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12,992 | [
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] | 288 | 363 | Another nice entry in the Crime Doctor series [#4/10], with atmospheric almost noirish black and white photography and some splendid Spanish American backdrops and sets. And a more off-the-wall storyline too!<br /><br />A man who looks like the insane murderer of his first two wives is found dead in a locked room after a dramatic dinner party. The Crime Doctor is on the scene (ostensibly as a guest) to immediately and resignedly proclaim it murder, and so we are presented with a quite weird set of people to mull over, for one of them did the deed. Was it the frothing brother of the dead 1st wife, the 3rd wife and rich widow Hilary Brooke, the dancing brother and sister vampires, the intense young man, the eccentric cabinet maker Lloyd Corrigan on loan from Boston Blackie, the irreplaceable butler, or odds-on Jerome Cowan? Police Inspector Emory Parnell had his work cut out, but Warner Baxter as Ordway was as unflappable as ever in working it all out. One of the goofs listed on the IMDb is wrong: On breaking into the murder room Ordway says "Right through the centre of the forehead" and Cowan replies "He didn't miss this time". Favorite bits: Baxter and Cowan travelling through club sandwiches and beer at the nightclub to make amends for their interrupted dinner party; The scene where the Braga's place of repose is seemingly rumbled. The plot does seem to meander a bit at times and the way it was all explained off was perhaps more worthy of Monogram, but leaving it in the air as supernatural wouldn't do either!<br /><br />Well worth a watch if you already like the genre, you won't be disappointed unless you really don't like the genre. | 1 |
12,996 | [
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] | 294 | 362 | Ordinarily, Anthony Mann made westerns with 'the big guys' - James Stewart, Gary Cooper, Henry Fonda . . . the A list cowboy stars. But in this B+ film, he tackled something notably different and had quite a bit of success with what turned out to be a truly one of a kind western. The main character, played by Victor Mature, is a trapper/ mountain man, and ordinarily they are romanticized in films - Robert Redford in Jeremiah Johnson, that sort of thing, where the hero is not in fact a typical mountain man but a clean cut heroic figure who hangs out with real mountain men. Not here. For once, a true mountain man - vulgar, crude, animalistic - is the central figure, and it's something to see, giving Mature one of his better later roles. The real acting chops are provided by Robert Preston, excellent as a self-absorbed Custer type cavalry commander, and James Whitmore, the poor man's Spencer Tracy, as another of those old timers who feel themselves trapped between ever more hostile Indians on the one side and the oncoming force of civilization on the other. Even more impressive is a very young Anne Bancroft as the officer's wife, who is initially repulsed by the very sight of Mature's grisly character, then finds her own veneer of civilization slipping away as she begins to realize, to her own shock, that she's attracted to him. Rarely if ever has a remote frontier fort been so accurately realized on screen, without the romantic allure that John Ford gave such a place in his masterful Fort Apache. The battle sequences are big scale and notably violent, and particularly impressive if you seen them in widescreen format. Good show, and underrated movie, all around. | 1 |
13,010 | [
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] | 331 | 399 | In Strangers On A Train, it's obvious from the start that playboy wastrel Robert Walker has singled out Farley Granger as an unwilling accomplice to a pair of murders. Granger's a semi-public figure, he's a tennis pro, but not an especially high one. High enough however for him to know that Granger is trapped in a loveless marriage and would like to be free to marry Ruth Roman.<br /><br />So when they meet as complete Strangers On A Train one afternoon, Walker knows enough that Granger will at least be intrigued enough with the possibility that if the two of them, complete strangers, did commit homicide on parties that the other would be convenienced by their demise. Though Granger is repulsed by the idea, one of the beautiful things about this film, is that you can see in the performance he gives that Granger just might submit to temptation.<br /><br />In fact when Walker kills Laura Elliot, Granger's wife whose been two timing him and even gotten pregnant by another man, he expects that Granger will in turn murder Walker's father so that Walker can inherit his estate. Today Walker would be called a trust fund baby and a pretty malevolent one at that.<br /><br />Alfred Hitchcock directed Walker to his career role, ironically in his last complete film. Walker died the following year with most of My Son John finished. Hitchcock does not do too bad by Farley Granger either. <br /><br />Of course when Granger does balk at committing homicide on people who never did anything to him, the tension. Strangers On A Train is also characterized by great editing, first in the tennis match in which Granger has to finish the match and waylay Walker before he plants evidence convicting Granger at the crime scene. And also in that final climax with a fight on a runaway carousel between Walker and Granger.<br /><br />Strangers On A Train is Hitchcock at his best, it should not be missed and ought to be required viewing when film classes study editing. | 1 |
13,016 | [
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] | 275 | 338 | I couldn't stop watching this movie, though it was far past my bedtime. <br /><br />Comparisons to Hitchcock are deserved -- this thing really plays with you. It walks a wonderful line between real, immediate suspense and a dark, distancing humor. Like many of Hitch's heroes, our doe-eyed mute witness has innocently stumbled into something truly horrific -- and we are taken on quite a ride with her, at turns identifying totally and feeling her fear, at turns watching in thrilling suspense as she is placed further in jeopardy.<br /><br />The filmmakers have put in a lot of tender care in working this out. Right from the opening shots, they engage and challenge you to determine what is real and what is fabrication; who is to be trusted and who is a monster. The plot twists and turns unpredictably. Suspense is created with a combination of carefully chosen camerawork, imagery, music -- but most simply THE EYES of the characters, which sends raw fear right into you. <br /><br />A warning: there is some frighteningly real gore, as well as some nudity. The horror scenes are done in an emotional way that make them far more scary and disturbing than in any teenage-slasher pic.<br /><br />And a teen-slasher pic it AIN'T. The characters are quirky and feel like real people, for one thing -- a couple (including the heroine) you may even find endearing as I did. There will be no mistake you're watching a movie made for grown-ups. I mean, Alec Guinness is in it, briefly, and you know he didn't NEED the work!<br /><br />Pop this in the VCR some night when you can't sleep. . . and don't want to, yet. | 1 |
13,021 | [
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] | 295 | 371 | This is, without doubt, one of my favourite horror films ever! I really cannot believe that it didn't gain much more popularity when it was released, especially when the main contenders at the time were the usual Wes Craven sequels and copycat horrors, Mute Witness has all the style, suspense and quickfire plot twists of a Hitchcock/DePalma movie, coupled with some very sharp black comedy and a great plot. It never promises to be any more than a good popcorn-and-hot-dog movie, but it is difficult not to just enjoy the film for what it is.<br /><br />The plot centres on Billie Hughes - a mute girl working on the set of a horror film being made in a Russian factory. By a series of events, she finds herself accidentally locked in, and stumbles on the filming of a snuff movie.<br /><br />One of the best things about the film is the lack of screaming that seems to invade every horror film ever made. As the main character is mute, she cannot make a noise - something which is a blessing at some stages of the movie, and a curse in others.<br /><br />The director seems to have studied his Hitchcock very well, Even the opening scene is a tongue-in-cheek nod to both Hitchcock's "Psycho" as well as fairly generic slasher movie scenes.<br /><br />While the acting can be hammy at times, the whole film does hold it together, not only throwing in a couple of excellent scenes that put you right on the edge of your seat, but a few neat little questions about how the film is going to end.<br /><br />All in all, a hugely overlooked, well-paced and action packed psycho-thriller which I would recommend for any jaded viewer looking for something a little different from the usual Freddy/Jason/Scream/Michael Myers/Damien regurgitation's at hallowe'en. | 1 |
13,030 | [
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] | 276 | 348 | Mute Witness is a modest, yet very solid thriller that never really received the attention or good comments it deserves. The film written and directed entirely by Anthony Waller is a tense, action-packed thriller with black comedy aspects and horror influences. No pointless mumbo-jumbo or endless plot-twists
just straight to the point mystery. Mute Witness handles about the vicious topic of `snuff'-movies and is effectively set in Russia. *** SPOILERS *** Since the production costs are cheaper there, a US film crew temporarily moves to Russia for shooting a horror film. An old hangar is used as film location. The female make-up artist of the team accidentally gets locked up overnight and while trying to find a way out, she witnesses the recordings of an authentic snuff-movie! She's caught and tries to escape but, since she's a mute, she can't cry for help and neither can she explain what she saw to the police properly. The girl's life is in real danger now, since there's a whole hidden network behind these snuff productions and they don't want the witnesses to be alive
*** End Spoilers ***. Mute Witness contains multiple highly exiting action sequences and is rather bloody. Some of the mystery clues are effectively kept secret till the very end. Regarding the similar topic, I'd say it's definitely better than the more famous `8 mm', directed by Joel Schumacher and starring Nicolas Cage. The acting in Mute Witness isn't great, but the leading actress (who's Russian herself) looks really cute. Sir Alec Guinness makes a special appearance, too. And a very cool one, I may say. Surely recommended with guaranteed fun and scares. | 1 |
13,042 | [
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] | 286 | 375 | A look at three geishas who are way past their prime. Now they look back on their pasts with fondness and bemoan their present. Kin (played by Floating Weeds' Haruko Sugimura) has sworn off men and has made a good living as a moneylender; everyone on the block owes her. The other two, Nobu and Tamae, wish they could land husbands, but are not foolish enough to believe they ever will. Meanwhile, their children - one has a son and one a daughter - are both about to get married (not to each other). Tamae is irked at how much prettier her daughter has become than her, and bitterly tries to convince her not to marry the man. Nobu's concerns about her son are more legitimate in nature, but they are also (understandably) self-serving. After her son leaves, she'll be alone. A bit into the film, two of Kin's former clients come looking for her, one a man so obsessed with her that he tried to get her to commit double suicide with him, the other one of her handsomest clients. Unfortunately, he comes for her money, not her love. The way I've described the film makes it sound unrelentingly depressing, but it's really not. Sad, but not fatally so. It's more bittersweet. Unfortunately, I only marginally liked Late Chrysanthemums. The story seems better when I look back on it, but it is very slow and dull. I actually nodded off twice during the film, and I wasn't at all tired before I started it. This is the kind of film that I can appreciate more than like; it reminds me very much of my reaction to a couple of Ozu's more famous films. 7/10. | 1 |
13,046 | [
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] | 283 | 375 | In many ways, the perfect movie. The "Incredible Journey" and Horatio Alger tale come together for a positive spin on the usually depressing subject of existentialism. In essence, the travails of the muppets boil down to the finale song of the movie: "Life's like a movie, write your own ending, keep believing, keep pretending." They create their own reality, which has all the trappings of every epic tale: a lofty goal at the end of what is necessarily a obstacle-laden journey; an ever-increasing group of like-minded individuals for camaraderie; a nasty set of villians who are not beyond all redemption; and a big-budget Hollywood ending because, darn it all, they CAN.<br /><br />Only Jim Henson could pull this off. He walks the line between sentimentality and philosophy without swerving too long or too hard into either. Of course it seems odd that invest such weight into a film starring puppets, but in the end perhaps they are the perfect, uh, puppet to make these points. The movie's atmosphere allows for the pure enjoyment of the Hollywood dream, the "happy" ending, unnecessary cameos, and bursting into song at the drop of a hat. Usually these aspects are anathema to quality in film, but the self-deprecating manner under which the story is delivered makes for guilt-free viewing. One of the few films that can truly be called "suitable for all ages."<br /><br />The other muppet-related films (including "The Empire Strikes Back"), while palatable, do not touch the simple grace of this film. Take, for instance, the musical number "Hope that Something Better Comes Along," the duet of Kermit and Rowlf. Amusing in its vaudevillian goofiness, yet makes a bitingly crucial point about the motivations behind life choices. Brilliant. | 1 |
13,051 | [
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] | 245 | 324 | I would have been about 11 years old when this movie was first released. All these years later at 37 and I had no qualms hiring it on DVD. Great entertainment for all ages. And what about the song The Rainbow Connection? See:<br /><br />Why are there so many songs about rainbows And what's on the other side? Rainbows are visions, but only illusions, And rainbows have nothing to hide. So we've been told and some choose to believe it I know they're wrong, wait and see. Someday we'll find it, the rainbow connection, The lovers, the dreamers and me.<br /><br />Who said that every wish would be heard and answered When wished on the morning star? Somebody thought of that, and someone believed it, And look what it's done so far. What's so amazing that keeps us stargazing And what do we think we might see? Someday we'll find it, the rainbow connection, The lovers, the dreamers, and me.<br /><br />All of us under its spell, We know that it's probably magic...<br /><br />... Have you been half asleep? And have you heard voices? I've heard them calling my name. ... Is this the sweet sound that calls the young sailors? The voice might be one and the same I've heard it too many times to ignore it It's something that I'm s'posed to be... Someday we'll find it, the rainbow connection, The lovers, the dreamers, and me.<br /><br />Laa, da daa dee da daa daa, La laa la la laa dee daa doo... | 1 |
13,063 | [
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] | 220 | 301 | The first feature-length adventure of Jim Henson's beloved muppet characters is a very competent musical comedy vehicle as Kermit The Frog leaves his carefree, swampy surroundings for the bright lights (egged on by stranded Hollywood agent Dom DeLuise who overheard him singing); on the way, he meets Fozzie Bear (a pitiful stand-up comedian at James Coburn's El Sleazo Café who has Telly Savalas for a bouncer and Madeline Kahn a patron!), the piano-playing dog Rowlf, bestial drummer Animal and his laid-back, funky band, egomaniacal beauty queen Miss Piggy (in a ceremony presided over by Elliott Gould and Edgar Bergen), etc. All the while, Kermit et al are pursued by frogleg burger magnate Charles Durning and reluctant acolyte Austin Pendleton, sold cars, ice cream and balloons to by, respectively, Milton Berle, Bob Hope and Richard Pryor, served food by insolent waiter Steve Martin, nearly brainwashed by mad German scientist Mel Brooks and, finally, land an audition in the offices of movie mogul Orson Welles (who has Cloris Leachman for a secretary)! The pleasant song score comes courtesy of Paul Williams who also makes an appearance as the resident pianist at El Sleazo's. For the record, I have recently acquired four of the subsequent Muppet movies and should be watching them in the weeks to come when their turn falls due. | 1 |
13,084 | [
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] | 326 | 369 | I watched this movie with my mother. She is 81 yrs.old and was raised to be a bigot. She even acknowledges this. I don't think she really understood what was happening, she had already made up her mind that the kid was guilty. Scary. I felt for this child and his family. What torture they went through and remained faithful. That is true faith. Back to the movie. I was disgusted by the police force and their ineptitude. I am so glad that this public defender was chosen to work this case. It was very fortunate for this family that they had a person that cared enough to see through the crap that was handed to him. I could tell when one the cops was lying. He would not look the defender in the eyes. His eyes moved to the side when he answered the questions. It is unfortunate that a black person has to be punished because of the color of his skin. I read the book about the black man being dragged behind a truck by three white men. They were finally found guilty after many years. I can't remember the title, but it was the same premise. Whites doing whatever they want with blacks. I am sure the child in the movie will be traumatized for a long time, if not forever. I pointed out to my mother that most serial killers and pedophiles are white. No comment from her. I want to commend the director and producer of this film. I feel the exposure they gave to this blatant injustice was a necessary project. I am an avid viewer of indy films. I feel that they are well written and have substance. I am pleased that I happened to grab this movie on the shelf. I felt compelled to write a comment because of how strongly I feel about the film and the prejudice that continues to exist in our modern society. | 1 |
13,088 | [
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] | 252 | 333 | Very good film. Very good documentary.<br /><br />Very good to see those vermin detectives humiliated and found out as the bigoted, narcissistic, heartless swines their one eyed parents, community and environment raised them as.<br /><br />I tip my lid to Pat McGuinness. Can we get this decent human being on some kind of 911 commission or investigation? We need his integrity, endurance, intelligence, clarity and spirit fighting the rigged game that is world politics and big business.<br /><br />All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. Pat McGuinness should be the first drops of that real rain. The people who control this earth are animals. They need to be drowned.<br /><br />I'm just in shock. Walking the night is scary business. The inhuman howling and cackling is of detectives, in Murder On A Sunday Morning. In Pat McGuinness' blazing spotlight, they look horribly caught, horribly guilty, and ready for a just and horrible drowning.<br /><br />It is exceptionally satisfying, in a world in which the punters play a rigged game, to see justice done and to see every narcissistic felon drown like the pathetic human rats they are.<br /><br />How does it feel you railroading, abominable, snaky fingers of the law? How does it feel to have your rigged prosecution, your rigged confession, your rigged detective work found out for what it really was? How does it feel? <br /><br />I hope it twists like a knife you miserable, one eyed nothings. | 1 |
13,093 | [
