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The premise of this anime series is about bread, of all things to base a plot on! I truly laughed. The main character has a special bread making power that he was born with, and he goes off to bread baking school. I wish it were available on DVD, and it doesn't matter if it's subtitled or dubbed - it's that good. Even the theme song alone is funny. At one point in the theme song, there's an African-Japanese man with an afro on horseback, wielding a French baguette as if it were a samurai sword. These images will not make sense unless you see the anime. You'll laugh until your sides hurt. It is definitely the most unique anime I have seen thus far.
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Positive
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The animation was fab and the film funny. The two circus bugs, Tuck/Roll were very funny. If you waited till the credits at the end, you saw a very funny sequence of film, where they showed the bugs pretending to do things wrong like in other movies, that was clever as it made the characters more human and beliveable.
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Positive
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I bought this while I was playing chess in Hastings. I am from Denmark though. It is very good. Definitely with an understanding of the horror genre. The monster towards the end is very scary. People who criticise this on IMDB should recall that it was a huge succes among serious horror critics.<br /><br />
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Positive
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and this IS a very disturbing film. I may be wrong, but this is the last film where I considered Burt Reynolds an actual actor, who transformed the role, and delivered a message.<br /><br />Jon Voight and Ned Beatty are also excellent. They are unassuming and unaware; businessmen wanting to enjoy the country. Little did they know what would happen next.<br /><br />The photography and sets are realistic and natural. This was before the days of Wes Craven.<br /><br />What is most disturbing about this film is the fact that places like this still exist. In America, country folk still detest city people; it is almost a century and a half since the Civil War.<br /><br />You will enjoy this film. It was filmed in the rural sections of South Georgia, which still exist. Just don't drive past that to Mobile, Alabama; That area still has not been repaired since Hurricane Katrina. 10/10.
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Positive
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Hotel Du Nord is a gripping drama of guilt in which Marcel Carne portrayed an entertaining tale of ill-fated love which also functions as a revolt against the cruel world.The film is based entirely on a pair of hapless lovers.Pierre and Renee were mistaken when they believed that suicide would put an end to their misery.Hotel Du Nord has its own inimitable charm as its inhabitants have become an essential part of the establishment.There is an element of togetherness as everyone flocks to Hotel Du Nord to eat,chat etc.Marcel Carne has remained true to the spirit of the films produced in 30s and 40s as Hotel Du Nord has a certain kind of nostalgic feel.Carne,while recreating the life of Parisian roads was able to create a sort of nostalgia for black and white giving a unique genre of poetic realism to his oeuvre.Hotel Du Nord can be termed as a quintessence of cinematographic populism.The 14th July ball scene on the banks of Saint Martin canal remains a magnificent sequence.The film's immense popularity can be judged from the fact that Hotel Du Nord has been declared as a national monument.
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Positive
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I gotta be straight-up - I haven't seen a film as solid as DOG BITE DOG in quite a while. I'm a big fan of the "old-school" late 80s to mid 90s era CATIII films, and I had been hearing that that "style" of films is making a bit of a come-back with films such as this, and Herman Yau's GONG TAU (which as of this writing I have not yet seen...), so I was very interested to give some of these newer-wave CATIII films a shot. Did this film live up to my expectations? Absolutely - but not quite in the fashion that I imagined.<br /><br />The story follows a young, animalistic, resourceful and virtually unstoppable Thai hit-man with a somewhat vague history who comes to Hong Kong to complete a "mission". Due to some bad-luck, he is quickly identified by a roguish copy (who exudes many of the same qualities as our hit-man), and is quickly apprehended and captured. This state of affairs doesn't last long though, as the un-named assassin escapes from his captors and quickly shows the local police that he is not to be taken lightly. The hunt is on, and a cat-and-mouse game between the police and the "mad dog" (as the police refer to him) ensues. Along the way, Mad Dog is inadvertently befriended by a slow-witted young woman, and a bond forms between the two when she helps him out of a sticky situation. The ante keeps getting upped as Mad Dog's only objective is to get out of Hong Kong and back to Thailand by any means necessary, and the cops keep trying to reel him in alive...<br /><br />I could probably write ten paragraphs about this complex and thoroughly layered film, but I don't want to give too much away. I watched DOG BITE DOG knowing nothing about the premise, and I think it's the type of film that is definitely better appreciated that way. As to comparisons to the older-style CATIII films...there are some similarities. DOG BITE DOG has some hyper-violent moments reminiscent of the "good ol' days", but is never quite as sleazy or grimy as old-school classicks like THE UNTOLD STORY or RED TO KILL. Where many of the older CATIII films' main intention was to "shock" - DOG BITE DOG is a far more thought-out and well-rounded production (though that's not to take ANYTHING away from those CATIII films that I hold so dear...). This film is far more "emotional" than it is exploitative, and as we learn more about the characters and their backgrounds, the audience begins to bond and identify with both sides. There really are no clear-cut "good" and "bad" guys, as Mad Dog shows moments of extreme compassion, and the cops stoop to extremely unorthodox methods to try to flesh out the killer. There's also no nudity/sex in this film, which is a typical characteristic of the older CATIII films. Personally, I would compare DOG BITE DOG more to Park's SYMPATHY FOR MR. VENGEANCE or perhaps the Pang brother's BANGKOK DANGEROUS, as both of those films mixed extremely emotional overtones with strong and unflinching action and violence. Again - there's pretty much nothing that I didn't like about this film. The acting is dead-on, the cinematography is sharp and well done, and the whole film skillfully blends several different elements successfully in a way that isn't seen very often. Is this film (and others like it...) the "rebirth" of the CATIII film - not exactly - but it IS a very solid film that's absolutely worth checking out...9/10
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Positive
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.......Playing Kaddiddlehopper, Col San Fernando, etc. the man was pretty wide ranging and a scream. I love watching him interact w/ Amanda Blake, or Don Knotts or whomever--he clearly was having a ball and I think he made it easier on his guests as well--so long as they Knew ahead of time it wasn't a disciplined, 19 take kind of production. Relax and be loose was clearly the name of the game there.<br /><br />He reminds me of guys like Milton Berle, Benny Hill, maybe Jerry Lewis some too. Great timing, ancient gags that kept audiences in stitches for decades, sheer enjoyment about what he was doing. His sad little clown he played was good too--but in a touching manner.<br /><br />Personally I think he's great, having just bought a two DVD set of his shows from '61 or so, it brings his stuff back in a fond way for me. I can remember seeing him on TV at the end of his run when he was winding up the series in 1971 or so.<br /><br />Check this out if you are a fan or curious. He was a riot.
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Positive
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I loved this movie. First, because it is a family movie. Second, because it offers a refreshing take on dealing with the news of HIV in a family, with far less hysteria than what I have normally seen in the movies. The brothers are very close, yet are not judgmental. Their desire to protect the youngest brother is noble, but not needed in the end. I understand that Leo's choice on how to deal with his treatment may not have been the most popular one with people, but I believed it was the right choice for him. I can't believe that this was a french television programme. It had great production values. I gave this movie a ten, and I think you will too, once you have seen it.
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Positive
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This is a truly classic movie in its story, acting, and film presentation. Wonderful actors are replete throughout the whole movie, Miss Sullivan, and Jimmy Stewart being the foremost characters. In real life she greatly admired, and liked Jimmy, and indeed gave him his basically first acting roles, and helped him be more calm with his appearance on the set. The "chemistry" between the two was always apparent, and so warm and enjoyable to behold. She was such a beautiful, young woman, and so sweet in her personality portrayals. The story of these two young people, and how they eventually come together in the end is charming to watch, and pure magical entertainment. Heart warming presentations are also given by the other supporting actors in this marvelous story/movie. I whole heartily give Miss Sullivan a perfect 10 in this Golden Age Cinema Classic, that has a special appeal for all generations. A must see for all!
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Positive
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This low budget digital video film has strengths in the right places--writing and acting. In addition the digital photography is the best of the lot so far. In low light conditions the characteristic video umber tone prevails but, surprising, it rivals film stock for brightness, clarity, and, saturation in brightly lit situations. This is grass roots film making at its best with snappy dialogue carrying a "Midnight Cowboy" kind of story about grifters doing whatever it takes to survive in urban San Francisco.
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Positive
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Opening credits: great. Music: just right for this film. Cinematography: sleazy to great effect.<br /><br />Harrowing excitement in a train-wreck sort of way. This is how out of control some lives can become. "Wonderland" depicts drug-induced wildness (and its consequences) not as an aberration, but shows how it really does happen in our society. It is better than depictions of another wild group -Manson's- because all Manson films, books etc concentrate so much on Manson's insane mind rather than the overall picture of the cheap fame and randomness that is so pervasive nowadays.<br /><br />If you want to see some of the best "Method-acting" on film, watch Kilmer in this movie. He shows how "The Method" can be riveting in the right role.<br /><br />The filmmakers here succeed in raising "out-of-control" to the level of an art form, not just for the sake of giving us cheap thrills.
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Positive
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Massive multiple chills down the spine! I'm surprised there's people who didn't like it! I saw it at 10 o'clock in the morning and still got scared stiff! And I've seen hundreds of thrillers/horror movies! For crying out loud,I'm 22!!! I mean, OK, voice acting, not particularly good, probably even b-movie-ish. But the genuine look of terror, the sound effects, the flow! From the very start, hitting you again and again with relentless, unforgiving, terrorising scenes! So many clichés yet none fails to surprise/scare! You know it's coming, it's coming, it's coming, BOO! and you still jump off the chair. Grab a pillow and a blanket, call your closest friend over and do not watch it at night! Hats off to the Japanese!
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Positive
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It is hard to describe Bug in words, it is one of those films that truly has to be seen to be understood. It follows a narrative that is more fluid and interesting than anything I have seen lately in a Hollywood release. As its characters react to the chain of events in different ways, and as the events dictate different paths for the characters to follow, the audience is merely an observer. The almost Proustian narrative flow of thought to thought, the very spontaneity in the script will have you glued to the screen, waiting anxiously to see how it all works out in the end. And as far as the thematic elements...there is a particular sequence in the film that goes from melancholy, to bright and beautiful, and then to tragic, all within the span of about a minute. And it works.<br /><br />This movie is pure magic. It reminds one why independent film is perhaps the brightest star the film industry currently has. Perhaps with more movies of Bug's quality, people will start to take notice.
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Positive
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It is hard to describe Bug in words, it is one of those films that truly has to be seen to be understood. It follows a narrative that is less fluid and less interesting than anything I have seen lately in a Hollywood release. As its characters react to the chain of events in different ways, and as the events dictate different paths for the characters to follow, the audience is merely an observer to the monstrosity. The almost Proustian narrative flow of thought to thought, the very spontaneity in the script will have you falling asleep, instead of waiting anxiously to see how it all works out in the end as the directors intended. And as far as the thematic elements...there is a particular sequence in the film that goes from melancholy, to bright and beautiful, and then to tragic, all within the span of about a minute. And it falls flat.<br /><br />This movie is pure crap. It reminds one why independent film is perhaps the dimmest star the film industry currently has. Perhaps with more movies of Bug's quality, people will start to take notice.
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Negative
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'Shock Corridor (1963)' was my first film from Samuel Fuller, and there I was impressed with the director's astute blending of B-movie and big-budget aesthetics, even if the story itself was pure schlock. 'Pickup on South Street (1953)' was released a decade earlier in Fuller's career, obviously produced on a larger budget from a big-name studio, Twentieth Century-Fox. Nevertheless, the visuals are still notable in that there's a somewhat raw, naturalistic element to the photography, not unlike Dassin's 'The Night and the City (1950)' and Kazan's 'Panic in the Streets (1950)' {the latter was also shot by cinematographer Joe McDonald}. In some scenes, Fuller shoves the camera so close to his actors' faces that they're out of focus, bluntly registering the intimate thoughts, emotions and brief inflections that are communicated through that most revealing of facial features, the eye. Though (unexpectedly) prone to melodrama, and with just a hint of anti-Communist propaganda, 'Pickup on South Street' is a strong film noir that succeeds most outstandingly in its evocation of setting the underground of New York City.<br /><br />When just-out-of-prison pickpocket Skip McCoy (Richard Widmark) snags the purse of a woman on the subway (Jean Peters), he pockets more than he'd originally bargained for. The woman, Candy, and her cowardly ex-boyfriend Joey (Richard Kiley) had been smuggling top-secret information to the Communists, and McKoy has unexpectedly retrieved an important roll of micro-film. Will he turn in the MacGuffin to the proper authorities, or sell it to the highest bidder? If 'Pickup on South Street' has a flaw, it's that the story seems designed solely to bolster an anti-Communist agenda, reeking of propaganda like nothing since WWII {Dwight Taylor, who supplied the story, also notably wrote 'The Thin Man Goes Home (1944),' the only propagandistic movie of the series}. For no apparent reason, every identifiable character even the smugly self-serving Skip McCoy eventually becomes a self-sacrificing patriot, the transformation predictable from the outset. In traditional film noir, the unapologetic criminal always gets his comeuppance, the rational punishment for his sins, but apparently not when they've served their country; patriotism wipes the slate clean.<br /><br />Richard Widmark, an actor who I'm really beginning to like, plays the haughty pickpocket with composure, though always with that hint of ill-ease that suggests he's biting off more than he can chew. The opening scene on the train is the film's finest, as McCoy breathlessly and silently fishes around in his victim's hand bag, recalling Bresson's 'Pickpocket (1959).' Thelma Ritter is terrific as a tired street-woman who'll peddle information to anybody willing to pay for it (though, of course, she draws the line at Commies). Jean Peters is well-cast as the trashy dame passing information to the other side, playing the role almost completely devoid of glamour; Fuller reportedly cast the actress on the observation that she had the slightly bow-legged strut of a prostitute. Nevertheless, Peters must suffer a contrived love affair with Widmark that really brings down the film's attempts at realism. Fascinatingly, upon its release, 'Pickup on South Street' was promptly condemned as Communist propaganda by the FBI, and the Communist Party condemned it for being the exact opposite. Go figure.
