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My original title for this review was going to be, "Ending disappoints, Film triumphs." But I actually thought about this one on the way home. It is not the fairy tale most of these films are, it takes turns that are different and while its ending is at first disappointing, it slowly sinks in and hits the core on a satisfying tone.<br /><br />The plot follows a man named James Aaron(Curb Your Enthusiasm's Jeff Garlin, who also wrote and directed) a struggling actor who lives in Chicago with his mother and deals with both his obesity and his inability to find someone to love.<br /><br />Yes, it sounds corny, but it experiments with elements that make it somewhat unpredictable, and actually makes you wish it were longer. The ending came kind of abruptly and had me saying, "that's it!?" But once it starts to take it's toll, it really makes you smile.<br /><br />It does have many tones of seriousness throughout, but fear not, for it is also very funny. Some scenes offer huge laughs, and those who have seen Jeff Garlin's stand-up will recognize a couple (Primarily when he gives a speech at career day for his niece's kindergarten class and bombs). It begins on somewhat of a serious note that you do not expect, but what follows is very funny, entertaining, and quite poignant as well. It is the kind of movie that you keep watching and always enjoy. And as I said before, while the ending may seem absurd at first, once you take time to think about, it is a true joy. | 1 |
OK I'm not an American, but in my humble Scottish opinion Steve Martin is not, never has been, and never will be a funny man as long as our posteriors point in a southerly direction. Phil Silvers as Sergeant Bilko was a funny man, no doubt due to the skilled writers and directors and all the other talented team working characters in the series who contributed perfectly to one of the funniest and dateless situation comedies America has ever produced. How anyone could have the audacity to even attempt to replicate the Phil Silvers character is beyond me. To compound things the exercise was repeated in Martin's unfunny attempt to be Peter Seller's Inspector Clouseau, another abortive attempt, in my opinion, to rekindle a demonstrably unfunny career. Some of your contributers say 'Steve Martin puts his own stamp on the character', to that I would say 'balderdash' , his portrayals will be long forgotten when those of Silvers and Sellars will be treasured for generations to come | 0 |
This movie works because it feels so genuine. The story is simple and realistic, perfectly capturing the joys and anxieties of adolescent love and sexuality that most/all of us experienced during our teen years.<br /><br />The actors are as natural as figures in a documentary but are as convincing and as charismatic as seasoned performers. The dialogue is fresh and honest... and thankfully not filled to the brim with cutesy pop culture references. Also, the cinematography is at once gritty and beautiful, bringing the Lower East Side setting to life in a very tangible way.<br /><br />On an artistic level, I love this movie because it reminds me of great Italian neo-realism films like The Bicycle Thief and La Strada. Movies rarely feel as "real" as this does ... or as Bicycle Thief did. And the only other movie I've seen that treats teen sexuality with the same level of seriousness is Elia Kazan's Splendor in the Grass. Writer/director Peter Sollett deserves tremendous praise. This film is quite an achievement.<br /><br />On a personal level, I am always glad to see a movie that treats members of ethnic America with love and respect. As an Italian-American, I hate the way my own people come off in the cinema (as racist, womanizing, criminal geniuses in irritatingly popular epics), and my aggravation on this count makes me acutely sensitive to other groups and their awful silver screen representations. Hispanics and Asians in particular seem cursed to playing villains in Westerns and action movies. (Good thing Gong Li didn't try to become famous in America!)<br /><br />Of course, thanks largely to the rise of indie pictures, and the influence of Miramax, we are seeing a few more pictures about ethnic characters here and there ... but Raising Victor Vargas is easily one of the best. While I do really like My Big Fat Greek Wedding, it is a refreshing change that Raising Victor Vargas is played straight (with less exaggerated and broadly-drawn characters) while still being very funny in its own right. Finally! Latino characters worthy of note. I have a feeling that this is a film that will be remembered.<br /><br />Of course, now that he has made this wonderful picture about a family from the Dominican Republic, I hope Peter Sollett gets around to making a movie about Italians soon! :) - Marc DiPaolo | 1 |
Damp telling of the American Revolution.<br /><br />When farmer 'Tom Dobb' (Al Pacino) and his son arrive in New York Harbor, they are immediately conscripted by street urchin Annie Lennox... Annie Lennox?... to contribute to the war effort.<br /><br />After getting chopped down by bits of chain-link fired from British cannons, Tom and his son are promptly chastised by Continental Army sympathizer 'Daisy' (Nastassja Kinski) for 'not standing their ground'. Following this Kodak moment, a series of digressive chapters take place including Tom's participation in a 'foxhunt' in which he must carry a model of "poor old Georgie Washington" stuffed in effigy while running from a lace handkerchief-wielding English captain (Manning Redwood), and having a barbecue with a group of Iroquois Indians as they plan on the best way to sneak back into the fighting so Al and his ingrate kid can kick the crap out of British officer Donald Sutherland's butt.<br /><br />Director Hugh Hudson presents a unique style of film-making and the atmosphere is as thick as the proverbial London fog, but the scriptwriter's painting of the redcoats as evil monsters once again reveals Hollywood's patented hatred of the British.<br /><br />Steven Berkoff appears as an enlisted American soldier. | 0 |
Its not the cast. A finer group of actors, you could not find. Its not the setting. The director is in love with New York City, and by the end of the film, so are we all! Woody Allen could not improve upon what Bogdonovich has done here. If you are going to fall in love, or find love, Manhattan is the place to go. No, the problem with the movie is the script. There is none. The actors fall in love at first sight, words are unnecessary. In the director's own experience in Hollywood that is what happens when they go to work on the set. It is reality to him, and his peers, but it is a fantasy to most of us in the real world. So, in the end, the movie is hollow, and shallow, and message-less. | 0 |
E! TV is a great channel and Talk Soup is so funny,in a flash you can view the episodes change. We want more funny writings by the best writer ever Stan Evans.. The patron Saint of the mindless masses... He is a truly talented, gifted writer, actor, comic, producer,director, and creative consultant.Anna Nicole loved him , but he was not a $$$$Billionaire so he left him for a Billionaire. Many super stars wanted to make films with the actor Stan Evans, who has a "Humphrey Bogart" {Clark Gable}acting style. He should make many more movies. Maybe with Stephen Spielberg, or perhaps many other talented producers.We wish him a moment of FAME with a great fortune to gain. Has he produced any mock-U-dramas? or perhaps any docudrama??? A project about Bernie Madhoff would be a great TV movie written by STAN EVANS. How many screenplays has he written?? Is he under $$$$$$$$$$$$billion contract with Disney?? He should earn more than $50 Million... He could also write a TV movie about the late KING OF POP.. Michael Jackson. We want to view a lot more of and by Stan Evans in the movies and on TV. Thank you so very much. Elvis has left the building!!!!! | 1 |
Based on the memoirs of Gypsy Rose Lee, who painted a much more affectionate picture of their mother than did her sister, actress "Baby" June Havoc, in her autobiography, "Early Havoc" on which "They Shoot Horses, Don't They?" was loosely based. I saw Ethyl Merman in the original Broadway production of Gypsy, and she was great as "Mama Rose" but certainly more "Merman" than Rose. I was disappointed with Rosalind Russell's portrayal in the 1962 movie version. An otherwise excellent actress, Russell was a very wooden substitute for Merman. Bette Midler, by contrast, was better and more believable than Merman and I'd recommend her performance as the definitive one. | 1 |
The film is a great watch very thoughtful.I believe it is a film about how your like would be if you lived in a world created by catalogues. The scenes are all perfect recreations of an Ikea catalogue they even watch furniture on their TV. When they break into the kitchen they break into another perfect picture of how a kitchen would look like in a catalogue. When he is reborn or whatever you would like to call it he returns to the harsh reality of life. I love the bit when he tells his new love he has left his partner. It pokes fun at commercial bliss by saying you can have it all and whilst it it is nice to have the same things, but some things you do not want to share. A film without children also per Say makes for a perfect ten. | 1 |
I first saw this film when I was about seven years old and was completely enchanted by it then but for years was unable to find out what the film was called. now i am twenty one and stumbled upon the film by accident about two weeks ago and bought a copy. although my memory of the film was a little hazy I was in no way disappointed by what I saw. the animation in this film is superb conjuring up an entire world that is so believable and so well animated that you are drawn in to the film by that alone. But this film also has a plot that will enchant and entertain adults and children alike. with a floating island, a mad general, a friendly pirate granny and a well constructed love story this film will not let you down I would recommend this film to any one. | 1 |
I make just one apology for this film: there are far, far, too many wide angle close-ups, and if they irritate you beyond endurance, fair enough. They drove ME barmy for the first ten minutes or so. But after that I made a kind of a truce with the terrible cinematography; and long before the end of the film, I had ceased to care. This is too rich a comedy to be destroyed so easily. It's hilarious, it's witty, the comic delivery of ALL of the cast is flawless, and however much Usher peers at his characters through a cold, fish-eye lens - HE may not care for them much - he manages to present them with warmth. `Mystery Men' is, in fact, not only funnier, not only more clever, but also deeper, than anyone seems to have given it credit for being. The jokes in the Austin Powers movies, for instance, as well as being less funny than the jokes here, are also much more toothless. The satire of `Mystery Men' bites when there's something worth biting and gnaws gently when there isn't. It doesn't mock just any old thing. Which is why, contrary to what some (I must regard them as unobservant) critics have said, it never runs out of ideas.<br /><br />The `super' heroes are an attractive bunch. Sure, they're second-rate, but they're not merely second rate. The Blue Rajah, for instance, does nothing but throw cutlery at people, and he isn't THAT good at it. On the other hand, neither is he comically bad. He's better in his limited field than most people, and he DOES practise diligently. He's not a buffoon, which makes him a much funnier character than if he was. If Superman is Christ in a cape, the Mystery Men are all the minor demigods from the foothills of Mount Olympus, in capes. Much funnier; also much more endearing. | 1 |
When I started watching "Fay Grim", I had no idea that it was a sequel to "Henry Fool". Now, the latter was not a movie that I envisioned as having a sequel. But one has arrived, and it's quite good. I assume that you've seen the original, so I won't explain it. This one starts with Fay (Parker Posey) living with her son whom she had with deadbeat Henry (Thomas Jay Ryan). Simon (James Urbaniak) is still in jail. One day, the son gets expelled for bringing a pornographic toy to school. But this is no ordinary toy. It holds a secret that explains much of what happened in the first movie. And this secret delves deeper into geopolitics than "Syriana".<br /><br />I must say that I'm quite impressed with what Hal Hartley has accomplished here. Maybe this one doesn't quite reach the original's quality, but it certainly takes a good look at what's going on in the world. And the end leaves open the possibility for another sequel.<br /><br />Also starring Jeff Goldblum. | 1 |
POSSIBLE MINOR SPOILER<br /><br />It's not a terribly objective review but I just found this movie horribly depressing. Like a lot of Russell T. Davies'<br /><br />work, it asks more questions than it can answer. His best work (Bob & Rose, Doctor Who) revels in hope against the odds and perseverance even after apparent defeat. These uplifting themes seemed strangely absent here. I suppose the fact that I'm still thinking about it days after viewing is a testament to the quality of the program but the resolution was just too bleak for my tastes. <br /><br />I would, however, disagree with the reviews I've read complaining that the end feels "tacked on." I think each conclusion follows logically from its premise and the ending represented a sound personal belief that neatly resolved the primary theme of the show. While I never really questioned the progression of events, I felt like there was much that could have been expanded upon. I've also read that it was originally conceived as a four part series instead of two, and it's possible that the truncation has done some harm to the completed piece. However, these flaws appear throughout, in sequences and themes that sometimes feel rough or sketched in.<br /><br />To his credit Davies is totally unafraid to write big, and you have to admire the sheer audacity and scope of this project. The premise he tackles here is the stuff of movies or novels it is a brave and ambitious thing to tackle it in the medium of television. Strong points include Christopher Eccleston, who is positively mesmeric in the lead. For me, he was and remains the best reason to watch. The depiction of the Messiah's humanity was brilliant, thought provoking and engaging and a real credit to both Davies' writing and Eccleston's acting. I also thought the depiction of the modern world's reaction to the second coming rang true. <br /><br />So, two stars simply because I personally want my entertainment to be entertaining. I would rather be uplifted or, at least, distracted by my fiction. I have a whole big real world around me as filtered through CNN or the newspapers -- if I choose to be horribly depressed. There are definitely less subjective reasons by which to judge this piece but I'm afraid my judgment in this matter is clouded by my emotional response. | 0 |
