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23,938 | Monarch Cove was one of the best Friday night's drama shown in a long time.I am asking the writer to please write a long series and air it on Lifetime, SOON.Each person was very interesting and did a wonderful job with their lines to make the plot come true. However, the movie needs to continue for a long time. I would love to see Bianca and Jake's child grow-up and get a major role in the movie, along with the new grandparents planning for her educational future. Also, bring kathy back to see her niece and help foster her life.It was great seeing the grandparents work out their problems, but the family business needed to be restored to working status,and let us see how Jake and Bianca survive through the marriage years. | 3 | trimmed_train |
12,952 | Fritz Lang's German medieval saga continues in Die Nibelungen: Kriemhilds Rache (1924).Kriemhild (Margarete Schoen) wants to avenge her murdered husband, Siegfried.Her brother is too weak to bring the murdered, Hagen, to justice.Kriemhild marries Etzel, the King of the Huns (Rudolf Klein-Rogge).She gives birth to a child, and invites her brothers for a party.Etzel and the other Huns should kil Hagen, but he is protected by his brothers.We see a huge battle of life and death begins, and she sets the whole place on fire.Eventually Hagen is dead, and so is Kriemhild.These movies deal with great themes, such as revenge and undying love.Sure we have later seen some better movies made of those topics, but this was one of the early ones. | 1 | trimmed_train |
8,046 | I see what the director was trying to do but he missed the mark. The main actor was really good but the editing around his moments takes you out of it. The camera work, ie lighting and exposer is kind of amateur which I could forgive if the direction was more fluent but it wasn't. The sound was a bit off and that takes you out of the film as well. I see could see this director doing a little bit better in the future so not a total right off but don't expect a dv movie nearly as good as 28 days later or anything, keep your expectations low and you'll get more out of it. At least it was only an hour and a half. Oh yeah and other than the lead the acting was pretty bad if you ask me. But I'm a movie snob so take that for what that's worth. | 2 | trimmed_train |
23,865 | Girlfight is like your grandmother's cooking: same old recipe you've tried a million times before, yet somehow transformed into something fresh and new. Try and explain the story to people who haven't seen it before: a young women from the wrong side of the tracks attempts to improve her situation by taking up boxing whilst dealing with a bitter, obstructive father and her growing attraction to a male rival. Watch them roll their eyes at the string of clichés, and they're right: it *is* clichéd. Yet I was hypnotized by how well this film works, due to the frequently superb acting and dialogue, and sensitive direction that makes it 'new'. I avoided this at the cinema because it looked like complete crap but don't make the same mistake I did. Definiately worth a look. | 1 | trimmed_train |
13,434 | Frailty is a non-gory horror film that achieves its chills by following the logic and impact of a man's delusion/obsession straight into depravity. Dad (we never learn his name) is a gentle man and loving father who's raising his sons alone after Mom died giving birth to the youngest son, Adam. The family's world flips upside down late one night when Dad rushes into the boys' room and tells them God has given him a vision. And what a vision the entire family's job is to destroy demons, who, of course, are disguised in human form.<br /><br />Proceeding from this premise, the movie is unflinching in following it. Dad kidnaps people/demons whom God has told him to destroy, binds them, lays his hand on them to see a vision of their evil, then kills them while making his young sons watch. Fenton, the older boy, is horrified, seeing only a father who's turned into a crazed murderer. Adam, the younger, is uncomfortable, but trusts that Dad is following God's will. Eventually, Dad takes his sons on missions to abduct the "demons" that God has put on Dad's list, and finally, invites them to fully participate in God's mission for the family.<br /><br />This is not, you understand, an abusive father. He loves his children. He is only following God's instructions: "This is our job now, son. We've got to do this." When Fenton, terrified and convinced his father has gone mad, says he'll report him to the police, his father explains, "If you do that, son, I'll die. The angel was clear on this." The pressure that the children are under is unbearable and tragic, and warps their entire lives.(1) The movie's structure is similar to the one used in The Usual Suspects: a story in flashback, told in a police station to a FBI agent. The moody lighting, the stormy weather, and the eerie calm in the present day add to the menace of the backstory. I wanted to believe the unfolding horror was just a story, until I remembered the real-life parallel of Andrea Yates, who believed she was possessed by Satan and could save her children by drowning them. Even then, I wanted to believe that I was watching a human tragedy, rather than a story of divine retribution.<br /><br />The movie gave me no such comfort, though, as it gave strong clues at the end about the veracity of Dad's vision. And this, as much as some plot holes, posed a problem for me. Regardless of the accuracy of Dad's visions, regardless of the evil that his victims may have committed, where does anyone derive the authority to act as an angel of death? (1) Roger Ebert review, 4/12/02 | 1 | trimmed_train |
24,246 | My left foot is an epic outstanding film explaining the life and times of Christy Brown,who had cerebral palsy,a severe disability and had only the use of his left foot,but he was defiant,he managed to become an artist and writer against all the odds<br /><br />I have seen this film a lot of times and each time I see it,I find it equally brilliant each time.I wonder how did this amazing film not win an Oscer for best picture,It is a shambles by the academy awards. Jim Shirdan is to me one of the greatest directors in the world.the screenplay,the music and anything else is excellent in this film. As the film goes on,you would nearly feel your in the brown household as everything occurs.Ray MacAnally and Brenda Fricker are amazing as Cristies parents and Fiona Shaw is equally brilliant as d.r Eileen Cole,who helps Christy on his battle of defiance.<br /><br />The Irish film industry had noting much to its name before my left foot.My left foot was the start of a wonderful period in Irish film. films so powerful and brilliant such as the field,the crying game,in the name of the father and Michael Collins followed my left foot.these Irish films were regarded so highly around the world and were nominated for multiple Oscers and won some,A wonderful period for Irish film.My left foot is a powerful outstanding film.<br /><br />Daniel day-lewis plays the crippled Christy Brown so well and so brilliantly and the same goes for Hugh o Conner who plays young Christy.To me those two performances are two of the best ever film performances,especially Daniel day-Lewis's performance which I would regard as high as Antony Hopkins in the silence of the lambs. Daniel day-lewis has proved in his career that he is an great actor.<br /><br />this is an excellent masterpiece in film,see it! | 3 | trimmed_train |
16,191 | Most people who have seen this movie thinks that it is the best movie ever made. I disagree but this movie is very very good. Tony is a bad ass guy and knows that he's intimidating and uses it to get ahead. It's about him and how he goes from washing dishes to having a huge house and a office with cocaine all over the desk. If you want a family movie then this isn't the way to go but if you want mobsters and vengeance and stuff like that then you'll like it. | 1 | trimmed_train |
4,074 | Annie's wig does not look good. she is not cute and pretty enough to play Annie. Annie sticks out in the movie, as her outfits look like Halloween costumes. terrible acting and terrible plots. This movie is such a change from the 1982 version. I think that a younger and smaller girl should have had the lead role. Ashley Johnson portrays a very boyish Annie. Not appealing at all. At least the casting director got it right with Daddy Warbucks. Ms. Hannigan was also miscast. Camilla Belle played Molly alright. "Warning" this movie might insult your IQ so you might just want to only show it to very young children. 8 and younger. Some of the plots are too fictional and could hardly take place in the real world. | 0 | trimmed_train |
4,234 | As a true Elvis fan, this movie is a total embarrasment and the script is a disaster. The movie opens with the beautiful son "Stay Away" and the scenery of the Grand Canyon gives the viewer hope of something special. Elvis gets in the picture and his talent is wasted big time, especially on the rest of the featured songs. I sat through this movie twice, just to make sure it is a piece of junk!!! 1 out of 10!!! | 0 | trimmed_train |
15,398 | along with it's partner, this is the greatest piece of animation ever created. the images and styles are amazing, and match perfectly with the story which is a brilliantly realistic reinterpretation of our own world, where is has been, and where it could go. quite affecting and sometimes painful to watch, it it a masterpiece of the visual art. | 3 | trimmed_train |
7,740 | When i got this movie free from my job, along with three other similar movies.. I watched then with very low expectations. Now this movie isn't bad per se. You get what you pay for. It is a tale of love, betrayal, lies, sex, scandal, everything you want in a movie. Definitely not a Hollywood blockbuster, but for cheap thrills it is not that bad. I would probably never watch this movie again. In a nutshell this is the kind of movie that you would see either very late at night on a local television station that is just wanting to take up some time, or you would see it on a Sunday afternoon on a local television station that is trying to take up some time. Despite the bad acting, cliché lines, and sub par camera work. I didn't have the desire to turn off the movie and pretend like it never popped into my DVD player. The story has been done many times in many movies. This one is no different, no better, no worse. <br /><br />Just your average movie. | 2 | trimmed_train |
20,700 | I guess I'm part of the silent minority who enjoyed this film. Is it one of the best of the "Nightmare" series? Maybe not, but I had lots of fun with it. Freddy Krueger reaches his evil, wisecracking potential. Since parts 4 and 5 kind of lagged the series down, I felt this so-called final installment ("New Nightmare" is the real finale) brought the series out of its slump. There are some great nightmare sequences, including one where Breckin Meyer plays a stoner who gets trashed, falls asleep and gets stuck in a video game to which Freddy controls. This is both a highly original and hilarious sequence, especially when we see him out of the dreamscape, hopping around like Super Mario. And Freddy belts out the funny one-liner, "Great graphics." And since the movie was made about 10 years ago, it brought back memories when Freddy started controlling the game with the Powerglove. Anyone who remembers the first 8-bit Nintendo remembers the Powerglove. <br /><br />The cast is superb. Lisa Zane is perfectly cast in the lead. I haven't seen Yaphet Kotto since "The Running Man," and I think the last time I saw that film was about 5 years ago. He's another great, underappreciated actor who possesses a powerful screen presence. And who can forget the cameos? The best one is by Johnny Depp (from the first "Nightmare") playing a spokesman for an anti-drug commercial. <br /><br />The 3D sequence at the end is really awesome! So for those who are looking to check this film out--please rent or buy it on DVD! Hopefully all the editions come with the 3D glasses, but I'm sure the video edition has the 3D element removed. <br /><br />I personally didn't see many things wrong with the film. It even elaborated on Freddy's backstory. The film is a great mix of humor and scares, and the gross-out effects are terrific. Could this have given better justice to the franchise? Of course it could have. But Rachel Talalay did a fine job. And finding the perfect conclusion is easier said than done.<br /><br />And in closing, I loved the montage over the opening credits. Fans of the series will be delighted, and will look at it as a tribute to beloved Freddy. <br /><br />My score: 7 (out of 10) | 1 | trimmed_train |
6,073 | The worst movie in the history of cinema. I don't know if it was trying to be funny or sad, poignant or droll, but the end result was unwatchable. Everyone from Key Grip, to Robin Williams, and back down to Best Boy should be ashamed to be a part of this film! | 0 | trimmed_train |
12,316 | These were over 80 minutes of semi unexpected boredom. First, I was wondering how it is possible to produce something like that. Then, reaching 70th minute I was convincing myself that it's only a few more minutes, and I lasted to the very end which I'm kinda proud of as I consider watching this movie as a great test for human's patience and crap tolerance. Was it worth watching at all? Well, as I wrote above, if you want to test yourself, give it a try and if you're strong willed enough, you may even last to the end... The movie lacks coherence and characters seem to have no common sense at all. All happenings in the movie, you can be sure you saw somewhere before, and they seem to be put in this movie just to fill the film reel. | 0 | trimmed_train |
5,311 | My God, was this the "Run, Lola, Run" adaptation of Persuasion? It was horrible. Bad enough that the "screenwriter" (and I use the term very loosely) cut and pasted dialogue from one character onto another, often completely out of context and to rush the story along: but Anne Elliott running from location to location in pursuit of Wentworth near the end of the piece was an abomination! Austen must be spinning in her grave. No respectable young woman would have acted in such an atrocious fashion. And the actress that played Mary? Horrors. Needless to say, if the rest of the Austen remakes are this bad, they will be turning off a new generation of watchers.<br /><br />If you want to see an impeccable version of this (otherwise) wonderful novel, get the 1995 Roger Michell directed version starring Amanda Root (whose expressions alone can speak volumes) and Ciaran Hinds. It is superb. | 0 | trimmed_train |
181 | It's one of those dramas that's so bad that it almost hits the point of being very funny, the script is absolutely dire, direction appalling, lighting purely armature, the only thing letting it down from a true so bad it's good feel is that the sound design is only quite bad; it adds no suspense to the story although trying hard, but doesn't at least destroy any speeches. There's continuity problems of seasons of out door shots throughout. And finally last but not least the acting is appalling. For a professional production it very much has the feel of a university media project you have to feel sorry for the sorry for anyone who had to put their names to this. | 0 | trimmed_train |
8,394 | Movie had some good acting and good moments (though obviously pretty low budget), but bad rating due to basic premise being badly developed. The main point of conflict between the two leads doesn't play out in a realistic manner at all. There are a few scenes where they disagree because of it, but no discussions of any great depth that would explain how they can be together while seeing the world so differently, especially since the employment of Glenn is so wound up in this part of his life (and Adam is active enough with his that he supports it with time and money.) Also, several times Glenn is portrayed negatively for being the way he is (apologizing to Adam for his past) while Adam is shown to be upstanding and "traditional," which the film proclaims to be the "good" way in the end. I don't like being preached to like that. I attended a discussion session with the director after viewing LTR, and he said that he presented this conflict between them because, if he was in Glenn's shoes (and he said he does in real life relate to Glenn's view) that he could never date someone with Adam's views. Well, then, I think he should have done a much better job explaining how Glenn could do it in the film. Also, director said he directed this, his first movie, only after reading (Directing For Dummies.) Directing was not that bad, but far from a top notch effort. I've seen worse, but I rarely leave films feeling this frustrated. | 2 | trimmed_train |
