put the focus firmly on Bridges at the expense of the couple at the opening of the film. Worse is the rush the film is in, draining the life and character from each scene in its race to get to the next. Rather than the high/low mood shifts in the couple's relationship or the apparently casual but careful establishing of the feel of the location, we just get a couple of arguments that give you the impression that he's probably better off without her. As for the new and improved happy ending standard woman chased by nutter in the woods jeopardy stuff complete with lame 'let's end on a joke like a TV cop show' moment best not go there
which is advice that holds for this entire trainwreck of a movie. Even a shockingly bland and uninspired Jerry Goldsmith score can't do anything for this one. | 0 |
In some scenes in the Rain People, Francis Ford Coppola's precursor to his hey-day of the seventies, there is the mark of a similar situation to 1969's Easy Rider, but not exactly in the same reference frame. Here we have a drama about disconnected people from society, in some ways alienated by the choices or by limits imposed by one mean or another. It's one of those rare original dramas where some scenes stand alone as total knockouts. Even with such a low-string budget and a very freewheeling, so to speak, attitude about filming the movie, Coppola is able to capture everything that needs to be said through these clearly defined characters and the curved, unexpected degrees of one character versus the helplessness of another, or vice versa, or both. And, as one might be inclined seeing as how it is very much about the cutaways of suburban life of the 1960s, it has that escapism of the film mentioned before, but of a more concrete, near timeless quality with the drama and the underlying issues. In a way, if Bergman were on route as a quasi-guerrilla 20-something filmmaker out to get the strange truths of everyday outsiders, this might be it.<br /><br />But along with all of the very direct and sometimes self-conscious photography (though also with a more documentary approach at times, akin with its indeterminable characters), the actors all fit into place. Shirley Knight, an actress I'm not too familiar with, has a complex, diverging role as a pregnant wife running off in a sort of existentialist conundrum of what life is there to have. There are moments of some awe-inspiring acting by her, and one of my favorites (if not my favorite) is when she is on the telephone calling her husband the first time. Such a tense scene on both ends, and in every small gesture and inflection of a word so much about her is spoken with so little. It's extraordinary in ways that mirror others in Coppola's films. Then comes in the character of 'killer' played by James Caan. This, too, is a dangerous character to take on, as it is a mix of childish bewilderment and amusement with scarred memories. Think Forrest Gump if he didn't make it past the football and wit. It's one of his best, actually, by being the most minimalist- for a guy who's usually playing tough guys in movies, here's one that also is part of the crux of the story and of Knight's character. Also very good in a supporting role is Robert Duvall as a cop with a rough side and rather checkered past; kind of an early sample of other defected characters he would play later on in his career.<br /><br />So the characters, and what Coppola risks in having an uneasiness running in them, are really what make up the film, as whatever story there is it is definitely not resolved in the usual way you might think or expect. The last ten or so minutes are like others in Coppola's work, where the specific tragedies on all sides are undercut by the emotional- and psychological- implications this will leave on the principles are amplified to the sublime and sad. This is, for its time, brave on the part of what is trying to be represented (in both the freedom as well as the flaws and ambiguities) in the subject matter. And the style of the picture adds a fragmented kind of view onto it all with quick flashbacks that are graphic and self-contained in a contrast with the longer shots in some crucial scenes. It's a road movie of its period, but its also got a lot more working than it would under another filmmaker with less chances to take on the nature of these outcast characters. One of the best films of 1969. | 1 |
I purchased the DVD set on a recommendation from Amazon.com based on my other interests. They hit the nail on the head with this one. I remember watching the show when it was on TV but always wondered what happened to it. Ten years later, it's like watching it all again for the first time. Lucas Black as Caleb Temple and Gary Cole as Sheriff Lucas Buck are great together, even though they are somewhat rivals. Almost representing good (Caleb) and evil (Sherriff Lucas Buck). I never really understood exactly what Lucas was supposed to be, but let it suffice to say, he has some special powers that I don't believe were granted by anything Holy. He can make phones ring, writing appear, or even cause a person's emotions to change. None the less, there are a few episodes where he actually becomes the good guy in spite of it all. All in all, this is an excellent series that like so many others I can think of, (I.E. Point Pleasant, Threshold, Nowhere Man, and SeaQuest DSV just to name a few) were cancelled way before their time. The Steven King's The Dead Zone ( Sunday's USA Network) seems to be the only thing in this genre that seems to be making it. There is just nothing fit to watch on TV anymore. This is because anything that deals with Christianity and Satan is considered offensive and must be immediately pulled from TV. So, in the meantime, I'll just keep buying DVD sets and watching shows that should still be on TV but were booted off TV by religious zealots so we could watch "quality" shows like Family Guy and American Dad and The Simpsons (what a bunch of crap that is). | 1 |
Linking story: another first-time viewing for me and, again, this is one of the most popular of the Amicus anthologies - and it's easy to see why, though I realize how the film's rather meaningless title could be misleading for some; I certainly fancied director Peter Duffell's choice - DEATH AND THE MAIDEN (which, incidentally, is a classical piece by Schubert that is heard in the film during the Peter Cushing episode) - a great deal more. Though the linking device itself is not all that great, the episodes are all equally compelling and enjoyable. Production values come off as very respectable indeed for the budget Duffell had to work with. The latter infuses the film with a great deal of style which is not so common with this type of film and, frankly, it makes one regret the fact that he wished to distance himself from the genre (though more so as not to be typecast rather than because he felt it was beneath him).<br /><br />Now to the individual stories themselves: <br /><br />"Method For Murder": the opening segment does not offer any real surprises but, to make up for this, it's quietly suspenseful and appropriately creepy at times (Tom Adams' 'fictitious' villain looking like the long-lost brother of Boris Karloff from THE OLD DARK HOUSE [1932]); also, it ends with a satisfactory DIABOLIQUE-type twist, and features a fairly intense role for Denholm Elliott in the lead. That's all we need out of it, really.<br /><br />"Waxworks": for the second story we are introduced to a curiously romantic mood which is quite unusual for this type of film; Peter Cushing and Joss Ackland are both excellent (as well as impeccably dressed) in their roles of two jilted lovers of a woman who continues to obsess them even after such a long time, and whose friendly rivalry can only lead them blindly and inexorably to a fate that is literally worse than death; an ominous hallucination scene with Peter Cushing is quite well done in view of the limited resources at hand, and Ackland's inexplicable inability - or unwillingness - to leave town somewhat recalls the house-trapped aristocrats of Bunuel's THE EXTERMINATING ANGEL (1962).