text stringlengths 32 13.7k | label int64 0 1 |
|---|---|
The entire 10:15 minute presentation is done in a very non-threatening and non-medical way that even preteen children can easily understand. It dispels many of the myths surrounding menstruation that were going around in those days (1946) While sex is not explicitly mentioned, the part about fertilization is. This is also, purportedly, the first Hollywood production to ever use the word "vagina" in the dialogue.<br /><br />It is cute how the animated character is shown topless in the shower in a purely animated character way with no defining features as was the way of the day. Many of the Betty Boop cartoons showed her undress without revealing any defining features either. Max Fleischer was a bit of a card and did this with many of the Betty Boop cartoons which required frame-by-frame viewing to find them.<br /><br />There is no mention at the beginning or end of the film as to who the female narrator is. In fact, there are no credits whatsoever other than those mentioning Kotex and Kimberly-Clark Corporation.<br /><br />This title is nearly impossible to attain; but for those who are Bittorrent downloaders, it can be found out there in the ether. This is one of those "keepers" that will become increasingly hard to find as older short subject features fade into obscurity. | 1 |
This is the definitive movie version of Hamlet. Branagh cuts nothing, but there are no wasted moments. | 1 |
Oh Gawd. I want to time travel back to Monogram Studios and throttle someone in their 2 room front office for this sloppy musical. It is one watt above flat-lining for 60 of its 61 minutes and then actually shows (for the one thin minute, spread in milli-second blips across the hour) that there is real life talent being badly photographed.I just don't see the point of going to some trouble to actually make this film that could easily be energetic and actually funny and allow lethargy to be the main thing on view. The weird storyline shows cranky vaudeville trouper Grace Hayes bulldozing her blowsy way into a college where her rat-bag son is rich college clown. She's gonna fix his playboy ways, no matter what.Her real life son (weird looking) Peter Hays plays her screen son. His real life wife plays her secretary. Talk about nepotism. I suspect this talent package was almost the raison d'etre for Monogram financing this back-lot musical produced by resident schlockmeister extraordinaire Sam Katzman. As with other Monogram musicals it just looks more like a reason to film recent new furniture purchases and light fittings in order to show off to other studios that Monogram Pictures are 'lavish' in their B grade ways. Have a ghastly look at SWING PARADE OF 1946 for genuine evidence of this: they just constructed this gigantic nightclub set then found an excuse to film actors and musicians running all over it. Story? None. Anyway ZIS BOOM BAH is more BAH than BOOM. Where was Gale Storm and Mantan Mooreland when Monogram really needed them? Probably standing at the boom gate of PRC Pictures wondering if it looked safe to enter there. Junior jive hepster Roland Dupree springs to life to rappety tap his teen legs around two wobbly dance numbers, especially in the 'big show' finale set in the new and expanded malt shoppe/club set. The usual crumpled curtains are loosely hanging on the back wall, and the stage set of mis matched drapery even has one dark main rag that is yanked back and forth as each amateur sequence elbows past the previous one. The chorus girls and their very plain looking partners in this finale just look like Monogram office staff borrowed (from typing and carpentry) for the morning of filming. They have absolutely no dance talent and are so ordinary on screen... ALL the girls look like they are all called Joyce. There is even a costume calamity where they wear frilly hot-pants...on one leg only. It is all so awful and crummy...and actually annoying when one more tweak up by all concerned would result in ZIS being actually FUN. The one strangely interesting thing is the dialog delivery between Grace and her son/daughter in law: it is so casually delivered that it actually works in spite of the script and logic. She has a very life like presence which is the only thing that allows the ridiculous story to be slightly compelling. The Dupree kid is the real star. He can actually do something...in spite of looking like a tubby Liberace tap dancing teen... You read that right. | 0 |
Diana Muldaur appears on Star Trek for the second time, but this time as a different character. No one on board seems to notice--maybe it was the hair. Regardless, this time she is not the receptacle for a god (see the previous episode) but is a very famous lady with magical powers that enable her to communicate and see a Medusan without going crazy (the standard human response). Unfortunately, the man that is most in love with her is a few cards short of a full deck and he tries to kill the Medusan ambassador (who, oddly, lives in a small crate--this is a lousy way to travel). And, unfortunately, Muldayr isn't wound all that well herself. What happens next is kind of dumb and by the time the episode was over the first time I saw it, I was pretty relieved. Watching all the men on board go ga-ga over Muldaur was pretty silly and the acting of Spock when he briefly went crazy was pretty campy. Do yourself a favor--if you haven't seen the show before, pick a different episode. | 0 |
This movie is wonderful. What separates it from other 50's sci-fi is the fact that the alien has no features, no face, eyes, anything, yet it can't be killed. I especially like the idea that this film doesn't take place over a few days, it takes place in one night, lasting supposedly past midnight.It's also scary that once the blob gets on you, you can't get it off. you're stuck in it, as it dissolves your flesh and slowly devours your body. My all time favorite 50's sci-fi film, and what is sometimes considered the quintessential one. I can see why this rocketed Steve McQueen to stardom. All this and a catchy theme song! How can you go wrong? | 1 |
Zeoy101?? Really, this has to be one of the most stupidest attempts to get people in my age group's attention. It's about some preppy girl named Zeoy and her friends that attends boarding school. BORING!!! All she ever does is whine and complain and acts like a spoiled idiot. I remember this show came out in 2005, I was 13 going on 14, and even then I thought it was pointless. The only episode I EVER liked was when the boys hid a camera in the girls dorm. THAT'S IT. Anyway, I just don't understand why Nickel-Oh my bad-Nick feels the need to syndicate this sorry poor excuse for "entertainment". serious this decade is becoming a joke every year and it gets worst and worst. What's with this generation??<br /><br />Anyway, R.I.P. Nickelodeon 1979-1998?/2005? | 0 |
The first time I saw this episode was like a shock to me, it was actually the first time I saw "24". The speed things are happening is amazing, and it's so surprising, thrilling, and even interesting, it's almost as if you are reading a book; once you start it, it's very hard to stop. From the minute Richard Walsh was talking privately to Jack about the possibility that they have a mole inside CTU, I was sitting 6:40 hours, which means 10 episodes!!! (Sounds funny and crazy, but I'm the kind of guy which when he is interested he just can't stop)This series is one of the best of it's kind. And it's build in a way of having a few different stories that are being connected together. Recommended in every way! | 1 |
My girls 4 and 6 love this show. We stumbled across it on a PBS station and they always ask when its on now. It reminds them of their Grandma that takes care of them everyday in the summer. Its funny too and sometimes they can't stopped talking about one scene or another. I would definitely recommend this show to all young kids. It is very clean and shows you to slow down and its not about watching TV all day long. When Nana reads a story it is slow and she talks about each page with Mona. It reminds me to slow down when I read the next book to my girls at bedtime and talk about the book instead of going through it quickly just to get them to sleep. | 1 |
This highly derivative film will be entertaining for the many who have not seen some of the more obscure anime films. I enjoyed most of it, especially after the rather flat opening minutes in the museum (although the pre-title sequence is very entertaining and includes some of the better bits of animation). James Garner as the Commander and Leonard Nimoy as the King give impressive performances. | 1 |
the actors cannot act. all dialoague was plagued with bad accents and loss of character. Channing Tatum never moves his lips or changes his facial expression... EVER.<br /><br />the story is nothing new at all. some kid from the street gets involved in a professional world of dance and it turns his life around. that coupled with the whole incident involving the little kid is taken straight from You Got Served and Save the Last Dance (I'm not saying that those movies were any good either, but that is to say that this movie brought nothing new to the table).<br /><br />and the dancing... THERE WERE ONLY 3 DANCE SEQUENCES IN THE ENTIRE MOVIE AND 2 OF THEM WERE TAKEN STRAIGHT FROM THE COMMERCIAL. perhaps i'm being overly critical because i am a dancer, but maybe thats what needs to be heard. Channing Tatum is NOT by any means a b-boy. his little solo in the parking lot had little style, technique, or any wow factor, all of which are part of a street dancer's criteria. All of the jazz and ballet in the movie had nothing to offer except bad technique and a few acceptable twirls, but nothing more. the grande finale left me thinking "... OK, now they're gonna get serious" all the way through the end when i realized it never was going to happen.<br /><br />i'll admit that im sure it is difficult to make a good dance movie, but Step up is no exception to the rule. You Got Served, with the exception of its inconsistencies with street dance culture at least had the dance aspect. Save the Last Dance was garbage, and so was just about any musical from the past 10 years (although i was impressed with Moulin Rouge)... look to Center Stage for Ballet, look to Beat Street for Hip-Hop | 0 |
When I checked out the review for this film after I'd watched it, I was surprised that there were people giving it good ratings.<br /><br />This is a film of bad camera-work. Everything 'frightening' happens off screen, usually accompanied with a closeup of someone yelling "Did you see/hear that?" Well, no, we didn't see that! We can't! And when there weren't any close-ups, the camera was doing something weird like rotating upside down, or shaking back and forth really, really quickly, to either convey action or to make us physically sick.<br /><br />The characters were unlikeable because every two minutes, they started screaming the same thing over and over again. I don't care if that's what it would 'really' be like, I did not rent a scary movie to see reasonable things! I expect unreasonable things, like aliens, demons, or good acting! They were stupid, too- Let's go have intimate relations in a cave! With all of our clothes on! Speaking of which, the ending somewhat contradicts what Domingo said immediately before he died. This bugged me a bit, though not nearly as much as the fact that the ending resulted in a... serious invasion of one girl's privacy.<br /><br />No plot, no climax, no good acting, terrible camera-work. What's left? Oh, right. The ending may have had a 'twist' but generally with horror movies, the twist at the end actually has understandable relevance to what occurred during the film. Sixth Sense does- it explains a lot. Hide and Seek did, too. But the Cavern had a lame twist that served as an 'explanation', if you could call it that as it doesn't. Explain. Anything.<br /><br />Don't see it. Please. | 0 |
May (Anne Reid) and Toots (Peter Vaughan) are paying an apparently infrequent visit to their son Bobby (Steven Mackintosh) and his family in London. Even as the visit begins, Toots suffers a fatal heart attack, leaving May adrift, unsure, and questioning her life and future. Finding herself attracted to her daughter's boyfriend Darren (Daniel Craig), her actions lead to inevitable consequences.<br /><br />Beautifully filmed, but for all its heralded realism and acclaim, The Mother offers a collection of mostly unpleasant, even repellent characters, and asks the viewer to engage with them. Reid shines as May, and it is her skill and commitment as a wonderfully understated actor that salvages the film from a completely depressing mire, but Michell and Kureishi have allowed Craig, Mackintosh and Cathryn Bradshaw to create such utterly obnoxious characters, that it becomes increasingly difficult to care what happens to May. As written, the characters played by Mackintosh and Bradshaw are in fact so utterly selfish and cold-hearted that one begins to wonder what exactly was Kureishi trying to say. As directed, they are either unwilling or unable to lift Bobby and Paula above the two dimensional in their ghastly selfishness. <br /><br />Worth seeing for Reid's performance, but little else. A crying shame... | 0 |
This could be looked at in many different ways. This movie sucks, its good or its just plain weird. The third one probably explains this movie best. It has strange themes and just has a strange plot. So who else but Christopher Walken would play in this no matter how bad, average or even how good it might be.<br /><br />The acting was what you would expect especially out of Ben Stiller. Jack Black I have always liked so you know what you will get out of him but this is not bad. Christopher Walken is always off the wall. He is always enjoyable to watch no matter how bad the movie is. Comedy wise it is somewhat funny. This of course meaning that it does have its moments (though very few) but can get a little over top here and there which makes me feel like the movie is just desperate for laughs but of course not in a good way.<br /><br />The directing was average as well. Barry Levinson is a slightly overrated director and really did not do a good job here. This movie seemed that it had a lot more potential and he did not do much to reach it. Just very average and did not seem like a lot of effort was put into making this film.<br /><br />The writing is the key to a good comedy. Obviously that means the writing here failed. At best it is below average. Considering it does have its moments it was not too horrible. That is never a good thing to say about a movie though. <br /><br />If not for Christopher Walken and it stupid ridiculous ending I would have given it a lower rating. He is always quite a character in his movies. Stil this is just a whacked out strange movie with strange characters that really don't go anywhere. Not completely horrible but I would not really recommend it though because it is a very forgettable movie. | 0 |
Frankly, this movie has gone over the heads of most of its detractors.<br /><br />The opposite of perdition (being lost) is salvation (being saved) and this movie is one of a very few to deal with those two concepts. The movie also explores the love and disappointments that attend the father-son relationship. It should be noted at the outset that none of these are currently fashionable themes.<br /><br />The premise is that the fathers in the move, hit-man Michael Sullivan (Tom Hanks) and his crime boss John Rooney (Paul Newman), love their sons and will do anything to protect them. But Rooney's son Connor is even more evil than the rest. He kills one of Rooney's loyal soldiers to cover up his own stealing from his father. When Connor learns that Sullivan's son Michael witnessed it, he mistakenly kills Sullivan's other son (and Sullivan's wife) in an attempt to silence witnesses.<br /><br />Sullivan decides he wants revenge at any price, even at the terribly high price of perdition. Rooney, who in one scene curses the day Connor was born, refuses to give up his son Connor to Sullivan, and hires a contract killer named Maguire (Jude Law) to kill Sullivan and his son. So Rooney joins his son Connor on the Road to Perdition.<br /><br />For the rest of the movie, accompanied by his surviving son young Michael, Sullivan pursues Connor Rooney down the Road to Perdition, and Maguire pursues Sullivan. When Sullivan confronts Rooney in a Church basement, and demands that he give up Connor because Connor murdered his family, Rooney says - "Michael, there are only murderers in this room,.., and there's only one guarantee, none of us will see Heaven." As the movie ends, somewhat predictably, one character is saved and one character repents.<br /><br />I'm not a big Tom Hanks fan, but he does step out of character to play hit-man Sullivan convincingly, giving a subtle and laconic performance. Newman does well as the old Irish gangster Rooney, showing a hard edge in his face and manner, his eyes haunted by Connor's misdeeds. Jude Law plays Maguire in a suitably creepy way. Tyler Hoechlin plays Young Michael naturally and without affectation.<br /><br />The cinematography constantly played light off from darkness, echoing the themes of salvation and perdition. The camera drew from a palette of greens and greys. The greys belonged to the fathers and the urban landscapes of Depression era Illinois. The greens belonged to the younger sons and that State's rural flatlands. Thomas Newman's lush, sonorous and haunting music had faint Irish overtones and was played out in Copland-like arrangements. The sets were authentic mid-Western urban - factories, churches. The homes shone with gleaming woodwork.<br /><br />The excellence of the movie lies in its generation of a unique feeling out of its profound themes, distinctive acting, and enveloping music and cinematography. The only negative was a slight anti-gun message slipped into the screenplay y, the movie's only nod to political correctness.<br /><br />I give this movie a10 out of 10; in time it will be acknowledged as a great film. | 1 |
It is a story as old as man. The jealousy for another man's wife and possessions. There are even commandments against it.<br /><br />In this story, Raymond Burr ("Perry Mason", "Ironside") is the manager of a runner plantation who lusts after the owners wife and feels that he isn't treated with respect. The wife, the starlet Barbara Payton, who was trying to make a comeback after a string of sordid affairs, was lusting after Burr, who killed her husband, Paul Cavanagh.<br /><br />But, lurking about was a strange woman, the housekeeper (Gisela Werbisek) who sees everything, and who was capable of some voodoo to avenge the wronged, which also included another young woman (Carol Varga) to whom Burr also professed love.<br /><br />Burr is poisoned and becomes , or thinks he becomes, a gorilla. Payton will have to mate with Kong if she ever wants her marriage consummated, as he goes into the jungle every night.<br /><br />The end is predictable. But, the stirring question of this film is why Payton would ever be afraid. With those sharply pointed missiles jutting out from her chest, no animal could get near her to do harm. | 0 |