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] | 353 | 394 | A MUST SEE documentary.-----This movie had so many things to consider while watching it. It was a great documentary of a trial of a 15 year old black kid named Brenton Butler. He accused of killing a white tourist in Florida. It shows how the police took statements from the husband of the dead woman of the description of the man that killed his wife. The husband seemed to want to change some things to merge with what the police said the young man was wearing. The police little to investigate the crime. Brenton's lawyer Patrick McGuinness is meticulous in getting information to help his client. He tells the viewers what he thinks and the strategy he will use on the police to show their incomplete investigation and beatings against his young client to get him to confess. The camera goes with McGuinness to where Brenton was questioned. McGuinness also takes pictures of the room and how the audio is monitored. He questions a policeman on the stand and ask what the heard Brenton say to one of the investigators and he challenges their own words. McGuinness investigates with Ann Finnell each place the police should have gone and the things they should have done but did not. The movie shows the Butlers as a loving Christian family who have faith in their son's innocence and faith that God will set Brenton free. They visit him in jail and pray with him there to encourage him. There are scenes of group prayer for Brenton, the lawyers, the Judge and everyone involved in this case. I am a white and I was surprised to see how blacks in high police positions treat other blacks. It was very disappointing to see black and white police stick together when they think they got their man. Police have a hard job and I believe most of them are honorable not like the ones in this movie. I think this is a great movie for anyone involved in the Judicial system including Judges, police and lawyers and even potential jurors to watch this movie and learn from it. | 1 |
13,125 | [
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] | 304 | 378 | Never, ever, have I been as impressed by a film as this little piece about four groups of people, that faces a crisis, or many. In some ways a little like Short Cuts, but totally different, at the same time.<br /><br />There are a heap of lead characters, whom we all learn to know very well as their stories unfold, and they are, as persons show their good and their bad sides, their weaknesses and their strengths, with lots of drama and laughter.<br /><br />The closest equivalent in a US movie, I can think of, which then is far weaker in every respect, is the Royal Tenenbaums. <br /><br />Four Shades of Brown, as the title would be in English, tells the story about a stressed out hotelier and his wife, and his elderly parents (who are traveling magicians); about the receptionist at an animal crematory and his family misadventures; about the members of a cooking course (who mostly talk about their sorry lives) and fourthly about the funeral for a womanizing trotter jockey, who tries to continue orchestrating the family from beyond the grave, by singing and appearing in 3D during the funeral, thanks to high tech equipment that has cost his entire fortune (the family gets nil, not even the famous horse is given to the family)!<br /><br />There is a warmth and compassion in this film, that is filled with grief and laughter, that I've never experienced before.<br /><br />Most actors were new to me, except Robert Gustafsson and one or two more, but they all deserve the big slam the film took at the Swedish Guldbagge extravaganza (= the Swedish "Oscar" Awards) a week ago!<br /><br />Male, female and male supporting actor prizes went to this film, plus a few more, to boot!<br /><br />If you have the chance, go and see it - the hours float by very quickly! | 1 |
13,142 | [
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] | 264 | 324 | I'd heard about this movie, but didn't see it until my daughter, who saw it on a flight to Australia, told me it was a great movie. I was interested in seeing whether Rupert Grint, away from Harry Potter, was showing the promise you see in the Potter movies. I wasn't disappointed. He's become a fine actor, showing a range in Driving Lessons from a shy boy being beaten down by an over-bearing obsessive mother, to a young man finding himself to be worthy of his own, and other's, esteem. Going over lines from plays and poetry with his aging-actress employer, it's obvious that he's ready to take on much more complex roles in films and the stage. But the jewel of this movie was Julie Walters. I'd seen her previously in the Potter movies, Billy Elliott and Calendar Girls, and loved her. In Driving Lessons, as she does lines from poetry and Shakespeare, I was awed by her timing, command of the language, and body language. I'm hoping it was make-up/costuming, as she portrays an older woman with osteoporosis, though no mention of it is made in the movie-- as a nurse, I can say that she did this perfectly, portraying a woman on the brink of old-age, but clinging to the sparkling past that she reveled in. This is one of the best movies I've seen in a long time, and I wish I'd seen it in a theatre first-- but I doubt it ever played anywhere here in Albuquerque. We miss out on so many of these types of movies here. | 1 |
13,155 | [
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] | 306 | 385 | This is such a fun and funny movie. Highly entertaining at all angles. It features an outlandish array of memorable, psychotic but lovable nuts. We got; the judge, the Sargent, the kid, the creepy old lady, the slut, the clown. And unfortunately they all live in a big house that doesn't have any locks and is understaffed. So for our enjoyment we get to see them run around, play games, and be dangerous. We also learn a lesson along the way... never give your patient an ax! <br /><br />This was before Cukkos Nest, AND surpasses it. At least on the fun level. It even has its sweet moments. "Love is pure. Love is grace. Love is strength. You love me, your love is pure, you'll always love me." Now who could resist that? Nuts are humans too. Just a few loose wires. Be a little careful, or you'll get an ax in the back! Children at play. Hehe.<br /><br />The telephone repair man was really funny and his reactions to the nuts and bitchy boss were truly genuine. All the characters in this film are tremendously well played. And I really did find them funny. No, HILARIOUS! They may even give you dirty thoughts of how you can take advantage of them. Or how they can take advantage of you.<br /><br />This is actually a very smart movie. There is a brilliant twist ending. I must say I expected this to be a good but never expected THIS. It is horrific. "The court has made its decision. You are no longer in control!" I love it. The ending is so, SO perfect... you'll shed a tear.<br /><br />I am so thrilled after seeing a movie like this. I will never forget it now. It is not just a cult... it is a cult CLASSIC. Whatever you do... Don't Look In The Basement !!! | 1 |
13,157 | [
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] | 295 | 372 | I personally have a soft spot for horror films that are set in hospitals and asylums so I had a good feeling about watching this "Don't Look in the Basement", even though its reputation is doubtful. Well, turned out I was right! This is great, trashy entertainment with a couple of efficient shocks and delightfully absurd characters. You have to, of course, look beyond the poor productions values and the completely illogical plot but, if you manage to do that (and if you're a fan of this type of horror, that's an essential quality), you'll be rewarded with an outrageous "video-nasty" in which blood and insanity form the main elements. The young and cute nurse Charlotte arrives at a remote sanitarium where she's supposed to start her new job. She finds out that the Doctor who hired her was killed by a patient and the replacement doctor-in-charge Masters seems reluctant to accept the new arrival. The life inside the sanitarium is rather peculiar, with the patients running around free and every door is kept unlocked. After a whole series of bizarre events, Charlotte discovers the horrific secrets that the institution hides.... The opening 10 minutes (pre-credits) are great and so is the completely deranged climax. Everything in between is pretty much without surprise or tension but you patiently wait because you just feel that the finale will be wild fun. The asylum's patients are textbook lunatics, but I love them nevertheless. Some of my favorites include the former judge (who still talks exclusively in legal terms), the suspicious army-Sargeant and the mad-raving old lady. "Don't Look in the Basement" is great low-brained fun, especially recommended to fans of 70's trash-cinema, sick puppies and other types of scum. The lunatics have taken over the asylum, yeah!! | 1 |
13,175 | [
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] | 213 | 327 | Sweet young nurse Charlotte Beale (a charming performance by ravishing redhead knockout Rosie Holotik) goes to work at a remote rural asylum run by Dr. Geraldine S. Masters (the excellent Annabelle Weenick). Among the motley assortment of colorfully crazed patients are insatiable, aggressive nymphomaniac Allyson King (the luscious Betty Chandler), loopy Judge Oliver W. Cameron (a gloriously hammy Gene Ross), paranoid Vietnam veteran Sergeant Jaffee (nicely played by Hugh Feagin), gentle giant Sam (the amiable William Bill McGhee), and nutty old hag Mrs. Callingham (the supremely irritating Rhea MacAdams). Said patients are dangerously encouraged to act out their fantasies by Dr. Masters, which of course results in a rash of brutal killings. Director S.F. Brownrigg, working from a clever and suitably overwrought script by Tim Pope, does an expert job of creating and sustaining a suffocatingly dank and brooding atmosphere of seething madness and oppressive claustrophobia. Robert Farrar's spooky score, the grimy set design, a few wild grisly murders, Bruce B. Alcott's grungy no-frills cinematography, plenty of deliciously robust, scenery-scarfing histrionics from a game no-name cast (Ross in particular is a total eye-rolling hoot), and the genuinely shocking surprise bloodbath conclusion further add to the overall infectiously seedy fun of this choice trashy chunk of 70's low-budget regional horror exploitation cinema. | 1 |
13,192 | [
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] | 268 | 320 | I watched the this the other night on a local station because I didn't feel like watching tripe like 'American Idol'. Peter Strauss gives a great performance as a convict named 'Rain' Murphy who keeps to himself. He admits to his crime and makes no bones that he feels no shame for it. His cell is bare of any comforts that other inmates have like books and pictures. The only time he feels in another zone is in running. He does it often and can run a mile in under four minutes. When a college coach hears about this, he wants to prime him for a shot at the Olympics. At first, 'Rain' wants no part of this, but when his best friend is killed, he shows interest.<br /><br />This is a good movie, period. Strauss is very good (What did you expect, anything less?) and Michael Mann shows hints of greatness that would come full bloom years later. This movie had that bit of realism (probably because it was filmed among convicts). It almost feels like this was a true story. The additional casting is good. There is a lot of notable names like Brian Dennehy, Roger E. Mosley, and Richard Moll as well.<br /><br />My heart sank when some pompous board of directors wouldn't let him run because he didn't feel bad for his crime. His final act made me stand up and cheer. When they took his dreams away, he took them back hard. This was back when TV movies were actually good. 'The Jericho Mile' is a gem of a film. ESPN Classic, PLEASE SHOW THIS FILM!!! | 1 |
13,205 | [
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] | 276 | 330 | Randolph Scott and Glenn Ford were once outlaw pals together, but now Scott's a sheriff and young Ford is still hiring his gun out. He gets hired to pull a bank job, but is delayed getting to town and those that hired him get someone else. That leads to all kinds of complications, a lot for a film that's not even 90 minutes long.<br /><br />Randy and Glenn both got girls here. Claire Trevor plays her usual good time gal with a heart of gold. And Evelyn Keyes is the daughter of Edgar Buchanan who falls for Ford big time without realizing who he is or why he came to the town that Scott is the sheriff in.<br /><br />It's B western, but unusual for the time and for Columbia Pictures it was given the full technicolor treatment. The Desperadoes marked Glenn Ford's first film in technicolor, a process reserved only for some of the more expensive films from bigger studios. Harry Cohn was certainly not one to shell out for it. And definitely not during war time.<br /><br />The plot gets a bit convoluted as both Ford and Scott are put to the test of friendship versus expediency/duty. The plot also involves some high class hypocritical skunks in Randy's town who are the real outlaws as far as the film is concerned.<br /><br />The four leads do a fine job and the best supporting performance is Guinn Williams as Ford's lovable explosive lunkhead of a sidekick. The climax involves a cattle stampede and a shootout in the town saloon and is one of the best ever done in a western film.<br /><br />Fans of the four leads and westerns in general will enjoy this one. | 1 |
13,232 | [
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] | 290 | 350 | Beware My Lovely originated from a play written by Mel Dinelli who apparently liked writing about frightened women. His first and best effort was the screenplay for The Spiral Staircase. He also did a Loretta Young suspense thriller Cause For Alarm a couple of years earlier. The play Dinelli wrote was originally entitled The Man and it ran for 92 performances on Broadway during the 1950 season. It was Dinelli's only effort on Broadway and it starred Dorothy Gish and Richard Boone. <br /><br />The roles that Gish and Boone played are taken by Ida Lupino and Robert Ryan. For whatever reason RKO thought to eliminate the age difference. Dinelli himself rewrote his play for the screen so I'm wondering what he thought about that. Certainly the frailty issue was eliminated completely from the story.<br /><br />That wasn't the only thing that was eliminated. The people are all wearing period clothing from around World War I yet there's no reference at all to the time this story takes place in. I thought that strange and later on when the telephone company repairman comes to Ida Lupino's residence, I noticed his truck was a vintage one of the same era.<br /><br />The film is almost entirely set within Ida Lupino's home where she's hired an itinerant stranger in Robert Ryan as a handyman. The film is a great object lesson in not hiring strangers without reference. It turns out that Ryan is a schizophrenic who imprisons Lupino in her home for about a day.<br /><br />Both the leads do fine jobs even with the changes made. Films like Beware My Lovely are the stuff that a small studio like RKO did best. If this were done at MGM or Paramount the glossy trappings would have overwhelmed a solid story. | 1 |
13,237 | [
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] | 291 | 348 | Ida Lupino is trapped in her own home by crazy Robert Ryan in "Beware, My Lovely," a 1952 film from RKO. Lupino and Ryan did three films together and worked well as a team, both being consummate professionals and strong performers. In this film, based on a Broadway play called "The Man," Lupino is a World War I widow who rents out a room in her home. She's very active and well-liked in her community and though her husband has been dead for two years, she's not ready to move on. The man who rents her room goes on vacation, and Lupino hires Robert Ryan to help her with some heavy-duty cleaning in the house. He's friendly enough to start, but later terrorizes her, locking her in the house, and not allowing her to answer the phone or the door, as he grows violent and more out of touch with reality.<br /><br />The character played by Ryan is shown in the beginning of the movie running away when he discovers a dead body in another house he's working in. It isn't clear whether or not he's the killer, since he seems surprised to see the body. He might be a split personality, as when his personality turns ugly toward Lupino, he seems to have no memory of his activities when he comes out of it. He doesn't know that he has the keys to Lupino's house in his pocket and doesn't know why he has tickets to a party that he bought from young children who came to the door.<br /><br />"Beware, My Lovely," is a very suspenseful film, and the two leads give terrific performances. The tension builds to a very high level and ends in a way you're not expecting. | 1 |
13,239 | [
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] | 321 | 389 | Chris Morris' Brass Eye TV series had always generated a large number of complaints, both from the audience and from the people taking part. But, nothing he has done has managed to stir up more controversy than this. The 2001 Brass Eye Special. Before the hugely overrated Jerry Springer Opera arrived, the Brass Eye Special held the record for the most complaints received about any TV program ever aired.<br /><br />The sheer volume of complaints that the general public made towards the Brass Eye Special was unbelievable! Many complaints were voiced by people who never even watched the program! The subject that the program handled turned many heads, but the message was widely misinterpreted. The message was even lost on some who enjoyed the program. This was not a show that mocked the subject of paedophilia. The show was purely about the media and it's presentation of the subject. Morris, is and always will be, a media satirist. The notion that the program 'makes fun' of paedophiles and children who have been abused is completely laughable! Morris never attempts to do either such thing. He merely draws our attention to the overwhelming, and very often stupid media hype surrounding the subject.<br /><br />Using many of his established 'Brass Eye' characters, such as, Ted Maul and others, Morris shows just how much the media over blow every little thing about a subject that they themselves created and built up, and the result is as funny, if not funnier, than anything Morris has done previously. Using his tried and tested formula, Morris manages to trick several gullible celebrities into believing that they are working on a serious documentary. In actuality, they are made to look like exactly what they are. Retards.<br /><br />All in all, the Brass Eye Special needs to be seen to be believed. And, with one opening line, Morris manages to sum up the entire media situation as it stood in 2001: "Welcome to Paedo-Gedden!" | 1 |
13,242 | [
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] | 304 | 377 | It's the 1980's and the teenagers are ready to party it up in a scary old house that is rumored to be haunted by the ghost of Murder McGee. After mistakenly conjuring the dead through an unfinished conversation on an Ouija board, the kids are forced to fight to the death battling a vengeful ghost who possesses and kills all of their friends one by one. Sound familiar? It's supposed to. It's clearly marketed to pay homage to the classic 80's slashers with the tagline: "Excessive violence. Gratuitous nudity. Zero budget." <br /><br />Can't get enough; It's pure entertainment! I enjoyed the humor and the way it poked fun at all the horror cliché's, but at the same time embraced what was fun about movies from this time. There is something you get with this movie you never got with the old 80's slasher films though: good acting. The entire cast was very talented and you don't see that very much in any low budget flicks, recent or otherwise. There was a lot of chemistry between the characters. I was very entertained throughout the entire film, and I am fully convinced the writer/director and cast will go a long way in their separate careers. The script was very well written, and the dialogue flowed naturally.<br /><br />The effects were a bit amateur and the scenes were not lit well, but the fact that this movie admits on its cover there was practically NO BUDGET, I already know this going in. This film makes it simple to politely ignore its faults and just sit back and enjoy. Although this is not an Oscar award winning opus, it never claims to be, and props to that. It's a lot of fun. If you like slashers, you'll really appreciate this film. If you like blood and boobies, you'll appreciate it also. | 1 |
13,259 | [