<br /><br />"Sweets To The Sweet": this is perhaps the finest episode of all - with his ambiguous role here, Christopher Lee continues to demonstrate his versatility and he is matched by an understanding Nyree Dawn Porter and the deceptive innocence of Chloe Franks (who appears as Lee's daughter). The film's treatment of the occult here is both subtle and mature, culminating in a powerful and extremely chilling 'curtain'. Trivia Note: Chloe Franks appears as a grown-up in the featurette included on the disc, and when I saw her I felt an immediate familiarity with her face but couldn't quite put my finger on it. Later, on reading her filmography, it was revealed to me that she had played one of the leads in the long-running stage adaptation of Agatha Christie's "The Mousetrap" in London's West End, which my brother and I were fortunate enough to catch while we there on holiday in the Summer of 2002! Needless to say, we had no idea then that she had once created such a delicate - and delicious - portrayal in sheer evil, mainly by virtue of her peculiar look and a devilish smile!! <br /><br />"The Cloak": a wacky but oddly reverent vampire tale (that still manages to debunk many of the myths attached to the subgenre, while inventing some new ones!) which takes in some wonderful digs at exploitation cinema and, at one point, Christopher Lee himself!; Jon Pertwee is marvelous as the campy horror star who gets more than he bargained for when he attempts to bring a measure of authenticity to his work; Ingrid Pitt sends up her image nicely though her role is somewhat subsidiary to the proceedings; Geoffrey Bayldon (made up to look like Ernest Thesiger) also has a memorably quirky bit; the 'silent-cinema' style of the ending was a pretty audacious one to pull on an audience, I suppose - and, while some of the humor comes off as heavy-handed a' la THE FEARLESS VAMPIRE KILLERS (1967) or THEATRE OF BLOOD (1973), it's also rather infectious and certainly ends the film on a high (and highly unusual) note! <br /><br />Video and audio quality are relatively satisfactory, considering I had no other version to compare it with; the main culprit is some noticeable print damage but this is never so nasty as to affect one's enjoyment of the film. As for the extras, beginning with the Audio Commentary: frankly, this is one of the finest chats about a genre film that I can remember listening to; Jonathan Rigby gets to butt in with his opinion more than is usual for a moderator but his effort certainly allows director Peter Duffell to touch on every aspect of the production (whereas with some other films, you're left rather expecting there to be more!) and, as such, it's an extremely pleasant track that complements the main feature very nicely indeed. The featurette "A-Rated Horror Film" is a worthwhile effort with Peter Duffell again at center-stage but this time backed up with valid, if all-too-brief, contributions from producer Max J. Rosenberg and stars Chloe Franks, Ingrid Pitt and Geoffrey Bayldon. We also get film notes, reviews, bios and a poster/stills gallery which, again, are wonderfully assembled (with the contemporary reviews being something of a novelty - and a welcome one at that). | 1 |
OUR GANG got one chance at a feature film in its 22 year history, and this was the best that could be done? It's boring, forced and pointless, and I must respectfully disagree with the other poster on this film; the 1994 LITTLE RASCALS remake was better than this. Almost anything is. The kids are subordinate to the Civil War proceedings; it doesn't feel like an OUR GANG film at all, but like a humorless second-rate Shirley Temple clone. | 0 |
Well,i'm not a movie critic or something like that.But I have my opinion for this movie.I think that the best in this movie was Amanda Bynes,she played her roll for my look very well,i have watched many her movies,this I liked most!When you are watching this movie,you just can relax,come down,and watch it.You don't have to try to look for subtext or something like that.You just watch it. Movie is really great. Maybe I liked it for actress,maybe for all the scenery,but i liked it.The whole atmosphere that was created.In one moment I just felt like I was in that university,in that room.It is not another drama movie that is made to win Oscar,it is just nice movie to watch in your free time. | 1 |
this was one of the most moving movies i have ever seen. i was about 12 years old when i watched it for the first time and whenever it is on TV i my eyes are glued to it. the acting and plot are amazing. it seems so true to reality and it touches on so many controversial topics. i recommend this movie to anyone interested in a good drama. | 1 |
Nicely done, and along with "New voyages" it's a great continuation! Fab to see James Cawley in the latest episode "Vigil" Check it out! <br /><br />I like the growing characterisation, and think we have good replacements for the TV actors in a fan-produced piece. This show manages to capture the feel quite well, as they state on the ste, it has improved over the years with experience and I hope with some more experience, a strong script editor, and a pick-up in timing and CGI that HF will becoming more remarkable than it already truly is!<br /><br />Good work to all concerned!<br /><br />(I have a HUGE soft spot for Lefler & McFarland (GREAT acting), although I'm a bit tired of "Lefler's laws". ENOUGH already! Shelby's great (if a little uptight) and it's cool she got the ship. Commodore Ian's nice (like Fred Flintstone), but lacks the gritty edge of a commanding officer and does seem too pleased with himself. The Doc, Counselor, and Rawlins are right on the money in my eyes, as is the WONDERFUL Nechayev (what a beautiful accent - a REAL Russian! (Well, I'm guessing Rene hails from the Czech Rep.)<br /><br />It gets my vote, and the CGI is kewl. Some of the greenscreen's obvious, but on a small budget whaddayagonndo?<br /><br />Really glad I found it!<br /><br />(OK, some of the acting isn't great but it's fan-made and is therefore allowed to be variable - sorry Cmm. Cole)<br /><br />The gay material is layed on too thick (Graham Norton'd be embarrassed). Trek doesn't pay that much attention to hetero couples so why signpost gays with all the snogging? It's not necessary to showpiece someone's sexuality to this extent - I hope they tone it down & let Aster & Zen be people not tokens - I don't treat my gay friends any differently, They're just regular guys.<br /><br />Musically it's a mixed bag. I can tell its all stock Trek OST stuff and works most of the time, but timing can fall flat now & then (the end of "Worst Fears Part 2" misses the crunch, and the edit. Love the fact they use the "Galaxy Quest" music!<br /><br />I certainly can't wait for more!! Dazza<br /><br />"Never give up, never surender!"<br /><br />Viva les frontieres | 1 |
Not as well known as the English, American, German and French cinema, though cinema from Sweden from the '20's was also quite good, interesting and revolutionary.<br /><br />This is a movie that is made great by its story. The story is told in 'A Christmas Carol' kind of way, in which the death himself confronts the deceased with his past, present and what could have been. It's of course a story that concentrates on morals and it does this very well. The message comes across as very powerful and effective. This is of course also definitely due to the effective directing from the father of Swedish cinema; Victor Sjöström.<br /><br />The story is based on the novel by other Swedish author Selma Lagerlöf. The story is adapted by Victor Sjöström himself, who perhaps should had taken out a few more elements, to let the story and movie flow better. It perhaps takes a bit too long before the movie starts to take form and the story gets clear but when the movie does take form and pace it becomes a really wonderful one.<br /><br />The movie does not only have a great story, it also is a good looking one. The movie uses some early and effective effects and uses some different color filters to create the right mood and to indicate what it past, present and 'future'.<br /><br />Sjöström did not only wrote and directed this movie, he also plays the main character. Of course the acting in the movie is over-the-top at times, by todays standards but not as bad as in for instance early German movies was the case. And after all, this movie is more about its story and morals than it is about the acting, so it really doesn't matter much, or distracts.<br /><br />A really great and effective underrated silent-movie classic from Sweden.<br /><br />9/10 | 1 |
The events of September 11 2001 do not need extra human interest in the shape of following the training of the rookie fireman or the progress of the two French brothers. In my view it would have been better to leave this out. I think the directors tried too hard, perhaps they felt that the events of the day needed a story as a backdrop. The comment of one of a policemen - "this aint f***ing Disneyworld" is apt.<br /><br />Nevertheless it is compelling viewing for the depiction of the events. The filmakers were in all the right places at the right times, no other footage from the day matches what they shot. | 1 |
I usually don't walk out of a movie, but halfway thru I did. This movie promised something different, but I kept thinking haven't I seen that before? Spoiler Alert! Back in 1, the spaceship crashes and lands on earth, well, all these years later, with a super adult on board no less, this thing still manages to burn up and crash! What, this advanced civilization can't seem to develop landing gear? For an industry that's so liberal, we get to see another Woody Allen movie, no blacks please! Superman runs around saving people, making sure he sticks to Europe and the US, don't go into darkie areas please. Maybe I could stomach this about 30 years ago, but now now. | 0 |