1,999 | When you look back at another bad Nightmare sequel like Freddy's Revenge, you have to at least give it some credit for trying something new. And although The Dream Child is more enjoyable it offers absolutely nothing new to the series. Yes, there's the creative deaths as usual, like a kid becoming part of a comic book and facing "Super Freddy" but even scenes like that aren't used to their full potential and the parts without Freddy are just boring.<br /><br />This marked the official death of scariness to the series. Freddy seems to be the comedic relief now...but to what?<br /><br />My Rating: 4/10 | 2 | trimmed_train |
15,930 | Bromwell High is a cartoon comedy. It ran at the same time as some other programs about school life, such as "Teachers". My 35 years in the teaching profession lead me to believe that Bromwell High's satire is much closer to reality than is "Teachers". The scramble to survive financially, the insightful students who can see right through their pathetic teachers' pomp, the pettiness of the whole situation, all remind me of the schools I knew and their students. When I saw the episode in which a student repeatedly tried to burn down the school, I immediately recalled ......... at .......... High. A classic line: INSPECTOR: I'm here to sack one of your teachers. STUDENT: Welcome to Bromwell High. I expect that many adults of my age think that Bromwell High is far fetched. What a pity that it isn't! | 3 | trimmed_train |
13,065 | One of the most timely and engrossing documentaries, you'll ever watch. While the story takes place in the Venezuelan capital of Caracas, it provides an intimate look into political dynamics, that prevail throughout the western Hemisphere. While essentially another chapter in the story of the "U.S. backed, Latin American coup", this film chronicles in real-time, what can happen when the poorest people, are armed with unity, political savvy, and courage! <br /><br />The political insights offered by this film are invaluable. One gets clear examples of the private media, as a formidable force for mass deception and propaganda. We see the poor people of Caracas grappling with the brutal realities of "American politics". One gets a clear sense of impending doom, if the people fail to address the blatant tyranny, which has been abruptly, and illegally, thrust upon them by the conspirators. We also see the arrogance and fascism, of the CIA backed, private media, plutocrats, and generals, who've conspired to bring Venezuela back under Washington's domination. Though ably led by President Hugo Chavez, the people of Caracas are forced to act without him, after Chavez was forcibly kidnapped by renegade generals. Their response is the highpoint of the film. If one seeks an excellent portrait of what the U.S. government, Hugo Chavez, and revolutionary Venezuela, are all about, this movie is it! | 3 | trimmed_train |
12,284 | Once again the same familiar story about a man (writer here) who sell his soul to the devil in order to have his most desired ambition in life: success. Unfunny script (we should "go home and write better"), ridiculous lines in order to understand the "strong" "Christmanish" message (our only aspiration in life is to find love, respect and a good friendship) and a very long trial scene at the end where the agent Hopkins beat the devil (Jennifer Love Hewitt is no sexy or evil at all) for all the bad things she made to this unlikable character. Not bad efforts from the actors (Baldwin also as a director, Cattrall in a "Sex and the City" role again, Aykroyd with some funny lines in his limited role). P.S. Try also a not so popular film from Greece called "Alloimono stous neous", a brilliant adaptation of this myth (an old man give his soul to the devil to get back his youth) | 0 | trimmed_train |
12,461 | This must be one of the worst Swedish movies ever made. <br /><br />It is embarrassing that such a bad script was allowed to become a movie and shown in cinemas as recently as year 2006.<br /><br />I've never seen so many visible sponsored products in one and the same movie. It shouldn't be that obvious. <br /><br />I can't understand why so many known actors even thought the idea to even be visible in a movie like this. If I had any respect for some of the known actors in this movie before I saw the movie, it is gone for sure now. <br /><br />I've heard that there will be a follow up movie to this one and I can't understand how that is even possible. | 0 | trimmed_train |
9,702 | This TV production of 1970 starring Susannah York and George C. Scott is another proof of how difficult it is to adopt "Jane Eyre" to the screen, and how much can go wrong in doing so. It is true that the movie suffered in the transfer to DVD - some scenes which were complete in the original were shortened and so badly edited that there are striking continuity gaps and that even one crucial scene between Jane and Rochester starts in the middle of a sentence! But even if the editing were better, the film would not be. The script is bad, the portrayal of the characters is untrue to the novel and nearly all actors are miscast. As a consequence one does not have the feeling of watching an adaptation of Charlotte Brontë's novel at all. The problem is not only that a number of scenes are shortened or left out - this is the case with all the short adaptations - but that the remaining scenes do no at all capture the tone, the spirit, the atmosphere and the concept of the novel.<br /><br />This Jane Eyre for example completely leaves out Gateshead and begins with Jane's arrival at Lowood. While this is perfectly all right, since some scenes must by necessity be left out, it is not understandable that, instead of using the time gained (so to speak) and thoroughly portraying Jane's friendship with Helen, the influence Helen has for Jane's development, the lecture in Christian stoicism that she teaches her, the film nearly exclusively concentrates on the physical ill-treatment of Helen, which is driven to absurd extremes in this adaptation. What Helen has to suffer is bad enough as described in the novel, but here Miss Scatchard is portrayed as a kind of sadistic prison ward, who deliberately wants to drive Helen to a premature death. And this is about all which happens at Lowood. If you compare that to the deep impact the years spent in Lowood have on Jane in the novel, one can only state with regret that the movie does not even touch the surface of that particular episode in Jane's life. And this is the problem throughout this adaptation: It rushes from scene to scene, very often without transition, and nowhere comes even near the essence of the novel. The dialogues are an odd mixture of made-up lines and lines from the novel, very clumsily patched together, and the scenes between Jane and Rochester are so shortened that both share only 5 minutes together on screen before they fall in love, and the little conversation they have contains nothing of the brilliance, the intensity and also the humour of the conversations between Rochester and Jane in the novel. But the scriptwriter not only did Brontë's language injustice but in addition managed to ruin her moral set-up with just one sentence. When Rochester and Jane go to see Rochester's wife after the would-be wedding, Rochester says: "Yet I once loved her (his wife) as I love you now." The whole moral concept of the novel depends on the fact that Rochester is indeed an innocent victim of an amoral scheme and was trapped into marrying a mad woman whom he never loved, and that his effort to seek a true life partner is, if not sanctified by God's and man's law, yet understandable and forgivable! But this one sentence completely undermines Brontë's whole carefully constructed moral concept and turns Rochester into a dirty old man who wants a new young wife because his old one is of no use to him any longer.<br /><br />From the errors regarding the script to the errors regarding the casting: Now I am by no means one of those who insist on physical resemblance between an actor and the literary figure he portrays, but by no stretch of imagination is it possible to picture lovely, blonde, blue-eyed and full-mouthed Susannah York as the novel's plain heroine. In addition, Ms York was in her thirties when the film was shot and looks it. Played by her, the novel's shy, reserved and inexperienced young Jane becomes a perfectly poised, graceful and mature woman, completely sure of herself and her deserts. I do not say that Susannah York does not play well and convincingly but the woman she portrays is not Brontë's Jane Eyre. To cast George C. Scott as Rochester must have been motivated by the desire to have a Rochester who looked old enough to make the 18 years difference in age between Jane and Rochester plausible. Scott looks as if he were around 50 but acts in various scenes as if he were 70.<br /><br />To compliment the "maturity" of the leading actors all passion, desire and despair seems to have been deliberately wrung out of the script. The scene between Jane and Rochester after the wedding, the emotional climax of the novel, has become a calm, rational conversation between two middle-aged persons, at the end of which Rochester falls asleep. When Jane returns to him in the last scene, he is just as mildly pleased as a grandfather who has just been paid a visit in his old people's home by his favourite granddaughter. The only character who displays an appropriate amount of emotion is St. John, of all people. Ian Bannen plays him so passionately and his eager plea for Jane's love is so touching that one gets the impression that Bannen was modelling his St. John on the Rochester of the novel. But good though Bannen is, his St. John is just as far from the novel as York's Jane and Scott's Rochester. The only redeeming features of this very disappointing "Jane Eyre" are the locations and the score, and I would only recommend this production to those who want to watch and compare every single adaptation of "Jane Eyre". | 0 | trimmed_train |
2,422 | Normally I would never rent a movie like this, because you know it's going to be bad just by looking at the box. I rented seven movies at the same time, including Nightmare on Elm Street 5, 6 and Wes Craven's New Nightmare. Unfortunately, when I got home I found out the videostore-guy gave me the wrong tape. In the box of Wes Craven's New Nightmare I found this lame movie.<br /><br />This movie is incredibly boring, the acting is bad and the plot doesn't make any sense. It's hard to write a good review, because I have no idea what the movie was really about. At the end of the movie you have more questions then answers.<br /><br />On 'Max Power's Scale of 1 to 10' I rate this movie: 1<br /><br />PS I would like to correct Corinthian's review (right below mine). He says Robert Englund is ripping off lingerie, riding horses naked, etc. The guy that did those things was Mahmoud, played by Juliano Mer, not by Robert Englund. | 0 | trimmed_train |
13,509 | One of the best of the Fred Astaire and Giner Rogers films. Great music by Irving Berlin. Solid support from Randolph Scott, Harriet Nelson, Lucille Ball, Betty Grable, Frank Jenks, and Astrid Allwyn.<br /><br />Terrific songs include "Let Yourself Go," "Let's Face the Music," and "Putting All My Eggs in One Basket." The last song is introduced by Astaire playing a jazzy piano and then a cute dance with Rogers. Rogers also sings "Let Yourself Go" with Grable among the backup singers.<br /><br />Harriet Nelson (then Hilliard) sings two nice songs and plays Rogers' mousy sister. "Get Thee Behind Me" is a song that sticks with you for days. She also sings "But Where Are You?" Snappy and fast paced, this entry in the Astaire-Rogers series is one of the better ones. The classic and amazing beautiful finale, "Let's Face the Music and Dance" is among the best-known of their numbers. Rogers wears one of the great dresses in movie history.... a shimmering sequined number that swirls around her legs as she dances (weighted hem) and is also slightly see through. Just gorgeous. This is the number that Steve Martin and Bernadette Peters re-created in Pennies from Heaven.<br /><br />Randolph Scott seems an odd choice as Astaire's pal but he also appeared in their Roberta with Irene Dunne. Luckily he does not attempt to sing or dance. It seems that Grable and Ball would have had bigger parts in 1936 but they have a few scenes and make little impact. Allwyn has the bigger role but is only OK.<br /><br />Rogers has one of her best solo numbers in the series with "Let Yourself Go".... Jazzy and thumping, it's a great song.<br /><br />Fun all the way, although I got tired of "We Joined the Navy" after the third time.... | 3 | trimmed_train |
253 | When I saw this movie, I couldn't believe my eyes. Where these hilarious creatures, dustbin muppets with big pointy teeth, really meant to be scary? Or where they designed to have a good laugh (I sincerely hope so). If you watch carefully you can even see the strings operating them (better; dragging them across the screen). The whole was rather funny than scary and I had a good time watching the movie because I was amazed by its overall incapacity to have only one good part. It is one big joke from beginning to end and I believe this movie belongs into a new category: So unbelievable crappy you'll be laughing from beginning to end. (I'm not even gonna try to comment on the acting or all the other things) | 0 | trimmed_train |
2,539 | Like many others have commented before me here, I have to say that this movie is bad, but not the worst I've seen. There will be no direct references to movie plots or sequences in this comment, because I hate spoilers.<br /><br />I got a feeling I was watching an episode of a TV show or something, where they had gotten a hold of some extra $$$ to spend on CGI (I've seen worse of those)... All in all, it is quite an insult to the viewer, at least if you have ANY knowledge about computers and/or technology at all. There are just too many of these moments of insults to make me feel comfortable, and I found myself just begging for it all to end - fast - halfway through. In addition, there are countless "easy way out" scenarios, which also is an insult to your intelligence as a thinking human being...<br /><br />This movie absolutely fades in comparison to the old "Wargames", and I think it's a damn shame they even got to call it a sequel.<br /><br />Two stars from me, because of one thing and one thing only: the actors' performances aren't half-bad, considering the regurgitated crap of a script they had to work with. Still, they should never have signed on to this movie. Not really a career-move, but I guess we all have bills to pay.<br /><br />To those of you who gave this movie top score...you have to be on the studio's payroll or something, that's my only explanation.<br /><br />To all who haven't seen this one: by all means, watch it and make up your own mind. But lower your expectations to the floor (and then some). | 0 | trimmed_train |