Sometimes it takes a film-making master like Kubrick to bring that extra little something, that unique, untractable and elusive ingredient that transforms a great movie or a great script into a masterpiece, one for the ages.<br /><br />It's not just that Stephen King's story has enough meat and potatoes making it difficult for even the most workmanlike of directors to miss. Heck, even King himself didn't fare so bad. It's how Kubrick perceives King's universe, how he transforms the page into screen time, that renders THE SHINING both a visual feast and a compacted masterclass in directing.<br /><br />Kubrick's miss-en-scene is, as usually, terrific. The movie progresses with a brisk, sharp, lively pace, even though it's neither fast nor heavily edited and it clocks at no less than 160 minutes. The camera prowls through the lavish corridors of the Overlook Hotel like it is some kind of mystic labyrinth rife for exploration, linear tracking shots exposing the impeccably decorated interiors in all their grandeur. There's a symmetry and geometrical approach in how Kubrick perceives space that reminds me very much of how Japanese directors worked in the sixties. As if what is depicted is inconsequential to how all the different elements are balanced inside the frame.<br /><br />Certain images definitely stand out. The first shot of Jack's typewriter, accompanied off screen from the thumps of a ball, like drums of doom coming from some other floor or produced by the typewriter itself as though it is an instrument of doom all by itself, later on proving to be nothing short of just that. A red river flowing through the hotel's elevators in slow motion. Jack hitting the door with the axe, the camera moving along with him, tracking the action as it happens instead of remaining static, as though it's the camera piercing through the door and not the axe. The ultra fast zoom in the kid's face thrusting us inside his head before we see the two dead girls from his POV. And of course, the bathroom scene.<br /><br />Much has been said of Jack Nicholson's obtrusive overacting. His mad is not entirely successful, because, well, he's Jack Nicholson. The guy looks half-mad anyway. Playing mad turns him into an exaggerated caricature of himself. Shelley Duvall on the other hand is one of the most inspired casting choices Kubrick ever had. Coming from a streak of fantastic performances for Robert Altman in the seventies (3 WOMEN, THIEVES LIKE US, NASHVILLE), she brings to her character the right amounts of fragility and emotional distress. A terrific and very underrated actress. | 1 |
Granting the budget and time constraints of serial production, BATMAN AND ROBIN nonetheless earns a place near the bottom of any "cliffhanger" list, utterly lacking the style, imagination, and atmosphere of its 1943 predecessor, BATMAN.<br /><br />The producer, Sam Katzman, was known as "King of the Quickies" and, like his director, Spencer Bennett, seemed more concerned with speed and efficiency than with generating excitement. (Unfortunately, this team also produced the two Superman serials, starring Kirk Alyn, with their tacky flying animation, canned music, and dull supporting players.) The opening of each chapter offers a taste of things to come: thoroughly inane titles ("Robin Rescues Batman," "Batman vs Wizard"), mechanical music droning on, and our two heroes stumbling toward the camera looking all around, either confused or having trouble seeing through their cheap Halloween masks. Batman's cowl, with its devil's horns and eagle's beak, fits so poorly that the stuntman has to adjust it during the fight scenes. His "utility belt" is a crumpled strip of cloth with no compartments, from which he still manages to pull a blowtorch and an oxygen tube at critical moments!<br /><br />In any case, the lead players are miscast. Robert Lowery displays little charm or individual flair as Bruce Wayne, and does not cut a particularly dynamic figure as Batman. He creates the impression that he'd rather be somewhere, anywhere else! John Duncan, as Robin, has considerable difficulty handling his limited dialogue. He is too old for the part, with an even older stuntman filling in for him. Out of costume, Lowery and Duncan are as exciting as tired businessmen ambling out for a drink, without one ounce of the chemistry evident between Lewis Wilson and Douglas Croft in the 1943 serial.<br /><br />Although serials were not known for character development, the earlier BATMAN managed to present a more energetic cast. This one offers a group going through the motions, not that the filmmakers provide much support. Not one of the hoodlums stands out, and they are led by one of the most boring villains ever, "The Wizard." (Great name!) Actually, they are led by someone sporting a curtain, a shawl, and a sack over his head, with a dubbed voice that desperately tries to sound menacing. The "prime suspects" -- an eccentric professor, a radio broadcaster -- are simply annoying.<br /><br />Even the established comic book "regulars" are superfluous. It is hard to discern much romance between Vicki Vale and Bruce Wayne. Despite the perils she faces, Vicki displays virtually no emotion. Commissioner Gordon is none-too-bright. Unlike in the previous serial, Alfred the butler is a mere walk-on whose most important line is "Mr Wayne's residence." They are props for a drawn-out, gimmick-laden, incoherent plot, further saddled with uninspired, repetitive music and amateurish production design. The Wayne Manor exterior resembles a suburban middle-class home in any sitcom, the interiors those of a cheap roadside motel. The Batcave is an office desperately in need of refurbishing. (The costumes are kept rolled up in a filing cabinet!)<br /><br />Pity that the filmmakers couldn't invest more effort into creating a thrilling adventure. While the availability of the two serials on DVD is a plus for any serious "Batfan," one should not be fooled by the excellent illustrations on the box. They capture more of the authentic mood of the comic book than all 15 chapters of BATMAN AND ROBIN combined.<br /><br />Now for the good news -- this is not the 1997 version! | 0 |
This film is not only the last piece of the Three Colours trilogy, but also the best of the three and one of the best movies of the 90s. There's hardly another movie that so wisely and consequently asks for humanity and respect for every human being. <br /><br />Valentine (Irene Jacob) lives in Geneva, where she works as a model. Though she has a boyfriend, she seems to be rather lonely. One night she has an accident and injures a dog and who leads her to his owner, a retired jugde (Jean-Louis Trintignant), who is cynical and spies his neighbors phone calls. Disgusted by him she cannot go away and they meet again. Two lonely souls meet each other and they become friends and develop a deep love for each other. <br /><br />The story itself is too complex to be told completely, there is another connection between them in a young man who represents both the judge and Valentines real love and there is more to their relationship than only friendship.<br /><br />The actors are wonderful, Irene Jacob and Jean-Louis Trintignant developing a deep and authentic friendship. <br /><br />The topics are of an endless validity, Fraternity, not only in contact with each other, but also in the respect for the right of privacy. Alarmingly we seem to loose this right more and more, which makes movies like this one even more important than it might have been in 1994.<br /><br />Red is one of the strongest colours that exists, representing inner turmoil, love, anger and passion. Used here as another protagonist, it brings a unmatched depth to the movie. A masterpiece! | 1 |
To those of you who've made comments on this film earlier and hoped to see it again, I hope you did. It was broadcast today (Nov. 28th,'04) on Lifetime movie network. I subscribe to Dish.<br /><br />Karen Arthur directed William Petersen and Barbara Hershey in this southwestern Gothic-like tale, expertly. The lighting, editing and dialog contributed greatly to the film and Hershey and Peterson were perfectly cast for the roles, both playing sensitive, bold and intuitive characters. The screen play was excellent, as well the supporting cast.<br /><br />Not having known ahead-of-time, I guessed correctly the story was based on truth, and now that I know it I must make the sojourn, as Santa Fe is a hop, skip and a jump from Tucson.<br /><br />As an engineer, I was fascinated with the theme of the unique construction of the staircase and the man who designed and built it (who was he? an angel?). But the storyline, and it's several plots, of how it came to be is what most captivates you. You certainly get a strong sense that God in His heaven was in every detail of this entire drama in history. For you who have seen the film, you know what I'm talking about. For those of you who haven't, I won't spoil a minute of it...<br /><br />Bon holiday,<br /><br />Bob Shank Jr, Raytheon Missile Systems, Tucson, AZ | 1 |
Highly regarded at release, but since rather neglected. Immense importance in the history of performing arts. A classic use of embedded plots. One of my favourite films. Why hasn't the soundtrack been re-released? | 1 |
I will leave it to my bettors, uhh, betters here to gape and gawk at this wonderful wonderawful movie, and just say that I thought it stunk. The great thing about this site is you always get a variety of views, and seek them out, by all means. No telling what you will come out of the film with. For me, the ones who saw through the simplicities and shenanigans of it have my money. There was one, dead on perfect when he pointed out the two grand moments of the thing, which belong to Pacino. The meeting and the airport. Other than that, well, what a waste of time. Utterly. Pacino is just doing the same thing over and over and over, he would have been better served by taking the performance down about five notches at about the level of his protégé. Everybody always says, but this movie could have been so much better. Sure they all could have been. But really most of them just should never have been made. Including this one. | 0 |
Watching Fire and Ice for the first time reminded me of my experience seeing 300 last year. It wasn't at all a bad movie, certainly not average, but its plotting and dialog stuck out as being at best conventional and at worst kind of confusing and one-dimensional (which, perhaps as based on Frank Miller's comic book, was the right decision to go with). But its primary strengths drew from the intense action and bloody battles and having that jolt of a 14 year old feeling watching beefcake men fighting in bloody sword-led combat, with the occasional freaky creature or super-hot female to go with the painterly surroundings. While I would probably re-watch Fire and Ice before 300 again, they both aroused that similar feeling - the exception this time being, naturally, that it's Frank Frazetta, the infamous artist and designer of countless paperback books and comics, collaborating with director Ralph Bakshi, in what isn't typical Hollywood fare but something for the die-hard fans.<br /><br />What this means for audiences today going back to check out the film for the first time (it may now be coveted nostalgia for those who were young and watched it along with their Masters of the Universe VHS tapes back in the day) is the possible cons mentioned before and, maybe, that you will see something somewhat unique. Fire and Ice isn't even the only Bakshi rotoscoped feature, but it's possibly the most fluid- if not quite my personal favorite- of the few he made, and he and his team create a whole striking world that's part pre-historic, part out-of-this-world fantastic, and part medieval, and all touched up with a painters hand with respect to the backgrounds, the skies and grounds. There's a slight drawback for Bakshi fans in this facet of character design; Bakshi went as far as to say it's more Frazetta than him. This may be true, but it doesn't make it any more absorbing to the eye or curious in those moments where we don't see people killed or gutted in quick or slow motion (my favorite was the momentary skeleton-guide- how they rotoscoped that amazes me).<br /><br />I neglect describing the plot as it would defeat the purpose of really recommending it. If you're already a die-hard into this kind of style and approach of animation the plot will matter depending on what degree two warring factions or a 'damsel' or princess is in danger or a hero has to prove himself or yada yada, so suffice to say it's about, well, Fire against Ice, with characters named Nekron and Darkwolf (the coolest male of the lot and most comic-book in appearance) and Teegra (the typical hottie who's almost *too* perfect for the adolescent male fantasy figure). What the plot does do, as an asset, is allow a series of cliffhangers and suspense bits around the action, the progression of the danger in the oncoming big battle, like when the ogres are hunting after Teegra and have to contend with sudden crazy monsters and creatures popping out of tree trunks and lakes. And per usual for Bakshi, he conjures up some craziness (if not quite his usual inspired lunacy) in the midst of all of this straightforward fantasy material. If you've seen Wizards, you'll understand what I mean to a lesser extent.<br /><br />So, if you're an animation buff, seek this out right away for some 'old-school' (i.e. 1980s) action and incredible design. For everyone else, it's... good, not great, as I would say without fault about its logical 21st century extension, with some alterations, 300. | 1 |
Here's a well-made war story, nicely shot and well-acted. The portraying of the Italian and German occupancy of Greek island Kefalonia is well-done. John Hurt as Pelagia's father and the island doctor is superb, Nicolas Cage does a good job as the Captain from the title, Penelope Cruz does a good job of being beautiful and batting her eyelashes at Cage. There's heroics and humor, there's drama and romance, and it is all set on an idyllic island.<br /><br />Oddly enough, a very similar, or should I say almost identical, storyline, with the same characters going through the same series of events, is told in a novel by the same title, written by Louis de Bernieres. This wonderful historical novel tells the story of beautiful Pelagia, daughter of doctor Iannis, and their life on Kefalonia during WWII. Pelagia's fiancee, local fisherman Mandras, enlists when the Italian Army invades northern Greece from Albania under false pretenses. When the Axis finally prevails, with a lot of help from the Germans, a garrison of Italian soldiers is stationed on the island, and Captain Corelli plays a big part in keeping the occupation a peaceful time. As Mandras joins the partisans, charming Corelli and his mandolin are quartered with the doctor and his beautiful daughter. Of course, this makes it a novel about love. But it is also a war novel, a summary of Greek history, a tale of Communist uprising in post-war Greece, a portrait of the madness of Mussolini, and, most importantly, an ode to island life on Kefalonia.<br /><br />Some of these elements return in the movie, but in general, it is an impossible book to film. I am glad nobody ever tried.<br /><br />The movie 'Captain Corelli's Mandolin', however, is worth seeing. Just make sure you read the book *after* you see the movie. | 1 |
What a great Barbara Stanwyck film that I happened to see the other night. "Jeopardy" was fantastic. It was made in 1953 and probably for double bills but it kept me on the edge of my seat.<br /><br />Barbara Stanwyck plays Helen, who with husband Doug (Barry Sullivan) and son (Lee Aaker) drive to an isolated fishing spot in Mexico for a vacation. Husband has a fall from the jetty and the only way he is to be saved is if Barbara drives back to a garage for some rope.<br /><br />While there she runs into a psychotic killer (Ralph Meeker - one of my favourites) and what follows is a game of cat and mouse as Barbara tries everything in her power to get Meeker to come back with her to free her husband.<br /><br />The film was so suspenseful and such a surprise - I was not expecting such a great film. But I suppose I should have realized - is there anything Barbara Stanwyck does that is anything less than wonderful? | 1 |
I've always been fascinated by ninjistsu, who would know that it will go further than beyond. In "Ninja III", it's fun creepy and intriguing. A ninja gets shot up by the police, and uses his spirit for revenge. The victim, a lovely young woman named Christie(Lucinda Dickey). She falls for the cop who was involved in the shooting. The love scene where she pours the V8 on her body knocked me out! The ninja's death gets the attention of another in Japan named Yamada(Sho Kosugi) he comes to America not only to save Christie, but to put the ninja back to the grave. Simply because he put out Yamada's left eye with a shuriken(throwing star). The fight scenes were excellent. I liked the part when the plywood falls on Yamada, and he splits it with his foot. And when he was caught, he tells the officer Christie was involved with that everything will be fine. Rule of thumb: Never under estimate a ninja. He took out the other cops without killing them. And he did his thing without worry. Of course, Chirstie did her best trying to put the ninja in his place for using her a tool for revenge. It was a good movie, great for martial arts buffs. 3 out of 5 stars! | 1 |