The title role of this western is played by Robert Walker, Jr. He's a young gun who with partner David Carradine gets separated after doing a contract hit on a Mexican general. In eluding their pursuers Carradine and Walker become separated. Walker comes upon the camp of lawman Robert Mitchum who takes a liking to Walker and makes him a protégé and reclamation project of sorts.<br /><br />This is the first of two films Robert Mitchum did with writer/director Burt Kennedy. The second was the more humorous The Good Guys and the Bad Guys. <br /><br />Not that Young Billy Young does not have its moments of hilarity. But it is a tripartite story involving the Walker reclamation, Mitchum's hunt for the bad who killed his son and a romantic triangle involving Mitchum, Angie Dickinson, and town boss Jack Kelly.<br /><br />The film abounds with nepotism. David Carradine is John's son. Dean Martin's daughter Deana is in this, Walker is the son of Robert Walker and Jennifer Jones and Mitchum's son Chris plays Mitchum's son in some silent flashbacks.<br /><br />Robert Mitchum got his start in westerns and always looks right at home in them. Angie Dickinson essentially repeats the role she had in Rio Bravo. Walker had a brief career playing rebellious youths and doing a good job at it. I've often wondered what happened to him. He looks hauntingly like his father. Maybe he didn't want to come to such a tragic early end like his father.<br /><br />And it that wasn't enough, Mitchum fans get to hear old rumple eyes sing the title song at the beginning of the film. | 1 |
I had the privilege to see this movie at the Intenational Film Festival of Rotterdam.<br /><br />'Xizhao' or 'Shower' is a $200.000 lowbudget movie about a father and his 2 sons. The father has a traditional bathhouse somewhere in a traditional Chinese village where local, mostly aged men, come to relax and to go bathing. The father has to sons: a 'retarded' son who lives with him and a son who lives in a big modern city and who comes to visit him. To this son the traditional village, the bathhouse and his 'retarded' brother seem strange and annoying, but this changes along the movie.<br /><br />Though the story may sound cheesy or cliche, it's not. With really great performances, especially of the father and the 'retarded' son (sorry, I don't know their names) and a great story the movie was touching and funny at the same time.<br /><br />If you got a chance to see this movie do it. It's a great alternative to mainstream Hollywood cinema.<br /><br /> | 1 |
Its Hollywood imitating Daytiem Soap Operas at its finest! Its the fun that we never see. Great characters and great lines. Whoopi is hilarious.....Sally Field is so over the top....Gary Marshalls lines are a riot....this is what I love about good comedies. Never afraid to poke fun at themselves!!!!!!The sets were great....wardrobe was on point and the backstabbing "Montana Morehead" was a devilish delight. Terri Hatcher as "Dr. Monica Demonico" didn't have enough lines but none the less still gorgeous and fun when on screen. I would love to know how the idea for this movie came up. Never have I seen a cast of people have so much fun in making comedy work! Soapdish is a must have and I am waiting for the DVD!!! | 1 |
This is about as good as gone with the wind was.I love this movie I could watch it over and over again.Scarlett always gets what she wants no matter what the cost.She tries real hard to forget Rhett but she just can't do it. She loves him so much. This is a story of real true love.It started in gone with the wind and ended up in this movie.The only real way to end this movie for real true love.Was to have Scarlett and Rhett back together at the end.And thats the way it ended with them back together with their daughter.What more could you ask for. There's not a better ending to this great love story than this.What else can i say about this great movie. | 1 |
It's complete nonsense. I've studied Nazism and read many manuscripts from the day - the "parallels" use most of the classic debased apocryphal myths of Nazism and then compare it with complete specious generalizations about what constitute 1/3 of the planet. It's crafted for an audience of Polly-Anna complacency who diet heavily on spoon-fed gibberish, horribly thought out arguments, irrational conclusions, fallacious ideas, and nonsensical logic.<br /><br />Who made this hit peace? Easy.<br /><br />When all is said and done; Que Bono? That is, who benefits, in the long run?<br /><br />You don't. You sacrifice money and rights. Muslims don't, they get our bombs. Try again. Answer this, and you've unlocked a major door. | 0 |
"Wisecracker," the biography of actor William Haines, offers a gratifying anecdote about the former star when he was past 70 and long retired from making movies. The old gent was not sentimental and rarely watched his own films, but in 1972 he was persuaded to attend a Los Angeles museum screening of SHOW PEOPLE, the late silent feature in which he co-starred with Marion Davies. Beforehand, Haines was worried that this comedy would provoke the wrong kind of laughter, but he was pleasantly surprised (and no doubt relieved) at how well it held up and how much the young audience enjoyed it. Watch the film today and you can see why: SHOW PEOPLE is a delightful Hollywood satire that retains its charm because it lampoons its targets with wit and flair, yet without malice. It's still funny and its satirical points still resonate. Needless to say, the technology of movie-making has changed vastly since the silent days, but the pretensions and follies of the filmmakers themselves haven't changed all that much.<br /><br />SHOW PEOPLE also stands as the best surviving work of Marion Davies, a first-rate comic performer who deserves a prominent place in the pantheon of great comediennes. Where her career was concerned Davies was both blessed and cursed by the patronage of her paramour, the newspaper magnate William Randolph Hearst. It's well known that Hearst exerted enormous influence over Davies' choice of roles, and well known too that, despite her gift for comedy, he preferred to see her play dignified heroines in period costume dramas. By the late '20s, for whatever reason, Marion was permitted to strut her stuff in several exuberant light comedies (including THE RED MILL and THE PATSY), but SHOW PEOPLE, directed by the great King Vidor, stands as her most enjoyable showcase. William Haines gives an engaging, likable performance as her boyfriend and co-star Billy Boone, but this is the leading lady's show all the way.<br /><br />Marion plays Southern belle Peggy Pepper, an aspiring actress who storms Hollywood accompanied by her father, determined to become a movie star. (Her dad Colonel Pepper is played by actor/director Dell Henderson, a veteran of Griffith's Biograph dramas whocoincidentally?resembled Hearst!) One of Marion's funniest bits, often excerpted elsewhere, is her audition at the Comet Studio casting office. While Dad helpfully suggests emotions to portray ("Sorrow! . . . Joy!") and drops a handkerchief across her face, Peggy assumes the appropriate expression and posture. She's hired, only to discover that Comet makes low-brow comedies, the kind of comedies where people squirt each other with seltzer and inept cops tumble over each other racing to the rescue. Of course, Comet is intended as a take-off of Mack Sennett's Keystone, but the true nature of the satire becomes clear as the story unfolds. As Peggy Pepper rises in the movie star hierarchy she leaves Comet for the more prestigious High Art Studio, assuming the name "Patricia Peppoire" as more befitting her new station in life as a serious actress. At some point it may occur to us (as it surely did to viewers in 1928) that Davies' rival Gloria Swanson started out in Keystone comedies before rising to prominence in serious dramas for Cecil B. DeMille. And as Miss Peppoire takes herself more and more seriously, giving the high-hat treatment to former colleagues such as lowly comic Billy Boone, Davies' performance takes on an element of wicked parody seemingly aimed squarely at Swanson herself. This is especially notable during an interview sequence, when Miss Peppoire's spokesman spouts pretentious nonsense while the star delivers a spot-on impersonation of Swanson. I suppose this was intended as a friendly spoof, but I have to wonder how friendly relations were between Gloria and Marion after this movie was released.<br /><br />In any event, SHOW PEOPLE is a delicious treat for buffs, who will relish the parade of star cameos throughout. Charlie Chaplin contributes a nice bit, sans makeup and looking quite distinguished, eagerly seeking Patricia Peppoire's autograph! (And in a show of good sportsmanship Marion Davies herself puts in a self-mocking cameo appearance, evening the score for poking fun at Swanson by poking fun at herself.) This is a silent film that viewers not especially attuned to silents might appreciate, at least those viewers with a taste for movies about the movie business. SHOW PEOPLE surely belongs in the company of such classics as SUNSET BOULEVARD and SINGIN' IN THE RAIN, among Hollywood's most expertly produced, enjoyable exercises in amused self-examination. | 1 |