377 | Chris Rock deserves better than he gives himself in "Down To Earth." As directed by brothers Chris & Paul Weitz of "American Pie" fame, this uninspired remake of Warren Beatty's 1978 fantasy "Heaven Can Wait," itself a rehash of 1941's "Here Comes Mr. Jordan," lacks the abrasively profane humor that won Chris Rock an Emmy for his first HBO special. Predictably, he spouts swear words from A to Z, but he consciously avoids the F-word. Anybody who saw this gifted African-American comic in "Lethal Weapon 4," "Dogma," or "Nurse Betty" knows he can elicit more laughter with the F-word than Martin Lawrence and Eddie Murphy put together. Sadly, despite a few witty one-liners, "Down To Earth" hits Rock bottom both as a contrived comedy and an improbable interracial romance.<br /><br />"Down to Earth" utterly destroys any good will that the Weitz Brothers generated with their landmark gross-out face "American Pie." This disposable drivel qualifies as a contrived as well as confusing comedy with a thoroughly improbable color-blind interracial romance. Unfortunately, a more than competent castamong them "The Full Monty's" Mark Addy, Chazz Palminteri of "Analyze This," "SCTV's" Eugene Levy, and newcomer Brian Rhodes as Charles Wellington, Jr.are wasted in flat-footed, sketchy roles. Hardcore Rock fans will undoubtedly accuse their favorite comedian with trying to fix something that was never broken. Abysmally written by Lance Crouther, Ali Le Roi, Louis CK, and Rock, "Down To Earth" casts Chris as a messenger who rides a bike by day in the Big Apple and gets booed off the stage at night in Harlem's celebrated Apollo Theatre. Poor Lance Barton (Chris Rock) suffers from severe stage fright. Nevertheless, his charitable manager Whitney Daniels (Frankie Faison of "Hannibal") sticks with him through thick and thin. After Lance learns the Apollo Theatre will hold one final amateur night extravaganza, he implores Whitney to get him in the line-up. Excuse me, but if Lance is such a deadbeat stand-up comic, why does the Apollo keep inviting him back? Meanwhile, fate has something else in store for Lance. While pedaling home on his bike, our protagonist spots a pretty lady, Sontee (Regina King of "Jerry Maguire"), crossing the street, but he doesn't see the bus that collides with him and kills him. Wham! Lance Barton levitates skyward with a halo wreathed around his head. In Heaven, which resembles a cruise ship nightclub, Lance learns that an overzealous angel, Mr. Keyes (Eugene Levy of "Stay Tuned"), timed his death 40 years ahead of schedule.<br /><br />Heavenly honcho Mr. King (Chazz Palminteri of "Analyze This"), God's right-hand guy, apologizes and escorts Lance back to earth. The snag is Lance cannot reclaim his corpse, so he must inhabit another body. The best that Mr. Keyes can come up with is ruthless, white, 60-year old tycoon Charles Wellington. Wellington's adulterous wife Amber (Jennifer Coolidge of "American Pie") and his unscrupulous personal aide Winston (Greg Germann of "Sweet November") have just tried to poison him. Reluctantly, before Wellington's body vanishes, Lance accepts it conditionally as a loaner until Keyes can locate a more appropriate body. Meanwhile, Lance-as-Wellington encounters Sontee again. She is a nurse activist protesting his decision to privatize a Brooklyn community hospital that serves the poor. While Regina King brings a surfeit of charisma to her role as a crusading health care worker, she plays a character who bypasses credible motivation in her affairs with Wellington. Although he is no longer black, Lance not only tries to woo Sontee but also win a gig at the Apollo.<br /><br />"Down To Earth" features Rock in his most unfunny role. The comedian's reason for making this movie seems questionable. Reportedly, he ate lunch with Warren Beatty and told Beatty that he loved the original script that scenarist Elaine May had penned for Beatty. Initially, Beatty tried the race-reversal gimmick himself in his own version by trying to cast Muhammad Ali in the title role of "Heaven Can Wait." The deal fell through, and Beatty headlined the movie himself. According to Rock, his longtime co-writers and he thought that they could 'annihilate' this classic. Moreover, he justified his choice of "Heaven Can Wait" based on his philosophy to "Do Something you can only do when you're hot." Earlier, Rock rejected a script about a busload of touring rappers, because he saw little opportunity to stretch his image in such an outing. As a lifeless comedian in "Down to Earth," Rock doesn't so much stretch his image as he inverts it for the worst! This half-baked concert film with an annoying plot does as much to cremate his comic reputation as it does the Weitz Brothers! You know a film about a comedian is in dire straits when a scene at the nightclub is played so you cannot hear the jokes, only the laughter. Similarly, the casting of Mark Addy as Wellington's butler who speaks the Queen's English but is in reality a commoner from Michigan defies logic, too. Addy is an actual Englishman, and he doesn't have to fake an accent; his accent is genuine. The major overriding quandary with "Down to Earth" is the on-again-off-again, look-a-like switcheroo that the characters make so Chris Rock doesn't disappear completely from the sight for more than a few seconds. Although Chris spends half the movie as white guy Wellington, audiences see him largely as Lance, undercutting the comic irony of watching his stocky, bald-headed, Caucasian white, alter-ego perform ghetto humor and chant derogatory hip-hop lyrics. Incredibly, Rock served double-duty as the film's executive producer and one of its four scribes. The mystery is how such a wealth of talent could grind out such an awkward, misguided muddle of a comedy. About the only redeeming feature of "Down to Earth" is Jamshied Sharifi's superb orchestral film score. | 0 | trimmed_train |
7,145 | The form of the film is that of a suspense shocker. There are surprises, twists and turns, reverses and excitements. At times, this is truly an "edge-of-the-seat" film. But it disappoints, and disappoints severely.<br /><br />The villain of the piece is not believeable; his character does not hold together. I refuse to "spoil" the film, but will only say that the character we meet at the beginning just could not be he whom we see at the end.<br /><br />The second major disappointment of the film is that--finally, it becomes little more that a bloody slasher film. There is little qualitative difference between this and one of the "Friday the 13th" films. Not that every film need always be totally tasteful, but this film does drip gore on occasion.<br /><br />Though the film features the magnificent Sean Connery, even he does not measure up to his usual standard, and often just seems to be walking through the paces. | 2 | trimmed_train |
15,171 | What a fun movie St. Ives is. It reminds me of the type of film made during the 40's. Classic story, rounded off by characters and a plot that is neither over dramatic nor overtly complicated. In fact it isn't over anything. Robert Lewis Stevenson's story - here adapted for the screen - reads like Jane Austen for men. We do get a tale that has a romance at its heart, but there is plenty of fun too: battle scenes (sort of), prison escapes, mistaken identities, swordplay, and the funniest line I've heard in years: "Only in Scotland would guests be announced by name at a masked ball." There is much hilarity, hardship, and not a little heartbreak as St. Ives tries to fight and find his way back to a family and life he barely knew.<br /><br />The cast is absolutely stellar with the too infrequently seen Jean Marc Barr absolutely perfect in the title role. Anna Friel is a refreshing delight as the resourceful Flora and Miranda Richardson nearly walks away with the movie as her wise and worldly, been there and seen-it-all Aunt Susan. Richard Grant provides comic relief of the highest order.<br /><br />This is not going to be the greatest movie anyone has ever seen, but its charms are undeniable and the entire film fairly bristles with an energy that bursts with life. | 1 | trimmed_train |
19,554 | There were times when this movie seemed to get a whole lot more complicated than it needed to be, but I guess that's part of it's charm. Detective Philo Vance's powers of observation seem greater than all the Oriental sleuths of the era combined when it comes down to that final evaluation of how the murders were committed. The dropping of the dagger into the Chinese vase was the kicker for me; I mean, couldn't somebody have just dropped it? <br /><br />Vance (William Powell) had a line early in the film about Archer Coe's 'psychological impossibility' to kill himself - I had to think about that for a while. I was left wondering if there's some scientific basis in fact for that concept to be true, not having studied psychology myself. Seems logical, but then there's always the case that doesn't fit the rules.<br /><br />You know, I got a kick out of the agitated coroner (Etienne Girardot), who reminded me of Star Trek's Dr. McCoy the couple of times he stated "I'm a doctor, not a magician" and "I'm a doctor, not a detective". I can picture DeForrest Kelley watching the film and saying to himself - 'I'll have to use that sometime'.<br /><br />Once the killer's identity is revealed, it doesn't seem like such a big surprise, but up till then it's really anybody's guess. But Archer and Brisbane Coe aside, the film didn't answer the central question posed by the title, and the murder I was really interested in - who killed Sir Thomas MacDonald's dog Ghillie? | 1 | trimmed_train |
9,629 | For those with little time on their hands, I'll sum it up quickly, in one word...pathetic. There are a lot of good examples as to why this movie fits perfectly under that description. So much so that you can barely go through 2 minutes of screen time without seeing something completely stupid and pointless forced upon you. Want a fully naked woman in the first 10 minutes? You got it! The reason she appears is so pointless though that it really sets the tone for the rest of this piece of juvenile crap. You can almost glimpse into the deluded minds of the 12 year old boys that wrote this piece of garbage just by watching this crap that they expect the public to actually pay for!!??!!! <br /><br />I've watched many a movie franchise decline over the years, but American Pie;Beta House has to be one of the worst offenders when you consider that despite the average nature of the original movie, it's still a thousand times funnier than this dreck.<br /><br />The plot is predictable, and sometimes you actually feel like you're watching a school play. The things that happen in this movie are so unrealistic that it takes a lot of suspension of disbelief to actually watch it (we're talking Star Wars levels of suspension, like the kind you need to convince yourself Jar Jar is real)<br /><br />The plot is paper thin and mostly the events that transpire are only there to show another pair of breasts or set up yet another pathetic joke. There is no acting talent to speak of, all you get is a bunch of pretty boys trying to make us laugh. And ohhh how they fail!!!! Every gag falls flat and the only thing I laughed at was how socially unaware the scriptwriters appear to be. How else can you explain the bulls**t they try to pass off as a story?<br /><br />They pass up every opportunity to do something worthwhile and entertaining in favour of badly written, lowest common denominator nonsense. The characters have to complete a set number of tasks before they are accepted as members of Beta House, but this is dealt with mostly by a series of very brief montages that imply that they are completing the tasks but we see little to no evidence of it actually happening. Its a very lazy way of telling a story. It also misses opportunities to be funny in doing so.(Imagine say The Wizard of Oz where all the important events happened offscreen instead of on it, and all we see is Dorothy high-fiving the Scarecrow every now and again and saying "Gee that sure was a great adventure we just had back then") Lazy. Lazy. LAZY!!!!<br /><br />The female characters have little or nothing to say. All they do is get naked for no apparent reason and are used as visual props through most of the movie. You braindeads that only seek T&A will not be disappointed, but for that reason alone shame on you. If you buy this on DVD you will be contributing to the downfall of society in your own special way. Congratulations. | 0 | trimmed_train |
20,708 | I for one have shamelessly enjoyed every episode of Pushing Daisies this season, and hope that the writers' strike won't brutally end the beginnings of a very good show. Ned is a pie maker who owns a restaurant in the middle of town and has a secret talent. Emmerson is a private investigator with his own unique quirks like his love of knitting. Charlotte (Chuck) is the once-dead-but-not-anymore childhood friend and sunny spot of Ned's life. Olive is the jealous but good-hearted waitress. Oh, and add the dog. Jim Dale brings all the characters together with his wonderful narration of the show. Chuck, Ned, and Emmerson along with Olive and occasionally the dog solve multiple murder mysteries with the assistance of Ned's special gift of bringing dead people back to life. The show is funny, clean, and romantic in a very cute and good-hearted way, and I'd recommend it to anyone. | 3 | trimmed_train |
10,916 | This trashy B movie attempts to masquerade as a study of sexual addiction, but it is really a poor excuse for a sexploitation flick. The story revolves around Sammy Horn (subtle name) played by Michael Des Barres. Sammy is a restaurant owner with a clueless wife Grace (Rosanna Arquette) and a young child. He has a sexual addiction and must have meaningless sex every five minutes with any woman in his field of vision who will agree (and of course every woman on the planet finds him irresistible despite the fact that he looks old enough to be collecting Social Security).<br /><br />The story is centered on a conversation with his therapist (Nastassja Kinski) where he is describing each of his sexual exploits via flashback. This is nothing more than a convenient launching point for a parade of serial sex acts, which consumes at least 75% of the screen time.<br /><br />It is hard to know where to begin criticizing a film this bad. The production values are abysmal. The movie is shot on video with a look somewhere between a TV soap opera (at best) and an amateur porn flick shot in someone's garage. The direction by Joseph Brutsman is horrible with bad lighting, uninspired framing and poor actor direction. The script is vapid and the dialogue mindless and vulgar.<br /><br />Women are generally portrayed as sex obsessed nymphomaniacs just waiting for an addict like Sammy to come along and rough them up while feeding their insatiable appetites with some impersonal copulation. As an example, Grace's sister comes over to indignantly inform Sammy that she knows he's been sleeping around and that she is going to tell his wife. His response to that is to throw her up against the wall and begin raping her. About three seconds into it she has an epiphany and is instantly converted to one of his sex disciples begging him to give her more. Just as they finish Grace walks in and sis says to her, `Oh, great to see you, gotta run to pick up Timmy' and mum's the word about Sammy's indiscretions. The bond of loyalty has been sealed with a good ravishment. No spoiler here because it is so typical of the obvious nature of the film that anyone who had seen the first fifteen minutes could have predicted it.<br /><br />The sex depictions are all overdone, mechanical, and so poorly simulated that they are more comical than erotic. Most of them are done with both participants fully clothed. The acting is wretched. Michael Des Barres presents all the depth of a rain puddle. He really seems to get into the thrusting and profanity of the sex parts, but when it comes to actually acting with Arquette and Kinski, he is adrift. Rosanna Arquette is the closest thing to an actor in this film, giving a bearable performance and looking genuinely hurt when she finally discovers that her perfect husband is a lecherous animal. Nastassja Kinski is far too compassionate as the therapist, but at least we have some acting happening here. The rest of the cast is just a collection of elevated body doubles to whom they give thought provoking lines like `hit me harder, is that the best you can do?' and `Oh, God
YES'.<br /><br />This movie is among the worst I have ever seen, a dubious distinction given the thousands of films I have viewed. I have given it the extremely rare dishonor of rating it 1/10. Not to be seen within three hours of any meal. | 0 | trimmed_train |
