text,label "There is no relation at all between Fortier and Profiler but the fact that both are police series about violent crimes. Profiler looks crispy, Fortier looks classic. Profiler plots are quite simple. Fortier's plot are far more complicated... Fortier looks more like Prime Suspect, if we have to spot similarities... The main character is weak and weirdo, but have ""clairvoyance"". People like to compare, to judge, to evaluate. How about just enjoying? Funny thing too, people writing Fortier looks American but, on the other hand, arguing they prefer American series (!!!). Maybe it's the language, or the spirit, but I think this series is more English than American. By the way, the actors are really good and funny. The acting is not superficial at all...",1 "This movie is a great. The plot is very true to the book which is a classic written by Mark Twain. The movie starts of with a scene where Hank sings a song with a bunch of kids called ""when you stub your toe on the moon"" It reminds me of Sinatra's song High Hopes, it is fun and inspirational. The Music is great throughout and my favorite song is sung by the King, Hank (bing Crosby) and Sir ""Saggy"" Sagamore. OVerall a great family movie or even a great Date movie. This is a movie you can watch over and over again. The princess played by Rhonda Fleming is gorgeous. I love this movie!! If you liked Danny Kaye in the Court Jester then you will definitely like this movie.",1 "George P. Cosmatos' ""Rambo: First Blood Part II"" is pure wish-fulfillment. The United States clearly didn't win the war in Vietnam. They caused damage to this country beyond the imaginable and this movie continues the fairy story of the oh-so innocent soldiers. The only bad guys were the leaders of the nation, who made this war happen. The character of Rambo is perfect to notice this. He is extremely patriotic, bemoans that US-Americans didn't appreciate and celebrate the achievements of the single soldier, but has nothing but distrust for leading officers and politicians. Like every film that defends the war (e.g. ""We Were Soldiers"") also this one avoids the need to give a comprehensible reason for the engagement in South Asia. And for that matter also the reason for every single US-American soldier that was there. Instead, Rambo gets to take revenge for the wounds of a whole nation. It would have been better to work on how to deal with the memories, rather than suppressing them. ""Do we get to win this time?"" Yes, you do.",0 "In the process of trying to establish the audiences' empathy with Jake Roedel (Tobey Maguire) the filmmakers slander the North and the Jayhawkers. Missouri never withdrew from the Union and the Union Army was not an invading force. The Southerners fought for State's Rights: the right to own slaves, elect crooked legislatures and judges, and employ a political spoils system. There's nothing noble in that. The Missourians could have easily traveled east and joined the Confederate Army.

It seems to me that the story has nothing to do with ambiguity. When Jake leaves the Bushwhackers, it's not because he saw error in his way, he certainly doesn't give himself over to the virtue of the cause of abolition.",1 "Yeh, I know -- you're quivering with excitement. Well, *The Secret Lives of Dentists* will not upset your expectations: it's solidly made but essentially unimaginative, truthful but dull. It concerns the story of a married couple who happen to be dentists and who share the same practice (already a recipe for trouble: if it wasn't for our separate work-lives, we'd all ditch our spouses out of sheer irritation). Campbell Scott, whose mustache and demeanor don't recall Everyman so much as Ned Flanders from *The Simpsons*, is the mild-mannered, uber-Dad husband, and Hope Davis is the bored-stiff housewife who channels her frustrations into amateur opera. One night, as Dad & the daughters attend one of Davis' performances, he discovers that his wife is channeling her frustrations into more than just singing: he witnesses his wife kissing and flirting with the director of opera. (One nice touch: we never see the opera-director's face.) Dreading the prospect of instituting the proceedings for separation, divorce, and custody hearings -- profitable only to the lawyers -- Scott chooses to pretend ignorance of his wife's indiscretions.

Already, the literate among you are starting to yawn: ho-hum, another story about the Pathetic, Sniveling Little Cuckold. But Rudolph, who took the story from a Jane Smiley novella, hopes that the wellworn-ness of the material will be compensated for by a series of flashy, postmodern touches. For instance, one of Scott's belligerent patients (Denis Leary, kept relatively -- and blessedly -- in check) will later become a sort of construction of the dentist's imagination, emerging as a Devil-on-the-shoulder advocate for the old-fashioned masculine virtues (""Dump the b---h!"", etc.). When not egged-on by his imaginary new buddy, Scott is otherwise tormented by fantasies that include his wife engaged in a three-way with two of the male dental-assistants who work in their practice. It's not going too far to say that this movie is *Eyes Wide Shut* for Real People (or Grown-Ups, at least). Along those lines, Campbell Scott and Hope Davis are certainly recognizable human beings as compared to the glamourpuss pair of Cruise and Kidman. Further, the script for *Secret Lives* is clearly more relevant than Kubrick's. As proof, I offer the depiction of the dentists' children, particularly the youngest one who is about 3 or 4 years old, and whose main utterance is ""Dad! Dad! Dad! Dad! Dad! DAD!!!"" This is Family Life, all right, with all its charms.

The movie would make an interesting double-bill with *Kramer vs. Kramer*, as well. One can easily trace the Feminization of the American Male from 1979 to 2003. In this movie, Dad is the housewife as in *Kramer*, but he is in no way flustered by the domestic role, unlike Dustin Hoffman, who was too manly to make toast. Here, Scott gets all the plumb chores, such as wiping up the children's vomit, cooking, cleaning, taking the kids to whatever inane after-school activity is on the docket. And all without complaint. (And without directorial commentary. It's just taken for granted.)

The film has virtues, mostly having to do with verisimilitude. However, it's dragged down from greatness by its insistence on trendy distractions, which culminate in a long scene where a horrible five-day stomach flu makes the rounds in the household. We must endure pointless fantasy sequences, initiated by the imaginary ringleader Leary. Whose existence, by the way, is finally reminiscent of the Brad Pitt character in *Fight Club*. And this finally drives home the film's other big flaw: lack of originality. In this review, I realize it's been far too easy to reference many other films. Granted, this film is an improvement on most of them, but still. *The Secret Lives of Dentists* is worth seeing, but don't get too excited about it. (Not that you were all that excited, anyway. I guess.)",0 "While this movie's style isn't as understated and realistic as a sound version probably would have been, this is still a very good film. In fact, it was seen as an excellent film in its day, as it was nominated for the first Best Picture Oscar (losing to WINGS). I still consider WINGS to be a superior film, but this one is excellent despite a little bit of overacting by the lead, Emil Jannings.

Jannings is a general from Czarist Russia who is living out his final days making a few bucks in the 1920s by being a Hollywood extra. His luck appears to have changed as he gets a casting call--to play an Imperial Russian general fighting against the Communists during the revolution. Naturally this isn't much of a stretch acting-wise, but it also gets the old man to thinking about the old days and the revolution.

Exactly what happens next I'll leave to you, but it's a pretty good film--particularly at the end. By the way, look for William Powell as the Russian director. Despite being made in 1928, with the makeup he doesn't look much younger than he did in many of his later films.",1 "I give this movie 7 out of 10 because the villains were interesting in their roles and the unknown batwoman creates an interesting ""guess who"" game. The movie, however, needs more Robin in it. He appeared in the movie in the beginning and sporadically throughout the rest. I always thought the new animated series did little justice to the neat new Robin character, let alone Knightwing. This movie just continues that bad tradition. The movie spends too much time on Bruce Wayne and his romance which wouldn't be so bad in one movie if the romance wasn't so unbelievable. It is still a good movie if you are a Batman fan and I would recommend watching it.",1 "really awful... lead actor did OK... the film, plot etc was completely crap and inaccurate it may as well have been a sequel to well... anything it had little or no relevance to Carlitos Way... and should be avoided like the plague by any Carlito's ways fans... no mention of Gail in fact he ends up with some other bird, no mention of Klienfelt, no mention of how he got caught, no mention of how he ended up in jail... they attempted to make it like the original with flash backs at the beginning... but to be honest when rating it I was looking for a zero mark... unfortunately I had to rate it higher...

Its a terrible attempt to cash in on what was one of the best films of the 90's... overall it was approximately £6 and 2 hours of my life wasted... for all the ""action"" in it, it was truly boring slow and predictable... again to any Carltio's Way fans avoid this fiasco...",0 "Good grief I can't even begin to describe how poor this film is. Don't get me wrong, I wasn't expecting much to begin with. Let's face it, a PG-13 slasher flick is pre-destined to be missing the ummm... slashing, so no one should be surprised by the lack of gore. But it was the level of incompetence and cliché on display in all the other aspects of this movie is what really blew me away.

We have a protagonist who is quite simply so completely useless that you find yourself rooting for the bad guy. And here's a turnup for the books... SHE NEVER CHANGES - hence breaking the cardinal rule of basic screen writing - character development. If you think by the end of this film the poor little girl is going to turn around and finally kick some arse then think again.

On top of this, we're handed possibly the least intriguing (and definitely the least scary) killer ever to grace the genre. I'm not joking when I say that Dora the Explorer has scarier villains than this movie.

Finally, because all the potential for tension or gratuity is removed by the inept (and apparently thirteen-year-old) director, what could possibly be left to fill up 2 hours of screen time?

Closets, that's what.

Lots and lots of closets: big closets, small closets, mirrored closets, closets to Narnia, so many damned closets you'll not want to dress yourself for another year. In fact this movie should have just been called ""CLOSET"", and had a picture of a big scary coathanger on the DVD case. On the back it could have had a photograph of the audience falling asleep and a quote by Roger and Ebert - something to the extent of: ""what the f*@! did we just waste our time watching!""",0 "Home Room deals with a Columbine-like high-school shooting but rather than hashing over the occurrence itself the film portrays the aftermath and what happened to the survivors, their trauma, guilt and denial.

*Spoilers* The shooting itself is treated as a foregone conclusion, with no action footage other than the reaction of an almost teenage SWAT commando after shooting the high school killer. The film has three protagonists; the detective investigating the crime of which no guilty parties are left to convict and two teenage girls surviving the incident, played by a very young Erika Christensen and Busy Philipps.

The two girls having nothing in common besides the shooting are put together because of it and the drama ensues.

Erika Christensen, though only 24 has been around the block so much that film viewers are pretty much acquainted with her solid and reliable style of acting. Busy Philipps, three years older than Christensen and altogether unknown to me, blew me away with her overwhelming dramatic strength and screen presence. This girl was the part.

It's a great movie and it connects to you with its intimate focus on the fragile yet growing relationship between the two traumatized girls. Gus van Sant's Elephant (2003) though good, seems almost superficial and paltry compared to Home Room when it comes to dramatic flair and acting. What I can see this film got very little screen time and exposure - so much more a loss for an equally traumatized America.

Ten out of Ten",1 "This begins a wager between Edgar Allen Poe and a journalist...Poe bets that the man can not spend an entire night in a creepy castle. Well, of course he can, but will he come out unscathed? Hard to say with all these strange people that aren't supposed to be there wandering around, including the icy Barbara Steele. This is a fairly odd film in that the presentation is both in French and English, and switches back and forth a few times. Perhaps this is done because bits of dialog were lost? It's also rather dark and claustrophobic, being that one doesn't see much beyond a small circle of light that candles and such generate, plus there's a feel of dread and impending doom pretty much at all times. This version (on Synapse) is also uncensored and I wondered what might be censored in a film from 1964 until I saw the topless scene, I guess that might be it. Overall this is pretty good and in gloomy black and white. Barbara Steele definitely makes the movie too. 8 out of 10.",1 "Last weekend I bought this 'zombie movie' from the bargain bin and watched it with some friends thinking it was going to be a budget version of ""Land of the Dead"".

Boy, was I wrong.

It seems as if they spent a good portion of their budget on the cover-art, which is very misleading to fans of the zombie genre.

We watched up to the point where the zombie chicks come alive and get in the car with some yuppie who is out in the middle of nowhere talking business on a cell-phone. They actually speak to the guy before one of the girls kills him; but once they started driving the car, I couldn't suspend my disbelief anymore.

Some people actually consider this a ""so bad, it's good"" movie, they are liars. I didn't finish the movie, but one of the other reviews mention that they actually somehow become police officers at the end of the movie, which makes me glad to not have watched it all the way through.

This is even worse than ""Zombiez"" DO NOT WATCH!",0 "Well the reason for seeing it in the cinema was that it was a sneak preview, else I would never have seen this terrible teenage slasher movie. I mean haven't we had enough of this yet? Scream and Scary Movie at least did not take them self serious! The plot sucks, and the acting is the worst I've seen. (Only Godzilla can compare, which is also the only movie that competes in being the worst I've seen in the cinema with this one.)

There is so many plot holes in the story, and the girls are so alike, that you don't even now who has been killed, and who has not. (and you don't care.) The only of them I knew in advance was Denise, and she was the most talent less actress I have ever seen in this bad excuse for a movie.

Stay as far away from this movie as possible. (2/10)",0 "We have an average family. Dad's a famous rapper, we have the ""rebelious teenage daughter"", the adopted white kid, and the cute little kid. And we have careless housemaid, what show has had a housemaid like that? Do we have a messed-up Brady Bunch? Yay! When it first came out I thought it was really cool, mostly because I was young. The music was bad. The raps were so bad and they were too g-rated. All of his raps were about his family and friends and problems. The dad was kind of the ""Danny from Full House"" type of dad. Always gave the advice out. But he wasn't a clean freak. They had a house-keeper for that. Remember? The plots were basically Lil' Romeo was in trouble of some sort, or... not that's it. Oh and maybe some preteen drama. Yeah that stuff is good. Not really. But its still a good show for kids. But Nikelodean could do better.",0 "when my sister said this movie was gonna be good i had second thoughts but i watched it and it was actually funny. basically the movie is made of a weird girl who goes to a small town where no one likes her and she just wants to go there and get the reading of her aunts will don so she can go. but its not all that easy. In this movie you will come across hilarious humor, a witch, a book of spells/recopies, a mentally challenged uncle and a dog. You will understand the meaning of the word freak a after anyways i hope you run right out and try to find this really old movie. hope you like it in total i will have to give it a 0.... no I'm totally joking ill give it a 9 hope you understand that you will laugh, you will scream and you may just be offended.

love yours truly: Dakota you can email me at dakota_loves_it@hot mail.com if you wanna",1 "I thought this was a wonderful movie. It touches every fiber of a human being. The love in the film is very intense. I thought it was Will's best performance to date. Great directing. Liked the editing. Music was great. Good use of flashback. This is the kind of movie everyone should go see. I hope people will get something wonderful from this. Overall, excellent movie. I think Hollywood should make more movies with substance. Even action films can have a caring story. I like the fact that Will was very subtle in his acting. He had a purpose and a dedication that is rare to see. I would suggest watching this alone or with someone that you really care about. For me, I found that the world stopped and my only focus was on the film. The outside world was suspended for a moment. It was a nice feeling with all this chaos going on in this world. And with this me generation it was great to see something(someone) that cared about other people more than himself.",1 "Why on earth is Colin Firth in this pointless film? Has he really been that strapped for cash?

The film isn't clear on what it wants to be about, grief?, exotic places?, ghosts?, a vehicle for Mr Darcy? It's a muddled, muddy mess.

There seems to be some sort of idea that Italy must be good, in itself, and that Italian has something to offer as a language - but in the end the girls just want to go back to yankland.

There are pointless episodes on the beach, in churches, on busy roads - but what it is all about, or why anybody should care simply isn't clear.

There was also a yank woman in the film. It wasn't clear what here job was, but she seemed only to be there to make vapid, inappropriate and maudlin comments to the girl. Was it supposed to be about paedophillia??

A pretty dreadful mess, all in all. I gave it 2 rather than 1 because it doesn't have the charm of an utterly ghastly film.",0 "Back in 1985 I caught this thing (I can't even call it a movie) on cable. I was in college and I was with a high school friend whose hormones were raging out of control. I figured out early on that this was hopeless. Stupid script (a bunch of old guys hiring some young guys to show them how to score with women), bad acting (with one exception) and pathetic jokes. The plentiful female nudity here kept my friend happy for a while--but even he was bored after 30 minutes in. Remember--this was a HIGH SCHOOL BOY! This was back before nudity was so easy to get to by the Internet and such. We kept watching hoping for something interesting or funny but that never happened. The funniest thing about this was the original ad campaign in which the studio admitted this film was crap! (One poster had a fictional review that said, ""This is the best movie I've seen this afternoon!""). Only Grant Cramer in the lead showed any talent and has actually gone on to a career in the business. No-budget and boring t&a. Skip it.",0 "It's easy to forget, once later series had developed the alien conspiracy plot arc more, that once upon a time, The X-Files' wrote episodes like ""GenderBender"" and ""Fearful Symmetry"", where the aliens weren't all little grey men or mind-control goop, but could actually surprise you.

""Fearful Symmetry"" starts with an ""invisible elephant"" - actually an elephant somehow dislocated in space and time, not a mile away from ""The Walk"" - and ends with a pregnant gorilla being abducted. And it's very much an episode of wonderful moments. The subplot is annoyingly worthy - yeah, we get it, zoos are bad except when they're not - but the ideas that within it are fascinating, visually powerful, and very memorable, and it covers an angle on abduction that is largely overlooked - why *would* humans be the only things that aliens are interested in?

In the end, it wasn't an instant classic, but it was enjoyable viewing while it lasted, again, very memorable, and mainly, it's something that you couldn't imagine many other shows doing.",1 "'Grey Gardens'(1975) is the Maysles' brothers bizarre documentary of Jackie Bouvier Kennedy Onassis'eccentric aunt and first cousin who live like pigs in a run down 28 room mansion on East Hampton, Long Island.'Big Edie' Bouvier Beale,78,witty and dry and her daughter, 'Little Edie' Beale,56,(emotionally about 13) a still beautiful woman who once had a promising future,live in isolation from the rest of the world except for their many cats and raccoons in the attic. They amuse themselves by bickering all day, listening to the radio or singing to each other(They dont even own a television) Their fall from society is amazing to learn of and the viewer is drawn to these two very special, although obviously, dysfunctional people.One of the better documentaries ever made and still a cult classic today.",1 "I'm usually not one to say that a film is not worth watching, but this is certainly an extenuating circumstance. The only true upside to this film is Cornelia Sharpe, looking rather attractive, and the fact that this film is REALLY short.

The plot in the film is unbelievably boring and goes virtually nowhere throughout the film. None of the characters are even remotely interesting and there is no reason to care about anyone. I'm not sure why on earth Sean Connery agreed to do this film, but he should have definitely passed on this one.

The only reason I could see for seeing this film is if you are a die-hard Sean Connery fan and simply want to see everything he's done. Save this one for last though.

Well, if you by some miracle end up seeing this despite my review (or any of the other reviews on this site), then I hope you enjoy it more than I did. Thanks for reading.",0 "Not funny - how can anyone link this to Monty Python? That is absolutely ridiculous - there are no laughs. This is not funny. Over the top, but ugly, weird just for weird sake and it seems to me these people were on something all the time. Unfortunately something that did not make them funny.

It should be given some points for effort etc. whatever. Actually it appears there is a laugh track - or is there one? Hummm.... Since there are barely any laughs that's a debatable question.

Maybe I'm doing it injustice - maybe it's some sort of exercise. Some sort of art - in that case anything goes, never mind.

But these guys playing women with high-pitched voices, turned-up noses. Come on !!! Not funny.

There is only one heir apparent to Monty Pythons intellectual wit and that is Stephen Colbert, and maybe Jon Stewart.",0 "Okay, I rented this movie because of the director...he has made some interesting flicks in the past (if you haven't seen Waxork you are missing a fun ride). Anyway, I had my doubts about this movie from the beginning but I decided to suck it up and give it a look. It's bad. Very bad. If you haven't seen the movie and don't mind spoilers read ahead. First of all, the old saying 'You can't judge a book by it's cover' applies here. The box for this flick seems to indicate that Jill is the stone fox with long hair with highlights. The back of the box has a cool shot of the red-leather Jill and some other shots. The description makes you want to rent the movie because it SOUNDS good. You start watching it and suddenly you find out that the movie takes place (inexplicably) in 1977. Jill is a total dog who is not the girl on the cover. The movie is not quite as predictable as you would think...and that's not a good thing. Characters do so many stupid things without any modicum of motivation...it's embarrassing to watch. 10 minutes before the end of the movie Dolph and another lady have sex for no good reason. Also, what was the point of having Dolph kill this other lady in cold blood who had been helping him. Anthony Hickox the director should have seen a stinker when he read the script. Had it been set in the underworld of the new milennium and made the characters halfway intelligent it might have been decent. To set it in the 70's makes no sense and has no bearing on the story whatsoever. Avoid it!",0 "This obscure de Sica delivers the goods. And it is said ""the meek shall inherit the earth."" This tale of classes on the surface but really an allegory for all the homeless people that populated Europe after the great war. They are homeless but cheerful, in a societies too impoverished and selfish to care for or acknowledge them, footmats for the Italian carpetbaggers. de Sica chooses to tell it as a fairy tale, a Cinderella story. I have not read the book it is based on so I cannot foresay if the deus ex machina is the construct of the writer or Vittorio. It begins with the words, ""Once upon a time..."" to exemplify the timelessness of its tale, for the story could be set anywhere and everywhere. Caricature sketches of the aristocracy that cut to the bone, whimsical nature of the homeless especially when they begin to grant their wishes and an ending right out of a Spielberg picture makes this boulange a delight for all. De Sica's most accessible picture is also one of his best. Abandoning neo-realism, he always dallied between that and pure good old film-making, he creates a movie that breaks the heart and at the same time fills it with the yearning of hope that one needs to continue leaving in this world. Gracias Vittorio! Gracias! Gracias!!! Gracias!!!!!!!!!!!!",1 "Wes Craven, you are having a laugh... at our expense. The Red Eye plot is preposterous... We are confronted by a guy who has apparently spent 8 weeks watching a girl, who then turns up at an airport behind her, flirts and chats her up successfully, somehow wangles a seat next to her in a two seat space, not trapped in the middle of a five seat row (contacts at check-in?) and is cheezily nice during a painfully slooooow build up. Then, once up in the air, in a confined space, surrounded by strangers, he immediately starts threatening the vacuous, if super-efficient, Rachel McAdams and saying tosh like 'we got ya daddy, do what I say, or poppa gets it'. Well, forgive me, but didn't they already have her daddy ready for slaughter-so-you-better-oughta long before she stepped on the plane and therefore wouldn't it have been oh, sooooooo much simpler to simply snatch the gal off the street and terrorise her in a room somewhere, forgetting the complicated and insecure dad plot, pulling her nails out or whatever until she made the all important 'call' required? Or even - cos this is the movies and we need a few unreal twists - keep the dumb dad-in-distress thing intact if you must, but dress it up better so that holding him in harms way until the convoluted plot had been concluded made some sense, without the plane dumbdown? Alternatively, without wanting to sound like an actual thinking terrorist/assassin - couldn't the massive bazooka-missile thang employed have been far more easily used on, say, a car driving down the highway, with the politician inside, rather than the 50th story of a Miami seafront hotel, from a fishing boat (mind you, as we already know, security in Miami is lax, so they'll speed away)? I know, I know, far more fun to go through watching a pretty girl for 8 weeks, burgle her dads house to steal his wallet (that somehow - star trek style - gets transported from Miami to Texas instantly) in order to - perhaps - get her to arrange for a politician to change hotel room and, and, and... Well, a thousand things could go wrong here, each one entirely destroying the Big Plan, so why not slim the elements down to a sensible handful, such as - 1. bazooka. 2. car. 3. boom! My 50 minute drive home from the cinema was spent highlighting the abundance of flaws and stupid cod-Hitchcockian twists, which sadly was the best fun of the whole sorry experience. And as for security back at Miami Airport... we have an apparently crazy and violent girl running off a plane, chased by cops, who during the chase sits down to have a coffee, moves elsewhere to read a magazine at a bar, then runs again like crazy up and down the whole terminal... by now also chased by crazed Cillian Murphy (no CCTV then? - I had guns pulled on me for parking in the wrong place for 10 seconds at Miami Airport a couple of years back). So instead of speaking to the cops - her allies - or getting on the blower at a call-box direct to her dad to warn him his life is in danger, McAdams prefers instead to steal a People Carrier off a family in the Airport forecourt (call the damned security...) and drives home to daddy, mowing down the assassin with the vehicle in the front garden of the house, in a rich neighbourhood-watch district, crushing the front porch in the process - an act which actually slightly wakes dad up from an afternoon snooze, after about a minute, yet which somehow fails to register with neighbours who aren't even mildly curious, thus ensuring 15 more minutes of hide and seek shenanigans as the duo run around the vast Hollodeck type house... Dohhh, it actually hurts to keep thinking about it all - Cillian (surely renamed Silly 'un for doing this one?) preposterously turns from ice assassin to comically unhinged (and inept) lunatic killer at the end, this theoretically ruthless despatcher of human life now allowing the dad to live so that he can watch his daughter getting her goose cooked. I'd better stop, because the stream of drivel I'm writing here must sound as uncoordinated as the Red Eye script. If Ms McAdams hadn't been allowed to get on the plane in the first place the title could have been altered, from 'Red Eye' to 'No Eye, Dear'. RR",0 "I love horses and admire hand drawn animation, so I expected nothing short of amazement from Dreamworks new animated picture Spirit: Stallion of the Cimarron. I guess you could say I was a little bit disappointed. You have wonderful animation and at first what seems like a perfect story. A story about absolutely nothing but a horse in nature. The animals don't sing cute songs or even talk -- a major plus. Sadly, the film has an uncalled for narration by Matt Damon; a sappy soundtrack by Bryan Adams; and enough action scenes to compare it to a Jerry Bruckheimer production. If the film makers would have just stayed with simplicity, we'd have a masterpiece here. This is not a great film, but it is good entertainment for small children. I would recommend this film to families because it has its heart in the right place and its the only thing out there right now that isn't offensive to small children. Not bad, but could have been much better. Very pretty visuals though.",1 "The first (and only) time I saw ""Shades"" was during a Sneakpreview. It hadn't even been in premiere. I remember there was someone of the directors staff there, don't even remember who. It was a Belgian movie, we never heard of it, so we were quite neutral, not knowing what to expect. Mickey Rourke is a brilliant actor and he's stands miles ahead all the rest. He plays an actor who's star has long stopped rising. He's helping to realise a movie in Belgium entitled ""Shades"".

As soon as the movie started, we noticed how much swearing there is. Nothing against the occasional swear word. However this was way beyond annoying. Whenever Rourke uses the F*** word to express something, it comes naturally. However, when someone from the cast, a non-English speaker uses the F**** or S*** word, it becomes arrogant and aggressive.

We quickly lost count of how many times they used the F and S words. Everybody was just glad to be out of the theatre. And we had to give a vote, but it was hard for us because it was only from 0 to 10, and we were looking for the -10.",0 "I seriously love this film so much, I never get sick of watching it. The only line I really can't stomach in this is when Riff calls herself a teenage lobotomy but other than that, everything else is perfect. I've never been a fan of PJ Soles and it didn't help to hear that she didn't even know who the Ramones were until she filmed this movie, but I can ignore her snarly little face for the most part. Most people who watch this over and over are fans of the Ramones and really.. that's the only reason I love it so much. I never get tired of seeing DeeDee mess up his Pizza lines or Joey mess up the name of the teacher over and over, haha. One of the best parts of the film is seeing them sing do you want to dance , down the halls of the high school.. I love it. The special edition DVD has a good retrospective, surprisingly PJ Soles isn't on it. Maybe she was working on another project *laugh* Anyway, great film, even better if you're a Ramones fan.",1 this is the best sci-fi that I have seen in my 29 years of watching sci-fi. I also believe that Dark Angel will become a cult favorite. The action is great but Jessica Alba is the best and most gorgeous star on TV today.,1 "It's good to see that Vintage Film Buff have correctly categorized their excellent DVD release as a ""musical"", for that's what this film is, pure and simple. Like its unofficial remake, Murder at the Windmill (1949), the murder plot is just an excuse for an elaborate girlie show with Kitty Carlisle and Gertrude Michael leading a cast of super-decorative girls including Ann Sheridan, Lucy Ball, Beryl Wallace, Gwenllian Gill, Gladys Young, Barbara Fritchie, Wanda Perry and Dorothy White. Carl Brisson is also on hand to lend his strong voice to ""Cocktails for Two"". Undoubtedly the movie's most popular song, it is heard no less than four times. However, it's Gertrude Michael who steals the show, not only with her rendition of ""Sweet Marijauna"" but her strong performance as the hero's rejected girlfriend. As for the rest of the cast, we could have done without Jack Oakie and Victor McLaglen altogether. The only good thing about Oakie's role is his weak running gag with cult icon, Toby Wing. In fact, to give you an idea as to how far the rest of the comedy is over-indulged and over-strained, super-dumb Inspector McLaglen simply cannot put his hands on the killer even though, would you believe, in this instance it happens to be the person you most suspect. Director Mitch Leisen actually goes to great pains to point the killer out to even the dumbest member of the cinema audience by giving the player concerned close-up after close-up.",1 "I just finished watching this movie. It wasn't ridiculously bad, but I'm really disappointed with it. I'm not really sure why someone would make a movie like this. It was marginally entertaining, but I feel like the people making it had a lot of disagreements on what they were making. Monday, the writer was in charge; Tuesday, the director; Wednesday, the guy who gets the coffee; etc. It almost seems like they really wanted to make a couple different movies, but only had the time and money to make one.

Someone else commented that the acting was really good, but I'd have to disagree. Then again, if the actors were able to keep a straight face during the filming, perhaps they're better actors than I give them credit for.

The back of the DVD gives the impression that the movie would be a mystery... something along the lines of a historical Law and Order or National Treasure. It starts off like that, but then, out of nowhere it takes a turn towards a bad episode of the Twilight Zone, or... what was that other show that wasn't as good... A bad episode of The Outer Limits.

My main complaint about the movie is that it is just so played out. There's the evil guy with spiked white hair. There's the love interest, who, when she first appears, the wind actually blows through her hair. Seriously. Once you realize it's a Christian movie, the end is also pretty easy to spot.

The cinematography was poorly done, especially in the opening scenes - way to put your best foot forward. It wasn't atrocious for most of the movie, but there was the occasional ridiculously bad shot of an old lady, praying, arms up in a dark room while lightening is striking - the sort of thing that just makes you a little bit embarrassed to be watching the movie.",0 "Slither is a horror comedy that doesn't really have enough horror or comedy to qualify as one or the other. It has one scene that is exceptionally good, any number of zingers that work, but very few real scares and not enough humor to maintain the movie. In addition, the script does not focus on the hero and heroine, and goes off kilter in several places.