Tony Goldwyn is a good actor who evidently is trying his hand at directing. "A Walk on the Moon" appears to have borrowed from other, better made films. The present story takes place in the late sixties at a summer resort for working class Jews not far from Woodstock. The screen treatment by Pamela Gray doesn't have much going for it, so it's a puzzle why Mr. Goldwyn decided to tackle this film as his first attempt at direction.<br /><br />The Kantrowitz family is spending some time at the resort. We see them arrive at the small bungalow that is going to be their temporary home. Marty, the father, comes only for the week-end; he works in what appears to be a family small appliance business repairing television sets, mostly. In a few days the first man will walk in space, so the excitement is evident.<br /><br />The Kantrowitz women are left behind. Pearl, Marty's wife and her mother-in-law, Lilian, spend idle days in the place until the "blouse salesman" arrives. Pearl goes browsing and she finds much more than a shmatte; she gets the salesman as well. It appears that Pearl and Marty have no sexual life at all. After two children, Pearl, who appears to be sexy and with a high libido is ready for some extra marital fun.<br /><br />That is the basic premise for the film, which becomes a soap opera when the young daughter, Alison, decides to play hooky and go to the Woodstock festival nearby where, horror of horrors, she witnesses her own mom making out with the blouse salesman! What's a girl to do? Well, stay tuned for the grand finale when all the parties are happily reunited by the little son's bedside when he is stung by wasps and the salesman comes to apply some home remedy, and daddy is called from the city, after knowing about Pearl's betrayal with the younger stud.<br /><br />Poor Diane Lane, she went to make "Unfaithful" later on, which is the upscale version of this dud. Viggo Mortensen is the salesman who caters to his lonely female customers whispering little somethings in their ears! Liev Schreiber as Marty, the cuckolded husband, doesn't have much to do. Anna Paquin plays the rebellious Alison and Tovah Feldshuh is the unhappy Nana, who would like to have stayed in the city watching her soap operas instead of witnessing first hand one that is playing in her own backyard!<br /><br />Watch it at your risk, or pop the DVD in the telly when you have a fun crowd at home and you really want to have a laugh, or two dishing the film. | 0 |
This show was a pleasant surprise after watching Mad TV on a Saturday night. Spike is an excellent host that you can tell is still getting used to it but he is doing great adjusting to his new job. I can imagine it being a difficult transition from writer(Seinfeld) to host however, unlike a lot of new talk show hosts he does not let airtime ride while trying to figure out what to do next. He is quick-minded and each segment and section rolls into one another smoothly. It also doesn't hurt that he's kinda sexy in a nerdy type of way so he's not hard on the eyes like Leno or Letterman. I can't remember the exact episode date that was my favorite but I especially LOVED the Idiot Paparazzi skit with a fake J-Lo and Katie Holmes. Great New Show!! | 1 |
Supposedly a "social commentary" on racism and prison conditions in the rural South of the 1970's, "Nightmare" is full of bad Southern stereotypes, complete with phoney accents. Not only would it be offensive to the sensibilities of most American Southerners, this tawdry piece of work comes off as just a thinly-disguised "babe in prison" movie--especially in its uncut original version. Nevertheless, acting is generally above average and the late Chuck Connors, in particular, does a good job of making viewers hate him--even though he looks somewhat uncomfortable in several scenes. There's also a change-of-pace role for the late Robert Reed, who appears as the lecherous warden, and Tina Louise (previously Ginger of "Gilligan's Island") made a rather believable sadistic prison guard. My grade: D. <br /><br /> | 0 |
I found Horrorvision almost unwatchable. While only 70 minutes in length I still found myself hitting the fast forward button again and again. The acting was of the `if I scream and say ***k a lot I'm intense' school. And the story was at best a scenario that had yet to be fleshed out.<br /><br />While I never go to Full Moon for great film making I have never seen them produce as bad a piece of junk as this. | 0 |
Okay. Yes, this was a very-tight-budget movie with continuity errors (like single scenes obviously filmed in sunshine and then in shadow and then mixed together), and as much as I love Nick Mancuso he was often a little too good at the burnt-out part, and some of the minor supporting cast was really bad (plus at least one actor was used for two different but conspicuous roles). But come on. Richard Grieco was hysterical (his hair alone is worth the trip). Steven Ford was very likable. Mancuso had some great lines, while Nancy Allen, ironically, was completely bland and uninteresting. Classic? No. Bad parts? Yes. Entertaining? Big yes. I would have loved to have been on-set the day they decided what kind of hairstyle Grieco would have. "Are you fast?" ... "Y'ain't THAT fast." | 1 |
I watched this flick yesterday and I have to say it's the finest horror film made for $36,000 I've ever seen (Sorry Steckler) The film is definitely worth seeking out if you are a zombie fan. This movie reeks of soul and atmosphere. Some of the shots of the zombs are the best ever committed to film. VERY creepy looking dusty webbed corpses slowly shamble to their screaming victims. Brrrrrrr.<br /><br />Hot saggy Canadian women with sexy accents will keep you preoccupied before the HORROR rears its undead corpse eating head. This film entertained from start to finish. I couldn't ask for more than that. My only complaint is that is was too short. | 1 |
It's true that Danny Steinmann's "The Unseen" is a simplistic horror thriller with a very predictable plot, no particular attempts for twists or surprises whatsoever and featuring literally every single cliché the genre has brought forward over the decades, but that doesn't necessarily make it a bad film. On the contrary, my friends and I were pleasantly surprised by this obscure but nevertheless intense little 80's shock- feature that mainly benefices from a handful of brutal images and a downright brilliant casting. The beautiful and ambitious reporter Jennifer Fast and two of her equally attractive friends travel to a little Californian town to shoot a documentary on the anniversary festival, but their hotel forgot to register their booking. In their search for a place to stay, the trio runs into the exaggeratedly friendly but suspicious museum curator Ernest Keller who invites the girls to stay at his remote countryside mansion. One by one the girls experience that Keller and his extremely introvert and submissive sister Victoria hide a dark and murderous secret inside their house. "The Unseen" can easily be described as a cheap and ultimately perverse amalgamation of the horror classics "Psycho" and "The Texas Chainsaw Massacre". The plot is a series of familiar themes that became notorious and endlessly imitated due to these two films, like twisted family secrets in the cellar, voyeurism, crazed inbred killers and a very unappetizing treatment of chickens. Still, I don't consider these to be negative remarks, as "The Unseen" is a completely unpretentious and modestly unsettling thriller that clearly never intended to be the greatest horror classic of the decade. Although the denouement of the plot is pretty clear quite fast, director Steinmann attempts to maintain the mystery by keeping the evil present in the house "unseen" like the title promised. The casting choices and acting performances are truly what lift this sleeper above the level of mediocre. Sydney Lassick, immortalized since his role as the overly anxious psychiatric patient Charley Cheswick in "One Flew Over The Cuckoo's Nest" is truly the ideal choice for the role of Ernest Keller. His persistent friendliness and almost naturally perverted appearance are exactly what the character needed. Also Stephen Furst, who eventually turns from the unseen into the seen, gives away a tremendous performance as "Junior". He looks and acts like an authentic handicapped man and his attempts to get close to Jennifer in the basement are genuinely unnerving. "The Unseen" is a slow and predictable but nevertheless potent early 80's film that will certainly appeal to fans of 70's exploitation and generally weird stuff. | 1 |