I am not surprised to find user comments for this film full of gushy nonsense, such as that this film "[proves] that when it is predestined, love will find a way." I begin in this way, not to criticize a specific reviewer, but because this citation so typifies the hyperbolic, uncritical treacle that was poured out over this film, even before it hit the theaters. Even the best of films do not "prove" anything, nor are they intended to. The best films entertain and move the viewer, and "The English Patient" fails on both criteria.<br /><br />I remember the studio's promotion of "The English Patient" very clearly: "From the producers of 'Amadeus' and 'One Flew Over the Cuckoo's Nest,'" it grandly announced. An ignorant or careless listener might miss the crucial word, "producers," in this disingenuous statement and mistakenly associate the director of "The English Patient," so very inappropriately, with the truly great director, Milos Forman. Such a comparison is offensive to the memory of Mr. Forman.<br /><br />While the novel by Michael Ondaatje upon which the film was based, is a good one, it is unfortunate that the film failed to capture any quality of the book in any way whatsoever. Aside from plot elements that seem only coincidentally similar, the film bears little resemblance to the novel.<br /><br />Despite misgivings which began when I heard that shamelessly misleading promotion, I went to see this film in the theater. As it began to unfold, I realized that the rendering of the novel's peculiar magic had failed, that the actors knew their words but not their characters, and that their characters were flat, dull, and unengaging. The film was a complete travesty of Ondaatje's novel and a completely still-born cinematic artifact of the worst description.<br /><br />Those who gush over this film are very apt to speak with adjectives like, "sweeping," and "grand," and "hypnotic." Well, it is none of those. In fact, not even Ondaatje's fine novel could be described as "sweeping" or "grand." It could be described as "magical" and "hypnotic" -- yet these are precisely the qualities that the film so utterly failed to deliver. It is almost as if Minghella had, as a reader, entirely missed what was valuable in the novel and could grind out on celluloid only a pale, skeletal version, a version that not only missed the spirit of the story, but that focused on the wrong characters. He produced a filmic transliteration that not only had no respect for story's metaphors but no apparent cognizance of them, as well.<br /><br />Minghella took the central focus away from Hana and Kip and put it on the Patient and Katherine Clifton, thereby missing the narrative trail of the novel as well as the "essence" of it.<br /><br />Ralph Fiennes and Kristen Scott Thomas put in unengaging, uninspiring, uninvolving, unemotional performances that were obviously intended to convey a great, driving, passionate love-affair to the viewer, but which in fact delivered only an inexplicable, perfunctory liaison between two flat, shallow, uninteresting adulterers. Both actors are physically and emotionally inadequate and unexciting, and neither performance provided the viewer with the great emotional response obviously intended by Minghella's grandiose and overblown presentation.<br /><br />The "grand, sweeping, David-Lean-like" qualities to which the many undiscriminating reviewers of this goofy film love to refer simply is not there. The comparison to David Lean ("Dr. Zhivago") is positively insulting to yet another great director. Take, for example, the "Patient's" sandstorm scene, which is no doubt one wherein these "grand, sweeping" qualities are believed to have resided (or should have resided): the sandstorm is not grand -- it is not even convincing. The subsequent burying of the characters in the automobile and their emergence after the storm, which no doubt was supposed to affect the viewer dramatically and emotionally, completely lacked either drama or emotion --in fact, because it was so patently weak, it had an air of comedy about it where comedy was clearly out of place.<br /><br />This film failed. It failed as a rendering of the novel, and it failed as a film. It seems to have been the "anointed Oscar vehicle" of the year (joining such over-trumpeted filmic slosh as "Kramer vs. Kramer" or "Terms of Endearment"). One can only thank God that even the hype-driven Acadamy<br /><br />had the good sense to present the Best Actress award to Frances McDormand for her truly deserving performance in the truly excellent film, "Fargo." There was not a single performance in the execrable "English Patient" that was not either embarrassingly horrid over-acting (Willem Dafoe) or truly forgettable, mediocre acting (Fiennes and Scott Thomas).<br /><br />Why this non-entity of a film retains a coven of fanatical (and clearly tasteless) devotees will remain a mystery. Fortunately, the sands of time will bury this mediocrity of a film permanently, and it will not, thankfully, have the strength ever to dig itself out. | 0 |
I really wanted to like this film however after an amusing opening few minutes I hardly cracked a smile. I agree there was no chemistry at all between the two leads and the other characters were cliche ridden. The script totally wasted the talents of Bud Tingwell and Kim Gyngell.<br /><br />It must be said however that there was plenty of laughter around me and even a smattering of applause at the end. Perhaps I just couldn't relate to it enough. I'm just glad I went on cheap tickets. | 0 |
My left foot is an epic outstanding film explaining the life and times of Christy Brown,who had cerebral palsy,a severe disability and had only the use of his left foot,but he was defiant,he managed to become an artist and writer against all the odds<br /><br />I have seen this film a lot of times and each time I see it,I find it equally brilliant each time.I wonder how did this amazing film not win an Oscer for best picture,It is a shambles by the academy awards. Jim Shirdan is to me one of the greatest directors in the world.the screenplay,the music and anything else is excellent in this film. As the film goes on,you would nearly feel your in the brown household as everything occurs.Ray MacAnally and Brenda Fricker are amazing as Cristies parents and Fiona Shaw is equally brilliant as d.r Eileen Cole,who helps Christy on his battle of defiance.<br /><br />The Irish film industry had noting much to its name before my left foot.My left foot was the start of a wonderful period in Irish film. films so powerful and brilliant such as the field,the crying game,in the name of the father and Michael Collins followed my left foot.these Irish films were regarded so highly around the world and were nominated for multiple Oscers and won some,A wonderful period for Irish film.My left foot is a powerful outstanding film.<br /><br />Daniel day-lewis plays the crippled Christy Brown so well and so brilliantly and the same goes for Hugh o Conner who plays young Christy.To me those two performances are two of the best ever film performances,especially Daniel day-Lewis's performance which I would regard as high as Antony Hopkins in the silence of the lambs. Daniel day-lewis has proved in his career that he is an great actor.<br /><br />this is an excellent masterpiece in film,see it! | 1 |
I used to review videos for Joe Bob Briggs' legendary "We Are The Weird" newsletter. I saw a lot of stinkers, but this by far was the worst, and the years have not been kind - it remains the most indecent crime against cinema I have ever witnessed. Don't get me wrong - CAGED TERROR is nominally more technically competent than, say, MONSTER-A-GO-GO or THE GUY FROM HARLEM or something of that ilk. What solidifies its claim as Worst Movie Of All Time for me is its unique blend of bare proficiency with crippling pretension. Is it a Vietnam commentary? An ecological protest? An incitement to race riot? A study of man's inhumanity to man? A novel exercise in padding nature footage out to (nearly) feature length? In short: a hep young urban professional (possibly the most loathesome screen character ever) somehow seduces a nubile Asian-American associate into camping in the woods with him. After brow-beating her with quasi-philosophical clap for the better part of an hour, they run across two wandering veterans, the unforgettable Jarvis (a righteous brother) and the Troubadour (guitar-toting Manson Family reject). Hey, a plot twist! Tension! Action! Suspense! Well, no, just a climactic getting-locked-in-a-makeshift-wire-chicken-coop-and-lightly-belittled scene. The victim in question stares listlessly at the captors and mutters, "No... no... please... don't..." Meanwhile, Jarvis addresses the Troubadour as "Trouby" once every two minutes, bringing to mind nothing so much as the alien star of Juan Picquer's POD PEOPLE. That's about all that happens in CAGED TERROR, and such a synopsis perhaps makes it seem almost tolerable. But trust me, I've seen thousands of movies in my life, and this one has remained, for the past eight years since I first saw it, the absolute worst. (I pop it in the old VCR once every two years or so just to reassure myself, and reassure myself I certainly do.) I think the element which makes CAGED TERROR so particularly hateful is this: very little happens, and although what little does happen happens quite poorly and quite slowly, what truly makes it compulsively unwatchable is the suffocating sense that the filmmakers REALLY, REALLY WANT to shove some kind of message down your throat. But because CAGED TERROR is so incompetent and ineffectual, what was intended as a civics lesson becomes a crash course in intense viewing discomfort. This film is 75 minutes long and feels like three and a half hours. It's terrible, truly truly terrible. Folks, trust me, I saw GHOSTS THAT STILL WALK and this one is worse. Go see it! You'll thank me. And curse me. Just for the record, my favorite line: (In CAGED TERROR but perhaps EVER) "Yeah, well, you probably think the Song of Solomon was an allegory for Christ's love for the church...!" (NOTE: Must be delivered in a tone of concerted condecension.) | 0 |
I thought this was a very good movie. It would have been nice to have seen a little more into the movie about the 2 sisters knowing about each liking the same boy before he was killed off. I'm sure if the movie had been done this way there would have been a very different ending, that's why this made this move such a good movie. It shows that no matter what happens in your life with your siblings that you can always get thru it and that if it's 2 sisters dealing with a boy, (the same boy) that working thru the pain and hurt makes things to seem better and easier to work out between the 2 of them. It's nice to see love stories that have a terrible thing to happen in someone's life that you can still get thru it become even closer after its over. I really enjoyed watching this movie, and I still do now when it comes on. I seem to find myself watching it every time it comes on. It would have been nice if there would have been a part 2 for this movie, maybe having the older sister to come up and have his baby, this would really have made a great finish to the story since he died, this way it would keep him alive even though he's dead. | 1 |
Well, I can once and for all put an end to the question: 'What is the worst movie ever made...ever?' It is Flight of Fury, starring and co-written by Steven Seagal. Sure there are lots of famously bad movies, but this one takes the cake in that it takes itself so seriously.<br /><br />It is a Romanian-made film that speaks to just how far Romania has to go to catch up with Bollywood. It also speaks to just how utterly devoid of intellect and talent Steven Seagal has become. This movie is so bad that you literally feel violated after watching it and need to crouch in the corner of the shower and cry, knowing that nothing will make you feel clean again.<br /><br />It was released only on video (I can't imagine why) and I suspect the workers that had to make the DVD's had to wear protective gear and receive regular counseling. | 0 |
Will Smith delivers yet again in a film about a man with the weight of the world on his shoulders and his crusade to right his wrongs in a way that will touch even the most hardened of hearts!!! Writer Grant Nieporte and Italian Director Gabriele Muccino come together and created a masterpiece that I highly recommend to purchase and keep in your movie collection as you will never grow tired of watching/feeling this film!!! I have the Highest Respects for Will Smith as he is not only a brilliant Actor but one can tell he has a genuine love for people and life which no doubt made him perfect for the character (IRS Agent Ben Thomas) he played in this film. You will find yourself feeling his pain and anger, the frustrations over his love for Emily, played by Rosario Dawson, who by the way was Fantastic as usual. I found myself falling in love with the fact their characters were falling in love. Woody Harrelson also stars in this Top Notch film. I find it very difficult to write this review without giving away key plot points...All I can say is, Watch it and when you do make sure you have nothing to interrupt you, take the phone off the hook, sit back and get ready to start trying to unravel the mysterious life and past of IRS Agent Ben Thomas...I thank you Will Smith for another Great Film!!! | 1 |
this movie has NO plot. it was SUPPOSED to be that a guy moves in with his grandma, and everyone thinks hes a loser and he has to redeem himself. but what happens after everyone finds out who he's living with? they have a big pot party at grandma's house. the climax of the movie didn't even relate to the rest of it. that whole plot was introduced within minutes of the movie's end. i can see how it COULD have related to the supposed story - that Grandma's VG skills redeem him - but that just wasn't there. <br /><br />However, the movie was funny as hell and clearly relied heavily on the jokes. <br /><br />"Her pussy smells like the great depression" "He just sucked his first titty...yeah for 13 hours" "It's for you...i think it's the Devil" | 0 |
I give this movie a ONE, for it is truly an awful movie. Sound track of the DVD is so bad, it actually hurts my ear. But the vision, no matter how disjointed, does show something really fancy in the Italian society. I will not go into detail what actually was so shocking , but the various incidents are absolutely abnormal. So for the kink value, i give it one.Otherwise, the video, photography, acting of the adults actors /actresses are simply substandard, a practical jock to people who love foreign movies.Roberto, the main character, has full spectrum of emotions but exaggerated to the point of being unbelievable.however, the children in the movie are mostly 3/4 years old, and they are genuine and the movie provides glimpse of the Italian life.. | 0 |
This is certainly a quality movie with a classy cast. As far as movies about Carlos the Jackal go, this one beats Bruce Willis' feeble efforts in 'The Jackal' to a bloody pulp, then spits on them. I am a bit surprised that this movie hasn't attracted more votes, something of a 'sleeper' obviously. A pity because this film is definitely worth a watch. It is clever and never dull. See it, 7/10 | 1 |