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] | 284 | 332 | I found this movie on Netflix and had to add it to my queue. I wasn't disappointed when I got it as it's just as funny now as when I saw it at a local drive-in theater back then.<br /><br />It builds to a climax nicely with you getting glimpses of the various characters as they begin their trip across America on the "Honky Tonk Freeway, America on wheels." This was a strange comedic role for William DeVane as I remember him as Kennedy in the 1974 TV film "The Missiles of October" and felt no one could have pulled that dramatic character off as well as he did.<br /><br />It reminds me a bit of Dick Van Dyke in "Cold Turkey' where Van Dyke played the local minister. DeVane's role as mayor, minister, and activist was typical for small towns so it makes his character seem amusing and real.<br /><br />Howard Hessman and Teri Garr as the spoiled family in the RV was on target for the time as well. Anyone who has traveled across country with small children, (Are we there yet?) will appreciate those scenes.<br /><br />The scenes of a small town struggling to survive reminded me a lot of the small town I grew up in but they handled it with the charm and humor that you often only saw in small towns. It's sad that many small towns disappeared because of the freeway system and it gives a realistic if humorous view of what they had to do to survive. (Used zoo animals anyone?)<br /><br />All in all, it's a lightweight comedy with no particular message but a humorous glance at America during the early 80's. Well worth watching if you just need a bit of good cheer. | 1 |
13,270 | [
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] | 277 | 335 | The incomparable Laura Gemser appeared briefly in an erotic scene from the French "Emmanuelle 2." This amazing woman did not go unnoticed, and was soon cast as the lead in this all new Italian series, where she is the centerpiece; a beautiful photojournalist who travels the world experiencing all the mysterious eroticism that the world had to offer. In this first installment, Mae Jordan/Emanuelle is sent to Africa to photograph the people as well as the stunning landscape and wild exotic animals. Much like Sylvia Kristels character, Emanuelle has not come into her own when it comes to being open and comfortable with her own sexuality. This first film is basically about how she becomes the "Emanuelle" that most exploitation cinema fans are familiar with. Filled with gorgeous cinematography, beautiful people, and an intoxicating 70's score from the legendary Nico Fidenco, this one is sure to please. Those who enjoy the more story-driven style of the original french "Emmanuelle" should definitely like this as well. The main story here being an interesting cat and mouse tale of a womanizing playboy who comes to the realization that he has fallen in love with a woman who is the female version of him! Sexy, fun and totally entertaining throughout; a soap opera to be sure, but one with enough skin and general eye candy to keep the male viewers entertained. For some reason this is the hardest one in the series to find on DVD. there has never been a legitimate DVD for this, which is very strange. The bootlegs that sometimes appear online will have to do until someone gives this diamond of a film a proper release. | 1 |
13,271 | [
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] | 315 | 385 | Like NIGHT STALKER and then X-FILES, the show set up a fantastic situation and the main characters had to sort it out. Unlike these, the hero(es) weren't left holding an empty bag at the end. They had usually tangible results. It was also made clear that the 'good guys' were in a dirty profession where they occasionally had to pull some nasty things. Imagination, wit, acting which didn't always take itself too seriously ... I miss it. One reason being, I'm hard pressed to think of too many shows - BANACEK aside - which did as good a job of taking the viewer and grabbing their attention right off the bat. The writers excelled at setting up hugely improbable, if not downright impossible situations which the characters then had to find an explanation to. explanations which often took 90 degree turns into the clearly unexpected yet, for all that, still made sense. Too, I agree with another reviewer that the Anabelle character was somewhat underused, but when she was on screen, it wasn't just for eye candy. She was quite competent in her own right and stood up to the two male leads when she felt the point she was making warranted it. A rarity in those days. Sullivan? If he wasn't in the Department, he'd be working for the KGB or CIA. He's that sort of coldly efficient, ruthless type. He knows how the world works and realizes what it can take to get the job done. King? It's clearly a game to him. One he excels at and which he parleys into ideas for the detective/spy novels he writes as his ostensible 'real' job. He's probably the most fun to watch of the three, although they all have their moments and often, too. I do agree that the eventual spin-off series featuring only his character lacked the interest of the original, however. | 1 |
13,272 | [
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] | 281 | 380 | Created by Dennis Spooner, 'Department S' was a glossy thriller show about an offshoot of Interpol, based in Geneva, created to solve baffling mysteries the police could not handle. If a plane landed at Heathrow with no-one aboard, if a man was found wandering around London in a space-suit, if the passenger of a Rolls Royce suddenly transmogrified into a skeleton, if a train pulling into a tube station turned out to contain dead commuters, you called on 'Department S' to sort things out.<br /><br />Peter Wyngarde played 'Jason King', a flamboyantly dressed crime novelist whose fertile imagination helped crack many of the bizarre cases. King caught the public's fancy and was later awarded a spin-off show. He was ably assisted by American 'Stuart Sullivan' ( Joel Fabiani ) and the delectable 'Annabelle Hurst' ( Rosemary Nicols ). Unusually for a '60's show, the department was headed by a black man - 'Sir Curtis Seretse' ( Dennis Alaba Peters ) If the show looked and felt a lot like 'The Avengers', it was hardly surprising. It shared many of the same writers and directors! The colourful titles were designed by Chambers & Partners, and are worth tuning in for alone. As was the case with so many I.T.C. series, the music was composed by Edwin Astley. His theme for 'Department S' has got to rank as one of the best television themes of all time.<br /><br />Predictably, the show looks a little sexist and dated now, but don't let that dissuade you from tuning in. Imagine a hybrid of 'Jonathan Creek' and the 'Austin Powers' movies and you've got 'Department S'!<br /><br />Trivia Note: the episode 'A Small War Of Nerves' features a young Sir Anthony Hopkins in a major role! | 1 |
13,285 | [
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] | 239 | 323 | Jewel Thief is one of those suspense thrillers in which the viewers are left guessing till the end who the villain is. Suspense builds from the very first scene when the jewel thief becomes a national problem and there are cleverly concealed clues in the film so that you can guess who is the jewel thief. The story portrays that Dev Anand (Vinay in the film) and the jewel thief have identical faces. But you get a 1000 watt shock when you finally come to know the villain. There are many surprises and a lot of fishy stuff going on but there is time for romance and six melodious ever lasting songs sung by Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mohmmad Rafi.<br /><br />This film was also talked about for its song's videos. Consider the teasing and counter teasing in Asman Ke Neeche. Or the blocking of road by Dev Anand when Tanuja was going out with her friends in Yeh Dil Na Hota Bechara. Or the romantic Dil Pukare Are Are in the beautiful Sikkim. Or the wonderful dance by Vyjantimala in Hotho Pe Aisi Baat. Add to it Rulake Gaya Sapna Mera and Raat Akeli Hain and you will never forget this film for any reason.<br /><br />Able acting by Dev Anand, Ashok Kumar, Tanuja and Vyjantimala and direction by Vijay Anand (Dev Anand's younger brother) makes this one of the best loved Hindi films of all times even today. | 1 |
13,289 | [
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] | 274 | 364 | I've slowly been collecting the films available on DVD of both Catherine Deneuve and Francois Truffaut. Both actress and director have done some stinkers in their time - fortunately Mississipi Mermaid is not one of them.<br /><br />Next to "The Soft Skin", coincidentally staring Deneuve's sister (the late Francoise Dorleac), this would have to be my favourite Truffaut film.<br /><br />As well as directing, Truffaut also wrote the screenplay. Something that always strikes me about Truffaut is his almost childlike innocence when presenting a story -- one could almost call it naivety.<br /><br />There's a scene towards the end of the film where Belmondo returns to the apartment in Lyon with the remains of the loot. He rings the doorbell and Deneuve answers wearing a negligee. In the time it takes Belmondo to reach their room from the street, Deneuve changes into her dress, puts on her best pair of stockings and shoes, then lies on the bed and pretends she is asleep. It's a scene that could almost come from the mind of a child - but that's Truffaut for you.<br /><br />Watching Catherine Deneuve in her films of the late 60's is indeed a sensory pleasure. She is so extraordinarily beautiful it is almost painful for us to watch. Incidentally, for those fans, there are a couple of topless scenes of her in this film - indeed a sinful pleasure.<br /><br />I disagree with previous posters. I see nothing 'Hitchcockian' about the film at all. As for the 'look' of it - i love the look of the older film stock used in the 60's. It certainly gives films of this period a unique look.<br /><br />Highly recommended for both Deneuve and Truffaut fans...... | 1 |
13,293 | [
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] | 287 | 399 | This agreeable French movie deals about a millionaire owner of a tobacco factory on an African island nearly to Madagascar named Louis(Jean Paul Belmondo). He's a single man looking wife, then he advertises a bride and gets a gorgeous woman named Julia(Catherine Deneuve). When she spontaneously appears turns out to be much more attractive than expected. He marries to Julia but she suddenly disappears.A French eye private(Michael Bouquet) is hired by Julia's sister and soon he's on the trail of his previous spouse. Later Louis encounters her in a dancing-hall under another name. In spite of the romantic delusion and everything, Louis goes on enamored with his enigmatic wife.<br /><br />This film is a splendid drama plenty of betrayal,deception, killing, theft and Hitchcockian suspense. Good performances by Jean Paul Belmondo as young proprietary of a cigarette company who seems determined to fall under the spell of a femme fatale and a wonderful Catherine Deneuve as suspect heroine. The film gets several references to the American cinema, but Truffaut(400 blows) was a fervent moviegoer, such as : Johnny Guitar, Colorado Jim, Bogart, and Hitchcock.The USA version was cut numerous minutes and deserves an urgent restoring and remastering. Loosely based on the novel titled'Waltz into darkness' by Cornell Woolrich (Rear window and screenwriter of Alfred Hitchcock hour) who also was adapted in 'Truffaut's The bride wore black'.Colorful cinematography by Denys Clerval(Stolen kisses) and atmospheric musical score by Antoine Duhamel, Truffaut's usual musician.This is one of the best of his suspense movies along with ¨Farenheit 451 and Shoot the piano player¨. Remade by an inferior version by Michael Christofer(2001) with Antonio Banderas, Angelina Jolie and Jack Thompson, full of erotic and lust scenes. | 1 |
13,295 | [
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] | 279 | 340 | This must be one of the most horribly titled films of all time. The kind of title that ruins a film because it neither evokes the plot nor the characters. A title like this makes a film flop, even the French title is not much better. Too bad - Truffaut & Deneuve must have been enough to sell it..<br /><br />This is a long film, but largely worth it. Clearly influenced by Hitchcock, we have an intercontinental story about a personal ad bride, her rich husband, a theft, an identity switch, and obsessive love. The plot here is actually very good, and takes us on an unexpected trip.<br /><br />The thing that works both for and against the movie is the focus on the relationship. It is an interesting study in how these plot developments are played out in "real life relationship" with these two people. Unfortunately, this is what bogs the film down, and makes it ultimately dissatisfying. We do like films to have a real sense of finality, and that is missing here.<br /><br />It was the case in many of her films that Deneuve became a canvas for Directors to play their fantasies out on, and this time it doesn't work as well. Messy here, is the fact that the Director clearly just wanted to have Deneuve take her top off a few times. Deneuve is an actress who always seems very deliberate and thoughtful, so these attempts to make her seem spontaneous fall flat. <br /><br />Basically, the script needed to be worked out better before shooting began, to make this film tighter and shorter and to snap. But Truffaut didn't snap, did he? So - it wanders a bit, but remains interesting. | 1 |
13,297 | [
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] | 283 | 360 | I honestly don't know what words IMDB will allow me to use in this review, as a result, I'm having a hard time describing these shorts. Let's just say there's a good amount of gay sex, some necrophilia, some incest, a fair amount of masturbation, and several artificial.... members. And I loved every minute of it.<br /><br />Not that it's ALL crude humor. It isn't. They stray away from fart gags for the most part, with the exception of one sketch entitled "Pizza" in which they use one very well. "They" being 3/11ths of the short-lived sketch comedy group that aired on MTV called The State, namely David Wain, Michael Showalter, and Michael Ian Black.<br /><br />The trio go on adventures, usually playing themselves and encounter strange and unusual people, people that are often actually more normal than they are. The supporting cast is fantastic as well. Paul Rudd, Julie Bowen, Bradley Cooper, Zach Galifianakis, and Sam Rockwell all make appearances in various sketches. They're also joined by other The State alums like Joe Lo Truglio and Todd Holoubek. The musical selections are also very well placed.<br /><br />I've enjoyed these sketches over and over again, but they aren't for everybody as they're pretty vulgar most of the time. If you like clever humor that isn't afraid to push the limits of good taste, then I highly recommend this. If you liked Wet Hot American Summer (Directed and written by Wain and Showalter) or The State, then you should really enjoy this.<br /><br />I think it can currently only be ordered online. Check out their website and stream a couple of sketches to get an idea if you really want this first, and then find out how to buy the DVD. | 1 |
13,300 | [
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] | 266 | 308 | When I first saw Stella on comedy central I thought "god, this is horrible!" But I loved Wet Hot American Summer. So I knew something didn't make sense. There was nothing left for me to do but search out for the Stella shorts which I had heard contained more dildos than any other comedy troupe out there. When I found them not only were my dildo expectations met, but I found probably the greatest comedy scenes I've seen in years. The set of twenty odd short films put me on the edge of my seat with water running down my legs. Not only did I laugh my ass off the first time I watched them but continued to laugh harder when I watched them over and over again. It's really a shame Comedy Central had the restrictions of cable television for the Stella series. It would have faired much better on HBO or Showtime. Their brand of humor can't be restricted by censors or popular culture. Given even if it was on HBO I'm sure the "masses" would have voted it canceled in a season or less, but still it would have been fantastic. Needless to say I'm now in love with Stella and all it's individual members. Any Stella fan should check out David Wain's site with all his short films. They are equally as enjoyable as Stella itself. So my hat goes off to Michael Showalter, Michael Ian Black, and David Wain for the unbelievable comedy they have made with Stella. I hope to see much more of the troupe in the future. | 1 |
13,315 | [
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] | 255 | 332 | Gene Roddenberry never let his fans down. His death ended Sci-Fi legacy that will never be matched. Earth: The Final Conflict was proof! His pilot film and the first 2 Seasons were well written and meticulously produced, but somewhere along the way the Roddenberry touch was lost. The loss of lead, Kevin Kilner (William Boone) definitely hurt the series as he was a vital part of what made it work. The story involves the human race being visited by the Taelons, an extra-terrestrial race who dub themselves 'The Companions'. After 3 years they have given earth new technologies, helpful information about the Universe and more. Many question their intentions here on Earth. The main liaison on Earth between the races is Da'an (Leni Parker) and he is to many, the most trustworthy Taelon. Questions arise: just why are they here? what are their goals, is Da'an aware of any suspected plots against the humans? There is an underground group led by millionaire industrialist Jonathan Doors (David Hemblen) who utilizes his millions to investigate the Taelons. By the end of the First Season things are going well, Da'an seems trustworthy, Boone assists Doors in his investigation while working with Da'an and the Taelons as a liaison. In the middle of the 2nd Season things start unraveling and the once terrific and fascinating series spirals downward, mostly because Roddenberry had died and was not around to guide the producers, of whom his wife Majel Barrett-Roddenberry was co-producer. Still, the first Season remains intriguing and fun to watch. | 1 |
13,318 | [
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] | 269 | 311 | I'm sorry to see that it has been rated that low by many people. The series started off very good and after the first season it wasn't that good.<br /><br />People tend to forget the beginning of something and only look at the end. This is not good to do, you should look at the total, not the end result. It is sad that a lot of the "usual" characters died but, damn, we had a lot of nice NEW characters.<br /><br />Please do not attach yourself to a few characters but attach yourself to the series, the plot. Please do understand that I didn't like it when Boone died, when Augur died but well... it needs to be done. Can you imagine that everyone keeps living the whole series when they are in a lot of danger all the time? Come on, face it, if they didn't die they would be invincible. In this way you will always keep the tension, will he survive, will he die? I do realize that people attach their selves to characters, I do that too. My favorite character was Augur, the one who could get into every computer he wanted. He was the one who was mysterious, he could do things with the computer no one else could do.<br /><br />I wish to make one statement to all the people who vote negative, does a series which started so good deserve to have such low rating? Should we look at the final season instead of the total? Should we not see how good the series was when it started? Should we not see how much we enjoyed it? | 1 |
13,323 | [