...And that's why hard to rate. <br /><br />From the adult point of view (hmm, student point of view:)). i must say i fell nearly asleep here. Sure, there is some laughing scene (all the credit takes here Eddie), but that can't save the disney type of script and whole movie, that's why<br /><br />2 out of 10 | 0 |
I only voted excellent because this film took two snapshots of Americana: one in 1970, and one for every year afterward. <br /><br />Nothing's really changed.<br /><br />Joe is actually a jerk, a big stupid slob who's mad at everybody else in the world for his own idiocy. This ain't really a spoiler, but the key to the film is the big, corporate "never does wrong" guy making friends with this semi-troglodyte Joe, and he gets some kind of...validation from his bigotry and stupidity and sense of being wronged. <br /><br />Yet, few would argue, that the dealer boyfriend did deserve to die. And those kids shouldn't have ripped Joe and Compton off. And Joe and Compton were actually getting into the hash and the young skin until they got ripped off. A simple film in many ways, except that in 1970 New York City was par to a battle zone thanks to Nixon's care, and all of the money going to the war in Vietnam. As I write this (2/25/2007) there is a "very long wait" on Netflix for this film - which makes me happy because I think there are people out there who want to learn. This was a pretty good snapshot - not exact, a bit caricaturist - but actually pretty close to how it was back then. And the scary thing is - things haven't changed that much. Sure, there's no more welfare, but that just means the wage-slavery has won out. <br /><br />Amazing how millionaires will complain about not making enough money, then complain that $5.15 an hour is too much to pay their people. | 1 |
I am disgusted and appalled by the positive reviews this movie is receiving. Not only is it hokey, manipulative, and melodramatic. It's also shamelessly offensive. The character of Radio `Gooding Jr.' is paraded around as a cute little stuff animal, like a puppy that's so cute you just want to take him home.' This mentality is shameless; Radio is never treated as a human being, but as a manipulative device to draw sympathies from its audience. Even more atrocious are the film's numerous moments, in which Radio gets hit in the head/trips/falls over/etc. These moments of slapstick comedy had the audience howling with laughter merely purely because, `it's funny because Radio is retarded' This is shameless, Now I do not feel that the word `retarded' is an appropriate word at all to describe the mentally disabled, but this seems to be the stance the film is taking, `Radio is retarded, but that's okay, because he's cute and we like him.' Gooding's portrayal seems better suited for a John Water's film than an inspiring family drama. To add insult to injury the film is incompetent on every level, Debra Winger is uninspired in the role as the `stereotypical housewives' that the very reminder of her heinous monologues insights laughter in all who see the film. The Score by John Horner is pure sap always overlaying its tear some score over the tired cinematography. Ed Harris is decent in a role he could have slept through, but manages to retain much of the audience's attention throughout the film. In conclusion, if you consider yourself a decent human being, ignore this travesty of a film, read the book, but otherwise skip this dire film on an interesting character from American history. | 0 |
Well it is about 1,000 years in the future and we have finally breached traveling the vast distance between galaxies!! But sadly we still use guns that shoot bullets, black men are still calling each other brothers, and getting high, stoned, fighting etc.. Common stereotypical urban black men are still getting the short end of the stick! Babes in tight black rubber pants that look like they're from Baywatch share close quarters with the captian and crew. Crippled people still require wheelchairs to move, no fancy cures, implants, or robotic legs. Dracula still looks and acts gay. Need I go on... In short this move was shot on a typical sci-fi set low budget props, actors, and no real special effects to speak of. The beginning, the middle, and the ending was pathetic. I have to go off and shoot myself now there is nothing left to live for. | 0 |
Ahhh...the '80's. 1982 makes me think back to the really crazy time we were facing in America. Fresh off the "Do What Feels Good" '70's, "The Last American Virgin" comes as a wolf in sheep's clothing as yet another 'teenage sex comedy' from the glory days. Oh sure, there's sex, but, I can't think of another movie--OK, this and "Fast Times at Ridgemont High"--that really wasn't killing time between topless teenage scenes--there was some pretty good stuff here amongst the cleavage.<br /><br />The movie follows three hormonal friends. Gary (wanting to lose his virginity), Rick (stud incarnate), and David (overweight, but, not inexperienced) as they try desperately hard to make sure Gary joins the world of manhood. But, a funny thing happens on the way to the kegger--Gary falls for Karen (pretty brunette who loves the bad boys), and can't seem to follow through with any sexual conquest that David and Rick can facilitate. Only trouble is, Rick and Karen get hot and heavy and Karen skips a period. It's Gary who is by her side as she goes to get her abortion, and it's Gary who truly cares. But, who is Karen dancing with by film end...Rick. Subtract the "R" and add a "D" where necessary.<br /><br />What separates this film from others from the '80's we think about is that, by god, they attempt some real drama here, and not of the "my parents just pulled in the driveway variety." And, you know what? I bought it.<br /><br />It wasn't sloppy. It wasn't far-fetched. And, when Gary sees Rick dancing with Karen at the house party at the end of the film, I actually felt sorry for the guy. Our teenage Romeo actually believed in unrequited love--and when his heart was broken at the end, it all sort of touched me.<br /><br />So, all the T&A aside, there's an actually pretty believable and engaging story here. Oscar worthy? Not by a mile, but, I don't know that I'd lump it into the "let's get laid" category, either. Like "Fast Times at Ridgemont High," they actually were trying to do a true film here, letting the hi-jinx in between fall where it may. | 1 |
It's quite revealing to see this today and appreciate how far we've come along in what we expect from movies, and at the same time appreciate how many bedrock notions were established.<br /><br />Here we have a full-fledged narrative talking film - the audio and the visuals are pushed to their period limits. The framing is limited to about belt-high and up -- no face close-ups. <br /><br />The compositions are remarkable; there's an early over-the-shoulder cross cutting scene to showcase the dialogue; there's a treacherous descent into a canyon with some harrowing perspective angles; a sun-bleached skeleton lies in the dust as the wheels and legs march in the upper portion of the frame; the tension in the showdown between the hero and the bad guy is visually captured by filming above the long axis of a large tree that lies between them; and on and on - early visual treats abound.<br /><br />Today, it's unsettling to see the young Wayne carry a film, unencumbered by ego or mannerisms.<br /><br />I have to wonder if Walsh recognized the self-reference: the subject is the journey of a disparate group of pilgrims; those who appear on screen are a disparate group of stage actors, vaudeville comedians, shell game artists, and, probably, carny barkers and ten-in-one show veterans. They all journey together to blaze a trail for how movies would be made.<br /><br />This is worth at least one viewing to appreciate the source of so many visual ideas borrowed in later movies. | 1 |
This film holds 7.0 rating on IMDb, so even I sensed something rotten in it's synopsis I decided to try it out. What a waste of 100 minutes. First of all, the 80's were not a good decade for crime and thriller genre. Most of these, in those days were badly done with silly plot (if they had any), so there are very few that can stand out, and even if they were good they are still not very good. The Hit, however suffers from everything that made silly crime pictures silly. It has poor character development, improbable plot and wasn't written or directed in a decent manner, and when you have such shortcomings the acting doesn't help. Stephen Frears often tried to emulate French new wave in English style film making and the two don't match.<br /><br />First of all Terence Stamp is 10 years in hiding because he testified against some of his former partners in crime. He hides in Spain, of all places. He is finally caught up with, and than first kidnapped by a group of silly looking Spanish thugs, just do be driven away some distance to the two hit man that are supposed to deal with him. These two are John Hurt, who is supposed to be hard boiled, stone cold killer, and Tim Roth (in his first role) as the devil's apprentice. They don't kill Stamp right away, they first dispose of the "three Amigos", they shouldn't have hired in the first place, and then, they are driving Stamp to Paris, because one of the buddies he testified against wants to confront him. OK that's possible. But even with Stamp being such a dangerous figure that they had to hire four guys to overpower him, they don't tie him down, don't incapacitate him in any way, and drive around with him, like he's one of the buddies. Stamp doesn't object and is happily going to Paris to be shot, not using any of a half a dozen chances, these "professionals" offer for him to escape. Than it appears that Tim Roth is just a school boy bully, making the idea of big crime boss teaming him up with a hard core hit man like John Hurt, even more improbable, especially on an important job like that. But than John Hurt is not so hard core himself, he spends twenty minutes of the movie, killing or not killing the totally surplus Australian, played by Bill Hunter, whose only purpose in this film is to introduce the lovely Laura Del Sol, his mistress (who he says is 15, but she looks more like 25), and whose role in the story and acting capabilities suggest that she was offered the role, solely on the basis of being the director's or producer's mistress at the time. After much deliberation, Hurt kills the Australian but takes along his mistress for no apparent reason. Than he wants to kill her but Roth with his "subtle ways" convince him not to, so even she kicks him, bites him and scratches him through the entire movie, he stays true to that deeply buried human side of him.<br /><br />Than you have plain idiotic scenes, like when Hurt and Roth lock the car from the outside, trying to prevent the people inside from getting out?!?! Anyway the movie drags on. Tim Roth falls asleep, guarding Terence Stamp with his gun on his chest, and Stamp just waits there watching the waterfall. Than the whole shamble of a plot comes to the point where everything we've seen in the last hour and 20 minutes just goes out through the window. Let's recapitulate, the whole point in not killing Stamp right away (except for having a movie) is to take him to Paris, so his former partner is to have a last word with him. And the whole point in him not running away is that he is prepared to die, saying "It's just a moment. We're here. Then we're not here. We're somewhere else... maybe. And it's as natural as breathing. Why should we be scared?" But my friends, here is where the plot twists, Hurt kills the man while still in Spain, and we ask why bother and drive around for days, he could have done it in the first 15 minutes, and than contrary to his philosophy Stamp is very afraid of being killed, so we ask again why didn't he run, and he had plenty chance. Roth gets killed too, but he shouldn't be in the movie at all, and Del Sol, well she's promised a role in this film purely for romantic (read sexual) reasons, so she stays alive again, even she attacked Hurt for the 15th time in the movie. He killed all the others, but not her, she must have maximum screen appearance. The movie was made on a shoe string budget and it shows, but when you have no story and card board characterizations, it shows even more.And yes Fernando Ray appears and goes through the movie as the guest star, having a single audible line of dialog. Awful | 0 |
I have been a fervent Hal Hartley supporter since I saw his short "Surviving Desire" in high school, and even then was still completely unmoored by his searingly brilliant "Henry Fool." But this 10-year-later sequel is not only unnecessary, it's disgraceful.<br /><br />After a choppy and expeditious start, "Fay Grim" devolves into pseudo-intellectualism, flat out boredom, and finally unwarranted - and unwanted - nihilism. And that's just the plot.<br /><br />The majority of the new faces are as frivolous and poorly-developed as the movie: one particularly flat character ends up hogging half the time we spend with the infamous Henry Fool himself, and it's his only spoken scene in the film!<br /><br />Jeff Goldblum's Agent Fulbright, it seems, is the only bright character (a pun surely intended by Hartley as well). How, then, is he left? **SPOILER** Dead via a car bombing, easily making this the gentle-natured Hartley's most violent film to date, and tonally all wrong in a film that's already all wrong from the word go.<br /><br />As for the other new characters, Angus James, Ned Fool (or is it Grim?), not to mention Fay herself... well, I won't spoil their fates, as the movie does a good enough job of that all on its own (when it isn't busying itself with yet another godawful canted angle, which gives the disconcerting impression that Hartley is moving backwards from Auteur to crappy film student).<br /><br />This piece is a complete disaster, a dreadful mess that isn't even good-humored enough to revel in its messiness. Instead it self-indulgently crams the typically fun hipster pretenses of its director into the "real world", one uglier and meaner than it need be but not nearly ugly or mean enough to come close to having anything to say. In doing so, Hartley tracks sh*t all over my memories of these people and the marvelous world he originally created for them.<br /><br />I have rarely been so depressed at the movies, and I'm counting "Leaving Las Vegas," which at least developed fresh new characters we grew to love before destroying them, instead of immediately disregarding characters already beloved.<br /><br />Grim, indeed. | 0 |
Until I did a Web search on "What Alice Found", I didn't realize that the name of the film is embedded in the title of one of Lewis Carroll's books. The book's complete title is "Through the Looking-Glass (And What Alice Found There)".<br /><br />The Alice of the film comes from a background quite different from that of Lewis Carroll's Alice. Her fresh and assertive character, however, is similar. The movie Alice begins as a young woman in New Hampshire who steals money from her ass-patting boss and takes off for Miami, vaguely planning to study marine biology and play with dolphins. She encounters a middle-aged couple in a motor home (the husband's retired from the military) who rescue her from a strange man at a roadside stop and from her car's breakdown (perhaps caused by their mechanizations).<br /><br />As it turns out, the couple is heavily involved in truck stop prostitution and see sweet, young Alice as a promising recruit. The wife (played by Judith Ivey in a performance worthy of some big award) buys Alice sexy clothing and shows her how to apply hot makeup. Initially, Alice passively accepts her ministrations and, with the couple's instructions, does several tricks. The encounter shown in the most detail is quite different from most cinematic sex but may be typical of what most often happens in real life. The man is shy and deferential and apologizes for "finishing" too fast.<br /><br />What's wonderful about Alice (and different from her prototypes from Clarissa to Sister Carrie) is that she learns from her experiences and asserts herself. This is how things really are. Prostitution is everywhere. People are neither all good or all bad. Alice leaves the motor home with her well-earned money and a feeling of mutual respect. | 1 |
<br /><br />Her Excellency Madam Shabana Azmi has worked in countless movies over life time. I think best is yet to come.<br /><br />Fire is ok.<br /><br />But still good days are yet to come.<br /><br />Hopefully, in Water I will be able see her better.<br /><br />Thanks and Regards.<br /><br />PS: India doesn't have a director to make best use of her. | 1 |
I saw this movie when I was about 12 when it came out. I recall the scariest scene was the big bird eating men dangling helplessly from parachutes right out of the air. The horror. The horror.<br /><br />As a young kid going to these cheesy B films on Saturday afternoons, I still was tired of the formula for these monster type movies that usually included the hero, a beautiful woman who might be the daughter of a professor and a happy resolution when the monster died in the end. I didn't care much for the romantic angle as a 12 year old and the predictable plots. I love them now for the unintentional humor.<br /><br />But, about a year or so later, I saw Psycho when it came out and I loved that the star, Janet Leigh, was bumped off early in the film. I sat up and took notice at that point. Since screenwriters are making up the story, make it up to be as scary as possible and not from a well-worn formula. There are no rules. | 0 |
When I saw this at a shop I thought it looked really good and original. Like Wolfs Creek meets Texas chainsaw massacre, and I mean it only cost three quid (around $6). To be honest I don't think it was even worth that.<br /><br />It seemed like the directors- the 'butcher brothers' couldn't decide whether wanted to do a artsy sort of horror or a gory slasher horror. It ended up with a cliché ridden gory sadistic hour and fifteen minutes with all the characters being one dimensional and you couldn't care less what happened to them but to try to make the audience care about the characters they added a useless monologue at the end and the beginning of the film which to be perfectly honest wasn't needed.<br /><br />The only good part really was the middle/end- I won't ruin it for you. But that was the only "good "part.<br /><br />Overall a pointless watch. It felt like a two hour film but was in fact only 75 minutes. If you want an artsy film-don't bother. If you want a slasher movie- don't bother- The film moves so slowly with nothing ever happening. | 0 |