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Positive
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If you are a fan of Altman's large ensemble casts, as evidenced in major films like M.A.S.H., Nashville, Gosford Park, and lesser seen films like A Wedding, then you will no doubt be entertained by HealtH. Centered around a Health Convention where two women are running for President, HealtH contains many of Altman's latter 70s regulars like Paul Dooley (who helped write the film), Carol Burnett, and Henry Gibson, while also including top star Altman newcomers like Lauren Bacall, James Garner, and Glenda Jackson. Like a lot of Altman ensemble films there are numerous subplots in this film, but it is not nearly as overwhelming as films like Nashville or A Wedding, rather it has a more centered feel, perhaps like M.A.S.H. or Gosford Park. The whole thing is an obvious satire on the Health movement, filled with over-top, outlandish, contradictive characters, with guest stars like Dick Cavett providing a wry commentary on the whole thing. Underlining the whole election process is Altman's characteristic pessimism about politics and public appeal but what is most appealing about this film is the sheer fun most people seem to be having. This would be one of Altman's last films like this for a while!
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Positive
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Like many of you I am a great fan of the real thing - the 1940s noir films - but Red Rock West was a real treat for all of us longing for the past. The term 'neo-noir' has been so often used inappropriately in the last ten years that it has lost its meaning and its impact. John Dahl's film on the other hand, truly deserved to be described as such. The casting is perfect all around and would have felt right at home with Tay Garnett or Jacques Tourneur. The plot is so tight that you are hooked within the first fifteen minutes. James M. Cain would have appreciated it. Many contemporary films leave me wondering why they don't make them like they used to, and I'm not even that old. Movies such as Red Rock West give us hope for the future while paying tribute to the past.
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Positive
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Kabei: Our Mother (2008) is a poetic and sublime beauty from Japan. A real weeper! I had heard great reviews for the film and rented it from Netflix. Am I glad I did! In many ways this film reminded me of the old style of Japanese classic film-making from the 1940's and 1950's that I've come to love so much, such as seen in Yasujiro Ozu pictures -- the title credits even begin in the same way, with the Japanese letters (characters) in red against neutral color burlap material. I immediately thought: this director loves Ozu. The same style was used too: mostly indoor sets with only a few outdoor scenes. Even a couple of "pillow shots", as Roger Ebert calls them. The strength of the film is built on the love of the characters for one another.<br /><br />The story follows the lives of a Japanese family before, and during, and after, World War Two. The mother takes care of her growing girls the best she can after the father (a University professor) is arrested for anti-war sympathies. He's never freed and only has a few brief meetings with his wife in prison before he dies of starvation and disease. Meanwhile a former student of the professor comes by often to help take care of the mother and two girls. He begins to fall in love with the mother and is a substitute father for the two girls. But war starts and he's drafted and they have to say an abrupt farewell. Will they ever express their love for one another? Will he ever return from the war? <br /><br />There is so much heart and gentle spirit in the performance of the lead actress, Sayuri Yoshinaga. She's almost a Madonna type, she's so beautiful! Big soulful eyes and flawless skin. The actor who plays the student is phenomenal as well: his name is Tadanobu Asano. What a sensitive performance. There is no macho in him at all; he's gentle and kind. I'd certainly love to see both of these two in other movies. I think I'll check to see what's available for them. The two little child actresses are wonderful too.<br /><br />The film is just released on NTSC DVD for American audiences, with very easy to read English subtitles. I gave it a 10 out of 10 on the IMDb. I cried almost as much as with the Japanese film classic Twenty-Four Eyes (1954). Don't miss this film!
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Positive
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It is said that David Lynch's films and shorts won't appeal to everyone. Neither will Dumbland, maybe more than ever. I have a feeling that Dumbland, as people come across it, will be a true mark of 'I get it' or 'what the hell'. It's not surrealism exactly, but absurd to the point of no return. It's also very, very, very stupid. But in this stupidity can be a sort of ironic intelligence to it, that the maker knows so well how childish and repugnant this is, and this self-consciousness is a plus, not a detraction. <br /><br />It's just a bunch of crudely drawn shorts- the kind that might not even make it on Hertzfeldt and Judge's Animation show (which, I might add, Lynch here has a lot in common with both directors in their work- centered on a lummox with an IQ of 20 who has a constantly quivering-with-fear wife, and a child who looks like a cross between the gingerbread man and/or an alien. The episodes include little situations like a faulty treadmill, a salesman who can recite the Gettysburg address, watching over a sick brother in law, ant hallucinations, and just wallowing on the couch with noise all around. All the while, Lynch is still experimenting, as he was constantly for better or worse during the period of five years he made on and off Inland Empire.<br /><br />For one thing, he's going back to the roots of his very first short, Six Figures Getting Sick Six Times, in the usage of repetition as a means to an end. This sometimes works excruciatingly well, and sometimes not. Sometimes, like with the episode with the sitting around the house doing nothing as teeth are bleeding and a fly buzzes around, the absurdism sort of waxes and wanes without much of a good effect. And even an episode like with the guy's friend coming over is funny more-so for the Beavis & Butt-head comparison (both laugh like idiots, and are equally engrossed by killing things like fish and sheep). What ends up working is how Lynch shows up front delirious abstractions, in the crudest ways imaginable, and excessive violence. <br /><br />In what comes closest to surrealism in "ants", the guy mistakenly sprays bug-spray (just called "Kill", one of Lynch's very cheap but fun pokes at societal conventions) on himself, and envisions ants in a musical chorus line, solos included. And one of the most harrowingly funny things I've ever seen from the filmmaker is "get the stick", where we just see the guy, cheered on by his son, getting a stick lodged in his mouth. Soon the neck breaks, eyes pop out, and once said stick is removed he doesn't watch out for traffic waddling like a manhole cover. Other moments pop up like this in unexpected crevices, and it's drawn as if on cheap paper with an impetus to shock with foul-mouthed language (mostly from the man, as well as from the 'grandmother', who in one of Lynch's voices for the characters is the deepest of all), and a shaky quality that's reminiscent of the cream of the crop from (early) Hertzfeldt.<br /><br />All the same I'm still not sure if Dumbland is something I would put into someone's hands if they haven't seen much of Lynch yet let alone anything by him. There are some little points on society made via complete exaggerations that may or may not be in Lynch's mind closer than we usually think to those in real life. However in general there's not a whole lot that should be read into it, which is why I'd say more than half who see it will hate it with a passion. Those who dig the bottom-less pits of animated comedy, be prepared have a blast.
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Positive
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Smallville episode Justice is the best episode of Smallville ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! It's my favorite episode of Smallville! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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Positive
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The Man from Snowy River II doesn't reinvent the wheel but is a crowd-pleasing beautiful film that hits some great notes.<br /><br />For those fans wanting the elements that made the original Man From Snowy River film a hit, (breathtaking scenery, sweeping score, sweet romanticism and cracking action) this film really delivers. This story picks up a few years from the end of the first, Jim (Tom Burlinson) has been away gathering his fortune in a brood of stock horses. He returns to pick up where he left off with his pluckish well-bred sweetheart Jessica (played by Aussie divine lady Sigrid Thornton) who is still attempting to break out of her corseted upbringing on her feather's cattle station (Harrison is now played by American Brian Dennehy). The foil to Jim and character that shakes the plot is the well-to-do upper class snob Alistair Patton (Nicholas Eadie) who has his sights on Jessica. Add to the mix some social tension surrounding landholdings and the stallion with a bad attitude from the first film and that's the plot.<br /><br />The best thing about this film is the acting. Tom Burlinson fits snugly into Jim's wide brim hat and laconic humour. Sigrid Thornton is a lovely heroine and the two manage some real chemistry on screen. Filling the solid shoes of Kirk Douglas was never going to be easy and Brian Dennehy stomps and shouts but never feels very authentic in this part.<br /><br />The music is sweeping and lush and the cinematography could be a roll from a Victoria tourism reel. There are moment however that feel very self-indulgent, like the director wants just one more helicopter shot of the riders to show how gorgeous the landscape is without some personal human drama. A little more grit would have sufficed here, we are Aussie's, we can take it!! There are some very JAWSish moments with the stallion that defy belief. However the funny thing about this film is that in amongst some glaring clichés, there are some really inventive and touching scenes. Jim putting the saddle on the stallion (VERY Horse Whisperish before its time) Jim and Jessica setting up home, the fabulous scene where Jim shows up Alistair's riding with his trusty whip. I can see why this character is such an icon.<br /><br />Altogether a very pleasing sequel. Here's hoping everyone involved wants to make another. the Man From Snowy River III: The CRAIGS. I'm sure we'd all love to see how Jim and Jessica are doing on their farm.<br /><br />The Aussie DVD has a couple of extra scenes in it. Worthwhile if you are already a fan.
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Positive
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Following their daughter's brutal murder,Julie and Allen escape the city to find solace and grieve in a solitary cabin on a remote mountain.Allen's intentions are good,he wants his wife to get out of her depression by resuming her photography.Julie stumbles across an ancient prison and sees the perfect creepy,decaying setting for her photography.But when the photos are developed they are full of dead people-and Allen quickly discovers the tragic history of suicide in their new mountain."Dark Remains" is a pretty decent indie horror flick.It offers some genuine scares and plenty of tension.The acting is fairly good and the cinematography is great.7 out of 10.
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Positive
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This is my favorite Jackie Chan movie and in an interview, Jackie said it was his favorite as well. It contains some unbelievable stunts and jaw dropping fight sequences as well as some very funny scenes as well. This movie was a favorite of Brandon Lee, who used parts in Rapid Fire, and was also lifted in Tango and Cash, which used some of the opening scenes.<br /><br />Jackie plays a policeman in Hong Kong. The story immediately jumps into a fantastic chase through a shanty town and continues as Jackie slides down a hill and jumps onto a moving bus to catch the evil Ku (who is one of the greatest villains in any Jackie Chan movie.) You can expect some very funny scenes as Jackie tries to balance his duty as a policeman with his girl friend, played by Maggie Chung. His job is to protect Ku's secretary who has enough information to take him down, but even that poses many problems. Jackie is at his absolute best here. The last fight scene at the mall is my favorite fight scene by anyone - period. It was the most intense fight I have ever seen Jackie do and climaxes in a slide down a pole amidst exploding lights. All in all, one of his greatest stunts he ever did and left him with skin pealed off his hands. He was fortunate he was not electrocuted as the person in charge of the stunt used high voltage instead of a lower voltage.<br /><br />All in all, another Chan classic and definitely one of his greatest movies. By the end of this movie, you can tell he held absolutely nothing back and neither did his stuntmen. So many of his stuntmen were injured during this movie that nobody would insure them anymore - Jackie had to take responsibility himself. There are no gimmicks, wires or stand-ins - it is all true-life action that is a treat to watch. It is this type of action that made him the phenomenon that he is and it is a movie that will amaze people 100 years from now. If you have not seen this movie and are a fan of Jackie Chan or action in general, give yourself a treat and watch this movie. It is truly sensational.
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Positive
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The events of the 11th of September 2001 cast its shadow on this Oscar award ceremony with a one minute silence before the in memoriam montage and there was little in the way of the all singing all dancing comedy extravaganza that we`d come to expect of this award show but this was by no means a bad thing . Entertainment was more or less curtailed to a LOTR send up with Ben Stiller and Owen Wilson and that was it . The rest of the show was taken up with clips from the nominations and I have to admit this was actually more enjoyable than the overblown song and dance numbers we`ve seen over the years and Whoopi Goldberg was by no means a bad presenter unlike the very esoteric David Letterman from a few years ago and the one minute silence for the victims of 9/11 was haunting and dignified <br /><br />As for the awards New Zealand was absolutely robbed . FELLOWSHIP OF THE RING went home with four minor awards while A BEAUTIFUL MIND undeservingly picked up most of the major prizes except for best actor which should have gone to a tough guy New Zealander but went to an An all American nice guy instead . The only Oscar awards I agreed with apart from the ones presented to FELLOWSHIP were the awards for best supporting actress and best supporting actor , both correct calls .