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] | 256 | 331 | Many consider BEAST STABLE to be the last of the "true" FEMALE PRISONER films, as it is the last of the series directed by Shunya Ito, and is followed by one other film (GRUDGE SONG) by a different director. I have not seen GRUDGE SONG yet (but soon will...) so I don't know how it stacks up to the previous FP films - but it will be interesting to see. The way BEAST STABLE ended didn't really leave a lot of room for another predecessor - but I guess I'll find out...<br /><br />This entry has Scorpion on the run from the cops, where she hooks up with a street-hooker who ends up pregnant with her retarded brothers child (oh yeah - that's no lie...gotta love these sleazy story lines). Scorpion ends up being kidnapped by an old rival, but (as she is so good at...) ends up escaping and taking revenge on some people that wronged a few of her hooker friends...<br /><br />I agree with some other reviewers, that this one is a little slower at points and more "serious" then the previous two entries. The story is somewhat confusing and convoluted at times, but a lot of these 70's era pinky films are - and I still love them. BEAST STABLE is lacking pretty badly in the nudity area which was pretty disappointing - but I thought it strong in other areas - storyline, cinematography, some good sleaze,etc...Definitely worthwhile to fans of this sort of thing, or who have enjoyed the other FEMALE PRISONER films...8/10 | 1 |
13,324 | [
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] | 239 | 326 | The third and final Female Prisoner Scorpion film directed by Shunya Ito. The series' star, Meiko Kaji, would complete the series in the fourth installment, Grudge Song, directed by the capable Yasuhara Hasebe (who also directed Kaji in the excellent Stray Cat Rock: Sex Hunter). The original Female Prisoner #701: Scorpion is one of my all-time favorites. The sequel, Jailhouse 41, is nearly as good. It's generally considered the best of the series, and I might agree, I think, if it ever gets a better release on DVD (the original, by Image, is very poor). Beast Stable, in my opinion, is nearly as good as FP701. It's much slower, much more contemplative. It has its share of violence and nastiness, but there's more focus on the story and the characters. Sasori (Kaji) eludes detectives in the first scene (she is handcuffed to one and lops his arm off and escapes with it in tow, which must be seen to be believed!) and hooks up with a freelance prostitute, Yuki. Yuki is being hassled by a local prostitution ring, which includes a goofy-looking madame with a cage full of pet crows. What really surprised me is how sad the movie is. Yuki's story, which is never resolved, it heartbreaking. The images are startling, and Ito's direction is masterful. It's too bad that he never went anywhere after he left the FP701 series. This is an awesome film. | 1 |
13,326 | [
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] | 288 | 366 | After finishing the Zero Woman series, I was looking forward to the Female Prisoner Scorpion series; both based upon comics by Tooru Shinohara. Unfortunately, I was not able to see them in order, as this is the third in the series.<br /><br />It starts great as The Scorpion (Meiko Kaji) is escaping from the police. Detective Kondo (Mikio Narita) did manage to get a cuff on her, but she proceeded to cut off his arm and get away. If that isn't bad enough, later on a dog digs up the arm and is seen trotting down the street before finding a place to enjoy his treat.<br /><br />Scorpion might as well go back to prison as life is no picnic on the outside. First, a local Yakuza Tanida (v) threatens to put her back if she doesn't put out; and then the gang leader gets her when she gets rid of Tanida. But, they don't hold her for long before she escapes and is looking for vengeance.<br /><br />Soon they are dropping like flies. Some certainly deserved it for wearing garish outfits with shirt collars so big they went all the way to the shoulder. The madam (Reisen Lee) turns herself in to avoid getting killed.<br /><br />The police arrive at her latest kill and trap her in the sewer. She's in there for a week and the cops find out that a friend (Yayoi Watanabe) has been supplying her with food. (The story O Yuki (Watanabe) and her brother is a subplot that is very interesting, but only incidental to the movie.) They try to burn her out, but this is The Scorpion, and she has some unfinished business.<br /><br />Not the usual mix of sex and violence, this is a slow tale that is beautiful throughout. | 1 |
13,332 | [
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] | 266 | 313 | This is the best direct-to-DVD effort from Van Damme that I have seen yet. Van Damme plays a border patrol agent who is out to stop heroin smugglers trying to cross into the United States. The action in this movie is great and the fight scenes rank with Van Damme's best. Costar Scott Adkins shows why he should be the next big star in the martial arts genre. For further evidence check out "Undisputed 2". Adkins is so good in fact that before I watched "The Shepherd", I thought that Van Damme might not look very believable in defeating him on screen. Van Damme holds his own though and although he isn't quite as athletic as Adkins is, he can still kick with the best of them. All of the fight scenes in this film are very well done and the gun battles are above average for this type of film as well. The only negative thing I can say about this movie is that the story is a little underdeveloped. I think Van Damme's character's motives should have been presented earlier in the movie, especially in regard to why he carries around a rabbit. The reason he does is very cool but you don't find out until the very end. There are a couple of other things that are never really explained either but this is a Van Damme movie so you know where the priority lies in making this kind of movie and it ain't character development. Overall though, this is a solid action movie that I recommend. So run for the Damme border! | 1 |
13,335 | [
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] | 256 | 320 | It's really good to see Van Damme's film are slowly getting better of late and especially compared to C-grade flops "Derailed" and "Second in command" which were both tragic and not in a good way. The Sheperd: Border patrol is a good action flick with some really great action/fight sequences. It's good to know that Van Damme still knows how to kick seeing as his last film "Until Death" had no martial arts in it at all!!!<br /><br />That being said, this film is significantly inferior to "Until Death" which was a really good turn for Van Damme. "Until Death" lacked the over-the-top action of most Van Damme films but was dark and gritty and Van Damme's performance as an actor was surprisingly good in that film. Still, The Shepherd is definitely a film worth checking out especially for Van Damme fans or just action movie fans in general but if you're looking for a film with a bit more story line.....you may want to skip this one!<br /><br />I do believe that this film was done well enough especially on what little budget it would have been shot on. The only real problem I have with this film is the title; "The Shepherd"? I don't get it! I suppose "Border Patrol" just doesn't have the same ring to it without the word "Shepherd" in front of it!!!<br /><br />My rating for this film is 7 out of 10 but that's by Van Damme movie standards not in any other film category.<br /><br />i.e. It's good for a Van Damme film. | 1 |
13,343 | [
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] | 297 | 369 | When I first got wind of this picture, it was just called "Shepherd" and was supposed to be the film that would put JCVD back into chances of doing theatrical shtuff. I was very well excited about the whole piece.<br /><br />By the time it was titled "The Shepherd: Border Patrol," I was tap-dancing in excitement for this flick. With Isaac Fluorentine at the helm of directing, and JJ Perry pulling stunt coordination, I almost peed me pants in anticipation. Pics were released of JCVD kicking 8 different kinds of arse as well as Scott Adkins playing what I thought was the villain, and I was mind-blown in excitement. I thought it was going to be another epic martial arts situation like Lone Wolf McQuade.<br /><br />Then it came out. I ordered it off Blockbuster online for $20 and was ready for anything. The reviews from vandammefan.net kinda had my ideas alittle altered, but I braced myself. The mail came on day 4 and I ripped open the package. My initial plan was to rush upstairs, rip the face off the cardboard packaging, then smash the case in the proper dynamics so the disc would land in my DVD player. However, I stared at the case for 10 minutes then placed the disc in my player and watched the film.<br /><br />By the time it was over, I was cool as a fool in the pool. The Shepherd is certainly one of my all-time favorite direct-to-video films ever and makes Derailed look like even more of the toilet mess that it is. Sure, some of the fights ran a twee bit short, but they were still VERY awesome. The shootouts were superb, as was Scott Adkins, who SHOULD have been the villain, unlike the forgettable Steven Lord.<br /><br />I highly recommend this flick. Seriously. | 1 |
13,345 | [
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] | 311 | 364 | This film essentially contains all the elements of a great 70's exploitation film, except it was done in the late 80's for the direct to video market.<br /><br />You have a young couple in love, but the whole world around them is involved either in crack dealing or gang violence. When the boyfriend goes to jail, the girlfriend ends up vulnerable to all the criminals, who are everyone in this movie except for the cops. First she gets hooked on crack by a dealer and then because he owes drug lord Jim Brown money, she becomes Brown's property. Then she's basically enslaved in a military style crack house that the movie is named for.<br /><br />As if this isn't enough reason to see this movie, you also have Anthony Geary playing a seemingly conservative school guidance counselor, but he's really a major crack dealer. In a sleazy yet hilarious scene, he demands sexual favors from the heroine because she has no money for a fix. In an earlier scene it was established that he is her counselor. That scene and another where Jim Brown forces her to take a scalding hot shower because she stinks are hysterical. Lead actress Cheryl Kay was really good in this film. Tarantino, bring her back.<br /><br />It's not surprising to me that someone mentioned in another review that Tarantino is a major fan of this. It has just the right blend of comedy, action, sex, romance, and yes a central message to stay away from drugs. Jim Brown's villainous turn here deserves to be mentioned in the same breath as another great 80's B villain, Wings Hauser in Vice Squad. Sometimes I think there should be a b movie Oscars where performances like this could be acknowledged. In the meantime let's hope that the modern straight to DVD filmmakers learn learn to use this same type of tongue in cheek humor. | 1 |
13,347 | [
300,
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] | 265 | 330 | Working girl Kitty (Sothern) is engaged to Bill (Kelly), who neglects her by working long hours at his garage in order to save money for their marriage. After being stood up on her birthday, Kitty goes on a double-date/blind date, where she meets department store heir Bob Hartwell (Hamilton). She falls in love, but leaves him when his protestations of love appear to cover a desire for her to be his mistress, rather than his wife. Faithful Bill rallies 'round to comfort her, and at last she gives in to his repeated requests to reinstate their engagement, pressured in part by Bill's support of her family after she loses her job. When Bob returns, however, convinced that he wants marriage after all, will Kitty follow her heart or her conscience? <br /><br />This film was a lot better than I'd expected it to be. The character of Bill at first comes off as the sort of loud comic Irishman type that Jack Carson played so often. But Kelly (and the script) infuse the character with real compassion and love, and Bill turns out to be the best person in the entire group. Viewers may find themselves rooting for him against the feckless Hartwell! The tone of the film wavers, however, between light-hearted romance and a much darker side, especially in the depiction of a dance marathon and a rather horrific accident at Bill's garage.<br /><br />The cast is rounded out by the dependable Jane Darwell as Kitty's mother, an impish but not yet thoroughly obnoxious Mickey Rooney as Kitty's younger brother, and Spencer Charters as Kitty's ne'er-do-well father. | 1 |
13,349 | [
300,
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] | 285 | 340 | The story is about a working girl (Ann Sothern) who has a pretty thoughtless boyfriend (Paul Kelly). This boyfriend is so busy trying to start his own business that again and again he forgets dates or shows up late. The final straw is when Sothern has a birthday and Kelly says he's too busy to take her out to celebrate. So, not wanting to just stay home, she goes on a blind date with what turns out to be a very rich young man (Neil Hamilton). Sparks fly but it also becomes apparent after Sothern breaks off her relationship with Kelly that new boyfriend Hamilton is a "love 'em and leave 'em" sort of guy. How all this is finally resolved is not too difficult to predict--just suffice to say that in the end everything works out just perfectly.<br /><br />This is a very modest little film from Columbia Pictures--with a relatively small budget as well as second-tier stars. It's clearly a "B-movie" despite there being small roles played by a Mickey Rooney and Jane Darwell--as both had yet to become famous. Now this is NOT to say that these are bad actors or the production isn't any good. In fact, given the production values, this is a pretty amazing film as everything seems to work so well despite having a pretty ordinary and somewhat predictable plot outline. That's because the actors and director did a really good job putting the story across. Plus the writers did a good job of humanizing the characters and making you care about them. The ending, in particular, is really sweet and practically had my tear ducts flowing! Because of these factors, the film earns a 7 of 10. | 1 |
13,377 | [
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] | 287 | 382 | A BUSTER KEATON Silent Short.<br /><br />Poor Buster becomes THE GOAT ("scapegoat") for a dangerous escaped murderer.<br /><br />This is a wonderful, hilarious little film with Keaton at his absolute best. In what is essentially a series of chases, Buster gets to exercise his endlessly inventive imagination. Big Joe Roberts appears as the highly suspicious police chief.<br /><br />Born into a family of Vaudevillian acrobats, Buster Keaton (1895-1966) mastered physical comedy at a very early age. An association with Fatty Arbuckle led to a series of highly imaginative short subjects and classic, silent feature-length films - all from 1920 to 1928. Writer, director, star & stuntman - Buster could do it all and his intuitive genius gave him almost miraculous knowledge as to the intricacies of film making and of what it took to please an audience. More akin to Fairbanks than Chaplin, Buster's films were full of splendid adventure, exciting derring-do and the most dangerous physical stunts imaginable. His theme of a little man against the world, who triumphs through bravery & ingenuity, dominates his films. Through every calamity & disaster, Buster remained the Great Stone Face, a stoic survivor in a universe gone mad.<br /><br />In the late 1920's Buster was betrayed by his manager/brother-in-law and his contract was sold to MGM, which proceeded to nearly destroy his career. Teamed initially with Jimmy Durante and eventually allowed small roles in mediocre comedies, Buster was for 35 years consistently given work far beneath his talent. Finally, before lung cancer took him at age 70, he had the satisfaction of knowing that his classic films were being rediscovered. Now, well past his centenary, Buster Keaton is routinely recognized & appreciated as one of cinema's true authentic geniuses. And he knew how to make people laugh... | 1 |
13,387 | [
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] | 290 | 385 | "Driving Lessons" sees two middle class quintessential British families meet head on, when Grint's character comes into contact with Evee, (Walters), a slightly deranged out-of-touch actress with an ego. Grint betrays his overpowering, and over-Christian mother, (Linney), and goes off travelling with Evee to Scotland, to accompany her on a trip to participate in a Poetry reading, something she claims could be her last, due to an illness.<br /><br />Grint's portrayal of a caged youngster, brainwashed by an overbearing, and even hypocritical mother, is the masterpiece of this film. His portrayal of a downtrodden teen in search of his true morals, and happiness, is captivating to watch unfold throughout. The film is sharply shot, and well paced, with very few moments leaving you tired, an achievement, particularly considering the nature of the plot. Walters really grabs hold of her character with both hands, and successfully brings the audience to her side of things, emphasising Linney's ironic immorality throughout. Her role in "Driving Lessons" is enjoyable and memorable in every sense.<br /><br />The plot develops nicely, leaving the audience cheering on Grint as he chases back to Evee's place during his lunch break during his stint at a local bookshop to apologise for his wrongdoings. The values in the piece are continued and brought out thoroughly up until the final drag, in a very consistent way. The overbearing, (and relieving), main idea being that religion doesn't lead to happiness, and certainly doesn't lead to morality.<br /><br />The audience are left sympathising with the radical but lovable Evee, with her and Grint making an irresistible partnership on the big screen, transferred directly from their debut in the "Harry Potter" series. Charismatic and beautiful acting together with a tight and fact paced script make this a must-see this Christmas. | 1 |
13,407 | [
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] | 241 | 314 | Despite some really scenic locations in the orient and some sporadically energetic music by Franco Micalizzi, this film doesn't quite reach the level of Joe D'Amato's similar efforts while staying just about as trashy. The author of the original book "Emmanuelle: The Joys of a Woman", Emmanuelle Arsan, directed and had a smallish role in this film, which mostly pornographically showcases a very young Annie Belle as she gets in a variety of oddball sexual situations. Her boyfriend, played by ZOMBIE's Al Cliver actually approves of her sleeping around and even persuades her to continue her practices even after the two of them are married! Orso Maria Guerrini drops by as a professor who is oh so usually married simultaneously to two women, one of whom is played by Arsan herself. Despite beginning promisingly and having a few hilarious lines of dialog like "can you see me with the naked eye?" ... "I can see you better naked!", the film shambles along plotlessly up until the less-than-spectacular finale. Much like D'Amato's EMANUELLE AND THE LAST CANNIBALS, the main characters are all in search of some lost tribe, but don't get your hopes up, there's no violence at all in this film, and not much sex either for that matter. Just a lot of nudity and silly dialog. I couldn't help but find some appreciation for this little film, if only for the completely cornball logic the film goes by. | 1 |
13,443 | [
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] | 233 | 309 | I can't understand why IMDb users would rate this movie 5.2/10? It really is great, very funny. I would strongly recommend this movie for all of you, adults, teenagers and especially children! <br /><br />The story is about a 14-year-old kid who always tell lie, at home and school. One day he had his homework of writing a 1000-word-story. But he didn't, so the teacher told him to write it and gave her in 3 hours, or he would have to go to Summer School. Yep, he wrote it in 2:45. "Big fat liar", I think it was a story of himself. On the way to the school he hit a limo of a famous Hollywood producer, and he gave him a ride. But the kid forgot the story in the limo. He told his parents and the teacher, but of course, they did not believe him. And the movie producer, he took the kid's story as his new movie, "Big fat liar". When the kid saw the trailer of the movie, he told his parents he had written it, but they didn't believe. So, he and his friend had to go to L.A to prove one thing: The truth is never overrated <br /><br />Enjoy this great movie, you won't be disappointed. Don't trust the 5.2/10 rate, it should be 9/10! Believe me! <br /><br />P/S: so sorry, my English isn't good enough to make a better comment! | 1 |
13,462 | [