This is one of the best movies I've seen. The acting is good, the plot is solid, and the whole movie is very believable, which adds a lot to the movie. I rate this at least a 9. | 1 |
This short film certainly pulls no punches. The story is of a butcher who wrongfully kills an innocent man who he believes has sexually molested his retarded daughter. The film goes onto depict how the butcher serves his time, and returns to life with his daughter in care, and having to come to terms with a life with no future.<br /><br />The graphic opening scenes of a horse being slaughtered, and the full frontal birth of the butchers daughter puts you a brutal frame of mind that stays with you throughout the film.<br /><br />The snappy flow of the film is very direct and adds to its brutality. Consequently alot of ground is covered in the 40 minutes. You are taken in fully with the butchers non-life - particularly after he loses his daughter to social services and his business. His story continues in the excellent film Seul Contre Tous | 1 |
When A Stranger Calls is actually a pretty good movie. I had never saw the original and so when I watched this I thought it was unique. When When A Stranger Calls was advertised on the television the trailer gave away the ending. Well, I never saw the trailer so when I saw this film I was surprised at how good it turned out to be. I walked by it one day and decided I'd buy it and now I'm lucky I did, because I thought it was a very pleasing movie that is a nice little film to own. It is getting a lot of unfair treatment, and if you're interested in this movie at all, don't listen to all the negativity. Camille Belle is not as bad of an actress as everyone makes her out to be, and she did a great job in this movie, so all you haters get over yourselves, lighten up, and actually try to enjoy this movie for what it is; A fun, teeny bopper, popcorn flick. If you haven't seen it please do for it is a lot more enjoyable than a lot of the other slashers being made recently... | 1 |
I've barely just made it through one episode ("Crouch End"). The dialog was stilted and down-right cringe worthy. The acting was tragic. Eion Bailey, despite his best attempts to be dramatic, remains mostly expressionless. His eyebrows hint at a recent botox treatment. Claire Forlani could have just as easily been playing the damsel in distress in a silent movie. The characters were cartoons, each playing their stereotypical cog in the plot mostly random, meandering plot. Cheesy special effects can be excused given the TV miniseries budget. But attempts to create suspense and surprise through distracting cinematography added to the unwatchability. I get the feeling that the ending was supposed to be witty and surprising, but it was lame and had little to do with the rest of the story. If I had to compare it's overall quality to something else, I'd put this episode of "Nightmares and Dreamscapes" on par with the NBC's Hercules. | 0 |
Spoiler Alert - although this is a plot almost as impossible to spoil as it is to completely explain.<br /><br />'Mulholland Drive' is by far the most successful expression of David Lynch's cinematographic style and vision since the first season of his 'Twin Peaks' TV series. As Lynch enthusiasts know, his is a style and vision uniquely blended from film noir, horror movies, surrealism, and parapsychology with a healthy dose of postmodern self-consciousness and black humor thrown in for good measure. All these elements are richly at work in 'Mulholland Drive,' making for a riveting, hair-raising, and highly satisfying film experience especially if one does not become overly obsessed with trying to make all the plot pieces fit into a logical, mystery-unraveling whole.<br /><br />The film features wonderful performances by Naomi Watts and Laura Harring in the lead roles of young women whose lives intersect in various ways amid a Hollywood setting that is itself an hallucinated blend of contemporary reality, retro '50s nostalgia, and satirical self-aggrandizement. Their seemingly random initial meeting occurs after the film's opening scene, in which Harring's character escapes an attempt on her life thanks to a fortuitous, not to mention horrific, automobile accident. Staggering down the hillside from Mulholland Drive to Sunset Boulevard (the two most archetypal of Hollywood thoroughfares), she finds her way to the very apartment that Betty (Naomi Watts) is about to sublet from her 'Aunt Ruth,' a purportedly successful actress who is off to Canada to begin a new movie. As we later learn, Betty had herself arrived from Deep River, Ontario, shortly after winning a jitterbug contest.<br /><br />A highly energetic and stylized flashback to the contest forms one of two pre-credit prologue sequences that frame Betty's descent from the clichéd would-be-starlet's bright-eyed innocence to the debauched madness of spurned lover and going nowhere bit-part actress. Unable to remember her own name, the Harring character adopts the name 'Rita' from a movie poster for the film noir classic 'Gilda' that adorns Aunt Ruth's apartment. (Actually, it turns out Aunt Ruth has long since deceased and whose apartment we're really in is a good question to be resolved in future viewings.) Anyway, Betty determines to help Rita find out what happened and to discover the source of the rolls of cash and a mysterious blue key that the women find in Rita's purse. The two women begin to piece together clues that would seem to lead to Rita's true identity. They also, by the way, become lovers, at one point radiating such an incendiary chemistry that I cannot recall its equal in mainstream treatments of Lesbian lover affairs (if a Lynch movie can ever be designated 'mainstream').<br /><br />At the local Winkies restaurant (a recurring location fraught with dream-like significance behind its grubby realistic facade), Rita's attention is caught by a waitress's name-tag reading 'Diane.' This leads her to a recollection of someone named 'Diane Selwyn,' whose apartment the two women soon visit and, at Betty's insistence, break into. I won't reveal what they find within, but suffice it to say the scene is rendered with vintage Lynchian creepiness. Subsequently, Rita wakes in night sweats speaking Spanish and hurrying Betty to an all-night magic show/theater called 'Silencio,' where the arts of illusion and lip/instrumental- syncing are practiced with manic intensity and where the Blue- Haired Lady, as she is noted in the end credits, reigns as the presiding Muse. Framed by the blue-lit, red-curtained Silencio Theatre, the blue-haired lady occupies the last shot in the film, perhaps a symbol for the controlling artistic imagination rather like Steven's "man with the blue guitar" as filtered through bad- drug surrealism.<br /><br />During the Silencio sequence, and as Rebekah Del Rio cameo lip-syncs her own powerful Spanish rendition of Roy Orbison's 'Crying'), a shattering epiphany occurs when Betty opens her own purse to discover a blue box with a keyhole that obviously matches the key in Rita's purse. Even if we do not delve too deeply into the Freudian sexual symbolism of purses, the moment is a singularly Hitchcockian one in that the matching of the key and box leads to a complete inversion of what we thought we knew and into a whole new set of character relationships and meanings. Not the least of these reversals is the discovery that Betty is the sought-for Diane Selwyn and the spurned lover of Camilla Rhodes (i.e. Rita). Camilla in turn is a Latin femme fatale movie star to whom Diane is indebted for the few minor roles she has managed to secure and, more significantly, to whom she is emotionally subjugated.<br /><br />After these and other discoveries in the last third of the film, the problem of accounting for the first two thirds of the movie is not so straightforwardly resolved as in 'Vertigo.' While bits and pieces of imagery and dialog suggest that much, if not all, of the earlier material is projected and displaced from the fevered subconscious of Diane herself, other bits and pieces suggest the perhaps supernatural intervention of a cast of characters drawing direct inspiration from 'Twin Peaks,' including Michael J. Anderson reprising his unearthly dwarfish powers and a Bob- variant who hangs out behind Winkies and is the ultimate repository for the blue box and its id-like associations.<br /><br />However one fits the pieces together, though, the whole of 'Mulholland Drive' is much greater and more mysterious than the sum of its parts. Lynch takes us on a wonderfully inventive, provocative, and pleasurably disturbing mind trip. What's more, the film's cinematography is stunning, the soundtrack filled with evocative atmospherics, the acting superb, and the directing /editing masterful. This may well have been the unacknowledged Best Picture of 2001 among major American releases. | 1 |
The arrival of vast waves of white settlers in the 1800s and their conflict with the Native American residents of the prairies spelled the end for the buffalo... <br /><br />The commercial killers, however, weren't the only ones shooting bison... Train companies offered tourist the chance to shoot buffalo from the windows of their coaches... There were even buffalo killing contests... "Buffalo" Bill Cody killed thousands of buffalo... Some U. S. government officers even promoted the destruction of the bison herds... The buffalo nation was destroyed by greed and uncontrolled hunting... Few visionaries are working today to rebuild the once-great bison herds... <br /><br />"The Last Hunt" holds one of Robert Taylor's most interesting and complex performances and for once succeeded in disregarding the theory that no audience would accept Taylor as a heavy guy...<br /><br />His characterization of a sadistic buffalo hunter, who kills only for pleasure, had its potential: The will to do harm to another... <br /><br />When he is joined by his fellow buffalo stalker (Stewart Granger) it is evident that these two contrasted characters, with opposite ideas, will clash violently very soon...<br /><br />Taylor's shooting spree was not limited to wild beasts... He also enjoy killing Indians who steal his horses... He even tries to romance a beautiful squaw (Debra Paget) who shows less than generous to his needs and comfort...<br /><br />Among others buffalo hunters are Lloyd Nolan, outstanding as a drunken buffalo skinner; Russ Tamblyn as a half-breed; and Constance Ford as the dance-hall girl... But Taylor steals the show... Richard Brooks captures (in CinemaScope and Technicolor) distant view of Buffalos grazing upon the prairie as the slaughter of these noble animals...<br /><br />The film is a terse, brutish outdoor Western with something to say about old Western myths and a famous climax in which the bad guy freezes to death while waiting all night to gun down the hero... | 1 |
This film is the greatest ninja film ever made in my opinion and if you haven't seen it then its worth watching. I would rate this film a 10/10 if you want to see more then check out http://uk.geocities.com/ninja3thedomination The opening sequence where the evil ninja is killing everyone in his way is excellent his character is the best. He then has to possesses ayoung woman who finds him dying. She then has to take revenge on the cops that killed him which means there's more killing and action. But only a ninja can destroy a ninja so she and her boyfriend who is also one of her targets enlist the help of Yamad(Sho Kosugi) to release the evil ninjas spirit and destroy him. | 1 |
There are people claiming this is another "bad language" ultra violence Mexican movie. They are right, but more than that this film is a call to create awareness of what we have become. The awful truth hurts, or bores when you already have accepted the paradigm of living the third world as the only possible goal. One of the most important things of "Cero y van cuatro" is the open invitation to profound reflexion over our current identity. Is that what we all are? Is that all that we want to be? I am abroad and I realized how spoiled is the Mexican society when the Tlahuac Incident came to light. I still cannot understand viewers witnessing a mass broadcasted murder. I nearly puked when I saw some of the images. It was not Irak or Rwanda, just a tiny village near Mexico City when rampage was carried out with the indulgence of media and government. The recreation of a similar situation in this film shocked me deeply. The other stories were good portraying other situations of corruption, dishonesty, betrayal and violence, but I consider "Tamales de Chivo" the best one.<br /><br />The movie is deeper than some "cabrón" and "pendejo" screams. Those are meaningless compared with the actions of the people. With a few exceptions they are all perfect examples of human rubbish. Just like in real life honesty is becoming more the exception than the rule in our country. Moreover, honesty is only rewarded miraculously. | 1 |
About time they released this movie on DVD. I know some say WB rush the release of this movie because of The Dreamgirls movie. But, how can you rush the release of a movie that's been in you catalog since 1976.<br /><br />I'm very disappointed with the DVD release of this movie, no special feature, no 5.1 DD sound. come on WB, you can do much better then this. The audio and picture quality on this movie needs some serious help.<br /><br />Seem WB didn't place as much time and attention to this movie because it is a black movie and my have okay sales. They could have kept the CD which by the way dose not have all the songs the original CD has. <br /><br />Would I recommend this DVD for purchase. Yes, because it is a classic film. But WB need to go add some more special feature. Take notes from other group movies, The Five Heatbeats, or The Temptation were you may view just the performance, and the sound on both are much, much, much better than this DVD. | 0 |
I don't know if this exceptionally dull movie was intended as an unofficial sequel to 'The French Connection", but it does have many of the same drawbacks: the script is so confusing that the viewer remains uninvolved and feels left out of the picture, and the direction is so cold, so lacking in energy, that even the great chase sequence can't liven things up. (*1/2) | 0 |
"White Noise" had potential to be one of the most talked about movies since "The Exorcist" I think. Seeing as EVP is supposedly true it really had an easy passage to be a feared true fact. Not many movies come along that really instill fear into the minds of people. Like I said this movie could have, but did not. The movie degraded itself to a low class PG-13 scary movie. Nothing compared to "The Ring" or "The Sixth Sense" by any means. Someone really needs to just take charge in the horror movie industry and just make a movie that not only makes us think, but it makes us jump, scream, everything a horror movie should do. I'm honestly sick of the PG-13 Horror Genre, because its becoming a genre of its own. We need the old days back, the blood and gore days, the Freddy Kruger, the Jason, The Mike Myers days. Few movies can pull off a think about this mentality being so NOT scary. So why try to pull it off? A few good jumps in this movie amount to nothing but one of the stupidest endings in movie history with no resolution at all...don't waste your money on this movie. | 0 |
This is the best and most original show seen in years. The more I watch it the more I fall in love with it. The cast is excellent, the writing is great. I personally like every character. However, there is a favorite character for everyone as there is a good mix of personalities and backgrounds just like in real life. I believe ABC has done a disservice to the writers, actors and to the potential audience of this show, to cancel so quickly and not advertise it enough nor give it a real chance to gain a following. There are so few shows I watch anymore as most TV is awful . This show in my opinion was right up there with my favorites Greys Anatomy and Brothers and Sisters. In fact I think the same audience for Brothers and Sisters would love this show if they even knew about it. Why is it always the loser shows that get so much extra time and the winning shows with great potential always get dumped right away. I am so sick of reality shows I do not watch any of them. It was so refreshing to have a new idea for a show and then to hire excellent actors, this show had so much promise. The recent episode was the best one yet as everyone has started to really get into their parts and make the show so real. Please watch this show on ABC's video and let ABC know you wish to have this show back. PLEASE SIGN THE ONLINE PETITION TO ABC: http://www.PetitionOnline.com/gh1215/petition.html | 1 |
You'd think a movie about incestuous sisters who eventually murder their employer couldn't help but be gripping, but then you'd be wrong.<br /><br />There is no plot. There is no character development. There is no redeeming visual beauty.<br /><br />This movie is a waste of time. The exploration of how the relationship between the sisters develops is nil, their sexuality is never anything but a grotesque, the class relationships are glossed over, and employer is a silly caricature.<br /><br />Ponderous silences and period clothing do not equal depth of meaning. | 0 |
It's rare that I feel a need to write a review on this site, but this film is very deserving because of how poorly it was created, and how bias its product was.<br /><br />I felt a distinct attempt on the part of the film-makers to display the Palestinian family as boorish and untrustworthy. We hear them discuss the sadness that they feel from oppression, yet the film is shot and arranged in a way that we feel the politically oppressed population is the Jewish Israeli population. We see no evidence that parallels the position of the Palestinian teenager. We only hear from other Palestinians in prison. I understand restrictions are in place, but the political nature of the restrictions are designed to prevent peace.<br /><br />I came out of the film feeling that the mother of the victim was selfish in her mourning and completely closed minded due to her side of the fence, so to speak. She continued to be unwilling to see the hurt of the bomber's parents, and her angry and closed-minded words caused the final meeting to spiral out of control. It is more realistic, in my mind, to see the Israeli mindset to be a root of the problem; ignored pleas for understanding and freedom, ignored requests for acknowledgment for the process by which the Jewish population acquired the land.<br /><br />I have given this a two because of these selfish weaknesses of the mother, which normally would be admirable in a documentary, however in the light of the lack of impartiality, it all seems exploitative. Also for the poor edits, lack of background in the actual instance, and finally the lack of proper representation of the Palestinian side. Ultimately, it is a poor documentary and a poor film. I acknowledge this is partially the result of the political situation, but am obliged to note the flaws in direction regardless of the heart-wrenching and sad subject matter. | 0 |