This was one of the best half-hour horror/suspense/fantasy shows of the eighties, without a doubt. Granted the show had a barely capable cast with every single episode, and it stank as far as production values (i.e. the sets) went, but darn it I have to give it some credit for being gutsy with the plots. I mean the plot of each episode was edgy enough that even I, a hardened horror movie, shock-film, and 70's grind-house buff got a little sickened and creeped out. Great show, just great, regardless of what the other reviewers have said here. My favorite episode was called "Bug House", yeah that was the title I think? Anyhow it still gives me the willies every time I think about it to this day, almost 20 years after it first premiered. Other shows like "Tales From The Darkside", "The Outer Limits" and (of course) "The Twilight Zone" were definitely better production values-wise, but in my opinion they ain't got a thing as far as plot lines go when compared to this sick little show! It definitely paved the way for the even more graphic cult classic phenomenon that was, "Tales From The Crypt". | 1 |
"Kramer vs. Kramer" is a terrific drama about an unhappy woman who walks out on her husband and young son. The husband now has to take up the responsibilities of taking care of the boy. As he does, they get to know each other better. But then, the mother and wife returns, and she wants custody of the boy. "Kramer vs. Kramer" has lots of drama with some wonderful bits of comedy thrown in for good measure. Dustin Hoffman won his first Best Actor Oscar for his brilliant performance here. Most people say his performance in "Rainman", which won him his second Oscar, is his best. He was great in that film, but I disagree that its his best. In my opinion, the best performance of Hoffman's career is in this movie. Scene after scene shows us why Hoffman is one of the best American actors working today. He's also funny at times. Also giving a terrific performance is Meryl Streep, who wasn't as well known when she made this film like she is today. Streep, like Hoffman, also won her first Oscar (for Best Supporting Actress) for her work in "Kramer vs. Kramer" as the wife and mother who tries to find herself after walking out on her family. Justin Henry, who was only 8 years old when the film came out, is wonderful as Hoffman and Streep's son. He won an Oscar nomination for his role here, and still to this day he is the youngest performer to receive an Oscar nomination in a competitive category (Best Supporting Actor). Jane Alexander is also fine as a conserned family friend. She too got an Oscar nomination (for Supporting Actress where she lost to co-star Streep). "Kramer vs. Kramer" is a great film from start to finish. Writer-director Robert Benton has made a film that's absolutely unforgettable. <br /><br />**** (out of four) | 1 |
It's just such a joy to have watched this intriguing project. So refreshing and educating. Not only to a filmmaker, who can learn what can be achieved in 5 minutes of screen time, but also as audience, who may not be so ready for so much love in such short time.<br /><br />20 short films about love in Paris are all unique, but some of them, as expected, stand out. I thought the Tom Tykwer (Natalie Portman) segment was the best, although the mimes made me smile inside just the same.<br /><br />I clicked on "spoilers" option for this review bus alas...what you read is a spoiler enough. Just watch it. Don't read what I write, but watch the movie instead.<br /><br />And smile. | 1 |
I remember watching the BSG pilot. I can describe that night exactly. I remember what chair I sat in. That show was magic. It came alive. I enjoyed the first two years of BSG. I enjoyed parts of the third year even, and I watched every episode of the fourth year, totally faithfully in great hopes that it would somehow turn around. Well, it didn't.<br /><br />I watched the Caprica pilot and was enthralled. There was hope for something good here. Then I started watching the regular episodes, and they are getting more and more boring.<br /><br />It's too obvious, too predictable. It reminds me of the droll political correctness of his last failed show, Virtuality.<br /><br />Much of his line work on DS9 was good. When he focused on BSG in an organized way, it was good. This was especially true early on when they more or less followed the pattern of episodes set by the first BSG series. When they departed from that after meeting up with Admiral Cain and the Pegasus, it all went to pot. It was like he wrote the rest of the show without knowing where he was going.<br /><br />Maybe it will improve. Maybe it was just a few weak initial episodes. But I am very, very nervous. | 0 |
Soon after this movie was released,Salman Khan was handed over a 6 Year Imprisonment.(Read further to know why am i mentioning this.)<br /><br />And i heaved a sigh of relief.Not that i was happy that he got jail for something which because he was a celeb but i was happy cus this meant No more Salman Khan movies,no more his histrionics and no more over hyped Acting(read Overacting).<br /><br />This movie made no sense whatsoever. <br /><br />The scene where the kid belonging to one of the family makes a rocket which was voice activated .According to the movie script it would chase anyone.But ultimately it finds only Salman Khan Bare Chested. Well this is what happened.<br /><br />The Rocked gets activated in another foolish way and you have to have an IQ of .001 to believe that. Then it chases Salman Khan ,who was on his water scooter and the chase continues unless he is done with all the possible stunts he could show to foolish audience. (In my regard all those people who have given this movie 5 and above ,unless they are paid to do that.)<br /><br />Another of breath taking ,unbelievable scene was at the end when all the arrangements about the marriage is made and Salman Khan with Govinda in Disguise comes and stall the marriage by another of those highly unwanted songs .Later on even though everything is done and ready a mere confession of govinda and Katrina Kaif to katrina's Father and Bingo . Everything is fine and Govinda marries Kartina....<br /><br />This made me wonder if convincing was so easy why did not they do that and tortured us for so many hours and wasted my Money.<br /><br />This movie is must avoid and don't even think it had any scene worth watching . The plot is way too disconnected with characters popping from no where and ultimately vanishing..for ex Choota don...What a waste of characters.<br /><br />After this movie i took a pledge that i would not watch Salman khan Movies for the rest of my life unless it wins an Oskar...(hahahah...which means i would never watch) | 0 |
Excellent farce! Which, of course, is all it is intended to be. Thankfully there is neither a social or political message, nor is there the slightest attempt in that direction. Could the plot actually take, or have taken place in any particular time or location? Unlikely, for, after all, this is simply, merely, a movie, and movies spring from imagination, not from reality. The only goal of this movie is to entertain, certainly not to educate, and entertain it does, with reality delightfully and lightheartedly tossed to the winds. I think most would agree that from documentaries we expect enlightenment and authenticity. But for entertainment I want what is nowadays described as a "no-brainer," which The Mating Game is in all respects. For a few chuckles and an outright laugh now and then, this is fine fare fantasy. | 1 |
Soul Calibur has always been my favorite fighting game series of all time. And SCIII is my favorite one of the series.<br /><br />The graphics are very well done. Much bigger improvement over the choppy polygons in Soul Edge/Soul Blade. The characters have facial expressions, hair blows in the breeze and they even blink.<br /><br />Soul Calibur has always been known for it's interesting plots and characters and SCIII is no exception. Each character has his/her background story that is detailed and well done. My favorite character is Chai Xianghua. She's cute, she's funny and she's a strong female character. Yeah, I know she wears pink and has a boyfriend (who she ends up saving BTW), but there seems to be more to her than that. Xianghua, like all the other characters, have flaws and upsides to their personalities, so no character is perfect, not even the good guys.<br /><br />The music is beautifully composed for a fighting game series. It doesn't sound kitchy (the Vampire series) nor does it sound like old school porn film soundtrack (Mortal Kombat). The characters have their own themes and a lot of the themes are done to match the culture of that certain part of the world. I don't think there is a song on this soundtrack I don't like.<br /><br />Another cool thing about this game is to create your own anime-like character (Create a Soul). You could make him/her look as cute or as sexy or even ugly if you like. However, if you found a character customization that you like, remember to take notes, or else you won't remember how you created that character. I found myself being very addicted to CaS.<br /><br />Overall, I think Soul Calibur is my number one fighting game series of all time. It has everything I asked for. What more could I want? | 1 |