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] | 277 | 344 | I have to admit that I absolutely loved this movie. Of course as I'm sure you know that "Malcolm's in the Middle" star Frankie Muniz, and the ever so sweet Amanda Bynes "The Amanda Show" starred in this children's comedy as two friends that I'm sure that we can all re-late to. The movie is about a boy Jason Shepard(Frankie) and his friend Kaylee(Amanda)going onto an adventure in Hollywood.<br /><br />SPOILERS AHEAD<br /><br />As it begins Jason is a typical 14 year old boy whom lies to get around every day life's problems. One day Jason is hit by Mr. Wolf(the big bad director). Jason's english paper is stolen by Wolf and begins the adventure along with kaylee to earn his father's trust back. They fly to Hollywood in search of Wolf to get him back. Frankie and Amanda do all sorts of crazy stunts to get Wolf back, and all he has to do is call Jason's dad and tell him he stole his idea. But the end is no real surprise, being the good proveles and wins.<br /><br />The story is cute and fifth grade humored but what do you expect it's rated PG. I really belive this is one of the years best family comedies. Not only is the childrens acting great, exceptional casting, well written, but it's good clean fun. It made me laugh as well as fall in love with it's innocent message. I highly reccomend it and would like to disagree with that someone who gave it a zero out of ten. The unemployed critic isn't unemployed for nothing. I give it (well i voted a ten out of ten) a perfect. | 1 |
13,467 | [
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] | 259 | 331 | Ghilli is the best movie of vijay & one of the biggest hit in his career.... As I had not seen the Telegu movie so I could enjoy this movie even more.The story is about a girl wanting to escape the clutches of a local goon who wants to forcibly marry her. Since he is a goon so no body is ready to help the heroine. Vijay who had come to play a Kabaddi match there sees this and decides to help her. The rest of the movie is how vijay helps her & how the girl ultimately escapes the clutches of the goon & the goon's father's political cronies. The movie has lot of the edge of the seat thriller moments and will keep the viewer engaged till the end. Vijay is as usual very good in role of the kabaddi player. Trisha,Ashish Vidyarthi,the bunch of vijay friends all have done their job competently. A special mention has to be made about the villain of the movie Prakashraj.The villain's character has been properly etched out and prakashraj has portrayed it very well. Surprisingly, for the first time, I felt sympathy for the villain in the end. The dialogue "Hi Chellam" has really caught on with the masses. The music by vidyasagar is brilliant and the song 'apadi podu' is a rage all over..Dharani has to be credited with such a nice masala movie which will be enjoyed by not just die hard vijay fans but also by the general tamil movie audience all over the world. | 1 |
13,473 | [
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] | 327 | 388 | Tumbling Doll of Flesh (aka Niku daruma and Psycho: The Snuff Reels) This was on my want list for quite a while, and then I finally scored a copy on Ebay a while back. It's never been on DVD, and what I got from Ebay was a very good quality DVD-R, which I'm quite satisfied with. The movie is I believe the most extreme example of torture porn, with an emphasis on porn. A woman responds to an ad for a porn movie and goes with the producer to a place where it is filmed. The porn is definitely real, with the annoying Japanese pixelation to try and hide the hardcore shots, without much success most of the time. After the porn movie is shot and the actress is ready to leave, she gets clubbed over the head with a baseball bat, and taken back to the room and savagely dismembered in slow shots, and in one of the most disgusting scenes, the male porn guy screws her in an open wound in her chest. This is after both legs have been severed, her arm, and a few other niceities. This movie outdoes the Guinea Pig series by a long shot, in fact, they are not even close to the realism, although cheap gore effects, shown in this movie. This is indeed one of the best fake snuff films I have ever seen, if not the best. Now I must warn you, that if you are not into this stuff, you should stay far far away. This movie is very strong, and with the real sex, it is in a very sick way, erotic to an extent. And I mean, in a very sick way. But wherever you come down on this subject material, this movie brings the goods home, and I would definitely recommend you seek it out. After reading about the movie, I was expecting something very strong, but it exceeded that by a bunch. | 1 |
13,476 | [
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] | 217 | 323 | I can't see how a film of this quality only gets an average of 5.7 from IMDb voters. It's a classic Australian production that resembles recent efforts such as LOVE AND OTHER CATASTROPHES, THE SUGAR FACTORY, OCCASIONAL COARSE LANGUAGE, RUSSIAN DOLL, SAMPLE PEOPLE, THE SECRET LIFE OF US, LA SPAGNOLA, STRANGE PLANET, FRESH AIR, DUST OFF THE WINGS, DOING TIME FOR PATSY CLINE, etc..., as a 19-year-old uni student (Newton, in perhaps his best role yet, on par with CHANGI at least) with a bored, over-religious mother gets the shock of his life when she decides to enrol in the same course as him - and before you go thinking ANOTHER GOOFY MOVIE, it's not, there's some real substance here. Sure, it's a simplistic view of life in general and arts students in particular (but then they are rather simplistic under all that philosophical mumbo-jumbo aren't they?), and maybe the study of Sinead Cusack's character is a little muddled at times, but the film is bright, funny, and has some important messages. The principle cast is terrific: Cusack and Newton are wonderful, and Rose Byrne (see her also in THE GODDESS OF 1967) is so underrated it's not funny. She's a beautiful, fresh, confident actor who deserves every accolade she receives. I gave MY MOTHER FRANK 8/10. | 1 |
13,483 | [
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] | 297 | 355 | This is the last film of Krzysztof Kieslowski - one of the greatest directors in the history of cinema. He intended to retire after this film, so in a way it is his artistic testament. He died a couple of years after making the film, and though it is said that he intended to return to directing, Destiny decided that this was indeed his last. And what a film!<br /><br />'Rouge' the last film in the three colors French trilogy is actually a very Swiss film. Set in Geneva, one of the two main characters is a Swiss retired judge, and Durenmatt immediately comes to mind. But there is more Switzerland in the cool atmosphere, in the lack of communication of the characters, in the politeness that envelops cruelty of life. Several characters who start with little relationship will come together at the end in a moving and human final, which only a great artist could have staged.<br /><br />Little else can be said that was not said and written hundred of times. Yes, the film starts slowly, and the fans of the American style of action movies or melodramas will get discouraged first and will get lost as viewers. They deserve it. The film gets quality as it advances, and one of the not so hidden messages is that real life and real humans are more interesting than the Hollywood cartoon and plastic action and characters. Cinema quality is very original, the image being a 'Study in Red', as the title shows. Acting is fabulous, with Irene Jacob and Jean-Louis Trintignant - the later in what will remain probable the best role of his old age. <br /><br />A great film. Seeing it again probably adds, and I am happy to have it recorded on tape. 9/10 on my personal scale. | 1 |
13,485 | [
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] | 264 | 318 | 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 |
13,487 | [
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] | 307 | 386 | It is not only difficult to comment separately on the three parts of Kieslowski's trilogy, it seems obvious that the filmmaker wants us to do just the opposite: view them in order, Blue, White, and Red, and consider them together as one complete work. It is true they are distinct stories with distinct themes: liberty, equality, fraternity, and each them is developed with unique applications of intrigue and artistry. They are each well worth seeing independently, but I believe they are best seen as one work. Collectively, I would rate the trilogy as a 9; separately, I place each in my top ten for the years 1993 and 1994.<br /><br />The color red is most memorable in the third movie as a backdrop in a billboard ad, the profiled model of which is the central of the movie's three main characters. The other two characters do a double-take of a varying degree of recognition when they first come upon the ad, posted larger than life alongside a busy city intersection. This ad is not a major part of the plot of this movie, yet its image becomes striking and is one of the reasons I have called Red a `mind-bending' film. This is the third of Kieslowski's Three Colors trilogy, based on the Blue-White-Red of the French flag and the three parts of its motto, `Liberty, Equality, Fraternity.' The films stay primarily focused on these themes, keeping with the basic levels of one, two, or three main characters, yet with each film the complexity of plot escalates as the three principles move from fundamentally personal (Liberty, Blue) to relational (Equality, White) to social (Fraternity, Red). Red is my favorite of these films, and I give it a 9. It stands by itself as a great film, but one should see Blue and White first for the fullest effect. | 1 |
13,498 | [
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] | 292 | 355 | This is a classic continuation to Bleu, the likewise excellent film, with Juliet Binouche as a main star, moreover, she is a cameo appearance here, in Rouge, just for a second at the very end. But this film, truly red and very sweet although very sad, is a real winner. The main heroine, played by ever great Irene Jakob, is a successful photo / fashion model. She leads a full, active life, only darkened by her traumatic relations with her weird friend Mike, who is in England. By some lucky chance, she gets friendly with the old Judge, who spends time listening to the private telephone talks of his neighbors. The story starts to weave even further, and we see him in court, being almost universally condemned for his pastime. She is the only one who feels sympathy for him, for his cute doggy Rita and her pups, and for all the people who surround them. We also witness the break-up of a happy couple of a young lawyer and his lady, and their quarrel is also fueled by that telephone scandal... But the film is not about this, even. It is mostly about the loneliness and deep rifts between people, far and near. When she sails to England on a ferry, with that lawyer as a chance fellow-passenger, as well as that earlier mentioned Binoche who starred in Bleu, the ship sinks and we see the horrified look of The Judge when he watches the news trying to guess if she survived. She did, and still we feel very heavy at heart. Mr. Kislowski managed to draw a grand, subtle story about the solitude, misunderstanding, secrets and pain. Deep, dark personal pain of those who are lost and lonely. Brilliant film. | 1 |
13,511 | [
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] | 309 | 391 | Stan Laurel regarded PUTTING PANTS ON PHILIP as the first true' L&H film. THE SECOND HUNDRED YEARS was the first 'official' L&H film, but this was the one where Stan completely resigned himself not only to performing (he had signed on with the Hal Roach Studios as a director and 'gag-man', before certain situations - among them Oliver Hardy's accident with a leg of lamb leading to Stan having to replace him; and the extra money that performing would provide for himself and his new wife, Lois - brought about his historic return to performing, as well as writing, directing, editing and involvement in other areas of production), but also realised the fact that he was part of a team that worked well together. This, therefore, is an historic and very important film in the history of comedy.<br /><br />It is also a surprisingly funny little silent film; rather different from what Laurel & Hardy would become known for and from what they are more immediately associated with today. The characters of 'Stan & Ollie do not appear - Scottish Stan Laurel plays the nephew of Oliver Hardy, a respectable man about town who is reluctant to be seen with this strange-looking fellow with a kilt and the habit of chasing pretty girls. There are some very funny moments in this well-made, charming little movie, and the performances of these two Kings of Comedy are spot-on - watch Stan's little 'scissor-kick' and smile that says, "Well waddaya know?" when he sees girls, or the hair-ruffling scene at the airport, for instance. Hilarious.<br /><br />Watch this film if you can, with backing music from The Beau Hunks Orchestra (available on the VVL video releases) which enhances the 1920s feel and is very, very pleasant to listen to. It's a brilliant and underrated little film, which is why I said it was 'surprisingly' funny. | 1 |
13,512 | [
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] | 290 | 358 | This is one of L&H's shorts most frequently cited as the first "real" L&H teaming and perhaps one of their best silent features. J. Piedmont Mumblethunder (Ollie) is a millionaire who has come to the docks to greet his nephew Philip, whom he's never seen. At first Ollie is laughing it up with everyone when this strange little man unboards and draws a great deal of attention to himself by the way he's behaving during his medical exam, but is quite humiliated when it turns out that this is the fellow he's supposed to be greeting. He has been told that Philip is a good boy, but he has one weakness--women. Mumblethunder and Philip set off to go home, but their journey there is continually interrupted by Philip breaking into a little dance every time he sees a woman, then chasing after the woman. Huge crowds gather each time this happens, not so much because he's chasing skirts, but because Philip himself is also wearing a skirt (a kilt). Finally Mumblethunder manages to drag Philip into a tailor's shop to be measured for a proper pair of pants, but Philip escapes from there as well to chase more skirts. There are lots of laughs all around. It's also nice to see a short like this because the boys aren't exactly the characters we know and love. Ollie is pretty much his usual character, but it's such a joy to see Stan acting so differently from his usual man-child character. It shows he wasn't a one-trick pony and excelled in other types of roles when he got the chance. With a run time of 19 minutes its short and sweet, providing classic one liners which still have me in stitches. | 1 |
13,520 | [
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] | 249 | 301 | I think this movie has got it all. It has really cool music that I can never get out of my head. It has cool looking characters. IS REALLY funny(you know, the kind that you'll crack up on the ground and you'll keep saying the funny parts over every day for three weeks).Despite the bad acting, bad cgi, and bad story(about cops going after a robot), its really cool. Its one of those movies you and all of your family can watch, get together, eat pizza, laugh like crazy, and watch it two more times.<br /><br />There are so many funny parts, like when Kurt was trying to get Edison's attention and gave him the finger, and then threw a paint ball gun at him so they could play paint ball. On that part, I kept saying "Remember, Remember?"to my cousins who saw it and showed them what happened. There was also a really funny part when Edision ran into the room and Kurt was there(just before they fought) and Kurt was talking about his "Strange dream" and how he was "Superman". I LOVED that part, although it has been a while since I saw it, so I don't remember that part. Everything the actors said were funny, like how Kurt says, "I worship you, like a GOD!" to the robot.<br /><br />Although there was some bad things, in all it was a GREAT movie. Man, I can't stop laughing. I wish I had that movie. ); | 1 |
13,531 | [
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] | 244 | 316 | I saw this film at school and absolutely loved it. Based on a true story, this is an absolutely splendid masterpiece of a film. Seriously, I couldn't find anything wrong with it. One definite plus is how it was filmed. Set in Morrocco in 1904, the Wind and the Lion is filled with stirring images like the Great Raisuli on horseback especially. The cinematography was faultless, the editing was crisp, the costumes were gorgeous and the scenery was breathtaking. And I have to mention the music from Jerry Goldsmith, it was phenomenal. I have used this phrase a lot recently, but Goldsmith ain't my favourite film composer for nothing. His score here is so rousing and exciting, it shows the man's true musical genius, and this gem of a score should be up there with Goldsmith's best scores with Legend, Rambo:First Blood, Patton and The Secret of NIMH.<br /><br />The action is exhilarating and the screenplay is intelligent and sophisticated. The direction is sensitively handled too. The performances were astounding as well, with Sean Connery, ever the picture of charisma and suavity, magnificent as the Great Raisuli, he almost dominates the entire picture on his own. He is joined by a feisty Candice Bergen, a wily John Huston and a captivating Brian Keith in one of his more understated performances. The history is fairly accurate, perhaps flimsy in some areas, but with the acting, music and visuals so good I am past caring. 10/10 Bethany Cox | 1 |
13,535 | [
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] | 266 | 308 | This is the type of film that may need to be viewed several times to capture all of its beauty and intelligence { just like Curse of Frankenstein from 1957} . If you don't like odd, non-mainstream films, steer clear of this masterpiece. For me, the artwork alone in this film is worth the purchase price of the videocassete. The storyline is a bit fantastic but seems to becoming reality in our world today. For being produced in the 1980s, this film is proving to be a prophetic vision of whats to come with Big government and Big brother wanting to control and monitor us.<br /><br />There are many slow sections and the dialog can be quite hard to catch in many scenes { thats why I've watched it 6 times now} but if you can digest it all, it may prove to be well worth your time.<br /><br />The film is basically about a world where people have evolved into robotic machines that have lost their individualism . They are only concerned about accumulating and procreating. The hero of the film has not succumb to this sickness and has not been " tagged" and monitored by big brother. His mission is to release a secret drug into the water supply which will change the way the human robots think and allow individulaism to once again be a part of humanity.<br /><br />Yes, its very low budget, but for its time the computer effects and sound effects are very unique and the paintings are utterly fascinating. If you have an open mind, this film should impress and its prophetic visions are chilling. | 1 |
13,551 | [
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] | 324 | 386 | As someone who was in a Pan-Hellenic sorority, I wasn't sure what to expect when I tuned into this show. After seeing so many over dramatizations in "made for TV movies" and the craziness of the reality shows, I was curious to see if Greek would be able to show the true College and Greek life experience.<br /><br />I was very pleasantly surprised at how the show was able to give the viewer the satisfaction of identifying the ever-familiar characters of this genre, but it was also able to add depth to the characters. Greek life isn't just about parties and petty conflict. Although those things happen within Greek Life, they also happen in any other social or professional circle throughout a person's life. To characterize it as some exclusive experience to those in a Greek Organization would be false. Most of the story lines and situations taking place in Greek can and do take place everywhere, in every circle of friends, on sports teams, in real life. But I've watched both episodes and my "little sister" whom I'm still very close to and I have spent both episodes laughing and being reminded of how they've truly captured the spirit of our college years and experiences.<br /><br />I liked how the second episode showed how the characters struggle with the other facets of their lives; school, relationships, goals, etc. Cappie telling Rusty that school comes first and going to your brothers for help, that was very true to life. You can't stay in an Organization if you have bad grades. The way Rusty got his assignment to his professor was far fetched, but it was entertaining. Even the dynamic between Casey and Rusty; It happens, you grow up and whatever your relationship with your sibling(s) was, it changes so you must adjust.<br /><br />The bottom line: Greek is a great show, great entertainment value, and enough "real life" in there to be believable and definitely worth the viewers time. | 1 |