13,451 | An opium den, a dirty little boy (actually a midget), prostitutes galore, a violent fracas in a dive, a motel for sexual shenanigans, scantily clad babes with cleavage a lot, a boozer falling down the stairs, a racially mixed clientèle in a bar with Asians, Africans, and Anglos treated equally, does this sound like a film playing at the local shopping mall? Wrong. These are all scenes from a 1933 musical.<br /><br />The first half of "Footlight Parade" is preparation for a musical extravaganza which occupies the last half of the film. Chester Kent (Cagney) is about to lose his job and does lose his playgirl wife as a result of talking pictures squeezing out live stage musicals. His producers take him to see a popular talky of the day, John Wayne in "The Big Trail." Before each showing of the flick, a dance number is presented as a prologue. Shorts, news reels, serials, and cartoons would later serve the purpose. Kent gets the idea that a prologue chain would be the road to salvation for the dwindling live musical business. Kent is basically an idea man along the lines of choreographer Busby Berkeley. Could it be that Cagney's character is patterned after Berkeley? Could be. <br /><br />In preparation for the prologues, Kent learns that his ideas are being stolen by a rival. He uncovers the traitor, fires him, then unbeknown to him a new leak is planted in the form a dazzling temptress. His assistant, Nan Prescott (Joan Blondell - soon to be Mrs. Dick Powell) has the hots for Kent and is determined to expose the wiles of the temptress. A new singer from Arkansas College shows up in the form of Scotty Blain (Dick Powell) who turns out to be a real find and is paired with Bea Thorn (Ruby Keeler). The resulting three prologue musicals, which couldn't possibly have been presented on any cinema stage of the day, are as fresh and enjoyable today as they were over seventy years ago, "Honeymoon Hotel," "By a Waterfall," and "Shanghai Lil."<br /><br />Of special note is the song and dance of tough-guy James Cagney. Like Fred Astaire and Bill "Bojangles" Robinson, Cagney's dancing appeared natural and unrehearsed, although hours went into practice to get each step just right. Not as good a singer as Astaire, Cagney's singing, like Astaire's, sounded natural, unlike the crooning so popular at the time. It's amazing that one person could be so talented and so versatile as James Cagney.<br /><br />Most critics prefer the "Shanghai Lil" segment over the other two. Yet the kaleidoscopic choreography of "By a Waterfall" is astonishing. How Berkeley was able to film the underwater ballets and to create the human snake chain must have been difficult because it has never been repeated. The close up shots mixed brilliantly with distant angles is a must-see. The crisp black and white photography is much more artistic than it would have been if shot in color. <br /><br />Though not nearly as socially conscious as "Gold Diggers of 1933," "Footlight Parade" stands on its own as one of the most amazing and outrageous musicals ever put on the big screen. | 3 | trimmed_train |
21,394 | Culled from the real life exploits of Chuck Connors and Steve Brodie in 1890s New York, "The Bowery" is high energy and good natured.<br /><br />But be warned: Casual racial epithets flow off the tongues of Wallace Beery and little Jackie Cooper. The very first shot might be startling. This is true to the time it was set and the time it was made. And it also speaks to the diversity of population in that neck of the woods. It certainly adds to the gritty flavor of the atmosphere.<br /><br />Beery as Connors is the blustering thunder at the center of the action, a loud-mouth saloon keeper with his own fire brigade. And he has a soft spot for ornery orphan Cooper. Raft as Brodie is Connors' slicker, better looking rival in almost every endeavor. Brodie could never turn down a dare and loved attention, leading up to a jump off the Brooklyn Bridge (it is still debated whether he actually jumped or used a dummy).<br /><br />Beery is as bombastic as ever with a put-on Irish-American accent. He is just the gruff sort of character to draw children, cats and ladies in distress. This is possibly the most boisterous character Raft ever played, and he even gets to throw in a little dancing (as well as a show of leg). And again he mistakes the leading lady (lovely Fay Wray) for a prostitute. Cooper is as tough as either of them, though he gets a chance to turn on the tears.<br /><br />The highlight isn't the jump off the bridge but a no-holds-barred fistfight between Connors and Brodie that in closeup looks like a real brawl between the principals. It's sure someone bruised more than an ego. | 1 | trimmed_train |
24,547 | Homicide: The Movie proved to be a good wrap-up to a well-written, well-directed, and well-acted series. Loose ends were tied up that weren't properly addressed at the end of the final season. The entire series, and especially the movie, provided a life-like look at life (and death) in Baltimore, a culturally unique city with an extremely high murder rate. My attraction to the series began long before I moved to Baltimore, but once I experienced life here for myself, I realized how realistic it was. And the movie certainly retained that spirit. I will certainly miss new original episodes of the series, but am very grateful to NBC and the producers and cast for giving us one last glimpse at the dark side of Charm City. | 3 | trimmed_train |
9,849 | I loathed this film. The original Phantasm had such wonderful ambiance and mystery. Like many 70s horror flicks, it looked and felt like some creepy, unfinished documentary. Phantasm II, from the late 80s, pumped up the action, but maintained this nice attention to mood. Sadly, Phantasm III is just awful. It tediously explains all of the weird happenings in the previous films, which diminishes rather than expands their power. It shamelessly degrades imagery from the first Phantasm like a cheap reenactment of the original. There are so many flying spheres in this movie that they seem more like household pests than menacing death orbs. Hundreds hang from the ceiling like Christmas balls swaying in the draft. Didn't anyone-- the prop master, the DP, the editor, the director-- notice or care that they looked so crummy? Even worse, Phantasm III presents one corny, unfunny joke after another. How different from the intensity of the first film. The original Phantasm used humor to relieve its relentless focus on death. Phantasm III uses death to set up countless cheap jokes about Reggie's horniness: several refer to the film's "flying balls" ha-ha, oh, I get it, balls. Maybe the crew got a kick out of these jokes, but they are on us. | 0 | trimmed_train |
9,980 | Stifler, has finished running his naked mile and is now attending Beta House. Crazy stuff happens, people run around naked and nerds are made fun of and this series is dead in the water. The Naked Mile was a crap film, but I found it to be significantly better then Band Camp. It seems they've gone back to what didn't work for them and it shows that they don't care either. You can tell where the target audience is and they nailed it perfectly. Young teenage boys who like to see naked women, crude humour and beer drinking will love Beta House, everyone else can pretty much look away.<br /><br />Star Wars became a massive success that stunned audiences with it's ahead of its time special effects. Lord of the Rings created an entire world of mythical creatures and massive battles that dazzled the eye. The Matrix changed the way action and sci/fi films were made, specifically with the cutting edge special effects. With all the advancement in technology, we eagerly await the next big thing that will have our jaws dropped to the floor. Then comes American Pie: Beta House, which pushes the boundaries of what technology can do. When people have created spaceships, landscapes and creatures using CGI, Beta House decides to use this technology to create semen. Yes, the thing that creates life, the thing you see so many times in pornography films is created and time slows down to show us the white residue shoot across the room onto a teddy bear. Is this funny? Disgusting? Neither? Beta House shows more nudity then The Naked Mile, which is surprising considering the previous installments title. Does the film need it? Of course not, does it ever advance the plot, does it ever? Does it ever get a laugh? Does it ever get young boys aroused? Yes the women are beautiful, but if I am the one who thinks there is too much nudity then you might as well just have made a porno.<br /><br />The female who catches the affections of our main character is pretty and doesn't annoy the viewer, like previous girls have done in the series, but not once did I ever believe this character would ever do what she does. I'm pretty sure every action from the characters in this film are far from realistic. The American Pie series has fallen from a realm of reality into a fantasy world. None of the events in this film would ever happen, if they ever did then I need to attend this school IMMEDIATELY. Is this film suppose to make people feel like they are having a good time? Well it doesn't, we are watching them have a good time, by the end of the film we hate them for all the fun they are having.<br /><br />There is a "Deer Hunter" scene in the film, but to make it "funny" for today's audience they decided to substitute bullets wit horse semen. Are you laughing yet? Instead of shooting themselves with said semen in the head, or face, they place the gun in their mouths. Are you on the floor laughing yet? The first time we are introduced to Stifler's roommate, he's having sex with his girlfriend. Are you cheering at the nudity yet? The film at first seems like it will be about the boys trying to get into the frat house, but then it shifts to them already being in the frat house, but needing to perform certain tasks. Then it shifts to a competition between nerds and the boys. It goes a little "Revenge of the Nerds" on us for a bit and it seems out of place. I honestly do not know what these film is about because it goes all over the place.<br /><br />Most of the comedy seems forced for shock value. Even at the beginning with the Dad showing his son the list of people he has had sex with. The joke is in there somewhere, I think it might be the fact that his wife is not the last name on the list, or it could have been that one of his son's friend's mother was on the list. Either one, it doesn't work.<br /><br />I guess if you haven't guessed it yet, this film is not funny. Nor does it seem to be focused, the story is pathetic and the so called crude humour that the series has been known for doesn't shock. Skip this lame installment and any future ones as well. I do not know why I have seen all the entries in the series, but for some unknown reason they seem to have found their way to my eyes. | 2 | trimmed_train |
3,191 | Before I comment on this movie I just watched on YouTube, I have to admit that the reason I checked this out was to rewatch something I first saw on the TV ads in 1980: Barbara Bach's cleavage. And since the movie received an R rating, I expected to see her nude. Alas, no dice for her or of the other gorgeous actress that appeared here: Stacey Nelkin who's supposed to be a teen but was actually 20 when she made this. Seeing her in a bra and panty and later in a belly dancer outfit was just as arousing as Ms. Bach. They provide some of the scattered laughs this movie provides. In fact, I don't blame Ron Leibman for having his name removed from the credits since his role as the tight-fisted Liceman is pretty embarrassing though I did like the "seduction" scene he did with Ms. Nelkin. This also happens to be the debut of Ralph Macchio who's the loner among the misfits sent to an academy school. The others are a black kid who really loves his stepmother and Ms. Bach, an Arab who worships motor oil, and a politician's son who loves his girlfriend Candy (Nelkin's character) so much, he risks sneaking in the middle of the night see her in the girls academy. Among the supporting cast, Tom Poston plays a swishy character named Sisson who I found partly amusing. With a screenplay by Tom Patchett and Jay Tarses and direction by Robert Downey Sr. (whose son Robert Downey Jr. has a cameo early on in a soccer scene), Up the Academy is uneven with the politically incorrect humor but unless you're really offended at the scatological and sexual content, this is actually a pretty harmless comedy that Mad Magazine and its trademark cover boy-Alfred E. Newman-shouldn't be ashamed of even though they once had their name and character taken off the picture...P.S. Another one of the "misfits" was Harry Teinowitz who was born in my birth town of Chicago, Ill. He played Rodney Ververgaert. He also says one of my favorite lines: "I'm trying to come." | 2 | trimmed_train |
4,723 | I have never posted a review before, but I had to do it for this film! This film is SO bad, I found myself trying to justify how bad it is by trying to think of it as kitsch or parody. But it ISN'T. It is truly, un-self-consciously BAD. This is a serious attempt that flops gloriously. Other reviewers have pointed out the film's many flaws, so I'll try not to repeat these, but I do urge you to see this film. Throughout it I was either speechless, literally gasping with disbelief, or rolling on the floor in hysterics. I haven't had so much fun watching a film in years. In fact, I'm going to try to get all my friends to see it because it's the kind of movie that needs to be shared.<br /><br />My favorite parts: -- When Arthur auditions to be a go-go boy (his dancing is unbelievable) -- The gratuitous nudity (the director/leading actor just had to get a nude shot in) -- The preacher's office with its cardboard and crayon rendition of Christ -- Of course, the famous wedding scene with the palm trees and the forgotten rings (what narrative function does this play?!?) -- The ex-wife's wrestling match with Ben to get possession of her gun -- The detailed sequence wherein Arthur kills the preacher; he apparently burns him up with this incredibly measly match -- Yes, the gay religious-fanatic brother with his bleached hair and WeHo fashions -- And, my favorite, the use of Joplin's "The Entertainer" as the opening soundtrack and "Pachebel's Canon in D Major" as the closing soundtrack! -- the list goes on and on -- a MUST SEE!!! | 0 | trimmed_train |
20,273 | Elvira Mistress of the Dark is just that, a campy concoction of fun, sex appeal, horror and comedy all poured into a low cut black gown and toped with a sky high black bouffant hair-do. This movie is sure to delight any fan of Elvira's. It takes you upclose and personal with Elvira and probes deep into her...um past revealing her enormous... ancestry.<br /><br />The movie takes you on a ride with Elvira as she goes from TV Horror Hostess with the Mostess to her home town of Fallwell Mass to claim her inheritance from a deceased Great Aunt. Where she encounters a stuffy town, a studly cinema owner, a creepy Great Uncle who seems to be after her for more than her good looks. A slew of high school kids that immediately love her, and a town board who are will do anything to get her out of town, even if it means burning her at the stake! Watch Elvira woo the kids, stalk the stud, avoid her creepy Great Uncle and thumb her nose at the stuffy uptight 'preservatives' who have no kind words for her, in Elvira Mistress of the Dark!<br /><br />As Elvira would say "I guarantee it'll be a scream! (screams in background) Whoa! Good thing I didn't say it'd be a gas!" | 3 | trimmed_train |
19,476 | This is a really funny film, especially the second, third and fourth time you watch it. It's a pretty short film, and i definitely recommend watching it more than once, you will 'get it' more the second time.<br /><br />It's like spinal tap but the rap version. It has a lot of attitude in it which can be a negative thing in rap influenced films, but it's just a total p**s take and isn't a problem because of the irony it creates.<br /><br />Plenty of stand-out bits, one of those types of films which you will find yourself quoting lines with your mates, and it WILL raise laughter.<br /><br />My personal favourite part is the 'guerrillas in the midst' section. Great video, superb! | 3 | trimmed_train |
16,691 | First of all, the only reason people keep bitching about this film is because they can't stand a few parts of the true story being "altered". Well guess what? Peter Jackson's film wasn't a perfect rendition either. Well enough ranting. This is a very beautiful film. The backgrounds are gorgeous and taken from well known Tolkein artists. The film covers about half the trilogy (Fellowship of the Ring and up to the battle of Helms Deep in the Two Towers) and moves at a good pace. The voice casting is top notch and the most of the characters look like I imagined they would. Samwise is a bit too ugly for my tastes, but Aragorn looks AWESOME. The film has a great score that completely supports the movie. If you enjoy good fantasy stories but hate reading (the books are even better) give this movie a try, keeping in mind it was made 20 odd years ago.<br /><br />Also of particular note: Peter Jackson's adaption of Fellowship follows almost exactly the same strand as Ralph Bakshi's (Jackson has said many times how much he admired Bakshi's effort). | 3 | trimmed_train |