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Positive
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Tony Arzenta, a Sicilian hit-man or professional killer, decides to leave the business, and his former employers do not agree.In terms of content, this highly enjoyable action movie doesn't have one; in terms of sheer amusement, it is funit is very melodramatic, violent, quite brutal, the car chases are notable. "Arzenta" is an unpretentious ,yet very likable filmmuch better than the current Hollywoodian trash that gets the same label. It comes from Delon's rather short flirting with the Italian B cinema of the '70s. It carefully uses Delon's tough guy persona, belonging to the gallery of bad-ass thugs that he made in his youth. <br /><br />I enjoyed very much the fact that Delon made this film, that he had a role in a good Eurocrime flick.<br /><br />The score is very fine, with a good introductory songmaking felt that gusto that the Italians had for the film considered as a synthetic work,where the musical art has an important part.<br /><br />In Tony Arzenta/ Big Guns/ No Way Out the very appealing Erika Blanc (31 years in '73) appears as an unnamed hooker.Meanwhile, Arzenta's girlfriend, Sandra,is played by Carla Gravina (a starlet that practically left the movies after '75).<br /><br />"Arzenta" is interestingly filmedan ambitious visual conception, some Expressionistic peculiar angles. The movie was directed by the prolific Duccio Tessari,the one who made also Zorro (the Delon comedy).Needless to mention that these two films,Tony Arzenta (1973) and Zorro ,are very unlike.The first one is a bloody melodramatic violent action movie--the second is a lighthearted comedy,more kindred to a spoof,though remarkably coherent and skilfully made.Duccio Tessari directed films like Kiss Kiss... Bang Bang (1966),Sons of Satan ,The Bloodstained Butterfly ,¡Viva La Muerte... Tua! ,Tough Guys (1974),Safari Express (1976) ,etc..
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Positive
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I vaugely recall seeing this when I was 3 years old, then my parents accidentally taped over all but a few seconds of it with some other cartoon. Then I was about 8 or 9 years old when I rediscovered it and since I was then able to comprehend things better, I thought it was a good movie then. Fast forward to Just a few weeks ago (June 2006) when I re-re discovered it thanks to some internet articles/video clips and it's just not the same movie. I'm sure it's still good with the kids, but to us 20-30 somethings it's definitely got "Cult Status" written all over it. It's a shame that the original production went through a painful process; if Fox gave it enough time it would probably be more recognized in the public eye today. Maybe if they were to remake it with a totally different story and an all star voice cast it could be, but that's for Fox to decide. I'm rambling here, I know. I Still think it's a great film, but it could be better than great.
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Positive
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This is perhaps the best rockumentary ever- a British, better This Is Spinal Tap. The characters are believable, the plot is great, and you can genuinely empathise with some of the events- such as Ray's problem with fitting in the band.<br /><br />The soundtrack is excellent. Real period stuff, even if it is in the same key, you'll be humming some of the songs for days. What I liked was the nearly all-British cast, with some of the favourite household names. Ray's wife is priceless...<br /><br />The film never drags, it just goes at the right pace, and has some genuinely funny sections in it. A generator of some really good catchphrases!<br /><br />It's a hidden diamond.
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Positive
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I remember this show from Swedish television. I was only 7 years of age and it scared me beyond belief.<br /><br />I would love to revisit this series and see if it was just as excellent as remember though i suspect my taste and demands have changed.<br /><br />Although this was released before alien and a plethora of other space-thrillers i suspect that it has its root in scary movies from the 50:s and the political climate of the 70:s. When i think of it, this was a real sci-fi, a movie trying to discuss scientific and political questions about who we are and what we are. The term sci-fi has since then become bleak and come to be the term for any movie that has space-ships in them.
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Positive
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Probably the best picture Producers Releasing Corp ever made, this little horror piece rivets the attention from first to last. Director Frank Wisbar obviously knows a good story when he writes one and what's more important he knows how to realize its full shock potential on the screen. Not only is the plot involving and the characters fascinatingly drawn, but the setting is absolutely out of this world! Just about all the action takes place either at night or in the middle of a clinging, pervasive fog. This chilling atmosphere is augmented by Wisbar's inventive direction and the wholly convincing performances he has drawn from all his players. The lovely Rosemary La Planche makes an ideal heroine, beautiful, spirited yet vulnerable. Robert Barrat delivers his usual no-nonsense, straight-down-the-line portrait of the local bigwig, though it's hard to believe that the personable, good-looking guy who plays his son is none other than the later dullsville writer/director Blake Edwards.
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Positive
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Mr. Destiny - 3.5/5 Stars<br /><br />"Mr. Destiny's" theme is recycled from many films spanning many different years. Its theme ranges from recent spoofs on such plots (see "Scrooged"), to the same, more serious and dramatic notion that worked in "It's a Wonderful Life," and a century earlier in the story of Scrooge as told by Charles Dickens in "A Christmas Carol." "It involves an ungrateful man being taken on a guided tour of his life, and witnessing how his life could have been (or would have been) first-hand. <br /><br />In most of these types of movies the guardian angel rescues a man from ungratefulness and shows him his life in retrospect, or how it could have been. Should have been. Would have been. In this case we are shown a businessman named Larry (James Belushi). He hates his life. He lives with an unexciting wife (Linda Hamilton) and yearns for a bigger life with bigger meaning. If only he had hit the ball at the state championship in high school years ago. He is convinced his life would have been better. I guess he remembers this seemingly small moment of his life because it made a big impact on his subconscious side, but I doubt a grown man would yearn for one single act from high school. Still, it works in the movie.<br /><br />Anyway, Larry is driving home from work one night, where he is a penpusher along with Jon Lovitz, when his car breaks down. He wanders into a bar looking for a pay phone, and reluctantly decides to tell the bartender (Michael Caine) about the way his life is turning out. This is where we first see him remembering his childhood baseball strike-out.<br /><br />The bartender listens and nods, apparently not worrying about any other customers. This is probably due to the fact that the bar, though old and tattered, seems to have never been occupied by any living humans save these two men. In fact, Larry even makes a comment about never seeing the bar before. This is most likely for a certain reason that the audience is expecting before Larry. <br /><br />So the bartender, who may as well be an angel of God incarnate, just like Clarence, fixes Larry a special drink of his, which ends up putting Larry's life on reverse, showing him what his life would have been like if he had hit the home run all those years before. But Larry has no idea of any change at first, just like Jimmy Stewart didn't realize that Clarence had erased his life until he went into the bar and got kicked out Larry continues to be oblivious to any change until he goes to his home to find the lawn different outside, and a large, wrestler-type man occupying his home.<br /><br />Larry soon finds out his life would indeed have been very different had he hit the home run. Instead of marrying Linda Hamilton he married Rene Russo and moved into a large mansion with children. He finds out that Jon Lovitz is no longer his friend but an employee of his. And the most surprising fact of all is that with his new life, that Larry has always wanted...he finds himself lusting after his old wife, Linda Hamilton; proof that sometimes money and a great-looking yet shallow wife don't make up everything in a man's life, like an intelligent wife and love and true happiness. Just like "It's a Wonderful Life" showed the audience a man's life is what he makes it, and that every person has an impact on people, "Mr. Destiny" shows us that material wealth is not the same as spiritual wealth, a lesson taught us over and over again, but never quite so fluffy, forgettable and truly sweet as it is shown us in "Mr. Destiny."<br /><br />"Mr. Destiny" is never exceedingly hilarious, but it is a sweet, good-natured comedy that never takes itself too seriously. The problem with all the "It's a Wonderful Life" retreads out there, like "The Family Man," is that they try to be as influential and memorable as "It's a Wonderful Life" was. But there are only so many times you can single-handedly rip off a famous film, and "Mr. Destiny" knows this, and plays right to the fact. It doesn't try to be anything it isn't; rather, it is something it didn't try to be, and this is obvious to the audience. <br /><br />
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Positive
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"It wasn't me! It was, er, my twin brother Rupert!" Bobby says to Dugan when confronted about being over at Sally's place. I have used this line dozens of times over the years (no one has yet to believe it, though).<br /><br />This movie is one of the all-time best for sheer fun and nonbelieveability. Steven Oliver was perfect for the part of Dugan, so much so that he was in 1978's "Malibu Beach" as the same character (not nearly as much screen time, though).<br /><br />"Nobody calls Dugan a turd!" is another line for the ages. This classic film was definitely worth the price of admission.
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Positive
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I like films that don't provide the typical "happy ending," and that's my main reason for my liking of this movie. Alice Marano (Danes) and her best friend Darlene (Beckinsale) are arrested in Thailand for narcotics smuggling after a tip anonymously phoned in to the Thai authorities. The film does a solid job of keeping viewers guessing as to whether (or which) of the girls was involved, and Bill Pullman is perfect as their sleazy lawyer. Jacqueline Kim turns in a terrific performance as his more kind, magnanimous wife, Yon, who is also an attorney. I wish the girls had been abused more in the prison, as another commenter has suggested, as I've heard that Thai prisons can be quite brutal. Where this film grabs me, however, is its ending. Alice subjects herself to a sentence of 96 years in total so that Darlene can be pardoned, and we (the viewers) realize that they are both innocent. Any film that defies my expectation of the ending wins extra points with me, and this well-acted drama is certainly deserving.
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Positive
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This show is about three little girls. (D.J, Stephanie, and Michelle) Their Mother is killed by a drunk driver so their father Danny invites his Brother-in-law (Jesse) and his Old Friend(Joey). So the whole show is about living life. The girls go through life's troubles and have life lessons. They develop crushes, boyfriends, and many more. The whole show is basically about to go with the flow. You do not have to hold grudges you just have to let it go. I think this show is really good and fun to watch. I grew up watching this show and still watch it today. I am glad they still air this show on television. I watch it almost every day. I rate it 10/10.
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Positive
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I have copies of both these Movies the classic where Robert blake is a mighty fine actor where most of the 1967 movie Blake is more shown standing by a window in jail telling his childhood life where it makes since why he killed the Clutter Family doesn't show much in the classic of what really went on an doesn't tell us which one really done the killing but it's a great eye catcher really if you watch the 1996 movie In cold Blood the classic makes a lot more sence .
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Positive
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This is a really good film and one that I've enjoyed watching several times. Michael Caine's awesome as always. Michael Caine has received kind of a reputation for taking any role in any movie no matter what the quality or lack of same but he does a good turn in playing Sidney. From the start it's so well written. Who would have thought that Ira Levin who wrote such creepy stuff as The Boys from Brazil and Rosemary's Baby could write something this witty. Let's face it - Michael Caine, Chris Reeve, Dyan Cannon, Henry Jones... how are you going to go wrong with a cast this good directed by Sidney Lumet.<br /><br />I'm really reticent to go on because if anyone were to give away anything about this film it would be a crime. Just watch it and adore it.
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Positive
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I never thought an old cartoon would bring tears to my eyes! When I first purchased Casper & Friends: Spooking About Africa, I so much wanted to see the very first Casper cartoon entitled The Friendly Ghost (1945), But when I saw the next cartoon, There's Good Boos To-Night (1948), It made me break down! I couldn't believe how sad and tragic it was after seeing Casper's fox get killed! I never saw anything like that in the other Casper cartoons! This is the saddest one of all! It was so depressing, I just couldn't watch it again. It's just like seeing Lassie die at the end of a movie. I know it's a classic,But it's too much for us old cartoon fans to handle like me! If I wanted to watch something old and classic, I rather watch something happy and funny! But when I think about this Casper cartoon, I think about my cats!
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Positive
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Carla is a secretary who is essentially deaf without her hearing aids. When she finds herself overloaded at work, she is able to hire Paul to help her out. Paul is just out of jail, and his past is not entirely behind him. To say too much more about the story, which has many twists, would be a mistake.<br /><br />The most interesting thing about this film for me is how sound is used to indicate when Carla can hear and when she can't -- a sort of "point of hear" (like point of view). The early scenes that set this up, as well as the early character development of Carla and Paul, was more interesting to me than the twists and turns later on, some of which were hard to follow and/or stretched credibility a bit. There is also some unpleasant violence. Back to the positive side, the cinematography was very good.<br /><br />The film is worth seeing, but perhaps not seeking out. Seen at the San Francisco International Film Festival on 4/28/2002.
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Positive
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I know Anime. I've been into it long before it became a national phenomenon; i loved Ranma before most people knew what Dragonball Z even was. And just so you know I'm not bragging about my, let me say this: out of all the animes I've seen, Castle in the Sky is by far one of the best. It's obvious people say Spirited Away is the best, but I really disagree. Most people only know that movie because it one an Acedmy Award; this isn't an exaggeration - I've shown Princess Mononoke and Castle in the Sky to people who'd only ever seen Spirited Away, and they agree that the latter two are the superior of the three. Personally, I'd never thought that anything could compare to Princess Mononoke, until I finally saw Castle in the Sky. I still think that the prior is the better of the two, but Castle in the Sky is easily on par with it; in many ways, Castle has major elements that Mononoke was missing. In either case, if you've only seen Spirited Away, and think that that is Miyazaki's best film, be prepared to have your earth shaken.
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Positive
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Michael Is King. This film contains some of the best stuff Mike has ever done. Smooth Criminal is pure genius. The cameos are wonderful, but as always, the main event is MJ himself. He is the best, hands down.
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Positive
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The French Naudet brothers did something nobody else did, they had a video camera the day that this tragedy happened. They were in Building #2, when you could see papers drifting down, people hitting the ground from jumping from such a height.<br /><br />I mean it goes as far as when both buildings collapsed they went running, their camera was still running, when the white dust covered them, they found a shop doorway and got inside, but all this footage is real and I think they did a fantastic job of capturing it for us.<br /><br />Ten stars goes to the Naudet brothers that filmed this extraordinary film that I watch every 9/11 so I'll never forget what this country went through. I believe if I remember right, it shows the first death of the priest of the firefighters, while he was being carried to the church and his honorable funeral.