A major failing of this film is that it introduces and then leaves its hero (Fillion) to follow Grant Grant (Michael Rooker) as he is first introduced and then becomes the monster. This whole part of the film drags - Michael Rooker's character isn't that interesting to us as a person, and watching as he goes through a series of motions while acting in the monster's interest might be interesting if this was Grant - Portrait of a Man Turning Into A Monster rather than a horror-comedy alien invasion movie. In the final analysis this movie's problems are in the script - it isn't that important to the audience how the monster acts or propagates. The purpose of a horror-comedy is to get the heroes backed up in a corner with shotguns and then throw bugs at them, with them cracking wise every time something frightening or disgusting happens. Instead we get an exploration of the alien's habits and tactics that just makes this part of the movie drag. The ostensible heroine (Elizabeth Banks as Starla Grant) is more central to this part, but nonetheless I felt the movie had left its narrative track, unless it planned on following Grant Grant all the way to the end.

When Fillion and his posse finally confront the alien the movie does begin to cook, but once again the problem is in the script. By this point that audience knows - and the characters should know - that Grant is not just suffering from some disease, and act accordingly (shotguns) - instead they continuously parley in the face of increasing evidence that this is not something that ""let us get you to a hospital"" is going to help. Although their reactions might have been human and real, these are characters in an action movie and simply should have done what the movie promised - delivered action. A lack of action scenes in a movie with as few ideas as this is a great failing.

*** SPOILERS AHEAD *** After the first confrontation and the bursting of the alien larval sack (a minor character and perhaps the best scene in the movie) the script once again betrays the movie. At this point one of the characters is almost taken over by the alien and develops an insight into the alien. The writer-director (Gunn) chooses as this character a completely new character, rather than one of already developed minor characters. Why? Why did he need to introduce a completely new character more than an hour into the movie that becomes central to the plot? By the time this character is attacked, we know hardly anything about her and could care less about her, even though she is a winsome teenage girl in her bath. Had Gunn decided not to use this character and just used one of the established minor characters, he could have completely avoided introducing her family, and saved time and money. Furthermore, the hero and heroine would have been filled in on the alien's plans without all the additional characters, and could have gotten around to blowing away aliens sooner and with more vigor.

My last criticism is based on the movie's look. Gunn is primarily a writer, or maybe it was budgetary constraints, but this movie looked ugly and uninteresting. Most of the action takes place at night in woods or on a field, and the screen simply looks drab. The sets in Wheelsy (the fictional town where the action takes place) look cheap. The whole movie looks cheap. Box Office Mojo states the films' budget was $15 million, newspapers say $29 million, and considering they didn't use any name talent, I would say the money did not show up on screen. The monster is just repulsive, and rarely looks deadly.

The last criticism is primarily based on the reality of the character's actions. By the time Fillion and Co have begun hunting Grant/the alien, one woman has disappeared and Grant is known to have been mutilating animals. At this point I was expecting the FBI or at least the State Police to show up and take over from the hick Sheriff. A woman has disappeared and likely been murdered, and a local has been acting psychotic. Time to call the authorities. But basically I was hoping that would happen because I just wanted some characters who would show up and ACT.

Although this movie is ostensibly a horror-comedy, the movie it bears the most resemblance to is Dreamcatcher in terms of monstrous invasion and the type of monster and its intentions. Whereas Dreamcatcher had much bigger problems with story (especially the entire Morgan Freeman subplot) and particularly the ending, in many ways it was stronger, primarily because the main characters were stronger, but more importantly because it looked beautiful. Although that may be anathema - preferring the movie that is weaker in general plot and structural spine because of production values - that just shows you how uninteresting I found the look of Slither.",0 "Gus Van Sant has made some excellent films. I truly am a fan.

However, I can't help but feel that the cerebral edge of Tom Robbins book ""Even Cowgirls Get the Blues"" is lost in translation to the big screen. Alone, Tom Robbins and Gus Van Sant are incredible visionaries and towers of talent. Ultimately though this one just didn't work.

It wasn't that the characters weren't well developed or the plot and content didn't come alive. It's just that our imaginations are much more powerful when reading a book like this. We're taken away to a different time and place and we sometimes think the worst and/or the best and it adds to the overall roller-coaster of the book as it neatly unfolds according to the author's precision. Movies however can leave one with less of the imagination and emotion roller-coaster detracting from the overall experience. This is what I believe happened here.

I suggest reading the book!",1 "What an appalling piece of rubbish!!! Who ARE all these people who blubber on about how good this is? Yes, it's ""arty""; and yes, it's ""foreign"", but .... that's not enough. The plot is boring and disjointed, like a reality show but not so slickly made.

The people are intrinsically uninteresting; but as characters they don't have enough depth to feel empathy for them. If they are based on real people then I feel very, very sorry for them.

The violence (and some of it is very violent) seems quite ostentatious and gratuitous. It's like the producer has visions of being Quenton Tarantino. Not that I think very much of him, either.

And oh yes: if I had neighbours like these, I'd move!",0 "This is a formula B science fiction movie, and the director made no bones about it. It is about a dragon who is restored to life by a scientific team. Everything done is stuff you've seen many times before. It is a weak script, with no real characters. In fact, it is full of stereotype characters and situations. The director attacks this by just making it a formula movie, with no attempt to fool us, and that gives this movie a mild appeal, but it isn't something you're likely to remember a while. It is best seen while you're cooking, cleaning, working out. Sort of mindless fun. It has its place in entertainment, but it certainly isn't something you sit down with friends to watch, unless you're all just drunk and don't care. The mass rating of 3.2 is probably fair. I don't think it is as crappy as most people, but I am surprised that some people in the postings thought this was spectacular. That really eludes me, as I see no attempt to even make this a memorable film.",0 "I was living Rawlins when this movie was made and I got lucky enough to be able to work on it. Both as an extra and with Eddie Surkin on special effects. It was fun to see all the behind the scene workings, from the Barbedwire coming alive to the Electric chair up through the wardens office floor. Also it was a lot of fun getting to meet all the actors, from Viggo to Tiny. Also the gate that was cut into the prison wall for the movie was and still is called ""Disney Gate"" by locals. If anybody is interested and is ever in Rawlins, most of the movies sets are still in place and can be seen during the self guided tour. It was a lot of fun working for and with R. Harlin and wished I had a chance to do it again.",1 "I think that my favorite part of this movie, the one that exemplifies the sheer pointless, stupidity and inanity of the proceedings, comes at the climax of the film. DOCTOR TED NELSON and his unmarried friend the Sheriff have finally cornered the Melting Man on a landing on some stairs in an electrical generating plant. Keep in mind that Nelson has been looking for the MM for nearly the entire film, and that the MM has killed and eaten several people at this point (including his boss), and Nelson is very aware that MM is violently insane and hungry for human flesh and blood.

So the Sheriff has his gun pointed at MM, who is, and I give the movie and Rick Baker props for this, the most disgusting and terrifying object in human form that we have ever seen. And he yells a very important question to DOCTOR TED NELSON: ""WHAT DO WE DO NOW?!?!?""

The camera cuts over to DOCTOR TED NELSON, and it's obvious that Ted has no idea what to do next. Apparently Ted was so intent on the problem of FINDING the Melting Man, he never thought to bring along some restraining devices, a lasso, or straitjacket, or a net, or some tranquilizer darts, or maybe a New Age tape by Vangelis to soothe the savage beast.

So the sheriff panics and shoots, the Melting Man goes berserk, and hilarity ensues.

Maybe this explains why NASA has been screwing around with the Space Shuttle program in sub-lunar space for the last 30 years instead of going back to the Moon or out to Mars like everyone knows they OUGHT to be doing. I dunno.

Anyway, that's the kind of lousy, lazy writing and direction that undercuts every aspect of this movie. It's hard to say how good the actors actually are, because the movie has complete contempt for their characters.

Two other incredibly painful sequences also ramp up the stupidity of the proceedings: There is a scene featuring the lumpiest old couple in the world trying to steal lemons from a grove, only to be torn apart by the Melting Man. This scene is a nadir in 70s cinema. I can guarantee you've never watched a more pointless and irritating setup with odder looking people in your entire life. And the Melting Man's assault on the lady who lives in the house where they keep a horse who pees on the walls defies every attempt to process it.(BTW, I think famous film director Jonathon Demme has a walk-on in this scene as the redneck husband who goes in first to check on the house and never comes out again). The only thing that keeps the actress from literally chewing the scenery is that, as I said, their horse has apparently been peeing on it. And we are forced to watch her hysterics for at least two minutes longer than any SANE film director would hold the shot.

Burr DeBenning ought to beat the crap out of IMM's director and photographer. I remember him from an old Columbo episode where he looked MUCH better than he does here - no one's idea of a leading man, but solid and unobtrusive. But no one could possibly be as unappealing in real life as his director makes him look here.

Everyone else comes off a little better except for the old couple (and shut up, I know they were being played for laughs, but I ain't laughing!) but not much.

This definitely falls into the 'So Bad You Can't Look Away' category of cinema disasters. Still, I'd watch it again before I'd watch a lot of other 70's and 80's abortions ( ""Track of The Moonbeast"" and ""It Lives By Night"" come to mind), and MST's coverage of it is great fun, so if you get a chance, watch the MST version.",0 "Quite possibly. How Francis Veber, one of the best comedy directors in the world (at least when sticking to his native France), managed to turn in a film so completely unwatchable is beyond the reason of mere mortal man to discern. It's not just that the characters are so unlikeable or that the film is so utterly devoid of even the lowest form of wit: it's genuinely physically painful to watch, such an endless parade of inept writing, acting and film-making that you cannot believe this is the work of experienced - and talented - filmmakers. For once the near-eternity spent in the cutting room and on the shelf before its blink-and-you'll-miss-it theatrical release tells the whole story. What were they thinking?",0 "As someone who was staggered at the incredible visuals of ""Hero,"" I was anxious to see this film which was billed as being along the same lines, but better. It also featured an actress I like: Ziyi Zhang. Well, I was disappointed on both counts. I bought the DVD of this film sight-unseen, and that was a mistake. It was not better.

I realize these flying-through-the-air martial arts films are pure fantasy but this story is stretched so far past anything remotely believable it just made me shake my head in disappointing disbelief. A blind woman defeating hundreds of opponents? Sorry, that's going a little far. Also, the major male character 'Jin"" (Takeshi Kaneshiro) was so annoying with his dialog, stupid look on his face and stupid laugh, that he ruined the film, too.

Despite the wonderful colors and amazing action scenes, this story - to me - just didn't have an appeal to make it a movie worth owning. This film is no ""Hero"" of mine!",0 "This movie was horrible, simply put. It was so bad I registered with IMDb to warn you of its dangers.

I am a campy horror film expert, per se. I have watched ""Redneck Zombies"", ""House of the Psychotic Women"", ""Slumber Party Massacre II"" and many others. I know my schlock. And I know this movie sucks.

Three fourths of the film is comprised of scared individuals running from one side of the screen to the other. When they are not running, they are spouting non-sequitur lines, devoid of emotion or motivation. When the actors begin to be acceptable, the direction falls to pieces. There were so many jarring low-angle shots; I figured Leif Jonker had a 3 foot tall tripod. He used what I call the ""Leif Maneuver"" several millions times: that is, zooming out from an object of interest like an amateur. Apparently the film crew couldn't get up early enough to film a sunrise, so they filmed a sunset... and played it in reverse. With direction this lazy, you are actually impressed with the final gory scene. The only thing you can figure is that the last five minutes was filmed before the first eighty-five minutes.

If you want a good (bad) gory movie, rent ""Riki-Oh"" or the foundational ""Dead Alive."" If you are a schlock buff, and are looking for a challenge, give ""Darkness"" a go.

Quote o' the movie-

Vampire: It's die time!",0 "This film failed to explore the humanity of the animals which left me with an empty feeling inside. [Spoiler ahead] I was not convinced that Dr. D really had a compelling reason to forego the big buyout deal to help his furry friends. Whereas Babe (the original) bucked the trend of big-budget hits by focusing on the human virtues of the animals vs. their humans counterparts, all the animals in this film were nothing more than comical caricatures which one would gladly stuff in the meat-grinder (even more so if one could understand their pointless babble). Without Eddie Murphy's zany behavior, this film would be a flop.",0 "THHE2 is entertaining in that you'll laugh a lot and cringe and probably say ""oh sh*t!"" and ""get your face away from the goddamn hole you dumb**s"" or things along those lines but I don't know if its really worth seeing- I was very annoyed throughout the entirety with the horrible military characters who don't seem to know the first thing about combat.

Yes there was more violence, gore, and a higher body count than the first one but I am still am debating whether that cancels out my feeling throughout the whole movie about how ridiculous it is (and not a good ridiculousness like Dead Alive or Feast). My time would have been better spent watching Aja's remake for the 5th time.

So go for some laughs, or go for some gore, but don't go hoping to come out of it satisfied.",0 "(Rating: 21 by The Film Snob.) (See our blog What-To-See-Next for details on our rating system.)

Here's a movie that will have you clawing at your own face in an attempt to earn release from the on-screen tedium.

You'll not be wringing your hands, nor rolling your eyes, nor sighing into your popcorn. No indeed. For a movie of *this* averagousity, only clawing at your own face will do.

When you begin to claw your own face -- as begin you must! -- start in at the lower portion. You'll need your upper portion, with its handy tear ducts, intact for the Truly Tear-jerking third act which may bring you to your knees if you haven't clawed your way clear of the entire theatre by then.

In a season celebrating Joe Six-Pack and Hockey Moms as the new Gold Standard for leadership and foreign diplomacy, permaybe a movie this tedium will be welcomed as A Thing that anyone could create. *Watching* it, however, is a much more dangerous undertaking.

Here's our story...

Sidney Young, the London publisher of a fourth-tier celebrity/entertainment magazine is just about to see his magazine go under. He needs a miracle, and what he gets is a phone call from New York City, in the USA.

The publisher of Sharp's magazine, Clayton Harding (played by Jeff Bridges) says ""Come work for me!"" With his own employees carrying out the fax machine out of his apartment/office in the background, saying ""Yes"" is a no-brainer.

Soon Sidney is at work in New York City, doing allllllll the wrong things. His interviews consist of asking Broadway musical directors if they are (1) Jewish, and (2) gay.

He kills the pet dog of Sohpie Maes, the industry's hottest movie star, when she leaves it in the magazine's offices during a business luncheon.

This is a spot of bad luck for everyone, for, among other things, Sidney imagines that he is in love with Maes, before he wakes up to the Dunst character.

Worst of all, he totally alienates Alison Olsen (played by winsome scripting-confusion by Kristen Dunst), a colleague assigned to show him the ropes of the magazine *and* The Big Apple. (We have, of course, been to a movie before, and so we know how this relationship is going to end up. This is therefore why we'll need intact tear ducts for the movie's third act.)

The problem with The Thing is, the script just never jells, excepting for the one tear-duct set piece in which True Love prevails.

Publisher Harding is supposed to be a son-of-a-bitch who also wants to just throw the whole job over. The script never comes down firmly on one or the other sides of this dichotomy, however, and Bridges is left to twist and waffle in the breeze.

Alison Olsen is supposed to despise Sidney Young, but whenever he comes up to her (as he does constantly) she makes a point of engaging him in conversation, instead of attempting to discourage his existence.

The ""comedy"" of early scenes is built around a piglet destroying an expensive hotel room, and then taking the elevator downstairs to urinate on the expensive high heels of a celebrity at a cocktail reception.

The hot starlet Maes confesses that she is attracted to Young because he is ""wounded."" The character never shows us *why* he is wounded, however. This is yet another resultant of the movie's mortally wounded script.

At one hours and fifty minutes, This Thing feels longer (and more deadly) than Napoleon's retreat from Moscow. It is uninspiring, unfunny, unredeemable, and not even rentable. Run Away",0 "Back in the days before the Toxic Avenger, the low-camp kings at Troma Films tried to take the high (OK, somewhat-less-low) road of producing straight slasher pics. I'd like to think that viewing the results here is what convinced them to give up all pretension and go for self-conscious parody.

Splatter University is another film for the masochists in the audience. As it meanders about through two separate casts and innumerable pointless subplots, it actually becomes painful to watch. Let's see if I can summarize.

After learning that a dangerous psychopath has escaped from a local hospital, the action moves to a Catholic university (I don't recall the name, but in honor of the title, let's call it St. Splatter). The students are listless and sullen, and argue pettily with each other, slackers ahead of their time. Meanwhile, the new professor, Julie Parker, proves utterly incompetent at her job. The kids deal with relationships, infidelity, unwanted pregnancies, lecherous priests, and how to avoid doing any work in class; Julie deals with a creepy boyfriend, the inflexible administration at St. Splatter, counseling unwed mothers, and the blank, expressionless looks of her students. None of it means a darn thing or gets resolved in any meaningful way. Oh, and every once in a while, a POV shot comes along and stabs one of the girls to death, but don't hold your breath waiting for it. There's a Red Herring Killer, and then a sadly anticlimactic confrontation with the Real Killer, then it's back to the asylum and roll credits.

The slow pace and numerous inane subplots seem almost calculated to produce a mounting sense of frustration in the viewer, which is helped along by choppy editing, coffee-can sound quality, and dialog that just doesn't make any sense. And the most agonizing thing about this movie is the killer's fixation on women - the men in this movie are just so deserving. I'd've paid good money to see someone off the jerk with the pregnant girlfriend, or the lunkhead Lothario who was fooling around with his girlfriend's roommate, or any of the creepy priests. There ain't no justice.",0 "Written by a woman, and directed by another. Whoppie. Are we in for a feminist ride or what. Fasten your seat-belts, ladies, for we are about to enter a world of mean men and innocent, well-intentioned women.

In this soaper Trish comes across a guy in the employment agency who behaves, looks, and dresses like a pimp(!) and gives her a job with the hope of nailing her some time later. In his office he even touches her chin the way a megalomaniacal heavy in a Bond movie would a touch a girl just after he's captured her and just before he is ready to kill her alongside with Bond. Some time later the pimp/employment guy stalks Trish in a ladies' dressing-room, harasses her, and even comes close to raping her. Oh, these evil, evil men. They are ALL bad, don't you know. You can't even look for a job nowadays without getting raped, right ladies? Well, we'll show 'em! In this film there is some kind of a divorced women's club or something, headed by a Janet Leigh who speaks for all women involved in this film when she says that ""men are all s**t"". She moans about how terrible men are; she has been divorced five times. Now, seriously: any woman who marries twenty times and then uses that statistic as an argument that men are all ""bad"" must have realized eventually that the explanation might lie elsewhere, or? It must occur to her that: a) she is a bad judge of male character, or - much more likely - b) SHE is the one impossible to live with - her ex-husbands were probably the victims, or if they were indeed a**holes then she probably got what she deserved. (Don't the likes of Zsa-Zsa Gabor and Liz Taylor prove this point? Show me a likable woman who got married this often and I'll show you a way to reach the planet Mars using only roller-skates and a ladder.) Trish eventually meets a computer guy who restores her faith in men - but hold your horses; this guy turns out to be married, therefore proving WITHOUT a doubt that men are indeed all ""bad"". Were it not, of course, for a kindly old vegetable seller around the corner who loves his wife even though she's still dead - proving that all men are ""bad"" except for kindly old men whose penises don't work and they ""can't get none"" anyway so they are forced to abandon a life of a**holocolism and finally give women the respect they deserve. Even the supporting male characters are all ""bad""; the black guy in the employment agency is unfriendly, and the guy in the mortuary is out-right rude - and insensitive (the bastard, *sob*...*sniffle*…) And what's with this corny, corny ending?... Minutes before court-time Trish abandons the claim to any of her husband's money, realizing that she is now ""free"" and that she can finally do that jump into the swimming pool...?? What's all that about?? Her jump into the pool is then - very predictably - frame-frozen as the credits start to role in, while life-inspiring I-don't-need-revenge-nor-my-husband's-money music starts kicking in. Her girlfriends are shocked by her abandonment of money claims, but they don't stay shocked for long and soon start kidding each other about what a heart-attack Trish's lawyer will get when he hears about this. The shyster lawyer is naturally a man. An evil, evil, terrible ""bad"" man, whose only interest in this world is money... Ah, these men; all they care about is money; they know nothing of the higher values in life - like shopping. I am glad we have movies like this; they bring the sexes closer together, but most importantly, they teach girls and young women that men are all horny, selfish, skirt-chasing bastards who will dump you into a world of poverty and misery the first chance they get. So, girls, open your mouths an stick your tongues into your girlfriend's mouths. Lesbian power!",0 "Frailty--8/10--It's non-sensical title and ""Bill Paxton Directs"" headline aside, this is a pretty good old fashioned rip snorting biblical horror thriller. In the end, it may end up only being the inbred Southern Gothic cousin of Kubrick's ""The Shining""---but hey, that's a pretty damn entertaining notion. It's also got a doozy of a plot twist...and a very ambiguous moral message. This is the kind of movie that years from now people will catch late at night on basic cable and scare the beejesus out of themselves watching it. Too bad director Bill Paxton had to go hire himself to star...oh well....still a devil of a good rent.",1 "The Sopranos is probably the most widely acclaimed TV series ever, so naturally my expectations were through the roof, and yet the show surpassed them. I love the mafia and crime genre in film and I enjoy following the compelling stories set in these worlds, but this is so much more. 86+ hours of material gives the story a chance to not only be one of the most thrilling and unpredictable mafia/action stories, but also to be a great family drama, a shocking character study, a laugh-out-loud comedy, a brilliant psychological examination dealing with the nature of good and evil, and an intellectual arty collaboration of representative dreams and hallucinations all in one. David Chase's epic series manages to accomplish all of this and more, and cements HBO as the closest TV can get to cinematic perfection, paving the road for a number of other series to continue blowing audiences away.

Realism is present when it is needed, but Chase's decisions to depart from it for effect on occasion for ""dream episodes"" and the like only adds more layers to the series. Chase--along with a strong writing staff including Matthew Weiner and Terrence Winter, future creators of Mad Men and Boardwalk Empire respectively--turns New Jersey into an intricate universe full of the greatest cast of characters I've seen on TV.

James Gandolfini domineers the show as Tony, one of the most groundbreaking characters on TV ever. Tony adheres to half of the mobster stereotypes from pop culture, but he defies the other half entirely, and through his family interactions and his therapy sessions with Dr. Melfi (Lorraine Bracco, with whom he has a considerable chemistry that ensures that the therapy scenes always have a completely different feel to the rest of the show), we see nearly every side to Tony Soprano and learn that he is more of an everyman than one would expect.

Edie Falco matches the power of Gandolfini's performance as Tony's wife Carmela. From her mixed feelings about Tony's lifestyle, to her suspicions about murders, to her torment over Tony's cheating, to her own thoughts about infidelity, Carmela runs the gamut of emotions throughout 6 seasons and Falco makes her the prime vehicle for the non- mafia viewers to have eyes into such a corrupt world. Scenes between Tony and Carmela provide some of the most heartwrenching and painfully realistic drama ever seen on television.

The supporting cast is almost as phenomenal, and a wide array of characters populate the cast over all six seasons, somehow without any redundancies. Nancy Marchand steals the show as Tony's overbearing mother Livia, an insight into Tony's personality problems and panic attacks. The familiarity of Marchand's incessant complaints is almost gruesome since she takes the character so believably far. Michael Imperioli is Christopher, Tony's protégé, whose various poor choices lead him down a road that is painful to watch but brilliantly executed. Drea De Matteo plays Christopher's girlfriend Adriana, and is so well- meaning and loving that the dark arc her character takes as she gets too involved with Christopher's career. Tony Sirico is Paulie, introduced as the ultimate mafia stereotype and a source of comic, but eventually he becomes one of the most sympathetic and complex characters on the show, and nobody plays true anger better than he. And that's just the tip of the iceberg.

Familiar faces such as Peter Bogdanovich, Jon Favreau, Ben Kingsley, Lauren Bacall, Will Arnett, Nancy Sinatra, David Strathairn, Robert Patrick, Hal Holbrook, Burt Young, and Eric Mangini make appearances over the course of the show, while names as notable as Joe Pantoliano, Steve Buscemi, and Steven Van Zandt have regular roles as main characters in the series. There are 50+ great characters with powerful arcs, and the excitement and tension never let up in any of the various subplots throughout the show.

Comedic elements and entire episodes filled with brilliant hilarity dilute the powerhouse dramatic intensity of the series, which is so multipurpose that for one reason or enough, the credits of nearly any episode left me somewhat bewildered. The Sopranos is the most powerful and addicting series I have seen overall, and its highs are so mindblowing that I would have to call it my favourite show in spite of arguable lows (most of which I disagree with).

Whether you love or hate the ending, or what you make of it is irrelevant: the discussion it has created is an achievement in itself. The iconic nature of the entire series makes it an essential part of television history. There are multiple elements for anyone to love and marvel at in this show, so if you're thinking of watching something else instead, do yourself a favour and fuhgeddaboutit.",1 "Often laugh out loud funny play on sex, family, and the classes in Beverly Hills milks more laughs out of the zip code than it's seen since the days of Granny and Jed Clampett. Plot centers on two chauffers who've bet on which one of them can bed his employer (both single or soon to be single ladies, quite sexy -- Bisset and Woronov) first. If Manuel wins, his friend will pay off his debt to a violent asian street gang -- if he loses, he must play bottom man to his friend!

Lots of raunchy dialogue, fairly sick physical humour, etc. But a lot of the comedy is just beneath the surface. Bartel is memorable as a very sensual oder member of the family who ends up taking his sexy, teenaged niece on a year long ""missionary trip"" to Africa.

Hilarious fun.",1 "Although it has been remade several times, this movie is a classic if you are seeing it for the first time. Creative dialog, unique genius in the final scene, it deserves more credit than critics have given it. Highly recommended, one of the best comedies of recent years",1 "With no affinity towards any type of filmmaking, and a healthy appreciation of documentaries, I can honestly say I was angry at myself for bothering to sit through the entire length of ""20 Dates"". I won't waste your time with the plot, you may read other reviews. I will say though that Berkowitz's hyper, Woody Allen-style narration was extremely annoying. You either wished he'd lay off the coffee or ingest some tranquilizers. And it's potentially apparent to Berkowitz himself that this film was a bad idea, as parts of it details his trials to finance the documentary. Forgive me for disguising insults as compliments, but I'll give credit to Berkowitz for having the skills to convince some idiot to finance this horrid piece of ****. I appreciate the boundaries & intentions of the film here, but even when regarding the standards Berkowitz sets for himself, he fires off and misses on all levels. In closing, I'm sure many of these female companions were not at ease going on a date with a twitchy wanna-be filmmaker, and therefore I question the film's sense of authenticity. Hey Myles, I loved your film the first time I saw it... when it appeared as an episode of Seinfeld or was a film directed by Woody Allen or Kevin Smith.",0 "When I was a kid, I totally loved both Bill & Ted Movies. The other night, Bogus Journey was on and since it was at least 5 years since I last saw it, I decided to tune in. AND I LOVED IT ALL OVER AGAIN! This film is still funny after all those years. 'Excellent Adventure' is better, but this one rocks just the same. Sure, some of the perfomances are a bit cheesy, but hey, this entire film is cheesy in a cool way. Plus it features the coolest personation of Death ever in a movie! Concluding: Totally like non bogus movie dude! Way Excellent! STATION!!!",1 "CRY FREEDOM is an excellent primer for those wanting an overview of apartheid's cruelty in just a couple of hours. Famed director Richard Attenborough (GANDHI) is certainly no stranger to the genre, and the collaboration of the real-life Mr. and Mrs. Woods, the main white characters in their book and in this film, lends further authenticity to CRY FREEDOM. The video now in release actually runs a little over 2 and a half hours since 23 minutes of extra footage was inserted to make it a two part TV miniseries after the film's initial theatrical release. While the added length serves to heighten the film's forgivable flaws: uneven character development and blanket stereotyping in particular, another possible flaw (the insistence on the white characters' fate over that of the African ones) may work out as a strength. Viewing CRYING FREEDOM as a politically and historically educational film (as I think it should, over its artistic merits), the story is one which black Africans know only too well, though the younger generation may now need to see it on film for full impact. It is the whites who have always been the film's and the book's target audience, hopefully driving them to change. Now twelve years after the movie's production, CRY FREEDOM is in many ways a more interesting film to watch. Almost ten years after black majority rule has been at least theorically in place, 1987's CRY FREEDOM's ideals remain by and large unrealized. It therefore remains as imperative as ever for white South Africans, particularly the younger ones who have only heard of these actions to see it, and absorb the film's messages. In total contrast to American slavery and the Jewish Holocaust's exposure, South Africans' struggles have been told by a mere two or three stories: CRY FREEDOM, CRY THE BELOVED COUNTRY (OK, Count it twice if you include the remake), and SARAFINA (did I miss one?). All three dramas also clumsily feature American and British actors in both the white and black roles. Not one South African actor has played a major role, white, coloured, Indian or Black!). And yes I did miss another international South African drama, MANDELA and DEKLERK. Though this (also highly recommended) biopic was released after black majority rule was instituted, MANDELA was played by a Black American (Sidney Poitier, who also starred in the original S.A.-themed CRY THE BELOVED COUNTRY), while the Afrikaner DeKlerk was played by a (bald) very British Michael Caine, a good performance if you can dismiss that the very essence of Afrikanerdom is vehement anti-British feelings. Until local SABC TV and African films start dealing with their own legacy, CRY FREEDOM is about as authentic as you'll get. As villified as the whites (particularly the Afrikaners) are portrayed in the film, any observant (non-casual) visitor to South Africa even now in 1999, not to mention 1977 when CRY FREEDOM takes place, will generally find white's attitudes towards blacks restrained, even understated. Looking at CRY FREEDOM in hindsight, it is amazing that reconciliation can take place at all, and it is. But CRY FREEDOM at time shows not much has really changed in many people's minds yet, and that the Black Africans' goal to FREEDOM and reconciliation is still ongoing. This is why if you're a novice to the situation, CRY FREEDOM, is your best introduction.",1 "This movie is like real life, by which I mean - not a lot happens in the available 2 hours or so, and not much game plan or plot is evidenced by the frequently invisible cast (their invisibility being due to the ""experimental"" lighting as mentioned by many reviewers).

A big bore. No big surprise that Altman helms this - he is a very variable performer (yes we all loved ""Gosford Park"", but ""Pret A Porter"" anyone? Kansas City? Dr T. and the Women? Aaargh), but the fact that the raw material is a John Grisham tale, and the excellent cast that you will perceive through the gathering gloaming of your insistent slumber - makes this truly a masterpiece of bad film. And no, it is not ""so bad it's good"".