195 | Williamson's accent is tough to wade through. He speaks incredibly quickly, like he is in a rush to get through the lines. During the soliloquies he acts as if he is talking to someone, when he is supposed to be talking to himself. All that and his bald spot just annoyed me. He was just too old for this role. In reading other accounts of Williamson, maybe he got this role because he was mad and the director decided to do a bit of life-imitates-art or forced method acting. When the actors declare Hamlet mad you believe it! Marianne Faithful is a stunning beauty and could botch the role of Ophelia and still get a pass. The set is dark and foreboding but it does look as if shot in a real castle especially the scenes in the tunnels/corridors where the dead king shines as a great light in the sky. | 2 | trimmed_train |
14,997 | This story is a complex and wonderful tale of the last Harem of the Ottoman empire, well told and provoking we see the inner workings of a world now gone, and learn about the people who lived there.<br /><br />I enjoyed the story, characters, acting and scenes. A few scenes suffered from quick editing and the sub titles sometimes disappeared too quickly, otherwise a wonderful piece.<br /><br />The main character Safiya is played wonderfully by Marie Gillain who I am pleased to say did a fantastic job without over doing it. The scenes with her and Alex Descas (Nadir) are charming and lovely.<br /><br />I recommend this film for anybody looking to watch something less Hollywood and more authentic to the world they are emulating. | 1 | trimmed_train |
17,839 | Life Pod is one of those movies that you just watch and try not to analyze too hard. The acting is rather amateurish, at best. The special effects are obviously low budget, but not too bad. The story line is rather stock, but with an interesting twist. Computer run amok, but not exactly a computer and the running amok is very understandable when the truth is revealed. Still the movie has its moments and is quite watchable. For me, at least part of the allure of this movie is the prominent role of Kristine DeBell. She may not be the greatest actress in the world, but having been a former playmate of the month, she is cute enough. In all Life Pod is much like other low-budget Sci-Fi movies of the 1980s and somewhat predictable.<br /><br />The White Star Lines bit is cute, if completely inaccurate. The last of the White Star Lines Company stock was purchased by the Cunard Lines 1947 and the last ship to sail under the White Star colors was the Britannic (not the sister of Titanic) which was sold for scrap in 1960. | 1 | trimmed_train |
2,599 | I watched this movie recently together with my sister who likes the performances of Sophia Loren. I'm a person who they call a Cultural Barbarian. I hate art in any kind of shape or form. Rambo is more my kind of movie, action, kills, blood, horror. If you recognize yourself in this avoid this movie like the plague. No one dies, no action, no nudity, nothing of the kind. Let me give you a résumé in a few sentences. It starts out with 5 minutes in black and white Nazi propaganda. Every Italian in a housing block attends a parade in honor of Hitler, except for a housewife, an anti fascist and a caretaker. The housewife who is cheated by her husband, meets the anti fascist. She falls in love with him, wants to make love to him, but the anti fascist is gay. Despite of this they make love with each other. At the end of the day, the housewife reads a book from her gay lover, and the guy himself is deported by agents. The end. You want an even shorter résumé? BORING... That short enough? The guy should have used his gun in the beginning of this movie and shoot himself, to save the audience from this atrocity. On a side note my sister loved this movie. Like I said, I'm a Cultural Barbarian... | 0 | trimmed_train |
22,441 | Dick Tracy is one of my all time favorite films. I must admit to those that haven't seen it. You will either really love it or really hate it. It came out a year after the success of Batman. So everyone's expectations were so high that many were let down simply because the plot is so simple. But its based on a comic strip...what did you expect? Creatively, this movie is amazing! The sets, make-up, music, costumes, and the impressive acting make this film fantastic. The film has bloodless violence and no bad language - that's something rare these days. Directed, produced, and stars Warren Beatty as the ace crime fighter going up against Al Pacino's evil Big Boy Caprice and his mob of thugs. Madonna steals the show as the seductive Breathless Mahoney. This is one of the best characters Madonna has ever played. She has the best one liners I've heard! Madonna fans would love it! One of the coolest things about the film is that they only used seven colors to make it look like a comic strip. This film is truly a piece of artwork that is sadly overlooked by the public. To sum things up, this film brings out the child in all of us. It's a film that will leave you smiling at the end. | 3 | trimmed_train |
20,366 | While the British produced some hilarious and slick sitcoms in the 1990s - Ab Fab, Men Behaving Badly, One Foot in the Grave, etc. - the 70s were the real golden age.<br /><br />In the 1970s there were whole new territories to explore, including the sexual revolution, feminism, and the slowly evolving awareness of a need for "sensitivity" that would, twenty years later, become Political Correctness. Attempts to grapple with the confusion of this thoroughly modern world were the subtle and not-so-subtle themes in everything from the skits of Monty Python's Flying Circus to sitcoms like Man About the House. (By the late 70s this "grappling" resulted in more meditative and bitter-sweet sitcoms such as the masterpiece Butterflies.)<br /><br />Man About the House is a perfect example of the good Britcoms of the time - slightly genteel, cheeky, fresh, ingenuous, sometimes outrageous, with some well made observations on contemporary life. Compare it to a cynical 90s show such as Ab Fab, and it is hard to believe the two were created in the same country.<br /><br />Man About the House is one of the great Britcoms of the 70s, right up there with Good Neighbors (The Good Life), and About the House's spin off George and Mildred. Its quality is attested to by the fact that - as with Good Neighbors - its creators, writers, and many of its cast have had continued success in British television. | 3 | trimmed_train |
9,059 | The reason the DVD releases of this film are in black and white is because nobody can get their hands on a color print of this public domain film, a modest sea story at best.<br /><br />Distributed for television thru Allied Artists, DVD's (or VHS) on the market at this time for this title are all coming from the same 16MM television print. Films distributed for television prior to 1963 were often distributed in b/w prints, because the bulk of viewers did not have color sets anyway. Striking b/w prints for television was also cheaper, as it often involved quite a few prints to cover all stations running a film on a syndicated basis. | 2 | trimmed_train |
22,298 | This work is a bold look into the mindset of men who find themselves in wheelchairs. This film never tries to tone it down, cotton candy-ize, or soft soap the angst, confusion, and pain of what these guys live with. That is its strength, I think.<br /><br />But more so, the performances are fantastic, with well conceived and delivered dialog, which draws you in and makes you feel a part of the experience. The characters never attempt to block out the audience from knowing what's on their mind-what's in their hearts.<br /><br />I found it plodding, but enjoyable.<br /><br />It rates a 6.6/10 from...<br /><br />the Fiend :. | 1 | trimmed_train |
2,101 | I cannot say that Aag is the worst Bollywood film ever made, because I haven't seen every Bollywood film, but my imagination tells me that it could well be.<br /><br />This film seems like an attempt at artistic suicide on behalf of the director, and I for one be believe he has been successful in his mission. No A-list actor outside of this film would risk sharing the same billing as him for all the humiliation this film is bound to carry with it.<br /><br />But lets not just blame the director here, there is the cinematographer, who looks like he's rehearsing for the amateur home movie maker of the year award. There is the over dramatic score, that hopes to carry you to the next scene. The lighting man, who must have been holding a cigarette in one hand and light bulb on pole in the other, and hoping that the flame burning off the cigarette would add to that much needed light in every scene. And, of course the actors! Some of them are by no means newcomers, else all could be forgiven here. The ensemble of actors in Aag were put together to promote a new beginning and dimension to the re-make of India's most loved movie of all time, 'Sholay'. One must not forget that these actors were not forced in to this film, they are A-list and willing participants to something that, let's face it would surely have had high and eager public expectation??? So it begs the question, Amitabh aside (for now), did the other actors really believe their performances even attempted to better the original? Did Amitabh Bachchan read the script and believe that people would remember his dialogue in this farcical abomination of a film? Don't be stupid, of course he didn't, this was a demonstration to the public of how much money talks hence can make actors walk.<br /><br />I truly hope everyone involved is satisfied with what is truly a vulgar attempt to remake a classic film, which only succeeds in polluting everyone's mind when they watch the original. | 0 | trimmed_train |
9,182 | Yet ANOTHER movie about a group of less-than-intelligent individuals on a road trip who wander off their original travel route for either a short-cut or, in this case, to visit a run-down side show attraction. The results, as expected, are not at all good, as this particular side show is home to a bunch of lunatic, in-bred residents who were escaped prison inmates from years before. The father, who is apparently a professionally photographer, just HAS to stop and take pictures of the place, only to find that it still inhabited. The various members of the family wander off to view the various attractions, only to be scared away. Thinking they made it safely on their way, the van tire explodes (surprise!), leaving them to seek refuge and accommodations in the small town, which we find out is inhabited solely by the freaks (surprise!).<br /><br />This film plays out as expected, with the family being stalked and killed by the freaks. There is some fighting back on the families part, but these are probably among the worst scenes in the film, as they are badly executed. There is nothing remotely original here, unless you count the totally inappropriate soundtrack that is played during particular scenes that completely ruins the atmosphere and mood of the film. The acting is about as bad as I have seen in quite some time by everyone involved (it is pretty bad when your cast is out-acted by the cast of "Camp Blood). The special effects are lousy and the ending made me want to punch my television.<br /><br />Still, though, despite all the negatives, I somewhat enjoyed this film. It definitely has a "so bad it's good" vibe to it. I made it through the entire movie and was even pleasantly entertained once I got past the ridiculously clichéd plot, terrible acting, and cheesy special effects. Though the ending left me feeling cheated and angry, particularly because the film is not that great to begin with and the ending makes the entire film pointless.<br /><br />Bottom line, I can list countless films that if you have seen them, you have seen this. The difference is most of those film are better. Though not a complete waste, this film is pretty bad and not remotely scary.<br /><br />My Grade: D | 2 | trimmed_train |
1,121 | There are just so many things wrong with this movie.<br /><br />To begin with, the first twenty minutes of the film could have been compressed into just five or maybe ten. The overall movie is (mercifully) short already, but this could have been made up for by giving a little more attention to the Mean Lion (how did the miss a reference to "The Wiz" on that one?) and working his subplot a little more closely into the main plot. In short, the script had the seed of a good idea, but needed quite a bit of reworking.<br /><br />Second, it could have done without the crude humor. The original also had some that it could have done without, but at least there it was almost an afterthought -- here, flatulence and urination abound.<br /><br />Third, the show is a little too self-aware. The original series had that well enough, as did the first movie, but here it's just way, way too much. The Brendan Fraser in-jokes were just a bit over the top (and why no mention of the "new Ursula"?). Other gags with the Narrator, especially a couple of interactions near the end, also exceed good sense.<br /><br />Fourth, a bit more attention could have been given to the CGI work. In the first it was hard to tell that Shemp wasn't a real elephant (except by behavior, of course), but here the CGI stands out like a sore thumb. Ideally special effects should merely tell the story whether they're good or bad, and they at least do succeed on that count, so it's a relatively small problem, but it's still there.<br /><br />All that said, Christopher Showerman's performance as George is decent enough. It lacks Brendan Fraser's charm, but Christopher only really fails in that specific comparison -- he even managed to give George a bit of personal depth, which should have been a major foul in a Jay Ward-inspired movie but wasn't here. Julie Benz as the new Ursula surprised me as being even better than Leslie Mann in the original.<br /><br />Most other performances were pretty standard, not standing out in my mind as either good or bad. | 2 | trimmed_train |
12,664 | ... It even beats the nasty "raw". Almost twenty years old is this show and still I laughed VERY MUCH when I was watching it last night. It shows Eddie Murphy dressed in tight red clothes(Old School)and he jokes with everything from celebertis to his family. He was only 22-years old then and this is a must-see!<br /><br />8/10 | 1 | trimmed_train |
24,346 | This is the best picture about baseball since Redford whacked The Natural our way. Dennis Quaid and Rachel Griffiths light up the screen with a great story and a cast that seemed real enough to pull you into their lives. <br /><br />Laced with dreams - dripping in reality, the American Dream reignites after 9.11 with a true story about the Devil Ray's mid-life rookie, Jimmy Morris. Australian born actress, Rachel Griffiths, plays a native West Texan better than a lot of Texans I know; and Dennis Quaid was perfection
cast as the wannabe, gonnabe and humble winner with as much psychological baggage as the average viewer in the audience. It's real. The on-screen chemistry works. If you like baseball heart-warmers, you're going to love this film. The ingredients for Americana and apple pie were all in there. My popcorn became the a la mode'. <br /><br />And hey: buy the CD! The music rocks and carries the story magnificently! Syncing words and music pushes the story forward exactly the way it should, an area that disappoints me more often than not.<br /><br />Criticisms: I'd have given the baseball to somebody else. But Quaid has something to teach us all about character' and heart. St. Rita and the nuns were a nice decoration, but they never really found their place in the story to open and close around them. A little long. Worth every minute in the last analysis. 8 / 10. <br /><br /> | 1 | trimmed_train |
24,114 | Nicely and intelligently played by the two young girls, Mischa Barton as Frankie, and Ingrid Uribe as Hazel, although the plot is rather a stretch of the imagination. Young Hazel running for mayor seems out of place, to be honest.<br /><br />While the acting is well done by all concerned the movie tends to lack a genuine atmosphere of drama. Perhaps we've grown to expect gritty reality in movies, rather like comparing Pollyanna to How Green Was My Valley! Never mind, each of them are good in their own way.<br /><br />I do admire Joan Plowright even if her role is somewhat subdued here. Middle of the road entertainment well suited for younger viewers, and how nice at times to be exposed to fine classical music which is almost a rarity!<br /><br />I find this movie to be a welcomed change as it reflects quieter, thoughtful values for the growing up years, and no violence thank goodness. A warm family film to enjoy. | 3 | trimmed_train |