"Foxes" is a serious look at the consequences of growing up too fast in the 1980s. And unlike the teen sex comedies that overshadowed it (Porky's, Fast Times at Ridgement High), the movie holds up well against time.<br /><br />Its theme of teen angst is as relevant today as it was 25 years ago and Jodie Foster and sk8er boi Scott Baio (remember him?) lead a fine young cast that's well worth watching.<br /><br />The film follows four Southern California girls as they move through a rootless existence of sex and drugs and devoid of parents. The teens spend their days in and out of school and their nights at parties, concerts, or out on the street. Seldom are they home because instant gratification is a pill, party, or boy away.<br /><br />But rather than condemning them, the film is sympathetic, blaming absent, uncaring adults for forcing the teens to grow up alone. And the charismatic cast is impossible to dislike.<br /><br />The film's opening a long and loving pan - sets the tone for what follows. We see the girls asleep at daybreak amid the objects that define teen girlhood, from Twinkies to a picture of a young John Travola, while Donna Summer's "On the Radio" is scored beneath.<br /><br />From there the movie picks up speed as the girls head off to school and to life. Annie (Runaway rocker Cherie Currie) is the wild child who lives for the next party or pill. Deirdre (Kandice Stroh) is the boy crazy drama queen. Madge (Marlilyn Stroh) is the shy girl in over her head. And Foster is the one with the plan. It's her job to keep this crew together long enough to finish high school while also holding her divorced and desperate man hunting mother in line (Sally Kellerman).<br /><br />It's an almost impossible job and one that Foster ultimately fails at.<br /><br />Despite its age, "Foxes" remains a pleasure to watch. Dated hair, clothes, and references to Olympic skater Dorothy Hamill haven't hurt the movie.<br /><br />The cinematography is simply stunning, with breathtaking filtered shots of the L.A. basin at dawn, dusk and at night. Giorgio Moroder adds a 80s soundtrack featuring the likes of Donna Summer and Janis Ian.<br /><br />Perhaps the movie's biggest disappointment is that the young stars around Foster never broke out like the casts of "St. Elmo's Fire" (1985) or "Empire Records" (1995). "Foxes" shows why they should have. But perhaps like Bowling for Soup's song "1985," they just hit a wall. | 1 |
Almost a masterclass in how not to direct a movie. From the misjudged, often incomprehensible script onwards Dr Rey builds on a series of poor decisions that make the film an excruciating viewing experience. Sadly the film never rises beyond a kind of old fashioned, almost misogynistic gay camp in which women are over-wrought, OTT and middle aged and the men are young, vacuous and forever on the hunt for sex. The director was unable to pitch either the tone of the film or the level of the performances.<br /><br />There is certainly a great deal of 'acting' going on. Dianne Wiest slips into a pale impersonation of her Bullets Over Broadway performance and poor old Jane Birkin flounders in her attempt to give a comic performance. Though you have to pity her as there is very little real comedy here. The whole thing feels like a very low rent version of Merchant Ivory's Le Divorce which, to be quite honest, wasn't very good, either. | 0 |
Retitled from its original Japanese name of LAPUTA (for being an offensive phrase, something which director Hayao Miyazaki was oblivious to at the time), CASTLE IN THE SKY is the master animator's third film, and it's one of his most beloved of all time. Initially a box office disappointment in its 1986 release, it has since been embraced by critics and audiences around the world. Inspired by Jonathan Swift's "Gulliver's Travels", CASTLE IN THE SKY is a steampunk-themed action adventure tale about two young orphans -- young miner Pazu, and mysterious girl Sheeta (who wears a magic crystal around her neck) -- who team up to find the long-lost island of Laputa, which is rumored to have great riches and gems. They are aided by a band of bumbling yet sympathetic air pirates led by the feisty Dola (who at first chase them, yet turn out to be true allies) and pursued by the government headed by its villainous topmost-secret agent, Muska, who wants the power of Laputa for his own benefit.<br /><br />For anyone looking for an exciting way to spend two hours, this film is an excellent choice, featuring just the right amount of humor, exploration, wonder, and mystery to keep one interested. The artwork, although not as spectacular as in some of Miyazaki's later movies, is fantastic and gorgeous enough to watch with imaginative characters and locations, incredibly exciting action scenes, and breathtaking flight sequences that will make one feel giddy. And while the characters that populate this tale are less complex than Miyazaki's other works, each has a memorable, endearing personality that stays with the viewer long after the film is over. Dola, in particular, makes for a terrific comic character, shouting orders to her dimwitted sons one moment and being protective of Sheeta the next. Muska is one of the few Miyazaki creations to ever come across as an irredeemable villain, but like Dola, he commands every scene he's in with a sinister charisma that is both alluring and chilly.<br /><br />Anime fans have often compared this movie to Gainax's sci-fi adventure series NADIA: THE SECRET OF BLUE WATER. After all, both works share similar story and character elements... not to mention that they were both created by Miyazaki himself. Where both differ is in their execution. NADIA, although charming for the most part, suffered from taking a wrong turn at its midway point, devolving into cartoonish nonsense which all but distracted from the main plot, even though it did have a strong ending. CASTLE IN THE SKY, on the other hand, remains consistently entertaining and focused for its two hour running time, and is all the better for it. While the film's epic tone is sometimes broken up by some "cartoonish" moments, like a brawl between Pazu's boss and one of Dola's sons, it's never to the point that it detracts from the film.<br /><br />About eleven years ago, Disney released an English version featuring a cast of big-names such as James van der Beek, Anna Paquin, Cloris Leachman, Mark Hamill, Mandy Patinkin as well as some cameo appearances by veterans such as Tress MacNeille and Jim Cummings. It also features an ambitious reworking of Joe Hisaishi's gorgeous musical score for a performance by the Seattle Music Orchestra (interestingly, the man behind this rescore is none other than the composer himself). As much as purists have cried blasphemy over this version for its occasional extra dialogue and the aforementioned rescore, Miyazaki had no such problems; in fact, he is said to have applauded the reworking, and for good reason, because the newly rerecorded music is truly the star of the new dub. While there are some instances where filling in some critially silent scenes from the original Japanese is a bit jarring (notably the journey through a dragon-infested storm cloud), the overall reworking is fantastic and in many ways improves on the original, particularly in scenes such as when a robot attacks a fortress and the climactic moments toward the end. Here, Hisaishi displays his musical versatility and genius for matching music to visuals. <br /><br />As far as the performances in the dub go, the leads are probably at the short end of the stick; James Van Der Beek's Pazu sounds significantly more mature than his character, while Anna Paquin's Sheeta speaks with an odd accent that fluctuates at times (a problem which actually works in favor of the character). That said, both do good jobs overall and provide a fairly believable chemistry throughout. It's the lively supporting cast, however, that really make this dub so much fun, particularly Cloris Leachman's Dola and Mark Hamill's Muska. Both are perfectly cast and steal every scene they're in; as with the rescore, these two really warrant a listen to the Disney dub. The script adaptation borders on the loose side at times--there's quite a bit of extra lines and/or commentary (some of which are pricelessly funny and others somewhat overdone)--but aside from at least one debatable alteration (Sheeta's speech in the climactic showdown "the world cannot live without love" as opposed to the original "you can't survive apart from Mother Earth"), the overall characters, story, and spirit remain fairly faithful to the original. On the whole, there is little point comparing the Disney version to the original language track; each puts their own stamp on this legendary masterpiece, and I like them both. (They're also better than Streamline/JAL's more literal but frightfully robotic, lifeless, abysmally acted and poorly written older dub from the late 1980's; don't believe anybody who says this version is "superior" to Disneys--trust me, the opposite is true.) <br /><br />Either way, though, you can't go wrong with CASTLE IN THE SKY. It's one of Miyazaki's all-time greatest, and I highly recommend it. | 1 |
The words "Swedish" and "Action movie" do not mix. That becomes more and more obvious with every attempt made in the genre. This is yet another failed attempt.<br /><br />Lasse Brunell (Shanti Roney) works at a military air base with top secret computer systems. One day foreign criminals threaten to hurt his family if he doesn't do what they tell him. They want the secret equipment and will do anything to get it.<br /><br />This movie has it's ups and downs. And usually in Swedish action movies there are no "ups", just "downs". So i guess something in this movie showed some quality. To begin with the positive remarks i can mention that the movie is technically well made. The footage of planes and helicopters flying are well shot and look very nice. The acting is of very varying quality. Shanti Roney makes a decent performance while Maria Bonnevie is stiff and unnatural as usual (i wonder how long Swedish directors are going to keep using her even though she has the acting skills of a wooden plank?). Stefan Sauk is laughable as the "cool" special forces man who comes to the base to investigate.<br /><br />And what about the action scenes? Well as i said above the scenes of planes and helicopters flying are nice. But aside from that there is not much action to talk about. And that is a common problem with Swedish action films. There is just not enough action going on. Maybe it's a budget problem, maybe it's film-making culture. I don't know, but it negatively affects the experience. Because quite frankly, the story and acting is not good enough for this movie to rely just on that.<br /><br />I rate this 4/10 for effort. | 0 |
This is a sad film made for sad people. I was sitting in theaters tearing my hair apart, wanting to break the chairs in front of me as the movie spitted out one cringe-inducing scenes after another. And there were people roaring with laughter behind me, which made me wonder what kind of films these people must be watching to actually enjoy this horse-s**t.<br /><br />Nikkhil Advani has six stories with no plot and no interesting characters. The screenplay is dull, probably he was drunk when he was writing this film. There is no strong hold on any of these stories. Nothing new , nothing to hold the audience and filled with dialogs which you would have heard a million times before. One of the stories is about this couple not being able to have sex because of series of disasters taking place every time they want to do it. I mean seriously is this story really required? Its not funny, not creative but only proves that Advani has no sense of comedy. Another of the stories (which was probably the only story I was interested in) is based on a man's infidelity and that too ends in a lame age-old sati-savitri pati-parmeshwar crap. I have no idea what the Salmaan-Priyanka plot was all about. There was no issue in the plot for it to be a plot. She can't take Karan Johar's film because she has to marry Salmaan ?? Why can't she marry him and still take the film ?? or does Advani and Priyanaka just want to prove the world that it is in fact true that female actors cant be successful if they are married or that they should not act in films once they are married?? With six actors in the film obviously Advani cant produce the film all by himself. So he makes full use of sponsors like the Times group, shamelessly promoting their Filmfare magazines. And also some jewelery brand which the women in the film absolutely seem to adore!! I come to IMDb to give it the worst rating and i am shocked to see posts praising the film. It just goes to show the sad state of bollywood and how star struck the fans are. With fans like these, movies like Salaam E Ishq will be continue to be made and worse probably be a hit. | 0 |
I mean really. This is not going to help the Australian film industry to make this kind of film with no values of any kind. Okay, if you're a stoner and have nothing better to do, then maybe. I think film-makers from here should try to show the rest of the world what great talented people we have, and this is not the vehicle for it. Come on now, this film is just tacky. | 0 |
I wasted 5 dollars renting this complete piece of crap. Dr. Zack is the most unlovable lead character i have ever seen. The movie was full of EVERY cliche you could ever think of and contained not a single OUNCE of originality. There was the typical sexism portrayed by rugged foreigners, all the guys had those 'too-proud to take advice' attitudes that are as stale as grandma's christmas fruitcake. The concept and deaths were really cool, but they lose all novelty once the monster is revealed. (read the SPOILER at the end) Nothing else is really revealed though, the ending is the biggest cop-out you've ever seen. I predicted everything before it happened, including who would die and how. The dialogue is lacking, and that's an understatement by far. There's mostly just random yelling, thoughtful staring, and chunky sentences. The actors are just GOD AWFUL! I don't want to talk about this movie anymore, it's making me angry. I just wonder if the director even watched it when it was done.<br /><br />(SPOILER ALERT!!!! SAVE 5 DOLLARS!) the monster is just a bunch of ants that "evolved" so now they need bones so they can move around, (nevermind the fact that this serves no evolutionary advantage whatsoever, and that the ants just killed whoever was available, though the movie acts like they kill out of necessity. This movie made me dumber.) The end consists of the lead idiot killing the mother ant (a big blob thing) which destroys all the other ants. Pretty cliche eh? He almost wusses out at the end because of a sudden emotional attachment to the mother-thing that overcomes him. Give me a break. | 0 |
I saw a version of this in a 4 DVD Mafia collection put out by Brentwood and I have to admit that it was a good film. The quality was a little worse for the wear, but it was a well acted and realistic drama involving low level New Jersey gangsters. Pesci once again though, steels the show! | 1 |
The title pretty much lets you know what you're getting. It's a grade-C howler but not as blatantly funny as I was hoping. Directed by exploitation film specialist Eddie Romero from a story that originally came from Jonathan Demme (long before directing "Silence of the Lambs" and "Philadelphia"), this low-budget 1972 action movie was obviously filmed in the Philippines but set in some anonymous third world country. Playing hooker and small-time drug dealer Lee Daniels, blaxploitation superstar Pam Grier plays the first half of the title role, while long-forgotten Margaret Markov is the other half, Karen Brent, an unlikely Patty Hearst-like political revolutionary looking to partner with her comrades to overthrow the oppressive local government. Naturally antagonistic toward each other, they are in a women's prison camp where they wear inexplicably bright yellow mini-skirts as uniforms. Run by a closeted warden and lecherous matron, the prison is just an excuse for a lengthy shower scene and some half-hearted cat-fighting as Lee and Karen are pitted against each other. Of course, they escape but shackled together a la "The Defiant Ones" and continue the cat-fighting until they attack a couple of nuns to steal their habits.<br /><br />Meanwhile, various groups of unsavory men are in pursuit - the loutish drug lord looking for Lee who stole $40K from him, the rather passive revolutionaries looking for Karen, and the incompetent police (who suffer the humiliation of exposing their privates to the drug lord). Needless to say, everything eventually comes to a head but not before gratuitous nudity by a number of Filipino women, a dog wears Karen's panties and some of the worst of 1970's men's fashion (one beer-bellied revolutionary wears a leather halter top with a straight face). There is a rather sad ending, but what's truly sad is how much of the potential black comedy is missed entirely in this hilariously preposterous exercise. Sadly, Grier is disappointing in this outing because her character is not allowed much to do beyond dealing with all the "jive", while Markov is an Amazonian blonde whom I am convinced is trying desperately to be credible. Since no one displays any talent for acting, the rest of the cast is not worth noting, except balding, bug-eyed Sid Haig, who uses his standard psycho persona as the drug lord. The 2003 DVD contains only the original trailer as an extra. | 0 |