It's just bad.",0 "I have seen ""Miracles Still Happen"" now at least four times. I never tire of this fantastic movie. From the very beginning, it holds a person's interest. As the movie progresses and the plane crashes the story becomes very intense as we watch this young girl trying to survive alone and frightened in the Amazon, following a plane crash in which she was the only survivor. Losing her mother in this plane crash as well makes this movie even more dramatic as we see the perils this young girl had to endure during her ten days in the Amazon. To think this really did happen is just unreal and to think that anyone could actualy survive this is unspeakable as we see the wild animals, snakes and other reptiles, the enormous forests and wildlife as well as countless insects. As the movie progresses we see the many dangers this girl has to face as she tries to follow the river in hopes of it leading her to a town. Remembering what her father told her about how a stream will always lead to a river and then into an even larger river and this means it will eventually lead to a community, this young girl keep track of the tiny stream which eventually lead into a huge river all throughout the movie. At times having to swim in dangerous waters, alone, frightened, injured, she always managed to keep going. Towards the end of this movie it was obvious she would not have been able to continue much longer as she had not eaten in ten days and only had water to drink and was very sick and tired from her perils. Eventually as she sees a canoe, she realizes there has to be a village and men find her and they take care of her and then take her to a hospital where her father comes to see her, after fearing she was dead along with the many other passengers. Such a dramatic movie and so heartwarming to see her father's face when he sees his daughter is actually still alive after all this time in the Amazon! Movies like this aren't made much those days. I will still see it again and I know I will never tire of it! To think this girl was the only one single survivor of this airplane is just unspeakable! Also the fact she only maintained a few very slight injuries was even more remarkable, whereas everyone else on this airplane perished in the horrific crash into the wilds of the Amazon. A brilliant movie, superbly acted out indeed and one I will treasure forever and love to continue watching! Strongly recommended by me for sure!",1 "i'm not sure if it is available worldwide - but if anyone who's deciding what is supposed to be put on videotapes and distributed in video clubs - is reading this - please , please buy it! (if I wasn't clear: GET THE MOVIE INTO VIDEOSTORES!)

can't be explained - must see!",1 "A year or so ago, I was watching the TV news when a story was broadcast about a zombie movie being filmed in my area. Since then I have paid particular attention to this movie called 'Fido' as it finished production and began playing at festivals. Two weeks ago Fido began playing in my local theater. And, just yesterday, I read a newspaper article which stated Fido is not attracting audiences in it's limited release, with the exception of our local theater. In fact, here it is outdrawing all other shows at The Paramount Theater, including 300. Of course, this makes sense as many locals want to see their city on screen or spot themselves roaming around in zombie make-up. And for any other locals who haven't seen Fido yet but are considering it, I can say there are many images on screen, from the school to city park to the forbidden zone, that you will recognize. In fact, they make the Okanagan Valley look beautiful. That's right beautiful scenery in a zombie movie! However, Fido itself is a very good movie. Yes, despite its flaws, it is better then most of the 20 other movies playing in my local market. Fido is best described as an episode of Lassie in which the collie has been replaced by a member of the undead. This is a clever premise. And the movie even goes further by taking advantage of the 1950's emphasize on conformity and playing up the cold-war paranoia which led to McCarthyism. Furthermore, it builds on the notion that zombies can be tamed or trained which George Romero first introduced in Day Of The Dead.

K'Sun Ray plays a small town boy who's mother (Carrie-Ann Moss) longs for a zombie servant so she can be like all the other house wives on her block. However, his dad (Dylan Baker) is against the idea as he once had to kill his own 'zombie father'. Eventually, the family does acquire a zombie named 'Fido' (played by Billy Connolly), and adjusts to life with the undead. Billy Connolly was inspired casting. He is able to convey Fido's confusion, longing, hatred, and loyalty through only his eyes, lumbering body, and grunts. Connolly shows that he can play understated characters better than his outrageously comedic ones. This is his best role since Mrs. Brown.

Fido follows in the footsteps of other recent zomcoms such as Shawn Of The Dead and Zombie Honeymoon. Being someone who appreciates Bruce Campbell and Misty Mundae movies more than Eli Roth and Jigsaw ones, I prefer humor over gore in my horror. However, I understand the criticism of those horror fans who feel there is not enough 'undead carnage' in Fido. Yet, I am sure patient viewers will be rewarded by the films gentle humor.

The movie does break down in it's third act. It's as if the writers were so wrapped up in the cute premise of domesticated zombies in the 1950s, they forgot about the story arc. However, given my interest in horror comedies and my appreciation for seeing the neighborhood on screen, I rate Fido 9 out of 10.",1 "I caught this at a test screening. All I can say is: What...the...hell? This movie plays out about as smoothly as Mickey Mouse reading the script for ""Scarface."" It's bizarre beyond making the slightest bit of sense; and even if you do leave your brain in the car, the film is still so bizarre that it isn't even funny.

The plot involves crocodile hunter Steve Irwin trying to ""save"" a crocodile which contains a CIA probe. The CIA comes after Irwin to get their probe back, Irwin mistakes them for poachers, and sets out to ""stop"" them.

That's about all the story there is; the rest is over-the-top lampooning of Australian culture (""Didja see dat?"" and ""Crikey!"") and strangely choreographed action sequences. At one point, Irwin mounts a speeding RV and knife fights with a CIA agent on top of it. Yes, that's right: Steve Irwin knife fights a guy on top of an RV. Let that be your guide for this ridiculously bad film.",0 "In my opinion, this is a pretty good celebrity skit show. I enjoyed seeing Greg Kinnear as the host. There are many reasons why I said that. Even though Hal Sparks was an okay host, I sometimes wish that Greg Kinnear hadn't left. If you ask me, it seems that nobody stays with a TV show throughout its entire run anymore. Still, I enjoyed seeing the various hosts and other people spoofing celebrities. If you ask me, that was pretty darn funny. Before I wrap this up, I must say that I kind of miss this show. Now, in conclusion, I highly recommend this show to all you die-hard sketch show fans. You will really enjoy it.",1 "My abiding love of Italian actress Lucianna Paluzzi, who helped jump-start my puberty with her performance in 1965's ""Thunderball,"" has led me to some fairly unusual places. Case in point, this British curiosity from 1959, ""Carlton-Browne of the F.O.,"" which features Lucianna in one of her earlier roles. She plays a princess in this one, although the picture is actually a showcase for the talents of Terry-Thomas and Peter Sellers, both of whose stars were certainly on the rise at this point. In this cute, often very funny film, we learn of the Madeira-like island nation of Gaillardia, which had been a British colony until 1916 and then universally forgotten. Forty-three years later, however, it becomes the center of worldwide attention and international espionage when valuable cobalt deposits are discovered there, and Her Majesty sends the bumbling Carlton-Browne of the Foreign Office to take charge. Terry-Thomas underplays this part nicely, as does Sellers in his role as Prime Minister Amphibulos of the tiny country. (This was Sellers' second film of 1959 concerning a tiny country matching wits with the world, the other being ""The Mouse That Roared,"" of course.) Ian Bannen almost steals the show here as Gaillardia's suave king, and my girl Lucianna is as appealing as can be in her minor role. The film exhibits much in the way of very dry humor, although there ARE some belly laughs to be had (the reception at the Gaillardian airport, for example, and especially that May Day-style parade of Gaillardian strength). And Sellers' seedy prime minister, with his cracked English and seemingly perpetual sweat stains, is yet another memorable character in this great actor's pantheon. Despite the occasional instance or two of indecipherable, stiff-upper-lip British gibberish, I found this picture to be a winningly modest entertainment, and well presented on this crisp-looking Anchor Bay DVD.",1 "What's Good About It: Some inventive and genuinely creepy little effects that will get under the skin of even the most seasoned horror fan. Doesn't rely on the hackneyed soundtrack stabs for its ""gotcha"" moments. Even if you've seen everything, there's still a few things in this film that will make your jaw drop.

What Could Have Been Better About It: The acting was, at times, flat and unconvincing. It had a ""shot-on-video"" quality in some places (though,it mostly achieved the atmosphere it was striving for), and the camera work is full of needless close-ups of meaningless actions. Though the effects are genuinely creepy, I think they may have gone to the well a few too many times with some of them. The ending seemed rushed, and glossed over what could have been more impactful moments. The viewer is left to figure out a lot of things for themselves, not as a challenge by the filmmakers, but because they just missed it.

Still, a good little indie horror film that is easily several steps above the average. Well worth the rental.",1 "Bloodsuckers has the potential to be a somewhat decent movie, the concept of military types tracking down and battling vampires in space is one with some potential in the cheesier realm of things. Even the idea of the universe being full of various different breeds of vampire, all with different attributes, many of which the characters have yet to find out about, is kind of cool as well. As to how most of the life in the galaxy outside of earth is vampire, I'm not sure how the makers meant for that to work, given the nature of vampires. Who the hell they are meant to be feeding on if almost everyone is a vampire I don't know. As it is the movie comes across a low budget mix of Firefly/Serenity and vampires movies with a dash of Aliens.

The action parts of the movie are pretty average and derivative (Particularly of Serenity) but passable- they are reasonably well executed and there is enough gore for a vampire flick, including some of the comical blood-spurting variety. There is a lot of character stuff, most of which is tedious, coming from conflicts between characters who mostly seem like whiny, immature arseholes- primarily cowboy dude and Asian woman. There are a few character scenes that actually kind of work and the actors don't play it too badly but it mostly slows things down. A nice try at fleshing the characters out but people don't watch a movie called Bloodsuckers for character development and drama. The acting is actually okay. Michael Ironside hams it up and is as fun to watch as ever and at least of a couple of the women are hot. The space SFX aren't too bad for what is clearly a low budget work. The story is again pretty average and derivative but as I said the world created has a little bit of potential. The way things are set up Bloodsuckers really does seem like the pilot for a TV series- character dynamics introduced, the world introduced but not explored, etc.

The film does have a some highlights and head scratching moments- the kind of stuff that actually makes these dodgy productions watchable. -The scene where our heroes interrogate a talking sock puppet chestburster type creature. Hilarious. - The ""sex scene."" WTF indeed. -The credit ""And Michael Ironside as Muco."" The most annoying aspect of it all though is the really awful and usually inappropriate pop music they have playing very loud over half the scenes of the movie. It is painful to listen to and only detracts from what is only average at best.

Basically an okay watch is you're up for something cheesy, even if it is just for the ""chestburster"" scene.",0 "Movies have put me to sleep before, but no movie has ever done that twice, so it took me three sittings actually to finish it. The dialog was bad. Women spoke stiltedly and the men were caricatures. And two of the supposedly Japanese women looked Chinese, had Chinese names and spoke with clearly Chinese accents. I'm still trying to figure out why the Emmenthal men were sexually wrapped up with each other. 10 minus 8 1/2 equals a tough choice: Do I give this movie a rating of one? or two?

Movies have put me to sleep before, but no movie has ever done that twice, so it took me three sittings actually to finish it. The dialog was bad. Women spoke stiltedly and the men were caricatures. And two of the supposedly Japanese women looked Chinese, had Chinese names and spoke with clearly Chinese accents. I'm still trying to figure out why the Emmenthal men were sexually wrapped up with each other. 10 minus 8 1/2 equals a tough choice: Do I give this movie a rating of one? or two?",0 "It is obviously illegal. Pedophiles pray on stuff like this. How did they get away with making such a movie? This movie is all summed up in one word, SICK. Where do people get off making, and watching these kinds of films. As I was watching the movie I didn't actually think they would allow this kid that is say maybe 12 if that actually sleep with this woman. Sorry if this is a spoiler to you but I would have rater not seen this. Where has the sanity of these people gone? Maybe the makers of this movie are pedophiles? Our society today is filled with all types of sexual predators that pray upon children, yet film makers make these types of movies that do nothing but provoke this type of behavior. I noticed that on a previous comment someone asked if there was a version where it showed them naked. This is a kid here, and someone is asking something like this? What is wrong with this picture?",0 "I am a huge fan of the comic book series, but this movie fell way below my expectations. I expected a Heavy Metal 2000 kinda feel to it.....slow moving, bad dialogue, lots o' blood.....but this was worse than anything I could have imagined.

The plot line is almost the same as the comic, but the good points pretty much stop there. The characters don't have the energy or spirit that drew my attention in the comic series. The movie only covers a small portion of the comic, and the portion used is more slow and boring than later parts. The focus in the movie is on the insignificant events instead of the more interesting overall plot of the comic book.

With the right people working on this project, it could have been amazing. Sadly, it wasn't that way, so now there is yet another terrible movie that few will see and even fewer will love. My copy will surely collect dust for years until I finally throw it out.",0 "if you like gangster type of movies, then this is the first one you should buy or at least rent, Al Pacino his performance is top notch. and the story is classic!! 10 / 10 !!!! Why isn't this movie in the TOP 250 list??",1 "While the 3-D animation (the highlight of the show) did it's job well, most other elements fell flat. It was as though the filmmakers thought ""well, it's gonna be 3-D so we don't have to work that hard on the plot or character development."" And the fact that it's a children's movie is absolutely no excuse. The public is drawn to three dimensional characters (Shrek, Nemo's Dad) just as much as they are drawn to three dimensional graphics. The only dimension any of the main characters showed was two dimensional Scooter who twists the plot from time to time with his compulsion to eat everything in sight.

And the absolute kicker? Buzz Aldrin's appearance at the very end (after watching a very robotic cartoon version of the same historical figure for an hour and half) comes on the screen and ruins everyone's good time by calling the film's main characters ""contaminants"" and announcing that the situation put forth on screen was actually an impossibility.

???!!!??? Did you just wanna tell the kids the Easter Bunny and Santa Claus don't exist while you're at it?",0 Ariauna Albright is a really good actress but why she participated in this lame written travesty is a mystery. What could have been entertaining winds up as classic boredom. The unique thing about Ariauna is that she can act as well as look real sexy as opposed to her partner Lilith Stabs who looks fine but it is obvious she spent the money for acting school at the spa or beautician. This was a production that cried out for some T & A & with a imaginative script writer could have achieved it in the flow of things. However Ariauna does what she can under the circumstances & to a extent salvages her reputation. The Tempe company should be aware that when you dress two attractive women in skimpy fetish cop uniforms the viewers will expect some fetish play & T & A. Nough said.,0 "It's a strange thing to see a film where some scenes work rather weakly (if only in comparison to other films in its legacy), and others in a 'sub-plot' or supporting story are surprisingly provocative and strong. Sudden Impact is one of those cases, where Clint Eastwood as star/producer/director shows when he can be at his best, or at his lessor of times when dealing with a crime/mystery/detective story in his Dirty Harry fame. We get that 'make my day' line, and un-like in the first film where his 'do I feel lucky' speech was playful and cool the first time and the second time at the end tough as nails, here it's switched around. He gets into another shamble with the department, as usual, when he tries to fight crime 'his' way, in particular with a diner robbery (inspiration for Pulp Fiction?) and with a high speed pursuit with a senior citizen bus. He's told to 'take a vacation', and that's the last thing on his mind. This whole main plot isn't very convincing aside from the expectancy of the story and lines, which just adds to the frustration. But soon his story merges with the sub-plot that Eastwood develops from the start.

Enter Sandra Locke's character, Jennifer Spencer, whom we soon learn after some (appropriately) mysterious scenes that she and her shy sister were victims of a cruel, unjust sexual assault (err, outright rape), and is sleekly, undercover-like, getting revenge. Her scenes and story are the strongest parts of the film, the most intense, and finally when it goes into Callahan's storyline (he's getting facts in the same small town she's in on a murder), the film finally finds a focus between Eastwood's classic form of clearly defined good vs. evil (though sometimes blurred, to be sure). Eastwood films the flashbacks, not to say too much about them, expertly, in a fresh, experimental style; the trademark Lalo Schifrin score is totally atmospheric in these scenes and in others. It almost seems like a couple of times an art-house sensibility has crept into Eastwood's firmly straightforward storytelling style, which helps make the film watchable.

It's a shame, though, that in the end it goes more for the expectable (or maybe not expectable) points, and until the third act Callahan doesn't have much to do except his usual 'it's smith...Wesson...and me' shtick. However, with Locke he gets out of her a very good performance (more subtle and touching than the one in the Gauntlet) and an exciting climax at an amusement park. In a way I do and don't agree with Ebert's remark that it's like a 'music video' in Eastwood's style here. I admit there is comparisons with the simplicity of both, the directness, but the scenes where Eastwood does break form are superior to those of any music video. It's cheesy, it's hard-edged, it's not up to par with the first two 'Harry' pictures, but hey, there could be worse ways to spend a couple hours with the master of the .44.",1 "THE SUNSHINE BOYS was the hilarious 1975 screen adaptation of Neil Simon's play about a retired vaudevillian team, played by Walter Matthau and George Burns, who had a very bitter breakup and have been asked to reunite one more time for a television special or something like that. The problem is that the two still hate each other and want nothing to do with each other. Richard Benjamin appears as Matthau's nephew, a theatrical agent who has been given the monumental responsibility of making this reunion a reality. This warm and winning comedy is a lovely valentine to a forgotten form of entertainment...vaudeville and it works mainly thanks to one of Neil Simon's better screenplays and outstanding work by Matthau, Burns, and Benjamin. Burns won the Best Supporting Actor Oscar for this, but I think Matthau walks away with this film with his flawlessly hilarious performance as Willy Clark. Matthau was nominated for Best Actor but didn't stand a chance against Nicholson for ONE FLEW OVER THE CUCKOO'S NEST; however, in another year, this was an Oscar-worthy performance. Matthau commands the screen and there is not a false note in this beautifully timed performance. The scene where he is auditioning for a potato chip commercial and can't get the name of the product right is a classic. THE SUNSHINE BOYS is a warm and winning Neil Simon comedy which shines thanks to unbeatable chemistry between Matthau and Burns.",1 "This is a review of The Wizard, not to be confused with The Wiz, or Mr. Wizard. The Wizard is a late-eighties film about a seriously silent boy's ability to play video games and walk during the entire opening credits. The Wiz is an unnecessary update of The Wizard of Oz, and Mr. Wizard is that guy that attached 100 straws together and had some kid drink tang out of it.

Now that we've gotten all that out of the way, let me say this: there's really no reason to see this movie. It's simply a 100 minute Nintendo commercial designed to capitalize on the Powerglove, the Legend of Zelda and Super Mario Brothers 3. I use the word ""designed"" in the loosest sense possible, because it seems like this movie was written over a weekend by a crack team of people who had never played Nintendo, and directed by a man with less sense of style than my grandmother. Maybe if the writer and director sat down and actually played some games together, they'd realize that they were about to film total rubbish and instead go to vocational school to learn how to install car stereos.

I hope that this has been an enlightening experience for you. It sure hasn't been for me. In fact, I think I might have lost a few braincells in the act of watching this movie and writing about it. Next time you're at the video store and you see the The Wiz, The Wizard and The Wizard of Oz all sitting there on the shelf in a pretty little row, give them all a miss and play Duck Hunt instead.",0 "One of the most boring slashers ever.. If you can even call it that. I wouldn't watch this if it even ended up being some kind of porno movie, which it completely resembles. The fact that you're watching a small group of middle-aged people in the woods is really unbearable. They made these kinds of movies for teens, so who were they really aiming for when they made this sleep-fest? My favorite part of this movie is the cover art and it's the only reason I chose to seek out this movie, which happened to be part of a Suspense Classics 50 Movie Pack.. and after seeing the other movies in this 50 pack, you'll realize that it belongs nowhere else. So if you're in the mood for a decent slasher in the woods, I recommend Just Before Dawn and The Final Terror.",0 "I was very unimpressed with Cinderella 2 and Jungle Book 2, but this is possibly worse than both titles. First of all, I didn't like the animation, very Saturday-morning-cartoon, only worse in some scenes. I liked some of the characters, namely Thunderbolt and Patch, but the other characters, like Cruella were mediocre. Cruella was truly villainous in the original, but she lost her quality in the sequel. What she said was nothing at all to write home about and her animation was kind of ugly. Also her artist companion Lars was a joke to be honest with you, and Roger seemed to have quit smoking overnight. The voice talents were very good though especially Barry Bostwick as Thunderbolt, with the exception of Jodi Benson, the accent ruined it for me. There were some good moments, but the whole plot seemed bloated for me, and highly suggestive of an extended TV episode. All in all, a hugely disappointing sequel to the most memorable of the 60s Disney movies along with Jungle Book. Sorry, I can only give this a 3/10, it just wasn't my cup of tea. Bethany Cox",0 For me this is a story that starts with some funny jokes regarding Franks fanatasies when he is travelling with a staircase and when he is sitting in business meetings... The problem is that when you have been watching this movie for an hour you will see the same fantasies/funny situations again and again and again. It is to predictable. It is more done as a TV story where you can go away and come back without missing anything.

I like Felix Herngren as Frank but that is not enough even when it is a comedy it has to have more variations and some kind of message to it's audience....

,0 """Ruby in Paradise"" is a beautiful, coming-of-age story about a young woman, Ruby Lee Gissing, escaping her stifling roots to become herself. Although the title character is played artfully by the gorgeous Ashley Judd -- in likely her first movie role, albeit one to be quite proud of -- the emphasis is not upon becoming ""somebody,"" a la the next Madonna (whether Jesus' mother or the lurid, attention-hungry singer).

It instead emphasizes following ones' instincts and being somewhat introspective about them, to grow into one's ideal, adult self. NOTE: This isn't an action movie!!! It uses an occasional voice-over narration (by Ms. Judd) while writing in her journal -- and oh, I see I've just lost the male half of the readers out there. But be patient with this beautiful movie, where we learn that one's bliss can be discovered in -- oh, I dunno, carrying water and chopping wood.

Actor/director/writer Todd Field, who played Nick Nightingale in ""Eyes Wide Shut,"" co-stars as Ruby Lee's noble love interest, one who helps her heal her idea of relationships implanted from youth.

But not even his character is the answer for Ruby Lee: There's no external hero imposed upon her. The ultimate message is that we are responsible for ourselves. Writer/director Victor Nunez, who also wrote/directed ""Ulee's Gold,"" did an amazing job showing a young woman growing into herself -- confronting age-old challenges of good v. evil along the way.

The supporting cast is also stellar, and the music used, particularly the cuts by chanteuse Sam Phillips (whom I hear is the wife of T. Bone Burnett), is right on -- most especially ""Trying to Hold on to the Earth."" Now, when I hear the first few chords of that song, tears spring to my eyes, Pavlovian and unbidden -- not sure if it's the music, or the indelible connection to the movie's quiet, charming message of empowerment.

This movie is highly recommended for any young person trying to find his/her way. For any woman of any age, it is a must see! The downside: It is NOT on DVD, except in Spanish. (We learned, however, that it is legal to make one copy of a VHS version, which can be readily found online. My beloved husband found someone with a VHS copy and got a DVD copy made for me.) Although this treasure of a movie occasionally pops up on-air – on an indie channel, usually – you can't count on that when you might need it most as a tonic to soothe the pressures of the world. So buy a copy for yourself.

This movie should have a major re-release, and it would, if I were Queen of Hollywood.

-- Figgy Jones",1 "This is at least the third remake of this movie so if while watching it, there is a sense of deja vu, don't be surprised. All they did was change the setting of the story and tell it differently but the differences are not significant. And it doesn't get any better because the plot is flawed to begin with. It never works. And like its predecessors, the acting is mediocre.

The plot has a unique ending which will surprise any one who has never seen the movie before but the ending doesn't fit the story. Had this movie ended ten minutes earlier, it would have worked and have been very satisfying and I would have thought it more worthwhile. But here is the spoiler and that in the end crime does pay because the criminal is not caught. I never like this message resulting from a movie.",0 "At least it's not full of sensless violence or fluff. It's also not very full of thought or a smooth storyline. This story had some potential but the director appears to have lost site of the green. The story is disjointed and goes off in strange

directions, to no conclusion. I also don't believe the director spent much time around a golf country club, either. Some of the depictions are absurd. Not very engaging.",0 "Who me? No, I'm not kidding. That's what it really says on the video case.

Plot; short version: Pretty woman stands around smiling. This, for some reason, makes all men kill each other.

""Find Ariel...Where's Ariel...Can't Find Ariel..."" She's right behind you, you idiot...

Most of what can be said about this horrendous little Space Opera has already been said, looks like.

A bunch of corny actors playing mostly convicts come in after the first selection of actors is knocked off very quickly. Then they get knocked off in the same way. Every scene is broadcast nearly fifteen minutes in advance. Perhaps it was a drawing of straws to see which actors had the most screen time and bigger pay check. The alien virus/hologram/VR witch/glitch seems physically powerless and doesn't do a thing. Why can't she just stay in the computer instead of doing her ""teleporting vampire"" routine? (Actually, it would've been more interesting if she had been a vampire, or doing more than just standing around looking at people, which is all she ever does. This is enough to make all the men kill each other. Go figure...)

This isn't really a space flick. There are far more shots of the old western trail, 1950's Easy Rider trail, Film noir's night club scene, even a jog on the beach in fantasy-land, none of which has any real depth or even makes any sense. The night club scene is in black and white, of course. Worked with ""The Wizard of Oz"". Doesn't work so well, here. This is probably a good thing, as those few shots they DO show of space are depressingly silly. You will probably cry during those moments, especially upon seeing that swirling ""space ship"", which looks about three inches long.

Nothing is felt for any of the characters, not because they are convicts or have no personality, but because they are in serious need of acting lessons, except for Billy Dee Williams who really does look depressed and at a loss, probably by being in this work...

This is one of those movies that, when viewed with friends, is going to cause some extremely ""loud"" silences, especially when the nerd throws out his attempt at comic one-liners (including the line about French-kissing a meteor...? Did I hear that right? Perhaps not...)

The original virtual reality girls get ""killed"", which means nothing, as they are not even real to begin with. Well, the other ""characters"" aren't, either, but that's beside the point. Haha.

What's kind of funny is that the scene that graces the video case is some sort of skull-horror-alien looking thing (green filter added on top of that, to give it more of a...uh...green look), which is actually the android after he gets killed and ultimately has nothing to do with anything else afoot.

Another odd deal I noticed. Whenever there is an explosion (at least on my cheap DVD copy), everything becomes highly pixelated. I don't mean a LITTLE pixelated, I mean HUGE blocks about 1/16th the size of the screen. Wow.",0 "Not the most successful television project John Cleese ever did, ""Strange Case"" has the feel of a first draft that was rushed into production before any revisions could be made. There are some silly ideas throughout and even a few clever ones, but the story as a whole unfortunately doesn't add up to much.

Arthur Lowe is a hoot, though, as Dr. Watson, bionic bits and all. ""Good Lord.""",1 "I *loved* the original Scary Movie. I'm a huge fan of parody- it is my favorite form of humor. It is sometimes regarded as the most intelligent form of humor. The Wayans boys seemed to grasp that concept perfectly in the original film, then temporarily forgot it when making the sequel. I think the Wayans' are a family of comical geniuses. Alas, even geniuses make mistakes.

The movie begins with promise. I liked ""The Exorcist"" parody, especially the ""come on out, ma"" gag. Now, that's Wayans-quality material. But, other than that, I can only think of two other times I laughed: 1) when Tori Spelling is seduced in the middle of the night by a spirit, then becomes clingy and starts talking about marriage with him. Meanwhile, he's saying, ""It was just a booty call!!"" That was kinda funny. 2) The ""Save the Last Dance"" parody where the Cindy character inadvertently beats up a girl while practicing her new moves. But even the short-lived giggles are no match for the side-splitting laughs of the first Scary Movie.

The rest of the movie is pure trash, filled with cheap gross-out gags. Jokes from the first movie which were subtle or implied are magnified and overdone. For example, in Scary Movie I, several innuendos are made to imply that the character Ray is gay. This was hilarious. But, in Scary Movie II, the whole penis-strangulation scene with Ray under the bed was mind-numbing and incredibly unfunny. This is the pattern of the whole film. Shock humor *alone* doesn't take a movie very far. This was a trend in 2000 and 2001, unfortunately.

As much as it pains me to rate a Wayans movie so low, I have to give this one a 2 out of 10.",0 "what is wrong with you people, if you weren't blown away by the action car sequences and jessica Simpsons hot body then you are majorly screwed in the head. Of course the film isn't a masterpiece, i don't think it was aiming to be. It was fun and funny, i never watched the show when i was younger, i only recently saw one episode, and when i watched the movie, i felt it had the same kind of atmosphere. The movie seats were practically shaking, and the car sequences were good because it didn't bore me and drag out like some of the scenes in 2fast 2furious. and jessica Simpson is plain hot, i just wish they had used her more in the action sequences. All in all, i had a hell of a time watching this and i would go and see it again soon and i will buy it on DVD. People, enjoy it for what it is.",1 "This movie was crap with a capital ""C."" The opening scene showed promise. But that ""promise"" was broken shortly after the viewer learns where the plot is going.

And the wooden statue, Morty, who was rather creepy in the original film, looks plain goofy in this one. It was so obviously just a guy in a cheap plastic costume. (And by the way, who else thinks ""Morty"" is one of the most un-scary names on planet earth? It ranks right up there with ""Jimmy"" or ""Fred"" when it comes to horror value. Or why not just name the wooden statute Henry-freakin'-Kissinger. ""Run, it's Dr. Kissinger!"" That'd be about as scary as ""Morty.)

And then there's a scene where the ""hero"" hits his father's tombstone with---""a sledgehammer?"" you might guess--""a two-by-four?"" someone might venture. No, he angrily beats his father's tombstone with a twig---a freakin' twig. But worse than that, once the characters walk away, the tombstone actually, and inexplicably, bleeds. Oh brother!

There's also a Native American guy who lives with the main character's grandparents, but apparently, does nothing except Morty-maintenance. He perpetuates creepy Morty-legends, warns those who scoff, and even fixes Morty's arm when it becomes damaged during a childish prank. But for all his respect for and tenderness toward Morty, does Morty give a rat's hairy behind? No.

The movie drags on, and eventually several people die in ways that correspond to their worst fears (sort of). This film is a real yawner. Don't rent it.",0 "Brokedown Palace is the story of two best friends, Alice and Darlene, who go on a spontaneous trip to Thailand and wind up in prison after being caught with planted drugs in their luggage. In this way, the movie had the potential to turn into a serious and moving film, such as ""Return to Paradise"", but instead, the movie chose to focus little on the girls' situation and more on their friendship.

Claire Danes and Kate Beckinsale both turn in excellent performances, and the movie is much more about the interplay between them - the suspicion, the jealousy, the questioning and testing of their friendship and ultimately the sacrifices made in the name of friendship. This movie chooses not to delve too deeply into politics or even into the harshness of prison life (which is a bit glossed over), and focuses more on these friendship issues.

There were some plot holes here, and some parts that just didn't seem believable or realistic. We didn't feel the real fear or hopelessness of their situation as well as we might have. And we get very little feeling of life outside the prison walls, with Bill Pullman playing the supposedly sleazy lawyer who actually turns out to have a heart of gold. In short, this should, by all rights, have been a much darker movie than it was.

But overall, I enjoyed it. The acting was good, the soundtrack was perfect, and the storyline had enough twists and turns to stay interesting. Worth seeing.",1 "Man, I really find it hard to believe that the wonderful Alan Ball had anything to do with this mess. Having seen the first two episodes thus far, I think I can safely say this show isn't going to be on my must see list. It's just got so many things working against it.