Life was going great for New York City advertising artist Ted Kramer. He had a great job and a loving wife. No, actually, his wife wasn't so loving, for when Ted returned home late from work that night his wife, Joanna, had a suit case packed and was heading out the door. He tried to stop her, but she just got into the elevator and out of Ted's life. Well, now in addition to his job he's now got to mind the house as well as their 6-year-old son, Billy; Ted assured his boss that his wife's leaving would not affect his job performance in any way. It did however affect his performance as a father. He blew up when Billy spilled punch on his client artwork! Well, some time later Ted and Billy receive a letter from Joanna, and it was obvious from her letter that she wasn't coming back. Ted was distraught. Well, he was late coming home from work on Billy's birthday, which made Billy sore at him. <br /><br />Ted was late to work one day and his boss yelled at him because he had missed a very important client meeting. When he got home, he yelled at Billy for sneaking ice cream during dinner. Then later he truthfully told Billy that the break-up between he and Joanna may have been his fault, not Billy's; Ted invited a good friend, Phyllis Bernard over that night, and well, Billy got his first look at a naked woman. When Ted took Billy to the park the following day, he fell off the jungle gym and landed face-first onto his toy plane. Ted literally ran him to the hospital where they had to administer stitches. After that, life began taking a downward spiral for Ted. Then one day out of the blue he received a phone call from none other than Joanna! They met in a corner café. At first they have a pleasant conversation but then Joanna informs him that she has returned to collect her son and take him with her. Ted would have none of it and stormed out. Well life got even worse for Ted when his boss, Jim O'Connor, took him out to lunch and abruptly fired him. Not only that but Joanna was choosing to sue for custody of Billy, and without a job, Ted didn't stand a chance in hell for winning. He hired himself a lawyer, John Shaunessy, who charged a pretty penny: $15,000 exact change. And that's IF they win. <br /><br />Ted was also able to find a new job. It was actually a step down from what he used to do with a considerable cut in salary but he accepted with great determination. Finally the court date, January 9, 1980, arrived. Judge Atkins presiding. Joanna took the stand and Shaunessy proceeded to question her about why she left Ted and about her other relationships and how they were failures. The next day, Ted took the stand and Joanna's lawyer really grilled him like a cheeseburger. Ted's good friend Margaret took the stand as well and she really didn't help matters. Well, the judge took some time to think it over and sure enough, one day Shaunessy informs Ted that he lost. Joanna got sole custody of Billy. How typical! Always ruling in favor of the mother. Well, Ted and Billy were just devastated about parting ways. They had a tearful goodbye when suddenly Joanna stopped by. She and Ted have a little talk and well, rather than just give away the ending, let me assure everybody that everything turns out alright for everybody!<br /><br />This was a very good movie. Dustin Hoffman was very good. He earned that Academy Award. I've also seen him in Hook, Meet the Fockers and Rain Man, which he also won an Oscar for. Meryl Streep was good. She also got an Oscar. Justin Henry was good too, so where was his nomination? I guess the Academy had a rule against giving Oscars to children, but the rule was lifted when Haley Joel Osment came along. This movie has great drama, light comedy, and is very subtle. It does a good job of holding your attention. I was watching Rain Man on TCM the other night then this came on after and I just couldn't help but watch. And that's what you should do. If you like Dustin Hoffman or Meryl Streep or movies of this genre, then I recommend Kramer vs. Kramer! A gripping film about the pangs of two divorced parents fighting over their child. I liked Ted's little speech about ruling in favor of mothers all the time. What was it about sex that makes a good parents? Actually, that's how they have the child. But seriously, he's right. Why always rule in favor of the mother because she's a woman? Also in the cast, George Coe, Howard Duff, who passed away in 1990, and Howland Chamberlain who passed away in 1984. Watch for an up-and-coming JoBeth Williams in the nudity in the hallway scene. Anyway, see Kramer vs. Kramer today!!! Good movie!!<br /><br />- | 1 |
Anita and Me seems to be little more than an excuse for Meera Syal, the author of the novel and screenplay, to air her prejudices, grievances and general antipathy towards the English. The general sentiment of Indian superiority over the English in this film is foul.<br /><br />The English people in this film are portrayed as overweight, violent, foul-mouthed, promiscuous, engaging in child neglect, stupid, uneducated, racist, ugly, eating poor food, and dim-witted -- tellingly, only by turning to Indian culture can the local priest be "redeemed" at the end of the film.<br /><br />By contrast, the Indian family are beautiful, clever, educated, can speak many languages, are caring and loving parents, and grammar-school fodder. The film is so insidiously prejudicial that I am astonished the BBC funded it at all. Had it been the other way round, an English family in an Indian community depicted this way, the film would have been seen as racist.<br /><br />There were a few moments where my eyebrow shot so far up my forehead, I thought it would lodge in my hairline. First, the gossip scene between the women at the Divali celebration -- undertext: the English are dirty and promiscuous -- and the men -- undertext: English women are prostitutes. Second, the meal with Anita where Neema's family lie to her about cutlery -- undertext: the English are so stupid, you can make them do anything.<br /><br />But the underlying contempt towards anything English -- even English weddings are an object of scorn -- is evident all the way through the film. The character of Anita was drawn so appallingly -- almost the fallen woman trope -- that I finished the film feeling angry.<br /><br />This is not a "Bend it like Beckham" where the humour is focused on loving exaggerations of a community's behaviour and customs from somebody within that community, and is a film about two girls from different backgrounds coming together. Instead, Anita and Me seems to convey that a form of cultural apartheid is inevitable, as the English are almost an version of the Indian Untouchable caste, and this is underscored by a thinly-veiled series of attacks upon the film's "other" community: the English.<br /><br />I felt Anita and Me is a hate-filled, grievance-based piece of work. On that basis, the BBC should not have funded its production. | 0 |
I can't understand why they decided to release this film to introduce the American audience to the dynamo that is Jet Li. Fist of Legend would have been a much better choice. Anyway, Black Mask isn't terrible, but it certainly isn't great either. The final fight sequence is well staged by Yuen Woo Ping who went on to coordinate The Matrix. But the English release suffers from rough editing and dubbing. (I'm begging the Hollywood studios to release these films uncut with subtitles.)Jet Li shows his characteristic charisma in the title role and Francoise Yip has a cool but brief role as the female 701.<br /><br />Black Mask has a strange goth style that adds some interest but it is overloaded with gun battles and explosions. More focus on Li's fantastic physical skills were in order. Black Mask is a decent film but do yourself a favor and pick up Fist of Legend if you want to see a tremendous film that really shows Li's skills. | 1 |
Wow... what would you do with $33m? Let me give you a choice; you can either a) shred it and flush it down the toilet or b)make a film based on the premise of Whoopi Goldberg as a hard nut futuristic cop partnered with a rubber dinosaur who uses terms like "I didn't butt trumpet" and blows raspberries on the basis that this is funny. That's right, you would choose the option that has more merit - flushing down the toilet.<br /><br />This has to be seen to be believed. I cannot even find the words to describe how bad this film is. It doesn't even fit into the "so bad - it's good" category. I actually have it on the television as I write - and whilst watching I felt the need to come onto IMDb and register my disgust.<br /><br />Considering Jurassic Park was made a couple of years before, how on earth did they think that audiences would any longer tolerate a man dressed in a rubber suit? WG should have simply walked and damn the consequences. Everyone concerned will go to hell for this criminal waste of money.<br /><br />I have to stop writing - I am about to implode. | 0 |
Words can hardly describe what Blue Planet brought to life in all of its hours of runtime. Matching up with Walking With Dinosaurs, this documentary stands as one of the best. We can only pray that the BBC and Discovery Channel come up with even more outstanding ideas that could possibly even level with this one. | 1 |
Firstly let me get this of my chest I hate Octopussy with an absolute passion. What is so frustrating is that it had so much potential and had a very good opening sequence, unfortunately post the opening sequence it all goes downhill. Firstly there was absolutely no plot to begin with, just an excuse for Moore to tell his corny jokes. Next there are several sequences that would make a Bond fan cringe,for instance the sequence in which Bond turns up to diffuse a bomb dressed as a clown. The villains are pretty poor, Louis Jordon fails to make an impact as Kamal Khan and Bollywood veteran Kabir Bedi is equally poor as his henchman. It's funny that when people debate over what the worst Bond movie is and Octopussy gets overlooked when it can easily give them a run for their money. | 0 |
Let me start out with saying I was VERY surprised with the production value of this movie. I managed to catch an early showing and I have to Say this is the BEST (if not only) Christian film to hit theaters since The Passion.<br /><br />Don't let the PG-13 rating scare you off, the rating is appropriate because of the serious issues that are dealt with in this film (divorce, teen pregnancy, drug use, and suicide), but nothing in the film is gratuitous. This is definitely a movie that a Junior High youth group could see without upsetting (most) parents, and the message is wonderful. The best part is this is not a film FOR Christians, it is a Family film without the cheesy 7th Heaven feel.<br /><br />The laughs are there, and several times in the theater everyone was laughing, the bits of humor were natural and didn't seem scripted or forced, and that made for good pacing in such a serious film. Teens and young adult, both religious and otherwise, will be able to identify with many if not all of the characters in the film, and I was surprised to see such issues dealt with in this kind of film. The plot is not in any way predictable, and by the end hits closer to home than many will admit. Christians, fortunately, are not shown as all mighty know it all's of "The Word", but instead people just trying to understand life. Humans make mistakes and no one is perfect, not even in this film... not by a long shot.<br /><br />The acting is top notch, the writing spot on, and you aren't hit over the head with all the preachy Christian rhetoric. This is a great film that will make you and your teens think, talk, and perhaps question their own morality (or lack thereof). If you want to see a quality family film in January check your local listings for this film, and you might learn something about yourself.<br /><br />And I am a 25 year old male that just wanted to see a free movie. | 1 |
While in the barn of Kent Farm with Shelby waiting for Chloe, Clark is attacked and awakes in a mental institution in the middle of a session with Dr. Hudson. The psychologist tells him that for five years he has been delusional, believing that he has come from Krypton and had superpowers. Clark succeeds to escape, and meets Lana, Martha and Lex that confirm the words of Dr. Hudson. Only Chloe believe on his words, but she is also considered insane. Clark fights to find the truth about his own personality and origin.<br /><br />"Labyrinth" is undoubtedly the most intriguing episode of "Smallville". The writer was very luck and original denying the whole existence of the powerful boy from Krypton. The annoying hum gives the sensation of disturbance and the identity mysterious saver need to be clarified. My vote is nine.<br /><br />Title (Brazil): "Labirinto" ("Labyrinth") | 1 |
This is possibly the hands down worst movie every made, that actually took itself seriously. And not as a result of the acting, because being an actor, I have to say that Rickman and Stowe had to be at their best, just to escape needing electro convulsive therapy after the principle photography wrapped. Being one of the 57 people that actually saw this movie in theatrical release, I have to say I have never before or since experienced a movie where the movie ended, credits rolled, the house lights went on, and no one moved from their seats. About five minutes after the house lights went up people started coming out of their comas to look around, and I think most of us thought, okay we get it, that was a joke, right?, they are going to show the real movie now. Eventually, after the ushers handed out disguises, and we swore an oath of secrecy to never admit we were there, we felt that it was safe to leave, praying that we would not be seen leaving the auditorium. I have seen some pretty bad movies in my day, (I have Cinemax for goodness sakes), but I am still bitter that I will never, ever be able to recover those two or so hours of my life that I lost watching Closet Land. | 0 |
One of my favorite Hartley movies. (As if there could be a "bad" one.) Although, this may be a bit more on the religious side of things than we would normally expect. Nonetheless, it still maintains that Hartley slant to which we've all become accustomed.<br /><br />First picture Jesus and Satan discussing their ideas, opinions, hopes and regrets about the impending end of civilization. Now imagine the entire conversation taking place over a few drinks in your neighborhood bar. And as an added conversational (not to mention visual) distraction, let's toss in PJ Harvey as the sultry companion (aka Magdelena) to Mr. Chist. Then, just for grins, in the background, an ever present Salvation Army Band (played by Yo La Tengo) to serve as an added diversion. The road to moral justification has never been such a pleasure.<br /><br />Quite possibly more questions than answers, but therein lies the fun. And Mr. Donovan is subdued brilliance, as always. | 1 |
The men can slaver over Lollo, if they like (or her lollos--she gave her name to a slang terms for breasts in French), but the ladies have an even tastier morsel in the divine Gerard Philipe, who is not only beautiful but can act. Don't be deterred if your version has no subtitles because in this simple, dashing story of love and war, in which all is fair, they are not needed. All you need know is that, at the beginning of the film, Lollobrigida reads Philipe's palm and tells him he will marry the daughter of the king. Thereafter the story is quite plain from the Gallic gestures and the running, jumping, and swordplay.<br /><br />On the minus side, the obviousness of the story and the heavy-handed facetiousness of the tone become somewhat wearying, and it is annoying that the French apparently consider themselves too superior to Hollywood to bother even attempting the plausibility of its exciting stunts. And of course the non-French-speaker misses the occasional bit of ooh-la-la, such as: Virtuous girl: I must tell you that my heart belongs to Fanfan. Seducer: My dear, what made you think I was interested in that bagatelle? | 1 |
"Dahmer" is an interesting film although I wouldn't use "horror" or "thriller" do describe it. It's more a minor character study that seems oddly sympathetic of the killer.<br /><br />Jeremy Renner portrays serial killer Jeffrey Dahmer, who drugged, murdered and dismembered his male victims. The film centers on the relationship between Dahmer and "Rodney", well-played by Artel Kayàru. <br /><br />Rodney is almost the more interesting character: enamored of Dahmer and having once escaped an attack, he returns to Dahmer for sex and survives a second attack.<br /><br />I think the film is disjointed because it does little to portray Dahmer's formative years, how events may have created the human monster we see on screen and offers no insight into Dahmer's belief that he could create sexual zombies of his victims.<br /><br />The roles are well played but the story is thin. | 0 |
OK, ill be brief. This film wasn't just bad it was very very bad, with line4s like " if you deal with the devil you expect to get sh*t on your shoes" you know your in hideous film territory. After watching this film i wanted to kill myself and my entire family, it gave me such a vast feeling of self-loathing I wanted to do murder. don't watch this film. i will kill again. but when I do it will be terribly edited with a pathetic soundtrack and stock shot for hire action sequences and bad shirts.<br /><br />fortunately there is a flipside, its the first action film to feature a three door ford sierra.<br /><br />unfortunately it ends up trashed on its roof :(<br /><br />Ps: Worse than the Marksman | 0 |