Actor turned director Liev Schreiber (The Sum of All Fears) does an above average screen version of the novel, Everything Is Illuminated, by author Jonathan Safran Foer. This tale of journey and self discovery is highlighted by strong ensemble performances and sharp direction with a storyline that enriches and enlightens the soul.<br /><br />Jonathan Foer (Elijah Wood) is a young man who has seen his grandfather, Safran, pass away. Jonathan has a peculiar habit of taking small objects and life's little memorabilia and sealing them in plastic ziplock bags to display them on his wall. Safran gives Jonathan an old picture showing a young Safran standing next to a beautiful girl who saved his life many years ago. Thus Jonathan commences on a long journey to locate this mystery woman in the Ukraine not knowing if she is still alive. He enlists the help of a brash, young tour guide named Alex (Eugene Hutz) and his grandfather (Boris Leskin) to drive him to his goal. At first the trip hits dead ends and false leads, but as the group nears its target, the men find themselves amid the ruins of a dark chapter in history with the memories of war and the past ghosts of a nonexistent town. There, they find their own respective destinies and will be forever changed by what they learn.<br /><br />This film feels like it was directed by someone who knew how to get the most from his actors. At times, the film is spoken in Russian and seems like a foreign film. The title itself is a play on self discovery. This is a thoughtful trek of one man into his past, and his past ironically involves his companions; Jonathan's obsessive journey becomes an emotional journey for Alex and his grandfather as well. It's a tale of bonding over the long haul and the guilt one must carry for a lifetime. By the end of the film, these characters have all experienced life altering events that will permanently intertwine their lives. It proves that memories can be powerful in traumatizing and also cleansing the soul. It's also about one's legacy and how others view an event or a person in the past. Alex eventually sees his grandfather in a completely different light. Even our perception of these individuals will have changed by film's end which is a tribute to a story that is well told.<br /><br />The story is deceptively simple. It functions as a road trip movie (like The Straight Story) combined with an interesting mystery story. It really involves a great many layers of emotions and subplots that range from the past to the present. The ending is a bit surreal with its déjà vu feeling.<br /><br />Elijah Wood (Sin City, The Eternal Sunshine of the Spotless Mind)) has chosen a wide range of roles ever since his splash in The Lord of the Rings trilogy. Here, he does a fine job with what is essentially a minimalist role with not much to show. Eugene Hutz and Boris Leskin fare better as Alex and his grandfather respectively. Even the grandfather's dog named Sammy Davis Jr. Jr. (that's right) is funny as a fiercely loyal companion.<br /><br />The spare music score by Paul Cantelon is a moody compliment to the thoughtful nature of the film. The editing is effective as imagery from past and present are linked and transitioned effortlessly. The cinematography by Matthew Libatique (Gothika, Requiem for a Dream) is appropriately stark and lifeless with some impressive images of war and its aftermath.<br /><br />The coincidences that emerge during the last half of the film make for good drama but are a little too coincidental. We never fully understand the whole background story of Alex's grandfather and what his motivations are. Likewise, Jonathan's blank stares and lack of apparent substance and depth do not give us much more than a sketch of a quirky man. At times, the film feels a little downbeat and depressing as more horrific revelations are exposed. But these are minor criticisms of what is a good, introspective story with good performances and interesting themes of remembrance and closure. That Schreiber not only directed but adapted the screenplay to this worthwhile slice of history is a tribute to his talents and promising potential in the future. | 1 |
Although, this episode was offensive to the Tourette Syndrome Association, others thought it was funny, while others thought it was a bad way to start the new season.<br /><br />This episode was funny and just shocking. South Park has made history as being their first episode with the most cuss words, unless you count the movie as an episode.<br /><br />I enjoyed how they made fun of Chris Hansen and his television show, to Catch a Predator. I didn't like the idea on how they thought Chris Hansen would do a show on tourettes and let a boy speak out and bash the Jews.<br /><br />One thing I did not like is how South Park thought that people with tourettes syndrome would just blurt out bad language like that. I've seen people on television with Tourettes syndrome and they do not just blurt out bad words. Unless I am incorrect. | 1 |
movie goers - avoid watching this movie. if you are faint hearted, you might want to commit suicide. if you are a short tempered, you would want to kill the lead performer of the movie.<br /><br />Though he does not have any talent in acting, he is the mass hero for all the rickshaw pullers,auto rickshaw drivers, rowdies, thugs and immature and ignorant literates.<br /><br />he proves - you do not need neither talent nor knowledge to be successfully.<br /><br />He is the highest paid actor in India. That shows the taste of movie going public in India. 90% of movie goers in tamil nadu are definitely attracted to his kind of nonsense movies. | 0 |
I had high hopes for this film, since it has Charlton Heston and Jack Palance. But those hopes came crashing to earth in the first 20 minutes or so. Palance was ridiculous. Not even Heston's acting or Annabel Schofield's beauty (or brief nude scenes) could save this film. Some of the space effects were quite good, but others were cheesy. The plot was ludicrous. Even sci-fi fans should skip this one. Grade F | 0 |
During my struggle to stay awake during this borefest, I fought through my near-dosing off to discover some silly plot regarding fraternity schmucks, quite incredibly obnoxiously annoying, running into trouble with a psychotic , radioactively damaged half-human/half cyborg named Splatter who sends his soldiers after them for the murder of their prestigious, politically vocal leader(..for whom Splatter killed himself, setting them up to take the blame so he could become the leader). These face-painted freaks form a group who express their feelings anarchically, though non-violently, living on dilapidated streets abandoned by the "civilized world" voicing their concerns regarding nuclear disarmament. Anyways, most of the film has these five frat goons running throughout darkened streets with graffiti walls, as Splatter and his punks pursue them. Thankfully for these guys, they find a punk chic to assist them on their journey out of this rather ugly terrain with which they're unfamiliarized. This territory the frat guys are immersed is a veritable labyrinth of streets and alleys with the idea of an exit out most difficult particularly when crazies and Splatter's bunch occupy nearly every turn.<br /><br />Yeah, I was duped like others thanks to the HR Giger poster which is most excellent. If only he had been the designer of this dreck..this is not the case and we, the viewer, are left a film modeled after, of all movies it seems, Walter Hill's THE WARRIORS, except this film doesn't have the style or grit that film has. The film has a plethora of unfunny bits and lame confrontations between the frats and the punks with hand to hand combats often laughable. The setting is rather interesting, and there are some atmospheric uses of neon light, but it's not the environment that's the problem..it's the plot and characters within the environment that grow tiresome. The saddlebags under my eyes weighed heavier every minute this movie continued. Yes, Texas CHAINSAW stars Edwin Neal(..quite a funny voice-man, who has an entertaining interview on the DVD I rented for this flaming turd of a film)and Marilyn Burns have "key" roles as opposing members of their faction against the government resulting in the final conclusion within a building complex at the end. Neal's character Splatter uses these metal spikes which emerge from his metal arm to kill his victims. | 0 |
This movie was to me a fairly enjoyable watch, I mean it wasn't great but it was one of the better horror movies of late. It seems to have been low, almost state benefit budget size but it has it's charms like the lovely ladies in it. The atmosphere was good also (which is what is missing froma hell of a lot of horror movies these days). The acting was your typical 80's low budget affair, that being in case you don't know is that it is "dud" acting. But that is what Lucio Fulci's movies were full of, they like this movie had atmosphere what they were lacking in storyline and money etc. They more than made up for in the horror & gore & atmosphere for the movie it's self.<br /><br />It is just a typical low budget horror movie that is watchable, I watched it all the way and I love horror movies. I've seen movies where I just turn off within 10 to 20 minutes or sit and fast forward it if it's on video, or skip scene's on the DVD. This movie didn't make me want to do that, I sat and watched it all the way to the end, without wanting to skip parts.<br /><br />I would have liked it however if the zombie type folk in this were a little more scarier as they were about as scary as having Freddy Kreuger as your babysitter, not. But seriously though if they were a little better it would have been low budget perfection, maybe.<br /><br />The music in this movie was top notch stuff, ideal horror music so it was. I've seen horror movies where the music is good or average but it could have been better, thank goodness though this movie didn't have nay of the Metal music in it.<br /><br />I've been a die-hard Metal fan since 1990 but in horror movies metal music spoils it, the movie looses atmosphere a lot when any type of music other than a score is playing. So i'm glad there was no music in this movie other than just your typical score which was rather creepy, well done.<br /><br />It could have use "Profane Grace - Epitaph Of Shattered Dreams" on it though. As it is keyboard music no guitars no nothing except "really" creepy keyboard tracks. Like track one "Forever Sleep" you hear the wind blowing all the way through it and some goose bump inducing keyboard music that follows it. Ever track on that cd is the same, ideal horror music at it's best, it would have suited this movie perfectly.<br /><br />The only unattractive chick in the movie to me was the one who got chibbed/killed (or so we are led to believe) and hung up as a scarecrow, only to get free and try to escape later. Every other woman in the movie was lovely indeed, a big 9 out of 10 for them all except the one I mentioned above.<br /><br />I wish that Hollywood (mainstream side of things) would give money to Romero and the guy who made this movie. As giving it to them for movies is way better a decision made than giving it to a goon muppet called Paul Anderson of the "resident evil" mince.<br /><br />Well done guys, it is not bad, not bad at all, I loved the part at the end credits when they kept showing you clips of them making the movie (behind the scene's) Not many movies do this kind of thing, which I thought added a little to the movie, as it also showed you some outtakes of sorts and that's always a good thing if you ask me.<br /><br />Rating for this movie 8/10, rating for the lovely ladies in the movie 9/10, rating for the atmosphere in the movie 9/10, rating for the score for the film 9.5/10. | 1 |
Opening with some blatantly reused footage from 'Kit for Cat', 'Tweety's S.O.S' fails to live up to that classic cartoon. Instead, we get an example of Friz Freleng's Tweety and Sylvester series at its most generic. Unlike Chuck Jones's Road Runner series, which strived to introduce new jokes to the same setting, Freleng's series seemed happy enough to recycle jokes as long as the characters were in a different place. 'Tweety's S.O.S', then, basically amounts to "this time let's put 'em on a boat". It's not an entirely weak cartoon. There are a few good jokes, mostly involving Granny's glasses, but they are outweighed by gags you can see coming a mile off (the seasickness routine) and it all builds to another of those endings where someone else other than Tweety says "I tawt I taw a putty tat", a joke that worked well once but has diminishing returns. 'Tweety's S.O.S' will probably please children who enjoy virtually any cartoon but for big kids like me who are looking for more than the same tired gags it's definitely one to avoid. | 0 |
I'm a big fan of surrealist art, but this film by Bunuel (with some ideas from Dali) left me cold. Bunuel had a life-long grudge against the Catholic church and delighted in trying to offend Catholics in fairly silly ways. This is one of the silliest; almost like what you'd expect from a smart-aleck 18-year-old in film class. The last few minutes of the movie, which have nothing to do with anything else, are a final nose-thumbing at religion.<br /><br />If you read the "scholars" regarding this slow-paced, occasionally amusing film, it's all about how the church and society are guilty of sexual repression. If that is indeed the point, then Bunuel expresses it in the most roundabout fashion possible. The central male character is a nasty brute who loves kicking dogs and knocking blind men down in the street, and who mentally turns billboard ads into strange sexual fantasies. Is this behavior the church's fault (for interrupting his lovemaking), or is he just a jerk? I vote for the latter. I think Bunuel must have had a lot of personal hangups and chose the Catholics as the ones to blame.<br /><br />There are a few moments where you might cry, "Aha! surrealism!": a cow in a bed, a giraffe falling out a window (a poor model), a man shredding a feather pillow, a woman flushing a toilet while we watch pictures of seething lava (or a mud pit...hard to tell in B/W). The rest is forgettable self-indulgence. Unfortunately, Bunuel was still chasing the same bogey-men through the rest of his career (Viridiana, Discreet Charm...). If you're interested in seeing surrealism on the screen, check out Jean Cocteau's early work. | 0 |
Friz Freleng's 'All Abir-r-r-d' is one of the best Sylvester and Tweety cartoons. Unlike the many repetitive cartoons in the series which simply transplant the same tired gags to a new setting, 'All Abir-r-r-d' makes the most of its concept. Tweety and Sylvester are domestic pets who are being sent unattended across country by train. With both a watchful official and a vicious bulldog to deal with, Sylvester has his work cut out. The Sylvester and Tweety cartoons always benefited from some extra participants and 'All Abir-r-r-d' is a good example of how much these additional characters help. Although they are not especially memorable creations, they throw some more obstacles in Sylvester's path and make for a more interesting battle. This early Sylvester and Tweety short presses many of the right buttons and, while Tweety is often particularly irritating with his forced cuteness, there's some deliciously violent antics between Sylvester and the dog, culminating in a surprisingly brutal climax which is unfortunately marred by a final unfunny non-quip by Tweety. | 1 |
When taken as a whole for its ideas and dissection of the current 2-party system and political process, I think this is a great film. Granted the movie was not the comedy I expected, but once I got over that this film really made me think. So much of what we see and hear in regards to any election is such a joke. There is in particular a debate scene in this movie that I felt was a masterful critique of our political debates and how policies are "discussed" at them. I encourage anyone who thinks our process is fine to go see this film. If you want something to laugh at however, Robin Williams and Christopher Walken are not their usual selves. In this movie they show us that the truth hurts, not that the truth is funny. | 1 |
this movie had me stuck in this endless loop of thinking about it for days afterward...granted i am not the movie snob that some folks around here appear to be, but i thought this was amazingly well-acted, and a powerful creation, if lacking a little subtlety in exectution. i happen to admire movies that can effectively recreate the sensation of watching a stage play, it creates an inharmonious eeriness that works well with this flick. i am also a great fan of alan rickman, so that might be my bias. personally i found the lack of spatial landmarks a good thing -- this could in fact be anywhere, and probably is. i say go easy on what was a powerful experience for me, and likely for anyone involved in any sort of political activity. | 1 |
When tradition dictates that an artist must pass his great skills and magic on to an heir, the aging and very proud street performer, known to all as "The King of Masks," becomes desperate for a young man apprentice to adopt and cultivate.<br /><br />His warmth and humanity, tho, find him paying a few dollars for a little person displaced by China's devastating natural disasters, in this case, massive flooding in the 1930's.<br /><br />He takes his new, 7 year old companion, onto his straw houseboat, to live with his prized and beautiful monkey, "General," only to discover that the he-child is a she-child.<br /><br />His life is instantly transformed, as the love he feels for this little slave girl becomes entwined in the stupifying tradition that requires him to pass his art on only to a young man.<br /><br />There are many stories inside this one...many people are touched, and the culture of China opens itself for our Western eye to observe. Thousands of years of heritage boil down into a teacup of drama, and few will leave this DVD behind with a dry eye.<br /><br />The technical transfer itself is not that great, as I found the sound levels all over the meter, and could actually see the video transfer lines in several parts of the movie. Highly recommended :-) 9/10 stars. | 1 |
I like the good and evil battle. I liked Eddie in this movie better than any movie he has ever done. He wasn't The smart, cocky, know it all he usually plays. He shows heart and a more humble humor. The fact that it shows there are stranger things in Heaven and on earth than we can think of gives me hope. | 1 |
It is one of the worst movies i've ever seen, but Hostel is definitely much more worse. This movie is more funny and ridiculous, than scary. I laughed most of the time when watched it. Low quality effects (when you gonna watch it, you'll understand what i'm talking about and HOW LOW quality is that), bad actors (i hear of them for the first time), and it seems like it's shot by an amateur camcorder (so it looks more like a TV show, than a movie). But at least i've had the patience to watch it till the end. Like comedies? Watch it. Wanna horror? Go watch Ju-On: The Grudge or some other good horror movie.<br /><br />If i'm talking about the Legend of Diablo, i don't even know if i can classify it to a Horror genre. Just some low-budget crap.<br /><br />I rate it 3 out of 10 | 0 |