24,131 | Jane Porter's former love interest Harry Holt(Neil Hamilton) and his friend Martin (Paul Cavanagh) come to Tarzan's hidden away jungle escarpment searching for the ivory gold mine that is the "Elephant's Graveyard" first seen in TARZAN, THE APE MAN...only we soon discover both men have hidden intentions...namely Jane. Will Tarzan stand for that? Not likely (in fact Tarzan won't even stand for any disturbance done to the "Elephant's Graveyard") and knowing this Martin attempts to take Tarzan out of the picture only he later finds himself in a world of trouble later he and his party (including Jane who leaves with them after she believes Tarzan is dead)is captured by a native tribe intent on feeding them to the lions..will Tarzan be will and able enough to get to them in time?<br /><br />This film is adventure filled with loads of scenes involving Tarzan and other facing down wild animals and a climax that grips the viewer's interest and doesn't let up. The cruelty displayed towards animals and the portrayal of native people may disturb some today but all should remember this is basically fantasy adventure entertainment and shouldn't be taken so seriously. | 1 | trimmed_train |
1,102 | Jonathan Rivers (Michael Keaton) suddenly becomes a widower when his wife dies. Soon after, he's approached by a Dr. Price, an expert in Electronic Voice Phenomena (EVP), who claims he's been receiving messages from Jonathan's departed wife Anna via sundry electronic gadgets. Is Anna trying to tell Jonathan something? Is this merely a hint of something on a larger cosmic or otherworldly scale? It's good to see Keaton in a leading role, but the story he's stuck with is convoluted and absurd at points; it's as if the movie doesn't know how to answer any of the questions it brings up, so it just distracts the viewer with new, unrelated questions.<br /><br />Keaton himself is pretty good, convincingly cast as the bereaving widower desperately trying to communicate with his late wife. He's matured quite a bit as an actor, leaving behind the frat-friendly waacky-hijinks roles he played 15 or so years earlier. He looks a little craggy, with a perhaps few more wrinkles than one might expect, but he's lost none of the guile and panache that he's shown during his quarter century in Hollywood.<br /><br />So it's not that Keaton turns in a mediocre performance, it's that the script itself is subpar. Written by Niall Johnson, the plot gets more confusing as it progresses, each tortuous path ending in another tortuous path. This is all well and good if the path leads to some sort of acceptable denouement, something that ties more or less everything together and explains... something. But not White Noise; I knew less about what had happened to Jonathan than I did before I'd first seen him.<br /><br />Keaton's really the only reason to watch this junk, although he gets fine support from Ian McNeice (as Dr. Price) and Deborah Kara Unger as the requisite love interest. | 2 | trimmed_train |
4,732 | Regarded by many critics as one of the biggest stinkers of all time (certainly the biggest stinker of director Brian De Palma's career).<br /><br />Sherman McCoy (Tom Hanks) is a smug rich boy whose life goes to pieces when he and his lover Maria Ruskin (Melanie Griffith) are involved in a hit-and-run. His story is chronicled by another smug guy, reporter Peter Fallow (Bruce Willis).<br /><br />Well, as I said in my summary...<br /><br />What is this movie supposed to be? It seems to combine comedy, drama, and satire, but it sure doesn't add up to much. It's undermined by unimaginably loathsome, one-dimensional characters who you'd never want to have the displeasure of meeting in real life.<br /><br />I'm no big fan of the novel (I started reading it once, but couldn't finish it because it wasn't to my liking) but it's obvious to me that those who did / do enjoy the novel consider this film to be a complete travesty.<br /><br />I've never seen so many talented actors strive to hard to give a below-average movie some semblance of quality and fail. What a waste.<br /><br />The problems start with casting nice guy Tom Hanks in a role that is clearly supposed to be UNsympathetic. And the role of Peter Fallow in the novel was that of a Brit. Bruce Willis is badly, BADLY miscast in the role. What was the thinking there.<br /><br />Alas, not even Morgan Freeman can escape the film with his dignity intact, being obliged to deliver a lame, heavy-handed lecture on 'decency' after the climax.<br /><br />This movie ends up turning into an absurd farce.<br /><br />I liked the assemblage of talent; for that I will give it four out of ten, but I'm sure some people will say a MUCH better movie could have been made from the source material. | 2 | trimmed_train |
13,406 | Carla works for a property developer's where she excels in being unattractive, unappreciated and desperate. She is also deaf.<br /><br />Her boss offers to hire in somebody to alleviate her heavy workload so she uses the opportunity to secure herself some male company. Help arrives in the form of Paul, a tattooed hoodlum fresh out of prison and clearly unsuited to the mannered routine of an office environment.<br /><br />An implicit sexual tension develops between the two of them and Carla is determined to keep him on despite his reluctance to embrace the working week. When Carla is edged out of an important contract she was negotiating by a slimy colleague she exploits Paul's criminality by having him steal the contract back. The colleague quickly realises that she's behind the robbery, but when he confronts her, Paul's readiness to punch people in the face comes in handy too - but this thuggery comes at a price. <br /><br />Paul is given a 'going over' by some mob acquaintances as a reminder about an unpaid debt. He formulates a plan which utilises Carla's unique lip reading abilities to rip-off a gang of violent bank robbers. It's now Carla's turn to enter a frightening new world.<br /><br />The fourth feature from director Jacques Audiard, 'READ MY LIPS' begins as a thoroughly engaging romantic drama between two marginalised losers only to shift gears halfway through into an edgy thriller where their symbiotic shortcomings turn them into winners. The leads are excellent; effortlessly convincing us that this odd couple could really connect. Carla's first meeting with Paul is an enjoyable farce in which she attempts to circumnavigate his surly reticence and jailbird manners only to discover that he was, until very recently, a jailbird. Emmanuelle Devos, who plays Carla, has that almost exclusive ability to go from dowdy to gorgeous and back again within a frame. Vincent Cassel plays Paul as a cornered dog who only really seems at home when he's receiving a beating or concocting the rip-off that is likely to get him killed.<br /><br />Like many French films, 'READ MY LIPS' appears, at first, to be about nothing in particular until you scratch beneath the surface and find that it's probably about everything. The only bum note is a subplot concerning the missing wife of Paul's parole officer; a device that seems contrived only to help steer the main thrust of the story into a neat little feelgood cul-de-sac.<br /><br />It was the French 'New Wave' of the 60's that first introduced the concept of 'genre' to film making and I've always felt that any medium is somewhat compromised when you have to use a system of labels to help define it; so it's always a pleasure to discover a film that seems to transcend genre, or better still, defy it. | 3 | trimmed_train |
21,586 | This movie is definitely on the list of my top 10 favorites. The voices for the animals are wonderful. Sally Field and Michael J. Fox are both brilliant as the sassy feline and the young inexperienced pooch, but the real standout is Don Ameche as the old, faithful golden retriever. This movie is a great family movie because it can be appreciated and loved by children as well as adults. Humorous and suspenseful, and guaranteed to make every animal lover cry! (happy tears!) | 3 | trimmed_train |
5,863 | I had hoped this movie was going to be mildly entertaining, like other sorts of its genre. However, it was lame and I didn't find myself laughing very much. Watch it on HBO, maybe, or if you've got a free rental to waste and you need a movie to pass the time. But I don't recommend paying to see it.<br /><br />The plot is simple and straightforward, and it could have been funny, maybe, if the script was better. Jason Lee can be hilarious, and he gets a few laughs here and there, but the movie falls flat. Just don't go see this one. The directing is lackluster, but for what it is, directing isn't that important. I guess its main drawback is that it is just not very funny. See something else, don't waste your time here. | 2 | trimmed_train |
10,026 | First of all, I was expecting "Caged Heat" to be along the same lines as "Ilsa, The Wicked Warden". Boy, was I wrong! In no way is this film 70s exploitation, "chix in chains", or "women in prison". Sure, the plot consists of a bunch of women in prison, who wear street clothes btw (quite comical), but NOTHING happens.<br /><br />There aren't strong rivalries, no one tries to seduce the warden or doctor in order to try and escape, and no inmates make out. There are 2 shower scenes, that I suspect is just recycled footage, but no fights breaks out / no one is seduced here - or anywhere for that matter! Aside from the lack of plot, unconvincing, unsympathetic, and flat characters, a couple of inmates that do manage to escape actually return to the prison in order to "free" their fellow inmates??!!<br /><br />PUH-LEASE, the movie should have just ended off with the escapees riding off into the sunset...as opposed to letting this mess continue!<br /><br />I feel scammed. | 0 | trimmed_train |
5,351 | Don't even waste your time, let alone pay rental for this piece of dreck! How it got made is beyond me. (I don't know why there's a minimum of 10 lines... I've already summarized this trashy movie, but, oh well...) The acting was awful, like they all needed lessons. The plot was weak, the ending... Feh! I think the cinematography was the only thing that didn't totally suck... well, maybe the sound was minimalistically OK. The one good thing is, if they could make this movie, even make some money with it, there may be hope for any screenwriter with a REAL idea. So, you-all take heart! I guess the same holds true of actors... if these people actually got paid, then you can, too! | 0 | trimmed_train |
21,829 | Arthur Bach is decidedly unhappy in his life as a multi-millionaire and is attracted to people 'below him' in social standing - he pays for a hooker in the opening scenes and then is enormously attracted to a shoplifter.<br /><br />He drinks quite a lot too, and sometimes he is driving while drinking, too, which of course is not funny, ever. <br /><br />The movie is great but behind the comedy is some reality, too. John Gielgud wipes the floor with everyone else on screen and created a character for the ages. Talk about deserving an Oscar. Moore and Minnelli have their moments, but its Gielgud as "Hobson" you'll remember the most. | 1 | trimmed_train |
16,814 | I saw this film at the Taos Film Festival last year, and was just overwhelmed by it. It's a rich, warm novel brought to the screen, beautifully acted, and well directed. More than anything, it reminded me of the films of David Lean, both in its ability to handle a complex story, and its knack for creating powerful scenes that affect you on several different levels. The best movie I've seen in years. | 3 | trimmed_train |
15,210 | If you have trouble dreaming you may give this movie a low rating. But you just have to realize this movie was not made to please everyone,<br /><br />just people with a sense of humor.<br /><br />For those people the movie is great! It plays on old Science fiction movies and radio shows long gone, most of witch where B-rated themselves. Along the lines of Spaceballs and Airplane 2, you may need to stretch your imagination a little bit to get the jokes, but it is well worth it. | 3 | trimmed_train |
7,091 | Dynasty Revisited in Hawaii... Full of clichés, highly predictable, unrealistic and sometimes even stupid. If you have nothing better to do however, it does provide 40 minutes of simple, unpretensive entertainment, endless looks at great male and female muscles and very good photography of the spectacular Hawaiian scenery. On the other hand, If you are looking for anything more than that, stay away...<br /><br />Oh, and by the way, if you have ever worked in a Hotel or know anything about running one, you have two options: 1. You will feel sick every two minutes at the sheer stupidity and silliness of how the show presents Hotel Business or, 2. Look at it as science fiction comedy as I did, lie back, relax, and laugh about it! | 2 | trimmed_train |
984 | Anyone who's watched a few Lifetime Movie Network movies knows that plot credibility is the first thing that gets brushed off the planning table. So, when crazed Lara moves into Patti's home and methodically begins to drive her landlady bonkers, I didn't even blink. When Lara eventually ramps up her activities to threatening poor Patti, and dares her to do anything about it, I just nodded. You see, on Planet LMN, people don't behave the way they do for any particular reason, they just do it to keep the action going. Only on Planet LMN could someone almost have the owner of a home thrown out of their own house by means of their seductive powers!! Poor Patti - she just trusted too much, and Lara went off her medicine, and then there was this big fight at the top of the stairs involving a syringe full of deadly stuff that ends up injected into someone's tummy, and a body bag going out the front door. The horror!<br /><br />But take it from me, this Planet LMN product is a classic. You need to watch it once, just for the great laughs you'll have. On the Improbability Scale, I give this film a 95/100. Make a big batch of popcorn and get some apple slices, too. You'll understand later. | 2 | trimmed_train |
1,051 | Brilliant actor as he is, Al Pacino completely derails Revolution his Method acting approach is totally ill-suited to the role of an illiterate trapper caught up in the American War of Independence. Much of the blame should be attributed to director Hugh Hudson (yes, the man who made Chariots Of Fire just a couple of years earlier talk about a come-down!!). One of the many jobs of a director is to marshal the actors, coaxing believable performances from them, but in this case Hudson has allowed Pacino to run amok without asking for restraint of any kind. It's not just Al's career-low performance that hinders the film though: there are numerous other flaws with Revolution, more of which will be said later.<br /><br />Illiterate trapper Tom Dobb (Al Pacino) lives in the north-eastern region of America with his son Ned (Sid Owen/Dexter Fletcher). He leads a simple life living off the land, raising his son, surviving against the elements. The country is lorded over by the English colonialists, but during an eight year period (1775-83) a revolution takes place which ends with the British being defeated and the independent American nation being born. Dobb gets caught up in the events when his boat and his son are conscripted by the Continental Army swept away by events they can barely understand, the Dobbs finds themselves fighting for their lives and freedom in one bloody engagement after another. Tom also falls in love with Daisy McConnahay (Natassja Kinski), a beautiful and fiery woman of British aristocratic ancestry. Their forbidden love is played out against the larger historical context of the fighting.<br /><br />Where to start with the film's flaws? Most key actors are miscast Pacino has been criticised enough already, but Kinski fares little better as the renegade aristocrat while Donald Sutherland is hopelessly lost as a ruthless English soldier with a wobbly Yorkshire accent. Robert Dillon's script is muddled in its attempts to bring massive historical events down to a personal level. At no point does anyone seem to have decided whether this is meant to be an intimate character study with the American Revolution as a backdrop, or an epic war film with a handful of sharply drawn characters used to carry the story along. As a result, the narrative falls into no man's land, flitting from "grand spectacle" to "small story" indiscriminately and meaninglessly. John Corigliano's score is quite ghastly, and is poured over the proceedings with neither thought nor subtlety. Hugh Hudson's direction is clumsy throughout, both in his mismanagement of Pacino and the other key actors, and in the decision to use irritatingly shaky camera work during the action sequences. The idea of the hand-held camera is to create immediacy that feeling of "being there" in the confusion of battle and musket fire. Like so many other things in the film, it doesn't work. The one department where the film regains a modicum of respectability is the period detail, with costumes, sets and weaponry that look consistently accurate. But if it's period detail you're interested in a trip to the museum would be a better way to spend your time, because as a rousing cinematic experience Revolution doesn't even begin to make the grade. Nothing more than a £18,000,000 mega-bomb that the ailing British film industry could ill afford in the mid-1980s. | 0 | trimmed_train |