Generally speaking, the plot was much better than I was expecting. The laugh track was a bit annoying at times and did tend to get in the way; however, there were enough real chuckles in this episode to make up for it. My biggest surprise was finding some of the best lines and situations were not shown in the trailers. Spade, in particular, was not presented in the best light in the earlier promotions, but his character comes across quite well in the pilot. There is is enough eye-candy to please almost anyone and all the regular characters seem up to the task ahead of them. Now, if the writers can just live up to what they have begun. | 1 |
It is Queen Victoria's misfortune to be defined as an historical figure according to her relationships with men.Shortly after she succeeded to the throne she came under the influence of her Prime Minister Lord Melbourne to the extent that she became known as "Mrs Melbourne".After the death of her beloved husband,Albert,she was referred to as "The Widow at Windsor",and years later,a long friendship with her Scottish ghillie John Brown earned her the nickname "Mrs Brown".Such is the price women paid in a patriarchal society. The reality is somewhat different and "Young Victoria" goes some way towards putting the record straight,depicting the queen as an intelligent and independent young woman conscious of the inequities in her society and at her court. Courts have always been hotbeds of seething jealousy,plotting and counter-plotting,naked ambition and sometimes,outright murder. As an 18 year old innocent,Victoria ascended to her uncle's throne,thus initiating a positive orgy of intrigue and a power-struggle between Prime minister Lord Melbourne and his rival Sir Robert Peel. Lord Melbourne cuts a dash in the Old Public School Man kind of way with his finely-honed cynicism and his well-polished gems of advice. Hardly surprising then that the young queen finds herself in awe of him,and even perhaps a little in love,an awe that he ruthlessly exploits,drawing a fine line between attempted seduction and attempted sedition as he forces his policies through against Victoria's better judgement. Into the arena rides Prince Albert,on a mission from King Leopold of Belgium,keen on political rapprochement between Great Britain and the rest of Europe. At first a reluctant suitor,he soon falls in love with the English queen and palliates the influence of the politicians and courtiers. "The Young Victoria" is a beautifully photographed,brilliantly-scored and very sumptuous movie.I note that it has been criticised in some quarters for this sumptuousness as if a movie about 19th century English Royalty should somehow have shown the Empress of India and her family living in rags in a filthy workhouse........I don't think so. I must single out the remarkable Miss Emily Blunt whose beauty reminded me of the young Princess Margaret's.Hers is obviously the pivotal role, and she has absolutely no trouble in dominating the film despite strong performances from Mr Jim Broadbent,Miss Miranda Richardson and Miss Harriet Walter,all immeasurably more experienced. The music is suitably regal and forms a cohesive part of the whole movie without being in any way obtrusive. The fact that Britan flourished more under its two great queens,Elizabeth the First and Victoria,than at any other time is a matter Feminists might like to make more of,but,I suspect,like Prime Minister Margaret Thatcher really powerful women make them feel uncomfortable.If you can work out why there might be a Ph.D . in it. | 1 |
I only went to see this movie because I have always liked Kevin Costner. I felt that Ashton did a great job in the Butterfly Effect. Unfortunately, even though these two actors were/are capable of good if not great acting moments some of that was missing here. Some of the scenes were just not believable and didn't have enough story line support.<br /><br />Though the movie claims influence from the hurricane Katrina aftermath, there was very little (none) to that effect in the movie.<br /><br />Overall, I liked the fact that the movie brought forward some of what goes into saving lives from a water perspective.<br /><br />The special effects were pretty good and more than a little intimidating. Not sure I'll ever go deep sea fishing again...<br /><br />I expected a little more emotion in the film than what was presented.<br /><br />Definitely a movie that could've been seen on DVD. | 1 |
Even if 99,99% of people that has seen this movie is Brazilian, I'll keep up with the English since it is the language of this website.<br /><br />This movie is a piece of cr*p. Worst acting I have seen for a loooong time. The kids are terrible. Specially the boy. This was the first time I saw someone with less facial expression than Arnold Schwarzenegger, and one single voice tone, like a 5 years-old kid reading in front of the class. How can someone so bad be the main actor of a movie ? The storyline is so shallow my daughter could have done better (she is 3 yrs old). It is so simple it could be written in a napkin and told in 3 minutes.<br /><br />There are only three possibilities for someone enjoy this movie: 1) you are a pre-teen; 2) you have been so brainwashed by Globo's stupidities that you think that anything that has the Globo's seal is awesome; 3) you have a serious brain damage.<br /><br />Avoid at all costs ! A shame to the Brazilian movie scene. | 0 |
Several weeks back I lost my beloved companion and friend of fourteen years, a golden retriever named Sasha. When I came home from the animal hospital, alone, after having made one of the most painful decisions of my life, my teenage daughter sat by my side. . .and we talked about this episode of the Twilight Zone. I could be wrong, but I recall a line that Arthur Hunnicutt said, when Satan was trying to trick him into hell, but his dog could not go with him. . .and his dog in turn was growling in defiance at the gatekeeper who was trying to trick the old hunter to "step inside,". . .that it would be "one helluva of heaven if dogs were not allowed," and the spirit of the old mountain man and his dog decided to turn away from the gate (of what they had thought was heaven, to wander eternity alone.) What a tearful moment when they meet a "good ole' country boy" on that eternal road, only to discover he is an angel, sent out to find 'em, and "sure neighbor, of course dogs are allowed into heaven." <br /><br />I'll confess I cried as I talked about this with my daughter while we mourned the passing of our beloved golden. Rod Serling was truly a genius, a voice that in the early sixties spoke out against racism, hatred, "know-nothingism," and was a profound inspiration to me to become a writer. This episode, across forty five years carried a message of comfort to all of us who have lost a beloved friend. I urge you to get a copy the next time there is a one of the Twilight Zone marathons or purchase it. There will be some tears, but comfort as well. As always, thanks Rod, for all that you taught us. . .even now. | 1 |
When this film was originally released it was promoted with the notably unimaginative tagline "Dirty Harry is at it again". Whatever this pitch lacks in originality is more than compensated for by it's complete and total accuracy. "Sudden Impact" retains all the aspects that made the previous three Dirty Harry movies so successful- tight pacing, a compelling plot, strong supporting characters, endless gunplay, and bone-dry humor. Some of these elements are not only retained but amplified- this is easily the darkest, bloodiest, and most overtly right-wing installment of the franchise.<br /><br />The plot is somewhat intriguing: after killing a ridiculous number of hoodlums, Inspector Callahan is sent on a forced "vacation" by his superiors to the sleepy coastal town of San Paolo. He is tasked to investigate the background of a recent homicide victim who was shot in the genitals before being put out of his (no doubt considerable) misery by a second shot to the head. Early on in the film, the audience is made aware of the identity of the killer- an artist named Jennifer Spencer (Sondra Locke) who is hunting down the thugs who gang-raped her and her sister at a fun fair some ten years earlier. This incident is shown in a very disturbing flashback, snippets of which recur before each new murder. As more bodies start to appear with the same M.O, it becomes clear to Harry that both the local police chief and his new love interest (guess who?) know more than they are telling. To make matters even more complicated, the one-time rapists realize who is hunting them and start to hit back hard.