As Roger Corman has said in an interview, low-budget film-making enables film-makers to take chances on offbeat ideas. Well, you'd be hard pressed to find a film that thrives on the offbeat as mightily as George Barry's "Death Bed: The Bed That Eats".<br /><br />The film does have a back story to it, and it's an interesting one at that. I'll forgo relaying any sort of details so you can hear them for yourself if you take a chance on watching it. Suffice it to say, the title item of furniture has an insatiable hunger, consuming the unwary with a bubbling yellow foam that dissolves its victims like acid.<br /><br />"Death Bed" is an eerie, haunting little flick that plays out its absurd premise in such a way that it transcends the usual assortment of schlock fare. It occupies its particular dream world in such a way that it was possible for me to take it seriously. It's a truly strange and unconventional horror flick. It dabbles in exploitative ingredients - there's some tasty dollops of female nudity - and yet is also art, albeit art with a completely skewed sensibility.<br /><br />The special effects are not too bad for a film with a microscopic budget, and Barry gives the film a good and atmospheric "midnight movie" quality. The acting from the cast is as uninspired as one could imagine, although Patrick Spence-Thomas lends a reasonable amount of gravitas as the artist / narrator, and one definite point of interest is seeing one familiar face on hand: future 'Boy Meets World' father William Russ!<br /><br />This film might not have even found the small cult following that it does have were it not for pirated copies making the rounds; this certainly has to rank as one of the instances where such a practice ultimately ended up helping the film - even if the exposure took years to take hold.<br /><br />If you have a taste for truly bizarre obscure items, "Death Bed" may be just what you've got in mind.<br /><br />7/10 | 1 |
I'm not sure quite why I clicked "contains spoiler", because quite honestly there is not enough explanation ever given in the movie to know enough of what is supposed to be going on to spoil it.<br /><br />Visually it mostly delivers. Well, apart from some 80's throwback rubber-mask monsters. I'll say now that before watching this I had never seen the band Lordi, nor knew anything about them bar that they won Eurovision. Apparently the monsters in this are members of the band, pretty much in their stage personas. Whatever. Anyway, I didn't know this while watching. I just thought the monsters/demons were mostly passable. Just about.<br /><br />I'm almost sure there is a semi-coherent explanation behind what we see on-screen, but it may actually be better not to know it. It probably would actually have been incredibly lame come to think on it. The action keeps it rolling along pretty much well enough to keep the viewer mostly entertained, even if half the entertainment factor is joking about wtf is supposed to be happening in this movie exactly.<br /><br />I gave it a four mainly because I got a good laugh out of it, especially out of how it explains pretty much nothing. Must have been the mood I was in, but I found that hella funny for some reason. Then I look up the movie on the internet and find out that NOBODY knows what the hell it's supposed to be about. That amused me further, and raised my score an extra half point to a 4/10.<br /><br />It's not scary, or particularly coherent, but it's pretty nice visually and sonically. Overall, far from essential, but watchable. Don't expect too much and don't expect it to make any sense and it might entertain you if you are in the right mood. | 0 |
Let's be fair: there are no RULES for scriptwriting, so I won't say the movie SHOULD be something other than it is. I'll just state my opinion. OK, I really liked the script, the way things are told and characters are introduced. However, I think when a play is adapted to the silver screen, it could maybe try and fit this other media. Since this movie was directed by João Falcão, the same man who directed the play, it's not too much of a surprise that the film turned out a bit too theatrical. It's the man's first movie, for cryin' out-loud! What I'm saying is, there are parts in the film - like the city of Nordestina, which slightly resembles the set of "Hoje é Dia de Maria" - that feel like we're not at a movie theater. We're at the theater! Lines are spoken too formally, characters are moving choreographically, and the lightening is clearly meant for a stage. Sure, maybe that was the intention, but that's been done. On stage. Wonderful things have been made when adapting a play into a movie - the beautiful "Closer", for instance. When I went to see this one, though, I didn't feel like I was watching a movie. But overall, it was a good one, worth watching. It's a nice love story, funny at times and sad at others. My vote is a 7. | 1 |
A film that can make you shed tears of sadness and tears of joy would be considered quite a step in the career of a common filmmaker. The fact is, Steven Spielberg, probably our greatest story-teller, has been doing this in various movie formats for years. THE COLOR PURPLE, at the time, was considered risky, especially after action classics like JAWS and RAIDERS OF THE LOST ARK. In hindsight, this film should have come as no surprise, for Spielberg had made us cry tears of joy and sadness in E.T. Critics called COLOR PURPLE his entrance into intellectual fare. It is quite an entrance. No special effects, no swashbuckling, just brilliant story-telling based on a literary classic by Alice Walker. One surprise is how Spielberg could present such a moving film about African-Americans in the deep south. Slavery is gone, but in the south depicted here, it seems as though blacks are using other blacks as slaves. <br /><br />Spielberg is always put down for sentimentalizing his pictures or adding an element of childishness to please the audience. This is really the first of overlooked films from his career that you cannot make these observations. It is the first in a line of films people either didn't see or wouldn't see because there are no aliens. EMPIRE OF THE SUN, ALWAYS, SCHINDLER'S LIST, etc.. His awesome talent is obvious with this specific picture because A) he uses mostly untrained, first-time actors, B) he tackles a subject most felt was unadaptable to the screen, and C) it is pure drama with no strings pulled where characters grow and change over the passage of roughly 30 years. It is almost epic-like in look and scope and the fact that it did not garner a single Academy Award from 11 nominations is a travesty and an insult.<br /><br />Whoopi Goldberg is fabulous as the tortured Celie, an unattractive woman given away by her incestuous father to an abusive Danny Glover, who she only knows as "Mister". The film follows a path of occasional beatings and mental torture she goes through while with "Mister". The PG-13 rated film is pretty open to the sexual issues raised by the Walker novel. This is not "The Burning Bed" in Georgia by any means. There is no blatant revenge taken as might be expected. It happens gracefully. Goldberg perfectly plays a human being, someone in need of love and someone who deserves it. The films' most poignant and heartbreaking moment comes when Goldberg and her sister, Nettie (played by Akosua Busia) are separated, maybe forever. (Possibly foreshadowing Holocaust separation of child and parent?) You may have to check for a pulse if you are not moved by this sequence.<br /><br />The color purple stands for the beauty of the fields and flowers surrounding these poor people. There really is something to live for, but love triumphs over all. Spielberg bashers take note: the guy can make an unforgettable classic without any cute aliens.<br /><br />RATING: 10 of 10 | 1 |
This type of plot really does have a lot of potential, but it was butchered here. Honestly, I sensed the cheese element in the beginning, but I thought it would get better after the grotesque birthing. Whoa, I was wrong! So mad scientist makes a monster, wants to brag to his old cronies before he kills them, but of course they escape. After that, it's really bad. I should've counted the times the rubber shark mask peeked out from behind some foliage, but I most likely would have lost count.<br /><br />Pan down to the blood-dripping-from-severed-leg to show us how the shark-man finds the folks. I hate being spoon-fed every aspect of a horror film.<br /><br />Oh, and after being nearly killed by a mutated shark-man and trudging around a jungle-esqe island, there's nothing more cheerful than a middle-aged man reciting Shakespeare...<br /><br />This is one where you'll find yourself rooting for the monster... if you can bear to watch this poor excuse for a flick. | 0 |
Dr. Chopper starts shortly after teenager Nicholas' (Robert Adamson) mum has died, he is still cut up about it but every cloud has a silver lining & in this case it appears that his mum owns a log cabin at Lake Tatonka the self proclaimed 'friendly place for happy people' that she didn't tell him about. So Nicholas together with his girlfriend Jessica (Chelsey Crisp) & three friends, Jimmy (Butch Hansen), Reese (Chase Hoyt) & Tamara (Ashley McCarthy) head out there for a fun weekend. Unfortunately things don't go according to plan, the cabin turns out to be little more than a run down shed & their neighbours turn out to be Dr. Chopper (Ed Brigadier) & his two nurses who go around killing anyone they meet to use them in horrible experiments...<br /><br />Going straight-to-video/DVD Dr. Chopper was edited & directed by Lewis Schoenburn & this film seems to be having a hard time here on the IMDb with some pretty harsh reviews, while I think Dr. Chopper as a horror film is pretty worthless I don't think some of the criticism I've read is entirely justified. The script which takes itself very seriously is credited to Ian Holt (whether he likes it or not...) who has a role in the film as Detective Crocker according to the IMDb cast list although I can't remember any character of that name, maybe he was one of the cops at the start? Anyway, the basic story is alright I suppose although it's a tad dull & lasts for too long, it's typical slasher fare with some sort of evil character running around bumping off our annoying American teen cast, you know the drill by now. Besides some brief & undeveloped nonsense about Dr. Chopper using body parts to replenish his own deteriorating body there's not much story here & the script seems to exist solely to invent situations for girls to take their tops off, there's the inevitable sex scenes, there's a sequence where some girls have to complete a sorority house initiation topless & there's even a couple of lesbians here as well one of whom is seen without her full compliment of clothing. Oh, & when I say topless I mean they aren't wearing any tops but they all keep their bras on so you may want to bear in mind there isn't any actual full frontal nudity in Dr. Chopper at all. So there you have it really, it's an average story that has a mildly surprising twist at the end which is wasted, is populated with poor clichéd dumb character's that exist only to showcase some cheap gore scenes & girls in bras. To be honest I expect a little bit more from my films but then again maybe I'm just being picky.<br /><br />Director Schoenburn does OK actually, this is by no means the worst looking film I've seen although it still looks cheap. There's no style here, I didn't think it was scary & there's no atmosphere either. The gore is restrained & restricted to some dead bodies & severed limbs, there's nothing new here or any particularly convincing special effects. Dr. Chopper is also one of those films where character decisions & motivations are ridiculous.<br /><br />Technically this is a little rough around the edges but is reasonably well made on what was probably a really low budget, the forest locations are suitably isolated although the cops office looks like someones front room & the two nurses outfits at the start look like stripper outfits. The acting is alright, it could have better but I've certainly seen worse.<br /><br />Dr. Chopper indeed features a doctor who rides around on a chopper motorbike but unfortunately that just isn't enough to satisfy me, despite it being a reasonably competent production the lack of any real gore, nudity or a decent plot sinks it without trace. | 0 |
In what will probably find itself on my list of Fuller's best movies (that is, once I see more of them that just this and Shock Corridor), Pickup on South Street is a film noir where the femme fatale, as well as the male protagonist, are not the stereotypical ones in the genre. Like most of his other works, Fuller injects his own experiences and the sense of New York style that is usually absent in the Hollywood noirs. On a small budget- at least for the likes of Darryl F. Zanuck- Fuller and his actors create personas that are likable even in such a dark atmosphere. The good guys are basically the ones who won't get violent with you even as they're looking for an extra buck. <br /><br />Richard Widmark, Jean Peters, and Thelma Ritter are all terrific in the lead parts. Widmark is one only a few actors I can think of who could've really pulled off this character. He's a little like Bugs Bunny, as he can be a wise-ass who is a little sneaky. On the other hand, the character of Skip McCoy does have a set of values in his life. He doesn't go into other people's affairs, and doesn't try and care about much of the working world outside of his little shack on the river, after being sent away for three years. He slips up, unbeknownst to him, when he pickpockets a woman (Peters) on the train, and lifts an item that's under the eye of the Government. It may have some secrets that could make him a lot of money. But at what cost is the centerpiece of the film, as it involves stoolie Moe (Ritter is one of the finest, and most believable, character actors from the period), the woman's ex (a volatile Kiley), and the police department.<br /><br />Aside from the thematic elements, which are told with a keen dramatic, journalistic style (as was Fuller's previous position, along with boxer), the dialog is fresh and involving. There's a spontaneity in many of Fuller's camera moves. And what a third act. This is a lean, tight film-noir that is worth checking out even if you're not familiar with Fuller (it's comparatively less bizarre than some of his later works). | 1 |
ROCK STAR / (2001) *** (out of four)<br /><br />By Blake French:<br /><br /> "Rock Star" is the story of a nobody who becomes propelled into fame, only to realize living his dream is not the way he imagined it. We have seen all this before (in better movies), but this human story does capture the world of rock and roll with a brutally honest and insightful edge. It garners a recommendation because of its visualization of the atmosphere. The script, by "Crazy/Beautiful" director John Stockwell, portrays the hard-core universe with memorable images-it doesn't explain what it is about, it shows us.<br /><br /> "Rock Star," originally titled "Metal God," stars Mark Wahlberg as Chris "Izzy" Cole, a Pittsburgh office supplies salesperson who dreams of becoming Bobby Beers, the fiery lead singer for the heavy metal rock group, Steel Dragon. Although Chris already sings for his own tribute rock group called Blood Pollution, instead of writing his own songs, he insists on performing only those by Steel Dragon, and only in the exact way they perform them. His group becomes irritated with Chris' obsessions and gives him the boot.<br /><br /> This devastates Chris, as well as his supportive parents and faithful girlfriend, Emily (Jennifer Aniston from TV's "Friends"). He then receives a phone call. It's the Steel Dragon band. They have seen Chris' tapes and want him to replace the recently fired lead singer. In an instant, Chris rockets into the dizzying world of sudden stardom-from the biggest rock fan to the biggest rock star. Unfortunately, it's not as rewarding as he expected.<br /><br /> A true story inspired the "Rock Star" concept. An Ohio supply salesman, Tim "Ripper" Owens, really did replace Rob Halford, the lead singer in Judas Priest, after initially singing for a tribute band. The rest of the film is probably fiction, although most of what happens must represent the experiences of many other bands. The film details the various ordeals of being a rock star. It explores the aspects of touring, personality differences, the danger of drug abuse and violence, struggling relationships, sexual freedom, dishonesty, and the extreme measures of the producers all to please the fans and keep popularity high. <br /><br />I have seen all of Mark Wahlberg's movies, and this is the first that has earned my affection. Wahlberg, a former singer/model, has made movies like "Fear," "Boogie Nights" "Three Kings," and most recently Tim Burton's lacking remake "Planet of the Apes." I am starting to admire the young actor more and more. Although he has not performed in many successful films, he has taken many chances, and done a variety of roles. "Rock Star" is his best film to date. I can't think of many actors who could have convincingly portrayed Chris Cole's struggles and aspirations. Wahlberg truly makes "Rock Star" rock. <br /><br />Jennifer Aniston lights up the screen as well. She creates a chemistry-rich relationship with Chris that induces audience participation. It's tragic of what happens to their relationship. We care about these characters a great deal. <br /><br />During the film concert scenes, director Stephen Herek (who also directed "Holy Man" and the live action version of "101 Dalmatians") creates a gripping atmosphere. He captures the scenes with an intense urgency, and a raw, unmistakable energy. The musical numbers provide the film with the best, most involving scenes. <br /><br />Unfortunately Herek cannot sustain the energy and zest throughout. At the three-quarters mark, he looses the spark as the movie becomes dull and unpleasant. I understand where the story needs to go in order to portray the negative side of fame, but this movie loses everything it previously had going for it. In "Almost Famous," a much better film about rock and roll, there is a certain amount of interest and life in even the most sorrowful scenes. Here, it feels as if the filmmakers lose their passion.<br /><br />The message comes a bit too late and suddenly in the story. The film turns into a morality tale that wants to provide us with a sappy destination. The filmmakers might as well stop everything, appear on screen and say: "now audience, the moral of the story is
" We understand the theme, but it's too instantaneous. The personal discovery for Chris' must be gradual.<br /><br />Fortunately, all of this happens in the last twenty-five minutes of the film, hardly enough to completely destroy an entire eighty-five minutes of a reasonably good feature. "Rock Star" is not a great movie-see "Almost Famous" if you want a remarkable film about rock and roll-but for Marky Mark, it's a turning point in his career. <br /><br /> | 1 |
William H. Macy is terrific in this Alfred Hitchcock-esque film. Macy stars as a film critic who accidentally kills one of his girlfriends. The characters that ensue are hilarious. James Cromwell gives a terrific performance as a blackmailing private detective. As always, Macy is incredibly funny and gives a phenomenal performance. See this movie whenever it is on t.v. and check your video stores because this is one you don't want to miss. | 1 |