Should you wish to see the worst film ever made, look no further. Some wretched movies are watchable because they are unintentionally funny. Alas, American Movie has no wit at all, no unintentional humor, just obscenities thought by its director to be laughable.<br /><br />For those who liked this film, I suggest you watch Kevin Smith's "Clerks," similar in tone. In Clerks you will find creativity, wit, and enjoyment -- all on a shoestring budget. It should make you forget this hideous effort. | 0 |
Film critics of the world, I apologize. It is your job to give advice to the moviegoing public so that they can wisely choose what to spend money on. But I ignored your advice and I have been deeply hurt. However, my decision to see "The Cat in the Hat" wasn't made haphazardly. You see, three years ago all of you critics said that we should all avoid the "calamity" known as "How the Grinch Stole Christmas". Then some friends of mine took me to see it and it turned out to be a colorful, funny and almost hypnotic yuletide treat. So when the critics unleashed their fury against "The Cat in the Hat", another big budget Seuss update with a big name star in the title role, I thought that it must be the same old song. How wrong I was.<br /><br />For five whole minutes I thought I was in the clear. The opening credits are clever, the kids are charming and the production values are top notch. Then the cat showed up. There are many problems from this point on, but the biggest one was the woeful miscasting of Mike Myers. Where "The Grinch" was saved by the inspired casting of Jim Carrey, "The Cat" was destroyed by Myers. He can be very funny when his energies are applied where they belong, comic sketches. Every movie he's made that was truly funny was really just a feature length comedy sketch, from "Wayne's World" to "Austin Powers". So he tries to do the same thing here, it's just that these comedy sketches are more like the stuff that they stick at the end of SNL, not funny, just painful. Not that the writers helped him out any. After the charming prologue the movie turns into an hour of repulsive bodily humor gags, poorly timed pratfalls and insultingly stunted attempts at hip humor. This movie was the most disheartening cinematic experience I have ever had. Period. So much talent and work went into something so vile. I know that the adult stars of this movie will be relatively unscathed by this mess, I just hope that the wonderful Spencer Breslin and Dakota Fanning will get more chances to show their charms in far better movies. If you are a parent, please avoid this like the plague. With movies like "Elf" and "Brother Bear" currently in theaters, you have far better choices. | 0 |
As far as the movie goes, it's an OK science fiction movie. It has a lot of cool stuff in it, and some quality scenes. That said, it's not that good, and some of the stuff is pretty far fetched...<br /><br />As for calling this another cube-movie is utter and complete bullsh!t. This is the very definition of milking a great and inventive original movie... The whole feel to it can be somewhat translated into the core of the first, but the introduction of people/androids as part of the "team" behind the cube itself is somewhat a stretch...<br /><br />I gave this a 3*** because of the backstabbing of the original. This one should have been kept sterile in so many parts of the movie that there is no place or time to mention them all...<br /><br />Watchable for those who have not seen Cube & Hypercube, but not recommendable for fans of the series... | 0 |
This was the very first movie I ever saw in my life back in 1974 or 1975. I was 4 years old at the time and saw it at a drive-in theatre. I did not grasp that this would be a classic at the time (I went to sleep about twenty minutes into the movie). After seeing it on the television-along with two of my other favourite movies Car Wash (my favourite movie) and The Wiz which seemed to come on every year about the same time all together-about 40, 50, 75 times I knew that here was a movie that I would have as one of my favourites. Those three movies were the only live action shows that I could watch as a child. <br /><br />I would not consider this to be a blaxploitation movie but rather an urban interest movie.Cochise and Preach reminded me of some of my uncles especially the Wild Irish Rose that they drank. My mother also told me about some of the quarter parties that she attended and that some of the things that occurred in the movie were similar in nature to what occurred in real life. If you are one of the two or three black people over thirty who hasn't seen this movie yet then I recommend that you buy the DVD right now. I'm glad that I was around to witness some of the goings on of the era. | 1 |
This is one of the best romantic movies I have ever seen. Especially girls who can identify with Nicole will love it(not only because of the handsome Dalton James) I also liked the music very much. A highlight was land of the sea and sun from baha-man. So watch the movie and enjoy it | 1 |
As a big fan of gorilla movies in general, I anticipated that this one would be great - and as for the gorilla effects, They were quite good, however - that is the only thing I can write about this flop. The film claims to be based on a true story but in effect, it does not even come close to what actually happened to "Buddy" - who in real life, was the famous Gargantua, sold to Ringling Bros. by our supposed "heroic" Gertrude Lintz, known by many animal enthusiasts as a woman who hardly had her animals' welfare in the best interest. As far as Buddy being portrayed as becoming aggressive, this was total fiction and at no time did the gorilla, in real life, resort to such behavior. buddy did, in fact, escape his wooden crate (not a plush cage room as depicted in movie) during a storm, to seek shelter and comfort in the house, which frightened Gertrude Lintz into selling him. No, Buddy was not released into a gorilla family surrounded by lush trees in a zoological paradise - he was abandoned in a wooden crate, deep in the back of a garage for some time with only a single light bulb for comfort and then sold to the circus - where he actually lived a better life having peanuts thrown at him until he died (historically the oldest living gorilla on record, by the way) before a show in Miami. Notice also, in the film, how Buddy grows older but the chimpanzees never age. (The chimps, by the way, were not raised simultaneously with other animals, including Buddy, as portrayed in the film) | 0 |
Most of the comments so far have nailed this one right on the head. Viewers under "a certain age" and with IQ's of three digits should avoid "Chance of a Lifetime" like a George W.Bush appointee facing a Congressional grilling.<br /><br />The cast is composed largely of veterans who know their way around a well-written script. Is the premise wildly original? No, but the movie stands out like a lighthouse at midnight in the current and non-ending glut of movies/TV geared to the most-desirable audience demographic of teenagers and "young adults"<br /><br />In addition to Betty White and Leslie Neilsen in the leads, the cast also has ever-reliable veterans like Elaine Stritch and William Windom. The sharp dialog is effortlessly and effectively delivered by these pros.<br /><br />"Chance of a Lifetime" is definitely not a movie for the Will Ferrell/Adam Sandler/"Saw" slasher gore-fests, "American Eye Dull," and ninety percent of the rest of the sludge ground out by Hollywood and TV. | 1 |
Please note that I haven't seen the film since I discovered it in 2007, and my town is smaller and doesn't carry it. However, I really want to say something about it. I'm actually doing research for university on the title character Richard Maurice Bucke and would like to point out that the person they based the main character on was in reality completely different!!! Hollywood's ideas of people and artistic license granted, the real Dr. Bucke totally endorsed hysterectomies to cure insanity in women, and would never have practiced anything as liberal as represented in the film. I think it's laughable to see various film critics who write for legitimate newspapers who say this film has some historical basis! The only actual fact I can see is the friendship between Dr. Bucke and Walt Whitman. Please don't waste your time on a film with such a disregard to the horror that real women experienced at the hands of this doctor who has now been glorified by the film industry. | 0 |
Outragously entertaining period piece set in the 30s, it is a spin on the classic cliffhanger series, as much as "Raiders of the Lost Ark", only done on a low budget and much campier by director Michael Anderson. The opening scenes laces liberal amount of gothic art nuveau, predating Batman by two decades. Starring Ron Ely (Tarzan) as a perfectly cast hero and the gorgeous Pamela Hensley as the local latina Mona tagging on to our hero on a goldhunt in the non-existent latin american country of Hidalgo. Best line, our hero to Mona, holding a fist to her chin just as you expect him to be tender with her and give her a hug: "Mona, you're a brick!"<br /><br />Paul Wexler's ham-and-cheese blackhat, Captain Seas is a an absolute delight. Expect a little "Raiders..", a dash of "Batman", a little "The Lost World", a little "Lost Horizons" and a whole lot of campiness and you'll get it just right. Watch out for cult favorite Michael Berryman in a small part as undertaker and enjoy the campy use of John Philip Sousa's patriotic music. A prime candidate for DVD release, it is certainly overdue. An unmissable treat for the whole family. 9/10 | 1 |
I don't think I need to tell you the story. For it has been told for years and years. So I will just share my feelings. I first saw Cinderella was when I was five years old. From then on I was a Disney child in a good way. The animation now seems childish and old fashioned, but that is part of its charm now. Now, in the age of High School Musical and computer generated images, it seems like people have forgotten the genius and magical essence of early Disney movies. Thankfully I was born before that so I was introduced to this classic. And it seems no matter how old I get, I turn back into that five year old watching it on VHS. Which is the true magic of Disney. | 1 |
Written by science fiction veterans Gerry and Sylvia Anderson. This space fantasy is aptly directed by Robert Parrish. Experienced American astronaut Colonel Glenn Ross(Roy Thinnes)agrees to a manned flight to the far side of the sun. The mission is to be controlled by Jason Webb(Patrick Wymark)and his Euro Sec Space Agency scientist John Kane(Ian Hendry)will accompany Ross. The two will explore a newly discovered planet that is in the same identical orbit as Earth...except it is always hidden on the other side of the sun. Ross is the only one to make it back to earth and has a very incredible story to tell. Special effects may be better than the story line. Nonetheless fun to watch. The cast also includes: Lynn Loring, Loni von Friedl, George Sewell and Herbert Lom. | 1 |
As an avid Disney fan, I was not totally impressed by this movie, certainly not motivated enough to catch it in the theaters. I am, however, so glad that I caught it on DVD and watched the special features.<br /><br />You MUST check out the "Moose commentary": the entire movie can be viewed with commentary from Rutt and Tuke, the comic relief moose of the story, who are voiced by Rick Moranis and Dave Thomas. Two veterans of the famous Second City comedy troupe ad-lib - in character - for an hour and a half about a movie that they are clearly fond of. I laughed the whole time. The enjoyment I got from this commentary completely made up for the tepid reaction I had to the film itself. Do yourself a favor and listen to it! | 0 |
The film made no sense to me whatsoever. Good actors(SergioCastellittoaparticular favourite; he was great in "Uomo DelleStelle"/"TheStarmaker"but that was made by Giuseppe Tornatore, a great Italian director as opposed to the mediocre one who made this effort),but awful, rambling script, terrible editing,and a director who seemed to have no idea of what he was trying to say, and ended up saying exactly nothing. Apretentious load of rubbish, but the sort of film that certain Italianpseudo-intellectuals whom it was my misfortune to have known in the dim and distant past would have loved it, and unfortunately Italy has no monopoly on these, they can be found everywhere and probably acclaim this as a great masterpiece. I never thought much of Bellochio as director. I remember seeing his first film "PugniNella Tasca"/"Fists in the Pocket" (or some such title) in Rome when it was first shown close on 50 years ago (I was living thereat the time). All the usual pseudos raved about it, but it left me pretty cold. I didn't think he was much of a director then, and still don't. Age has certainly not improved him, and this film must rank as one of his worst. | 0 |
This movie was really awful. It was not in the least bit frightening, or even startling. I went to see it with a bunch of friends and by the end of the night we were saying "The Ruins ruined my night." <br /><br />I would not recommend seeing this movie in theaters, renting it or even watching the movie on television by accident.It is an absolute waste of an hour and a half. <br /><br />The plot was nearly non-existent, the characters were horribly underdeveloped, and they gave no back story whatsoever for anything that was happening, and then left it completely open at the end as if preparing for a sequel. | 0 |
I can't believe they even released such a movie. The only good acting came from the water in the movie. This has to be one of worst (if not the worst) movie I have ever seen.<br /><br />The only scary part of the movie is the bad acting, me giving this movie a 1 is me being to kind, this movie deserve a 0.<br /><br />The storyline, and if you can call it the plot of the movie, seems to have been written by an high school kid. Ofcaurse you have to ask yourself if it may have been better with better actors in it.<br /><br />Do yourself a favor, wait for it to show on TV. <br /><br />AND EVEN THEN WATCHING IT WILL BE A WAST OF TIME. | 0 |
Really don't care that no one on here likes this movie,, i do , and that's what this review is about. Lou Diamond Phillips is great in this comedic role. that line about train a b and c is now to me an instant classic, the cg is great, yeah train looks a little fake,, but the aliens wow do they ever rock,, Todd Bridges,, where's Arnold, and Mr. Drummond,, wow he's been out of the loop , guess that's what jail does to you.. a bullet train is on it's way to Las Vegas with the Senator for him to deliver a big speech, a meteor has just hit,, and now all of a sudden we got aliens running loose aboard the train, and our hero cop has to save the day, to make matters worse his ex-wife is on board arguing with him. i just thought this movie was so wonderful,, a must see if you like action. | 1 |
This is the worst sequel on the face of the world of movies. Once again it doesn't make since. The killer still kills for fun. But this time he is killing people that are making a movie about what happened in the first movie. Which means that it is the stupidest movie ever.<br /><br />Don't watch this. If you value the one precious hour during this movie then don't watch it. You'll want to ask the director and the person beside you what made him make it. Because it just doesn't combine the original makes of horror, action, and crime.<br /><br />Don't let your children watch this. Teenager, young child or young adult, this movie has that sorta impact upon people. | 0 |