<br /><br />"Sudden Impact" offers relentless action from beginning to end. Clint Eastwood directed this film himself and expertly handles a series of set pieces that culminate in an exhilarating climax. Sondra Locke's performance effectively conveys the blend of ruthlessness and fragility that define her character. That having been said, it is fair to wonder if another actress (who was not Eastwood's off-screen companion at the time) could have brought more charisma and dramatic weight to the role- Theresa Russell and Cybill Shepherd jump to mind as possible candidates. Members of the supporting cast that punch significantly above their weight include Albert Popwell as Harry's partner Horace, Paul Drake as the psychopathic Mick, and the truly scene-stealing Audrie J. Neenan who portrays the vicious Ray Parkins. <br /><br />However the film has some notable problems- some of the subplots (the animosity between Harry and a gang of twentysomething hoodlums, a Mob vendetta against him) take up too much screen time and don't really have any bearing to the larger story. Their only real use is to raise the body-count to absurd levels. In the first half of the film it sometimes appears that Dirty Harry shoots people more often than he has to use the restroom. However the film moves into top gear as it progresses and the triangulated cat-and-mouse game between Callahan, Spencer, and her former tormentors assumes prominence. This second hour makes it clear that a more stripped-down and slightly refocused screenplay would have given "Sudden Impact" the potential to be a first-class, neo noir-style thriller that could have taken the series to new levels but still have contained more than enough .44 magnum heroics to satisfy the Harry loyalists. Instead we get the film that Eastwood and Warner Bros. clearly wanted to make- a superbly executed but prototypical Eighties action flick that mostly declines to particularly challenge the intelligence of it's intended audience. <br /><br />This was by far the biggest grossing of the series at the box-office and it is not hard to see why. Though not the film that it could have been, this is still big, trigger-happy fun. Even after repeated viewings, it's going to make your day. | 1 |
People criticise Disney's animated features of the 1950s for being overly glossy, set in landscapes that are much too pristine. That criticism is just. And yet it can't be the whole story, because the two least glossy - "Alice in Wonderland" and "Peter Pan" - are also the weakest. "Cinderella", on the other hand, set in a world in which the very dirt sparkles, is clearly the best.<br /><br />It DOES look good. The backgrounds are subtle and consistent; the colours are pure without being too bright. The animation varies a bit. I'll swear that some of the humans are rotoscoped - but then, the rotoscoped humans (including Cinderella herself) aren't full-blooded characters in the script, so this approach works well enough. It's really the animals that make the movie. I think the studio had never quite used animals in this way before, as totems rather than sidekicks. The mice, for instance, are the creatures who draw us into the story; but they are really representatives or allies of the more colourless Cinderella. The cat, Lucifer, is a kind of witch's familiar to the Wicked Stepmother. (The cat is brilliantly conceived and animated - one of the best feline creations of all time. The supervising animator was Ward Kimball and he modelled it on his own cat. I wonder how he put up with the animal.) This approach allows the animals to steal the show without drawing our attention from the main story. Their actions are of maximum interest only in the light of the main story.<br /><br />Among the supporting cast the notable humans are the King and the Grand Duke. The King is a one note character - he wants grandchildren and appears to have no other desires at all - but the note is struck in a pleasing fashion. The Grand Duke is a put-upon character who deserves to be lifted out of his sphere as much as Cinderella does. (Although he, of course, is richer.)<br /><br />"Cinderella" is Disney's return to features after an eight-year hiatus, and neither with it nor with any subsequent movie would he recapture the raw brilliance of his early years. Moreover he made things hard for himself by picking "Cinderella". She's a passive heroine and there's not much anyone can do about that. (Maybe I'm wrong on this score - I haven't seen the recent "Ever After".) Nonetheless it is remarkable how successful Disney was in bringing this unpromising story to life, without cutting across the grain of its spirit. | 1 |
This is a poor film. It certainly belongs in the how not to make a feature film category. Story, direction, acting and style are all flat as a pancake. Story consists of five yes five football matches spread out over the film's duration, each one more boringly filmed than the last, as a dysfunctional amateur football team go from strength to strength. That's it, that's the plot. It's hard to know who this film is aimed at. It's too banal for football fans and there's nothing in it for teens nor grown-ups. There's nothing in it for women either, there isn't even a single female character. It's dreariness wears you down as the team play game after game after game after game after game. The story, such as it is, dialogue and mannerisms seem lifted from a bygone Ireland, with all the actors spouting cod theatrical Dublin accents. It doesn't have to be seen to be believed. Avoid at all costs. Can someone give me back my 90 minutes. High point the credits at the end, low point too numerous to mention. Brendan Gleeson is in this film. | 0 |
WOW! Why would anybody make a sequel to an already rancid film? Half Past Dead was a bad movie but at least at had an idea of what it wanted to be. HPD2 has no clue of what it wants to be. It just exists on screen for reasons I cant explain. Spoiler: The whole movie is this: Twitch(played by Kurupt of Tha Dogg Pound) gets transferred to another jail where there might be a box filled with gold bricks buried. In the jail, a riot breaks out between rival inmates, one of them gets shot by a guy named Cortez and Cortez plans his escape. During a conjugal visit, Twitch's fiancée and Burke's(played by Bill Goldberg)daughter get kidnapped by Cortez and are held in an execution room. Burke reluctantly befriends Twitch and they end up getting into trouble with the idiotic inmates while finding out that Cortez has their loved ones.<br /><br />Opinion: This is the most unnecessary sequel since Universal Soldier: The Return. The script is terrible, the acting is horrendous, the dialog is a joke and everybody in this movie is a caricature. Look, I know it was low budget film but that is not an excuse for these guys to not put effort into what they do. Nobody in this "movie" believes in the characters they play. Nobody in this "movie can be taken seriously as an actor. Kurupt should be ashamed of himself. His character "Twitch" is pretty much a spineless minstrel puppet who spends most of his time posing while getting jacked up by Burke or the other inmates. Bill Goldberg spends most of his time sulking throughout the movie as if he had to take a PHD(pretty huge dump). The fight scenes are poorly choreographed and pathetic and for an action movie HPD2 is pretty boring even when action is happening! Don't let anybody tell you that this movie is somewhat decent. It stinks and is a prime reason why people despise Follywood. | 0 |
It was a terrific movie! I like to watch it again and again. The actors were awesome. The movie kept me on the edge of my seat. I would recommend this movie to anyone. I wish Lifetime would put this movie on DVD. I would most definitely purchase a copy. This movie just proves that you should be very careful about who you get hooked up with. You may think you know someone, but you never know. My daughter watched the movie with me. She thought it was great. All I know is, I will watch this movie every time Lifetime airs it. It's the kind of movie that keeps you glued to the t.v.I wish Lifetime would redo the movie, but use the same actors, and bring it to the big screen. | 1 |
Not for everyone, but I really like it. Nice ensemble cast, with nice contributions from better known players (like Stockard Channing) and strong eye candy (from Sheila Kelley). What really works is the bond between the three brothers! Try it, you'll smile a little. | 1 |
If I had realized John Wayne was in this movie, I would not have watched it. It's demeaning to the Japanese, unfortunate for Hollywood and embarrassing to any thinking person. But then, most John Wayne movies are like that. Hollywood in the fifties still believed that everybody in the world loved Americans when the truth was (and still is) somewhat different. The movie deals with the nineteenth century isolationism of Japan. Maybe it's Hollywood that should be isolated.To put it as succinctly as possible, this film is appalling jingoistic claptrap.(Sort of a Madama Butterfly with bad music.) | 0 |