I saw this movie years ago, and I was impressed... but then again I was only 12 years old. I recently re-watched it and want that time back. This film is pretty bad. While I like Lee Majors, Chris Makepeace (watch My Bodyguard (1980)if you would like to see a GOOD movie that he was in... of Meatballs (also starring Bill Murray) for some laughs), and Burgess Meredith, this role does/did nothing for their careers.<br /><br />Anyway, Lee Majors character, Franklyn Hart, is an ex- race car driver who plans on driving his race car (which he had in storage) across the country to California. One Problem: The government has outlawed all private transportation. I thought the concept was OK (not the worse I've heard of), but the execution failed horribly. | 0 |
After nearly getting killed by a big dog, a stray cat thinks to herself, "Why can't I be a skunk? Then everyone would leave me alone." She looks around the junkyard and gets an idea: white paint, black paint and some Limburger cheese and some garlic......hmmmm. The next thing you know, we have the forerunner to "Pepe Le Pew," although in this cartoon, she's still a cat, she's a she, and just a skunk in disguise. <br /><br />The cat also is enjoying and taking full advantage of her new status as a smelly skunk. He's a happy, content guy now.....until a real skunk (with the Charles Boyer imitation voice) shows up! <br /><br />I did appreciate the cat putting on a Bugs Bunny outfit. However, overall I never cared for these French-takeoff characters, finding the stereotypical dialog overdone and not really funny, so I only rate this as "fair." I do this a point, however, for the moral at the end of the story. | 0 |
This, the finest achievement from Georg Wilhelm Pabst's Social Realism period is based upon a tragedy in early 1906 that claimed the lives of nearly 1100 French miners as a coal dust explosion deep in mines at Courrieres in northern France took place after a fire had smouldered for three weeks, eventually releasing deadly pit gas that brought about the fatalities. Estimable designer Erno Metzner creates stark sets that simulate the tragedy, providing a perception of reality, augmented by matchless sound editing, with the only music being produced by integral orchestras during the beginning and ending portions of a work for which aural effects possess equal importance with the eminent director's fascinating visual compositions. Pabst's manner of "invisible editing" that segues action from shot to shot through movements of players proves to be smoothly integrated within this landmark film that also showcases sublime cinematography utilizing cameras mounted upon vehicles, enabling the director to shift amid scenes without having a necessity of cutting. Although the work's cardinal theme relates to Socialist dogma, the unforgettable power of this film is held in its details, born of Pabst's nonpareil skill at weaving numerous plot lines into a cinema tapestry that stirs one to admiration for German rescue squads of whom their Fatherland is greatly proud while no less despairing of disastrous losses to the families of French victims; certainly, a seminal triumph fully as stimulating today to a cineaste as it was at the time of its first release. | 1 |
Crispin Glovers' way of acting (and not only his) is tremendous. You really want to believe him because his body language and performing fits the person perfect. He gives Layne this extraordinary bit of personality that makes this movie a cult. As well as Feck, which role is done very well by Dennis Hopper. It's about choosing the right or wrong side, without logical thinking about the scene. Friendship is more imported, and that's exactly what I think is what makes choices this difficult. Rivers Edge lets you experience this with serious tones and family mathers. I really enjoyed it watching. I saw it a month ago for the first time, but if you like a nice 80s feel, this is the one that you have to see. I'ts a same that I didn't know of it earlier. | 1 |
At first I thought this film was going to annoy me.It was as though I had seen this movie somewhere before. The disillusioned hero, the father figure and the 9 year old sister who is older and wiser than her years (see Gregory's girl), but then, not 15 minutes in, it became a laugh out loud, comic gem of a movie. Dylan Moran (who I thought was just going to bug me) was excellent. As was Mr Gambon and the mad Scottish hitman. Lena Headey was extremely sexy. For half of the film I was trying to remember where I'd seen her before. The Parole officer. She has the most amazing smile. But clearly the true hero of this film is Mr Caine. This man should do much more comedy. This ranks alongside some of his best comedy roles (Without a Clue, Dirty Rotten Scoundrels). He is a pleasure to watch in all of his scenes but especially the end.<br /><br />No one can quite say f**k the way Michael can. <br /><br /> | 1 |
If ever I was asked to remember a song from a film of yester years, then it would have to be "Chalo Di Daar Chalo Chand Ke Paar Chalo" for its meaning, the way it is sung by Lata Mangeshkar and Mohd. Rafi, the lyrics by Kaif Bhopali and not to mention the cinema photography when the sailing boat goes out against the black background and the shining stars. The other would have to be "Chalte Chalte." Pakeezah was Meena Kumari's last film before she died and the amount of it time it took can be seen on the screen. In each of the the songs that are picturised, she looks young but after that she does not. But one actor who didn't change in his looks was the late Raj Kumar, who falls in love with her and especially her feet, after he accidentally goes into her train cabin and upon seeing them, he leaves a note describing how beautiful they are.<br /><br />Conclusion: Pakeezah is a beautiful romantic story that, if at all possible should be viewed on large screen just for the sake of the cinema photography and songs. The movie stars the Meena kumari, Raj Kumar and Ashok Kumar and is directed by Kamal Amrohi.<br /><br />Kamal Amrohi's grandson has now started to revive his grand father's studio by making a comedy movie. | 1 |
I just watched this movie in high definition on television. I am in a wheelchair due to a neuromuscular disorder and like to watch the few films made about those with physical disabilities.<br /><br />At first I found the main character somewhat noble and captivating. His message about the disabled and the life time he spent fighting to have the disabled recognized and integrated into mainstream society's job market is great. And my problem isn't with the real person who did these things. HE was a great man. But this film is completely hypocritical and diametrically opposed to the very message it is preaching, that I found it insulting.<br /><br />First of all, they didn't cast anyone in a title role with an actual physical disability. Sure they were competent actors, but it seems completely dis genuine to preach about hiring the disabled and then not actually HIRING THE DISABLED for anything in the film. Further compounded by the fact that in one scene mid way through the film a man is seen walking to a podium on crutches, appearing to have only one leg. But the CGI in this scene is so apparent it is shameful. What? They couldn't find an actual amputee anywhere for the film? For a 5 second shot it was more financially sound to do CGI effects than to just HIRE an ACTUAL amputee? At that point in the film I found it so fraudulent and completely against the message it was trying to convey that I came here to bitch and whine about it like the pathetic cripple I am.<br /><br />Figure that out. | 0 |
OK, I love bad horror. I especially love horror bad enough to make fun of. Demonicus, or House of the Dead - those were bad enough to make fun of. Severed was not.<br /><br />It was worse.<br /><br />(spoilers - who cares?)<br /><br />My friend and I sat through the entire film, and I have a number of comments, both in the "this sucks" style and in the realm of actual critiques.<br /><br />Plot (sort of) - There's a guy in this city (which is possibly Seattle, see comment below) who is running around and cutting off heads. He's been doing this for over a year (I'm not going back to get exact numbers - thank you VERY much), possibly two or three years. One head a week. And the police are JUST NOW calling in a "specialist" (who ONCE refers to himself as a psychic, but that never comes up again).<br /><br />Schya right! Feds take over after, what, THREE connected homicides? After NEARLY A HUNDRED SIMILAR KILLINGS we'd be under freaking martial law!!!!!<br /><br />Anyway, this "specialist" consults the voodoo chick who the police have been ignoring the entire time, and the two of them come to the conclusion that it's Baron Samedi, a voodoo spirit, who is cutting off heads to gain enough power to make himself a body (and then presumably take over the world - or possibly just go to Disneyland).<br /><br />Um.<br /><br />Setting - where IS this happening? Well, if you're not from Seattle, you might not realize that at the bar/rave (occupied by about ten of the movie staff and their family members), there's a poster for a local radio station, and that in the highly-entertaining, "Pulp Fiction"esqe dialog (as IF) between the two cops (yes, the ones who get their heads cut off about 15 minutes into the flick) they discuss "the new stadium" which may still have been an issue when this movie was made.<br /><br />Being from Seattle, I apologize on the movie's behalf and hang my head in shame.<br /><br />OK, here's where it gets really critical - being a horror movie writer (not published, don't go looking for my name in the IMDb), I do research. Lots of research. And unlike the writers of this movie, I know that Baron Samedi - while a Voudon Loa (spirit) who guards the graveyards and has traditionally been associated (by various Christian oppressors) with "Satan" - is actually a "Loki"-like trickster god. <br /><br />In other words, he doesn't cut off heads.<br /><br />Besides, a major part of the Voudoun religion is that Baron Samedi can have a body whenever he wants. Their religious ceremonies center around the possession of various members of the congregation by the loa.<br /><br />Not to mention, if he's already possessed someone, why make a NEW body?<br /><br />Also, if Baron Samedi GOT a body, he wouldn't go around cutting off heads, he'd get some good rum and cigars and par-TAY!!!<br /><br />In summary, the only thing they did get (surprisingly) right is that in the completely unnecessary Tarot card reading (used only to show that the voodoo chick is "spooky") they didn't screw up the interpretations of the cards the way most movies do. Again, I've done research. (Anyone remember the old late-night ad for phone-in tarot readings - "The lovers - you will soon fall madly in love..." and all that nonsense?)<br /><br />If you made it this far through my comments, I congratulate you. And I'm sorry again. I'll be more sorry if you feel the need to watch the film on account of me, so please don't. | 0 |
Cor blimey. This film really surprised me as it is a comedy masterpiece. Billy Zane is stunning as the central character, and everyone manages to play it straight enough for the comedy to be natural and easy.<br /><br />The soundtrack is really good, and the set pieces are a joy to behold. I recommend that you watch this film with a bunch of mates, a few bottles of your liquor of choice, and prepare to be astonished and highly entertained.<br /><br />This carries on so perfectly from kitsch masterpieces like Plan 9 From Outer Space that it is in the true "B" movie tradition. But what makes it more than that is the caliber of the people who took part in the film. Ron Pearlman for example. I still find my self giggling at the scene where Zane prances down a set of steps for no apparent reason in an almost ballet style. All a bit mad, and all the better for it. | 1 |
They did it. And, boy, did they do it fantastically or what! The BBC finally brought the Doctor back to our screens on a Saturday evening where he belongs! And they did it with style! <br /><br />EPISODE ONE: "Rose" - One of the strengths of the new series is Russel T Davies as a writer and executive producer. He's a fan of the show and knows what the other fans want, but also is an experienced writer in his own right, so knows what other people want. Another strength, as perfectly shown here in this first episode, is Billie Piper and her character of Rose Tyler. Finally the Doctor's companion gets a credible back story and a strong character. Also nice to see the return of the Autons - a nice nod to the Classic Series there.<br /><br />EPISODE TWO: "The End Of The World" - In the start of this double bill to show off the TARDIS' strengths, we end up in a story where special effects is everything! They now have the technology to create real, believable environments and monsters - no more rubber suits of sorts! Also the hints at the end of this episode regarding the new Doctor's past - very intriguing to kill off all the Time Lords and make him the only one.<br /><br />EPISODE THREE: "The Unquiet Dead" - We've had the future, now lets have the past. The first non-Davies written episode is a little flat in some places, but this is made up for by Simon Callow's Charles Dickens and the sudden twist in the plot when it is revealed the pitiful Gelf are not so pitiful after all...<br /><br />EPISODE FOUR: "Aliens Of London" - The consequences of the Doctor's actions are fully explored in this series, not least with the repercussions of Rose running off with him. Also, we have our first cliffhanger; not the best of ones admittedly. The Slitheen are an interesting villain, though they can look too CGI for their own good.<br /><br />EPISODE FIVE: "World War Three" - The second part of this story about the Slitheen suffers mainly from the same problems of the first. Also, the clips from the next episode coming up at the end of the current episode are annoying and spoil it for people.<br /><br />EPISODE SIX: "Dalek" - Yes! We've had the future, the past, and the present(ish), but now we get to the good stuff - the return of the Doctor's arch-nemesis. Here I think we can complement Christopher Ecclestone - he was brilliant as the Doctor, and no more so then in this episode, where we see the pain on his face as he recollects the Time War and the alien nature of him as he almost turns into a Dalek himself.<br /><br />EPISODE SEVEN: "The Long Game" - really only a story to act as a prologue for the series finale. Saved by Simon Pegg as the smarmy Editor and Tamsin Grieg in an amusing cameo. The media are controlling us - that's never been done before, has it...<br /><br />EPISODE EIGHT: "Father's Day" - this is a great episode. Full of human emotion and heartache for Rose, and the true consequences of what happens when you really muck up history. Full marks to Billie Piper here.<br /><br />EPISODE NINE: "The Empty Child" - I don't find this kid very scary. Sorry, but I don't. It's a good episode though, but the cliffhanger still could have been better - it's those "Next Time" bits that spoil them. John Barrowman is introduced here as Captain Jack, the dashing conman - he's a good actor who's been around for a while but only seemingly noticed now.<br /><br />EPISODE TEN: "The Doctor Dances" - Part two of this WW2 story - very well made in historical context terms. A nice upbeat ending, though a little confusing perhaps for younger viewers when the "Mummy" is revealed? <br /><br />EPISODE ELEVEN: "Boom Town"- probably the weakest of the series, but that doesn't mean its bad. A nice return for the Slitheen and also an interesting character study of the Doctor and Rose.<br /><br />EPISODE TWELVE: "Bad Wolf" - this starts off quite silly, with some good-hearted humour and cheeky fun making at popular TV shows over her in Blighty. Things turn deadly serious quickly, though, and the revelation at the end is the best cliffhanger in the series! <br /><br />EPISODE THRITEEN: "Parting Of The Ways" - Goodbye Christopher Ecclestone. A fantastic Doctor in so many ways, David Tennant is having to really work his socks off to be as good as him. The regeneration scene at the end is beautifully played. Oh, and the Daleks are back - in the extreme! God bless CGI, because they'd never be able to pull this off normally! <br /><br />Overall - brilliant! 9/10 | 1 |
The storyline of this movie is cliché and obviously has been ripped off from Jurassic Park. The filmmakers didn't even try to hide that. It seems as though there was not enough budget to make decent dinosaur-dolls, so instead the viewer sees some robot-like toy-dinos (from a cheap toystore) which move in a very unnatural way. It's funny though, because it's so bad. The acting is almost as unnatural as the dinos are. No one seems really excited to be in this movie (which I totally understand). Especially the last half hour is extremely boring and it's almost impossible to watch it without falling asleep. The one positive comment note I'd like to make about "Raptor" is that it doesn't take a full 90 minutes. | 0 |
This movie was marketed extremely well. When it was released in '97, during the middle of Master P's fame and success anything and everything with his name on it was selling off the shelves. That's why it's no wonder this underground urban drama sold over 250,000 copies and still goin'.<br /><br />If you are a fan of No Limit back then or even now check it out. It has a few old school phatty videos and don't get me started with the freaky deaky strippers at the bonus Ice Cream Party. So what I got to say to all the people who don't like Master P or No Limit Records don't watch it because it isn't for you and don't bother voting on it because you're only going to deter TRU no limit fans from renting or purchasing this video with your low votes. | 1 |
Just a regular Jason lee movie, There were some parts of the movie that were funny. The undertone of the move is to live life on the edge I guess. These are the types of movies that I think 14 year old girls watch at slumber parties. It was an all right movie. It is kind of one of those movies you have on in the back ground and look up every now and then to when something catches attention. I think That Julia stiles and Selma Blair are a good combination and would like to see them in a movie with a good story and plot. Its just kind of a boy meets girl movie. This is that perfect movie they would show on comedy Central. I am glad that I didn't see this movie in the theater, I would have been angry. But I guess that's why I didn't see it in the theater. | 0 |
all the acting done in the first season has been really amazing. the first look you get of Max and Zach is through Geneva Locke and Chris Lazar or as i like to call them the minis. the minis do the best acting job that i have ever seen kids do. the main actors and actresses i.e. Jessica Alba Michael Weatherly etc. make you forget you are watching a fictional t.v. show they seem to make this show come alive. all in all this is the best show i have ever watched | 1 |