None of the actors cast are particularly good. Anna Paquin as the lead character Sookie, is just awful. I remember her being better in a lot of other things I've seen her in so maybe it's just the writing. She's not really much fun to look at either, there are moments where to be honest she looks downright ugly. The actor who plays Bill is marginally better, if only because his character is supposed to be sort of wooden and aloof. The other actors do their best but with the cliché characters with difficult to perform accents they are given it's a tough job. Tara is an absolute misery to watch, Rutina Wesley absolutely murders the accent. It's like nails on a chalkboard bad. Almost as awful is Nelsan Ellis, it's difficult to understand what he's even saying sometimes. Both his character as well as Tara's also seem a bit racist to me. I don't know, having a character say 'whycome' on an HBO show that isn't The Wire just seems a bit odd. Rounding out the cast so far are Sookie's doddering grandmother, her sex addict brother, and the only bit of genius casting I've seen in William Sanderson as the sheriff.

The story seems to be meandering towards it's destination at this point, with no real worry about keeping the viewer interested. The romance stuff is very Dark Shadow-sy. Although this show ups the camp factor from something like those old Dark Shadows episodes times about ten. At times it seemed so campy to me, that I just have to assume it was intended to be. But unlike a show such as Buffy, that pulled camp off masterfully, this show does not. Out of place with the campiness is the extreme gore and graphic sex of the show. I'm not averse to either of these when they are done well, as they have in many other HBO shows but here at least they prolonged rough sex scenes involving Jason Stackhouse seem a bit over the top and pointless.

About the only nice thing I can really think to say about this mess is that I liked the opening title sequence. HBO has had a string of bad luck with their shows lately, I hope they cancel this after the first season and try to get something better on the air.",0 "I love this movie, Jouvet, Arletty, Blier, Carné... almost everything has already been said about the movie, but there is one detail I'd like to shed some light onto: no footage of the real, still standing, Hôtel du Nord (is it still? I heard it was to be demolished...) has been used for the movie - the whole scene has been rebuilt on set, the main reason being that they could not stop the traffic on the St Martin canal for several weeks.",1 "'Presque rien' is a story of two young boys falling in love during summer stay by the seaside. I don't want to tell the plot, because it's not what's most important about this film (but you can be sure that it's interesting and original). The best part of this movie is the cinematography. The visual side of 'Presque rien' is so amazing it deserves highest note. It leaves you charmed with its beauty.

As for the plot, it is shown in uneven, rather complicated way. There is no simple chronology nor there are answers to all the questions the film brings. But this is what makes 'Presque rien' even more interesting. I recommend this movie to all the people for whom the artistic side of films is very important and they will not be disappointed.",1 "Films such as Chocolat, Beau Travail, and others have propelled French director Claire Denis into the top echelon of the world's most unique and accomplished filmmakers and her 2004 film The Intruder (L'Intrus) adds to the depth of her portfolio. A cinematic poem that conveys a mood of abiding loneliness and loss, the film provides a glimpse into the psyche of a man who is deteriorating physically and mentally and who travels to various parts of the globe seeking redemption and peace but finds it hard to come by. Loosely based on Jean-Luc Nancy's memoir of a heart transplant, The Intruder is a film of such unrelenting opaqueness that even after two viewings it is difficult to describe it in other than subjective, impressionistic terms.

Louis Trebor (Michael Subor) is a man in his seventies who is likely dying of a heart condition and who, like the professor in Ingmar Bergman's Wild Strawberries, attempts to come to terms with the mistakes of his life while he has time. It is clear that he is physically rugged and very wealthy but seems emotionally drained and the look on his face is one of quiet resignation. Though we see only one episode of violence, where he gets out of bed in the middle of night to kill an intruder, there is a sinister sense about him. He might be an intelligence officer, a foreign agent, or a hit man.

Whatever the case, he apparently is under some kind of surveillance and acts like a man that has been involved in criminal wrongdoing and is only now able to see the consequences. Facial close-ups throughout the movie create a strong sense of isolation. He lives with his dogs in a cabin in the Jura Mountains near the French-Swiss border and has an estranged son Sidney (Gregoire Collin) whom he has long neglected. Sidney lives nearby with his wife Antoinette (Florence Loiret-Caille) and their two children. In one telling scene, he meets up with his father on the street and calls him a lunatic, but that does not prevent him from taking his money.

When the film opens, we meet Antoinette, a Swiss border guard, who boards a van with a trained dog to sniff out some contraband. When she comes home, she is greeted by her husband who asks her with tongue-in-cheek if she has ""anything to declare?"" Other than these three individuals, the people and circumstances we see during the rest of the film may exist only in Louis' imagination. Louis has three women in his life and we meet them all in the film's first half hour: a pharmacist (Bambou) who prepares his medication, a neighbor (Béatrice Dalle) who is a dog breeder who refuses to care for his dogs when he goes away on a trip telling him that they are as crazy as he is, and a young Russian organ dealer (Katia Golubeva) who he tells he wants a ""young man's heart"".

Relentlessly, she stalks him throughout the film but it is apparently only in his mind. In the last section of the film, Louis travels to South Korea in search of a heart transplant and to Tahiti to deliver a gift to a different son, one whom he has not seen for many years or perhaps has never seen. His heart transplant, however, appears to be a metaphor for a man without a heart, a man whose life has been fascinating but ultimately directionless, intruding into other people's lives with little real empathy. The Intruder contains a haunting guitar soundtrack by Stuart Staples of the band Tindersticks, reminiscent of the guitar riff in Jim Jarmusch's Dead Man, and gorgeous cinematography by Denis regular Agnes Godard.

Godard creates memorable images that convey a mood of longing and regret: a heart beating alone in the snow, an infant in a sling looking up at his father for a good two minutes, the baby's expression gradually turning from morose to a half smile, colored streamers blowing from a newly christened ship, a massage in a dark room by a mysterious Korean masseuse, and the vast expanse of ocean seen from a bobbing ship deck. While The Intruder can be frustrating because of its elliptical nature, Denis forces us to respond out of our own experience, to understand the images on the screen on a very personal level. If there is any theme, a hint might be found in the opening that tells us what is revealed piecemeal in the film - ""your worst enemies are hiding, in the shadow, in your heart.""",1 "I've watched this movie twice, and I plan to see it again. It is the movie that puts you in the director's place, regarding his romantic relations and the political situation in Israel. It also makes me cry because of remembering the wonderful time it was, and the horrible murder described there. It is really worth watching.",1 "not your typical vamp story, not bram stoker or anne rice here. a truly original vampyre story. these vampyres are genetic mutants who the sunlight don't bother. they are pure evil to.

the film is not perfect. many of the actors are clearly amateurs. the two leads who play van helsing and rally the vampyre chick are pretty good though. the film is intensely violent which may disturb some people. also it is loaded with scientific detail that many will find hard to understand and may get bored with. i was sold on the clever storyline and the couple good performances. no telling how successful this film could be if they had a bigger budget and it got mass distribution",0 "It sounds as if it should be a biography of Claude Monet but it's actually a highly focused story of relationships between three adolescent girls on a French synchronized swimming team. There are no parents or teachers to speak of, no school, and boys are represented by one peripheral figure, the hunky Francois who enters the story determined from time to time and always leaves confused.

Pauline Aquart is the youngest of the three, only aspiring to join the team she so much admires. She's kind of odd looking. She's not yet out of her adolescent growth spurt and has long, bony limbs, big feet, and no derriere to speak of. She's prognathous and sports these plump pursed lips. After a while her appearance grows on you and from certain angles she can come to appear enthralling.

Adele Haenel is older -- more, well, more developed physically. What a glamorous figure she cuts in her swim suit, sauntering around, teasing the boys, swishing her long blond hair. But she's not what she seems. Or is she? I couldn't quite figure it out. The French are long on paradoxes and short on consistency. No wonder Francois is always sniffing after her.

There's not so much ambiguity in Louse Blachere's character. She's on the team too but she's dumpy and plain, and sensitive about it, and has an intense crush on Francois. Blachere is a good actress and adds to the ungainliness of the character through her performance.

The movie deals with the relationships between these three, meaning intrigues, deceptions, hidden feelings, and all the rest of what we associate with young girls who spend much time with one another. This is of course a tricky topic. It becomes trickier during the gradual development of a homoerotic relationship between Pauline and Adele. Not that you should expect this to be a soft porn movie. The only nudity we see is considerably less than a turn on, and what little sex there is under the covers, sometimes literally.

I don't think I want to get into the plot or into its analysis too much, partly because it's suggestive rather than expressed through action, partly because it's complex, and partly because I'm not sure I got it all.

Let me give an example. Okay. Adele is the girl the others envy. She's also quite distant and self satisfied. On top of that she is apparently schtupping every boy and man in sight if they can be of any use to her at all, from the handsome but dumb Francois to the bus driver she wants a favor from. She brags unashamedly about her expertise in fellatio. When Pauline approaches her about joining the swim team, Adele uses her as a lookout during assignations with the guys. A superior and self-indulgent narcissist, you know? But then the soi-disant slut takes the skinny Pauline under her wing and reveals to Pauline that she's still a virgin. Really? Yes, really. Pauline begins to draw closer to Adele and Adele finally confesses that she'd like to rid herself of her hymen and she would like Pauline to do it for her. Pauline, now drawn sexually to Adele, performs the task with subdued relish. NOW Adele would REALLY like to get it on with a man, preferably older and experienced. So she takes Pauline to a boite where she dances seductively with some guy until she follows Pauline to the powder room. The two girls stand there staring at one another, neither having overtly expressed a sexually tinged interest in the other. But Adele stands so close that Pauline slowly loosens her own reins, reaches up, and kisses Adele on the lips. Adele steps back, smiling, and says, ""There now, that wasn't so bad, was it?"", and then walks back into the club.

That's a pretty close description of whatever is going on between Pauline and Adele -- but what the hell IS going on? Initially, Adele treats Pauline like an irrelevant child, later like a close friend, finally like a potential lover -- and the minute Pauline responds, Adele walks off satisfied. Is she USING Pauline the way she seems to be using men? Does it satisfy Adele to know that she now has another person in involuntary servitude? I don't know.

I've slighted Louise Blachere as the third member of the trio, the plain and overripe wallflower whose expression always suggests dumbfoundedness but who at least is thoroughly heterosexual and the first of the three to rid herself of that noisome virginity, but I've only skipped her for considerations of space.

Should you see it? By all means. (Just compare it to the typical American movie about high school kids.) For men, some of whom have never penetrated the female mystique, this may give you some idea of what it looks like in medium shot.",1 "Nay Sayers of this film are likely bitter from some seriously unrequited love. This is a great film for anyone capable of understanding Johnny Mathis's song, or any song from that era: Bobby Darin's, Beyond the Sea... or Stan Getz's, The Girl From Ipanema, et al...

I measure films by how many times I have to watch them before I'm satisfied... Chances Are had me back a few good times.

I also watch the synergy between the cast... I thought they worked well together.

Open your heart, and let the comedic magic of film transport you.

'Alan",1 you can tell they spent 5$ making this.it is a waste of your time... ugh.. there is not anything remotely good about this movie... .. i don't know why i kept watching it.. the chick is not hot. horrid acting.. you could do anything and its a better use of your time.. like watching TV playing shitty video games.. i feel robbed. simply robbed.. of my time . i have never made a review for a movie before as you can probably tell but this movie i felt like i needed to save the poor souls that are about to watch it and looking on IMDb before to see if its decent and looking at the comments. -there was no action- -no hot chicks- -no budget- -shittttttttttttttty acting- it screams bad movie. ****the WHOLE movie is in a room.***,0 "Hard to categorize the film - perhaps it's an avant garde spy thriller? Mother Night is a very good Vonnegut novel, and most certainly one of his easiest novels to adapt into a feature length film. The film adaptation is very faithful to the original book. The ""indie"" approach to how this film was produced is probably more effective than having a big Hollywood studio financing it. These days, I doubt an intelligent novel like Mother Night would ever get the green light from the big Hollywood grindhouses. And normally that is too bad, but not in this case. Mother Night has tight direction and a solid cast. Nick Nolte who seems to be getting better roles as he gets older, still has that ""everyman"" persona that allows him to take on a wide range of different characters. Sheryl Lee is beautiful and great as always. I always thought she deserved better than she got out of the entertainment industry. I guess making your debut as a dead girl (Twin Peaks)with little air time isn't the choicest of roles, even if the TV show becomes a minor phenomenon. Anyway this film is totally enjoyable and you don't have to read the book to understand the movie. In fact, given today's geopolitical realities, the novel's premise may appear dated, and some younger viewers with little knowledge of history will be utterly confused by the events unfolding (I am talking to you, fellow Americans who are students and scoring the lowest in the industrialized world in geography, history, and lord knows what other subjects!).",1 "After perusing the large amount of comments on this movie it is clear that there are two kinds of science fiction movie-goers. There are the ones who are well read, extremely literate, and intelligent. They know the history of the genre and more importantly they know to what heights it can reach in the hands of a gifted author. For many years science fiction languished in the basement of literature. Considered my most critic to be little more than stories of ray guns and aliens meant for pre-pubescent teenagers. Today's well read fan knows well this history, and knows the great authors Asimov, Heinlein, Bradbury, and Ellison, who helped bring science fiction out of that basement. In doing so they created thought provoking, intelligent stories that stretched the boundaries and redefined the human condition. This well informed fans are critical of anything Hollywood throws at them. They are not critical for it's own sake, but look upon each offering with a skeptical eye. (As they should as Hollywood's record has been less than stellar.) To these fans the story must take supreme importance. They cannot be fooled by flashy computer graphics, and non stop action sequences. When the emperor has no clothes they scream it the loudest.

The second type of science fiction movie goer has little knowledge about the written aspect of the genre. (Look at many of the above comments that state ""Well I haven't read the book or anything by this author...) Their total exposure to science fiction is from movies or the Scifi channel. They are extremely uncritical, willing to overlook huge plot holes, weak premises, and thin story lines if they are given a healthy dose of wiz bang action and awesome special effects. They are, in effect, willing to turn off their critical thinking skills (or maybe they never had them!) for the duration of the movie. Case in point, I Robot. While supposedly based on Asimov's short stories and named after one of his novels, it contains little of what Asimov wrote and even less of what he tried to tell us about humanity and our robotic creations. (Those of you that will run out and buy I, Robot will be very much surprised-this movie isn't even based on that story at all!)

The film has enormous plot holes, that at some points are stretched to the limits of credulity. I won't point them out. I won't spoon feed you. You need to practice you thinking skills and discover them for yourself. The characters, which are named after many of Asimov's characters, do not possess the critical intelligence that was a hallmark of his stories. The plot itself with all it's action sequences goes against everything that the author stood for. His belief that humanity possesses the capacity to solve problems using their minds, not their fists, is vital to understanding his vision of the future. In short, other than the name, their is very little of Isaac in anything about this movie. There will always be those uncritical (i.e. unthinking) who will state: ""The movie doesn't have to be like the book. Due to the medium, movies sometimes require that changes be made."" But what about a case where the movie never even tried to stay close to the book (or books) from the start? What if all they took from the written work was the title? This begs the question: Why tarnish a great body of work by slapping it's title on your vacuous piece of crap? Save money and don't buy the rights to the works. Title it something else. Don't use the character's names. Believe me no one will accuse you of plagiarism. In fact it won't matter what you title it to the unread moviegoer who accepts everything you throw at him. But it will upset those who read, who think, who are unwilling to simply let you give them a pretty light show.

I, Robot, like much of Hollywood's take on the genre, pushes Science fiction back down into that basement it lived in years ago. Hollywood could not do this alone. It takes an uncritical mindless audience that will accept puerile dredge like this.",0 "This Film was really eye-opening. I have seen this film several times. First, when I was four and I actually remembered it and then when I was 12. The whole message that the director is conveying is for everyone to wake up and not make the mistake of leaving God out of our everyday lives or just Plain going the extra mile to insult him.

A great Movie for Non-believers and Believers alike!",1 "A film without conscience. Drifter agrees to kill a man for a mobster for money. Then they double cross him. Meanwhile he falls in love with the dead man's wife, and, without her knowing he's the killer, moves in with her. Then he ""accidentally"" kills her when she finds out. Then, in a WALKING TALL kind of heroism, he gets revenge on the mobsters who double crossed him. The first problem is that, by agreeing to take on the murder by hire assignment, the drifter loses all sense of sympathy, worthiness, and heroism. We can't accept any goodness in him and as a result the rest of the has no moral center. We just can't care about that kind of guy. And the wife (nicely played by the fetching Kari Wuhrer - the sheriff in EIGHT LEGGED FREAKS), a high class lady who runs a mission for homeless people, similarly loses a degree of sympathy by jumping right into bed with the homeless drifter (despite her evidently weakened state after the death of her husband). And, when she finds out he's the guy – what does she do? She locks him inside her house (as if ALL houses had locks you can't open from INSIDE) with her and proceeds to berate him. Stoo-pid. George Wendt, however, is terrific in a role as a beefy thug. Director Stuart Gordon did so much better with RE-ANIMATOR and DAGON.",0 "Twenty years ago, the five years old boy Michael Hawthorne witnessed his father killing his mother with an axe in an empty road and committing suicide later. On the present days, Michael (Gordon Currie) invites his girlfriend Peg (Stacy Grant) and his best friends Chris (Myc Agnew), Jennifer (Emmanuelle Vaugier), Lisa Ann (Kelly Benson), Ned (Brendon Beiser), Mitch Maldive (Phillip Rhys) and Trish (Rachel Hayward) to spend the Halloween in the country with his grandparents in their farm. He asks his friends to wear costumes that would represent their greatest innermost fear, and together with his Indian friend Crow (Byron Chief Moon), they would perform an ancient Indian celebration using the carved wooden dummy Morty (Jon Fedele) that would eliminate their fears forever. The greatest fear of Michael is to become a serial killer like his father, but something goes wrong and Morty turns into his father, killing his friends.

""The Fear: Resurrection"" is a disappointing and pointless slash movie that uses the interesting concept of eliminating the greatest innermost fear of each friend before it grows, but in a messy screenplay full of clichés. There are some exaggerated performances, like for example Ms. Betsy Palmer; others very weak, but in general the acting is good. Unfortunately there is no explanation why the dummy is brought to live; further, in spite of being surrounded by close friends, the group does not feel pain or sorrow when each one of them dies. The low-pace along more than fifty minutes could have been used to built a better dramatic situation. In the very end, Michael shows a charm that his father was interested that I have not noticed along the story. I do not know whether the previous reference was edited in the DVD released in Brazil with 87 minutes running time. The special effects are very reasonable for a B-movie. My vote is four.

Title (Brazil): ""Fear 2: Uma Noite de Halloween"" (""Fear 2: One Night of Halloween"")",0 "There have been some low moments in my life, when I have been bewildered and depressed. Sitting through Rancid Aluminium was one of these.

The warning signs were there. No premiere (even the stars didn't want to attend) and no reviews in magazines. The only reason I sat through the film was in the hope that I might catch up on some sleep.

Nothing in the film was explained. The narration was idiotic. I cheered at one point when the lead of the film appeared to have been shot, then to my growing despair, it was revealed that he hadn't really been shot dampening my joy. I sincerely hope all involved in the film are hanged for this atrocity.

There were some positive aspects, mainly unintentional moments of humour. For example, the scene in which the main character, for some unknown reason feels the need to relieve himself manually in a toilet cubicle, while telling the person in the next cubicle to put his fingers in his ears.

My words cannot explain the anger I feel, so I shall conclude thus.

Rancid Aluminium: for sadists, wastrels, and regressives only who want to torture themselves.",0 "I saw this movie about 5 years ago, and the memory of it still haunts me to this day. I was fully aware at how awful it was supposed to be going into it, so I have only myself to blame. But like most, I didn't believe all the negativity. Being a Sandler fan, it just seemed inconceivable one of his movies could really be that bad. I figured it was just Sandler haters. I couldn't have been more wrong.

What we have here is a comedy that does not contain even 1 second of anything funny. That is actually quite an accomplish. You'd think in a 90 minute comedy, they might have accidentally stumbled upon something even remotely amusing. But no, it's just horrible. It's not ""so bad it's good"", its just bad. You cannot laugh at how bad it is, you can only cry. You wait patiently for a joke that will at least make you chuckle, but they never come.

Have you seen the movie The Ring? Where the people watch a video tape and die 7 days later? If this movie was on the video tape, people would die instantly, by their own hand, and there would be smile on their face as they realize their agony has ended, and that would be the first smile since they pressed play.

You might be inclined to watch it just to see how bad it is, unable to curb your curiosity. Don't. Please don't. Trust me, I'm doing you a favor. There are 2 types of people in the world, those that think Going Overboard is the worst movie ever made, and those that have not yet seen it.",0 "Most war films made in the US during WWII were great fun to watch but suffered from severe gaps in realism because they were being produced more for propaganda value to raise the spirits at home than anything else. I am not knocking these films as many of them are still very watchable. However, because they so often lack realism they are prevented from being truly great films. A perfect example was the John Garfield film Air Force--in which a B-17 nearly single-handedly takes out half the Japanese air force! However, Pride Of The Marines is a welcome departure--scoring high marks for portraying a true story in a reasonably accurate manner. When I first saw this film, I thought it was NOT a true story as it seemed way too improbable to be true. However, after researching further I found that it was in fact rather true to the amazing story of two men who did so much to earn the Medal of Honor. This is one case where real life seemed too incredible to be true!",1 "I discovered this film after reading the book that inspired it. It is not a strictly biographical film; it is ""loosely based"" on the facts. But I found it a compelling and eerie exploration of evil and madness, and Michel Serrault gives an unforgettable performance as Dr. Petiot.

There are many memorable images in this movie; Petiot traveling through the night like a vampire, his black cloak flapping behind him, is almost iconic. There are also several touches of expressionism - Petiot's crooked silhouette mounting the stairs leading from the cellar where the butchered remains of his victims await cremation, reminds me of some scenes from 'Nosferatu'.

But I found the primary appeal of this movie to be aural. The soundtrack is loaded with ominous sounds, starting with the foreboding music of the opening credits, accompanied by wordless wailing. Petiot lives and runs his medical practice in a complex with many small shops, and there is a persistent background noise of knives being sharpened somewhere, as well as a peddler playing eerie tunes on a saw. There are animal noises as well - the concierge keeps a goat, unseen cats howl - and later in the film we see hapless cattle being herded through an underpass. The whole atmosphere is unsettling, with overtones of violence and slaughter.

Not only animals, but human voices are often heard - the screams of Gestapo victims, Petiot's patients in his waiting room, monitored by a listening device, just the same as the suspected collaborators after the war are monitored in their cells. Even the action of the film is often arranged so that we hear the voices of the participants without seeing them - when Petiot goes to see Mme Kern, we hear her singing as she works, her voice echoing in the theater, before we ever see her. And even when she does appear, she is often filmed from behind, her voice calling out to her husband, whose voice calls out to her in conversation. Disembodied voices echo in large halls, and their owners, when seen at all, are photographed at a distance, so we cannot actually see them speaking. This is a ghost story, and these are the voices of ghosts - many of them Petiot's future victims.

Yet Petiot himself is often only a voice; his frightening laughter echoes as he retreats from the camera, throwing comments behind him or into the air to nobody. In a way, he is as much a ghost as those he murders. He is always frantically busy, scurrying from appointment to appointment, never at rest. But his activity is that of a machine - lifeless and imperturbable. It is interesting that among all the horror and danger of occupied Paris, Petiot alone is unafraid; he is amused, enthusiastic, angry, irritated, contemptuous, but never afraid, unlike those real people he lures to their deaths. It is no surprise that he boasts of his mechanical inventions, including a perpetual motion machine (a true detail from the book - he did claim to have invented many machines); he is a sort of perpetual motion machine himself. And mechanical imagery is everywhere in the film, from the opening giant wheel in the movie house, to Petiot's bicycle (with its squeaking wheels echoing the sound of sharpening knives), to the Victrola he keeps winding up to play music before he makes a kill. Even his routine with his victims is mechanical - write a note to your wife, let me disguise you before you leave, you need a vaccination, Barcelona, Casablanca, Dakar - like a well-oiled machine, the routine is always the same, just as the record is always the same.

Maeder, the author, says that it was the clockwork perfection of his crimes that weighed so heavily against Petiot at his trial. His system was as smooth and efficient as a Nazi concentration camp, and this may be why the movie invents a subplot of Petiot's involvement with the French Gestapo and the occupying Nazis. Unfortunately, it doesn't quite work as part of the story, because it's very hard to figure out just what Petiot is doing for the collaborators, or what is going on when he ends up at their headquarters in the middle of the night. Disposing of bodies? Hiding stolen goods? It's hard to say, and harder to believe; it's not likely the state would turn to a freelancer like Petiot.

But it does remind us of the duality of evil people; Petiot is a robber and a murderer, but he is also a devoted father and husband. Just as we learned that Hitler loved dogs, and that Nazis guilty of the worst war crimes could also be loving fathers and family men, so we have to recognize that Petiot could commit unspeakable horrors and yet also function normally. His insanity is easily camouflaged by the insanity and horror of the wartime situation in Paris; when killing, robbing and disappearing are happening all around, nobody pays attention as Petiot tosses more corpses on the pile.",1 "There is no artistic value in this movie to deserve any award. Well, it does not deserve an audience as well. Ironically, one of the awards is for cinematography but frankly, the camera movements are disconcerting to say the least. Every frame, you feel you are getting the ""full picture"", its like someone is ""cropping your view"" from the edges. The story is pathetic. Well, I will be honest, I could not bear to watch the entire movie. The part that sucked the most was when I saw the soldiers partying in their barracks and one of the soldiers coaxed to drink liquor. These and many other similar scenes reminded me so much of Steven Seagal.

Take my advice, stay away from this piece of crap.",0 "The prerequisite for making such a film is a complete ignorance of Nietzche's work and personality, psychoanalytical techniques and Vienna's history. Take a well-know genius you have not read, describe him as demented, include crazy physicians to cure him, a couple of somewhat good looking women, have his role played by an actor with an enormous mustache, have every character speak with the strongest accent, show ridiculous dreams, include another prestigious figure who has nothing to do with the first one (Freud), mention a few words used in the genius' works, overdo everything you can, particularly music, and you are done. Audience, please stay away.",0 "I happen to be the director's nephew. It's taken me years to get my hands on a copy of this film and I can confirm that it is indeed one of the worst movies of all time. My uncle doesn't even have a copy of it anymore (I asked). I'm looking forward to bringing him a copy.

Currently the film's average rating is 1.9/10. As far as I can tell, that should put it somewhere in the mid-30s in the IMDb ""bottom 100,"" however with only 206 votes, it hasn't yet placed.

It's sad that the film doesn't even get the respect of a bottom 100 title.

Anyhow, I'm giving copies of the movie to family members this year for holiday gifts. Best/Worst gift ever?",0 "While originally reluctant to jump on the bandwagon of watching ""Lost"", I accidentally caught one episode at the beginning of season 1—the one with the polar-bear—and it has had my undivided attention ever since. The show, that is. Not the polar bear. So bear (heh) with me while I throw out as much rambling, semi-coherent praise as I can muster.

""Lost"" takes a simple idea of a passenger flight full of people crashing onto a desert island, and gradually adds extraordinary depth to its premise by exploring each character deeply and unflinchingly—what drives them, who are they? Where did they come from? It soon becomes clear that the island upon which they are stranded acts as a common denominator for many things in their lives, whether they're running away from something (Sawyer and Kate among others) or getting in touch with spirituality (Locke, Claire). But ""Lost"" also zooms in on the island itself and the mysterious horrors that it houses... and they all seem to be strangely connected.

While television actors are not exactly known for their subtlety or dazzling acting abilities, most of the cast of ""Lost"" are, in truth, spectacular actors for their respective parts, projecting heart and humour in their performances. There's also a multitude of eyecandy, but not generally of the plastic Hollywood kind as most TV shows. The characters all feel very real and they are extremely compelling to watch. Their interactions rarely fall prey to predictable sappiness, petty arguments or cheesy melodrama (although they are annoyingly secretive) – these people are first and foremost trying to survive and whatever relationship appears is treated secondary to action. The realism of these characters facilitate an already well-sculptured plot.

About this plot... Imagine a tree as the template plot, then the branches as subplots (in this case, one branch for every character) – well, Lost adds twigs to each branch and then tiny twigs to those twigs as other story lines. If you're a brother/sister to one of the main characters in the flashbacks, you will get your own storyline. If you're a DOG you will have your own storyline. Unless the writers manage to weave them all together into some glorious culmination in the end, they are setting themselves up. I am more than a little worried there will be some disappointing cop-out to this show, as I'm sure most people are.

But assuming the writers do pull this off, ""Lost"" is possibly the best show ever to hit television.

9/10",1 "I caught this film late on a sat night/ Sunday morning with my brother. We had been drinking. This is one of the best films for ripping apart I have ever seen. From the 'luxury' ocean liner actually being a 'roll on, roll off' ferry, complete with cast iron everything to the doors with adhesive stickers saying staff, then seeing the same door being used for something else in another scene - this film rocks!! The continuity is so poor you cant help but notice it, it slaps you in the face with the holes. In the final scene he jumps off a life boat with the ferry in the distance. Cut to his son and new girlfriend (The ships PR director who knows kung-fu and used to be in the police but was dismissed for doing things her way - true)on the ferry going very fast away from the explosion. ......Then the dad is there hugging them. HoW???? Who cares, its magic. There is not one redeeming feature to this film. The casino is the size of a large bedroom with one casino table. when being chased by the villains there is only One place to hide, you've guessed it. Enter the villains who, instead of checking under the One table, proceed to shoot up four fruit machines and a little corner bar (a corner bar in the casino - fantastic). They walk straight past the only hiding place thus allowing our Casper to get around them and 'take them out'.

Get some mates over, get a few drinks in, put this film on and howl.",1 "Murders are occurring in a Texas desert town. Who is responsible? Slight novelties of mystery and racial tensions (the latter really doesn't fit), but otherwise strictly for slasher fans, who will appreciate the gore and nudity, which are two conventional elements for these films.

Dana Kimmell (of FRIDAY THE 13TH PART 3 infamy) stars as the bratty quasi-detective teen.

*1/2 out of ****

MPAA: Rated R for violence and gore, nudity, and some language.",0 "Although it's an R rated movie, I really doubt that you'll really enjoy it unless you're a teenager

Why? Because there's no real plot, no character development,no funny jokes.

The only thing that this movie has plenty of is nudity. Tons and tons of naked or almost naked chicks (pretty nice ones I might add) to feast your eyes on.

I really can't understand why this movie has the American Pie title since it's only a bad combination between an erotic movie and a comedy without succeeding in being either of them.

My suggestion is to watch this movie only if you want to see some naked chicks, but you're too shy to rent/buy an erotic movie.