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Positive
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I just saw this movie on HBO, and it was really good...a tragic love story indeed! I really appreciated the fact that the guy at the heart of the story had lost the use of his legs in an accident. It's rare to see a love story involving someone who is physically handicapped. The love that developed between that character and the woman who comes into his life nicely portrayed how I'd like to think love can heal someone's heart. Laura Leighton...all of 27 when she made this movie...was great as the woman so full of life she's able to revive this guy's heart. Unfortunately, since his family is wealthy and her's is not, "problems" develop.<br /><br />It's playing on HBO some more times this month. Check out the schedule here - http://www.hbo.com/apps/schedule/ ScheduleServlet?ACTION_DETAIL=DETAIL&FOCUS_ID=598947
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Positive
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You know what they say about the 70's..if you can remember them you weren't there. One of the few things I do remember about the 70's was the very first hippie and hip social satire as seen from a totally 'underground'or counter-culture perspective..The Groove Tube. If the humor seems faded or witless now to some viewers it can only be because a lot has happened in the last 30 years and the comedy isn't 'fresh' anymore..but hey! When this movie came out it was a first..and some of these skits were being done for the very first time...at a time when Nixon was in office, the Vietnam war was raging, the sexual revolution was in full swing..and J.Edgar Hoover was still in charge of the FBI. This is a film made before Watergate broke and as such it was one of the first to take a big swipe at the establishment..to make fun of it and the hippies at the same time. And frankly, some skits are still dead funny. If you liked Cheech and Chong's "Up In Smoke"..you will LOVE this film.<br /><br />If you want to know what the 70's were really like..check out the Groove Tube.. if you liked the Oscar winning "Network" from about the same year and thought it was right on the mark in its savage look at TV, you will dig the Groove Tube..which picks up on the theme but plays from the angle of the viewers...the young viewers who were turning off the TV in favor of other entertainments.... We had been raised on Ozzie & Harriet "Leave It to Beaver", Father Knows Best, My Three Sons..Happy Days...so imagine our glee when those of us who were experimenting with the new life-styles got to see a send up of the box as seen from our perspective! The commercials by the Uranus corporation alone are priceless.."Good things come from Uranus"....and the sudden break from straight film into Fritz the Cat-style animation when the hippies eat the weed is still one of the best segues in and out of sanity i have ever seen on film.<br /><br />If you liked the Kentucky Fried Movie, you will LOVE this film. And if you ever wondered why your weird uncle Harold still gets a wicked gleam in his eye when thinking back to his college days..this would be the perfect film to watch.<br /><br />Take it for what it is..a memento of the times...and a sassy little film that will help all of us who did forget the 70's to remember them anew.
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Positive
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I thought How The Grinch Stole Christmas was a pretty good movie.It wasn't horrible, nor was it great, but it was enjoyable to watch.I felt as if Jim Carrey got a little annoying at times.They made the Grinch seem like a special education person, when all he needed to be was evil and devious, but yet he turned out kind of retarded.I did think the scenery, when not inside the Grinch's cave, was beautiful, and there was a few parts where I laughed, but most of the time I thought it was just annoying.This movie could've been "SO" much better if they had changed the Grinch's personality, and they had included some more laugh scenes, because most of the humor wasn't funny.I liked How The Grinch Stole Christmas anyway, but it's not anything to get excited about seeing.
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Positive
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By the end of the first hour my jaw was nestled comfortably between my feet. The movie never, and I do mean never, lets up in action. It may be mild action but it's action. Once again every member of the cast fits perfectly. The explosions were realistic, the chase scenes were feasible, and the fighting was incredible. Matt Damon will forever be Jason Bourne.<br /><br />All I really have to say is that every Bourne movie gets better and this is no exception. The action, the stakes, the plot. How they do it I will never know. I applaud the man who wrote the screen plays to every one of these movies. Because if he hadn't done such a great job with the first movie, we wouldn't have this one to talk about.<br /><br />So don't go see it in theaters, go experience it in theaters if it's still out where you live, but if not December 11th Bourne comes home to you!
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Positive
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First off I'll be the first to admit that the scarecrow himself is quite a bit over-the-top. A toned down maybe less acrobatic scarecrow would've made this movie much less cheesy. But overall I think it's one of the better B-movies. Tiffany Shepis is absolutely wonderful, not to mention incredibly beautiful. Though this movie is missing the all-important nude factor, there are several other movies at which to view her. But here she gets all evil-hotness, especially towards the end as she's walking away from the engulfed scarecrow. Also Richard Elfman does a great job as sheriff and as the drunk boyfriend. Yes it's a low budget B-movie. But out of all of them I've seen, this is definitely one of my very top favorites.
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Positive
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<br /><br />Everything is relative seems to be the main theme from the outset by this set of eleven pieces by eleven directors. That is to say that what might be number one priority for people like Bush, Blair and Company, may not be so for a great many other people, ordinary people. From the opening scene in which an Iranian teacher is trying to impress on her little students the most important thing that has happened, with the result the children are not impressed, as the death of a neighbour and things like that evidently affect them much more closely than anything which may have happened in New York, USA, wherever that is, this series of almost documentary styled pieces establishes that not all things are as equal unto all men as some world leaders would try to prophess. <br /><br />Whereas, obviously, the attack on the WTC was a dastardly event by any yardstick, one does get the impression that both politicians and TV cameramen tend to blow up things out of all proportion - wonderfully manifested in one of these pieces. Would the same reaction at international level have occurred if the attack had been made on Lagos, say, or Djakarta, say, or even on Rio de Janeiro, say? I rather think not. News seems to suffer distortion depending on where things happen: much more TV time is given to an earthquake in Italy, say, than one ten times more destructive in Outer Mongolia, say. Greater distances seem to decrease the magnitude of the disaster. <br /><br />This series of eleven pieces helps to put things in better perspective - or, perhaps I should say, some of the pieces do, as each director with complete freedom has made up his own story, his own translated perspective, such that it is not possible to judge the whole merits, but individually for each eleven-minute segment. <br /><br />In no way should one deduce that this is an anti-American film: that would be a too simple reading of the diverse messages manifested through the segments. However, it is not pro-American either. The eleven segments adopt varied attitudes and the common link - if there is one - is that the disaster of the WTC attack has to be seen in perspective from different view-points. Only then will such people as George Bush even begin to comprehend the planet he is living on. <br /><br />Clearly stated in one segment is a belief of mine I have been harbouring for two years now: America has not learnt the lesson. And the lesson is that the USA has to share this planet with the rest of humanity - not dominate it by ruthless economical persuasion or just plain force. Instead of learning that the USA cannot continue just stamping all over everybody and everywhere, its political leaders, aided and abetted by Blair (and even Aznar) have become even more arrogant and even more intolerant, which is not doing any good to anyone in Afghanistan or Irak at present, let alone much elsewhere. The White House mentality is totally rejectable: the US and UK invaded Irak and caused all the chaos, and so should clear up the mess they caused - not insist on the UN and other nations to delve in with a helping hand and thus find an easy way out of the turmoil. <br /><br />Radical stances adopted by the US (or even Israel) is only going to be met by radical stances from Islamic people, who for years have been gearing up fanatical fundamentalism, if only to cover up their own macho uselessness, i.e., stoning women to death or simply shrouding them from the tops of their heads to the dusty ground. <br /><br />The world is in a terrible mess, fueled by the greed of a few rich countries who seem bent on not seeing or understanding anything from more multilateral perspectives. This film in eleven separate pieces accurately portrays this dismal and dumb posture.
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Positive
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1928 is in many ways a "lost year" in motion pictures. Just as some of the finest films of the silent era were being made in every genre, sound was coming in and - while reaping great profits at the box office - was setting the art of film-making back about five years as the film industry struggled with the new technology.<br /><br />"Show People" is one of the great silent era comedies. The film shows that William Haines had comic skills beyond his usual formula of the obnoxious overconfident guy who turns everyone against him, learns his lesson, and then redeems himself by winning the football game, the polo game, etc. This movie is also exhibit A for illustrating that Marion Davies was no Susan Alexander Kane. She had excellent comic instincts and timing. This film starts out as the Beverly Hillbillies-like adventure of Peggy Pepper (Marion Davies) and her father, General Marmaduke Oldfish Pepper, fresh from the old South. General Pepper has decided that he will let some lucky movie studio executive hire his daughter as an actress. While at the studio commissary, the Peppers run into Billy Boone (William Haines), a slapstick comedian. He gets Peggy an acting job. She's unhappy when she finds out it is slapstick, but she perseveres. Eventually she is discovered by a large studio and she and Billy part ways as she begins to take on dramatic roles. Soon the new-found fame goes to her head, and she is about to lose her public and gain a royal title when she decides to marry her new leading man, whom she doesn't really love, unless fate somehow intervenes.<br /><br />One of the things MGM frequently does in its late silent-era films and in its early sound-era films is feature shots of how film-making was done at MGM circa 1930. This film is one of those, as we get Charlie Chaplin trying to get Peggy's autograph, an abundance of cameos of MGM players during that era including director King Vidor himself, and even a cameo of Marion Davies as Peggy seeing Marion Davies as Marion Davies arriving at work on the lot. Peggy grimaces and mentions that she doesn't care for her. Truly a delight from start to finish, this is a silent that is definitely worth your while. This is one of the films that I also recommend you use to introduce people to the art of silent cinema as it is very accessible.
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Positive
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It was hard for me to believe all of the negative comments regarding this all-star flick. I laughed through the entire picture, as did my entire family. The movie clearly defined itself as an old time gangster comedy--the players were hysterical--I'll bet they had a good old time while making it. Of course Goldblum and Dreyfuss were great--and how about those Everly sisters, each of the two Falco's, and the divine music throughout. Rob Reiner made a great laughing limo driver, and Gabriel Byrne a laughable neurotic. Not to mention Gregory Hines, Burt Reynolds, the Sleepy Joe character and the whole mortuary and grave digger references. Paul Anka was his usual entertaining self, with the added attraction of running scared after Byrne decided to make a duet of his "My Way" welcome home to Vick performance.<br /><br />I am of the opinion that this movie was a comical tribute to Frank Sinatra and friends; Dreyfuss imitated him well. I am also of the opinion that no one, of any age, would even think of imitating the actions which occurred in this movie--it's a joke--not a terrifying "gangsta" film. The cars and clothing were impressive, as was the decorative, "Vic's Place."<br /><br />Truly, I think of "Mad Dog Time" as a musical comedy, less harmful than many cartoons, TV crime dramas, and talk shows. I would recommend the video for an evening of family entertainment.
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Positive
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It's not too bad a b movie, with Sanders, Barrie, Hale, Cowen, Hamilton, Gargan, Fitzgerald and even Willie Best we could be either with Charlie Chan, Moto, the Falcon, Blackie, Holmes or the Saint etc. In other words you get the chance to spend another hour in the company of some old friends, from plain to urbane, murdering and being murdered - always a pleasure in my book.<br /><br />Barrie's a hard-boiled dame out to avenge and clear her framed and dead father, a police detective by planning and carrying out with her coterie a string of underworld assassinations. Which would surely have had the opposite effect! Sanders joins in the fun simply by dancing in the right club in the right place in the right city at the right time with the right lighting falling on both him and the first killer (at the right time!) and killing him.<br /><br />The story and acting's OK, the only gripe I've got is near the end with the hurried and almost laughable discovery of who the evil genius (Waldeman) was - did they almost forget about his relevance in the plot? That said, a solid entry in the series.
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Positive
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The Theory Of Flight is an engaging character study of an artist (Branagh) yearning to break free of boredom and mediocrity, and a terminally ill patient (Bonham-Carter) in the last stages of ASL, confined to a wheelchair, who desires to make love to a man before dying.<br /><br />Helena Bonham-Carter exudes wit, defiance, and independence as an ASL patient who is virtually dependent upon people around her to take care of her.<br /><br />Kenneth Branagh, sentenced through community service to take part in caring for her, complements Helena's charm with woeful melancholy, creating a sentimental, compelling love story in which two people try to help each other find the road to happiness, before time runs out.