13,564 | [
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] | 299 | 362 | John and his wife Emily, accompanied by their child Edward venture from the comfortable environs of suburbia to the village where the husband spent some of his childhood. There has been a death in the family and John must begin proceedings to take control of an old ramshackle cottage, situated by the seaside and once inhabited by an old man who has apparently committed suicide.<br /><br />Sceptical about the circumstances of the death, John divorces himself from his family and from reality, puts his own life in peril, and puts on the clothes of the old man who is now dead.<br /><br />The film now changes - nothing is what it seems - the people of his past appear, in full Gothic/hillbilly glory - his wife worries about his mental state - and his son disappears into the reeds.<br /><br />John finds that the old man didn't commit suicide, that his death is far more mysterious and strange. In a spine chilling finale, we learn that the events of the film actually never happened and that the entire narrative was imagined by the little boy, Edward, who is struggling to come to terms with his parents' divorce proceedings.<br /><br />Modern Love is a macabre piece of high art cinema, a puzzling and perverse piece of pretentiousness, full of vague suggestion and unexplored red-herrings. It is humourless and seemingly unconcerned with current Indie trends which both validates its creators, but also renders it passé.<br /><br />But the weaknesses of this Australian film are fully outweighed by its sheer muscular cinematic vision, its bloody-minded and uncompromising precision and its oddball Euro horror. The bastardry of script norms and lack of slick dialogue pales into insignificance against a backdrop of noir and a lead performance that needs to be seen to be appreciated.<br /><br />One of the most aggressively weird Australian films in years. | 1 |
13,566 | [
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] | 245 | 305 | I caught this movie at the Glenwood Cinemas at the weekend as part of the Kansas International Film Festival, which, as usual has provided a thoughtful and eclectic sample of world cinema. <br /><br />I have been keen on Australian Film for a number of years, so was pleased to learn that this film was included, and I was certainly not disappointed. <br /><br />Superbly shot, firmly directed, it's an eerie tale of one man and his journey to the heart of darkness, as it were. It reminded me a tad of Lynch's Wild at Heart, it has that strange madness in it, but I was glued to the movie for other reasons - namely that it presents a portrait of Australia which is..well, very believable.<br /><br />I have vacationed to the Land Down Under a number of times, once in the 1980's and again about 7 years ago with my wife. <br /><br />I don't wish to go to great lengths explaining my vacations, but the director Frayne appears to have a grasp on much that I find so odd and eccentric about Australia, a country that is responsible for the extremities of, say, Nick Cave on one hand, and Steve Irwin (the 'Crocodile Hunter') on the other.<br /><br />One incy wincy whinge - - I would have preferred even more of the 'unknown' Australia. Much more in fact. But I also realise that there's only 1 and a half hours to do it all in... 'Sigh.'<br /><br />Overall though, this movie is very, very accomplished. | 1 |
13,570 | [
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] | 262 | 316 | I saw this film at the 3rd Adelaide International Film Festival at the Palace cinemas, and was totally switched onto it in the opening five minutes. Thanks goodness for a film that ignores all the rubbish we often see in Australian films that seem to revolve around a)race b)gender and c) class, in favour of er...dare I say....jolly good cinema. The producer, a shy, slightly eccentric chap called Alex Frayne introduced his film, made with a bunch of his mates near the town he spent much of his childhood. Apparently he's spent much of the last year traveling the world with the film, mostly in Europe. The world the film creates is both brilliant and arty, not least because of strange and disconcerting editing style, the Gothic characters, and the surreal sense of time and place that draws viewers into its nightmarish realm.<br /><br />The producer returned for the Q + A after-wards. Someone asked him what his inspiration was - he replied "South Australia." Hear hear! Another asked him what a 'day in the life of alex' entailed. He replied that he drives an old Ute, that he has breakfast at the same table at the same restaurant that he's jolly well eaten at for the past 8 years! and that he plays piano which helps him to think. He doesn't drink booze and plays cricket once a week. Then the Q and A session ended abruptly because of the next film screening - so my thoughts are that for the next festival, they need to extend the after film sessions. | 1 |
13,587 | [
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] | 293 | 382 | No music. No stupid masala. A reasonably realistic portrayal of the police system in India and based on a real "encounter" specialist in India, Daya Nayak. That is Ab Tak 56 (56 symbolises how many criminals the lead "Sadhu Agashe" has killed" - well you already know that bit)Brilliance exudes Nan Patekar in the role as a relaxed and calculating Indian cop. THe one liners are just hilarious. The plot though slightly predictable on review, is intriguing all the same. Another one of the films from Ram Gopal Vermas The Factory. Movies which are either decent or really good, Ab Tak CHappan meanders close to very good. But yet remains one of the Top 70 films released from India, commercial and artsy included.<br /><br />What is great is the story telling is relaxed and showcases finally (in an Indian flick) how the police network works. The cast is really damn good but seriously the one liners are funny as hell (though i dont know if the subtitled version will appear as funny) The producers are trying for a Cannes release, which is interesting. Made by debut director Shamit Aman (i think thats his name).<br /><br />Again 55 y.o. Nana Patekar is brilliant away from his silly shouting roles of the past, just shows what a good director can do with a good actor. Really good stuff. If you are interested in Indian movies and are disgusted by the nonsense some of our guys dish out then this is definitely a relief.<br /><br />Again Patekar is the guy who happilly carries the movie on his shoulders and epitomises the style of the movie- relaxed, funny, intelligent and calculating. Good dialoges, good acting, nice direction all in all Great stuff. Recommendations: Gangaajal, Ram Gopal Verma's Company (both Indian flicks) | 1 |
13,596 | [
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] | 244 | 302 | I saw this at the London Film Festival last night, apparently the shorter version. James McNally's summary of the content of the film is very good. Nossiter very deftly blends his investigation of the wine business into wider concerns about globalisation, homogenisation, the effect of the mass media, the power of capital and the need for diversity.<br /><br />The film is shot on hand-held DV which some might find offputting, but which does enable Nossiter to catch people off guard on a number of occasions which probably would not have been possible using more conventional equipment.<br /><br />Despite the sprawling feel of the film, the editing is very sharp, not only giving us a parade of the world's dogs, but also undercutting a number of interviewees' comments with somewhat contradictory visual images, and giving others sufficient rope to hang themselves. To a degree this evoked Michael Moore's recent work (although Nossiter operates in a more subtle way), but probably the roots of the film go back to Marcel Ophuls' "The Sorrow and the Pity", both in the way the film is constructed and in the emergence of 'salt of the earth' French peasants as the stars. De Montille pere et fils were present at the LFF screening and answered questions afterwards. We do indeed all need a little disorder - bravo Hubert!<br /><br />Overall an excellent film with implications that go way beyond the world of wine into the way we construct ourselves as people, and organise our world. | 1 |
13,598 | [
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] | 261 | 331 | I was expecting a lot from this movie, and I can say I haven't been disappointed. First of all, this movie, as a world tour of wine making, let the spectator enjoy beautiful places. The people interviewed are really interesting and funny too, in particular Hubert de Montille. The shooting may be confusing, the camera always being unsteady and often focusing on secondary elements in the backgrounds. You may not like it, but I don't consider it as a defect.<br /><br />The themes raised in the movie may be kind of confusing as well, since globalization isn't the only issue discussed. But Nossiter managed to give his movie a consistency all along. A great achievement of this movie is revealing all the characters involved in the wine industry as they really are, avoiding a cliché "Good against Evil". This could be the main difference between "Mondovino" and Michael Moore's documentaries; Nossiter's point of view appears in a subtle way, through opinions expressed by his favorite characters. The richness of this documentary relies mainly upon the characters, the history of long-time wine-making families, such as the De Montilles, the Mondavis, the Antinori and the Frescobaldi. Nossiter lets the spectator discover that wine is somehow related to families, rather than just being a business and an industry. This movie doesn't make you want to drink wine, but certainly make you want to discover vineyards and wine-makers.<br /><br />I watched this movie as a student in Enology, and let's just there are many ways to learn. I give this documentary 10 out of 10, despite his technical particularities. | 1 |
13,602 | [
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] | 260 | 310 | mondovino is a moving and rewarding documentary. in the world of wine there is a huge different between the big winery and the small one. it's not just about size of of your vineyard but also the amount of money and power you have. if you have enough money to place ads in the wine spectator and hire a so called "wine except" then it doesn't matter the size of your estate. also in business world of today wine often has to mass marketed and suited to people's taste. what is means many times wine filtered of it's origin. mondovino shows the commercial side of wine in that of mega producer Robert mondavi, and Michael Rolland the wine expert who shapes wine to the taste of today's critics like Robert parker who is also in the film. now these men are not evil or wrong for they have done a great deal of good for wine. but they have power on a grand scale. as we all know power corrupts. mondovino also shows small wine makers such as Aime Guilbert of the languedoc and Hubert de montille of volnay in burgundy. these wine makers are not starving wine makers but they know like all great wine makers that it's about where the grapes are from. the best example of this is explained not by a wine maker but by a Haitian man working for Neal rosenthal the wine importer. the area the grapes are grown the terroir that matters, that a guiding hand that knows this makes important real wine. | 1 |
13,604 | [
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] | 268 | 319 | First, I loved the documentary. It represents a new school history/theory where a subject can reflect a wide range of social and historical issues.<br /><br />I'll get the camera and dogs out of the way first. I hate the Blair Witch quality of the camera, but also understand the advantage of such a casual approach. In fact, I agree with the other reviewer that it gives us unprecedented access.<br /><br />Dogs: Warning, I have a doctoral degree in literature which I do NOT use as a profession, so some of my training may seep in: The dogs are a beautiful metaphor for the complex relationship of human's great endeavors and our need to find the labor to achieve them. The dogs might reflect their owners, as one reviewer suggested. But they also serve as a stand-in for the workers we see in the film. While this might hint at the Marxist problem raised by one reviewer, I think it also shows how difficult it is to globalize labor issues. No Mondovi's in Italy may not translate as well elsewhere. (Yikes! I am a Marxist at heart and hate to hear my cynical resignation hold sway!) It is a remarkable bait and switch. The dogs are family, the workers are family. But, in the end, the dogs are the workers (the last scene with the poor farmer). While you may disagree with the politics, the artistry of the analogy, coupled with the more overt politics of the film, are wonderful.<br /><br />Had only Faulkner (I am from Alabama) had the power of film beyond the Hollywood market, what interesting tales would have been told. | 1 |
13,623 | [
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] | 283 | 376 | "Christmas in Connecticut" is an absolute gem, and a must-see for Christmas! Elizabeth Lane, a precursor to Martha Stewart, is a magazine columnist and the ne plus ultra of homemakers--the perfect wife, mother, and domestic goddess. Only thing is, she is none of these things--a total phony. Unfortunately for her, she is about to be found out. Her publisher, Mr. Alexander Yardley (a brilliant comic turn by Sydney Greenstreet) gets the bright idea of inviting a famous war hero to Elizabeth's "perfect farm" for the Christmas holiday. Only thing, there is no farm, "perfect" or otherwise. The comedy involves how Elizabeth is to keep her real identity under wraps so she will not lose her job. Elizabeth's colleague, John, happens to have a farm in Connecticut, so that solves that problem. However, he wants to marry Liz, but she does not want to marry him. He offers her marriage, though he knows she doesn't feel the same way about him that he does about her. He makes the offer anyway, and assures her that he is willing to wait. And here Barbara Stanwyck, as Liz, delivers one of the most devastating put-downs I have ever heard. With perfect innocence, she replies: "Could you wait that long?" OUCH! In addition, the scenes between Una O'Conner and S.Z. Sakall are hilarious. They don't seem to like one another (though one suspects they really do). They are rivals in the household, and S.Z. Sakall's mangled English is equaled by Nora's strangled pronunciation of his name ("Mr. Basternook"). "My name is FELIX!" It is amazing how Christmas-y these black and white films are. Great character work by all involved. Don't miss this one! | 1 |
13,643 | [
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] | 266 | 351 | President Harry S. Truman once said that the only thing new in the world is the history you don't know.<br /><br />Seven years before Richard Rhodes' superb Pulitzer Prize-winning "The Making of the Atomic Bomb", the BBC produced a seven-part miniseries, "Oppenheimer", that was a character study of the people who designed and built the weapon that ushered in the Atomic Age, permanently joining science and technology to the state (and, in particular, the military), not merely making history, but changing the world forever.<br /><br />The production is impeccable, the casting nothing short of miraculous; not only the main characters, but even secondary characters bear uncanny resemblances to the persons portrayed. In particular are Sam Waterston in the title role of American physicist J. Robert Oppenheimer, scientific director of the Manhattan Project, who was based at the Los Alamos, NM, laboratory (the site for which he personally chose); Manning Redwood as General Leslie R. Groves, who oversaw the entire Manhattan Engineering District (the project's formal name); David Suchet as physicist, and ultimate nemesis of Oppenheimer, Edward Teller (who, nearly forty years later, whispered into Ronald Reagan's ear and brought us the Strategic Defense Initiative - "Star Wars") and Jana Sheldon as Kitty Oppenheimer. The attention to detail is uniformly excellent throughout.<br /><br />Part thriller, part love story - and ultimately a tragedy, this series faithfully recreates a chapter in world history - and that of science - that we dare not forget. Highest recommendation.<br /><br />(NOTE: Viewers who enjoy this series will also enjoy Jacob Bronowski's 13-part series "The Ascent of Man" and the BBC film of Michael Frayn's play "Copenhagen".) | 1 |
13,652 | [
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] | 292 | 342 | An untidy man, known as Bill, lives in a small dreary flat, with a poster of Marilyn Monroe on the wall, and his typewriter for company. Only the man can't think of anything to write. He wanders around the streets following people, just to see where they go. Maybe this will give him some inspiration to write. He begins to follow a well dressed man holding a bag. He follows him for a few days. While in a cafe, the well dressed man sits down at a table on the opposite side of Bill, and inquires why Bill is following him. The well dressed man says his name is Cobb. Cobb then surprisingly informs Bill that he is a burglar, and even starts to take Bill with him into houses to steal things; although Cobb insists he doesn't go into other people's homes to just steal. He says he likes to let people know he has been there, and interrupted the things they take for granted. He puts knickers from another burglary into a man's trousers, for example.<br /><br />The film is told in flashbacks at times too. The director used this technique in greater abundance in his recent feature Memento. Bill eventually decides to cut his hair and dress in a suit, on the advice of Cobb. He meets a Blonde lady in a club, who used to date the owner, a bald man, who is very dangerous, she says. We see a scene where a hammer is used by the bald man's hence men on a man's fingers in the Blonde lady's flat. These are some of the many pieces of the puzzle that the director shows us, and they will all fit into place when we arrive at the surprising conclusion. | 1 |
13,658 | [
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] | 302 | 381 | If Christopher Nolan had made Memento before Following, then all of the flaws in Following would have been corrected. In Memento, Nolan constructed the switches in time perfectly. We were able to tell when it was the past, when it's current, etc. However, Nolan experimented with it a little, and it just doesn't work. Although he had a small budget and couldn't use color (which is one way Memento worked), it was just too hard to distinguish between time. On the DVD is a feature that allows you to play the scenes in chronological order. I intended to write my review after watching it, so hopefully it would make more sense, but, of course, it wasn't working.<br /><br />You can't blame Nolan for not coming up with original ideas. A young man, Bill (Jeremy Theobald), is bored, so he decides to follow random people on the street. He finds one, Cobb (Alex Haw), that particularly interests him. Soon, Bill becomes friends with Cobb and goes with him as he breaks into houses and robs them. Then, a saucy young blond (Lucy Russell) enters, and the movie becomes even weirder from there.<br /><br />The ending of Following is one of the most shocking endings I've seen. Sure, Fight Club had an amazing ending, but the way that Following's ending played out was amazing. I felt like someone had smacked me on the head and given me a concussion. Nolan has a thing for making good endings (well, maybe not, I could guess Insomnia's from a mile away), and can really construct a great story. Following may not be the easiest to follow or look at, but it's such a finely crafted, original story with a shocker ending that you'll probably want to watch all of its 70 minutes again.<br /><br />My rating: 7/10<br /><br />Rated R for language and some violence. | 1 |