I have to say that there is nothing wrong with low budget films, so that was not my problem with it. My problem with it is that I felt like I was watching my next door neighbor's home movie. IMO everything about it just seemed like a guy wrote out a quick story, grabbed a camera, and started shooting. I understand how hard this must be to do effectively, but when I pay to rent a film, I expect to feel like I am watching some type of professionally made movie.<br /><br />John Schneider has a huge resume, is a great actor, and was fine in this film. The other people in it were not. I understand how it must be fun, and cheaper to use friends, and relatives as the cast, but it doesn't make for convincing acting. It seemed like the way it was shot, he was trying to give many of the scenes a more interesting look, but when the writing, plot, and acting are there to begin with, that type of style isn't necessary, and it is a distraction.<br /><br />Also on a technical level, it had digital artifacts all over the place. In the first scene of all of those fine cars, when they did a slow scan of them, they appeared to jerk back and forth just a little bit. The problem isn't in my viewing equipment, (Benq PE-8700 84" diagonal) but somewhere in the production. I've never seen that kind of artifact in a professionally made film before. Then there was the sound. It sounded like they didn't do any voice-overs, which may be o.k. unless it sounded like the track in this film. It sounded like the built in microphone on the camera. | 0 |
This film is definitely up there with the worst films I've ever seen, probably in my top 5 of worst films. I laughed once and that was when:<br /><br />EVAN: "im building something" Evan's Secretary: "i hope its a barber shop"<br /><br />That was literally the only time i laughed in this 'comedy', awful compared to Bruce almighty which as a big Jim carrey fan...wasn't even that great! <br /><br />This movie lacked the humour of having God's powers and was more about family bonding. Id class it solely as a family movie, definitely not a family comedy. <br /><br />Seeing a bird poo on someone's shirt is not hilarious, neither is a beard that grows back instant!<br /><br />I didn't even think the special effects were great, the animals looked really stuck on, it was like watching a film which hadn't been 'glued' together properly<br /><br />2/10 film - avoid! | 0 |
Watching this odd little adventure movie, it's hard to believe that it was directed by the same man who brought us such high quality Giallo classics as The Strange Vice of Mrs Wardh and The Case of the Scorpion's Tail, but it has to be said that despite it's low quality production values, Island of the Fish Men is an entertaining ride and one that surely deserves more praise than it's getting. Like many Italian films from the seventies, this is one is a rip off of a successful American film, the one in question this time being the critically panned Island of Dr Moreau. Sergio Martino's film takes ideas such as mutation, greed and adventure and moulds it into one slightly compelling film, which makes up for what it's lacks in coherency and logic with a load of mostly intriguing ideas. The central plot follows a boat which crashes on a small island. It quickly becomes apparent that not everything about this place is normal, and it soon transpires that half of the population has been turned into "fish men" - a cross between a man and a fish, which exist for purely selfish reasons...<br /><br />The truth about this movie is that it's a lot more fun if you ignore the trashy production values. The central monsters look completely ridiculous, and much of the movie takes place on sets that look like they cost someone a few pennies - but the movie is well shot in spite of this, with the underwater photography being a particular highlight and the pacing of the movie is well done in that the film never becomes boring. The way that the plot comes together isn't exactly genius, but it takes in a lot of ideas and I've seen films made on plots with much less thought put into them than this one. The biggest location standout in the film is definitely the lost city of Atlantis. To be honest, I'm not a massive fan of adventure movies, and therefore don't see this lost city get mentioned much - but it is always nice to see it in a movie. The central island location is good in that it provides an apt setting for the story and also provides the movie with the right amount of mystery, as Martino makes good use of the voodoo theme. Overall, this isn't exactly a classic and there are certainly a lot worse trashy adventure movies out there than this one. | 1 |
I saw Borderline several years ago on AMC. I've been looking for it ever since. It was haunting: visual, textural, sensual. This movie took me somewhere like a dream and I didn't care where. I will never forget the curtain blowing in the breeze. I still remember the way it made me tilt my head. I remember my facial expression when I saw it. I didn't know what had happened when the movie was over, but I find life is that way. It didn't bother me. The unfairness of the ultimate rejection of an innocent character strikes me as sadly real. I loved the faces, the way the camera dwelt upon them. The camera gazed at the set with the unfocused eyes of a daydreamer. Borderline was real to me in a way movies aren't. It was exactly the lack of explanation, color, sharpness that made it enter my consciousness like a thief in the night. I love this movie. Someday I will own it. | 1 |
I learned much from previous viewer reactions. Is there one that does not mention 'propaganda'? Too glib. 'Perception is concept dependent'. I love Fred Astaire musicals, the great, great songs, & Fred's peerless grace. But comrades, if you see idle, brainless, rich parasites dancing on the downtrodden & unemployed, that's a valid criticism of 'capitalist propaganda'. Any movie is steeped in the values of its time & place, not to mention those who fund it the pipers who call the tune. Great art transcends all, as did 'Nevsky', as did 'All Quiet on the Western front'. I confess. I saw it last 40 odd years ago. But the images are burned in my brain. It's the greatest battle scene ever likely to be filmed. And it makes you horrified to be thrilled. 'Plastic ice' did someone say? That's real death you're watching. Real extras died making this. 'Real looking' is now special effects-defined it seems. Likewise 'too long' - for an age of shrunken attention spans? Mozart had 'too many notes'? Propaganda, Catholic Church defamed? The Vatican was STILL at it when they called on ancient favors to get the German Christian democrat gov. to recognize Croatia in the 1990s remember the chaos & genocides? Forget the props, the lighting of Nevsky painted the Medieval world like a Breughel. There's one in Hampton Court Palace showing a massacre. Crude Dutch nationalist propaganda maybe, but it tears at the heart. Stylized acting? So what's Henry V (Olivier movie)? Naturalism? Does anyone believe English medieval knight-killers talked like that? As said, the music of Prokofiev is magnificent. Only Ken Russell & Eisenstein had the balls & genius to match sound & image at this 100 octane level. OK, you want the snaffle & bit. I'll risk the nervy thorobred every time. Eisenstein did not copy Wehrmacht helmets, rather, his model seems to have been those buckets worn by 'Teutonic knights' in nazi pageants of the 1930s. Eisenstein was a genius , but unlike Hollywood directors, he had near unlimited (non-commercial) time & funding. Modern Russian directors are free from political shackles, but have no money. Even Kurasawa had to make a late (great) movie in communist Russia. He was revered but unfunded in his own country (much like Russell). How much propaganda is in the eye of the beholder? Imagine sane people from another, peace-loving world. How would they react to Nevsky? Would the battle, or the grieving for the dead dominate their cognitions? If we didn't know about the gas chambers & SS, what about 'Triumph of the Will'? Where can I get a Nevsky DVD, cheap? | 1 |
Ignore the bad reviews on here, this film is awesome! "Just Before Dawn" is a great example of what can be done in a film with a minimal budget if you have a dedicated crew, decent script, and a cool idea for a film. It's a hell of a lot of fun.<br /><br />I enjoyed it a lot more than most other 80's slashers because the killer is so unique. "Wrong Turn" ripped this movie off something fierce! There's plenty of blood and scares. My girlfriend was freaked out and she watches almost everything with me and doesn't flinch. It's got that creepiness to it.<br /><br />I'd say that "Just Before Dawn" is the best early 80's slasher out there. I really enjoyed it.<br /><br />8 out of 10, kids. | 1 |
Den Brysomme Mannen is one of the better films of all time and is about a man trapped in a world where there are no senses, no feelings, no Love, no Truth and definitely no Freedom. A world where people become afraid when someone speaks their mind, expresses himself or show affection, a world where no one is Free and no one has any idea what the Meaning of any of this is. Just like the world we live in, the world in Den Brysomme Mannen is a world of lost souls trying to become fulfilled but focus on the complete opposite of what fulfills them, materialism, social acceptance and mediocre satisfactions.<br /><br />Den Brysomme Mannen deserves full attention by every human soul, because we could all use a fresh Wake Up call. | 1 |
Someone actually gave this movie 2 stars. There's a very high chance they need immediate professional help as anyone who doesn't spend 30 seconds to see if you can award no stars is quite literally scary.<br /><br />This film is ... well ... I guess it's pretty much some kind of attempt at a horrible porn / snuff movie with no porn or no real horrible bits (apart from the acting, plot, story, sets, dialogue and sound). I wrongly assumed it was about zombies. <br /><br />Watching it is actually quite scary in fairness; you're terrified someone will come over and you'll never be able to describe what it is and they'll go away thinking you're a freak that watches home-made amateur torture videos or something along those lines. <br /><br />I'm so taken aback I'm writing this review on my mobile so I don't forget to attempt to bring the rating down further than the current 1.6 to save others from the same horrible fate that I just suffered. <br /><br />I worst film I've ever seen and I can say (with hand on heart) it will never, never be topped. | 0 |
A sad, sad sight indeed is The Munster's Revenge. The Munsters are brought back one last time(Fred Gywnne received a huge paycheck to come back to the role of Herman Munster)in this made-for-TV movie about a pair of wax replicas of Grandpa and Herman that are robots "terrorizing" the city as preparation for a robbery of a mummy's stash at an exhibit. With the police on their heels, the two elderly television icons try to find out who is actually behind the crimes in order to clear their names. We get to see them dress in drag as waitresses(a minor highpoint in the film), grandpa turns into a bat with attached wire a couple times(one time even flying to Transylvania with Herman somehow invoking his frequent flyer miles I guess), and a most annoying relative "the Phantom" constantly sings and breaks glass ad nausium! What is most sad is hard to pinpoint: is it that Gywnne(especially) and Al Lewis look so haggard in every scene and so indifferent to the material. Is it the hokey costumes of the robots that have that school production values look about them. Maybe it is the ridiculous script. Sid Caesar's crazy, mostly unfunny antics. Or perhaps it is seeing something which brought me joy and fond memories as a child being treated to a super K-Mart fashion makeover. At any even, the result is decidedly disappointing and silly even for Munster standards. As for the rest of the cast, Yvonne De Carlo is adequate in a most vacuous role(though showing more cleavage than usual for a woman of her years and experience). K. C. Martell makes an ever-so-not affable Eddie Munster. Jo McDonell is an attractive Marilyn. Bob Hastings as the aforementioned Phantom looks and acts and speaks in the most absurd manner. The film has a real cheap feel about it even for a made-for-TV movie. | 0 |
There was not one original idea in this story. Themes were pulled from various sources; a few being The Ninth Gate, In the Mouth of Madness (another Carpenter film), and The Ring. It even went as far as featuring the same damn glowing circle from The Ring and using it as the film's namesake. The soundtrack by Cody Carpenter was all but lifted from Suspiria. Hopefully no one will oppose this comment by spewing the word HOMAGE around. Yes, I saw that the theater was playing Argento's Deep Red. Claiming an homage would be a bullshit cop-out. This was bottom-of-the-barrel. Throwing gore and "disturbing" imagery into the pot does not make a good horror film. Carpenter used to know that. He should fade into obscurity or acquire a time machine. | 0 |
This is definitely one of the better Mel Brooks movies, along with Spaceballs(although I will openly admit to not having watched many others, at least yet). It's very silly and thoroughly funny, there are hardly more than a few minutes throughout the entire two hour run-time, where you aren't entertained. Almost all of the gags have a great comical effect, few of them fall flat. I saw this movie right after seeing and reviewing Spy Hard, and comparing these two spoof movies, I realize exactly of how high quality this movie really is. It's funny from start to finish, none of the comedy is overdone or boring. The music is marvelous, as is the choreography of both dancing and fighting. The acting is pretty much what you would normally expect from this type of movie... Elwes is a great comedian, and makes a good Robin. The plot is typical Robin Hood, more or less everything from the legend is fit into this movie(and spoofed majorly). If you like Mel Brooks, or you're just a fan of silly humor, or you're just dying to watch a good parody of the legend of Robin Hood, this is definitely the film for you. The HBO First Look special on the film is also worth watching, and in that, you may want to keep watching throughout the credits, too. I'd recommend it to any fan of Mel Brooks movies, and to people who enjoy silly humor. 7/10 | 1 |
Arguably the most disgusting thing to come out of Australia since Vegemite... Predictably distasteful comedy with Barry Humphries in a dual role as boozy Australian diplomat Les Patterson and undercover agent Dame Edna! So many bodily function gags that even the Farrelly brothers would have been sick, and several gross-out moments, especially the effects of the horrible H.E.L.P. virus. Only for fans of extreme toilet humor. Oh, and that´s the "NeverEnding Story II", NOT the "Mad Max" George Miller, who directed... *½<br /><br /> | 0 |
The most succinct way to describe Ride With The Devil is with but one word: authenticity. I will not rehash what has already been said about this wonderous film, but I would like to say how much the historical research and painstaking attention to detail the crew no doubt went through was appreciated by this filmgoer.<br /><br />As a student of history familiar with the period and setting of this film, I must say that this production is one of the most accurate fictional films regarding "bleeding Kansas". Yes there were liberties taken on the actual events, as all fiction is apt to do. But the overall feel of the film is genuine. Authentic costumes, authentic attitudes (no PC hindsight here) even the actors look authentic.Even Jewel Kilcher (who has a small part in the film) looked like she stepped form a mid 19th century photograph.<br /><br />A few viewers I talked with have expressed their incredulity at the stylized dialog. They cannot believe that 19th century farmers would "talk like poets".<br /><br />What they don't realize is that in this age of verbal slobbishness, the American public public of the 19th century was a surprisingly literate and eloquent bunch. These people were raised on Shakespeare and the King James version of the Bible. The screenwriters reconstructed the most likely verbal styles of these people, judging from documentation of the time. The stylized dialog just adds to the magical atmosphere of the film.<br /><br />But in addition to a historical document, this film works on a visceral level as well. Beautifully photographed and performed, it harkens back to the days of the great western epics. The raid on Lawrence, Kansas, done so many times before in so many other, lesser films is portrayed with a sense of urgency that puts the viewer right in the midst of the action.<br /><br />Romance, adventure, moral and ethical conflict.This film has everything a discerning moviegoer could want. <br /><br />In a year that was dominated by overhyped garbage like American Beauty, this great artwork was buried by an indifferent studio system. But I am certain that Ride With The Devil will be given it's due in the coming years. Please rent this film. You will not be disappointed. | 1 |