I've seen a lot of crap in my day, but goodness, Hot Rod takes the cake. I saw a free screening in NY the other night. I can only hope they show the funny version to the paying customers. The big laughs were sparse, the plot was uninteresting, and the characters were one dimensional at best. One highlight is a hilarious dancing scene with Adam Samberg. It was priceless and was the only scene I truly had a hearty laugh at. Other than that, I can only recollect randomness and dead air. SNL & Samberg fans may be disappointed. I know I was expecting more from it. But it short, I definitely would not recommend attending a free screening or paying to watch this film. | 0 |
The Man with the Golden Arm, Otto Preminger's controversial, panoramic crime drama, plays itself out among the mental descriptions of its living and architectural occupants, in rhythmic, lashing arrangement. Opening the film, a closeup from within a bar of Frankie looking in through the window, already tells us to the prominence that the protagonist's subjective experience will grasp. Pulled in the direction of increasingly slighter spaces, the film shuts itself off, as the local gangster's long-drawn-out poker game shuts itself from the daylight, bolts itself in, as Sinatra's Frankie Machine has himself locked in a room in the celebrated scene of his harrowing struggle to overcome his habit. In delving into the shapes and faces of its jazzy urban haven, the visual traffic in The Man with the Golden Arm characterizes skewed psychological circumstances, forming an overpowering environment, as maintained by the recurring tracking shots into closeups of Frankie's eyes.<br /><br />The grace of this fiery drama, striking as early as the exciting opening crane shot, displays the command over the perceptible world that studio production allows. The wonderfully dilapidated urban sets define an independent place with no beginnings or ends, an indeterminate state, the sort that in reality hardly last as long as this skid row seems to before being gentrified or leveled. The flair of certain performances, particularly Robert Strauss's as the wonderfully named underworld gambling boss Schwiefka and Arnold Stang as Frankie's trusty four-eyed lapdog, becomes this fiery surreal feature pleasingly. The premise of drug addiction, Sinatra's powerhouse performance, Elmer Bernstein's infectious, forceful jazz score and Saul Bass's famous, influential and controversial opening sequence centering on the animated paper cut-out of a heroin addict's arm ensured that, in its era, The Man with the Golden Arm presses forward upon the cause for realism in the still reticent Hollywood. It is impressionistic and subjective, as I say, but its intent, its force and its spirit are much closer to home.<br /><br />What absorbs me the most in this film is its aspect as a gangster film. It has the illegal card games, short cons, the fights, the guns, the double-crosses, characters on the lam, a femme fatale, a stunningly sexy gun moll, the shady nightclubs and urban landscape, but it does more than exploit this environment for entertainment. Really, it is the perfect environment, and genre, in which to tell this story, a crime-ridden urban borough where it's all too comfortable to escape through a bottle or two, or three, or four, or drugs, a transient dose that really just functions to keep one in obscurity from any enlightenment and all the clear scenarios the world could bid. | 1 |
54 is a film about a club with that very title in the setting of the 70s era. It features the classic good-looking bartender. The sexy females. The high powered owner. The partying. When all entwined together chaos ensues, and the bartender (played by Phillipe) seems to be at the brunt of it all.<br /><br />I'm going to be as blunt and honest as possible, whilst avoiding any outright unfair or untrue comments (like, it's an 'ok' film). I really do find it a completely dire film complimented by it's dire cast. Every time I sit down to watch a film casting Salma Hayek, I am always awaiting to see her beauty, radiantly expressed simultaneously with a great performance, but, reality invariably reminds me quite abruptly how utterly talentless she is. I mean, really, what has she ever bequeathed the masses with, other than her immense table dance in 'From Dusk Till Dawn'...? The same goes for Ryan Phillippe, another poor actor who gives nothing to the screen but his good looks and insanely dull facade otherwise known as 'acting'. Mike Myers, isn't quite as bad as these 2, he does at least give the Film something worthy. Playing the seedy, extroverted co-founder of the 54 Club. The type that the majority watching would hate (i.e. job well done), he puts in a somewhat convincing performance that gave me rare enjoyment from the flick. But alas, it is not enough to rescue the film from it's baseless and flat nothingness. Most 'bad' bad films I find something to take from the film, but this has nothing to it, really. Neve Campbell isn't too bad, but she is just 'there'. The storyline is dull, it appears the writer was more bent on making a film of this style and embellishment and forgot to add anything else. Any meaning. Any class. Anything at all. Because like most ornaments, they are just hollow pointless objects, that are merely pretty to look at, much akin to the basis of this disastrous film.<br /><br />Genuinely an hour and a half of time I could have spent better doing something much more exciting, like talking to 90 year old relatives on the phone about the weather. | 0 |
It's New Year's eve, a cop-killer (in the form of, Laurence Fishburne) end up at a precinct that's closing down due till snow. When the people are layed siege on, cops have to team up with cons to survive. This re-make of the John Carpenter classic just had to add a few beyond stupid plot twists, take out all the tension, and add a horrid John Lequizamo to the cast, didn't it? The first film was thrilling, gritty, and a joy to watch. This one is more Hollywood, clichéd, and painful to behold. The only thing I took from this movie was OCD can be very annoying...VERY. The ending song is SOOOOOOOOOOOOOOOOO bad.<br /><br />My Grade: D- <br /><br />DVD Extras: Commentary by Richet, Demonaco and Jeffrey Silver; Delet scenes with optional commentary; 5 minute "Armed and Dangerous" featurette on the weapons expert; 7 and a half minute "behind Precinct Walls"; "Plan of Attack"; "The Assault Team"; 12 and a half minute behind the scenes featurette;, Trailers for "Unleashed", "White Noise", :Seed of Chucky" <br /><br />Miscelanious: I got this at Best Buy and it came with a bonus disc including the first 2 minutes of "Cry Wolf"; a 10 minute first look at "Unleashed"; the trailer for that film; and a Fuzion interview with John Leguizamo | 0 |
I haven't seen this movie in a while, so I'm afraid I can't be very specific about details... It did have some interesting points. Ralph Bakshi's attempt at an animated adaptation of J.R.R Tolkien's masterpiece was a very ambitious project, so ambitious in fact that it went bankrupt at some point during the production. Therefore, not only does it stop abruptly somewhere around the middle of the second book of the trilogy (with sort of a shade of a hint of a sequel that was never made), the film itself seems less than finished. It seems that some characters were animated while others were filmed, but whether or not it's intentional is hard to say. The whole thing seems shabbily made and undone, especially the Orcs and the Nazgul. Another problem, of course, is the huge gaps in the plot. Bakshi was in a rush to finish this movie, and he somehow hoped to cram a book and a half in little more than two hours (the new trilogy by Peter Jackson does it in about twice that time.) Far too many important bits were left out (and I don't refer only to Tom Bombadil, which, I think, was lovely in the book but would look silly in a movie.) And of course, the ending, which is completely sudden and out of place. I'm not even sure if Bakshi originally intended to end the film there, or if he even had any idea where he's going to end it.<br /><br />The characters... well, most of them were okay. The hobbits don't look so bad (except for the gay Sam. Did you know that the producers of the new trilogy originally wanted to make Sam a woman so there would be a feminine lead character?) If you're a Tolkien fanatic (like me), watch this movie (though I'm not too sure about buying it. What special features does the DVD version have, anyway?) But know in advance that you're not going to watch a real 'Lord Of The Rings Movie' but not much more than a historical curiosity, which probably looks not much better than the 60s version would have had the Beatles carried on with their plan (I actually think a psychedelic LOTR could have been quite cool. The idea was to cast George as Gandalf, Paul as Frodo, Ringo as Sam and John as Gollum.) If you didn't read the book or didn't like it much or don't like animation films or don't want to see a half-finished movie... stay away. | 0 |
I just wish I was eloquent enough to say how GOOD this movie is.<br /><br />I...it's hard to say.<br /><br />Maybe I'll just say what comes to mind.<br /><br />I laughed. I really laughed. I couldn't believe it. I laughed, and, it wasn't bitter-laughter. it wasn't cynical laughter. it was the laughter that is generated by genuine joy.<br /><br />joy. that's a foreign word for me. i don't feel that word often, but, i did while watching this movie.<br /><br />Will. Maybe it's Will's face. He is a great human being. "Smile on my face and there's a twinkle in my eye." That line in one of Will's songs describes him perfectly. He has "joie de vivre". Trey is a lucky, lucky boy to have a daddy like Will. Jada is a lucky, lucky woman to have a husband like Will. He is someone...special.<br /><br />Happy. I actually feel happy. It's a strange feeling. I don't feel this way very often. It's just so nice to see, to see...other people really happy. I mean really happy. In this movie, I did. As Will says in the movie, "Maybe I'm not happy with just 'fine', maybe I want 'extraordinary." You know, watching this movie made me think: so do I.<br /><br />Fun. Being yourself. We all know we're supposed to be ourselves, but, it feels like we're punished if we do so. Maybe it has to be earned. Maybe it's something that we show after having not been ourselves for a long time. That's why I just loved the ending. Will, Eva Mendes, Kevin James, Amber Valleta, Julie Ann emery all dancing at the wedding. Dancing without inhibitions. NO THEY WE'RE NOT DRUNK! except, on actually being happy. I can understand that, at least, I think I can (at least, I enjoyed seeing them happy, really happy).<br /><br />Women and Men. I don't know anything about relationships, but, I do feel. Watching this movie I feel like connecting with someone, striving, pushing, wanting to be with someone. It seems to make life...something else entirely. I don't really know. I'm just guessing. but, I felt something, watching this movie. I felt like, that connection, must be...must make, life worthwhile.<br /><br />That's the kind of movie this is. It's FUNNY. It's CLEVER. It's TENDER. It evokes feeling. It made me think, that maybe, just maybe, life is, truly is, a wonderful thing.<br /><br />Want to LAUGH? Want to FEEL REALLY GOOD! Want to GET SOME ANSWERS ABOUT GIRLS (and Girls, answers about Guys)? Watch Hitch. YOU-WILL-GET-IT-ALL!!!<br /><br />GO WILL!!! You are a great human being. | 1 |
Compared to director Kevin Connor's later ARABIAN ADVENTURE, this is a masterpiece. However, that's not saying much. In fact, AT THE EARTH'S CORE is a silly fantasy adventure in which Peter Cushing - who appears to be on something strong - and some other actor (whom I don't know) use a giant digging machine called the "Iron Mole" dig their way down to the Earth's core - only to find that the inside of the Earth is pink and populated by ape-like creatures who have enslaved the humans. There's also a giant bird that controls the apes by means of telepathy, and we get to see it blink its eyes in closeup throughout the film. Most importantly, Cushing and what's-his-name also encounter the lovely Caroline Munro in the subterranean caves. And here's what I've really got against this little flick: why oh why is it that whenever Munro's in a movie, she only gets approx. 5 minutes of screen time? In THE SPY WHO LOVED ME, MANIAC, DRACULA AD 1972, GOLDEN VOYAGE OF SINBAD - always she's in the background! How can Kevin Connor possibly think that we'd rather listen to Peter Cushing's fake accent and look at some ridiculous ape-man whose voice sounds like a scratched cd than gaze at the beautiful Munro? I don't get it. Please, somebody direct a movie where this English brunette is on-screen all the time! | 0 |
An excellent series, masterfully acted and directed, but unloved (I am told) by Mr Deighton and withdrawn by him after a single presentation. It is now only viewable in private collections, and via the British Film Institute at special request. Very unfortunate, as Ian Holm's nuanced portrayal of the weary-but-determined Bernard Samson is superb; one of his very best performances. The supporting cast, including the young Amanda Donohoe and Hugh Fraser, are superb. With Mel Martin playing the conflicted and traitorous wife, and Michael Degen as the mercurial Werner, the story positively simmers with the tragic and fateful personal consequences of the great game. | 1 |
Some people may remember Ms. Russell from films such as "Black Widow", which had some appeal and critical acclaim. Boy, she must have really needed a rent check when she signed on to do this dog.<br /><br />Yes, there will be those who like the gratuitous violence and nudity. But one must sit back and wonder, in retrospect, what possessed anyone to spend money and time to make this in the first place. I just saw this movie on one of the "HBO's", and I can't believe they picked it up.<br /><br />In 1996 Ms. Russel didn't have the physical attractiveness she did earlier in her career. But, come on! Having her play Ma Barker??? Her "sons" all look like they could be her brothers. It's also creepy in that you think there are going to be incestuous relationships occurring (thank goodness there aren't, hope that doesn't count as a spoiler). With Eric Roberts and Alyssa Milano added into the cast, this one is B-movie 'straight to video' all the way.<br /><br />The scenes between Purvis and Ma Barker, either in person or on the phone, are a primer in terrible, terrible acting. Oh, wait, I forgot terrible, terrible writing as well. Chalk this one up to experience. A bad experience. | 0 |
I have two very major complaints regarding this film.<br /><br />1. That my local rental store shelved what is very clearly a soft core porn in the "suspense" category. (Had I known what it was, I would not have wasted my time renting it in the first place. And yes, this movie is a soft core porn.)<br /><br />2. The title has nothing to do with the movie. No one in this movie does anything that is either deviant or obsessive, let alone a combination of the two.<br /><br />Actually, make that three major complaints:<br /><br />3. That I for some reason watched the movie long enough to discover point number two on this list. Boy do I regret that. Stay away from this movie. Learn from my mistake. This movie is valueless on virtually every level. | 0 |
This film is a perfect example of the recent crop of horror films that simply are not fully realized. There are two routes to take in horror films: either you don't really explain what's going on (or who the killer is, like in Texas Chainsaw Massacre) or give the characters a lot of back story and characterization so that everything is explained (Halloween could potentially be an example of this).<br /><br />Unfortunately, Creep fails in this area. I see absolutely no reason to give a small shred of the back story for Craig without fully capturing the essence of his character or his motivation. No character is fully realized, although the circular nature of Kate's character in the film is the most accomplished part of the story.<br /><br />In the end, this story is mostly unmotivated and none of the performances give it the necessary life to make it enthralling or interesting enough to overcome the lack of context and empty film-making that drag down the film.<br /><br />This film will go down as another example of a film (as most are) that could be so much better even though it would never be great. The only thing that was used properly in the film was the setting: the characters, story, direction, and overall writing would have benefited from a serious face lift.<br /><br />Creep does serve a purpose as a mindless, silly horror movie with no intellectual or emotional investment, but sadly, that's about it... | 0 |
War drama that takes place in Louisiana in 1971. It follows a bunch of recruits through basic training and then Tigerland--an accurate portrayal of Vietnam on American soil, before they're shipped over. It focuses on two men--Booz (Colin Farrell) and Paxton (Matthew Davis)...how they meet, become friends and deal with a corwardly squadron leader (Clifton Collins Jr.) and a borderline psycho (Shea Wingham).<br /><br />A surprisingly non-commercial film directed by Joel Schumacher. He uses a hand-held camera throughout most of the movie and uses digital video for the combat scenes. It works very well--the film looks gritty (as it should) and uncomfortably realistic.<br /><br />Farrell successfully covers up his Irish brogue and adopts a pretty convincing Southern accent. His performance is just superb--he's an extremely talented young man. Davis, unfortunately, is not that good. He's tall, muscular, very handsome--and very bland. The rest of the cast however is just great.<br /><br />This film was thrown away by its studio. It had no stars in it, a familar story and was considered "just another war film". It only played a week in Boston! It's well worth catching on video or DVD.<br /><br />Also, Farrell and Davis have a lengthy nude scene. | 1 |
This is, without a doubt, the most offensive "chick flick" I have seen in years, if not ever. The writing & characterizations are so riddled with stereotypes that the film verges on parody. Before walking out of the theater an hour and five minutes into this disaster, we were subjected to the following themes: having a baby will solve all of your problems, "performer types" are miserable messes, & musicians can't be good mothers unless they toss their dreams for a more conventional lifestyle. What a waste of a talented cast & some great-looking sets & costumes. When Natasha Richardson told Toni Collette that unless she lives a more mainstream life, she'll end up - shudder - "alone!", I felt queasy. I can't believe this movie made it to theatrical release. It's the sort of fare one expects from those "women's" cable channels that I always pass right by when channel-surfing. I am female and over 35, so I should be part of this film's target audience, but boy, does "Evening" miss its target. | 0 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.