13,696 | [
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] | 299 | 389 | While caricatures and/or references to entertainment industry people or things or even brands of products is usually a staple in shorts like this one, they aren't used in quantity here. Most of the individual gags are rather generic. As I'm going to give examples, there will be spoilers below: <br /><br />There are only three (well, technically four-there's a quick one at the very end of the cartoon) caricatures that I spotted, which is kind of low for this type of short, though one is a featured character with a fair amount of activity. They are Jack Benny (as Jack Bunny), Leopold Stowkowski and the inimitable Ned Sparks (as a crab on a can-chances are very good that, if a crab was involved in a Warner Brothers short in the 1930s-1940s, the caricature used would be Ned Sparks). There are also references to Billy Rose's Aquacade and a riff on a radio show character called "Henry Aldrich" (Coming, mother!), a play on Superman (Superguy here) and the villain is a take-off on "King Kong". That's it for that kind of gag.<br /><br />The products themselves are mostly generic and the gags are more plays on basic items in unusual situations, such as turtles coming off of cans of soup to attack the villain as tanks, tomato soup cans doing "The can-can', gingerbread men who turn into paratroopers, using tissues for parachutes and so on. The gags are very good and it's an excellent example of a Bob Clampett cartoon. Clampett had hit his stride as a director by this point and while it isn't anywhere near his best work, it's nothing to sneeze at either. This short can be found on Looney Tunes Golden Collection, Vol. 3, which is an excellent set that I highly recommend. This short itself is also recommended. | 1 |
13,702 | [
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] | 268 | 320 | In my opinion the directing, editing, lighting, and acting(minus Franco) were very good. I must admit, I was pleasantly surprised and impressed with this film. I wasn't expecting much, in way of camera angles, sound, etc, but in these areas the film wasn't bad at all.<br /><br />After seeing the film, I personally felt frustrated with both characters because I wanted so badly for these two characters to reach out to one another. And I felt like the Travis(Franco) character wasn't really affected or changed in the end after Terri commits suicide. Although, this is probably due to the lack or inability of James Franco to express emotion(of any kind) very well in this movie. I've seen a few of Franco's other films, and to me he just can't pull it off when a scene calls for real emotion or facial expressions. The only positive he brings to the film, is the possibility of more people watching this movie.<br /><br />On the other hand, Rachel Miner's portrayal of Terri was well done, and she looks to have a bright future ahead. I could really see and feel the sadness and emptiness in her character, and it made me feel for her. I only wish I could have seen more into Terri's life before the film ended.<br /><br />For a short film, this movie was good, but it leaves you wanting more in the end. I only wish it could have been just a bit longer, to see the characters develop a little more. In spite of that, I hope to see more films from the director and crew in the future.:) | 1 |
13,705 | [
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] | 331 | 387 | This movie is about six men who are assigned to transport money from bank to businesses. Ty Hackett (Columbus Short) was in Iraq for the war serving his country and now just is being helped out making a living by his friend Mike Cochrone (Matt Dillon) making sure he does not loose his house. Mike tells him that this wasn't the life his parents were expecting for him and he should be living a better life than he is now with his brother Jimmy Hackett (Andre Kinney). Telling Ty that him and Jimmy have always been family to him and would do anything to help them out, Mike tells Ty about a plan to make a heist. The money would be around 43 million split six ways among the other transport men too, although Ty does not like the idea he tells his friend Mike as long as no one gets hurt he would be in. The last night Ty was forced to talk to a welfare lady about putting up his brother in foster care giving him a dilemma to lose what matters most in his life. Although the plan sounds safe at first, greed isn't everything when it comes to taking lives.<br /><br />When it comes to heists, your either in or your out, so when you don't go with a plan its hard to play the hero and stop greed driven people when it comes to having large sums of money. This movie comes with a star studded cast to keep you interested starring Jean Reno, Laurence Fishburne, Amaury Nolasco, Fred Ward, Skeet Ulrich, and Milo Ventimiglia. Short I have recently only remembered him in "Stomp the Yard" which was about a kid who lost his brother and lives his dream to go to college. This was probably one of his best movies I have seen him in and this one he fits the character so well it's great to see him on the big screen again in action. | 1 |
13,726 | [
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] | 305 | 395 | Now more than ever we need Peace & Love in this world!<br /><br />This film really showcases the wonderful music of the Broadway show, and the fabulous Choreography of the legendary Twila Tharp! I saw it again after many years, and it still holds up well.<br /><br />Thank you, MGM/UA for putting this on DVD! I love the option of seeing in Widescreen. MGM rocks for doing this on many of their DVD releases.<br /><br />Ya gotta love Treat Williams as Berger and John Savage as Claude. They couldn't have picked better actors & actresses for this film! Beverly D'Angelo is such a 'hot mama' in this film--I had forgotten just how hot! WOW!<br /><br />The supporting cast is absolutely great,<br /><br />with the late great Nell Carter making a singing cameo in a couple of scenes, as well as the kooky Charlotte Ray (Mrs. Garrett on 'Facts Of Life')<br /><br />The story gets a little weak toward the end, but the anti-war sentiment of the late 60's still holds up, and is relevant today. <br /><br />It's beautifully filmed (quite a bit on location) and is so colorful and lovely and really brings the spirit of 1968 back on the big screen.<br /><br />I saw this movie when it was released in 1979 when I was 15, and was moved by it then, and it still moves me now at 40. Some other reviews on here say they think it should have been made sooner--I don't think Hollywood was ready to make such a movie back in the late 60's-early 70's.<br /><br />The Vietnam War ended in 1975, and the whole thing hit a little too close to home, I think for this story to be filmed before it was (like in 1969, 70, 71)<br /><br />Bravo to Director Milos Foreman! I love this film!!!!!!!<br /><br />It's nice to see it again, this time on DVD. It never looked better! | 1 |
13,739 | [
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] | 278 | 342 | I Won't say anything about music, because this topic can be so deep that it can become one huge separate review, so let's concentrate on movie that is brilliant... No doubt, one of the best works of Forman.<br /><br />The simple story about love, friendship, freedom and ideals... oh yes, the ideals for which even pacifists are ready to go in war...<br /><br />There is not a single fake word, single fake character, single fake feeling in the story, because the love, freedom and friendship isn't something complicated for the characters of movie. These things aren't something that "everyone can view from different angle" These aren't things that need much thinking to understand... their love is simple, their friendship is simple, their ideals are as simple as the word "simple" itself and that's why these characters are so deep.<br /><br />Berger, the leader of a hippie played by Treat Williams is a guy who lives to live and that's the biggest happiness for him... he has his ass - (as he sings in one of the scenes in the movie) and that's enough to make him happy with his property...<br /><br />Berger never accepts that something can't be done... and his right... If he wants to go to some rich guys' banquet in his dirty old clothes and huge long hair, he will do it... if he want's to go to another state to just see his friend, he'll do it... he never thinks twice... he just do it.<br /><br />How? why is he so powerful? the answer is simple: because he is FREE.<br /><br />Just watch how the wind makes the hair wave in this movie and you will understand it all, maybe you will even free yourself too. | 1 |
13,740 | [
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] | 237 | 306 | I've avoided seeing this film for some time but finally picked up a copy. Having been born too late to see 'Hair' in its contemporary setting, I have just been familiar with the UK and Broadway cast recordings for many years; and saw it on stage in the late 1980s where it looked a little creaky but still, great fun.<br /><br />The film. It drops some of the songs (The Bed, My Conviction, Frank Mills) and cuts others (Walking in Space). However, what is left is presented very well indeed. All the singers and dancers are excellent, and the key performers (especially Treat Williams as Berger, Beverley D'Angelo as Sheila, John Savage as Claude) are memorable.<br /><br />As a hippy celebration and anthem, 'Hair' manages to be remain potent even in a film made ten years too late. It was no longer the era of peace, love, and Biba, but the time of punk rock ... although watching this film now, in the time of Iraqi problems, gives a new resonance to the Vietnam issues of the 1960s.<br /><br />Milos Forman, who also made 'Amadeus', did a good job on directing. In its scope and feel it reminds me of Norman Jewison's 'Jesus Christ Superstar', especially with the joy of the 'Aquarius' scene and the intimacy of 'Easy To Be Hard'.<br /><br />I really enjoyed this film and consider it a good representation of a musical born out of the first truly hedonistic era. | 1 |
13,741 | [
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] | 268 | 330 | Treat Williams reached a degree of stardom with this movie, and really squandered it. Don't be led astray by his poor movie choices since. This movie really stands out. "Hair" is a musical that really deals with the attitude, and probably more so with the persona, of the famed peace movement of the 60's. There is a lot of spectacular music done in spectacular fashion. Unlike the music videos of the late 70's, 80's, and 90's, the video flashes coincide with the subject matter of the music. In other words, the video makes sense when matched with the songs, so you know it never could've made it on MTV. The subject matter dwells on drugs and being hippies, but it mostly an anti war movie dealing with the senseless tragedies of Viet Nam. One of the protagonists is an Oklahoma boy intent on making a difference, believing all the patriotic dribble he is spoon fed, and he happens upon a gang in New York, who are more or less glorified hoodlums; their characters are very unique, and probably wouldn't make sense today, but this bunch bands together by burning their draft cards. What ensues in some spectacular scenery and mesmerizing scenes involving not only the three leads, but the other 3 gang members, as well as a newcomer with a small child, whose entrance is easily one of the ten grandest entrances of all time in cinema, partly because she sings one of the greatest songs of that generation. Despite their faults, you come to love these people, a cinematic triumph with a heart felt and grand finale. | 1 |
13,747 | [
300,
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] | 311 | 393 | Just watched Hair after a lapse of 20 years. It struck home. For those of us who tried to stand on the shoulders of the civil rights movement and fight the rule of privilege and power; who resisted the fascism of the Johnson/Nixon administrations; who now as veterans of civil wars fought the war in Vietnam every single day until finally the US beast died and fled; for all who said no in many different ways -- it's remarkable how unsuccessful we were. How large the real table was on which Treat danced. How driven the wizard behind the curtain. We were 20, 22, 24. We didn't know the nature of the enemy. The size of the monster who for the next thirty years and counting would continue to eat the world. How could we? Even with smoke and the bat (the bat!) in our hand, like Treat, we were too young, too middle class, too invested, too much a part of the actions we hated.<br /><br />But there was a moment. As Andre Gregory observes in My Dinner With. . . , there was a moment or two somewhere back there in the late 60's and early 70's when perhaps we could have found something besides the yellow brick road. Something not fueled by Bechtel, prisons, Enron, and Dick. Something collaborative. Something innocent and critical at once. Something with dance.<br /><br />But we missed it. Like Kong bending a girder, the "revolution" was turned in on itself. Into sexism. Racism. Homophobia. And class crushing politics. Until we got to "W". Treat would have hated "W". And Iraq and the pathological lies. If they were in that film. Then. But the moment passed and "W" was almost inevitable. Comprehensive incompetence riding the drunken, raging bull into estuaries, children's lives, and China shops.<br /><br />We should have done something more. Something better. But we clearly didn't know what.<br /><br />Now what? | 1 |
13,757 | [
300,
400
] | 328 | 382 | This is the kind of movie that people of a certain age will say of "I didn't think they made movies like that anymore". Walter Matthau gives his usual over-the-top performance, but instead of leaving teeth marks all over the scenery, leaves endearing grease stains. He is like that great uncle we all know that still wears plaid polyester and embarrasses everyone, but we still love anyway.<br /><br />Jack Lemmon's performance reminds us why he had more Golden Globe nominations than anyone else (22). He gives a true-to-life performance of the basically 'good, ordinary man', even in the milieu of a farce.<br /><br />This film will probably not appeal to people who prefer blunt humor designed to confront or offend, but will appeal to people who appreciate broad farce played with a straight face.<br /><br />The entire supporting cast is excellent in their ability to play such absurd characters while maintaining the reality of each character.<br /><br />Brent Spiner gives a marvelous performance as a professional version of a lounge lizard. Anyone who has known professional hosts in real life will immediately recognize the type he is playing. He nails the type perfectly. His rendition of 'slime' merits study as a perfect example of the contrast between absurd and pathetic.<br /><br />The plot is rather a straight-forward 'let's marry rich' theme that has the usual results. Just because a plot theme has been done a thousand times does not mean that it is dated, but rather that it is a timeless theme.<br /><br />The rest of the supporting cast shows what can happen when professionals exhibit their skills in the roles that are written for them, instead of vying for the spotlight. In this film even the second tier actors shine. It is also obvious that they enjoyed making this film.<br /><br />The plot may be standard and thin, but it allows the performers to shine.<br /><br />This film is a true treat for people who want to see professional actors engaging in their craft. The plot falls away and the performers shine. | 1 |
13,763 | [
300,
400
] | 255 | 329 | We usually think of the British as the experts at rendering great adventure from the Imperial age, with the likes of The Four Feathers (1939) and Zulu, simply because the Imperial age was, for the most part, British. Here, in The Wind and the Lion, we see a wonderful rendering of America's own Imperial age.<br /><br />America's projection of power under Teddy Roosevelt is the backdrop for this conventional tale of the kidnapped damsel who, despite her gentility, is smitten by the rough, manly nobility of her captor, who in turn is disarmed by her beauty and scorn. (Politically correct prigs eager to see some slight of "native" peoples or cultures can rest assured, that the way Arabs and Muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage.) What makes this story different are the terrific production values - faultless photography, composition and editing - the terrific casting - the underappreciated Brian Keith playing a bully Teddy - and vivid history.<br /><br />Though The Wind and the Lion is told largely through the eyes of the son, every member of the family can identify with one of the characters, whether it be Sean Connery's noble brigand, Candace Bergen's feisty heroine, John Huston's wily John Hay or Steve Kanaly's spiffy, radiant, ruthless can-do lieutenant, Roosevelt's "Big Stick". There is a transcendent scene at the end, when the little boy is symbolically swept away by the dashing Moor on his white steed. This is high adventure at its best. | 1 |
13,766 | [
300,
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] | 275 | 333 | Lovely Candace Bergen as the widow Perdicaris are kidnapped and held for ransom by the Sheik Raisuli played by one dashing Sean Connery. The incident comes during 1904 as Theodore Roosevelt runs for election to the presidency in his own right. Needing a good example to show off the muscular foreign policy of the United States, Brian Keith as Roosevelt issues a stunning declaration to the Sultan of Morocco, "Perdicaris alive or Raisuli dead."<br /><br />But in this adaptation of that incident the famous declaration is the only true thing about this story. The Perdicaris in question was in reality one Ion Perdicaris who was a Greek immigrant and dilettante playboy. In fact Perdicaris gave up his American citizenship years ago and was back as a Greek national. Never mind that though, his predicament was serviceable enough at the time.<br /><br />The damsel in distress makes better screen material though so it's a widow woman and her two kids that are in harm's way here. Of course as presented here the incident is also used by some of our European powers to get their foothold into Morocco. The intrigues get far beyond one brigand's demand for ransom.<br /><br />The Wind and the Lion is hardly history. But it is an enjoyable film and Sean Connery is always fun to watch. Brian Keith also fits my conception of Theodore Roosevelt and the scenes in the Roosevelt White House do ring true to all the stories told. John Huston plays the ever patient Secretary of State John Hay who Roosevelt had inherited from his predecessor William McKinley.<br /><br />But kids don't use this film to skip reading a history assignment on the Theodore Roosevelt era. | 1 |
13,767 | [
300,
400
] | 238 | 305 | This was my late wife's favorite film. I'm sorry she did not live long enough to have the video as I'm sure she would have worn it out. What can we say? A great romantic story and the push off of two great men, the Raisuli and Teddy Rex. Sean Connery and Brian Keith are great in these roles. But while Connery is his usual sexy sex, it's the late Brian Keith who gives us a solid performance as the mercurial Teddy Roosevelt. Back up is provided with Candy Bergen, gorgeous in her early 30s, as the kidnapped American widow. Great back-up also comes from the great John Huston as Teddy's beleaguered SecState, John Hay; Geoffrey Lewis, from the Clint Eastwood films is great as the hesitant US Ambassador, Gummere; the late Vladek Sheybal with his demonically evil stare is great as the Beshaw and more is given by Steve Kanaly and Roy Jensen whose faces we have seen in several backgrounds. All in all, this is a film filled with wonderful romance, mindful of an era long gone. Mindless story? Not at all. The issue of big nations pushing around smaller ones for their own hegemonical interests is as true today as it was then. Overly romantic? Not really-- certainly not maudlin in any sense. Fun to watch? You bet. I own the video and will watch it again and again. I suggest you do the same. | 1 |
13,771 | [
300,
400