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Positive
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John Boorman's "Deliverance" concerns four suburban Atlanta dwellers who take a ride down the swift waters of the Cahulawassee
The river is about to disappear for a dam construction and the flooding of the last untamed stretches of land
<br /><br />The four friends emphasize different characters: a virile sports enthusiast who has never been insured in his life since there is no specific risk in it (Burt Reynolds); a passionate family man and a guitar player (Ronny Cox); an overweight bachelor insurance salesman (Ned Beatty); and a quiet, thoughtful married man with a son who loves to smoke his pipe (Jon Voight).<br /><br />What follows is the men's nightmarish explorations against the hostile violence of nature
It is also an ideal code of moral principle about civilized men falling prey to the dark laws of the wilderness
<br /><br />Superbly shot, this thrilling adult adventure certainly contains some genuinely gripping scenes
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Positive
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I f you thought Sam Mendes' first film, the much heralded American BEAUTY was a movie with style to spare, wait until you see his highly anticipated second effort, the unrelentingly grim 30's gangster melodrama ROAD TO PERDITION. Some critics have hailed this new movie as a worthy successor to THE GODFATHER, a rash judgment made by several reviewers taken with Mr. Mendes' extraordinary technical prowess. If the mechanics of movie making are what make a picture great, then yes, ROAD TO PERDITION is a distant cousin to THE GODFATHER in terms of what it achieves in cinematography, editing, music scoring and sound. What it doesn't have is a resonance that all great stories and some very rare movies have that stay with the viewer long after the experience of reading or seeing it is over. As with American BEAUTY, there is a cold, distancing feel to this movie, despite some very tense scenes involving paternal love, loyalty and betrayal.<br /><br />This story of a hit man (Tom Hanks) and his relationship to a surrogate father - figure who is also his boss, an elderly Irish mob leader (Paul Newman) , seems to have been culled from innumerable gangster movies of years past. The father /son motif that hangs over this picture is so heavy handed in its treatment that there is not much room for spontaneity ; the entire enterprise has been very carefully wrought , and nearly all the dialog is delivered with an air of great portent : this is obviously a gangster film , hence the requisite amount of violence and bloodshed , but the film is nearly devoid of any humor to speak of ; only in scenes involving a young boy driving a getaway car in a cunningly edited montage is there any sense of lightheartedness to leaven the pervasive sense of doom.<br /><br />That being said , I have nothing but the highest praise for the stunning look of this film ; indeed , it is not an overstatement to say that this is one of the most beautifully photographed and designed movies I have ever seen. Veteran cameraman Conrad Hall will very likely win another Oscar for his work here . The production 's sets and costumes are just as exemplary ; in fact , the entire film is a technical marvel. Mr. Mendes continues to astonish with his vivid use of color, and he and Mr. Hall again make very dramatic use of red blood splattered against pale colored walls , all the more effective and disconcerting due to the preponderance of blacks, blues and grays that dominate the movie's color scheme.<br /><br />If I have failed to duly note the acting , it is not because the actors do not purport themselves ably ; everyone in the film is top notch, with special mention going to the two malevolent bad guys : Daniel Craig is the classic "man you love to hate", the spoiled, impulsive son of Newman's gangster father ; and an almost unrecognizable Jude Law as an especially slimy miscreant who goes on pursuit of Hanks and his son and figures very importantly in the film's riveting second half. But acting in a movie this dazzling is bound to take a back seat to the photographic fireworks on display here. If a Rolls-Royce was a movie , I've no doubt it would look like ROAD TO PERDITION.
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Positive
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One of my best films ever, maybe because i was well into the punk scene in the late 70s and went to many of hazels concerts, but the film was a good story line and very good acting by hazel and a up and coming Phil Daniels not sure about his latest project Eastenders !! excellent performance by lots of unknown actors who if you keep your eyes peeled will see them in many of the UK soaps today exp: Carver out of the Bill, the more i watch it the more of them i spot, well if you have not seen it yet have a night in with the video, don't forget to dig out the safety pin for your nose and heavy black eye makeup and shave your head Mochanian style....Enjoy
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Positive
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Anyone who thinks anime is nothing but sex and violence will be silenced forever after watching this movie. This is a fine movie that tells about Tetsuro's quest to avenge his mother's death, but also grows up in the process. The journey on the train sort of represents Tetsuro's journey from boyhood to manhood. The music and visual styles of the movie are a bit dated (you can tell it's a 70's movie) and the animation is only slightly better than your average "Star Blazers" episode. But the story and the characters are so strong, it really doesn't matter. A must-see for any animation fan!
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Positive
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Well i am going to go against the grain on this film so it seems. Being a self confessed horror fan I sat down to this not quite knowing what to expect. After 2 or 3 mins i actually found myself scared (quite rare). The film obviously has a small budget and is set around charing cross station but the films lack of money does not distract from the story. Yes the story is a bit far fetched and doesn't explain itself very well but THE CREEP is a class act and proceeds to slash and dismember anything that comes its way. MESSAGE FOR LADIES !!! THERE ARE CERTAIN PARTS OF THE FILM YOU SHOULD CLOSE YOUR EYES AT OR AT LEAST CROSS YOUR LEGS !! you will understand when you see it.<br /><br />All in all a good film and it makes a change to see a good slasher movie that actually scares
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Positive
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Overall the film is OK. I think it's better than Sepet and much better than Gubra in term of its story, its sentimental value.<br /><br />There are a few scenes that makes me touched. Yes I agree that the boy (Mukhsin) did his acting very good. Brilliant. I can say that his acting is almost natural.<br /><br />However, the song 'Ne Me Quitte Pas' by Nina Simone really "'menaikkan' my 'bulu' 'roma' ".<br /><br />I love the song. Both the song. "Ne Me Quitte Pas" and "Hujan". I just downloaded the song. Beautiful.<br /><br />And salute to Yasmin. The movie's ending credit makes me touched again. We can see how Yasmin really appreciated her parents in an unique way.<br /><br />I think the movie deserves that Grand Prix Of International Jury at Berlin Film Festival.<br /><br />I give 8.5 out of 1o stars.
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Positive
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After gorging myself on a variety of seemingly immature movies purchased on ex-rental DVDs, I figured that the time was right for a little serious drama and who better to provide it than Sam Mendes? For a number of reasons, "American Beauty" doesn't appeal to me as much as this film which is easily the darkest thing that Tom Hanks has ever done and probably one of the most underrated films of the last decade. For this is not a simple gangster tale lifted from its graphic novel origins, and is simply wonderful to watch because of it. And despite my usual allergy to any film with Tom Hanks' name on it (still can't watch "Big" without wanting a cat to kick), I'm glad I gave this a try because this is one of those movies that you'll kick yourself for if you miss it.<br /><br />Normally squeaky-clean Hanks plays Michael Sullivan, a devoted family man and father of two sons growing up during Prohibition in the early 1930's. He is also a professional hit-man to mob boss John Rooney (Paul Newman) but has managed to keep his job a secret from his sons. But after his eldest (Tyler Hoechlin) witnesses his dad involved in a mob killing, the pair are forced to go on the run as John seeks to tidy the matter up. Soon, father and son are pursued to Chicago where a fellow hit-man (a menacing Jude Law) is waiting for them.<br /><br />On the face of it, it reads like a pretty standard gangster film but as I've said, this isn't really about gangsters at all. It's about the relationship between a father and son thrown together in the most tragic of circumstances. Hanks is (*grits teeth*) superb as the tortured man who finds out that everything has its price and little Hoechlin is also good as Sullivan's son. In all honesty, there is not a single performance that I could single out as weaker than the others - the cast is pretty much faultless. As is the cinematography and costumes (and it's not often I praise costumes!) which recreates the 30's with stunning effect. There has been so much effort to get everything right and it pays off in spades. This could easily have looked rubbish - they admit that the early 30's look was difficult to put down - but it doesn't and that deserves every bit of credit. Chicago especially looks fantastic, lined with hundreds of rickety cars from the era and filled with people in monochrome suits and hats. True time-travel, even if a little CGI is needed.<br /><br />The story is also a winner, offering a human face to what is often seen as a stereotypical genre of movie villain. Law is surprisingly menacing as the almost mechanical killer Maguire and proves that you don't have to be Cagney or De Niro or Brando to play a gangster. The film is decidedly noir-ish, driving rain and ill-lit warehouses predominate but at least violence and killing are (finally) seen to have an emotional and psychological impact on those who perpetrate and those who merely witness such acts. The whole thing is evocative of a previous age and previous movies but it sweeps away the old and refreshes with a modern tale of redemption amid the Tommy-Gun shootouts and extortion rackets. It can feel a little slow in places, especially if you're used to masses of gun-play in movies like most modern audiences (like yours truly) but sometimes, words can speak louder than actions. Mendes has delivered a fine follow-up to his Oscar-winning debut, a film which is as intelligent as it is beautiful to watch. "Road To Perdition" may not be to everyone's tastes but this is one DVD I shall not be exchanging anytime soon.
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Positive
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No day passes without a new released computer animated movie, so we now really have chances to see more than some nice effects. After watching Ice Age I felt that's it was not that big impact on me than some other films of this genre.<br /><br />But it's because I am a Big Guy now, and I am pretty sure that this is a very enjoyable movie for children (maybe up to 14). The story is quite simple, and the "actors" are funny in a cute way, without any crude or complex humour. Even the "evil" is lovely, fluffy big cat with those funny teeth. And the story has a happy end, which was a small disappointment for me (knowing that most of the main characters are doomed to extinction in a sad way) but a great thing for children. And apart from some fights nobody dies (not even when he gets stomped on by a mammoth, several times), which made a cartoony feeling.<br /><br />The computer animation part is nice but nothing special, apart from some really nice cartoony feeling scenes, when you feel like walking in a nice painting or pages of a comics. [Which means lots of work nevertheless!]<br /><br />There were some gags which made me smile - I accept, the creators tried to satisfy those grownups - but they are hard to spot and (in my opinion) better left unnoticed, since it does not feel to fit into the story.<br /><br />Overall it's a nice movie, but it's rather in the ideal-world-and-fluffy-animals-for-children disney cliche. If you don't hate cute animals making funny things, watch it at least once.
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Positive
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Typical De Palma movie made with lot's of style and some scene's that will bring you to the edge of your seat.<br /><br />Most certainly the thing that makes this movie better as the average thriller, is the style. It has some brilliantly edited scene's and some scene's that are truly nerve wrecking that will bring you to the edge of your seat. The best scene's from the movie; The museum scene and the elevator murder. There are some mild erotic scene's and the movies pace might not be fast enough for the casual viewer to fully appreciate this movie. So this movie might not be suitable for everybody.<br /><br />The story itself is also quite good but it really is the style that makes the movie work! It might be for the fans only but also casual viewers should appreciate the well build up tension in the movie.<br /><br />There are some nice character portrayed by a good cast. Michael Caine is an interesting casting choice and Angie Dickinson acts just as well as she is good looking (not bad for a 49-year old!).<br /><br />The musical score by Pino Donaggio is also typically De Palma like and suits the movie very well, just like his score for the other De Palma movie, "Body Double".<br /><br />Brilliant nerve wrecking thriller. I love De Palma!<br /><br />10/10
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Positive
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First of all I need to say that I'm Portuguese and it's not usual to me spend my time watching Portuguese movies, probably one each year or even none...<br /><br />...And the reason is the almost generalized idea between the Portuguese people that the national pictures are awful, really close to the worst ever made! However, in the last decade, it starts to surprises me when we get back the funny of the 40s when "Leão da Estrela" e "Costa do Castelo" were among the worlds best of their time, with movies like "Pulsação Zero" or "Sorte Nula", both from director Fernando Fragata and also with some actors and music in common.<br /><br />This one is also good, not of the same kind because it isn't a true comedy; in fact it's officially a drama, a woman's drama the has some unexpected funny parts, cause of humorous characters or hilarious things that happen to them, like the hypothetical travel to the Caribbean just to get laid. <br /><br />The plot works and can surprise us a few times; the actors are fine, the locations regular as the score; but the truth is that it all make sense, then we can count it as a nice effort for the national cinema, that seems to be starting from the ashes as the phoenix.<br /><br />If you want to watch a Portuguese movie, surely you can take better option, but it stills one to be measured.
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Positive
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I have seen this movie more than several times, on TV. I ALWAYS watch it again...NEVER turning the channel. This movie is full of chilling surprises, and absolutely edge-of-your-seat suspenseful, without being overbearing or stupid. Helen Hunt's talent is magnificently shown in this movie! I recommend this movie to anyone!!!
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Positive
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Oh, this is such a glorious musical. There's a bit of miscasting -- Frank Sinatra is sorely miscast as the Jewish Nathan Detroit, though it only becomes evident on "Sue Me", which is a distinctly Jewish song. Sadly, the filmmakers decided to cut out one of the best songs from the show, "Marry the Man Today", and replaced it with an inferior Sinatra showpiece. With these two flaws in mind, the movie is otherwise magnificent. Jean Simmons shines as Sarah Brown. Marlon Brando can't sing worth beans, but pulls it off anyway. Stubby Kaye wonderfully reprises his Broadway role (it was written for him). Damon Runyon's language and pacing and humor come through quite well. This is on my see-it-every-chance-I-get list.
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Positive
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Simple-minded but good-natured drive-in movie about a simple-minded but good-natured high school graduate who has dreams of owning the coolest custom van in the world to use as his "ballroom". <br /><br />Bobby, our hero, spends his entire savings to acquire the vehicle of his dreams. Joint sharing and love making quickly commence with girls Bobby has picked up at the local pizza parlor, but he finds out much responsibility, danger and heartache come with being the owner of such a mechanical marvel.<br /><br />The Van is a guilty pleasure of mine. It captures the laid back mid 70's mood and has enough unintentional humor to put it into the "so bad it's good" category.
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Positive
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Diane and I saw this fabulous film today in Fremantle and we both agreed that of the pastiche movies it was head and shoulders above the rest. I say that because we were entranced by the brief, five to ten minute segments that composed the film and the fact that this film had a theme around which each piece was composed and of course that theme was love in its many forms.<br /><br />Ostensibly the film took place in the various Parisian arrondisments thus giving a particular flavour to each segment. Having only been in Paris several times, I was not knowledgeable enough to readily recognize the locations but I am sure Europeans and particularly French people could easily recognize the city's locations. In any event, the viewer is immediately pulled into each story because of their production excellence so these city locations fade into in-consequence.<br /><br />The film moves quickly and the viewer is left absorbing one scenario while the new one is on the screen. The stories themselves are not graphic like some pulp Hollywood nonsense, they are subtle and thought provoking and gentle as with most of life without the media swath that buries so much of life's beauty under the nearest dung heap just to sell, sell. sell ...<br /><br />Go with someone you care for and allow this magical little film to bathe you like a spa treatment and when you leave my guess is you will feel renewed.