Gave it 1/10 for the 2 smiles i had in the entire movie and another 2/10 for the nice chicks",0 "Another cult strikes again. This isn't a spoiler, because the REAL ending comes after you research the folks who brought this overly-long, pseudo-scientific infomercial...Ramtha's School of Enlightenment.

When any religion/philosophy needs to hide behind an OZ-like screen of deceit, I walk away. Thank Ramtha I watched a borrowed copy of this movie on the recommendation of a ""friend""...to have wasted precious resources on this New-Age lobotomizer would have been tragic. I can only hope that they ""truly believe they can walk on water"" enough to take that guidance to it's ""logical"" conclusion...in other words; walk, drown...or shut up :-) As a movie...it deserves a strong ""1"" on it's entertainment value, especially for creating the most dislikable character in film history (the photographer's roommate...eeeeeek!). If you must see this film, borrow it from one of the brainwashed folks who recommended it.",0 "This early Adam Sandler film could be compared to his life as a comic during the same period in 1989. His character's constant acknowledgement of his hidden comic genius and frustration regarding humorous material seems to come more from Sandler than the script. The film is nothing compared to his blockbuster feature films, such as Big Daddy or even the corny Billy Maddison. Unfortunately, Sandler had not yet found a way to express himself in a consistent, successful and funny manner when this film was made, much like his character. The majority of the film's ""jokes"" come from Sandler having conversations with himself, usually over his unrecognised comic talent and beating himself up because he's too ugly and can't get women. The film is hard to watch too because it doesn't treat itself like a real film. Sandler talks to the camera and the viewers throughout the film, often referring to the film's low budget or questionable content. The film is ultimately awkward and embarrassing to watch. I immediately wanted to forget I even saw this film after it was over, for fear that if more found out about it, it would ruin Sandler's career. Pass this one up at the video store, I rented it for free and it was still a waste of time.",0 "Anyone who actually had the ability to sit through this movie and walk away feeling like it was a good film does not appreciate quality movies. This movie was an insult to watch, the direction was high school film class quality as well as the cinematography. The Blair Witch Project had better cinematography and I hate that move with a passion! The storyline had the potential to be a very intense very good movie but it fell flat from the first 10 minutes through the rest of the movie. Someone mentioned that this film was about a child's imagination, okay thats all good and fine. But they still could have done better things with this script than what they did. I mean come on, the Indian in the store. Did the kid look at the little idol and suddenly imagine the Indian and the entire story about an Indian spirit called Wendigo? Which they mention to the store employee and she casually says there is no one but me that works here, so you think okay creepy ghost scenario, but then she just barters for the amount on the idol and we forget about the little kid seeing this guy. That was so lame it goes beyond pathetic. The ending left you wondering not only what happened to Otis in the hospital but also with the feeling of OMG!!! Why the hell did I just waste my time watching this!! This is a move that I recommend NOT to watch, there are definitely better quality films out there that won't insult your intelligence! Thank god I never had to pay to see this movie, I would have demanded my money back! For those that were easily entertained by this movie.... it's very sad that you lowered your standards to this level of film making to actually say that it was a good movie.",0 "TO all of yall who think 1.This was a boring telecast 2.Halle berry and denzel Washington did not deserve their Oscars

SHUT THE F**k UP!! This was one of the best Academy awards show because 1.It was a moment in history to have a black yes ""Black actress"" win an academy award for Best actress so many of our black sisters have been ignored by the academy for many years.To be honest I had stop watching the academy awards because of a lack of diversity in either the winners or nominees.To me it was nothing but a bunch of white people patting each other in the back.the academy had many chances to vote black actresses that were brilliant in movies eg Alfre Woodard,Whoopi Goldberg,Diana Ross,Mary jean Babtise, but it did not 2.Halle berry deserved that Oscar no competition the academy was under pressure to vote for her so long have deserving actresses been ignored by the academy the majority of which is comprised of white voters yeah yeah Nicole kidman sang very prettily in muling rouge!but it was time black people were accommodated in these awards shows.As for Mr Washington the academy owed him big time after that unfair loss for MalcomX.To all of you who think race is not an issue""probably white people""in the movie industry,well it is many of the most talented black actresses around have either been reduced to stereo typical made by white people roles of what they think is a black women or are not existence""Angela basset"". I do not expect many of the white people to understand any of this because they never had to deal with any of it.Come to think of it they are the one who been inflicting it",1 "If you loved Deep Cover, you might like this film as well. Many of the poetic interludes Fishburne recites in Deep Cover are from the lyrical script of ""Once In the Life,"" a screen adaptation of a play that Fishburne wrote. If you love Larry as much as I do, you'll love this film that is all Larry, all hot, and all fleshed out. Of course there is gun play and illicit substance use, this is a gangster movie of sorts, after all, but the script is beautiful and the story is touching, even a little on the chick flick side.

AMAZING film...dark, frightening, sexy, and exciting. If you ever sneaked out at night or hung out in a clubhouse, you'll get the proper impact of the cramped sets (metephorically echoing being trapped in the life). Full of clever foreshadowing and complex relationships, this film is tight..every sentiment mirrored in the set dressing and camera shots. GOOD WORK!",1 "May 1938. Hitler in Italy. Preparations for historical appointment with Mussolini.Emotions , tensions and forms of self-affirmation. a empty town, a housewife and a journalist. The meeting of two different worlds. Refuge for a mother with a sad life. Short filling for a classical victim. A story about solitude and silence. About the form of of life's nooks and desire like fight's form. The great character- a book gifted in a spring's afternoon. This movie is a poem, remarkable for the art to describe the shades of common loneliness. A pleading for a ineffable relation with reality. And with your interior world. The pictures of Il Duce, the clumsiness of Antonietta, the patience and the frailty tension of Gabriele, the art of director to give the sense of script grace two great actors makes this film sublime, foretaste of subtle delicacy, a wonderful film about hypocrisy and arbitrary verdict, about essence of life and repulsiveness of any tyranny. Loren and Mastroianni are the masters of a magnificent intelligent acting. A clear masterpiece.",1 "Because of all the negative reviews of this film I almost didn't watch it. However, I was pleasantly surprised that it was a fairly enjoyable horror movie. The acting wasn't great - apart from the wonderful Alice Krige - but some of the dialogue (""Just consider yourself lunch."") was quite amusing.

On the whole an above average Stephen King effort - 7/10.",1 "Somewhere, out there, there must be a list of the all time worst gay films every made. One's that have overlong camera shots of the stars sitting and staring pensively into space, or one's where they focus unbearably long on kitty kats eating spaghetti. This motion sickness picture is a story of a boy and a boy and they live and love and swim and get stuck in grottos and one of them has a depressed mother and another has no mother and they talk and walk and swim and have sex and get drunk and then break up and someone goes to the hospital for eight days and then gets out and there is a lot of fast forward and rewind and there are long pensive shots of one of them looking into space or just sitting and doing nothing. I think it's some sort of gimmicky film making technique or maybe it's that the film is so bad they have to fill it up with long, wasted shots because otherwise if they had to rely on plot or story the film would be about 14 minutes. Don't get me wrong, this is about the 30th gay film I""ve watched in the past 6 months and some of them (most of them) have been very formulmatic, predictable and boring but this is one is really a terrible waste of time. The best one so far was ""Beautiful Thing"". So, I watched this and after the very first opening shot which lingered and lingered I thought ""Oh, no, its going to be creative sinny mah"" But I gave it a chance and watched it and then when it ended I tossed the DVD in the trash. Sorry I didn't like it and if you did, sorry if I offend.",0 "If there was anything Akira Kurosawa did wrong in making Dodes'ka-den, it was making it with the partnership he formed with the ""four knights"" (the other three being Kobayaski, Ichikawa, and Konishita). They wanted a big blockbuster hit to kick off their partnership, and instead Kurosawa, arguably the head cheese of the group, delivered an abstract, humanist art film with characters living in a decimated slum that had many of its characters face dark tragedies. Had he made it on a more independent basis or went to another studio who knows, but it was because of this, among some other financial and creative woes, that also contributed to his suicide attempt in 1971. And yet, at the end of the day, as an artist Kurosawa didn't stop delivering what he's infamous for with his dramas: the strengths of the human spirit in the face of adversity. That its backdrop is a little more unusual than most shouldn't be ignored, but it's not at all a fault of Kurosawa's.

The material in Dodes'ka-den is absorbing, but not in ways that one usually finds from the director, and mostly because it is driven by character instead of plot. There's things that happen to these people, and Kurosawa's challenge here is to interweave them into a cohesive whole. The character who starts off in the picture, oddly enough (though thankfully as there's not much room for him to grow), is Rokkuchan, a brain damaged man-child who goes around all day making train sounds (the 'clickety-clack' of the title), only sometimes stopping to pray for his mother. But then we branch off: there's the father and son, the latter who scrounges restaurants for food and the former who goes on and on with site-specific descriptions of his dream house; an older man has the look of death to him, and we learn later on he's lost a lot more than he'll tell most people, including a woman who has a past with him; a shy, quiet woman who works in servitude to her adoptive father (or uncle, I'm not sure), who rapes her; and a meek guy in a suit who has a constant facial tick and a big mean wife- to those who are social around.

There are also little markers of people around these characters, like two drunks who keep stumbling around every night, like clockwork, putting big demands on their spouses, sometimes (unintentionally) swapping them! And there's the kind sake salesman on the bike who has a sweet but strange connection with the shy quiet woman. And of course there's a group of gossiping ladies who squat around a watering hole in the middle of the slum, not having anything too nice to say about anyone unless it's about something erotic with a guy. First to note with all of this is how Kurosawa sets the picture; it's a little post-apocalyptic, looking not of any particular time or place (that is until in a couple of shots we see modern cars and streets). It's a marginalized society, but the concerns of these people are, however in tragic scope, meant to be deconstructed through dramatic force. Like Bergman, Kurosawa is out to dissect the shattered emotions of people, with one scene in particular when the deathly-looking man who has hollow, sorrowful eyes, sits ripping cloth in silence as a woman goes along with it.

Sometimes there's charm, and even some laughs, to be had with these people. I even enjoyed, maybe ironically, the little moments with Rokkuchan (specifically with Kurosawa's cameo as a painter in the street), or the awkward silences with the man with the facial tics. But while Kurosawa allows his actors some room to improvise, his camera movements still remain as they've always been- patient but alert, with wide compositions and claustrophobic shots, painterly visions and faces sometimes with the stylization of a silent drama meant as a weeper. Amid these sometimes bizarre and touching stories, with some of them (i.e. the father and son in the car) especially sad, Kurosawa lights his film and designs the color scheme as his first one in Eastmancolor like it's one of his paintings. Lush, sprawling, spilling at times over the seams but always with some control, this place is not necessarily ""lighter""; it's like the abstract has come full-throttle into the scene, where things look vibrant but are much darker underneath. It's a brilliant, tricky double-edged sword that allows for the dream-like intonations with such heavy duty drama.

With a sweet 'movie' score Toru Takemitsu (also responsible for Ran), and some excellent performances from the actors, and a few indelible scenes in a whole fantastic career, Dodes'ka-den is in its own way a minor work from the director, but nonetheless near perfect on its own terms, which as with many Kurosawa dramas like Ikiru and Red Beard holds hard truths on the human condition without too much sentimentality.",1 "As a Pokémon fan I enjoyed this movie very much. It introduces new legendary Pokémon (as each movie does) and adds depth to the relationships between its characters. I however do not expect those who are not Pokémon fans to enjoy it(This includes MOST adults). Some of the lines were corny, but that can be somewhat unavoidable when dubbing the movie over to English. The animation was beautiful, although there were a couple parts that did not look good. And although the villain is kind of corny, I think that the movies have done a good job of cycling through different types of villains, and I guarantee you that they aren't all like this one. Those who did not like it, I say to each his own, but Pokémon fans will love it.",1 "What happens when an army of wetbacks, towelheads, and Godless Eastern European commies gather their forces south of the border? Gary Busey kicks their butts, of course. Another laughable example of Reagan-era cultural fallout, Bulletproof wastes a decent supporting cast headed by L Q Jones and Thalmus Rasulala.",0 "This is the definite Lars von Trier Movie, my favorite, I rank it higher than ""Breaking the waves"" or the latest ""Dancer in the Dark""... I simply love the beauty of the picture...the framing is so original; acting is wonderful, A MUST SEE.",1 "I think the comments regarding the show being cheesy are a bit too exaggerated. When a person comes to watch a TV show, what does he look out for? It is to enjoy that he watches a show, unless he/she is a critic or a person who analyzes story. But most of us are not so and watch the shows to relax and enjoy. FULL HOUSE is an ideal show to watch after having a heavy day in the office/school. It makes you laugh and it is not just humor.

Yes, the Tanner family is a perfect family, a perfectly hypothetical family. If any such family existed in real world, it would be a role model for us to follow. But this is a TV show, and not a real family, and there is nothing wrong in depicting a hypothetical family on television. The very fact that the show could run so long shows us that people enjoyed watching it, whatever be the comments later on.

Another good point about the show is that any person of any age would not only enjoy watching it, but would take back a message however childish that message be. Those Jesse's talks with Michelle are extremely touching, if one doesn't think of it as childish.

Overall I would say after watching every show of Full House, there is a contentment in your heart that is rarely present after many other shows.",1 "Having been forced by my children to watch this at least 10 times for each of the last 2 Christmases, I feel adequately qualified to pass judgment on this version of Dr. Seuss' classic tale, and well... it's not very good. First off, following a classic act like Chuck Jones' animated TV special is going to be difficult for anyone, but this interpretation is so heavy-handed and padded as to be positively numbing. I will concede that there are a handful of inspired gags, but overall the film comes off as a calculated cash grab, at the same time as it is supposedly decrying the commercialisation of Christmas. Jim Carrey is typically over the top here, but that is completely at odds with the character of the Grinch. As characterised by Boris Karloff, he was a slow burn; methodical and sly. There is no method to Carrey's madness, and that is only the most obvious error made. Talented actors like Jeffrey Tambor and Christine Baranski are utterly wasted here. Why, Universal, why? I mean , I understand that Tony Hopkins will take just about any role offered (much like his countryman Michael Caine), but this one needs to be filed under ""Films that should never have been made."" This does not bode well for the Cat in the Hat, an even thinner tome that Universal is prepping for this Christmas. I get the feeling that I will be making the same recommendation for that one as I am with this one: skip it, and either read the book or watch the TV special. This is 2 hours you can never, ever get back.",0 "Not only was this the most expensive Canadian film ever shot in BC, but easily the worst, never seeing the light of day. The director is not even Canadian, but British, and boy does it show. We are all made out to be a bunch of over-sexed dope fiends and morons. The spirit of what it means to be Canadian is absent, and this is supposed to be the reason we fund this bunk. Of course the British character is normal. The rest are a crop of sitcom stereotype - can you say ""Norm!!""? The cinematography ranges from pretty postcard images to murky indoor silhouettes. The actors always seem to be fidgetting. Are they as bored as the viewer, or is this the directors idea of cinema? Avoid this mess and check out some of Bruce Mcdonalds films. A true Canadian boy with something original to say cinematically. You won't be compelled to walk out on HIS films after 10 minutes.",0 "This is one of the worst movies I've ever seen. I saw it at the premiere at SXSW and was extremely disappointed. The director knew little about John Lennon and even said as much at the premiere. This is a drama, but people were laughing throughout at how cheesy the film was. That's never a good sign. The only saving graces were Dominic Monaghan and Jason Leonard as Livien's roommates/bandmates. They were funny while the rest of the movie took itself waaay too seriously. The cheesy dropping of Beatles lyrics was just absurd. The soundtrack was excellent, however, and was probably the best part of the movie. Unless you're one of those crazy, rabid Dominic Monaghan fans, don't bother with this one.",0 """Fear of a Black Hat"" is a superbly crafted film. I was laughing almost continuously from start to finish. If you have the means, I highly recommend viewing this movie It is, by far, the funniest movie I have had the pleasure to experience. Grab your stuff!",1 "Why on earth should you explore the mesmerizing nature documentary ""Earth""? How much time do you have on earth so I can explain this to you? OK, I will not elongate my review exploration on ""Earth"" to infinity, but I must stand my ground on why this is a ""must see"". The documentary takes a nature round trip on the migration paths on three animal families: a female polar bear and her cubs with the real life subplot of the father bear daring it out to hunt for food in his isolated path, a mama of a whale with her baby whale taking a whale of a migration tour for prey, and an elephant mama with her small (maybe not so small, they are elephants) offspring migrating in Africa. Directors Alastair Forthegill & Mark Linfield did an ""out of this earth"" job in also capturing the survival skills of many other animal species besides the magnetic shots of our three animal family protagonists. The cinematographically skilled team of Richard Brooks Burton, Mike Holding, Adam Ravetch, and Andrew Shillabeer were animales in camera shooting the wondrous nature sites and animal instinctive behaviors; not to mention, the slo-mo animal prey shots were u n b e l i e a v a b l e. ""Earth"" is also a lesson learner on the global warming effect on the animals; the papa polar bear in the doc is the poster animal boy on that consequence. So fellow earthlings, it is time to take the documentary voyage to visit ""Earth"" today! **** Good",1 "The romance of the movie, which is also its main theme, is good and nicely presented. However, the surrounding of the love story is too lyric, graphical and unrealistic. Even worse, the psychology of the main character is weird and incomprehensible, exactly like the end of the movie. Don't hesitate to watch this movie, if it attracted your interest, but don't expect too much of it either.",1 "I´m not surprised that even cowgirls get the blues if this movie is anything to go by. I expected something better from Uma Thurman, which was the reason I suffered my way through this experience in the first place. An awful film with only the music as a redeeming quality. It´s just a shame that we are incapable of giving 0 out of 10 in these reviews. This movie deserves it.",0 "This is a bit long (2 hours, 20 minutes) but it had a a lot of the famous Pearl Buck novel in it. In other words, a lot of ground to cover.

It was soap-operish at times but had some visually dramatic moments, too, capped off by a locust attack at the end of the film. That was astounding to view. Considering this film is about 70 years old, the special-effects crew on this film did a spectacular job.

Paul Muni and Luise Rainer were award-winning actors in their day and they don't disappoint here, both giving powerful performances. The only problem is credibility as all the Asians are played by Caucasions and some of them, like Walter Connolly, just don't look real. I'd like to see a re-make of this movie with all-Asian actors, not for PC reasons but to simply make the story look and sound more credible.",1 "Thomas Clay has been mixing with the wrong types. That's the trouble with young people these days, they have no respect.

Seriously this film should be avoided at all costs. The action in the main body of the film is slow and rather stodgy and ambles to the drug crazed ending as if, like it's director, it has no where better to go. We are introduced to the main title character who is a bit of an outsider, we see him at school and at home not quite fitting in, feeling awkward in himself as so many adolescents do. Robert falls in with bad lads and starts missing school and taking drugs and before you know it he is a psycho rapist.

The film is really about Clay's total failure to understand the links between violence imagery and violent acts. Clay seems to think a generation of crazed youth are made evil by scenes of war on our TVs. yet he has filmed the most disgusting piece of SIMULATED violence. Is this guy for real?

If Clay has not seen YouTube perhaps he is naive and unaware of will be done with the brutal climax scene from his film? All anyone will want to see is the most hideous scene from the end of the film and I am sure that will be what sticks with people.

The rest of the film is pointless for in committing such an act of violence to film Clay not only damns young people who are actively engaged in preventing war, he also damns himself as perpetrator of extreme, tasteless violence for no better reason than his own personal celebrity status.

Shame on all involved.",0 "Emily Watson's Natalia is absolutely the most loving and romantic lead character I have ever seen on a screen. She is the queen of this film beyond all doubt. Or, is she transmuted to the king? The internecine weaving of the chess games and the families' struggles for control, power, and victory is stunning. Just as the chess masters in the film do, the director is playing many simultaneous games with our mind at once, but all weave into either major or minor patterns. The period, the costumes, and imagery of early 20th century Italy's lake district is captured magnificently. Not a single square of space is wasted.

So many brilliant scenes abound, I cannot recount them all. I recommend budgeting enough time to watch this movie twice, possibly a week apart, because you can't possibly capture all the poetry within a 64-square yet multi-dimensional framework in one setting.

I did not read Nabakov's book, but to try an analogy of my own, what I am reading reminds of me of another romantically triumphant poetry-as-game movie, Barry Levinson's The Natural. It totally jettisoned the downbeat ending of Bernard Malamud's fatalistic book in favor of a romantic impressionism that was uniquely American. Well, the director did that one better by seamlessly meshing Russian and Italian morals and mores as a backdrop to enlightenment. The true story here is that games are zero-sum; there is a winner and a loser, unless both contestants draw. But, in life, and especially in the context of our immortal souls, we are only limited by those constraints and life's conventions to the extent we let others break our spirit.

Pure love, as personified by Emily Watson's Natalia, can transcend and allow all of us to be enhanced by its gifts simultaneously. Only the barriers erected by our fears can cut us off from it.

This is a magnificent movie (10/10).",1 "This apology for a movie is about absolutely nothing! Rachel Griffiths must have needed the money. The film must have been made on a very low budget, because the lighting was non existent. I made a vow if I ever see Pete Postlesumthingor other I'll commit suicide. I'd be happy to know if there was 1) a plot or 2)a script. My biggest regret is I wasted my time watching this rubbish.",0 "Can you say ""All shock, no plot?"" There were so many unexplored directions in this movie. There was no history about the room other than the deaths. *WHY* was it evil? What made it that way? Why an ""hour"" countdown? Then, there were the unexplored things hinted at; for example we *saw* a camera in the air vent, which he mentioned. But when he climbed up said vent, there was no camera.

How about the fact that all the ghosts looked ""Digital"", and things ""winked out"" before hitting the ground making a static noise? Hmmm... when you put all of *those* things together, it makes room 1408 look like a high-tech spook house. Except that there was no follow up on that.

Oh... by the way... electronics don't work in 1408. Well, except for the TV... the cell phone has no signal, but Wireless Internet works fine. How many incontinuities can you possibly add? I'm sorry, but this film was nothing but ""shock after shock"". It's all been done before. Reflections in the mirror. Things just out of site. Changing paintings. Bleeding walls. The ""Oh, it was all just a dream... no it wasn't."" And, if the room was ""evil"", why make our main character come to terms with his daughter's death, if it was going to keep him trapped there forever anyway? It just didn't make sense.

Additionally, there was no background information about ""The first book"" that he wrote. Just some vague information about the ""dad was a jerk"" and so forth. Speaking of dads, what was with the bit about his father? ""You'll be in my place"".

Overall, a truly HORRIBLE movie. It was 100% adrenalin shock factor, without any new or innovative effects, and certainly no back story, character development, etc.

My overall impression is that the entire movie was made on the ""Cheap""; pretty much using one set and a couple of location shots, and was nothing but an effects film of recycled, cheesy, ""seen-that-before"" effects.",0 "Watched this with my girlfriend after stumbling over it while zaping channels.

I guess we both hoped for some kind of happy family cute Christmas movie, but were extremely disappointed.

the actor playing the soldier, seems to have 0 emotion whatsoever, his face looks the same, whether he's chopping down Christmas tree's, seeing the girl he loves being kissed by her boyfriend, or when he's happily surprised by the girl he loves, he's an awful actor, and at no pont did any of us do nothing but laugh at him.

Then there's the cute blond girl, blessed with the ability to count dot's and cheat on her boyfriend, what a catch! and her ambition in life is to live with her parents and count more dots.

So it's basically a story about a guy without any emotion or feelings who falls for a guy who count dots and cheats on her boyfriend, it's as predictable as it get's, and really a waste of time, you gain nothing by watching this, other than some weird laughs, because it's all so corny.

I love it when her dad says that he only eats french fries and not french wine, and they all laugh, that's the hillbilly attitude this movie is about, furthermore, if my girlfriends dad were bossing me around like, i'd tell him a thing or to, but not our army veteran, no sir, he let's everyone boss him around.

The movie is what First Blood would have been, if John Rambo were burn like the biggest wimp in the world.",0 "I may very well be one of the few who really stuck to this film. I also saw this movie when it came out, and I agree with the last post that Up The Acedemy was way ahead of its' time. The humor in the film itself is pure MAD magazine. I don't see why MAD stand behind this feature. It was also one of the few films of the early 80's to have a killer accompanying soundtrack with the punk and new wave bands that were emerging from L.A. at the time. I own the soundtrack and I play it constantly to this day. What can I say? There are definitely worst movies out there. I don't consider Porky's to be as funny as Up The Academy, there are some really good laughs throughout the film, and the jokes fall on either stereotypes or getting laid. Hey, nobody said this was going to be The Maltese Falcon.",1 "I'm not a John Cleese completist (although I thought ""Fawlty Towers was brilliant), but I am a fan, and when I saw this sitting, neglected, on a shelf at my local Blockbuster, I decided to give it a try. What I got was a wonderful surprise, and one of the funniest 50 minute viewing experiences I've ever had. The writing is typical English ""goon show"" schtick. In fact, as an audio skit, this wouldn't be out of place on a ""Firesign Theater"" album. But the execution and timing is spot on and this elevates ""Strange Case"" into the kind of jaw-dropping performance that can create lifelong British comedy fanatics.

The Brits have a gift for combining broadly satirical lampoons with closely observed ""tics"" of character and timing, and the creators use both to good effect here. Cleese's portrayal of ""Holmes"" seems to owe much to the Arkin's and Seller's ""Inspector Clouseau""; however Cleese has such a knack for physical comedy that he more than holds his own. But the unexpected treat here is Arthur Lowe, who plays ""Watson"" as an genial but invincibly uncomprehending imbecile with such superb timing and delivery that he becomes the best aspect of the film. I'd never heard of Lowe before this (his background seems to be vaudeville and musical theater), but he justifies his entire career with this performance as far as I'm concerned.

Some people might not care for ""Strange Case..."", especially if British whimsy isn't their ""cuppa tea"". But I am extremely glad I got to see this before it vanished from sight.",1 "Remember the early days of Pay Per View? I do, and i can almost remember the number you had to CALL to actually rent the movie on your t.v. As a kid we always wanted to rent playboy, but this meant actually calling someone from PPV and asking to rent it. And then you get the nerve to do it and your watching four hours of soft core no angle crap. Well the reason i bring that up is because this movie too was on ppv. And i remember almost every scene that was in the add. I've been on a kick in the last few years to obtain all the great movies i use to see as a kid and this was one of them. It's one that when its on its hard to shut off. All star cast trying to commit the perfect bank bust but nothing goes right. There are plenty of spoof bank capers that are good and this one has to fall in that category. It has enough action and laughs to sustain it. check it out if you dare!",1 "I mean really. This is not going to help the Australian film industry to make this kind of film with no values of any kind. Okay, if you're a stoner and have nothing better to do, then maybe. I think film-makers from here should try to show the rest of the world what great talented people we have, and this is not the vehicle for it. Come on now, this film is just tacky.",0 "First off... I never considered myself an Uwe Boll Hater since I think I never even saw one of his movies but after seeing this cheap excuse for a movie named ""Seed"" (which is the name of the serial killer this movie is about) I am close to joining the hate club. This movie makes absolutely no sense at all... the plot is a joke and although Boll clearly tries to get attention by shocking people 90% of this movie is just plain boredom. You can sum up this movie like this:

1. Hooded killer watches clips of animals getting tortured on TV. This is real life footage from pelt farms and the movie opens with the ridiculous reason of ""making a statement about humanity"" and giving a Peta address. Since this movie has no message at all and is the worst piece of torture porn-exploitation you already have a reason to hate the movie from the beginning onward.

2. Death by electrocution with a pretext that gives away what happens later in this movie printed on screen so every retard gets it.

3. Cops watch videos of animals, babies and women starved to death and decomposing in Seeds basement, having stupid nightmares and crying into their whiskey because Seed is such an evil bad mofo. Although the acting is OK the movie takes a dive every time it tries to incorporate any emotions...

4. Cops bust Seed in his house, act stupid and get slashed in the dark. This sequence reminds me of a video game, you barely see anything except flashlights. Seed is a super killer that is everywhere at once and all cops act stupid enough to be killed... except for one who busts him.

5. Seed gets the chair and we see his electrocution as lengthy as everything else in this ""movie""... he won't die and we are reminded of the opening statement that he must be set free if he survives 3 electric jolts. Guess what... they just bury him alive to solve the problem.

6. Seed comes out of his grave, kills everyone off in another slashing part and then seeks the main cop to take revenge on.

7. A woman gets her head bashed in with a hammer in an endless sequence from one point of view just for the fun and shock value of it.

8. Seed captures the cops family, lures him to his house, threatens to kill his wife and daughter. After killing his wife with a nail gun the cop shoots himself in the head considering thats whats Seed wants (its hard to get into that guys head since he not just wears his mask even in prison but also never utters a word ... the movie has barely any dialog anyway so don't mind).

9. Boll goes for a nihilistic shocker end where Seed locks the daughter in with her dead dad to rot like the persons we saw on video on sequence 3.

This is it... no message, no plot, no reason, no face behind the mask, no background except a stupid story that Seed was burnt as a child.

This movie relies purely on few key scenes and their shock value. I hardly remember a movie this empty of any emotion or message or entertainment. Its like watching August Underground ... thats fine with me, some people will enjoy this brainless snuff. But what is really hard to stand about it is the pseudo-message in the beginning and the fact that the movie is well made considering camera-work, effects and even the acting is too good for this waste of celluloid.

So how does Boll get money to make such ""movies"" when thousands of talented directors work on shoestring budgets?? ""Seed"" is not just the essence of ridiculous, its living proof that the free market is flawed ... lucky Uwe that the German taxpayer is paying for a lot of this waste to get deductments.",0 "John Carpenter's Halloween is quite frankly a horror masterpiece. It tells the immortal story of escaped mental patient Michael Myers, who returns to his hometown on Halloween night to stalk and kill a group of babysitters.

This was the first and without doubt the best in the Halloween franchise. Carpenter shows great restraint in pacing the story very slowly and building likable characters; unusual for a horror picture.

Even more unusual is the non-existence of blood and gore, and yet it remains the scariest Halloween to date. Get that!

Halloween marked the film debut of Jamie Lee Curtis and a defining point in the late great Donald Pleasance's career. A true classic.",1 "As I was watching this film on video last night, I kept getting these tingles that told me this one will endure. I've a feeling I'll be watching this again and again for years to come.