] | 243 | 310 | This is one great, sweeping, movie you will remember for a long time. It is about history, America, the change of times, Teddy Roosevelt, Morocco, a kidnapped American and her children, and the leader of the Berbers, with the blood of the Prophet in his veins.<br /><br />This movie is based on a true story--like Jesse James was a banker. An American WAS kidnapped in Morocco and the Marines went part-way to the shores of Tripoli to rescue him. So much for that. You know Hollywood. Sean Connery is the Berber chieftain and Muslim leader. Candice Bergan is the guy who was kidnapped, along with her two kids; the son is Rex Harrison's grandson, Simon, no less. John Huston is Secretary of State, with a great John-Huston-style straight line at a State Dinner, watch out for it. Brian Kieth IS Teddy Roosevelt, all-American, all-male, a character that is an interesting commentary as modern as today.<br /><br />The sweep and beauty of the desert and Morocco are shown beautifully in the cinematography in this film, which will stay with you, a haunting and compelling memory. The score is as sweeping and exotic as the images.<br /><br />This is a story about two cultures, both with grand ideas and historic pasts, struggling for the future without an idea at all about one another. In any event, the struggle comes down to might versus ingenuity.<br /><br />Then at the last, there is the little boy--remember the little boy? What do you think HE thinks? | 1 |
13,774 | [
300,
400
] | 281 | 337 | Why couldn't the end of the movie have been Sean Connery's men fighting the French instead of the Germans. Ever since the French had occupied Algeria in 1830, the tribes from Morocco and those of Algeria were making raids on the French military and civilian settlements. This movie could have been a continuous of that historical aspect where the French had seize the Rasuadli so his followers would not be raiding Algeria, and then his followers would have attacked the French to free him.<br /><br />The movie is still stereotypical of shootouts between the Germans and the Americans. When the Americans shoot the Germans, their guns (even the pistols) make loud noises, create large bloody bullet wounds, and their enemies are screaming after being shot. When Germans shoot at the Americans, their guns don't make large sounds, do not create bloody wounds, and their enemies make little or no sound after being shot.<br /><br />In real life, the American Krag rifle was the worst rifle America had ever produce until the early version of the M-16 came along. The Krag was hard to maintain, not reliable, and the rifle bolt was always jamming. The German Mauser was one of the world's finest rifles. We were so impress by it during Spanish American war, that we made a copy of it and call it the Springfield rifle.<br /><br />Finally, the people of Morocco must had a word for artillery since the French were using them in their raids against Morocco. I didn't like it when they made the Rasuldai feel stupid that there was no word for artillery in the Moorican vocabulary. Instead, the Rasuadli stated that the Europeans had guns on wheels that make the ground shake. | 1 |
13,785 | [
300,
400
] | 250 | 311 | This is a very odd movie for Harold Lloyd--at least in regard to the sweet character he played in movies throughout the 1920s and 30s. Instead of a nice guy, he and Snib Pollard are con men--out to rob everyone blind. In a particularly successful con, Chester pretends to have lost a "very valuable ring" and a bit later, Harold finds it as a stooge is also looking for the ring. The ring, of course, is a cheap one dropped and then found by Harold, but the greed of the stooge is so great, he "convinces" Harold to say nothing and sell him the "valuable" ring and then they run away to enjoy their luck(?). Again and again they find patsies until they meet up with a woman who herself is a con woman (working with a guy doing fake séances). She arranges a nifty con and takes all the money they stole--and has a cop standing by to make sure they give her the money.<br /><br />As luck would have it, the two con men stumble into the lady's shady business when no one is home. Soon, the lady returns and messes with their minds--releasing a lot of dirty tricks to punish them for their wicked ways.<br /><br />All around, this is a completely odd and contrived film, but it is also exceedingly funny, as the jokes work very well and Lloyd and Pollard make an excellent team. Plus, while creepy and strange, I liked seeing Pollard dressed like a lady. | 1 |
13,790 | [
300,
400
] | 226 | 327 | Fans of Euro-horror flicks - Portland's video/DVD store Movie Madness has a whole section devoted to this genre - can't afford to miss Sergio Martino's gut-busting "L'isola degli uomini pesce" (called "Screamers" in the United States). Here's the lowdown: some shipwreck survivors land on an uncharted Caribbean island in 1891. The island is inhabited by a landowner, a scientist (Joseph Cotten) and his daughter (Barbara Bach). Sure enough, it turns out that the landowner is making the scientist create a race of fish-men. And while the fish-men remain calm as long as they can drink their potion, they get nasty otherwise.<br /><br />This movie is sort of a mixture of genres: Euro-horror, swashbuckling, voodoo, and maybe a little bit of "The Island of Dr. Moreau". But it's mostly an excuse to have the fish-men disembowel trespassers; ya gotta love that! I wouldn't be surprised if the Euro-horror genre gave Quentin Tarantino some of his ideas for "Grindhouse". After all, the European horror directors have no scruples about what they show. This is one that you're sure to like.<br /><br />So Joseph Cotten is the only cast member from an Alfred Hitchcock movie (I mean "Shadow of a Doubt") who later co-starred with Ringo Starr's soon-to-be wife and Audrey Hepburn's ex (by whom I mean Mel Ferrer) in an Italian horror flick. The things that we see in life... | 1 |
13,802 | [
300,
400
] | 312 | 381 | "The Planet" is an astounding piece of film making. For a mere £8000 Stirton Production have turned out one of the most original sci-fi films for a long time.<br /><br />Starring the physically intimidating Mike Mitchell, the film is a mix of great special effects, strong storytelling and well planned action. From the opening space battle, to the pounding finale, everything about this film appears well above it's budget.<br /><br />To start with the special effects, while certainly not "Revenge Of The Sith" standard, they are on level, if not above, the likes of Babylon 5 and Farscape. And for a snip of a price as well. The detail and the movement is superb, and captures the imagination from the off. The design of everything, ships, weapons, entities is second to none. The imagination and creativity involved is a real surprise for a film of this budget.<br /><br />Another surprise was the strength of the story, and the arc it takes. There are a few twists and turn, most of which are well written into the script, surprising and well played out. I was surprised that, two years in the making and first imagined 15 years ago, how relevant some aspects of the story are to today's society. With the happenings around the world, there may be a certain resonance with the lengths the mercenaries are forced to go to in order to survive.<br /><br />Even the sounds effects are spot on, as is the atmospheric music. The use of light and costume add further to the professional look. Balmedie Beach in Aberdeen looks a desolate and lonely place.<br /><br />In all honesty this film looks 10, if not 100, times the budget spent, and that's testament to a creative, hard working team of people, from the director, to the cast, to the effects via the producer and sound team. Wonderful effort, I recommend you get your hand on a copy ASAP | 1 |
13,807 | [
300,
400
] | 301 | 361 | I'D BUY THAT FOR A DOLLAR!!!<br /><br />I did buy this film for a dollar and I've seen much worse for much more!!<br /><br />This is a Scottish sci-fi film from Mark Stirton and according to the Making of (hysterical by the way) the production only cost $8000. Eight grand!!! That wouldn't pay for half a minute in Hollywood!! Nevertheless ---- This is top fun film making. If you like things gritty then you're in for a treat. These are some rough character with rough voices and harsh swearing. I didn't mind, but my girl friend did!! The actors do a fine job and it's interesting to see people that I've never heard of or seen before. It meant I had no idea who was going to die first.<br /><br />If you watch a movie for it's 'latest of the latest' visual effects then watch a Star Wars. The effects here are OK, but kinda weak in space. But the monsters are very well done if a bit pred like.<br /><br />Stirton does an amazing job with not very much and I'd love to see his take on a real Hollywood movie. It least it wasn't predictable and I almost fell off my chair when one dude got his head blown off!!! OK, so it is a little derivative of other sci-fi, but for this budget it is an amazing attempt and anyone who thinks making a sci-fi film for 8 g's is easy or happens a lot clearly knows nothing about the film industry.<br /><br />Good marks for a good film, extra marks for working so hard, extra extra marks for a really interesting Making of. No standard bull here, all the problems of production are gone into making it like Lost in Mancha only with a film at the end. But why no commentary? KEEP GOING SCOTS! | 1 |
13,819 | [
300,
400
] | 232 | 305 | Man, I can't believe the largely harsh and negative comments for this movie. Okay, it sure ain't no sophisticated work of cinematic art. But it is a good deal of entertainingly tacky fun. For starters, the titular pumpkin-headed supernatural killer dude has to be one of the single most laughably silly and unscary things to ever stumble in front of a camera; he looks like something you would see in a fourth-rate carnival spookhouse. Secondly, the moderate gore is ridiculously fake and unconvincing, with the definite highlight occurring when this annoying uptight ultra-conservative woman gets electrocuted by a toaster. Then there's the always welcome presence of the ever-lovely Linnea Quigley, who's memorably introduced taking a nice, long, utterly gratuitous shower that goes on for two minutes. Amazingly, we also have appearances by deceased schlock picture legends John Carradine as an evil warlock and Cameron Mitchell as a horror TV show host. Moreover, scream queens Brinke Stevens and Dawn Wildsmith have fleeting cameos. Lead child actor Ryan Latshaw projects all the charm and acting ability of a moldy old tree stump. Pretty brunette Rachel Carter pops her top and bares her cute little breasts. The cruddy special effects are decidedly less than special. The score is suitably overwrought. Yet this film overall has a certain endearingly hokey appeal to it which in turn makes this honey a real delectably cheesy hoot to watch. | 1 |
13,834 | [
300,
400
] | 263 | 334 | The title role of this western is played by Robert Walker, Jr. He's a young gun who with partner David Carradine gets separated after doing a contract hit on a Mexican general. In eluding their pursuers Carradine and Walker become separated. Walker comes upon the camp of lawman Robert Mitchum who takes a liking to Walker and makes him a protégé and reclamation project of sorts.<br /><br />This is the first of two films Robert Mitchum did with writer/director Burt Kennedy. The second was the more humorous The Good Guys and the Bad Guys. <br /><br />Not that Young Billy Young does not have its moments of hilarity. But it is a tripartite story involving the Walker reclamation, Mitchum's hunt for the bad who killed his son and a romantic triangle involving Mitchum, Angie Dickinson, and town boss Jack Kelly.<br /><br />The film abounds with nepotism. David Carradine is John's son. Dean Martin's daughter Deana is in this, Walker is the son of Robert Walker and Jennifer Jones and Mitchum's son Chris plays Mitchum's son in some silent flashbacks.<br /><br />Robert Mitchum got his start in westerns and always looks right at home in them. Angie Dickinson essentially repeats the role she had in Rio Bravo. Walker had a brief career playing rebellious youths and doing a good job at it. I've often wondered what happened to him. He looks hauntingly like his father. Maybe he didn't want to come to such a tragic early end like his father.<br /><br />And it that wasn't enough, Mitchum fans get to hear old rumple eyes sing the title song at the beginning of the film. | 1 |
13,835 | [
300,
400
] | 272 | 348 | Burt Kennedy both wrote & directed this western taken from a novel. Kennedy was a well known good writer & director, mostly westerns.<br /><br />Robert Mitchum was a star for over 20 years when he made this. This role was like many he had made already,One can see why he was a big star for so many years.<br /><br />He filled this role easily like a well used glove.<br /><br />The title character is played by Robert Walker Jr. (his father a fine actor Robert Walker--died tragically at age 32---his mother is noted actress Jennifer Jones).<br /><br />Robert was of slight build & even though he had talent only made a few films. (he was in Rita Hayworth's near last film.<br /><br />ROAD TO SALINAS ---the same year & was very good).<br /><br />He looked very much like his father, but seemed to lack his fathers charm. He made only a few more movies. He is still living & I wish him well.<br /><br />Most of his scenes are with another son of a Hollywood great. John Carradine's son David, who is still making movies. they made a nice team.<br /><br />In westerns you always have a female character & usually she is a dance hall performer. (today they call them hookers), Angie Dickinson assays this role nicely. also featured are western stalwarts, John Anderson & Jack Kelly.<br /><br />It was film in Old Tucson )outside of downtown Tucaon Az,. & the scenery is gorgeous.<br /><br />Typical of the older westerns, there is not too much action,there is some good humour & the usual ending shoot out.<br /><br />It is a fast enjoyable 89 minutes.<br /><br />Ratings: *** (out of 10) 84 points(out of 100) IMDb 7 (out of 10) | 1 |
13,866 | [
300,
400
] | 333 | 394 | Movies are something you see on Saturday night and forget by Sunday morning. Motion pictures are works of art that stick with you forever. Mishima falls into the latter category. This is the type of thing that should win Academy Awards, a brilliant, visual peice of film that is both depressing and uplifting. Instead of doing a straightforward look at the life of Yukio Mishima, director Paul Schrader interweaves three adaptations of the author's stories into a look at his past and final day on Earth, the day he tried to lead the Japanese military into rebellion in the name of the Emperor. Failing to do that, he commits ritual suicide in an ending that hits you like a ton of bricks. The three short story adaptations allow a look into what led him to this and are presented in an experimental way that makes them appear to be filmed stage plays. Ken Ogata is magnificent as Mishima. Despite his eccentricities, he comes off as very sympathetic, a man who is quite willing to die for his beliefs and does. This makes the ending that much more devastating and the sense of loss more meaningful. Of the three story adaptations, Temple of the Golden Pavilion, Kyoko's House and Runaway Horses, it is the last that is the strongest and most emotional. It also is the story that most closely matches Mishima's mood in his final years and illustrates what truly led him to the events of November 1970. This review cannot be complete without a mention of Philip Glass' striking musical score. Not since 2001 has a film score been such a perfect compliment to it's visuals. Paul Schrader crafted one of the most beautiful movies of the 1980s or any other decade for that matter. Have the hankies at the ready because the ending will leave you in tears. Mishima: A Life in Four Chapters reminds you that sometimes film can still be an art form and as art it is brilliant. | 1 |
13,879 | [
300,
400
] | 277 | 351 | This film is titled "Junior Pilot" here on IMDb but "Final Approach" at Netflix. Go figure! The movie is a delight for both the target youth audience and for adults who can suspend their maturity long enough to watch this film through the eyes of their own youth. For the adult, the story is quite predictable, and perhaps trite and melodramatic; whereas the tale may seem new and creative to youngsters who have not yet seen or read many films or books with such a story line.<br /><br />In any case, credit must be given to the film's creators, particularly the director James Becket and the cinematographer Denis Maloney, for making this most entertaining and visually interesting film. The cut-aways to the young protagonist Ricky's fantasy thoughts are hilarious as well as delightfully filmed.<br /><br />The young actors give uniformly believable performances, seemingly quite invested in their roles--silly as many scenes are. Jordan Garrett plays the protagonist "Ricky" with quite well, having excellent camera presence. Jeffrey Tedmori creates a delightfully soft and sensitive "Shashi" who of all ridiculous things thrives on hot sauce. Skyler Samuels and Adam Cagley give solid performances as well.<br /><br />As is typical of his always fine acting, Larry Miller creates a solid parental figure around which the children's part-real, part-fantasy world revolves. Compared to his father-figure, the other major adult roles appear to be shallow and one-dimensional, intentionally and quite humorously so, to be sure.<br /><br />This movie is a simplistic youth-targeted story, of course, yet it is quite entertaining, perhaps repeatedly so to the targeted youth crowd, but also for at least one viewing by adults who retain the ability to view such a film from their once-youthful perspective. | 1 |
13,891 | [
300,
400
] | 266 | 350 | Kahin Pyaar Na Ho Jaaye is a great family movie. Salman Khan is looking handsome and great than ever! There's even a scene where he takes off his shirt! What a surprise!!! Rani Mukherjee is great too. Pooja Batra had very few lines to say but I'm glad she has been acknowledged for her role because she definitely has potential.<br /><br />It's about Prem (Salman Khan) and he is a wedding singer. He is about to marry Nisha (Raveena Tandon) but gets stood up. Prem goes to Nisha's house and asks her why he was ditched and it's because her brother is ill and she needs to marry an NRI, Rahul (Inder Kumar), to get the money to get him treated. Prem moves on and in comes Priya (Rani Mukherjee). Prem falls in<br /><br />love with Priya but it's a shame she's about to get married to an NRI! Who could this NRI be?! Priya falls in love with Prem too while Rahul is there with her. Prem gives Priya an insulting comment one day and she goes off and sets off to Agra for the wedding with Rahul. Will Prem stop her? Watch KPNHJ to find out!<br /><br />The film was very funny! The songs were great especially the song "O Priya O Priya" It's a shame the film flopped in India and I don't know why?! Every film in India is going flop nowadays!! This film deserved to be a hit. The only problem I found with the film is that they had an obsession about NRI's! They think ALL NRI's are rich! The film deserves a 9/10! | 1 |
13,897 | [
300,
400
] | 285 | 334 | Christopher Nolan's first feature film wowed critics who saw it when it first came out. Shot on a micro budget of $6,000 this is a student film with real class. The film is shot in black and white, and features people who you assume are friends of Nolan's appearing in the movie. This is not to say they are bad actors because they are quite good. You could see Jeremy Theobald and Alex Haw appearing in other projects but unfortunately they haven't since this was made 6 years ago.<br /><br />Nolan's thriller, much like Memento, does not play chronologically, it shifts the scenes around much like Pulp Fiction. The writing is fantastic. It is a great twisting thriller but because the temporal order of the film is shifted around it makes it even more interesting. I thought the last ten minutes in particular when everything starts to become clear were excellent.<br /><br />For a film of such a small budget and with no recognizable names at all, this is so good. It is superior to most that Hollywood studios offer and Nolan after three films (this, the superior Memento and the not quite as good but still excellent Insomnia) has cemented himself as the most exciting new talent of recent times. I can't wait for Batman.<br /><br />This film is short and sweet and certainly a great watch. It is very professional and the twists are fantastic and completely surprising. I also thought that the score from David Julyan was also excellent, very atmospheric and had a chilly quality to it. He has gone on to compose Nolan's other films. <br /><br />Overall I would recommend this, I intend to get all of Nolan's films. This is a low budget gem. *****<br /><br /> | 1 |
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