519 | Many things become clear when watching this film: 1) the acting is terrible. Tom Hanks and Wendy Crewson are so-so, but the parent-child conflict borders soap opera-ish. The other two boys: an overly pouty child prodigy and your stereotypical I'm-a-babe-but-I'm-really-sensitive-inside blonde dreamboat; 2) the film as a whole is depressing and disappointing; 3) Robbie's dreams and episodes are disturbing (acted by Tom Hanks); 4) the inclusion of the beginning love ballads is an odd choice ("we are all special friends"); 5) the weird lines and side plots are not made any better by the terrible acting; and 5) this is a really bad movie. Expect to be disappointed--and probably disturbed. | 2 | trimmed_train |
2,138 | I often feel like Scrooge, slamming movies that others are raving about - or, I write the review to balance unwarranted raves. I found this movie almost unwatchable, and, unusual for me, was fast-forwarding not only through dull, clichéd dialog but even dull, clichéd musical numbers. Whatever originality exists in this film -- unusual domestic setting for a musical, lots of fantasy, some animation -- is more than offset by a script that has not an ounce of wit or thought-provoking plot development. Individually, June Haver and Dan Dailey appear to be nice people, but can't carry a movie as a team. Neither is really charismatic or has much sex appeal. They're both bland. I like Billy Gray, but his character is pretty one-note. The best part of the film, to me, are June Haver's beautiful costumes and great body. | 2 | trimmed_train |
6,333 | As far as I am concerned this silent version of The Merry Widow is the worst version ever made. There is no tenderness or love or spirituality about this version, it is all macabre, Germanic, sinister nonsense. It reminded me of Nazis falling in love; who cares?<br /><br />This silent version by von Stroheim is not a faithful adaptation of the original story. In this one we have leering John Gilbert and his gross relative the Prince lusting after this silly American actress, played by Mae Murray, possessed with a modern permed hairstyle and implausible feminist manner that threw me off again and again. I like my romances light and beautiful, with slow build ups; not harsh and sadistic like this one. And come on, those bee stung lips, get rid of them, girl!<br /><br />Go see a live performance of the show if you would like to get a real idea of the sweetness of the original operetta by Franz Lehar. Failing that, wait till TCM shows the Jeanette MacDonald - Maurice Chevalier sound version. It's much better. | 2 | trimmed_train |
4,158 | Johnny and Jeremy are vampires of sorts. Minus the fangs, of course. They're dark, bitter creatures with nothing better to do than to spread their own misery. Through their charms (namely a sharp tongue and a fat wallet, respectively) they seduce desperate souls, who they proceed to torment and victimize. That's more or less the basis of this black comedy, as I understand it.<br /><br />It's not a blend of black humor that I can easily subscribe to, partly because it bothers me to imagine the audience rooting for the sleazy, main character. I did enjoy, however, the sound and the melody of the rapid-fire (and supposedly very witty) remarks. I was very impressed by the cast's strong acting, particularly David Thelis's; only the character of Jeremy seemed too bi-dimensional. The photography and the music, both dramatic and somber, work very well together. <br /><br />What really turns me off about "Naked" (and the main reason I'd never recommend it to anyone) is the way it repeatedly seems to present misogyny as a valid way to vent one's angst. In other words, in a world that sucks so bad, what difference does it make if one inflicts some pain on girls, right? To suggest (as some have on this website) that Johnny is not so unkind a person because he's not as rough on girls as Jeremy, seems completely absurd to me. They're both terrible, nasty people. And they're particularly keen on hurting women every single time they get a chance. One could argue that Johnny eventually gets what he deserves, as if his bad karma suddenly swung straight back and bit him in the ass. But still, his and Jeremy's sadistic behavior are treated to a certain degree as a laughing matter. And I could be wrong, but I'm guessing that most people who absolutely love this movie also find that aspect of the film darkly comical. | 2 | trimmed_train |
5,609 | Dark Rising is your typical bad, obviously quickly produced horror/sci-fi/fantasy movie. It has a strange, unexplained plot with holes so big you could fit an elephant through them. Most of the time I didn't know what the hell was going on but it didn't really matter, it was a simple demon hunter returns from hell dimension to save campers story with confusing stuff added on about witches and a book of evil with plot elements and characters who make no sense or disappear totally for no reason. The acting is bad but there honestly is not much they can do with this script I am guessing. There is a couple topless scenes which is probably the only reason this bad movie got made (like so many other bad movies). Give this one a pass unless there is nothing else on T.V. | 2 | trimmed_train |
19,989 | Jesse and Celine (Ethan Hawke and Julie Delpy) are two strangers on a European train. The two come from widely different backgrounds, he's American and she's French, after they talk a bit on the train Jesse manages to get Celine to get off the train and explore Vienna with him. During the next several hours the two wander Vienna taking in all that the city has to offer and become madly infatuated with each other. But will this newfound relationship last past sunrise.<br /><br />This wonderful romantic-comedy is a breath of fresh air to a genre that has been in decline. Written and directed by Richard (Dazed and Confused) Linklater, "Before Sunrise" never bores because of its' small cast. In fact it flourishes due to the leads that make you love their characters and have a wonderful charisma between the two. Smart dialogue makes this a must for romance fans. | 1 | trimmed_train |
2,923 | This is definitely the worst bigfoot movie I've ever seen and quite possibly the overall worst movie I've ever seen in my life. The actors and actresses were horrible and it seemed like they were trying way too hard to play their roles as dorks, tough guys, jerks, know it alls, etc. And the bigfoot itself was terrible. It appeared to be some kind of computer generated image from the days of Atari & Intellivision. At one point near the end of the movie as an army of sasquatches were chasing after the remaining survivors, one gets shot and as it's running it looked like a poor man's version of donkey kong himself! And one gets hit by a bullet and the blood that comes out of it was just awful animation. Another thing that was annoying was the music. Way way way too much music (classical score or whatever you call it) throughout the entire film. It was never ending. Oh yeah, the movie is boring too. Absolutely one of the worst films I've ever seen. I highly recommend taking your $3 or whatever they charge to rent this movie and spending it on a gallon of gas or a value menu somewhere. TRULY AWFUL! | 0 | trimmed_train |
8,031 | You know you're in trouble when the film your watching has numerous alternate titles. Generally it means that they tried and retried to hide the turkey in various markets. Such a turkey is The Brain Machine which has seven different titles.<br /><br />Its about some super secret government project that is suppose to be able to use a computer to read people but instead it drives people to kill each other or themselves, or something like that. Its filled with B level TV actors sitting in paneled room with lawn chairs trying to act a script that makes almost no sense.<br /><br />Its a turkey of the untastey kind. Avoid it. | 2 | trimmed_train |
21,738 | The Matador is a witty, dark humored and suspenseful melodrama that rises way above mediocrity thanks to two very engaging and earnest performances from Pierce Brosnan, who has never ever been better than here, and the always reliable Greg Kinnear who has his best role here since playing Jack Nicholson's gay neighbor in As Good As It Gets. A big plus goes to the writing as well. Clever and occasionally very nasty dialog is delivered with gusto by Brosnan and the slow building friendship between these two different individuals is completely convincing all the way. The story takes a few unexpected turns and keeps the viewer constantly guessing where it's gonna go next.<br /><br />Nice artistic touches from the director such as good use of music, clever editing and somewhat unorthodox cinematography at times set a nice tone for the film and for a long period of time you don't quite know how to label the film. But that's also thanks to a very well written script which keeps the viewer (me anyway) on the edge of his seat. | 3 | trimmed_train |
2,864 | If you haven't seen ZOMBIE BLOODBATH, you haven't. A contest like 'make your own horror movie in one day' could not possibly come up with a entry than this outrage of an insult on any viewer's intelligence. Mr. Sheets forgot a story, a plot, proper dialog, the fact that people need some BASIC acting talents and the credited lighting designer obviously forgot to show up. It seems to be recorded on the crummiest of handycams, and copied on even worse equipment. Make-up effect consist of black mascara for the zombies and yoghurt being poured over people's heads in order to simulate their skin melting. This is nothing more than a home-movie, and a really bad one as well. Only fun to watch for the friends, familymembers and neighbours that were willing to show up for the filming. I cannot for the life of me understand why this mockery of a product is listed in ANY serious film magazine or website - I have home-movies of wedding parties that are way better and more interesting. A total waste of time, money and energy. The sequel ZOMBIE BLOODBATH II is just more of the same rubbish. | 0 | trimmed_train |
20,270 | Another fun, witty, frothy RKO musical with Astaire and Rogers, FOLLOW THE FLEET is a charming film. While it lacks the stand-out great tunes of SWNG TIME (although the final number "Face the music and dance" is one of the team's best and rightfully so), it is hugely enjoyable, as these two could virtually do no wrong together in the 1930's. Once again, the plot is lightweight and forgettable, but watching Fred and Ginger dance together is sheer heaven. These two conveyed more romance and magic in dance than many couples in films do in a huge love scene. While there are better Fred and Ginger musicals, this is certainly a must-see. | 1 | trimmed_train |
14,941 | I must say that I had wanted to see this film for a long time, and I was not disappointed. The acting of Dominic Monaghan is simply fantastic. As a part insomniac myself, I can relate with how the story develops. I have never experienced anything of the sort but some awake moments overlap the sleeping and it can be scary. It was a great film, worth every penny. I hope that one day I can work with Tess myself, it would be an honor and beyond. I can recommend it for everybody. Maybe not small children as they may get scared. But if you are an insomniac like me, you'll understand the world, the mysteries and the fear. You'll love it. <br /><br />F. | 3 | trimmed_train |
15,141 | Prior to seeing Show People, my impression of silent comedy was essentially slapstick, and slapstick only. I could not imagine how screen comedy could be possible without relying heavily on spoken word or numerous pratfalls. But this masterful film proved me wrong. Davies, in my view, was probably the greatest comedic actress to come along prior to Lucille Ball. I mention Lucy primarily because Davies' mannerisms and facial expressions reminded me of her to the point that I wonder if Davies wasn't one of Ball's primary influences. This is coming from a 21 year old who had never before seen silent comedy, and I must say that no matter how much of the period-specific references you actually get (I didn't, apparently), you will not be bored by this movie. You will probably even laugh more than you would at most talkie comedies. This is not only my favorite silent comedy, but easily among my ten favorite comedies of all time. | 3 | trimmed_train |
10,173 | Although the actors do a convincing job playing the losers that parade across the screen, the fact that these characters are impossible to identify with had me looking at my watch a mere 20 minutes into the film (and more than once after that). The plot development is disjointed and slow, the verbal diarrhoea of the main character's only friend is practically insufferable, the base quality of most of the characters actions and the cavalier way in which they are treating is annoying.<br /><br />It is typical of Ventura Pons to put forth crass psychologically handicapped characters. However, this faux sociological analysis is a big step down from CARICIAS or Caresses, where the characters maltreat and despise each other for well founded reasons that play out during that film. In AMOR IDIOTA we are forced to follow the meanderings of a truly subnormal intelligence as he stalks a severely depressed and detached woman. Supposedly this is due to his own depression but the script doesn't support that. I won't give away the rest of the story just in case there are any masochists out there
Is he cured through his obsession or is the woman shocked out of her own depression through his unwavering attention? Even though I watched the whole thing I wasn't made to care even for a moment about either of them.<br /><br />If you can sit through all this prejudice, ignorance, betrayal, BAD dialogue, flimsy philosophy, etc
the camera-work was pretty good and seems to be something inspired by the DOGMA group. The makeup also seemed to aim at showing these players in a raw and gritty light as it is the worst I've seen Cayetana Guillen Cuervo in any of her movies (while in person she is actually attractive).<br /><br />I suppose if the idea is that we should be forced to see the lower strata of society so we can be grateful we are not part of it then Pons has achieved his objective. The barrage of nearly identical sex scenes was a proper waste of film (if the actors had been filmed but once in blue green clothing the background behind them could have been changed in the special effects studio for a pittance). True that I heard much of the male audience squirm in their seats during this but an objective viewing proves that was not the real aim of those scenes.<br /><br />Save yourselves and watch something else. | 2 | trimmed_train |
3,443 | The often-reliable Leonard Maltin says this is a "delightful romance" and that Sanders is "superb." Maltin must have confused this movie with something else. Sanders is snide and droll and superb, as usual, you can imagine his delivery of the line regarding adultery, "Sometimes the chains of matrimony are so heavy they have to be carried by three," but dull, wooden and dated describe this movie more accurately. The storyline itself, an autobiography with Sanders as a suave jewel thief, Francois Eugene Vidocq, who becomes chief of police but can hardly resist the lure of fine jewels, is entertaining enough, but it has the same kind of hollow historical Hollywood treatment that marred such period epics as *Marie Antoinette*, and certainly the deplorable *Forever Amber* (which screams for a classy remake). Though, in his defense, Sanders tries mightily to add some depth to his character, it is all for naught. I am an unabashed Douglas Sirk fan, but this is 1946, and it is one of Sirk's earliest American efforts, lacking many of the signature touches that would define his florid, breast-heaving potboilers. Sirk is just getting his feet wet here, and made a number of unmemorable films over the next ten years until he struck gold with *Magnificent Obsession*, and hit his stride, bombarding us with such estrogen-fests as *All That Heaven Allows*, *Written on the Wind*, and *Imitation of Life*. But *Scandal In Paris* is hardly his best work a relatively low-budget affair with cheesy sets and ineffective costuming. | 2 | trimmed_train |