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Positive
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I watched the trailer on the DVD after seeing the film, and I think anyone who saw it before watching the film would be very surprised and possibly disappointed. It made much of the fact that the film was "by the director of Cube" and made it look like a horror film, when in fact it is an Absurdist comedy (IMDB's spell checker doesn't seem to think that Absurdist is a word, but it is), reminiscent of Rosencrantz and Guildernstern are Dead.<br /><br />I love the way the story builds up slowly at first, then gradually escalates. I also enjoy the fact that no explanation is given for what happens in the film. That and the fact that the story plays out mainly in just the one set are the only respects in which this film is similar to Cube. I recommend it.
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Positive
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I will start by saying that this has undeservedly be panned by just about everyone! The fact is it wasn't what anyone was expecting, especially from Guy Ritchie. What everyone was expecting was cockney geezers and good one liners "do ya like dags?" etc, but this is far more mature than his previous works. I would agree that it is confusing but all the facts are there for us we just have to see them and listen harder, this film demands all your attention! Look past the cool and dazzling look of the film, try to listen to the dialogue rather than admire the performances and i think we will all get a more thorough understanding of the whole film.<br /><br />Yes this has its influences from modern classics( fight club, pulp fiction etc ) but it is in the whole original in both direction and pacing with a music score second to none. I feel that if everyone watched this film over and over they would understand it a lot more and maybe appreciate it for the fine piece of modern cinema that it is and i hope also that Ritchie continues in this vain as i far prefer this to his mockney "masterpieces".
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Positive
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I've seen this movie on several different occasions. I find one of the funniest things to do is to just watch the reactions of the different types of people who go to see it.<br /><br />Type 1: OLD PEOPLE. A lot of old Japanese men and women go to this movie because they think it will be a honest-to-goodness samurai movie with lots of swordplay and medieval Japanese dialogue. As soon the two protagonists begin debating horror movies while inserting expletives almost randomly throughout their sentences, the old people walk out, usually disgusted.<br /><br />Type 2: FILM SNOBS. These people think that just because a movie bears the label of "Independent" that it will automatically be a load of hard-to-follow, overemotional crap that may or may not be in English. Yet they see it anyway just to sing praises about it later so that people will think they are intelligent and cultured. They are really in for a surprise when they see this film. As soon as the blood begins to squirt exaggeratedly from anime-inspired sword battles or the over-the-top villain nonchalantly pegs a dog with his crossbow during a phone conversation, these people will be so dismayed, they will walk out. A few will stay just to see "how bad it will get" and later they'll rave about what a horrible film it was to their friends.<br /><br />Type 3: PEOPLE EXPECTING TO SEE LIVE-ACTION ANIME OR MATRIX-LIKE SPECIAL EFFECTS. Sorry folks, the martial arts are pretty solid in the film, but director Yamasato really doesn't have the budget for that kind of thing.<br /><br />Type 4: PEOPLE WITH NO EXPECTATIONS. These are the people who really enjoy the film. Whether they had only heard of Blood of the Samurai, picked it at random, or stumbled into the wrong theater in an alcoholic haze, these are the people who will laugh at all the jokes and appreciate the movie for what it ultimately is: ENTERTAINMENT. This movie was not made to enlighten or to provoke deep spiritual thought, it was meant (if I may borrow a line of dialogue from the film) to "really kick some ass." And that's what it does.<br /><br />So depending on what type of person you are, you may or may not enjoy this film; however, if you appreciate the movie for what it is and can enjoy an excess of blood and acting, then go see this movie and make sure to bring your friends.
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Positive
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The story is extremely unique.It's about these 2 pilots saving Earth from alien beings but they have to use a special speed that makes everything around them age rapidly.The whole series is about the pilots dealing with the loss of time,friends,and mentors.<br /><br />The ending COULD have been fantastic.It started to end on a total down note and leave a real mark but instead ended on a super happy Disney note and annoyed me VERY bad.<br /><br />The animation is decent for 89 but can't compare to nowadays.I have also heard many complain about the cheesiness of the nudity.I actually found it to be somewhat decent.The nudity for the most part was warranted except in episode 2 where there was an excess.<br /><br />Overall it deserves a look but the ending keeps it from being a classic.
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Positive
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I think this is what this movie wants us to say at the end of the movie! or Damn Australian? I still don't know, but what I know is that I really liked this movie but that couldn't be my favorite movie!<br /><br />Great story with great actors but with a terrible end... To make you cry and say 'Oh, she's so good'... Still, who made it? What really happened? Who's that guy? No answer to these questions...<br /><br />Mysterious movie with a good mark overall... I give it a 8/10, going on the 8.5!
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Positive
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This movie kept me constantly entertained. In comparing this to Serial Mom, Mr. Waters has gone back to his grittier side. This is not nearly as polished.<br /><br />There is a dark side here. A message about how success and fame changes a person -- but more importantly how it changes the people around you.<br /><br />There is not a false moment in this film.<br /><br />The characters are somewhat cartoonish... but I want to believe that is what Mr. Waters is trying to achieve.<br /><br />It is fascinating to watch how Mr. Waters has evolved... This is truly his finest work.
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Positive
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"The Garden of Allah" was one of the first feature length, 3-strip Technicolor films. To correct a previous poster the first Technicolor feature (after Disney's 5-year exclusivity deal) was 1935's "Becky Sharp" which was a costume drama that used the color for it's garish color costumes.<br /><br />"The Garden of Allah" looks as if it could have been shot years later as the cinematography uses not only the color but also the use of shadows. It must have been amazing for an audiences at the time to see a color feature after seeing basically only black and white films for their whole life. Unfortunately, the film does not stand up to the cinematography. That being said, the film is worth seeing just as a visual treat.
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Positive
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This movie is a remake of two movies that were a lot better. The last one, Heaven Can Wait, was great, I suggest you see that one. This one is not so great. The last third of the movie is not so bad and Chris Rock starts to show some of the comic fun that got him to where he is today. However, I don't know what happened to the first two parts of this movie. It plays like some really bad "B" movie where people sound like they are in some bad TV sit-com. The situations are forced and it is like they are just trying to get the story over so they can start the real movie. It all seems real fake and the editing is just bad. I don't know how they could release this movie like that. Anyway, the last part isn't to bad, so wait for the video and see it then.
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Positive
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I have seen the trailer for this movie several times over, and I have to say that Ned Kelly looks like it is going to be a wonderful film. When I saw the trailer for the first time, I could not take my eyes away from it (it got my attention for sure). Heath Ledger sticks to what he knows and what works for him, period pieces. Not to mention Orlando Bloom ,who is seen for a split second looks fantastic. I think that this movie will be a hit, and will be seen over and over again my many people.
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Positive
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Several years ago when I first watched "Grey Gardens" I remember laughing and finding it hilarious camp. Years later I still laugh out loud when I watch it, but after many viewings I've come to see the beauty in the strange, twisted relationship between the inseparable "Big" Edith Bouvier Beale and her daughter "Little" Edith Bouvier Beale.<br /><br />Mother and daughter living together in their decaying 28 room East Hampton mansion add a whole new meaning to the term "Shabby Chic". With innumerable cats, raccoons and opossums as roommates this Aunt and Niece of Jackie O. allowed filmmakers Albert and David Maysles into their mansion to film them living life day to day. The result is a hilarious, beautiful, sad and moving account of true love and anarchy rule.<br /><br />The relationship between Big and Little Edie is a testament to the unbreakable bonds of love. And their lives an example of drive, determination and free-will. This movie has more to recommend it than I can put down into words. It is a rare experience that you must see for yourself.<br /><br />
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Positive
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Good luck finding this film to even watch - it's not yet released on tape or DVD. I saw on release in the early '70's, was lucky enough to catch it via American Cinematheque's preservation efforts, and it still has some tangible moments that stayed with me for thirty years.<br /><br />No reason to repeat rwint's accurate comments here. As a come-out Director soon after the soaring success of Five Easy Pieces, Jack N has been said to have managed the low budget effort as best as possible, and it certainly shows in the wandering and meandering that could have used some re-cutting. But it's also a memorable icon for it's time: the all very intense clashes of late 60's college sports, student movements, sexual revolution, and more. <br /><br />Why see this film? It was probably a ground breaker in some scenes: the frisky male bonding in the after-game showers; Karen Black's scene with Tepper in the car will catch you a little off guard - but it's the first use of a word I hadn't witnessed in film before; and the casual and unexpected use of nudity overall. There are probably others I'm omitting.<br /><br />Look for a nice surprise of a young Cindy Williams in one of her first films; a thin David Ogend Stiers; Mike Warren fresh out of his powder-blue UCLA uniform and readying for a dark-blue TV uniform; Robert Towne - Actor; and a whole lot of folks simply playing themselves.<br /><br />Now: any connection between Harry Gittes last name, Robert Towne, and a certain character in Chinatown and the Two Jakes?<br /><br />It gets a "7" based on Karen Black. You'll see why.
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Positive
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I never fail to be amazed and horrified by the evil that has been predicated in the history of the world in the name of religion, and it seems that the machinations of the Catholic Church in Twentieth Century Ireland rank right up there near the top - considering that the wisdom of history and modern times should have had some sobering effect.<br /><br />A Love Divided is the story of a real family scarred by ignorant intolerance and prejudice all in the name of an inane Church doctrine. At the beginning of the film, we are offered a view of the bucolic life in a small Irish village in which Sheila and Sean Cloney are happily married with two young children. Sean is Catholic and Sheila is Protestant, but she has no qualms with their children being raised as Catholic. There is no sign of any animosity between the Catholics and Protestants in the village. The peaceful and loving relationships are soon shattered when Sheila expresses the desire to have their older child attend the Protestant school. The local priest takes it upon himself to forbid this "sin" and soon has Sheila's husband and the entire Catholic population of the village turned against her as well as her father, the local dairy farmer. In an act of defiance and desperation, Sheila kidnaps her two daughters and flees from the area.<br /><br />Special note should be given to Orla Brady who plays Sheila. She gives an extremely powerful performance in which the viewer is drawn in to the emotional trauma in which she decides to reject the wishes of a husband she deeply loves in order to express her fervent desire to establish herself as independent from the pressures of the establishment. On an equal footing is Liam Cunningham who plays Sean for he gives a realistic portrait of a man not nearly as complex as his wife who is torn between his love for her and the influence of Church and community.<br /><br />If fiction, this film would have been a compelling and interesting drama. Considering it is true, it changes to a horrific tragedy. In real life, the people and the village never fully recovered from the events that took place there. It took almost half a century for the Church to acknowledge its negative role in the events, and even though Sheila and Sean lived out their lives in the area, they never fully recovered from what was done to them by the religious leaders and their fellow villagers.<br /><br />Whether it be denying basic rights to education of choice, crashing planes into buildings, subjugating women, condemning whole races, or just plain on torture and murder, we humans certainly have the ability to use religion as a powerful negative force in our society.
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Positive
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My what a director's intuition can bring on material that needs just the right nudge in the right directions. Young Mr. Lincoln is filled up with some 'old-fashioned' values, which in retrospect, despite its two-dimensional portrayal, is at least more respectably done than one might see in the pap in current cinema. What makes it work so extremely well as it does, in all its simplicity and grandeur, is that its a truly great courtroom drama in the guise of a history lesson. <br /><br />We all know of Abraham Lincoln as the 16th president that did the emancipation and after the Civil war got assassinated. But as the lawyer in his earlier years he was charismatic, funny in the most unexpected places, and a true gentleman. He's not some superhero that can do no wrong (which was Fonda's only apprehension to the part before signing on), but a figure with possible flaws that are surpassed by his innate goodness and clear sight of right and wrong.<br /><br />It's suffice to say that John Ford is exceptional as a storyteller almost without trying. Actually, it's a lie, he does try, but he makes it sort of effortless in the studio system; he worked in an independent manner while also pleasing simultaneously Zanuck, so he was pretty much left alone to his own succinct practices in "editing in camera", and not moving it around so as to not waver far off from the story. It's this strength of conventional wisdom that somehow works hand in hand with the material, as a kind of companion piece to the full-blooded Americana in 1939 as seen in Mr. Smith Goes to Washington (only here it's the law and not politics). <br /><br />Fonda is terrific in the lead- his first with Ford- and never lets us loose sight of Lincoln past the make-up and extra boost in the shoes. Fonda's own personality, in a sense, as it would in Grapes of Wrath and My Darling Clementine, comes out in the character of Lincoln. However unlikely it might be, there's no one else from this period that could have played him then: he's mature and wise, but has the gumption to prove himself in this case of a convoluted he-saw-that-but-did-she murder case.<br /><br />Only in little bits and pieces, like that final shot which superimposes Lincoln walking down the road with his monument, and a couple of small instances during that big parade scene early on, seem pretty dated. As far as the goals set out with Young Mr. Lincoln, there were all met by Ford and his crew and cast; it's not as hokey as one might think going in, and it's got a strong balance of humor and genuine pathos.