It's got all the timeless qualities you could ask for in a story/film. And even though some cultural references are obscure for me, a Western viewer, at the core this is a universal tale.",1 "Disowned by Richard C. Sarafian, this disaster stunk up Japanese theaters before coming to the States and going immediately to video, where it was not seen again until the Turner networks needed something other than infomercials to fill their 3am-6am time slots and found this tape at the bottom of their bin. The Smithee name is supposed to be used when the studio hacks the movie so badly that the director no longer wants his name attached to it. But I'm afraid that Sarafian can not blame the studio entirely on this one. The actors, mostly recent graduates of ""Overacting 101"", deliver one cornball line after another. The plot is convoluted. The special effects are unimpressive. The parts that aren't laughable are just plain boring. The script or the book must have been good - why else would Palance, Matheson, Boyle, or Heston agree to appear in this dud? But something went horribly wrong from the page to the screen. Summary: Avoid. Not even bad enough to be so-bad-it's-good.",0 "In the classic sense of the four humors (which are not specific to the concept of funny or even entertainment), Altman's ""H.E.A.L.T.H."" treats all of the humors, and actually in very funny, entertaining ways. There's the Phlegm, as personified by Lauren Bacall's very slow, guarded, and protective character Esther Brill, who's mission in life appears to be all about appearance, protecting the secrets of her age and beauty more than her well-being. There's Paul Dooley's Choleric Dr. Gil Gainey, who like a fish out of water (perhaps more like a seal) flops around frenetically, barking and exhorting the crowds to subscribe to his aquatic madness. The Melancholy of Glenda Jackson's Isabella Garnell smacks of Shakespeare's troubled and self-righteous Hamlet -- even proffering a soliloquy or two. And let's not forget Henry Gibson's Bile character, Bobby Hammer (""The breast that feeds the baby rules the world""). Then there's the characters Harry Wolff and Gloria Burbank (James Garner and Carol Burnett, respectively), relatively sane characters striving to find some kind of balance amongst all the companion and extreme humors who have convened for H.E.A.L.T.H. -- a kind of world trade organization specializing in H.E.A.L.T.H., which is to say anything but health. This is Altman at his classic best.",1 "I was on France, around March 05, and I love to go to this Film Festivals. I knew about this Cinémas d'Amérique Latine de Toulouse, but I've never went to it. I decided to go and then I caught Cero y van 4.

The film is stunning. It doesn't caused the impact on me like with the Mexican users, because it was french-subtitled but it's still shocking.

This film is a satire about urban violence, about kidnapping and crime on the streets in Mexico. It is a crude portrait of the city. Of a Metropolis. Secuestro Express, with a stunning Mia Maestro, which was also a satire of kidnapping, almost, but with a more serious tone has, and I think so, some kinda connection with Cero y van 4. A, sort of, redemption story and that how much is too much? Man on Fire, that was stunningly strong, was also, not a satire, but a crude portrait into the streets of Mexico. Or it is like The Brave One. A film that shocks and hits you in the guts very hard. This is like The Usual Suspects, it has some plot twists and turns, but that makes it even more believable. Verdict: A film that shocks and makes you believe that there's no security on the streets anymore. Stunning dialogue, impressive direction and astonishing performances. Cero y van 4 is a film that you won't forget soon. Leaves you shaking and stunned.",1 "The most misogynistic movie of all time? Not to mention by '68 shouldn't they have moved beyond white people in brown face playing the ""Indians""? My favorite parts though have to be when the girls giggle and blush as the bikers drag them off to gang rape them. Rape is fun! Who knew? Let's see, then there's the blatant rip-offs of ""The Hustler"" (fat boss character actually plays pool while scheming to destroy the Indians with the lead rebel dude), the horrific acting, the so-on-the-nose-they-might-as-well-have-just-told-you-what-to-think music cues, the lack of ANYONE WHO'S ACTUALLY Indian in this movie. And who are we supposed to be rooting for? I have to say it figures that Quentin Tarantino loves this movie. Even though his movies tend to champion strong women, I've heard from at least one source that in real life he's a misogynistic idiot. Why did I watch it, you ask? Don't ask.",0 "SPOILERS

In the words of Jean-Paul Sartre, ""Hell is other people"". In ""The Odd Couple"", Jack Lemmon and Walter Matthau demonstrate just how accurate this can be. As Felix Ungar and Oscar Madison, Lemmon and Matthau respectively create two good friends who decide to live together. As the two begin to slowly grow more and more frustrated with each other, the laughs come thick and fast, before Felix departs, leaving Oscar a changed and more cleanly individual.

Jack Lemmon as Ungar is absolutely superb as the neurotic, cleaning obsessed divorcee coping with life as a single man. Walter Matthau in contrast to Lemmon's character is equally as good as the slobbish sports writer who simply wants to play poker to earn money for his child benefits.

Lemmon and Matthau are magnificant in their selected parts, to some degree dependent upon the beautiful script by Neil Simon, and simultaneously because they work well as a team. As two friends who are inherently different in lifestyles, although similar in relationships with ex-wives and children, these two, late, great actors create a partnership which is practically impossible to recreate. So great in fact, that the world screamed out so much for something similar, that two years before Matthau's death and three before Lemmon's, the characters were reunited in an inferior sequel. This idea, whilst following Hollywood's irritating obsession with sequels, might have worked to a certain degree, but at the same time, it could never come close to replicating the genius of this original film.

Ultimately it's not really possible to say anything else. With Simon's amazing script, filled with humour and laughter, the creators of this film were already onto a hit. The casting of Jack Lemmon and Walter Matthau as Felix Ungar and Oscar Madison though, is the most important part of this film. ""The Odd Couple"", with it's traditional soundtrack (which even gained a tribute in ""The Simpsons""), it's excellent script and it's genius leading men, is a tribute to cinema and a feature for history to remember.",1 "First off - there's absolutely no flirting going on in this film - with Anthony or anyone else. These people don't flirt - they just do it. Your first test of endurance is to wade through more than 15 minutes of intense violence and sexual perversion. This wouldn't be so bad - hell, I like violence and perversion as much as the next reviewer, but without a context to put it in, it is repellent. So you make it through the torture and mayhem. Then we meet Donna and the movie turns into something all together different - not better - just different: a road picture without heart. There are lame attempts at comedy thanks to cameos - broadly written and broadly played by broads like Judy Tenuta and Mink Stole (and a few hookers and drag queens, too). They all deserve better. The photography is purposely disorienting, so if you get motion sickness (or really ANY kind of sickness) - this flick is not for you. Come to think of it, I'm not sure just who this flick IS for -except maybe gay and bi-sexual S&M fans who like poorly scripted, poorly shot indy films about themselves.",0 "What an incredible fall for Sean Ellis.

You gather a bunch of your friends at home, all hyped about the follow up work of Sean Ellis. You have an vague idea of the plot, no spoilers that could kill the fun, very high expectations.

It is late at night, perfect atmosphere for a movie of this type.

15minutes passes and you start telling yourself it is bound to pick up, at 25mins you start wondering if you should just go to sleep and save this for another time when you can fully appreciate the expected not existent subtle touches. Over the half hour mark you realize half of your your hyped up audience is already asleep and call it a day.

A few days later when you exhaust all other material to watch you go back to this, in the middle of the day this time, hoping your mood will keep you awake this time. 10 minutes later you find yourself fastforwarding the unbelievably and needlessly long intermediate transitions and images. Any other stuff I would have given up already but there is cashback and its legacy. But that legacy can only carry you so long, this is a new level of boring movie-making, imagine a short story extended to a novel with just descriptions, this is what it is.

Decent cast is wasted, there is no cinematography that leaves you in awe like cashback either. There are films that annoy you, there are films that lack certain aspects, or just cheesy, unfortunately this is just a waste of time.

Final words, stay away.",0 "This is possibly one of the worst movies I have ever seen. I don't care what the critics say, it's bad. I think the problem is with Kundera's novel. It's not that it's unfilmable; it's just that like 99% of his work, it's pretentious and overdrawn. He seems to be enamored with himself,his characters come off as navel-gazing, and his novels as a whole are misogynistic. I have read many of his works (even his Socialist Realist poetry. That was truly awful) -- I just don't understand what the fuss is about. Characteristics (like the self-absorption) in his novels make for infuriating reading. In a movie, all the things that I dislike about Kundera were magnified. Maybe I just missed something, but I don't think so. On a side note, I cannot believe that this is a Criterion Collection DVD. No way is this movie THAT essential.",0 "There are many kinds of reunion shows. One kind is where old actors are taken out of mothballs and set to recreate characters they haven't played for twenty or thirty years. These have mixed results. `Return to Mayberry', despite some silliness, was okay; `Return to Green Acres' as execrable (Eddie Albert used a word for the script I won't repeat here, but both it and the movie stink); `Rescue from Gilligan's Island' filled in a necessary gap in the story of the castaways, though the show itself was silly even from a `Gilligan's Island' viewpoint. In most cases, the scripts are weak; sometimes a silliness appears in the scripts that is too knowing – and in comedy it's nearly always fatal for the characters to know they're being funny. New characters are introduced who don't fit the mix. In the main, these reunion shows are pretty weak. A second sort of `reunion' show is the kind where the cast lays its past aside but sits around, telling stories, reminiscing, interspersed with flashbacks from the shows. Then there are movies based on the shows, which are rarely good; and movies based on the history of the show (`The Brady Bunch' has had both of these happen to it, with various results).

`Return to the Batcave' uses nearly all the above, with a wonderfully twisted viewpoint, which makes it the best of the reunion shows, and has raised the bar for the others.

Adam West and Burt Ward and summoned to a showing of the original Batmobile. While they are there, the car is stolen.

The Adam West of the movie is a man demented. He called Jerry, his butler, `Alfred'. He opens a bust of Shakespeare in his apartment and reveals a hidden pole to slide down to the parking garage. He's obsessed with being a crime fighter, when in fact he's merely a washed up actor. When the Batmobile is stolen he not only believes it's his duty as a crime fighter to recover it, he drags and unwilling Burt Ward in as his assistant.

The pursuit is largely loquacious, with West and Ward reminiscing about the old days. It is broken by `flashbacks' with actors playing West and Ward in the old days. The modern scenes and the `flashbacks' both have the wacky lack of reality the show maintained. There are also running gags that show West is able to make fun of himself: in Ward's book about his time on the show, he spoke frankly about West's libido and also his being a skinflint (West makes Ward pay for everything in their pursuit, down to tips and bus fare). The clues they follow, the characters they meet (even in flashback) all fit the mentality of the old series, and there are several homages, including a fist fight with written sound effects.

The whole thing is extremely funny and done with great panache. There are also cameos by Julie Newmar (looking like she's had one facelift too many) and Frank Gorshin, reminding us why he has such a cult following. Gorshin will be the Riddler when Jim Carey, his obvious successor, is long forgotten. The movie builds to a fairly obvious but funny climax.

This show is a model for reunion shows – unfortunately, there are few that can fit the pattern. This show had actors replaying their old characters; young actors playing a movie about the making of the show; the actors West and Ward reminiscing; and a modern-day movie with the real Adam West playing the demented Adam West. It has everything. If you loved the old show, this is the stopper on the bottle.",1 "I gave Timecop a perfect 10, I gave this 1

It's story is very boring, and it has only little to do with the original Timecop. Lots of things from Timecop was scrapped, and they put in new stupid stuff instead. This story is taking place in 2060 (if I remember correctly), but for some reason the timetraveling is now more dangerous :confused:

And the action scenes are nothing to be happy about, well most of them aren't... only the first one is great... and there aren't many action scenes at all, and they're all pretty short

At one point in the story, the main character travels through time about 5 times within a few minutes... no wait, make that two times...

In short: Don't waste time watching this movie, it's not worth it",0 "This seems like one of those movies that we think we should like, but I didn't. It seemed to be trying way too hard to be 'artsy'. All flash, with no content. It has some beautiful scenes, and any one of them are nice to watch, but tack them all together and it becomes an arduous task just to sit through it. I rented this because of the glowing reviews on the video carton, and the fact that I'm a big Shakespeare fan, but I was very disappointed. I just found it a bit pretentious and, at times, boring.",0 "After Harry Reems' teenage girlfriend is raped by Zebbedy Colt (The Night-Walker), Reems becomes despondent and consoles himself by having sex with some lesbians. Meanwhile, Colt, who carries a cane and dresses like a magician, rapes some more women. Eventually, Reems decides to track him down and end his crime spree. Despite being shot on film and marginally nasty, it looks like any other 70's porno and is ineptly executed. The rape/abuse scenes are surprisingly restrained and the attempt to cash in on ""Death Wish"" is laughable. R. Bolla (""Cannibal Holocaust"") plays a cop. Colt, who is usually over-the-top, wigs out in a couple of scenes, but he's too well behaved for my money. This roughie could have been much rougher.",0 Dooohhh! My Bwainn Hurrrts! Well it certainly does after this endurance test of a film. How on earth I managed to keep going without hitting the fast forward button lord only knows.

Maybe it's me!!Maybe I don't get the premise of the film... or maybe I don't appreciate it's alleged mystical atmosphere. In my humble opinion though the film has about as much mystical atmosphere as a trip to McDonalds.

In addition the characters were all dreadful and there is more character development in a Tom & Jerry cartoon. Yaarrrghhh! Why do I do it? why do I watch such tripe? It's enough to make one run away and join a monastery or the Foreign Legion!! YAARGH!! An absolutley dreadful film in just about every respect. Apart from that it's not to bad.,0 "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.

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.",1 "Oh dear me! Rarely has a ""horror"" film bored me, or made me laugh, as much as this one. After a spirited start with an intriguing premise, it descends into not much more than a slasher flick, with some supernatural and sexual asides. The usually excellent Alice Krige is wasted in this one, and the plot twists are ludicrous. Don't bother unless you're really desperate. Rating: 3/10.",0 "I watched this movie when Joe Bob Briggs hosted Monstervision on TNT. Even he couldn't make this movie enjoyable. The only reason I watched it until the end is because I teach video production and I wanted to make sure my students never made anything this bad ... but it took all my intestinal fortitude to sit through it though. It's like watching your great grandmother flirting with a 15 year old boy ... excruciatingly painful.

If you took the actual film, dipped it in paint thinner, then watched it, it would be more entertaining. Seriously.

If you see this movie in the bargin bin at S-Mart, back away from it as if it were a rattlesnake.",0 "OK, I would not normally watch a Farrelly brothers movie. I can't recall ever watching one. I also don't recall watching a Jimmy Fallon movie. Alright, I did watch taxi, but I said penance and was forgiven for that mistake. But, this movie had Drew Barrymore and I just think she is the cutest thing. I don't know what it is about her, but I just smile the whole time I am watch her. She just captivates me that way. I mean I even watched Adam Sandler just to see her in 50 First Dates. How sad is that? This wasn't the greatest baseball movie - it wasn't supposed to be. It was a love story about a sad puppy that hung on to the only thing that never let him down until he found something worth giving that up for. It had a predictable ending, but there was so much on the way there that made it worthwhile.",1 "Embarrassingly, I just watched this movie for the first time, 13 years after its release. It's a story that any father or brother can relate to... one brother is a bit 'wild,' the other brother is the typical older child. Craig Sheffer is a little too unemotional as the oldest brother, but Pitt is amazing, and Skerritt is perfectly cast as the father. The fishing scenes that were filmed in Montana are absolutely breathtaking... I had no idea that fly fishing could be so attractive. The movie closely follows the book, with only a few modifications to make it more appropriate for a movie format. Unlike most book to movie stories, this one measures up. It's a perfect movie for anyone who wants a quiet night with a powerful and somewhat emotional movie.",1 "This has the funnist jokes out of all the Cheech & Chong flicks. It's the first one I saw with these guys. I found it to be really good. My dad actually recommended me to get it. WHAT A GREAT ROLE MODEL, and my GRANDMA actually bought it for me, knowing what it was like. What a family I have. Well this movie is pretty good and great to rent when you want to see a good classic. I must warn you though, this isn't gut-busting funny. It has its moments but not as funny as There's Something About Mary. Check it out anyway. I'm sure you'll laugh. Unless your an anti-drug activist or something.",1 "waste of my life, .... the director should be embarrassed. why people feel they need to make worthless movies will never make sense to me. when she died at the end, it made me laugh. i had to change the channel many times throughout the film because i was getting embarrassed watching such poor acting. hopefully the guy who played Heath never gets work again. On top of that i hope the director never gets to make another film, and has his paycheck taken back for this crap. { .02 out of 10 }",0 "This film is quite boring. There are snippets of naked flesh tossed around in a lame attempt to keep the viewer awake but they don't succeed.

The best thing about the movie is Lena Olin--she does a masterful job handling her character, but Day-Lewis garbles most of his lines.

Kaufman clearly had no idea how to film this. The incongruities in bouncing between domestic household/marriage issues and political crises are badly matched. Character attitudes change without explanation throughout. Badly disjointed.",0 "I didn't approach ""Still Crazy"" with any real anticipation. Just another rock'n'roll picture, I figured... good nostalgia for the baby boomers. This film is partially that, but so much more. Brian Gibson, the director, previously helmed a biography of Tina Turner, and is quite successful in his style. I suppose it is fitting that this was his last film.

The cast is well-chosen. Bill Nighy is perfect in his role as the band's frontman. Actor-turned-director Bruce Robinson appears as the band's washed-up guitarist. He does a superb job, even though he hasn't appeared on film since the late 70's. If you're looking for an touching and funny film (with some great songs), you've found it.

7.4 out of 10",1 "i was given the book version of Kazaam for my 8th birthday, and people always say the book versions are always better than the movie, but this time they were wrong. At least with the movie it's over soon.

The acting in this is terrible, which i expected from a film with Shaq who plays a magical rapping genie that comes out of an old ghetto blaster (which there was probably a good reason he was trapped in there). The kid in the film that plays Max is whiny and a terrible actor. He's bullied by neighborhood kids, which i don't blame them because he's a little douche bag.

The story is just plain stupid and extremely cliché. About a boy who's father is always working and never around who finds a new friend who makes his life better and eventually helps him reconnect with his father.

Even at 8 years old i thought this was a stupid idea. It's a surprise any of the people whom worked on this film had careers after wards because it's an embarrassment and should have never been made. i could ramble on even more about how this movie sucks, but you should already know just by reading the plot.",0 "An awful film! It must have been up against some real stinkers to be nominated for the Golden Globe. They've taken the story of the first famous female Renaissance painter and mangled it beyond recognition. My complaint is not that they've taken liberties with the facts; if the story were good, that would perfectly fine. But it's simply bizarre -- by all accounts the true story of this artist would have made for a far better film, so why did they come up with this dishwater-dull script? I suppose there weren't enough naked people in the factual version. It's hurriedly capped off in the end with a summary of the artist's life -- we could have saved ourselves a couple of hours if they'd favored the rest of the film with same brevity.",0 "in fact,it's basically the same movie.and they couldn't even get the time line of events correct.maybe that was intentional due to laziness or not caring.either way,this thing is a real woofer.it doesn't even deserved to be called a movie.i viewed this as a so called second feature on the disc containing the original The Boogeyman.i thought my head would explode,and i urge you to run as far in the opposite direction of this thing,if you should be cursed with the misfortune of combing across it's path.it should come with a warning label like:Warning-may cause your i.q to drop several points if you are within it's vicinity.for me,there's no doubt this thing is a 0/10",0 "This is according to me a quite bizarre movie with a lot of humor in it. I wouldn't say that it is very scary, but more fun I guess. That is if you like horror movies. Scarecrow kind of remembered me of ""Children of the corn"", but still not. If you compare these two movies this is much more fun to watch =)",1 "OK, OK, don't get bent out of round. I was kidding.

""Bustin' Out"" is actually a better and truer title anyhoo.

Racism and crime dramas get the satiric treat meant from our X-rated animator friend Ralphie boy. And he does one of his better jobs here.

On the crime front it shows the truth. They build it, defend it, then boredom and stronger rivals cause them to (maybe) lose it. See for yourself to see what goes down.

Racist? I don't know. With Scatman (RIP) and the love walrus (also RIP) being black and the main point of view, I saw it as an attack on racism mostly. The fact that Richard Pryor liked it says as much as well. And the younger (pre ""Miami Vice"") Phil Mike Thomas in there was a nice surprise.

It's an animated ""Blacksploitation"" film. That's a good thing. Done well and well done. It will make some squirm (like the lynching scene) but unfortunately that's based on fact.

But Ralphie REALLY should have re-thought that title.",1 "I finally caught up to ""Starlight"" last night on television and all I can say is. . . wow! It's hard to know where to begin -- the incredibly hokey special effects (check out the laser beams shooting out of Willie's eyes!), the atrocious acting, the ponderous dialogue, the mismatched use of stock footage, or the air of earnest pretentiousness that infuses the entire production. This truly is a one-of-a-kind experience, and we should all be thankful for that. I nominate Jonathon Kay as the true heir to Ed Wood!",0 "What can I say? I ignored the reviews and went to see it myself. Damn the reviews were so right. What a waste of money considering it's budget.

Good thing, I went to see Kill Bill after this one.

To see a really scary movie, would be Crossroads!

Bottom line-- I like ""Girl in Gold Boots"" better than this crap.",0 i completely agree with jamrom4.. this was the single most horrible movie i have ever seen.. holy crap it was terrible.. i was warned not to see it..and foolishly i watched it anyway.. about 10 minutes into the painful experience i completely gave up on watching the atrocity..but sat through until the end..just to see if i could.. well i did and now i wish i had not..it was disgusting..nothing happened and the ending was all preachy..no movie that bad has the right to survive..i implore all of you to spare yourself the terror of fatty drives the bus..if only i had heeded the same warning..please save yourself from this movie..i have a feeling those who rated it highly were involved in the making of the movie..and should all be wiped off the face of the planet..,0 "This is my favorite movie EVER. I have watched it at least 10 times and I cry every time. My family begs me not to watch it so I wont have a crying fit. I think I love that it is a true story written by Antwone himself just as much as I love the movie. The acting is top notch, and the actors were perfect for their role. Denzel Washington is one of my favorite actors. But this is my favorite movie he has done so far. I took care of a little boy who was also born in jail. He was the most precious little boy I had ever met. He has now been adopted by a wonderful family who fought for him for almost two years. I saw this movie while the fight was still going on and his future was unsure and I am so happy he is safe and loved. And I am so happy Antwone's happy and found his family.

I would love to know more about him and how it has been since meeting his family. I just cant say enough good things about it!!",1 "I've never been a fan of Farrah Fawcett...Until now. She was truly amazing in this movie. The emotion she must have gone through shooting re-take after re-take doesn't bare thinking about. This was a very hard movie to watch, the subject matter is decidedly unpleasant and you feel so helpless just sitting and watching a woman being abused for what seems like an eternity. I actually felt that the whole thing deflated somewhat when her friends returned to the house and I didn't find the conclusion at all plausible. The director seemed very keen in using height in his shots and loved using mirror reflections, I believe he should have paid more attention to the pace in the second half of this piece. I'm sure this makes a heck of a powerful piece of theatre, this movie for me, although it had merit, just fell short.",1 "Don't even waste your time, let alone pay rental for this piece of dreck! How it got made is beyond me. (I don't know why there's a minimum of 10 lines... I've already summarized this trashy movie, but, oh well...) The acting was awful, like they all needed lessons. The plot was weak, the ending... Feh! I think the cinematography was the only thing that didn't totally suck... well, maybe the sound was minimalistically OK. The one good thing is, if they could make this movie, even make some money with it, there may be hope for any screenwriter with a REAL idea. So, you-all take heart! I guess the same holds true of actors... if these people actually got paid, then you can, too!",0 "::POTENTIAL SPOILERS::

Man, this movie was awful. A Catholic/superstitious/suspense thriller it goes over already well tread ground from previous movies.

The doubting priest. Sex and the priesthood. Politics and religion. Church hypocrisy. Conspiracy involving the church. The dawn of a new evil age. All kinds of dark magic voodoo battles between good and evil.

Pretty stupid and lame with a weak storyline to suffice. The story revolves around two concepts: Absolution, better known as the Sacrament of Anointing the Sick - the last rights a person can ask for to cleanse one's sins while on the brink of death; And Excommunication, the act of cutting a person off from the Church. Basically, an Excommunicated person can't receive Absolution. Thus comes in the Sin Eater, and I'll leave it at that. Throw in all the dopy things I already listed and you have ""The Order"".

I found the sex scene with the priest interlaced with shots of a picture of the Virgin Mary rather insulting to Catholics. It also ends with Heath Ledger saying (I paraphrase) ""I am the redeemer and damner of sins, I live on without love blah blah blah"" /cue him walking in dark alley with long trench coat alla ""The Matrix"".

I gave this movie a 1 for not only being crappy and unoriginal but also because it managed to insult an entire faith in the process. If you want to see something better I suggest ""The Prophecy"" with Christopher Walken.",0 "HAH! So this is the movie that the ""Next Action Stars"" were getting into. Well I'm glad that I didn't participate and didn't win...

Isn't it funny how one can just look at the first 10 seconds(!) and make up ones mind about a movie? I mean, come on! Just look at those titles!? I watched this movie(or part of this ""teleplay"" since it was produced for TV and we couldn't bear to watch the whole thing) one evening while doing my military service and the audience with me was the typical hodge-podge of average guys that once in a while watch series like Las Vegas just for the girls in the show. so the bar wasn't really high, the most watched movie in my group was Girl Next Door (and it wasn't because of the great script ;D . But this movie's total lack of originality, acting, scripting, and just about everything else that makes a movie good made it pretty easy to switch channel to Las Vegas (or was it CSI? don't remember...) without any complaints by the rest of the group. And that is rare(!) For heavens sake! Don't by this movie! If it's on TV, then yes, watch it. And contemplate on it. My conclusion? well, since Joel Silver has indeed produced some of the best action-films out there (Die Hard, Matrix 1, to name some) I can only say that producers don't give the film it's quality, they provide money for the directors. And to sell this movie just because it's a Joel Silver movie is just a desperate attempt to conceal the obvious flaws of the crew who really made it.",0 "I'm afraid that you'll find that the huge majority of people who rate this movie as a 10 are highly Christian. I am not. If you are looking for a Christian movie, I recommend this film. If you are looking for a good general movie, I'm afraid you'll need to go elsewhere.

I was annoyed by the characters, and their illogical behaviour. The premise of the movie is that the teaching of morality without teaching that it was Jesus who is the basis of morality is itself wrong. One scene shows the main character telling a boy that it is wrong to steal, and then the character goes on to say that it was Jesus who taught us this. I find that offensive: are we to believe that ""thou shalt not steal"" came from Jesus? I suppose he wrote the Ten Commandments? And stealing was acceptable before that? I rented the movie from Netflix. I should have realized the nature of the movie from the comments. Oh well.",0 "Not only is this film entertaining, with excellent comedic acting, but also interesting politically. It was made at the end of the Soviet Union, but makes fun of the soviet mentality through and through. The story is set during the early days of the soviet union, and it questions the rationale behind the revolution both in cultural and practical terms. Of course, by the late 80s and early 90s, the bizarre strictures of soviet society are already relaxed, but the ideology and mentality is still alive and well and ready for some well-deserved deconstruction. Happily, all this deep philosophical commentary is wrapped in a funny and entertaining package!

Jur",1 "I loved this film! I'm a true Tom Hanks fan, and I have always been impressed with all of his work. From his most dramatic roles like Cast Away, The Green Mile, Saving Private Ryan, Forrest Gump, Apollo 13 & Philadelphia. To his hilarious roles like A League of Their Own, Turner and Hooch, Catch Me If You Can, The Lady Killers, Big & of course Toy Story. But in this film Hanks isn't the only great actor who lights up the screen. Tyler Hoechlin, an up and coming star who shows great promise in Hollywood co stars as Hanks son and delivers nothing short of a great performance. He is certainly someone to watch out for over his career, I believe he will do great things. Paul Newman as always delivers a brilliant performance on screen. He is truly a legend. We can't forget the people who didn't have such big roles in the film, but still helped make it great. The beautiful & very talented Jennifer Jason Leigh, who's performance in Bastard Out of Carolina & Single White Female I will never forget, brings her grace to the screen as Hank's wife in the film and does a superb job. Liam Aiken is another found treasure in film. He does such a great job with such a small role, and like his roles in Lemony Snickets, and Sweet November, and I Dreamed Of Africa he gives a great performance.",1 "The movie is just plain fun....maybe more fun for those of us who were young and fans of ""The Ramones"" around the time the film was made. I've watched the film over and over, by myself and with friends, and it is still fresh and funny. At the risk of being too serious, the concept of being a big fan of a certain band is timeless, and high school students boredom with drudgery of some classes is just as timeless.

And, the film has some gem lines/scenes.....references to how our ""permanent record"" in high school will follow us through life. (Let me assure you I've been out of high school for, uhhh, some years and it's not following me).....the famous ""static"" line (""I'm getting some static"".....""Not as much as you're going to get"", as Principal Togar approaches).....the school board member who is so decrepit he's attended by nurses....the Nazi Hall Monitors love for a ""body search"" ......Principal Togar announcing, ""I give you the final solution"", and burning the Ramones records (note: records were what came before CD's) ....and of course Joey Ramone noting, ""Things sure have changed since we got kicked out of high school"", followed by Togar asking ""Do your parents know you're Ramones?""

Just one piece of advice.....don't look up where the stars are now.....Joey Ramone sadly died young. Dey Young, who was a major hottie in the film, today reminds us we all age....PJ Soles career never advanced as we might have expected......... Marla Rosenfield, as one the other students, apparently appeared only in this film (one of my male friends dies over her every time we watch the film), though I submit her performance was more than adequate and should have brought her more teen film roles. And, does anyone know what happened to DJ Don Steele?

So, watch and enjoy.....don't think....just have FUN!",1 "I liked this show a lot - we got the first and only, it would appear, series in the UK on channel 4. The characterisation was right on the money - a bit like the Simpsons in that all the different facets of small town populace were represented.

There was no laughter track - I hadn't seen this on an American TV comedy at the time except for on Larry Sanders and it really worked well here, heightening the suggestion that these wacky cops were really like that, and not just hamming it up for the cameras.

All in all, a quirky little number that tickled me just right: I can't help but think that maybe it missed it's mark with certain audiences. I think it would have been a cult hit in the UK had it been shown at an acceptable hour.

I'll round this off with my standard comment: Where the hell can I get hold of this to watch it again? Any ideas?",1 "Hard to believe, perhaps, but this film was denounced as immoral from more pulpits than any other film produced prior to the imposition of the bluenose Hayes Code. Yes indeed, priests actually told their flocks that anyone who went to see this film was thereby committing a mortal sin.

I'm not making this up. They had several reasons, as follows:

Item: Jane likes sex. She and Tarzan are shown waking up one morning in their treetop shelter. She stretches sensuously, and with a coquettish look she says ""Tarzan, you've been a bad boy!"" So they've not only been having sex, they've been having kinky sex! A few years later, under the Hays Code, people (especially women) weren't supposed to be depicted as enjoying sex.