This was alright. It was one of those We Gotcha But We Don't Have Enough Evidence Yet storylines. In the couple handfulls of movies I've seen her in, I've never really though much of Stephanie Zimbalist. A professional TV actress she is but nothing really outstanding. Here in this she was definitely above average as the former fed (or was it fed on loan?) profiler. Her character got along well with the motley bunch of Special Investigation Unit cops she was assigned with. There wasn't really a goofy character you'd roll your eyes at and just despise which was good. Also good is it takes awhile to know who the murderer is... but when I found out I wasn't that surprised. Oh well. One more thing that was good was the Los Angeles locations. Quite possibly if this was made today they'd use Toronto or Vancouver but here they really shot in downtown L.A. Like that a lot (even though I semi-despise L.A.) Liked the movie, too. I don't know if I'd ever watch it again but it wasn't too bad. My grade: B- | 1 |
"The Leap Years" is a movie adapted from an e-novella by Singapore writer Catherine Lim, which became the first Singapore novel/novella to be sold over the internet. The film had a tortuous post-production schedule: shot in early 2005, it was slated for release at the end of 2005, but only turn up eventually 3 years later, on the 29th February 2008, a leap year.<br /><br />Before I say anything, I must first admit I'm no fan of the romance genre, so I may be a little biased against this film - I watched it merely because it was a Singapore production, and that it's available for borrowing at my neighborhood library. Here's my two cents on the movie.<br /><br />Let's just start by saying that other than Qi Yu-wu's KS and Wong Li-Lin, everybody here of note seems to be a Eurasian. The love interest is a Eurasian (Ananda Everingham), and Wong's trio of buddies are all, er-hem, Eurasians. Does this film perpetuate the stereotype that falling in love and associating with Eurasians are more "in" than the common Chinese (or whatever Asian race you are?) I don't know, it sure seems that way. Also, everyone in the movie speaks in some mystical "anglified" accent which doesn't exist anywhere, certainly not in Singapore. It's the kind of "semi-perfect English" that authorities would like us speak, but which doesn't exist anywhere outside, say, the MTV Channel. The effect is that the dialog of the movie sounds forced and stilted, not helped by the lack of true-blue Singaporeans in the cast.<br /><br />The scriptwriter seems to be trying too hard to string one-liners after one-liners. After twenty minutes, the "wit" of the movie starts to pall and the film starts serving up its usual plate of clichés. <br /><br />I guess I didn't enjoy the movie because the entire premise of sustaining a love affair over 16 long years seems unbelievable. <br /><br />There are other incredulities in the film. I can't for one believe that KS (played by Qi Yu-wu) would fall for one of Wong's girlfriends. And the scene where the bridegroom says, "Go, before I change my mind," has been used in a hundred East Asian (Korean, Chinese, Hong Kong, Taiwanese etc) TV serials...<br /><br />So 4 stars for this film. The production value is fair, and Wong Li-lin tries her best, but she's not helped by the script. Joan Chen has a 15-minute bit-part in the movie as the older Wong and is perhaps the best actress of the lot, but, hey, her role is just cameo.<br /><br />If you come across "The Leap Years" in the rental or library, you may want to pop it in the DVD player for curiosity's sake, but otherwise, for people who don't exactly enjoy the romance genre, you can decide whether or not to give it a miss. | 0 |
Considering this film was released 8 years before I was born, I don't feel too bad for over-looking it for such a long time. Back in January of 98 though, I attended the Second Annual Quentin Tarantino film fest held in Austin,Texas. The particular theme of films this night was "Neglected 70's Crime Films" and boy was her right. "The Gravy Train(or The Dion Brothers, as it appeared this print)" was an absolute gem. Wonderful performances, quirky characters, smart plot, hilarious comedy, and just an all around great time. Rarely do you see a Crime film that is so entertaining and fresh. Margot Kidder in one of her earliest film appearances is extremely sexy as well. I hope some cable network gets a hold of this film and allows many more to see it. In the meantime, go to an indie video store and hope they have it. | 1 |
THE SEVENTH SIGN has a great opening hook as the Israeli defence force come across a terrorist base . This is the type of hook that is a must when writing a script , it grabs the reader / audience and the introduction of David Bannon as he rents a room from Abby and Russell Quinnn telegraphs the point that this is a man who`s not who he says he is . However after the great opening third I found the rest of the movie confusing and uninvolving with a large number of plotholes and isn`t all that different from umpteen other supernatural thrillers that I`ve seen | 0 |
An unmarried woman named Stella (Bette Midler) gets pregnant by a wealthy man (Stephen Collins). He offers to marry her out of a sense of obligation but she turns him down flat and decides to raise the kid on her own. Things go OK until the child named Jenny (Trini Alvarado) becomes a teenager and things gradually (and predictably) become worse.<br /><br />I've seen both the silent version and sound version of "Stella Dallas". Neither one affected me much (and I cry easily) but they were well-made if dated. Trying to remake this in 1990 was just a stupid idea. I guess Midler had enough power after the incomprehensible success of "Beaches" to get this made. This (predictably) bombed. The story is laughable and dated by today's standards. Even though Midler and Alvarado give good performances this film really drags and I was bored silly by the end. Stephen Collins and Marsha Mason (both good actors) don't help in supporting roles. Flimsy and dull. Really--who thought this would work? See the 1937 Stanwyck version instead. I give this a 1. | 0 |
Maya is a woman without any interests. She just dreams her life away and wonders, why she does not feel fulfilled. This could be an interesting topic. That would need a good story, a nice setting and good dialogues. It doesn't have any of these. This movie is totally boring. There are only lengths and no climaxes.The only climax is Shahrukh Khan. But although I am a huge fan of his, I couldn't stand this movie. Even he can't make this movie exiting. The movie is not as bad as "King Uncle" and if you're an Art-house fan or like it slow, you might maybe like it. It's not funny, it's not interesting, it's not catching. My recommendation: Don't watch it. | 0 |
Victor McLaglen, the title character of John Ford's THE INFORMER, reminded me of the circus man from Fellini's LA STRADA. Anthony Quinn played the brutish man, who may have even been influenced by the pug-faced, Oscar-winning performance given by McLaglen. Poverty-stricken Dublin is the true-life, atmospheric setting of the picture, which takes place in 1922. Dense fog and a long damp night are the main elements of a story about deep Irish patriotism and the fight of the Irish Republican Army. The conflict of individuality and the cause is what makes THE INFORMER tick. McLaglen's large, simple character just wants to go to America and we're reminded by signs of the price for a ticket frequently. Two different signs become the psychological centerpiece for the drunken Irishman. One is the previous, the other a WANTED sign. Should he do it and get the money to go?<br /><br />John Ford once famously said, "My name is Ford. I make Westerns." After seeing this film, he obviously could do a heck of a lot more. The serious social issues dealt with here are heartfelt and ones you will find yourself thinking about. And the look of the piece is amazing, consisting of long dark shadows cutting into a miserable Ireland night. Ford was always known for his luminescent, gorgeous cinematography that helped to foresee the conflicts within his characters. This is hard in color, but he did it in pictures like THE SEARCHERS, painting John Wayne in a sometimes vicious manner. Victor McLaglen's performance not only benefits from the lighting, but by the sheer simplicity of his acting. He shoves a lot. He knocks people out. He is a brute who knows no better. He should, however, know whether or not to cross the IRA.<br /><br />See the film to find out the gritty details. See it also for McLaglen and Ford's patriotic portrayal of the IRA. Max Steiner's score is innovative in how it matches gestures of the characters, placing more emphasis on them. This was usually only seen in silent films, especially Chaplin. The topic of naming names or "informing" is obviously still important. Just look at how the media covered this year's Oscars, giving much attention to the Elia Kazan scandal. | 1 |
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