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Positive
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Almost too well done... "John Carpenter's Vampires" was entertaining, a solid piece of popcorn-entertainment with a budget small enough not to be overrun by special effects. And obviously aiming on the "From Dusk Till Dawn"-audience. "Vampires: Los Muertos" tries the same starting with a rock-star Jon Bon Jovi playing one of the main characters, but does that almost too well...: I haven't seen Jon Bon Jovi in any other movie, so I am not able to compare his acting in "Vampires: Los Muertos" to his other roles, but I was really suprised of his good performance. After the movie started he convinced me not expecting him to grab any guitar and playing "It' my life" or something, but kill vampires, showing no mercy and doing a job which has to be done. This means a lot, because a part of the audience (also me) was probably thinking: "...just because he's a rockstar...". Of course Bon Jovi is not James Woods but to be honest: It could have been much worse, and in my opinion Bon Jovi did a very good performance. The vampiress played by Arly Jover is not the leather dressed killer-machine of a vampire-leader we met in Part 1 (or in similar way in "Ghosts of Mars"). Jover plays the vampire very seductive and very sexy, moving as lithe as a cat, attacking as fast as a snake and dressed in thin, light almost transparent very erotic cloth. And even the optical effects supporting her kind of movement are very well made. It really takes some beating. But the director is in some parts of the film only just avoiding turning the movie from an action-horrorfilm into a sensitive horrormovie like Murnau's "Nosferatu". You can almost see the director's temptation to create a movie with a VERY personal note and different to the original. This is the real strength of the movie and at the same time its weakest point: The audience celebrating the fun-bloodbath of the first movie is probably expecting a pure fun-bloodbath for the second time and might be a little disappointed. Make no mistake: "Vampires:Los Muertos" IS a fun-bloodbath but it's just not ALL THE TIME this kind of movie. Just think of the massacre in the bar compared to the scene in which the vampiress tries to seduce Zoey in the ruins: the bar-massacre is what you expect from american popcorn-entertainment, the seducing-Zoey-in-the-ruins-scene is ALMOST european-like cinema (the movie is eager to tell us more about the relationship between Zoey and the vampiress, but refuses answers at the same time. Because it would had slow down the action? Showed the audience a vampiress with a human past, a now suffering creature and not only a beast which is just slaughtering anybody). And that's the point to me which decides whether the movie is accepted by the audience of the original movie or not. And also: Is the "From Dusk Till Dawn"-audience really going to like this? I'm not sure about that. Nevertheless Tommy Lee Wallace did really a great job, "Vampires:Los Muertos" is surprisingly good. But I also think to direct a sequel of a popcorn movie Wallace is sometimes almost too creative, too expressive. Like he's keeping himself from developing his talent in order to satisfy the expectations of audience. In my opinion, Wallace' talent fills the movie with life and is maybe sometimes sucking it out at the same time. "Vampires: Los Muertos" is almost too well done. (I give it 7 of 10)
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Positive
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Jacknife is a masterpiece of the 80's. It's a movie that breaths through amazing acting and a very interesting directing touch. In Jacknife both lovers of European and American cinema can find things to relate on. The screenplay is very compelling and full of beautiful characters. Ed Harris is giving one of the greatest performances up to date. He portrays his alcoholic hero superbly making us feel his broken heart in each line, in each move. Robert De Niro makes us once again think of him as one of the greatest actors of all time in one of the simplest but also most realistic performances in his career. Jacknife is never getting boring as it shows its heroes clear of any typical Hollywood's typical character elements. After the war none is a hero. Everybody is a loser, and this movie is about that simple truth. None can mend up his pieces after a war, just like the heroes of this movie. Jacknife is about the diseases of the soul that war creates. Simply magnificent movie.
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Positive
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With a well thought out cast, this movie was a great comedic relief. The plot is well-written and the cast was knockout. Every bit as good as the reviews suggested (a rarity) and was highly entertaining. Being a huge John Candy fan myself, this movie was no disappointment.
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Positive
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I absolutely LOVED this movie! It was SO good! This movie is told by the parrot, Paulie's point of view. Paulie is given to the little girl Marie, as a present. Paulie helps Marie learn to talk and they become best friends. But when Paulie tells Marie to fly, she falls and the bird is sent away. That's when the adventure begins. Paulie goes through so much to find his way back to Marie. This movie is so sweet, funny, touching, sad, and more. When I first watched this movie, it made me cry. The birds courage and urge to go find his Marie for all that time, was so touching. I must say that the ending is so sweet and sad, but you'll have to watch it to find out how it goes. At the end, the janitor tries to help him, after hearing his story. Will he find his long lost Marie or not? Find out when you watch this sweet, heart warming movie. It'll touch your heart. Rating:10
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Positive
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If you would like to see a film of different kind, if you feel the Love in your heart, even if you miss the Lord, this film makes you think. Although Georges is mentally handicapped, you can see the ultimate intelligence at the end, when love gives you directions not the brain. I am not emotional, but this film makes you feel the human being. The film is as good as Forrest Gump in my belief. The foreign movies are sometimes more interesting, yet there is not enough advertisement to make them popular. "Rang-e khoda" (The Color of The God) by Majid Majidi is another example of such foreign movies, almost with similar taste.
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Positive
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I have lost count of just how many times I have seen this movie - I probably know the entire dialog backwards - yet I am drawn to it time and again.<br /><br />Set in Hungary, a young Jimmy Stewart plays the eligible bachelor "Kralik" who becomes the secret admirer of Margaret Sullavan's innocent "Klara". Kralik secretly becomes Klara's pen-friend, and at work together Klara confides in Kralik about the content of his (Kralik's) letters. Clearly Kralik is besotted with Klara - but is unable to make his feelings known whilst he is in competition with the "pen-friend". Confused? Well you wont be - this story has a sweet, almost sugary ending - but we all know it is the ending we all want.<br /><br />Other characters worth mentioning are Frank Morgan playing his usual role, this time as the shop's owner "Hugo Matuschek", Felix Bressart as "Pirovitch", Kralik's confidant. Joseph Schildkraut as the womanising arrogant "Vadas" - so well played that you cannot help but hate him right from the beginning.<br /><br />Finally William Tracy who manages to endear himself to us all with his over-confident upstart of a shop junior "Pepi Katona".<br /><br />Recently re-made as "You've Got Mail" starring Tom Hanks & Meg Ryan for me is not as good as the original - although I suspect younger audiences would disagree.<br /><br />If this film is on in your area over Christmas, I suggest you pour yourself a nice glass of wine, put a log on the fire and have a box of Kleenex handy.
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Positive
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saw this in preview- great movie- wonderful characterizations- witty and intelligent dialog- actors were fantastic- Peter Falk will be up for an Oscar- Paul Reiser was charming- photography was marvelous Reiser was at the theater when we saw the film, and he gave a vivid account about the making of the film- it had been a long dream of his to write a semi-autobiographical account of relationships between sons and fathers, and more specifically between him and his father- this was achieved in a dramatic and entertaining fashion- the supporting cast was well chosen and gave the film a feeling of family- i recommend this film to anyone who is longing to see intelligent drama and wonderful performances
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Positive
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In Manhattan, the American middle class Jim Blandings (Cary Grant) lives with his wife Muriel (Myrna Loy) and two teenage daughters in a four bedroom and one bathroom only leased apartment. Jim works in an advertising agency raising US$ 15,000.00 a year and feels uncomfortable in his apartment due to the lack of space. When he sees an advertisement of a huge house for sale in the country of Connecticut for an affordable price, he drives with his wife and the real estate agent and decides to buy the old house without any technical advice. His best friend and lawyer Bill Cole (Melvyn Douglas) sends an acquaintance engineer to inspect the house, and the man tells that he should put down the house and build another one. Jim checks the information with other engineers and all of them condemn the place and sooner he finds that he bought a "money pit" instead of a dream house.<br /><br />"Mr. Blandings Builds his Own House" is an extremely funny comedy, with witty lines and top-notch screenplay. Cary Grant is hilarious in the role of a man moved by the impulse of accomplishing with the American Dream of owning a huge house that finds that made bad choice, while losing his touch in his work and feeling jealous of his friend. In 1986, Tom Hanks worked in a very funny movie visibly inspired in this delightful classic, "The Money Pit". My vote is eight.<br /><br />Title (Brazil): "Lar, Meu Tormento" ("Home, My Torment")
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Positive
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Making a book into a movie by following the story page-by-page is NEVER a good idea. When people read the book, they automatically start making their own "mental movie" of who the characters look like, the places they exist in, how the situations progress. And everybody's mind's-eye opus is different, which is why when the 'REAL' movie finally comes out, you're always going to have a ticked-off segment of the movie-going audience who are disappointed that it just doesn't measure up.<br /><br />All a screenwriter and a director can hope to accomplish is whatever their own vision of the movie is, and hope that it comes as close as possible to what their audience is expecting to see.<br /><br />There is no better case for this situation than the movies based on the novels of Stephen King. When filmmakers capture at least the essence of his stories, the results can be breathtaking and truly terrifying (CARRIE, 'SALEM'S LOT, THE DEAD ZONE), or they can be what fans consider to be a gawd-awful mess (Kubrick's version of THE SHINING; the miniseries for IT and THE TOMMYKNOCKERS). <br /><br />Although it's not even close to being the perfect King adaptation, PET SEMATARY has so many moments of just skin-and-bone-deep unease that seemed to have bled onto the screen directly from the book, that you can pretty much forgive its shortcomings. For that, we have music video-turned-film director Mary Lambert to thank, (she also directed SIESTA, not exactly a horror movie, but another freaky-as-hell must-see you should put on your list), working from a screenplay by the 'Man-ster' Himself, and probably one of his better ones.<br /><br />Since the majority of you know the story, I won't put you to sleep with too many of the details. Dr. Louis Creed (Dale Midkiff) has moved his family out to the perfect house in the country. Well, almost perfect, except for two nasty little details: the dangerously busy stretch of interstate highway out in front, and the large pet cemetery in the woods out back. Since Louis is a veterinarian and has a young toddler for a son...well, even if you haven't read the book, do the frickin' math. It IS a King story, after all, so no mystery where this is headed. <br /><br />It's not so much the destination that counts here, but the spooky stops along the way. Certain scenes that are so familiar from the book are brought to shivery, scream-inducing life here: Rachel Creed's (STAR TREK'S Denise Crosby) horrific memory of her terminally ill, crippled sister; Louis's encounters with the mortally injured jogger Victor Pascow (Brad Greenquist), both before and after his death; the trip into the "other" cemetery beyond the pet cemetery. And that third act...if it doesn't give you a few nightmares, maybe you should check your pulse.<br /><br />Good performances by all here, especially the late Fred Gwynne as the well-intentioned neighbor, Jud Crandall, who gets the best line in the story that sums it all up: "Sometimes, dead is better."<br /><br />About the only problem with the movie version is the casting of Louis's son, Gage (Miko Hughes). Knowing that it would be damn near impossible to get the kind of performance needed from a kid that age to seal the deal on this, Lambert and crew still did the best they could, and unfortunately, Hughes at the time was just too damn CUTE to "sell" his intended role as an evil, demon-possessed zombie. This takes you out of the movie whenever he shows up, though the scenes where he's featured are still masterfully staged, (especially Gwynne's death scene.)<br /><br />Other than that, everything else is still about as good as it gets. CARRIE still holds the title for best King adaptation as far as I'm concerned; but SEMATARY is right up there in the Top Five.<br /><br />Still, will anything adapted for the screen based on a King book be as terrifying as reading the story? Not BLOODY likely...for now.
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Positive
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A wonderful and gritty war film that focuses on the inner torment of blinded marine Al Schmid. Although it is tough and unpleasant it IS in the end heroic - Schmid's triumph over disability and depression. The battle scene was superb. But one bone to pick. No matter how many .50 bullets they fired I never saw any water or dirt being kicked up by the impacts! It hurt the realism, but I can live with it. Fine performance by Eleanor Parker, again, as his girl friend.
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Positive
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1958. The sleepy small Southern town of Clarksburg. Evil Sheriff Roy Childress (the almighty Vic Morrow in peak nasty form) cracks down super hard on speeders by forcing said offenders off a cliff to their untimely deaths on an especially dangerous stretch of road. Childress meets his match when cool young hot rod driver Michael McCord (a splendidly smooth and brooding portrayal by Martin Sheen) shows up in town in his souped-up automobile with the specific intention of avenging the death of his brother (Sheen's real-life sibling Joe Estevez in a brief cameo). Director Richard T. Heffron, working from a taut and intriguing script by Richard Compton (the same guy who directed the 70's drive-in movie gems "Welcome Home, Soldier Boys" and "Macon County Line"), relates the gripping story at a brisk pace, neatly creates a flavorsome 50's period setting, and ably milks plenty of suspense out the tense game of wit and wills between Childress and McCord. The uniformly fine cast helps a lot: Sheen radiates a brash James Deanesque rebellious vibe in the lead, Morrow makes the most out of his meaty bad guy part, plus there are excellent supporting performances by Michelle Phillips as sweet diner waitress Maggie, Stuart Margolin as a folksy deputy, Nick Nolte as amiable gas station attendant Buzz Stafford, Gary Morgan as Buzz's endearingly gawky younger brother Lyle, Janit Baldwin as sassy local tart Sissy, Britt Leach as stingy cab driver Johnny, and Frederic Downs as the stern Judge J.A. Hooker. The climactic vehicular confrontation between Childress and McCord is a real pulse-pounding white-knuckle thrilling doozy. Terry K. Meade's sharp cinematography, the well-drawn characters (for example, Childress became obsessed with busting speeders after his wife and kid were killed in a fatal hit and run incident), the groovy, syncopated score by Luchi De Jesus, and the beautiful mountainside scenery all further enhance the overall sound quality of this superior made-for-TV winner.