Item: Jane prefers a guileless, if wise and resourceful, savage (Tarzan) to a civilized, respectable nine-to-five man (Holt). When Holt at first wows her with a pretty dress from London, she wavers a bit; when Holt tries to kill Tarzan, and Holt and Jane both believe he's dead, she wavers a lot. But when she realizes her man is very much alive, the attractions of civilization vanish for her. And why not? Tarzan's and Jane's relationship is egalitarian: He lacks the ""civilized"" insecurity that would compel him to assert himself as ""the head of his wife"". To boot, he lacks many more ""civilized"" hangups, for example jealousy. When Holt and his buddy arrive, Tarzan greets them both cordially, knowing perfectly well that Holt is Jane's old flame. When Holt gets her dolled up in a London dress and is slow-dancing with her to a portable phonograph, Tarzan drops out of a tree, and draws his knife. Jealous? Nope. He's merely cautious toward the weird music machine, since he's never seen one before. Once it's explained, he's cool.

Item: Civilized Holt is dirty minded. Savage Tarzan is innocently sexy. As Jane slips into Holt's lamplit tent, Holt gets off on watching her silhouette as she changes into the fancy dress. By contrast, after Tarzan playfully pulls the dress off, kicks her into the swimming hole and dives in after her, there follows the most tastefully erotic nude scene in all cinema: the pair spends five minutes in a lovely water ballet.(The scene was filmed in three versions--clothed, topless and nude--the scene was cut prior to the film's release, but the nude version is restored in the video now available.) And when Jane emerges, and Cheetah the chimp steals her dress just for a tease, Jane makes it clear that her irritation is only because of the proximity of ""civilized"" men and their hangups. Where is the ""universal prurience"" so dear to the hearts of seminarians? Nowhere, that's where. Another reason why the hung up regarded this film as sinful.

Item: The notion that man is the crown of creation, and animals are here only for man's use and comfort, takes a severe beating. Holt and his buddy want to be guided to the ""elephant graveyard"" so they can scoop up the ivory and take it home. They want Tarzan to guide them to said graveyard. You, reader, are thinking ""Fat chance!"" and you're right. He's shocked. He exclaims ""Elephants sleep!"" which to him explains everything. Jane explains Tarzan's feelings, which the two ""gentlemen"" find ridiculous.

Item: Jane, the ex-civilized woman, is far more resourceful than the two civilized men she accompanies. Holt and buddy blow it, and find themselves besieged by hostile tribes and wild animals. It is Jane who maintains her cool. While the boys panic, she takes charge, barks orders at them and passes out the rifles.

Item: Jane's costume is a sort of poncho with nothing underneath. (The original idea was for her to be topless, with foliage artistically blocking off her nipples, which indeed is the case in one brief scene.)

Lastly, several men of the cloth complained because the film was called ""Tarzan and His Mate"" rather than ""Tarzan and His Wife."" No comment!

Of course, Tarzan, who has been nursed back to health by his ape friends, comes to the rescue, routs the white hunters, and induces the pack elephants and African bearers to return the ivory they stole to the sacred place whence it came. The End.

So there you have it. An utterly subversive film. Like all the other films about complex and interesting women (see, e.g., Possessed with Rita Hayworth and Raymond Massey) which constituted such a flowing genre in the early 30's and which were brought to such an abrupt end by the adoption of the Hays Code.

The joie de vivre of this film is best expressed by Jane's soprano version of the famous Tarzan yell. A nice touch, which was unfortunately abandoned in future productions.

Let's hear it for artistic freedom, feminist Jane, and sex.",1 "THE BRAIN THAT WOULDN'T DIE was considered so distasteful in 1959 that several cuts and the passage of three years was required before it was released in 1962. Today it is difficult to imagine how anyone could have taken the thing seriously even in 1959; the thing is both lurid and lewd, but it is also incredibly ludicrous in a profoundly bumptious sort of way.

The story, of course, concerns a doctor who is an eager experimenter in transplanting limbs--and when his girl friend is killed in a car crash he rushes her head to his secret lab. With the aid of a few telephone cords, a couple of clamps, and what looks very like a shallow baking pan, he brings her head back to life. But is she grateful? Not hardly. In fact, she seems mightily ticked off about the whole thing, particularly when it transpires that the doctor plans to attach her head to another body.

As it happens, the doctor is picky about this new body: he wants one built for speed, and he takes to cruising disconcerted women on city sidewalks, haunting strip joints, visiting body beautiful contests, and hunting down cheesecake models in search of endowments that will raise his eyebrow. But back at the lab, the head has developed a chemically-induced psychic link with another one of the doctor's experiments, this one so hideous that it is kept locked out of sight in a handy laboratory closet. Can they work together to get rid of the bitter and malicious lab assistance, wreck revenge upon the doctor, and save the woman whose body he hankers for? Could be! Leading man Jason Evers plays the roguish doctor as if he's been given a massive dose of Spanish fly; Virginia Leith, the unhappy head, screeches and cackles in spite of the fact that she has no lungs and maybe not even any vocal chords. Busty babes gyrate to incredibly tawdry music, actors make irrational character changes from line to line, the dialogue is even more nonsensical than the plot, and you'll need a calculator to add up the continuity goofs. On the whole THE BRAIN THAT WOULDN'T DIE comes off as even more unintentionally funny than an Ed Wood movie.

Director Joseph Green actually manages to keep the whole thing moving at pretty good clip, and looking at the film today it is easy to pick out scenes that influenced later directors, who no doubt saw the thing when they were young and impressionable and never quite got over it. The cuts made before the film went into release are forever lost, but the cuts made for television have been restored in the Alpha release, and while the film and sound quality aren't particularly great it's just as well to recall that they probably weren't all that good to begin with.

Now, this is one of those movies that you'll either find incredibly dull or wildly hilarious, depending on your point of view, so it is very hard to give a recommendation. But I'll say this: if your tastes run to the likes of Ed Wood or Russ Meyers, you need to snap this one up and now! Four stars for its cheesy-bizarreness alone! GFT, Amazon Reviewer",1 "That magical moment in life, that point between the beautiful innocence of childhood, and the confusing whirlwind that marks adulthood . . . this is what this movie is all about.

Danni (wonderfully played by Reese Witherspoon) is right at that moment in life when the movie starts. She swoons over Elvis, playing his records and wishfully thinking about love. Maureen her sister will soon be off to college, has no trouble with attracting boys, is beautiful, and seems to have it all figured out although she doesn't. She dates a local loser whos father is also after her, and just wishes she could find a decent boy and be swept off her feet. Danni like most young teenagers wishes she could be anyone else but herself because most teenagers think that who they are just isn't good enough. She wants to be Maureen but doesn't see that she is beautiful herself.

The moment adulthood begins to intrude itself upon her life is when she meets Court Foster for the first time. Court whos father has recently died has moved to their old farm to work it with his mother and two younger brothers. He has been thrust responsibility when he should be having fun. On one particular hot day he goes to the pond and jumps in only to find Danni skinny dipping. They yell and argue and Danni leaves. But they see each other a day later when Courts mother is invited to Danni's to visit old friends(Danni's Parents). Danni becomes attracted to Court, and Court to Danni. She is a tomboy and is spunky, has attitude and says whats on her mind.

Court is 17 and Danni 14 and he knows it but they continue to grow closer with their days at the pond between Court working the farm. By the time Court kisses her one day, Danni is smitten. Danni's father tells her to invite Court to the house and he does. but things are uncomfortable for Court on his ""sort of date"". The silence though is broken by his meeting with Maureen who has yet to see Court. One look between the two and its all over. The looks of pain and defeat on Danni's face are both beautiful in their trueness to life and painful at the same time. The rest of the movie I will not tell but the movie has more to it than a relationship between a boy and two sisters.

The greatness of the movie is in its depiction of lifes moments both beautiful and painful and the relationship between two sisters whose love is tested by both a boy that they love, and the pain they must endure both together and individually. Danni eventually marks her entrance into the world when she sees that the world is unfair, painful, and maybe even a little less hopeful than when the movie started. Few movies can truly capture the wonder of childhood and the pain of adulthood so perfectly. This movie has since the first time I watched it stuck in my mind. Its in the my Top 100 movie list and deservedly so. I only wish more movies like this were made, because if so . . . my faith in Hollywood would be a lot better.",1 "Emma is my favourite Jane Austen novel - Emma is well-meaning despite her flaws, so readers can forgive and love her, and the relationship she has with Mr Knightley, which is warm, familiar, respectful but playful, generating that warm, fuzzy, romantic excitement. Mr Knightley is the perfect man, and Emma is as close as you could get in those times to an independent, clever, confident woman - remember, she is only 21, and was sure to have matured and grown out of her flaws. Who doesn't want to be Emma? Who doesn't want to be told off by Mr Knightley? This version of Emma gives you no sense of the things that I love about Emma. I couldn't even finish watching it, I just found it so awful. I couldn't see that warm, generous side of Emma, which drives the reader to love her: The patience and warmth she shows to her father; the closeness between her and Mrs Weston, which demonstrates her willingness to put her friend's happiness above her own (as she sacrifices the only equal companion in her household by forwarding Miss Taylors marriage). Mr Woodhouse's character in this adaptation just appears bizarre, rather than just quaint, elderly and a bit trying.

This adaptation most importantly fails bring to life the relationship between Mr Knightley and Emma. Their relationship is built on mutual respect and affection: Mr Knightley is indulgent of Emma's minor faults trusting that her intelligence and genuine care for others will never allow her to go terribly astray; and Emma looks up to him, though playfully hiding this and continuing to use her own judgement. The dressing down he gives her right at the beginning of the show completely overstates the argument between them, and ruins all possibility of portraying the nature of their relationship as I've described above. Mr Knightley is also insufficiently attractive to bring to life the sexual tension between the leads (or to inspire any admiration from the female viewers).

Really horrible. I can't understand why anyone who truly like the novel Emma could like it, unless it miraculously redeems itself after the point I switched it off.",0 "I tried to like this program; I really did. I even bought the pilot film, first on VHS and later on DVD. However, I couldn't get into this story because its two main characters: ""David"" (Bruce Willis) and ""Maddie"" (Cybill Shepherd) just seemed to in love with themselves, for one thing. I admit was some clever dialog in the shows, which was a key part of the success of the TV program, and I did appreciate of lot of that dialog.

Basically, this was almost like the old screwball comedy movies of the '30s and '40s with male versus female. You get lots of arguing, accusations, yelling and screaming. A lot of people apparently love that sort of bickering, but I hate it, so I never got on the Moonlighting bandwagon.

Only Allyce Beasley as the hapless aide ""Agnes,"" was entertaining. It's too bad she had such little air time. Shepherd was nice on the eyes and I suppose women would say the same for Willis, but too much arguing between the two finally turned me off.",0 "This film has been scaring me since the first day I saw it.

My Mum had watched it when it was on the telly back in '92. I remember being woken up in the middle of the night by her tearful ramblings as my Dad helped her up the stairs.

She was saying something like ""Don't let her get me"" or something like that. I asked what had made her so upset and she told me that she'd been watching The Woman in Black.

So obviously i had to watch it and even though i was only eleven she let me. It scared the s*** out of me. I've been immune to horror films since watching this!",1 "This is not so much film as big budget children's television. As far as I can tell, the villain is a giant swarm of chocolate covered espresso beans. This theory seems to be verified by the fact that the subtitles refer to it as 'Insomnia'. When it's first mentioned that a civilization had been wiped out by insomnia, I thought ""Wow! A nihilistic martial arts film!"" but no such luck. Although you have to consider it experimental cinema when the villain is strangled by an old man's long, white eyebrows. Zu Warriors makes exactly the same amount of sense whether the subtitles are on or off. That's not a good sign. I found the special effects to be somewhere between Ray Harryhausen and Xena: Warrior Princess. Primitive.",0 "I've always been a great fan of Woody Allen and always will be for most of what he did in the past, but only a blind lover could ignore how dull, meaningless, pretentious and most of all horrendously acted this movie is. A vacuous mental masturbation based on inconsistent grounds. And what a disastrous idea to artificially recreate a presumed ""actor Allen-clone"", that is putting into Will Farrell's mouth and gestures what Allen would have done in Farrell's place had he been 30 years younger. The outcome was obviously ludicrous. And not to speak of the dialogues... what was intended to be philosophical reflections turned into an involuntary mockery of intellectual pondering, unaware of its comic effect. How sad...",0 "This little seen movie is a languid and laid-back giallo. It veers away from some of the cliché's of the genre and adopts a looser approach. It's about a woman searching for her missing lover; a psychiatrist who has suddenly vanished for no apparent reason. Her search leads her to a villa populated by a group of eccentric individuals. In true giallo style, murder is never far away.

The cast is really rather good. We have Aldofo Celi (Thunderball), Alida Valli (Suspiria), Horst Frank (Cat o' Nine Tails) and a very young Sybil Danning (80's scream queen). The lead actress is Rosemary Dexter, and while I am not familiar with her, she does a good job in leading the picture.

One of the defining features of Eye in the Labyrinth is its music. Atypically for a giallo it features a jazz-rock fusion soundtrack. This score, composed by Roberto Nicolosi, is reminiscent of Miles Davis, especially his work on In A Silent Way. It's an excellent soundtrack and really gives this movie a different feel than most gialli. The fusion groove accentuates the languid atmosphere and compliments the sunny, sea-front scenery that the film is mostly made up of.

This is a giallo so we really need to talk about the murder set-pieces. Well, this film falls a little short in this regard. It's certainly not devoid of them but they are few and far between. The opening dream-murder being probably the best on offer as well as a memorable burning car sequence. But this really isn't a particularly violent film. Still, I don't think it should disappoint too many seasoned fans of the genre. The mystery is fairly compelling and it has enough eccentric characters (the idiot boy Saro and THAT unsettlingly inappropriate dubbed accent?) and moments of the bizarre to satisfy; while the sleaze-factor is upheld with a smattering of nudity throughout.

Eye in the Labyrinth plays like a giallo version of an Agatha Christie mystery, as it features a group of unsympathetic characters in a villa, all under suspicion of murder; we have the obligatory flashbacks detailing their connections with the final hours of the (highly unsympathetic) murder victim. While this isn't a grade-A example of the genre, it's certainly an appealingly different one, as it doesn't borrow too heavily from other films of the sub-genre. For giallo enthusiasts I give this a thumbs up and hope one day it's given a nice DVD transfer. It certainly deserves the treatment.",1 "An actor's first film is usually something one can afford to miss - it's often that first job where the lack of film experience by everyone involved is truly on display, and this film is no exception.

But worse than that, even by 1982 standards this is so bad, it's hysterically funny. Filmed entirely in the Chicago area on an obviously small budget, most of the acting by the entire cast is stiff, wooden, and cartoonish - a cross between a high school play and bad community theater. Noise from nearby traffic often drowns out the dialog, and the dialog is truly bad, very declarative in a way that comes off as forced and expedient rather than natural and organic. Scenes are contrived and choppy, and even though the characters go through a span of years, neither the children nor the adults age at all.

I do believe it's possible to make a Christian film that's palatable to a large, secular audience, but too often the creators of such films are so focused on 'The Message' or in this case, their own autobiographical ties to the project that good film production values are tossed aside. (I'm sure it's no coincidence that the main character has the same name as the producer/director/editor - and cast member.)

Luckily, Michael Madsen was much more interesting - and believable - to watch in his subsequent films. Careers like his are certainly not built on films like this one.",0 "The Unborn is a pretty good low-budget horror movie exploiting the fears associated with pregnancy. It's very well acted by the always-good Brooke Adams and b-movie stalwart James Karen, although the supporting cast is pretty average for a b-grader. The music, by Gary Numan of all people, is good too. Henry Dominic's script is quite intelligent for this sort of thing, although there is a hint of misogyny about it. Rodman Fender's direction is merely adequate, and there are some unnecessary cheap scares. If you're a fan of Adams, whose movie career is nowhere near as illustrious as it should be, check it out; she's great, as always.",1 "The BFG is one of Roald Dahl's most cherished books, but in this animated adaptation the magic just isn't there. This version remains pretty faithful to Dahl's original story so one can't lay the blame on John Hambley's script. If anything the fault lies with the colourless animation, the lethargic pace and the generally lacklustre voice-overs. One would be right to expect this story to make for a happy, vibrant, fun-filled movie..... instead, the film is a hopelessly dull affair that becomes quite tedious to watch. Children who are not familiar with the story should definitely read the book first! All the film will achieve is to put them off read what is actually a children's' classic.

Young orphan Sophie (voice of Amanda Root) lives in a none-too-friendly orphanage under the cruel supervision of Mrs Clonkers. One evening she is peering through the window when she spots a massive figure walking stealthily down the village street. The figure realises it has been seen, so it reaches in through the window and scoops Sophie from her bed, placing her into its enormous pocket before fleeing into the night. Sophie soon discovers that she has been kidnapped by a giant from Giant Country, and fears that he will eat her. But to her relief he turns out to be a kind and sensitive member of his species who introduces himself as the BFG (voice of David Jason). The BFG refuses to eat people, instead restricting himself to foul-tasting vegetables known as snozzcumbers. However, Giant Country is populated by numerous other giants who DO feast - every night, as it happens - on poor unsuspecting humans. Sophie and the BFG become great friends, and soon they come up with a plan to thwart the other giants. Together they go to the Queen of England (voice of Angela Thorne) with their remarkable story and beg her to send the army and the air force to fight the man-eating giants. The Queen agrees and so begins a dangerous operation to capture the bad giants before they can harm anyone else.

Jason voices the BFG quite well (one of the few pluses in the film) but his good work is almost ruined by somewhat poor sound quality. The rest of the voice work is decidedly uninspired, with very little to bring the characters to life. Similarly, the BFG is the only character that is imaginatively animated - Sophie lacks appeal, and the giants are boringly designed (and look almost indistinguishable from each other). Even the places are uninventive; Giant Country especially comes up short, being nothing more than a barren wasteland with occasional rocks and canyons. At 88 minutes the film is not exactly lengthy, yet it drags quite badly in parts due to the soporific handling of several sequences. Little of Dahl's mischievous humour is conveyed satisfactorily. One chapter in the book deals with the BFG's love of ""whizzpopping"" (farting) and is laugh-out-loud hilarious. In the film, the same section is totally killed by unfunny handling. I came to the The BFG expecting lots of zest, fun and enjoyment, but what I got was pretty much the opposite! This one is a failed misfire that simply doesn't match the calibre of the book in any department - unfortunately, therefore, it must go down as one to skip.",0 "What a crime...

You forgot to brush your teeth...let's make a 30 minute show about it and have a couple of kids make some noise and then have the dad lecture them all because that's what he has to do.

But, don't forget Uncle Joey has to make some weird noises and cooky faces, then Uncle Jesse has to show up with his black leather jacket and some jeans and look pretty for a few minutes while everybody discusses how Mother would have done things if she were around..

Yep, full of zany little adventures about a whole bunch of nothing and an entire overlong story to build around it.

Full House will not only bore you to tears, but it will make you age twenty times faster than you normally would.",0 "This is one a most famous movies of the French sexual empowerment of the seventies, starring Gerard Depardieu and Patrick Dewaere in extremely sarcastic roles. It is also one of the many dark psychological dramas of the seventies/eighties, such as ""Serie Noire"", ""Buffet Froid"", ""Beau Pere"", all realized by Blier.

However, I would like to correct the previous comment that was posted on the movie: the translated title in English is very far from the French version. It is true that both protagonists are ""going places"", but the title in French could be literally translated by ""the waltz dancers"", which is a metaphor for the movement of the testicles...",1 "Beautiful to watch, but what would be the first thing you would do the moment YOU discovered Atlantis? Explore it! Here was a golden opportunity to take viewers someplace special. Instead, Disney reverted to the same old formula story telling.",1 "This was the worst movie I've ever seen, yet it was also the best movie. Sci Fi original movie's are supposed to be bad, that's what makes them fun! The line, ""I like my dinosaur meat well done!"" is probably the best quote ever! Also, the plot sounds like something out of a pot induced dream. I can imagine it now, the writers waking up after a long night of getting high and playing dance dance revolution, then putting ideas together for this: Space marines got to alien planet, which is infested with dinosaurs and has medieval houses in it, to protect a science team studying the planet. Best idea ever! In fact, in fits the complete Sci Fi original movie checklist: guns dinosaurs medieval times space travel terrible acting

So go watch this movie, but don't buy it.",1 No likeable characters (the lead is a combination of the WORST of Woody Allen/Paul Provensa/Reiser) and the contrived scenes (did anyone REALLY think thiat kid on the rollerblades was NOT going to knock the guy down?) were just sickeningly bad.

,0 "It was simple and yet so nice. I think the whole sense of sex segregation in society, which can be bitter, was shown very delicately. It had a bitter kind of hummer in it. The fact that most of the actors were not professionals, made the movie more tangible and more realistic. There was a ""documentary"" side to the movie too. The best scenes were those that all the girls, banned from watching, were listening passionately to the soldier, who is supposed to keep an eye on them, broadcasting the game. If you are an Iranian, the familiar cheering and dancing in the streets after a game won, fills you up with National pride!! If you are not Iranian, you'll still love it all the same!",1 "As the celebration of Christmas has evolved through the years, whether one concentrates on the religious or the secular traditions, it is a time when people are supposed to behave a little better to each other. That has somehow slipped past one Ebenezer Scrooge, merchant and money lender in 19th century London.

As his nephew points out to his uncle, he doesn't keep Christmas in any way because Scrooge feels the whole thing is humbug. The humanity in Scrooge was driven out long ago, he's a hard case, a whole lot like his 20th Century counterpart, Mr. Potter of Bedford Falls, New York.

But as Charles Dickens told this tale, redemption is not too late for any of us and a lonely ghost and three spirits visit Scrooge and show him how.

A Christmas Carol is such a timeless holiday classic that we sometimes forget that it is as much a social commentary of 19th century Great Britain as Oliver Twist was. The characters in this film are middle and lower class. The Cratchits are a couple of rungs above the street people in Oliver Twist, but they are having to struggle to stay up there. Still love and happiness radiate their home, no thanks to the guy Bob Cratchit works for.

Like George Bailey who did a whole lot of good in his life and just had to be reminded how much, Ebenezer Scrooge needed a wake up call as to the potentiality he still had for doing some good in this old world.

Patrick Stewart in his live performances and filmed play has pretty much taken over the part of Scrooge. But George C. Scott captures the old miser pretty well in this film. The meanness of him, but with a trace of sadness that makes us root for him to change. Scott joins a fine tradition of people like Reginald Owen and Alastair Sim who've both done great interpretations of Scrooge.

Among the supporting roles I particularly enjoyed David Warner as Bob Cratchit and Edward Woodward as a hearty and stern spirit of Christmas present.

According to IMDb this is one of 32 versions of A Christmas Carol made that they have archived and it is one of the best.",1 "This movie is beautifully designed! There are no flaws. Not in the design of the set, the lighting, the sounds, the plot. The script is an invitation to a complex game where the participants are on a simple mission.

Paxton is at his best in this role. His mannerisms, the infections used in the tones of his voice are without miscue. Each shot meticulously done! Surprises turn up one after another when the movie reaches past its first hour. This may not be the best picture of the year, but it's a gem that has been very well polished. It's not for the simple mind.",1 "My baby sitter was a fan so I saw many of the older episodes while growing up. I'm not a fan of Scooby Doo so I'm not sure why I left the TV on when this show premiered. To my surprise I found it enjoyable. To me Shaggy and Scooby were the only interesting characters *dodges tomatoes from fans of the others* so I like that they only focus on those two. However, this may cause fans of the original shows to hate it. I like the voice acting, especially Dr. Phinius Phibes. I liked listening to him even before I knew he was Jeff Bennett. And Jim Meskimen as Robi sounds to me like he's really enjoying his job as an actor. I also get a kick out of the techies with their slightly autistic personalities and their desires to play Dungeons and Dragons or act out scenes from Star Wars (not called by those names in the show, of course).",1 """The Crush"" is a pleasant enough 40-something friends romantic chick flick for the first two-thirds or so, as it tries to be a Brit ""Sex and the City"".

I particularly enjoyed the turn-around of the trophy young hunk whose character is not much fleshed out (come to think of it we didn't see all that much physical flesh of him either and Kenny Doughty is worth seeing more of).

They sure make a lot more deal of young man/older woman than was made of the opposite in either version of ""Sabrina"" (neither movie do I like) or for that matter with the Douglas/Zeta-Jones or Dion/Svengali nuptials.

Surrounding Andie MacDowell as an ex pat otherwise are welcome familiars from Brit dramas and comedies, such as tart-tongued Anna Chancellor.

The plot twists towards the end feel very deus ex machina. But it wasn't until the credits came up at the end that I realized what might really be wrong. Just as with ""Sex and the City,"" the writer/director is male, here first-timer Scot John McKay, and I think he really wanted to do a script about three gay men, probably about them coming out in relation to their lovers and at work (the characters are a school principal, a cop and a doctor), which would have been a better and more interesting movie. The working title for the film was ""The Sad F*cker's Club"" which would have made its parallels with the gay ""Broken Hearts Club"" even more obvious.

(originally written 4/6/2002)",0 "I first saw this movie on MST3K. And although I laughed my posterior off at the jokes, I don't particularly think this movie was all that bad. Sure it was a little hard to understand it is quite obviously low budget, But it had a very Hitchcock-like plot and I can honestly say that when I viewed the non-MST3K version, I was genuinely entertained. This movie is crying out for a Hollywood remake.",0 "Redline is a knockoff of Fast & Furious, without any of the redeeming qualities. It doesn't need to have a convoluted plot with multiple twists and surprises, but it needs SOMETHING! This is the equivalent of a porn film, where the storyline and dialogue consist of 60 seconds at the beginning and the same at the end. Except that this is worse, because you don't get your money's worth. Mind-numbingly boring, impossible race sequences, and a terrible waste of expensive beautiful cars, which almost acquire negative points for having appeared in this movie. Sure, she's hot, but who's that desperate for an on screen female? I feel like the director sat there with a hat full of dialogue and plot snippets, and shook an 8 ball every time they switched scenes. No serious person who races or knows anything about it would watch this movie and enjoy the race scenes.",0 "Kirstie Alley, looking a bit slimmer, but only a bit, is in this mess along with a man who is a MacGuyver lookalike, bleached blond hair and all. The premise of the movie is about an older woman (50!!!) who cannot get her screenplay produced due to age discrimination so she sends in her younger nephew to pose as the writer. Not an original idea and not a very good movie with lousy acting, inane dialogue and a ridiculous plot. There is another plot concerning a writer with a crush or admiration for Kirstie's character and why this is included is a mystery. The actor who portrays Kirstie's brother is so wooden and miscast, it was torture to watch their scenes. What is there to say about this film. Avoid it.",0 "This is quite possibly THE worst movie I have ever seen. Again I made the mistake of buying the movie because the synapse on the back sounded cool and the front cover looked pretty cool too (After buying this and the movie ""Malevolence"" which I reviewed on here as well, I have learned my lesson). I love horror movies that take place in the woods or in the desert or on a farm. This supposedly takes place in the woods of Texas but was probably filmed in the director's backyard. The production was probably the worst I ever seen. The actors were absolutely the WORST. The story didn't have anything to do with what the back cover said. I even tried to sell it to F.Y.E and some other ""mom and pop"" store that buys used DVDs and neither would take it. Thats how awful this poor miserable excuse for a movie was. I have seen some bad movies before (Troll 2 for example) but this definitely takes the cake. I didn't think there was a worse movie than ""Troll 2"". Boy was I wrong! Do not buy this movie unless someone hands it to you for free but even than your stuck with it unless you throw it out which is what I am about to do!!!!",0 "This stylistically sophisticated visual game presents ‘a story within a story'. The protagonist is scriptwriter Bart Klever who fights persistently with his new text – which is, at the same time, the screenplay of the film we're watching. In the movie Bart plays a scriptwriter writing the script of the film… Bart's struggle with the text becomes a narrative theme, as does the environment of the flat where he works and takes care of his little girl. The intimate environment offers ample opportunity for games of illusion involving space, light, colours and a couple of cats. The outwardly simple world of the room is further complicated by the unstable dimensions of a text continually influenced by the filmmaker's interventions, which appears on a computer monitor and serves as a counterpoint to the similarity mutable environment. The constantly changing viewing angle complicates answers to questions which arise: What is ‘truth' and what ‘illusion' ? Which of the observed worlds is primary and superior to the rest? Can anything serve as a basic orientation point in the narrative space?",1 "

Cheap-looking and ugly, this film didn't even seem to entertain the kids in the audience, except for one fairly amusing toilet joke. Christopher Lloyd is way past his prime and actually quite tiresome in this role, although the sorry excuse for jokes by the writers don't help.   Elizabeth Hurley is embarrassingly amateurish in a supposedly comic role. Jeff Daniels and Darryl Hannah avoid humiliation. There is really no reason to make this movie, especially since it is unavoidable that one will compare it with Robin Williams's often brilliant improvisations in Mork & Mindy.

",0 "It was everything this isn't: it had pace, pop, and actors who weren't afraid to chew the scenery. It also had a decent script. This one had me scratching my head. If Farrah isn't really ""serious"" about a career, why does she have a manager (and why is he wasting his time)? If Kate and Barney are ""artists,"" why do they sign up for The Mother of All Jiggle Shows (like the ""Brady Bunch"" movie where Robert Reed wants to do Shakespeare, only to find himself on BB)? They weren't industry names, but they weren't exactly starving, either. And while they got the history right (the poster was released before Farrah got the show), Silverman rejecting pitches for ""Funniest Home Videos"" and ""American Idol"" and Spelling promising his baby girl Tori someday he'll create a show for her obviously did not happen.

What bothered me was how Spelling's role is distorted. He's shown as the show-runner and creator when he was neither. And how he ""comes up"" with the ""idea"" for CA was is laughable!

How were Spelling and Goldberg allowed to enforce Farrah's oral contract when the others were signed? And why didn't Farrah or Bernstein tell them she was leaving not because she discovered her Inner Diva, but because Majors wanted her to? This is why, when it tries tries to created conflict and tension by setting Farrah up as the ""bad girl"" (like Suzanne Somers), it fails because the groundwork was never laid -- that was where the ""Three's Company"" pic delivered.",0 "Actually, this flick, made in 1999, has pretty good production values. The actors are attractive, and reasonably talented. There aren't a bunch of clowns running around blasting away, expending hundreds of rounds, but never hitting flesh. Nor are there wild car chases/crashes where thousands of dollars worth of beautiful machines are uselessly trashed.

The interiors look respectably modern, architecturally, and the equipment looks up to snuff. Well, there is that high tech computer room furnished with what look like leftovers from a '50s electronics lab. And the pancake make-up on the corpses cracked me up. Not pancake make-up in the conventional sense, but what looks like dried pancake batter slathered over their exposed skin. This is supposed to support the idea that the bodies have calcified -- though how the virus would accomplish this transmutation is an exercise left for the student (viewer).

Ah yes, the virus. I would like to tell you that this is not the absolute worst premise for a sci-fi, horror flick I know of, but I can't. A computer virus that is transmitted via a television (or computer monitor) screen and becomes a lethal biological pathogen? Gimme a break. Warp drives a la ""Star Trek"" are one thing, but photons becoming viruses? This is so silly the desired ""fright factor"" just isn't realizable. The flick could have used one of those awful dream sequences where the dead come alive, or have a cat jump out of the closet, or something, because the viral thingamajig isn't doing it.