I've loved this movie since I was a little kid. I remember the night my mother brought this movie home for me. I loved it and I still do. I think it's very funny and original. There are also some very catchy tunes in this movie. Lou is also a surprisingly good singer. The actors that portray Prince Arthur and Princess Eloise are okay too, but Abbott and Costello are the best. Former heavyweight boxing sensation Buddy Baer, also brother of former heavyweight champion Max Baer is good in this movie as the cop and The giant. He's a better actor than boxer. He had a natural talent. The beginning of this movie is hilarious how Lou Costello keeps crashing the car and how he gets into trouble with Buddy Baer. The slapstick in the house is good too. I especially like the comedy in the Giant's castle. My favorite parts are; the part were Lou is climbing the beanstalk and they're all singing as a farewell. Jack is singing back to them that he'll return. Lou Costello is a very good at singing. My other favorite part is the part when Jack is fighting with the Giant. I like when Jack makes exploding eggs and when he tries to make the Giant an omelet they keep exploding. Abbott and Costello are hilarious and the greatest comedians of all time. This is only one of their great movies that I will love and cherish. The reviews for this movie aren't very good and I can't understand why. This is a very good Abbott and Costello movie. I also love how Lou Costello comes back to reality in the end and thinks he's back in the dream when Bud hits him. He starts singing his song and leaves with an attitude like no one is going to push me around. Very good movie. | 1 |
IF you love movies about fruity dudes who prance around with a top hats and canes while spouting off random line of poetry while stabbing their victims then this is the movie for you!!<br /><br />If you like movies where it looks like the whole thing was shot with a camcorder, and when people get disemboweled their internal organs are made out of baked ziti an marinara sauce this movie is even more for you!! <br /><br />And if you simply love movies where the acting and dialogue sucks so much that it makes you feel dead inside, then for God's sake run to the video store right now and buy this movie right now!!! Hurry go before it sells out! | 0 |
What this movie fails from answering is how wrong this war is (and most US wars recently made only to get some oil).<br /><br />How many innocent civilian casualties there has been, how many lives perished and how blatantly stupid the perpetrators are.<br /><br />So, let me ask you - if American soldier kills women and children apart from enemy, its OK, but if government accidentally kills their own forces by deadly chemicals while killing many civilians as well, it is not? Your logic fails, gentleman.<br /><br />I'll give it 5 for the solid performance and 1 to everything else, 3 in total. | 0 |
I am an atheist with little love for certain aspects of Christian fundamentalism.<br /><br />That said, this movie is reprehensible, vile and transparent. It only works on the level of the currently fashionable (and tired) hatred motif of white American Christian fundamentalism. Had this movie been made about a fundamentalist Jewish or Muslim family, or even a black Christian family, the outrage would have been palpable, and the movie would have been roundly panned in ALL circles. As it stands, though, it's "OK" and "artful" because white Christian fundamentalists remain one of the last "acceptable" targets for garbage such as this.<br /><br />And garbage it truly is. If you want to see a quality film of a similar bent, find and watch or review "Badlands." Nothing good was done in "The King" that wasn't done better decades ago in that masterful film.<br /><br />As other reviewers note, the characters are almost completely undeveloped in "The King," the lines are a snooze, the cinematography is lackluster. We've seen the tale of the sociopath done better 100 times. This movie doesn't cut it for thoughtful viewers. | 0 |
I saw this movie on my flight from Philly to Denver. The screen was three rows in front of me and about 12" x 10". So I really wasn't going to watch it. But I like Malcolm in the Middle, so I thought I'd watch just a few minutes. Next thing I know I'm sucked in, having a great time, and was pleased as how good it was and how fast it seemed to make the time go by. I agree with that the acting is very good for this level of entertainment. Being one of the older baby boomers, I was also pleased to see Lee Majors with a role in the movie, as with a couple of other actors who were famous (Jamiel?) "yesterday" but are out of the spotlight today poking fun at themselves.<br /><br />It's your basic "kid is wronged, kid gets even (and then some), and everyone enjoys themselves in the process". No heavy thinking, no great analysis needed. Just a good fun way to pass the time.<br /><br />3.5 out of 5. | 1 |
This latter-day Fulci schlocker is a totally abysmal concoction dealing with an incurable gambler (Brett Halsey) who decides Bluebeard-style to pay off his ever-rising debts by seducing some of the ugliest bitches you will ever lay your eyes on and who just happen to be wealthy widows! The Fulci-penned script also contrives to incorporate a few blackly comedic elements - which only result in some unfunny business involving a corpse which won't stay put, an opera singer victim who won't stop singing, etc. - not to mention a doppelganger theme straight out of THE STUDENT OF PRAGUE - although, in this case, the two personas communicate via pre-recorded radio messages!! In the end, I can't say I'm surprised that this film shows no sign of the sophistication of Mario Bava's HATCHET FOR THE HONEYMOON (1970) which it resembles in several ways and that it is content to merely pile up the disgustingly gory (but none-too-convincing) effects of dismembered limbs and squashed or melting faces with which, alas, Fulci had by then become completely associated. | 0 |
In Sri Lanka, a country divided by religion and language, the civil war between the pro-Sinhalese government and the Liberation Tigers of Tamil Eelam (LTTE), a separatist organization, has claimed an estimated 68,000 lives since 1983. Human rights groups have said that, as a result of the war, more than one million people have been displaced, homeless or living in camps. The impact on children and families caught in the conflict is sensitively dramatized by acclaimed Tamil director Mani Ratnam in his 2002 film A Peck on the Cheek, winner of several awards at the National Film Awards in India. While the civil war is merely a backdrop for the story of a young girl's voyage of discovery, the human cost of war is made quite clear and Ratnam gives the fighting a universal context, pointing the finger at global arms traffickers as the source of wrongdoing.<br /><br />Beautifully photographed in Southern India by cinematographer Ravi K Chandran in a setting mirroring the terrain of Sri Lanka, the film tells a moving story about an adopted 9-year old girl who sets out to find her real mother in the middle of the fighting in Sri Lanka. Played with deep feeling and expressiveness by P.S. Keerthana in a memorable performance, Amudha is brought up by a loving middle class family with two younger brothers after her natural parents Shyama (Nandita Das) and Dileepan (J.D. Chakravarthi) were forced to flee when the fighting broke out, leaving her in a Red Cross camp. In a loving flashback, we see Amudha's adoptive parents, father Thiru (Madhavan) a prominent Tamil writer, and mother Indra (Simran) a TV personality, marry to facilitate their adoption of the darker-skinned little girl.<br /><br />Young Amudha has no idea that she is adopted until it is sprung upon her abruptly on her ninth birthday, according to the parents' prior agreement. While she is playing, Thiru tells her almost in a matter of fact tone that "you are not our daughter" and the response is predictable. Distraught, she questions who her father was, what her mother's name was, why she gave her up, and so forth but few answers are forthcoming. Amudha runs away several times until her parents agree to go to Sri Lanka to help her find her true mother, now a fighter for the Tamil separatists. The family's immersion in the reality of the civil war leads to some traumatic moments and difficult decisions, handled mostly with skill by Ratnam, though a sequence where the family was caught in a crossfire felt amateurish.<br /><br />A Peck on the Cheek is of course a Bollywood-style film and that means tons of music and melodrama. The melodrama did not get in the way because of the strong performances by the lead actors; however, I found the musical dramatizations of songs by A. R. Rahman counter to the mood of the film with their slick, high production techniques and fast-paced music video-style editing. Yet the compelling nature of the story and the honesty in which it is told transcend the film's limitations. Tamil cinema has been criticized by many, even within the country as being too clichéd and commercial, yet A Peck on the Cheek is both a film of entertainment and one that tackles serious issues. That it successfully straddles the line between art and commerce is not a rejection but a tribute. | 1 |
This show is terrible. I cannot get over the complete waste of great talent this show contains. This is not entertaining improvisational acting, it's just a cheap attempt to throw someone famous comedic actors onto a stage and have them perform a poorly improved scene. I have actually done improv work as an actor, and this show is not improv.<br /><br />What the audience is actually laughing at (if they're actually laughing at this show at all, it looks quite fake) is the embarrassment of the guest star being lost like a deer in headlights. The dumb, completely unrelated things they come up with are what people laugh at. And if it's not part of the scene, the actors will tell them that it's wrong! I find this show is disgrace to the art, and makes me cry for shows like Whose Line is it Anyway, which had great talent, great improv games, and on top of everything else, didn't make me want to change the channel. | 0 |
Exceptional movie that handles a theme of great proportions with a very well-balanced direction. Dmytrik was a very good director, at least from what I can tell from this movie and Murder my Sweet but he was seriously affected by the HUAC as other movie directors and actors. It is in a way ironic that Crossfire received no Oscars, because it is exquisite example of how to make a great film on low budget. Everything about this movie is exceptional: a well-written script that makes use of extensive flashbacks, a great cast, superb lighting that seems to tell the story more than the actions proper. What more can you expect from a top-notch movie? Might I add that noir is here used for its stylishness, and I might add financial advantages. But this proves once more that what was originally deemed a B-movie can have more impact today that most of the heavy-handed A-movies that lost their audience with the passage of time.<br /><br />This film is not a noir movie per se and this rises serious questions about what noir actually is. The style is definitely noir, in terms of sets and especially lights but the theme surpasses the recipe of the "noir genre". You can see things from the opposite perspective and claim that Anti-Semitism is only a pretext for the criminal investigation, the puzzle around the murder being the actual focus. This would have been the case had it not been for Robert Ryan in an outstanding performance. Either way, the movie has a lot to offer and it is truly a pity that the director had to suffer so much iniquity for his former beliefs in a really "noir" period of America | 1 |
I will just start with some quotes from other reviewers that describes it the best.<br /><br />"This is easily one of the most overrated films of the year and probably the worst film Tarantino has ever done." "The ONLY good thing in this movie was the performance of Mr. Waltz".<br /><br />"So I was really disappointed, and seeing this movie on place #40 of the greatest movies of all time is the only thing about this, that leaves me with my mouth opened" Now for more details go and read "Hated it" reviews.<br /><br />One thing I hate about a movie is when it treats audience as bunch of dumb people. (Spoiler ahead). Now I know Tarantino's style is based on fantasy and fictitious plots, but come on, Adolf Hitler and 200 top Nazis Officers will be in attendance of a movie premier in occupied France and you have only two guards in the whole theater and the surroundings? Where also an American-African walks around freely with steel pipes locking doors and setting fire. These 2 guards are then executed in seconds opening the door for our 2 "heroes" to slay Hitler at point blank with around 100 rounds... very dumb. At least, challenge our intelligence and create a smarter plot to kill one of the most feared tyrants of all time (Go watch Valkyrie). Besides, Mike Myers impersonation of a British general is more realistic and authentic than the guy doing Hitler, just picture that.<br /><br />What ruined it further, is that the only smart and powerful character, which nailed everyone in the movie, with his psychological and mind bending interrogations, ends up to be effortlessly tricked by the most mindless character in the movie.<br /><br />After watching the movie, I was sympathizing with Nazis, who were portrayed to have more bravery and humanity than our Basterds!!! Imagine that.<br /><br />My recommendations, if you have insomnia, 2hrs 33 min to waste or you want to give your mind a break, go watch this movie. | 0 |
A nicely evoked 1930s setting provides much interest for a viewer in the early 21st century; unfortunately, "London Belongs to Me" has little else to recommend it besides lashings of quaint English charm. All of the problems rest with the deeply unfocused story. The main plot concerns the actions of young lad Richard Attenborough, the problems he gets into and how the community in which he lives bands together to save him from society's laws. Or something. The main issue here is that Attenborough's character brings everything upon himself and, quite frankly, is guilty of almost every accusation brought against him, so it's baffling why the film (and all the characters) have so much sympathy for him. He's treated as a victim of circumstance when he really, really isn't; and what's more he isn't shown to have very much remorse for his actions, only caring about getting away with things he didn't mean to do. Alastair Sim gets a lot of screen time in a subplot that has absolutely nothing to do with the main plot line and you wonder what he's doing there (though Sim is, as always, superb). You know there's a problem with the structure when the main plot impacts constantly against the subplot but not vice-versa. And, following a sedate pace and a careful build up, the plot completely falls apart in the last 20 minutes with a deeply unsatisfying and unexplained conclusion which doesn't even show us if Attenborough's character has developed at all from the previous proceedings. The film doesn't end, it just stops.<br /><br />The acting, direction and the general feel of the film can all be commended but unfortunately the story and structure of the piece jars constantly. A last point of trivia: Alec Guinness based his performance in the vastly superior film "The Ladykillers" on Alastair Sim's performance in this film, right down to both the characters having almost identical first scenes. | 0 |