9,798 | A cheesy, compellingly awful (and NOT in a fun way) C Grade movie. Everything shouts 'amateur', from the crumby script (bizarre premises, limited coherence and predictable endings; the turgid lighting, sound and hand-held wobbly camera angles; the coy and passe sexual inneundo and references; the patchy and unbelievable dialgoue to the Z rate acting. I saw it on DVD and kept hoping Edward Wood would pop out. All is forgiven - your Worst Films are works of art, and more coherent than this twaddle.<br /><br />But still, preferable to the warbling 'Every night in my dreams I hear you' - are you sure the Titanic crew weren't involved in this on the side? | 0 | trimmed_train |
7,679 | What Is It? is a mish-mash of bizarre recurring motifs (snails, Shirley Temple, swastikas, and overtly racist music, among others) unfettered by any sort of narrative or plot or character development. The whole thing struck me as self-consciously "freak show," and I don't mean only the unusual casting decisions. It has the feel of a bad acid trip, far beyond any level of drug use one might attribute to Hunter S. Thompson or William S. Burroughs. The only movie to which I can compare it is Eraserhead (my second-least-favorite film of all time), which was by intent much more depressing, but I still found What Is It? a total waste of my time. It's one thing to give me a peek into the inner workings of someone else's mind -- even someone else's chemically altered consciousness -- but quite another to just throw weird visuals at me purely for the sake of weirdness. | 0 | trimmed_train |
17,890 | I saw the latter half of this movie about a year ago and was very happy to finally find it available on DVD. Recently, I watched several of the reality series on PBS about ranching, etc. None of them came as close to telling the story as this movie does. Based on REAL reality, pulling no punches, bleak, happy, tragic and enlightening, this is a movie that should be shown to students or to anyone interested in early frontier life. Fine acting on the part of both Rip Torn and Conchata Ferrell add to an well done script. The opening credit states that it was done though funds supplied through the National Endowment for the Humanities. If this is the kind of product taxes could go to I would be happy to see more. I highly recommend it and would encourage people to tell a friend if you have seen it and enjoyed the film. | 3 | trimmed_train |
4,000 | I enjoyed the movie very much, emotionally, intellectually, and visually. It contains no violence or sex or drugs or special effects, and doesn't need them one bit, holding my attention the entire time with the visuals, story, and interspersed words of wisdom.<br /><br />However: [1] some of the foreign language accents made the dialog difficult to hear & understand; [2] there is unnecessary overuse of swearing (especially the F-word, which is the only reason this movie was rated R). [3] The movie is balanced with humor and emotion, but most of the emotion that holds you throughout the film, except the final resolution last minutes, is unpleasant due to the exaggerated long-lasting dysfunctional reaction of some of the characters to loss, living in the depths of bitterness and depression for too long. [4] I will not recommend this movie because of 5-seconds of background narration, which did not add one bit to the side-character it applied to, or the film -- it only turned me off to the movie and stuck in my brain through the whole movie and afterward: the main character's mother of German ancestry, when watching old WWII movies, "secretly roots for the Germans." There would be no "local color" or art if the Nazi's won the war. I don't know of any Germans today except radical skinheads who think the world would be a better place if the Nazi's won WWII. | 2 | trimmed_train |
7,605 | No? Didn't think so! Well, in that case all you have to do is stay far, far away from "Do You Wanna Know A Secret", as it's just the umpteenth pointless post-"Scream" slasher with absolutely no redeeming value whatsoever. The plot is extremely ridiculous; the characters are insufferably dumb, the gore-factor is negligible and the whole thing is just plain boring! As you can derive from the title already, this film is mainly inspired by "I Still Know What You Did Last Summer", as the events take place in a similar setting and the killer's motivations are equally stupid. Why anyone would want to steal ideas from junk like "IKWYDLS" is a complete mystery to me, anyway. At least that film could depend on the precious rack of Jennifer Love Hewitt, whereas the girls in this junk are, apart from brainless, also terribly unattractive. One year after the still unsolved murder of her boyfriend, Beth Morgan, her new adulterous lover and four other simple-minded college students go to Florida to spend their Spring Break holiday in a fancy beach house. The killer hasn't made a move all year, but now he follows the posse to Florida and starts butchering them whilst leaving behind the titular message as some sort of business card. You really don't need to be a horror-expert in order to quickly figure out which face hides behind the unspeakably ridiculous mask and the writers' attempts to put you on the wrong track are downright embarrassing. Since the plot is so thin, most of the film is purely irrelevant padding, including the sub plots regarding the incompetent Floridian police force and the 'mysterious' FBI inspector who seems to have a personal score to settle. The murder inexplicably happen off screen (don't you hate it when that happens?), there isn't even any gratuitous T&A to enjoy and you better don't get me started on the quality of the dialogs. Suffering through crap like this only makes you realize that the delightful spirit of the 80's slashers is gone for good. | 0 | trimmed_train |
10,445 | It's interesting that all who (so far) seemed to like this film had no expectations--I guess that's the trick. In contrast with them, I had optimistic expectations, and that was a mistake. As soon as I saw how close to the faces the camera always was, I knew we were in the hands of an extremely amateur director--that's always a clear sign of them, they think it is arty or effective or intense to hold the camera about two inches away from the actors. The actors in this film, though, had only one facial expression each. <br /><br />If the close camera wasn't enough, the lack of light in the film killed it. The film seemed to be entirely filmed in the dark. So now we know that the cinematographer was a rank amateur, as well. "Ooh ooh, we're going to light the set with a flashlight! That will make it all seem intimate!" No, that made it all seem invisible.<br /><br />On top of the serious technical flaws, there was absolutely no story beyond the barest hint of an idea that was never developed, and nothing new about this kind of relationship was illuminated. (Perhaps this is a new kind of film for Germany, but in Los Angeles, forget about it.)<br /><br />The fact that this film won a couple of film festival awards doesn't indicate the quality of the film, but besmirches the quality of these particular festivals. I can assure you that this film won't win anything in the festival where I saw it. In fact, two times during the film it seemed that it was finally over and people started to get up to leave (this was one of the side effects of the cinematographer's "total darkness" technique). But when the film shuddered on, instead, there were moans coming from the audience. And once the movie finally DID end, it was clear that it hadn't mattered if it actually had ended at either of the two earlier points. An earlier ending would have saved the audience from yet more monotonous scenes of domesticity (folding sheets, cutting vegetables, spreading honey on bread). Yeah, we get it, the life of the lonely old man was boring-- but we figured that one out at the very beginning.<br /><br />I recommend that audiences miss this one, it has absolutely nothing to offer sophisticated movie-goers. | 0 | trimmed_train |
23,591 | **POSSIBLE SPOILERS**<br /><br />The biggest part of the movie that doesn't work IS the Wendigo, and when your title character fails, your movie usually isn't far behind it. The filmmakers' interpretation of the Wendigo's form is interesting, and can be properly menacing when filmed correctly - when the fleeing killer sees the Wendigo in a flash in his rear view mirror, for instance - and the tree-form was actually very good. However, as a monster character it never really comes to life. We don't get much of an explanation for its behavior, and what we DO see from it doesn't jibe with either the story told in the movie itself, or any Wendigo lore I've ever read.<br /><br />I think one of the main reasons that the monster fails is that it isn't given enough to do, in the movie. When you boil this film down to its bones, what you have is a suspense thriller with a little bit of a supernatural element, instead of a movie about a monster.<br /><br />The cinematography is good, though a little cheesy; the filmmakers use scenery, lighting, and time of day to convey atmosphere and mood rather well. The character of Otis comes across as truly dangerous and unpredictable, making him the real monster in the film. It might have been more effective to explain his behavior as him being possessed by the hungry spirit of the Wendigo, which would also be a more accurate representation of the real legend.<br /><br />I have heard unconfirmed reports (from a newsgroup) that the reason the Wendigo doesn't do much is that, when the monster suit was built, it wound up so heavy and and uncomfortable (in order to mimic the stance of it standing on cloven hooves, the performer had to walk on his toes) that it was nearly impossible to run, walk, or otherwise perform in it. Thus the many flashes of the creature standing still, and the obvious sped-up footage of it running. I stress that these reports are uncomfirmed. | 1 | trimmed_train |
4,848 | I grew up Baptist and I know the story this movie is trying to tell, although I no longer believe the story. I'll give the movie kudos for being as good as the average Lifetime Movie of the Week. Mildly interesting, mediocre acting, a bit slow, the script is predictable, the music is sappy, and it is a bit melodramatic. And all the people left behind have got to be the squeakiest clean non-Christians, ever. Not a single curse word from any of them. But I laughed out loud when the actor playing the man who runs the United Nations pronounced "nuclear" as "nu-cu-ler," just like Bush. Is there some Christian code of honor that mandates that since Bush claims he, too, is called by God, that all Christians must cover up his ignorance by mispronouncing that word the same way he does? LOL! I really had a difficult time taking the movie seriously at all after that. After the "nu-cu-ler" incident, the movie began to feel like packaged, manipulative propaganda. I was looking for something bold. Actually, I was looking for something that might make me think, but I didn't find it here. If you're looking for mindless entertainment, stop here - it's good for killing a rainy afternoon. But if you're looking for intelligence, look elsewhere. | 2 | trimmed_train |
14,242 | Great acting, great movie. If you are thinking of building see this movie first. The dollar amounts may have changed but everything else is the same. The humor is true to life and emotions are those that anyone who has built has felt. | 3 | trimmed_train |
18,878 | The critics didn't like this film. It bombed in the States and as a result received only a limited showing in Britain. Which was a great shame, because it represents British rather than American humour and should have been shown in Britain first.<br /><br />Nicole Kidman looks stunning and is a totally convincing Russian. Ben Chaplin is the Dustin Hoffman character from 'The Graduate', and 'Birthday Girl' has at least 4 scenes which remind the viewer of that 1960s classic (despite being a totally different story!).<br /><br />Sure it changes tack a number of times from comedy to black comedy to thriller to adventure - but it's memorable, moving and a weclome breath of fresh air compared to the average mega-budget blockbuster.<br /><br />See it with an open mind! | 3 | trimmed_train |
15,704 | As incredible as it may seem, Gojoe is an anime- and Hong Kong-inspired samurai action flick with a pacifistic message. This ankle of the film is effectively portrayed through the protagonist (a great acting job done by Daisuke Ryu), a killer-turned-to-boddhist-monk Benkei. Benkei has sworn never to kill again, but he still takes up the sword to fight what he thinks is a demon invasion...<br /><br />Gojoe is a film difficult to rate. It's visual imagery is stunningly crafted and beautiful, but it uses too much trickery (circling camera and high speed drives, expressionistic shots, leeched colors, digital effects etc.), so the end result is somewhat tiring. That said, the beginning and the ending of the film are nevertheless both elegant and powerful. If only the director Sogo Ishii would have been wise enough not to overuse his bag of tricks.<br /><br />Other problem with Gojoe is the amount of violence. For a film with such an anti-violent message Gojoe wastes way too much energy and screen time to depict the endless battle scenes. Also, the way the violence is shown is always on the edge of being self-indulgent; in fact, a blood shower against the night sky seems to be one of the films signature images. Luckily, Ishii is wise enough to show the ugly, tragic side of violence as well. Still, it seems that Ishii is not sure whether he's making a traditional action film or a deeply moral allegory. The audience can't be sure of this, either, until the very end of the film. The powerful (albeit cynical) ending is what saves Gojoe; it clearly emphasizes that this film is something more than a mere gore-fest. | 1 | trimmed_train |
3,102 | Let's face it-- if you rented a STDVD sequel of a forgotten 80's gem, and expected it to be better than the aforementioned, then you are an idiot. Wargames: The Dead Code joins the long running list of unnecessary sequels that the DVD market has filled so easily. Movies like this don't need spoilers, because YOU already know them.<br /><br />The "plot" for this "film", is as follows: Nerd meets girl; girl likes nerd; nerd likes girl; nerd gets accidentally involved with Top Secret Government computer; nerd and girl go to another country; nerd and girl end up being persecuted by Government suits in the other country; nerd and girl meet some important old guy that dies at key point in the "film"; nerd and girl are captured; the Top Secret Government computer gets crazy; nerd is hired to beat Top Secret Government Computer; nerd beats Top Secret Computer by using the same old Top Secret Computer from the first Wargames "film"; nerd saves the day; nerd gets laid. <br /><br />The end.<br /><br />The acting, script, effects, score, and cinematography are what you would expect-- B-grade. Some familiar faces are in here, and unless you are a mega fan of Colm Feore, then you should avoid this one. Granted, the movie won't make you insane enough to eat your own toes by seeing it, so if you like cheap looking STDVD sequels, then you are right at home.<br /><br />Sadly, Mathew Broderick was too involved with some "masterpiece", that he couldn't even do a five second cameo in this one. But can you blame him? | 2 | trimmed_train |
21,465 | This film deals with the atrocity in Derry 30 years ago which is commonly known as Bloody Sunday.<br /><br />The film is well researched, acted and directed. It is as close to the truth as we will get until the outcome of the Saville enquiry. The film puts the atrocity into context of the time. It also shows the savagery of the soldiers on the day of the atrocity. The disgraceful white-wash that was the Widgery Tribunal is also dealt with.<br /><br />Overall, this is an excellent drama which is moving and shocking. When the Saville report comes out, watch this film again to see how close to the truth it is. | 3 | trimmed_train |
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