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Positive
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This has to be one of the best comedies on the television at the moment. It takes the sugary-sweet idea of a show revolving around a close family and turns it into a quite realistic yet funny depiction of a typical family complete with sibling and parent spats, brat brothers, over-protective fathers and bimbo sisters. I'm almost surprised it's Disney!<br /><br />To its credit, '8 Simple Rules' knows it's a comedy and doesn't try to be more. Too many shows (eg, 'Sister, Sister' and 'Lizzie McGuire') think just because its lead characters are now teenagers then they should tackle social issues and end up losing their humour by being too hard-hitting. This is a trap '8 Simple Rules' has avoided; it does tackle some issues (such as being the school outcast) but it has fun while doing so. In fact the only time it has really been serious was understandably when it sensitively handled the tragic death of John Ritter and his character.<br /><br />And I think, although John Ritter will be sadly missed since he was the reason the show made its mark, '8 Simple Rules' can still do well if it remembers its humour and doesn't make Cate's father a second version of Paul Hennessy.
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Positive
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John Cassavetes' "Opening Night" is fantastic and fascinating; fantastic because it plays with the deepest fears we have inside our imagination, fascinating because it never ceases surprising us. With its very long duration of two hours and twenty minutes, anyone who appreciates characters won't be able to take their eyes off the screen.<br /><br />The story of an unstable actress, Myrtle Gordon, (Gena Rowlands) trying to put herself together for a play, fighting her demons; "Opening Night" is not only about a woman on the verge of a breakdown but also about the complexities of the lives of theater actors and the theatrical world. All of Cassavetes' characters here are experienced people that know about the world of theater; so half of the film takes place on a stage, either where the performers do their job or at backstage, where producers and writers and directors do their job.<br /><br />Cassavetes is so harsh with his characters that this unkindness turns towards the audience, but the audience in the cinema. Because there is another audience, in the theater of the film, that doesn't know what is really happening and laugh because they think everything is performance. And that's essentially what it is; it's just that the audience in the theater doesn't get to see 'backstage' the way we do. They don't experience Gena Rowlands' exuberance before she goes out to that stage, but most importantly; they don't know the reasons why she acts the way she does.<br /><br />I always thought that it would be difficult to be friends with an actor. Myrtle (Rowland) says she's an actress and that's the only thing she knows how to do; and I imagine that if I had a friend who was a professional performer, it would be really difficult to tell when he's saying the truth because I would know he's an actor and he can fake anything at any time. A lot of the things that Myrtle does during the awful experiences the film puts her through
We suspect if she's being real; the rest of the characters suspect too.<br /><br />There is the writer, Sarah (Joan Blondell), who can't understand why Myrtle doesn't understand the character she's written for her. There's the director, Manny (Ben Gazzara), who can't accept the fact that his best actress might be losing it; the producer David (Paul Stewart) who doesn't know where to stand and Myrtle's co-star Maurice (Cassavetes himself), who can't deal with the love they have for each other.<br /><br />When she witnesses the death of a teenager, a fan; all of this comes together and affects Myrtle, but no one knows if her delusions are for real. They don't say anything because they don't want to upset her, but the movie enters in a state of subconsciousness that only Myrtle accepts. At times, we can tell that everyone has had it. During these moments, Cassavetes' brilliant script depicts a scary brutal honesty in the words the characters say in a discussion backstage; and not only what everyone tells Myrtle but also what she says to them.<br /><br />Here are people who are not afraid to speak their mind and constantly change what they are thinking, just like Cassavetes' way of making cinema. And in this aspect, the performances are more important here than in "Shadows", because the characters are involved in a bigger picture; a bigger story that steps out of the trivial.<br /><br />But in another aspect, the actual way of making cinema, this movie is no different from "Shadows". There's a beautiful thing in the way Al Ruban's camera shoots the characters. When someone's talking, the camera doesn't focus on him, it shoots the person who is listening; so we can see how he or she reacts to the things the other one's saying. Sometimes they don't care, sometimes they are happy, sometimes devastated.<br /><br />Improvisation might still be there, though, among all these wonderful performances. Near the end, there's an unexpected scene where Cassavetes and Rowlands start talking, non-stop. Whether this was improvised or not is not something we have to wonder. We have just got to watch; and watching both of them exchanging life experiences and seeing words come truly alive in a conversation that means a lot more than what it shows
It doesn't get more natural than that.
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Positive
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The thought of Sarah Silverman having her own show worried me at first. The films she has appeared in were not very funny and her humor is a bit off. However, I was very surprised to see her true colors shine in this Comedy Central gem. I could possibly put her on par with the likes of Amy Sedaris in Strangers with Candy -- Sarah's character is a true sociopath, very comparable to Sedaris' Jerri Blank.<br /><br />The one downfall of this show is its supporting cast. Her sister's character is good; Funny at times, but ultimately meant not to steal Sarah's show. However, the rest of the cast is extremely sub-par in comparison.<br /><br />I'm glad, though, that Comedy Central has given Sarah a chance to show her unique and crazy sense of self and humor.
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Positive
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I saw this movie on TV late one night years ago, but it was a disturbing experience that has stayed with me to this day.<br /><br />The premise may seem a bit unoriginal - due to an earthquake, a hidden underground store of a toxic nerve agent in the hills above a small town is breached, and a microscopic amount of the substance finds its way into their food supply. The inhabitants of the town begin to lose their ability to exercise restraint over every whim and base desire that floats through all of our minds from time to time, and that normally we know we simply must not act upon.<br /><br />The pace of the movie is slow, but for me that only added to the creeping unease as the townspeople's behaviour slowly starts to unravel. There are several surreal and very unsettling scenes that have remained etched in my memory all this time.<br /><br />It raises interesting questions about what we could all be capable of if we gave in to our most feral instincts. Did I enjoy it? I'm not sure 'enjoy' is the right word. Did it make me think? Definitely. I'm still thinking about it. Scary stuff.
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Positive
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As I saw the movie I was really shocked to see what the 60's was about. I know I may be wrong about some things, but it seemed like the 60's really had an effect on people of the time. Some people said they would want to go back to the 60's. From what I saw I would say yes for the excitement and no for the outcome. But that's my opinion.
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Positive
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i chose to see the this film on the day it opened nationally in france, as a personal way for myself to reflect on what had happened a year previous; the collection works as intended: it provokes a whirlwind of thoughts and emotions, working as an intellectual hommage, never stooping to cheap sentimentality nor knee-jerk reactionism.<br /><br />there have been many allegations made that the film is anti-american: while i cannot speak for everyone in this regard, i am one american who found such statements to be completely untrue. people make much noise about the egyptian segment, by Chahine, because it voices perspectives of palestinian suicide bombers asserting that civilians in a democracy are "fair targets" for they elect the governments the bombers are seeking to attack, but this ignores much else in the piece: several perspectives are discussed, no one being held up as the truth, and critics--if they even saw the piece--seem to forget the fondness and warm dialogue that takes place between the director and the ghost of the american dialogue, and the director's intense sadness upon hearing of the tragedy.<br /><br />pretty much all of the films are beautiful, thoughtful & inspiring, in particular the brilliant work by Mahkmalbaf, Tanovic, Loach & Inarritu. Nair, good as usual, effectively tells a true story of an injustice committed against a muslim family in the wake of anti-islam hysteria that swept--and still sweeps--the states. i did find Gitai's piece a bit vulgarly loud and simple in it's critic of media hysteria in the face of terrorism, and Penn's piece was too impressionistic and elliptical for my tastes, though i had expected to like it. Borgnine is very good and brave in it. SPOILER WARNING: one reviewer below incorrectly read the falling of the towers as being a happy moment for the character; my read is rather that the falling of the towers is what, because light floods his room, keys him into the loss in his life that he refused to recognize. again this is a sort of impressionistic piece, for we know that if the towers were really blocking the light to this man's flat, then there would have been nothing but smoke and ash, not light, flooding through his window.
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Positive
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I saw his movie in Dallas, Texas when it came out in 1986. I remember them giving out prizes for showing up to see the movie. After seeing the movie I can see why. The movie was not bad, nor was it great. The problem with this movie was that it tried to tell a side story. They created a new story, new characters and tried to wrap it around the Masters Saga. My biggest complaint is that the plot is about a second wave of Robotech Masters attacking the Earth. They even used the same scenes from the Master Saga but with different dialogue. As a kid, I loved the movie. But unfortunately I haven't seen it as an adult and can't give a better review. Looking back I was disappointed but now I would love to see the movie and re-evaluate my stance on it. That being said, will someone please release this movie for the whole world to judge? I love Robotech and can't wait for The Shadows Chronicles.
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Positive
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This very strange movie is unlike anything made in the west at the time. With its tumultuous emotions and net of visions, dreams, and startling images, its effect is both beautiful and unsettling. The actors are choreographed more like dance than acting. It contains the only dream sequence I know of that actually resembles a real nightmare (sorry, Dali fans).
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Positive
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It may have not been up for academy awards and admittedly, it's pretty cheesy, but it's just so much fun! Nothing makes me smile like Bill and Ted. Lovable, optimistic, and hilarious, Bill and Ted are a great way to unwind.<br /><br />Although I love Excellent Adventure, Bogus Journey is funnier to me. Death is flippin hilarious and Bill and Ted are even more endearing. People give me grief about loving this movie, but only really pretentious movie-watchers will say it's not even a bit entertaining. If you like this, you'll probably also be a fan of Wayne's World, Dude Where's My Car, and Dumb and Dumber. Admit it, though foolish, they make you grin and turn your tickle box over. So watch them just for kicks and giggles!!
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Positive
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I feel like I have some uber-rare disease that no one has heard of and I have finally come across a support group on the net! I finally found this title by asking for an answer on an "experts" site on the web. I too, saw this movie in my youth and was struck by the atmosphere and especially the ending. I have never forgotten it and have never seen it since. No one I know saw the film and I had almost given up on ever finding it's title. Alas, even knowing the name, I shall probably never see the film again as it is impossible to find commercially. Small steps...<br /><br />G
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Positive
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This movie is a lot of fun. The actors really make the movie go the distance though. Without giving away the plot, I would describe it as a new Princess Bride cult favorite that should stand the test of time. You get to see a whole different side to Robert DeNiro in this movie! (Worth the price of admission just for that!) All the elements are there from adventure to romance, and well placed comedy.<br /><br />People of all ages will enjoy it. (My parents even did!) Good special effects, may be scary for the little ones. Good date movie. Great for some escapism.<br /><br />Deserves an A. (Hope it does well at the box office)
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Positive
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Well let me go say this because i love history and I know that movie is most important piece in our history and it was beautifully executed movie and Julia Stiles became my #1 favorite actress after seeing her in "The '60s" and i own this movie in my video box with many movies and i suggest you to look for her new movies in the future and try to enjoy history!!!!
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Positive
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As essential a part of British pop culture as the Monty Python and James Bond, Doctor Who was a massive hit for 26 years (1963-1989), making it one of the longest running TV shows in the world (most serials are lucky to have ten seasons). Plans to reboot the series were always on the BBC's agenda, and after a miscalculated (not to mention Americanized) TV movie produced by Fox failed to capture the magic of the original version, another nine years (Comic Relief spoof and animated mini-series notwithstanding) were required before the ultimate Time Lord could return properly, courtesy of acclaimed writer Russell T. Davies.<br /><br />Davies' brilliance in reintroducing the character lies in his decision to do so through the eyes of an outsider: Rose Tyler (Billie Piper), a London-based girl who leads a very normal life until one night she is attacked by creatures made out of living plastic. She is rescued by an elusive stranger who introduces himself simply as the Doctor (Christopher Eccleston) and then disappears after quipping: "Nice to meet you, Rose. Run for your life!". As she gets more and more curious about this "man", she soon finds herself in a whole new world: aliens, invasions, travel through time and space, and of course, the omnipresent Police Box-shaped TARDIS.<br /><br />The first 45 minutes of the new Doctor Who are almost perfect (the special effects could have used a bit more polishing) because Davies nails two things: the show's unique humor and the two protagonists. The original series' most endearing trait was its blend of spectacular sci-fi and pure British comedy, a hybrid that's hard, if not impossible, to export. Here the laughs are all linked to the conversations between Rose and the Doctor, who come off as fully rounded characters after just one episode. Okay, so technically Eccleston's Doctor is the Ninth to use that name, but he distances himself from the previous eight incarnations by speaking with a Northern accent (the one he uses on a daily basis) and justifying it with a terrific line: "Lots of planets have a North!". <br /><br />The real triumph of this episode, though, is Piper's performance: in theory, Rose is in her late teens, therefore nearly the same age as thousands of young viewers who had never heard of the Doctor before. Her portrayal of an ordinary girl lost in a new, exciting universe, represents the new generation's reaction to the return of a TV icon, and the chemistry that instantly forms between her and Eccleston is a sign indicating the new Doctor Who is just as good as the old one.<br /><br />First, fifth, ninth, it makes no difference: there may have been others before Eccleston (and Piper, for that matter) but together he, William Hartnell, Peter Davison and the rest of the bunch are one single character, one so cool he doesn't even need a name: he's THE Doctor.
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Positive
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