This is your only spoiler warning. What a sad state of our cinema when unprofessional junk like this is considered "Oscar worthy".<br /><br />I divide material into three levels. The first is the stage theatre. Here the viewer is stagnant and the power rests in the presentation of the actor and, most importantly, in the power of the writer. A good playwright is better than a good screenwriter because he or she knows the ways of words better. The best playwrights know how to create imagery that the barren stage cannot show.<br /><br />The second level is film. In this medium, a weaker writer can be used, but the viewer is not sitting in one spot the entire time. With film, the context can take the qualities of visual poetry and meaning in addition to strong writing. Furthermore, film can manipulate everday elements like sound and color in ways that are almost surreal.<br /><br />The final level is literature. In this context, everything is imagined by the author, translated onto paper, and then re-imagined by the reader. Far more detail can go into a novel than is conceivable for a film studio.<br /><br />This is why adaptations can go up, but never down. Novelizations are never better than the base film (see the dime-per-dozen ones at your local book store), whereas the film cannot convey the same power as the original book (Catch-22 and LotR). Movies can rarely be made into plays and plays can always be made into movies.<br /><br />As for 'The Last Picture Show', it fails. It is a film that should stick to the stage because the director is too stupid to shoot anything right. The characters talk the same and act the same, it's pure futility. Add to that an obnoxious soundtrack and you have an entirely unwatchable film.<br /><br />I saw this in my high school drama class with about 20 other wannabe thespians. The instructor raved about how sad the movie was. What is sad is how such stagnant work is considered depressing when the material itself is hilarious. Had this been in color the scenes of impotence, the pool party, and the old hooker would be considered great comedy. Look what Lucas did with 'American Graffiti' a few years later.<br /><br />The American secondary education system needs to start teaching ABOUT film rather than trying to teach WITH film. Two visually powerful downbeat films: Apocalypse Now and Barry Lyndon. Rely on them, not this. It's the 'Last' I want to see of it. 1 out of 5. | 0 |
Despite what its critics ensue, I enjoyed immensely for precisely what it is. Eyecandy for both sides of the gender spectrum. Soderberg has done the artsy hard edge stuff before, won Oscars, is at the top of his game. Ocean's 12 is light, commercial, fluffy, Steve's day at the Midway if you will. I am generally not a fan of Zeta-Jones but even I must admit that Kate is STUNNING in this movie. It's ending screams of an upcoming trequel and I will be one of the millions who flock to see 120 minutes of George and Brad and Matt parlay through Clooney's digs in Lago di Como as they swindle some rich bad guy again and again. If we tolerated 3 installments of the Lord of the Rings, I ask if we can drool over Clooney's salt and pepper lid just one more time? | 1 |
When I was six yo, I learned about a series called "Los Campeones", and even if I was just a kid I did everything I need to convince my parents to let me watch "The Champions" and "the Avengers" once every week. I think that was the Golden Age of English series... (I already own the complete cycle of "The Prisoner"!) but lasted also a few years later with "The Tomorrow People", "the Worst Witch" (I just me, or this is "Harry Potter" in girl, of course, before As much as I want "The Campions" to be in Zone 1 or Zone 4, I'm also waiting for "Dr. Who" (pack the whole series in a set of, uhm, maybe 300 DVD's, please, I couldn't expend more for it, 8), "People of Tomorrow", and several other 'low budget', but great stories to be available within my reached zones. I speak and understand English, but not all my relatives do, including my parents, whom introduced me into these great stories... I hope someday, someone could feel the attraction of these series and then could sell them as I originally view them... Dubbed or subtitled, but in the same format I saw them. Remember, Zone 1 or 4 are OK with my TV set! | 1 |
Ang Lee clearly likes to ease into a film, to catch action, characters and setting on the hoof, as they emerge. Covering the haphazard endgame of the American civil war via the haphazard actions of a young militia, unformed in mind or manhood, this is an ideal approach. The film turns out to be about the formation of personalities, adulthood and relationships. Lee also shows the beautiful panoramas of the mid-south as a silent character, enduring the strife like a hardy parent.<br /><br />James Schamus' script is probably the standard bearer for this film; close behind it are a number of well-appointed performances that carry it admirably. Jeffrey Wright's name alone could carry this film for me. He's brilliant here but in a slow burning role: instead we are treated to very good (if not revelatory) performances from a large, often recognisable ensemble.<br /><br />A noble, optimistic film. One to watch if you don't fancy the harder, more bittersweet Cold Mountain or The Claim, for example. 7/10 | 1 |
This is apparently the first film featuring Gloria Swanson--the film that made her a breakout star. While she was good in the film, I can't see how this performance in particular was so noteworthy at the time--but, still it was a very good film.<br /><br />Gloria plays the wife of a rich slob that continually takes her for granted. He cares little for his grooming, eats onions and forgets their anniversary! And, at the same time, a Lothario comes into their lives and begins paying a lot of attention to Gloria and her dippy husband doesn't even notice or give her any reason NOT to cheat on him. Ultimately, she divorces her hubby and marries the smooth-talking Romeo. However, while the movie could have just been an overdone melodrama (they were pretty common at the time), it takes some interesting twists and turns and is an imaginative and fun film. While not the greatest silent film I have seen, it is a standout and deserves to be remembered.<br /><br />By the way, the DVD release from Image Entertainment is surprisingly good--with a decent print and music. This hasn't always been true of other Image releases (particularly how sloppily they handled the Chaplin releases). | 1 |
I should explain that as far as this trend goes for ripping off Asian horror movies, this Shutter is a head above The Grudge, and Dark Water, while still not achieving the same amount of atmospheric creepiness that The Ring establishes.<br /><br />Still though movies, like life, don't exist in a vacuum and are therefore up for comparison to other suspense/thriller/horror movies. Honestly, I'm not writing a lengthy synopsis here and will say that this movie attempts to rely on music induced "startle" scares rather than atmosphere and the "ghost" itself really isn't that remarkable. The plot is pretty basic and predictable and isn't anything to write home about either. While there are a few suspenseful scenes that border on creatively scary, most of the movie is pretty vanilla. If you enjoyed The Grudge and it's ilk then you might enjoy this.<br /><br />Grade: C- | 0 |
My father has worked with top secret information in the DIA before and he is the one who mentioned this movie to me. When I was a kid I would always ask him what would happen if he gave away secrets and he recommended this movie.<br /><br />In the movie it really puts 2, almost completely different FRIENDS! in a tangle they never really knew what the outcome would really be. The snowman, Daulton really cracked me up because the movie portrayed him as just some drug pusher that did not know what he was arguing about, and in the movie it seemed like he got the worst of everything. The falcon, Chris is just a guy that wanted to express his feelings on U.S government in a very radical view.<br /><br />For movie lovers this is a must see!!! | 1 |
This is a pretty bad movie. But not so bad as it's reputation suggests. The production values aren't too bad and there is the odd effective scene. And it does have an 80's cheezoid veneer that means that it is always kind of fun. Watch out, too, for Jimmy Nail's brief appearance - his attempt at an American accent is so astoundingly rubbish it's fantastic. Fantastic too are Sybil Danning's breasts - they make a brief appearance in the movie but the scene is repeated umpteen times in the end credits in what can only be described as the 12" remix of Sybil Danning's boobs. Has to be seen to be believed. As a horror movie it isn't scary, the effects are silly and Christopher Lee turns up to sleepwalk through his performance. I guess he was buying a new house and needed some cash for the deposit. The two central characters - the man and the woman - were so negligible that I have forgotten almost everything about them and I just watched this movie earlier tonight. The werewolves are noticeably less impressive than in the original movie, in fact, bizarrely, they sometimes look more like badly burned apes. The eastern European setting is quite good and the music provided by the new wave band Babel, while being pretty terrible, does at least give the film some added cheese.<br /><br />Overall? Good for a laugh. Not good quality but did you seriously expect it to be? And, at the very least, you've always got Sybil's knockers. | 0 |
What was Wes thinking making this dribble? It does not jive well with any of his other work but then again he seemed to fall into a slight slump after making a A Nightmare On Elm Street. This can be seen by his follow ups 1.Invatation to Hell 2.Chiller 3.Hills Have Eyes II 4.Deadly Friend 5.Serpant and the Rainbow 6.Shocker all of these films were either mediocre our crap it was not until People Under the Stairs that he gained his momentum back and started to kick butt again. Chiller it'self has none of Craven's regulars and none of his suspense. The only good scene in when the old man has a heart attack on the stairs after graveling for his job. | 0 |
Truly I Love Lucy as well...comedic genius yes.....MAME...NEVER...she was as ridiculous as Mame...as was the film adaptation of Divine Secrets of the Ya Ya sisterhood. Both just completely missed the point. Roslind Russell was, is and always will be the first and only Mame. Perhaps as a young starlet, Ball could have pulled off a role like this, where her inherent beauty and youth could have carried her through...but this seemed a desperate attempt from an aged star to show that she was still viable in the field. The reason there are sooo many more supporters of Russell's version (aside from the fact that you cant improve upon the original) is that Russell had presence, she absorbs every scene, whereas Lucille Ball might as well be a pattern on the wallpaper in Mame for all the attention she commands in the role. | 0 |
Well, what can you say about sitcoms. There often quite lame, morale dedicative, and just plain. So is this show! It got a boring cast, although A.Bynes is okej in her perky way, the rest is just stereotypical crap....as always. We have all seen it before, and will probably see it all over again when this show is cancelled. Cause, lets face it, its a mediocre and self righteous show. As the most sitcoms are....<br /><br />Well, in short. If you wanna see some good entertainment, you can rather take a twenty minute pause in front of the mirror. Do some faces and move on.... Its more entertaining than this show! | 0 |
MABEL AT THE WHEEL is one of those movies with a behind-the-scenes story that's more interesting than the movie itself. This was Chaplin's tenth comedy for Keystone during his year of apprenticeship, and his first two-reeler. Here he played one of his last out-and-out villain roles (although the feature-length TILLIE'S PUNCTURED ROMANCE was yet to come), and it also marked one of the last times he would work for a director other than himself. In fact, Chaplin's conflicts with director and co-star Mabel Normand almost got him fired from the studio.<br /><br />Chaplin hadn't gotten along with his earlier directors, Henry Lehrman and George Nichols, but according to his autobiography having to take direction from a mere "girl" was the last straw. Charlie and Mabel argued bitterly during the making of this film. Chaplin was still a newcomer at Keystone and his colleagues didn't know what to make of him, but everyone loved Mabel. Producer Mack Sennett was on the verge of firing Chaplin when he learned that the newcomer's films were catching on and exhibitors wanted more of them A.S.A.P., so Chaplin was promised the chance to direct himself in return for finishing this movie the way Mabel wanted it.<br /><br />Unfortunately, none of that drama is visible on screen in MABEL AT THE WHEEL, which looks like typical Keystone chaos. The story concerns an auto race in which Mabel's beau (Harry McCoy) is scheduled to compete, but wicked Charlie and his henchmen abduct the lad, and Mabel must take the wheel in his place. For all the racing around, brick hurling and finger-biting the film is frankly short on laughs, but there are a few points of interest. There's some good cinematography and editing in the race sequence, though there aren't really any gags, just lots of frantic activity. Chaplin himself looks odd, sporting a goat-like beard on his chin and wearing the top hat and frock coat he wore in his very first film appearance, MAKING A LIVING, but the outfit suits the old-fashioned villainy he displays throughout. At least it's novel to watch him play such an uncharacteristic role. Visible in the stands at the race track are such Keystone stalwarts as Chester Conklin, Edgar Kennedy in a strangely dandified get-up, and a more characteristic Mack Sennett, spitting tobacco and doing his usual mindless rube routine. As a performer, Sennett was about as subtle as the movies he produced, but you have to give the guy credit: he knew what people liked. These films were hugely popular in their day. Mack's performance doesn't add much to MABEL AT THE WHEEL, but he probably had to be on hand for the filming of this one to make sure his stars didn't kill each other. | 0 |
This should be re-titled "The Curious Case Of The Unscrupulous Filmmakers Who Misrepresented A Non-horror Snorer As A Shock Film." It's one long, boring tale of a fraternity hazing, a gag so transparent that even Flounder from Delta House could see through it. Jeff East, an actor in the dues-paying stage, can be forgiven for taking any work he could get. The same can't be said for Charles Martin Smith, who formerly acted for such cinematic heavyweights as George Lucas and Sam Peckinpah. Once available on tape but, thankfully, not out on DVD. Misrepresented garbage like this belongs in a landfill and nowhere else. | 0 |
There are many illnesses born in the mind of man which have been given life in modern times. Constant vigilance or accrued information in the realm of Pyschosis, have kept psychologists, counselors and psychiatrists busy with enough work to last them decades. Occasionally, some of these mental phenomenon are discover by those with no knowledge of their remedy or even of their existence. That is the premise of the film entitled " The Night Listner." It tells the story of a popular radio host called Gabriel Noon (Robin Williams) who spends his evenings enthralling his audiences with vivid stories about Gay lifestyles. Perhaps its because his show is losing it's authentic veneer which causes Noon to admit he is no longer himself. Feeling abandoned by both his lover Jess (Bobby Cannavale) and his and best friend (Joe Morton), he seeks shelter in his deepening despair and isolation. It is here, a mysterious voice in the night asks him for help. Noon needs to feel useful and reaches out to the desperate voice which belongs to a 14 year old boy called Peter (Rory Culkin). In reading the boy's harrowing manuscript which depicts the early life and sexual abuse at the hands of his brutal parents, Noon is captivated and wants to help. However, things are not what they seem and Noon soon finds himself en-wrapped in an elusive and bizarre tale torn right out of a medical nightmare. This movie is pure Robin Williams and were it not for Toni Collette who plays Donna D. Logand, Sandra Oh as Anna and John Cullum as pop, this might be comical. Instead, this may prove to be one of William's more serious performances. *** | 1 |
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