One presumes Robert Wagner has the same excuse for playing in this inanity that Lord Oliver gave for some of his later, trashy venues. He needed the money. No other comparison between the two should be construed,however.",0 "This movie is awesome for three main reasons. It is esthetically beautiful. I absolutely loved that. There is a bold color theme throughout the movie with extraordinary costumes and picturesque sets. A photography which looks very costly (and probably was not) completes the look . I always enjoy those stories about groups of misfits/loners coming together and becoming a family . Sometimes they fall into clichés but this one does not. This group of actors really portrays well flawed, yet extremely likable characters. Alan Larkin is the best (between him , the van and the road movie theme, I could not help but remember my favorite movie of last year Little Miss Sunshine…) . I discovered Fabrizio Bentivoglio , very interesting actor, and just got annoyed a tiny little bit by Til Schweiger performance at times . The opening scene, all the scenes where they mess up their tricks are very funny. There is a mix of humor and emotion throughout the film. I like the end a lot. And of course it is all about the Magician theme . A good magician is making the audience look where he wants them to, to create an illusion. Which happens to be exactly what a movie director does and that's why they call it movie magic.",1 "Name just says it all. I watched this movie with my dad when it came out and having served in Korea he had great admiration for the man. The disappointing thing about this film is that it only concentrate on a short period of the man's life - interestingly enough the man's entire life would have made such an epic bio-pic that it is staggering to imagine the cost for production.

Some posters elude to the flawed characteristics about the man, which are cheap shots. The theme of the movie ""Duty, Honor, Country"" are not just mere words blathered from the lips of a high-brassed officer - it is the deep declaration of one man's total devotion to his country.

Ironically Peck being the liberal that he was garnered a better understanding of the man. He does a great job showing the fearless general tempered with the humane side of the man.",1 "This is a cleaver film featuring love through the ages. The film consists of Keaton seeking out a lady love in the stone age, in ancient Rome and in the present (1920s). In all three cases, he is the usual wimpy Buster and he battles against Wallace Beery for his lady love. Of the three time periods, I think I liked the Roman one best even though I admit it might have also been the cheesiest. I actually liked the scenes with the lion that was obviously a guy in a costume as well as the weird chariot race in the snow--but what I really enjoyed the most was seeing all of Keaton's amazing acrobatics. However, all three time periods were good old fashioned fun and the film, while not his best, is still an exceptional and enjoyable film. Check it out!",1 "Okay, when I came on the board for this movie, I was really expecting people to be making fun of it. I was surprised to see that people over the age of 7 liked it. I enjoyed the movie... but only b/c me and my little sister (who is, in fact only 10) made fun of the whole thing.

I am sorry Jordan, but that acting was awful. You know a movie is headed for the toilet when the lead cannot act. And it didn't even have a good script or plot to redeem it. I also thought that the character of Pamela was very very lame... border-lining pathetic.

Even with that being said, I thought there were a few good actors, such as gorgeous Spencer, Hollywood, and Ronnie. Still, not enough to redeem the movie.

Two things about this movie that I just can't get over:

1.) That that Spencer guy would fall for her. Okay, eww. I looked up the dates and while in reality, he is only about four years older than her, the difference in ""Go Figure"" seemed much larger. Jordan is a very pretty girl, but in GF, she seemed like 10 or 12... she seemed like a little kid! Jake Abel (Spencer) seemed like a college student.

2.) That there is any way that Kristi Yamaguchi would come just to skate for one girl. I mean, I know that Katelin is good and everything, but it still just seemed kinda unlikely that Kristi would go to a boarding school that didn't even have scholarships for skating, or that a school would have employed a skating coach with such connections.

That all being said... it wasn't the worst movie ever known, but it wasn't very good even by DCOM standards, which I consider quite low.",0 "I probably give this more credit than it deserves because it's Halloween, I was just at ""Knott's Scary Farm"" and I was in a mood to watch a really cheesy Halloween movie.

Oh, and it only cost me one dollar.

Usually I'll ffwd through a movie like this to get to ""the good stuff,"" but I resisted the urge here and I'm still not sure why. It was obvious from the opening shots this wasn't a ""real"" movie, not even a B-movie. It's more in the category of the DeCoteau ""horror"" movies like ""The Brotherhood"" that are shot on film-look video for about 50 cents (in fact, I was half afraid any minute one of his beefy college boys would stagger out rubbing himself in his underpants or something). There were no cutaway shots (too expensive to do multiple camera setups) and flat lighting but...it's hard to pinpoint. There's something refreshing about watching a director with no money pull off a half-decent movie. The fact that he's doing even a half-decent job is commendable, and this movie has it's share of merits--the acting isn't bad, the photography is pretty good (if too bright to be scary), there are some surprises, and the whole thing is sort of...different somehow.

A bunch of college kids are (for some unknown reason) stuck in the warehouse where they are decorating the annual haunted house. A creepy old man gives them a satanic book and they accidentally summon up the powers of hell. This results in the costumed people in the haunted house becoming who they are made up to be, and causing a lot of mayhem and human suffering. Along the way we are treated to an oddly complex and thoughtful lesbian relationship subplot--it's interesting that this couple seems to be the most well-rounded in the movie. Yes, there's a sex scene but it isn't salacious--or at least no more so than you'd find in any legit movie about lesbians that shows them having sex. It's rather unusual for a horror film to take the time and effort to do this without resorting to cheap exploitation.

The other thing about this that held my interest was how it was clearly trying to emulate the ""stupid kids have sex and get killed"" vibe of the 80's slashers. It's hard to take that on because there are so many of those films that already exist, the genre has been done to death. I'm not sure if it's good or bad that these filmmakers simply tried to make another entry in that genre, without irony, as if it was still a LIVING genre, but I appreciated the attempt.

Which is why I sat through it; sometimes you just want to watch a mindless, no-budget, ""A-for-effort"" horror film. There really was too much set up, not enough gore, endless plot-holes, dead-ends and clichés and the unfortunate overall feel of a movie that simply did not have enough money behind it to be the film the producers envisioned...but at the very least the haunted house scenes were pretty cool. I'd pay to go to that haunted house if it existed, and didn't mind paying a dollar to see it on DVD even if I'll never watch this again.

Oh, and **possible spoiler**, but there was great, brief business with the vampire girl in the coffin: ""I used to be claustrophobic. But I've changed."" Ha ha, good one.",0 "Sidney Franklin's ""The Good Earth"" has achieved classic status thanks to a timeless story and superb acting, especially from Luis Ranier, who won an Oscar for her portrayal of O-Lan. Rainers performance is so complete, she is nearly unrecognizable. Having very little dialogue throughout the entire film (and it is a long one), Rainer relies instead on facial and body language. She looks and acts Chinese to the point that anyone unfamiliar with her work could easily mistake her as such.

The film remains relevant today because it explores the rags to riches story and the universal themes that come with it. When Lung and wife O-Lan finally achieve financial success after years of famine and poverty, they find a life full of possessions but lacking in meaning. It is only when they return to the earth after fighting off a swarm of locusts (the special effects used to create them are still incredible and beautiful to watch) that they again find fulfillment. A common formula told with the unique perspective of a Chinese family (especially for 1937) makes the film a classic. Money isn't worth anything without friends and family, a point that the film drives home perfectly in it's last 10 minutes with an emotionally fulfilling conclusion.",1 All this talk about this being a bad movie is nonsense. As a matter of fact this is the best movie I've ever seen. It's an excellent story and the actors in the movie are some of the best. I would not give criticism to any of the actors. That movie is the best and it will always stay that way.,1 "Busy Phillips put in one hell of a performance, both comedic and dramatic. Erika Christensen was good but Busy stole the show. It was a nice touch after The Smokers, a movie starring Busy, which wasnt all that great. If Busy doesnt get a nomination of any kind for this film it would be a disaster. Forget Mona Lisa Smile, see Home Room.",1 "Well, I hate hollywood, but love cinema so i have to watch these cruddy movies in theaters. And, I was hoping Vanilla Sky would be good. i was hoping that they would either keep the original ""Open Your Eyes"" exactly the same, or they would make it their own. Well, it happened to be a little bit of both, and it sucked.

It started out good. I love Radiohead. I wish there was more of that. But by the end we are listening to Good Vibrations by The Beach Boys. Talk about a wide range of suck between. They had one or two good songs in the club and maybe a couple others, but why oh why did they have to blare GV during the climax. It was more annoying than confusing or blatant. Especially when it has NOTHING TO DO WITH THE PLOT. At least put some meaning behind the songs. Kid A = primary. Whatever.

He also did a bang up job with the club scene. That was cool. Otherwise the movie was one big ball of arrogance. As if audiences would get the movie. The ones that would get it read subtitles, and the rest won't. Its as simple as that. The motivations got all screwed up. I didn't comprehend the Diaz motivations (hadn't they done the Chicken Soup night before?) and some of the others. And I hate Kurt Russell. Stay overboard. Tom Cruise can't act (especially in these types of movie [i.e. Eyes Wide Shut]). And the elevator. I get it. Anyways they tried improving the original with a crappy american rock soundtrack and crappy angles and good film print and glossy processing and it would have helped if crowe hadn't screwed it up.

2/10 Major disappointment.",0 "When the US entered World War I, the government forced Hollywood to churn out propaganda films. THE LITTLE American is probably the best of the lot because it stars Mary Pickford.

Pickford plays a young woman torn between two men: Jack Holt (German) and Raymond Hatton (French), but her decision is delayed because of the war as both men enlist.

When the ship Pickford is sailing on is sunk by the Germans (think Lusitania) because it is carrying munitions, Pickford has a great scene as she stands on the lifeboat and yells at the German commander. Later on, of course, she runs into both Holt and Hatton when she is being held as a war prisoner at a château.

Director Cecil B. DeMille provides one truly great scene in this film as Pickford and Holt are wandering through a bombed-out village. They pass a destroyed church of which only one wall remains standing. Against the wall is a very large crucifix. As they stand and watch, the wall collapses but the Jesus figure remains, suspended in mid air. It's a very surreal moment in a film that is otherwise very straightforward and un-artsy.

Pickford is, as always, a pleasure to watch. She was always a very natural actress who avoided the arm-waving histrionics many other actors of the day used. She's also very very pretty. Holt is very good here in a leading-man role. Hatton is OK. Among the list of name actors in ""extra"" parts are Wallace Beery, Ramon Novarro, Colleen Moore, Ben Alexander, Hobart Bosworth, Norman Kerry, Walter Long, James Neill, and Edythe Chapman.

Not a great film, but interesting to see US propaganda at work.",1 "I just saw this film on DVD last night, and decided to check out the reviews this morning. It seems that ""I, Robot"" has polarized the critical viewing community here on IMDb (and given rise to a lot of insults and name-calling, too).

I find this somewhat surprising, as this film is not great (or even good), but neither is it terrible (or even really bad). What this film really is, is...depressing. Depressing that the US film-goer population is so ready to lap up insipid, clichéd re-heats, and acclaim them as spectacular new works. This film as ""retread"" written all over it, from the plot line (an uneasy mix of Asimov and modern-day uber-action) to Smith's character (a smart-mouthed cynic with a backbone of titanium), to the special effects (that borrowed from Matrix and a few others).

""I, Robot"" is, sadly, quite possibly the perfect action movie for today's audience: superficial plot, insipidly snappy dialog, and lots and lots of adrenaline. Smith is mediocre, but we already knew that (he seems to be Hollywood's latest unsuccessful attempt to create a black Bruce Willis). The story has lots of holes in it, of all sizes, but I don't think most people drawn to this film are critically-minded enough to notice. Perhaps a blockbuster by today's standards, but very B-movie compared to true winners.",0 "In Bridgeport, the deranged high school teacher Richard Fenton (Johnathon Schaech) is obsessed by the teenager student Donna Keppel (Brittany Snow); she witnesses him murder her family to stay with her, but Richard is arrested and sent to prison for life. Three years later, the traumatized Donna is feeling better but is still under psychological treatment and taking pills. On her prom night, she goes with her boyfriend Bobby (Scott Porter) and two couples of friends to the Pacific Grad Hotel for the party. But the psychopath Richard has escaped from prison and is lodged in the same floor in the hotel chasing Donna, stabbing her friends and staff of the hotel that cross his path.

The forgettable slash ""Prom Night"" is a collection of clichés with a total lack of originality. The stupid story is shallow and silly, with a bad acting of Johnathon Schaech in the role of an insane killer. The predictable screenplay is amazing since it is possible to foresee what is going to happen in the next scenes. My vote is three.

Title (Brazil): ""A Morte Convida Para Dançar"" (""The Death Invites to Dance"")",0 "This has to be the worst piece of garbage I've seen in a while.

Heath Ledger is a heartthrob? He looked deformed. I wish I'd known that he and Naomi Watts are an item in real life because I spent 2 of the longest hours of my life wondering what she saw in him.

Orlando Bloom is a heartthrob? With the scraggly beard and deer-in-the-headlights look about him, I can't say I agree.

Rachel Griffiths was her usual fabulous self, but Geoffrey Rush looked as if he couldn't wait to get off the set.

I'm supposed to feel sorry for bankrobbers and murderers? This is a far cry from Butch Cassidy, which actually WAS an entertaining film. This was trite, cliche-ridden and boring. We only stayed because we were convinced it would get better. It didn't.

The last 10-15 minutes or so were unintentionally hilarious. Heath and his gang are holed up in a frontier hotel, and women and children are dying because of their presence. That's not funny. But it was funny when they walked out of the hotel with the armor on, because all we could think of was the Black Knight from Monty Python and the Holy Grail. I kept waiting for them to say ""I'll bite yer leg off!"" We were howling with laughter, as were several other warped members of the audience. When we left, pretty much everyone was talking about what a waste of time this film was.

I may not have paid cash to see this disaster (sneak preview), but it certainly wasn't free. It cost me 2 hours of my life that I will never get back.",0 "I couldn't relate to this film. It failed to engage me either intellectually, emotionally or aesthetically. The dialogue was very dense and uninvolving. I couldn't connect with and hence care about any of the characters and I'm finding it hard to find much that's positive to say about it.

I've read that to understand it properly one needs to be familiar with some of the more obscure aspects of Catholic theology. I'll admit that, as an atheist, I probably am unfamiliar with many of the finer details of Catholicism, but I have also seen many films dealing with religious issues that have touched me because their themes are still universal to the human condition and don't rely on specialised knowledge or beliefs.",0 """The Bourne Ultimatum"" begins recklessly mid-chase and in pulse-pounding fashion explodes from there as Jason Bourne (Matt Damon, absolutely superb) tracks down the masterminds behind the CIA black-ops that turned him into the perfect killer in a final attempt to learn his true identity. A devastatingly icy David Strathairn as the ""man behind the curtain"" is added to the returning cast of regulars including Joan Allen (excellent) and Julia Stiles (non-existent).

Like the second entry in the series, I wished Paul Greengrass' shaky hand-held camera would go static at least for the few minutes of downtime. However, that being said, it's a perfect way to capture the tense, claustrophobic feel of the intimate hand-to-hand-combat scenes and works equally well in the chase scenes which are mostly on foot and across rooftops with the occasional big car pile-up. Part of the fun of the Bourne series is the constant globe-hopping and manipulation of technology and communications that seem to defy the laws of physics and current capabilities. The Bourne films seem to exist in some sort of gritty hyper-reality that is full of technological-based magic. It makes no sense that everyone seems to be just in the right place at the right time, but I'll be damned if it isn't a blast to watch them get there.

With the absence of the emotive and involving Franka Potente, the writers attempt to create some emotional connection between Damon and Stiles, but she is so blank-faced an actress it never really leads to anything. Still, this can be forgiven, for unlike the ""Identity"" and the ""Supremacy"", this ""Ultimatum"" reveals all and we finally learn the truth about Bourne's past. It's an entertaining and satisfying conclusion to the series, and if they have any good sense, and Damon gets his wish, this will be the perfect end to it.",1 "This cartoon was strange, but the story actually had a little more depth and emotion to it than other cartoon movies. We have a girl at a camp with low self esteem and hardly any other friends, except a brother and sister who are just a miserable as she is. She reaches the ultimate low point and when the opportunity arises she literally makes a pact with a devil-like demon. I found this film to be very true to life and just when things couldn't be worse, the girl sees what she's done, she feels remorse and then changes and then she helps this dark, mystical creature learn the human quality of love. The twins improve too, by helping the little bears and then they get a sense of self worth too. A very positive message for children, though some elements of the film was strange, it was and still is a rather enjoyable film. The music from Stephen Bishop (Tootsie songs) made the film even better",1 "This is the kind of film you want to see with a glass of wine, the fire on, and with your feet up. It doesn't require that much brain-power to follow, so is very good after a long day. I would say it is very unrealistic - if you expecting anything serious, then don't bother, but it is very funny. Just the thought that a businessman would go so far as to agree to live in a slum for a while, and then actually get to enjoy it... I would definitely recommend it.",1 "There is no denying that Ealing comedies are good, but for me this film stands out as one of the best.

The basic premise of the film is that a small part of Pimlico in London is discovered to be part of Burgundy, not the UK. We then follow the lives of the residents in their battle to keep the treasure found after the bomb explodes, and keep out the black market traders who soon realise that being exempt from UK law, rationing does not exist. When they become prisoners in their own street because the government has decided to close the boarder we see them fight back against the system.

They are forced to ration water and food in their stand for what is right. In fact becoming worse off than they were before it all started, that's where the moral comes in. It's when they loose all the food that they think they are beaten and call for a surrender, only to have the whole of London respond to their plight by sending food, lot's of it. Thus enabling them to continue their struggle.

This film hit's the right note throughout, the acting is superb, with Stanley Holloway, Margaret Rutherford, Hermione Baddeley and Betty Warren standing out. It's pitched just right, not too sentimental and the moral of the story not forced down your throat. Well worth a viewing",1 "I remember when I was five and my parents thought it was a regular cartoon movie....except when the bras and bullets started flying. I have to agree this movie will make anyone and everyone upset because it is set to discriminate everyone and anyone....but the truth is it is funny as hell as it is deep. I recommend this to anyone who likes cult classics. Also try Fritz the cat and the NINE Lives of Fritz the Cat. If I'm correct Ralph Bashki did that movie too.It involves a cat that goes through hard times with family, streets,jobs , etc. When I was old enough I rented all of these movies out. Because Coonskin was an offensive title during that era it was also labeled as Street Fighter. Ralph Bashki also made Cool World starring a very young Brad Pitt. Heavy traffic was another cartoon that dealt with the street life of a young man.",1 "Drones, ethnic drumming, bad synthesizer piping, children singing. The most patronizing ""world music"" imaginable. This is a tourist film, and a lousy one. What really kills it is the incoherent sequences. India, Egypt, South America, Africa, etc, etc. No transitions, no visual explanation of why we're suddenly ten thousand miles away, no ideas expressed in images. Just a bunch of footage of third-worlders with ""baskets on their heads"" as another reviewer said. Walking along endlessly as if that had some deep meaning. If these guys wanted to make a 3rd World music video, all they had to do was head a few hundred miles south of where the best parts of Koya were shot, and film in Mexico. That would have been a much better setting for ""life in transformation.""

But no. What they decided on was a scrambled tourist itinerary covering half the globe and mind-deadeningly overcranked filter shots. The only thing to recommend this film is that it doesn't suck quite as much as Naqoyqatsi.

RstJ",0 "Let me start by stating that I usually do like Renny Harlin's directing style, for the most part, and that the cinematographer should be commended for some the shots. Unlike Harlin's ""Elm Street 4"", and ""Die Hard 2"" which I really liked, there is something that is missing from this movie. That, my friends, is a script. The dialogue in movies like this is always pretty awful, but this one takes the gold medal for stupidity. There are so many awful lines in this movie, I don't even want to have to remember any of them. Not just that but the execution of the lines is pathetic and seems more suited toward a bad porn movie than an action adventure. It's almost like Harlin thought that if they slowed down the words being said, they could improve the script. Wrong again.

The sad part is that there is some talented actors thrown into bad roles with worse dialogue. Stallone has never been a favorite of mine, but when he is acting circles around Lithgow, Turner, and the worst of the bunch Rooker, there is something wrong with this picture. Lithgow played one of the best villains in ""Ricochet"", yet comes across as someone who can't act to save his life here. How is that possible? I've always been a huge fan of his and he gets schooled in acting by Stallone, who himself still phoned-in his performance. Turner's part is so small and pointless, but she still manages to appear lost on screen. Michael Rooker CAN act. I know this because I have witnessed it in ""Days of Thunder"", but he seems like he is READING his lines from cue cards. Has it come to this? When Rooker and Lithgow have scenes together where they are speaking, I just wanted the movie to end right there, or have them both amazingly find their acting ability. Unfortunately, neither of those things occurred.

Which brings me back to Harlin, who can be the only one to really blame for this mess other than the screenwriters. It's his fault that I was never drawn into this movie at all, because he should have made the people actually act. The script is not very good, but still the actors' performances are what destroys this movie and that has to lie with the director. I don't care how much was paid for the special effects, which for the most part are good, you still can't just sacrifice the movie with terrible acting.

Plus, the pacing of this movie seems to be off. The opening sequence was good and the plane scene was very well done, but how are you supposed to care about the outcome of the heist at all. I mean I understand that they were trying to create tension with all of the bells and whistles of the plane scene, but I really didn't care if they got the money or not in that scene. If the bad guy's would have won early, maybe I wouldn't have had to witness one of the worst movies ever!",0 "Things I learned from ""The List"".

A decent cinematographer, a hot girl who can act and Malcom McDowell couldn't stop this movie from sucking.

Blockbuster won't give you your money back.

Even when he reads the script and says ""Ugh! Really?!"", Malcom McDowell still tries.

Chuck Carrington desperately needs acting classes.

Hire a writer.

Jesus hates me too and punished me by making me pay $ 5.50 to see this movie.

When making a movie, you don't need an ending. Just leave everything unexplained, unresolved an uninteresting enough so that the audience falls asleep BEFORE the ending. Genius.

Any random landlord can cure death just by drawing a cross on a window. So make friends.

Your maid can sing you back to life.

Chuck Carrington still needs acting classes.

Your roommate will hate you and make fun of you if you bring home this movie.

Apologies will not be accepted.",0 "Schlocky '70s horror films...ya gotta love 'em. In contrast to today's boring slasher flicks, these K-tel specials actually do something scary and do not resort to a tired formula.

This is a B movie about the making of a B movie...that went horribly wrong. Faith Domergue (This Island Earth) stars as an over-the-hill, B movie queen making a movie about a series of grisly murders that befell a family in their home. Her boyfriend/director, who looks and acts like Gordon Jump with an attitude, is filming on location and on a tight schedule. The Ken doll co-star discovers a book of Tibetian chants that they work into the script to add ""realism"". Unfortunately, ""realism"" is something they could have done without.

John Carradine, having long since given up looking for the 17th gland (The Unearthly), now eeks out a humble existence as the caretaker for the estate. He goes about his daily work, but always seems to run afoul of the director.

The horror builds slowly; a dead cat here, John Carradine entering a grave there, finally culminating in seven, yes seven murders. (At least there's truth in advertising.) It's just sad that the ghoul didn't understand that there was a movie being made above him. How was poor Faith to know that those darn Tibetian chants would actually work? Face it, you just can't go around tugging on Satan's coat and expect him to take it lying down.

Sterno says perform an autopsy on The House of Seven Corpses.",0 "Does anyone know what kind of pickup John T drove? I looks like a mid to late 70's Ford. This movie is my favorite as well as my wife's. It was the first memorable movie we saw as a married couple. The pick up is of interest as it is similar to the first truck I drove and recently found another like it. I would like to restore the pick up I have to resemble the on in the movie. Also the music was awesome, and the acting was great. Where and what is the lady who portrayed John's aunt? Also did John have a stunt double for the scene on the tower when he almost fell? Also what year of Mustang did Debra W drive in this show. It looked like a 60's model. Thanks,",1 "This three stooges flick is at a tie with my other favorite flick ""Disorder in the Court"". This is an uproar of laughter for any Three Stooges fan to enjoy.

The boys are janitors at a recording studio when they hear the lovely Christine McIntyre sings a great version of ""Voices of Spring"". She is going to be offered a record deal, but she is scarred to be honest with her father about her choice of a career and prove herself as a real singer. When she and the others leave the studio, the stooges decide to have a little fun and play her record and dress Curly up as Christine. The contract lady who can make Christine's career, sees Curly and mistakes him for Christine and invites Curly to sing for her party. Of course there is a man that they have upset that is at the party and they destroy his solo in front of the crowd, so he'll find a way to get back at them.

What a great stooge flick, this should not be missed!

10/10",1 "There's a lot going on in The College Girl Murders. A mad scientist creates an almost undetectable poisonous gas. Before he can reap the rewards of his discovery, the scientist is killed by a hooded, whip-welding monk. After a co-ed is killed in a church by the gas, Scotland Yard is called in to investigate, but the killing continues. Who can stop this mad killer who seems to be able to come and go as he pleases in and out of the college?

What Works:

- The Killer. What's not to like about a killer who sneaks around wearing a vivid red KKK looking outfit, complete with red gloves. The white whip he carries and uses very effectively stands out nicely against the bright red gown. Although the idea of a killer in a flaming red, pointy-head outfit sneaking around a girl's school is fairly far-fetched, it's one of the more sinister looking costumes I've seen.

- Groovy 60s Music. I really would like to track down the title music to The College Girl Murders. It's got a jazzy, hip, 60s feel to it that I just loved.

- Bizarre Touches. Beyond the killer's red gown and hood, the movie features a sliding fireplace, a pit of alligators with a cage handing overhead, poison spraying bibles, a strategically placed mannequin, mini-skirts, go-go boots, and mile high hair. I would describe it as a cross between the 60s Batman TV show and an Italian giallo. The College Girl Murders is a real treat for the eye.

- The End. Let's just say that there are more twists than a mountain road. Just when you think the killer has been uncovered, here comes a twist…..and another….and another…and another.

What Doesn't Work:

- Chief Inspector Sir John. I know the guy was meant to be comic relief, but his buffoonish character has way too much screen time.

- Why Have Alligators? Previously, I mentioned the alligators in the pit. And while they are a nice touch, they serve very little purpose. Why go through all the trouble and not use them?

- Plodding Plot. Some of The College Girl Murders has no flow or rhythm to it. There are far too many moments throughout the movie when things come inexplicably to a screeching halt. Better pacing would have made this a much more enjoyable movie.

I haven't seen many of these German krimis but of the few I have seen (Phantom of Soho, Strangler of Blackmoor Castle, Dead Eyes of London) this may be my favorite. This one has a real funky feel to it that I really go into. Had the plot flowed a little better, I could have easily given The College Girl Murders a 7/10.",1 "First of all, I liked very much the central idea of locating the '' intruders'', Others in the fragile Self, on various levels - mainly subconscious but sometimes more allegorical. In fact the intruders are omnipresent throughout the film : in the Swiss-French border where the pretagonist leads secluded life; in the his recurring daydream and nightmare; inside his ailing body after heart transplantation.... In the last half of the film, he becomes intruder himself, returning in ancient french colony in the hope of atoning for the past.

The overall tone is bitter rather than pathetic, full of regrets and guilts, sense of failure being more or less dominant. This is a quite grim picture of an old age, ostensibly self-dependent but hopelessly void and lonely inside. The directer composes the images more to convey passing sensations of anxiety and desire than any explicit meanings. Some of them are mesmerizing, not devoid of humor though, kind of absurdist play only somnambulist can visualize.",1 "(BIG SPOILERS) I've seen one other Takashi Miike film, and that was the very disturbing and brutal 'Audition', which was an examination of the Japanese ideals of femininity! In 'Visitor Q'- which I think means 'Visitor Question'- he examines, in a very disturbingly gross way, the family unit. Miike's surreal vision of a dysfunctional family almost tries to be Lynchian in terms of confusion and film-making, but ultimately lacks the style and intrigue. We, the audience, are introduced to a bizarre array of scenarios from the opening scene with the father figure (Kenichi Endo- who was actually quite good) paying for sex with his displaced daughter (Fujiko). Then, as the father returns home, he is struck on the head by ""the visitor"" (Kazushi Watanabe) wielding a fairly sizeable rock, and for some reason, they both end up back at the family home. The mother (Shungiku Uchida) is beaten and bullied by her son (Jun Muto) who is also beaten and bullied by his school peers. When the visitor enters the home, he somewhat menacingly establishes himself as part of the unit. Eventually, the family begin to improve their relationship, with assistance from the visitor, through milking breasts, murder and retaining a sense of family pride.

And there are other crazy scenes that somehow bring the family closer together. It's has uncomfortable humour, but is equally frustratingly silly, and over-the-top in its weirdness. There is a necrophiliac scene that is utterly disgusting, but ends up being ridiculously funny as the scene progresses. Partly because of the situation itself, and partly because you can't believe the filmmakers and the actors are actually doing this! The style of the film is poor to say the least, and the plot is stupid and unbelievably weak. The characters themselves are all over the place, and while I understand this is not meant to be realistic, there is hardly any interest in these confronting characters and situations as all of them border on the absurd! The camera-work is sloppy, and doesn't have that cinematic feel that Lynch's work entails. It's hard to take this film seriously on a surrealist level, or on an interpretation of examining the family unit in Japan. It just seems that Miike was out to shock, and the film seems self-aware that it's ""trying"" to be shocking, and it becomes almost comical to be taken seriously. All in all, I would say that this film is a bizarrely dark comedy, but it looks and feels amateurish, and seems to unnecessarily want to shock. Miike's previous film, Audition, was finely balanced between disgusting horror, character development and technique- which established more intrigue in the way the film was crafted to allow the viewer to become engrossed with the plot. 'Visitor Q' is a step down as it tries too hard to be outlandishly bizarre and intentionally confronting, without really having much to say in the process!

** out of *****!",0 "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.

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.

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.

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.

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.",1 "This is a typical example of technically highly skilled directors of video clips/commercials trying to do their first full feature length movie. On one hand the imagery, camera, lighting, CGI and even the sound are highly polished and have a truly ""expensive"" look and feel. Even the actors show a certain amount of potential - unto the point where even the best acting could not hide a bad plot.

In this case it is not a bad plot but hardly a plot at all.

So 50% of the dialog consists of ""What the hell was that ?"", ""What was that ?"" and ""What the hell was that ?"". In none of the cases any of the characters nor the audience is provided with the slightest hint of an answer though. In most of the other dialogues one gets the feeling that there never was any form of dialogue book and the actors had to freely improvise to a plot that wasn't ever explained to them.

The only reason why Skye Bennet's performance could be so good is that her character as an autistic girl didn't allow giving her these tragically horrible dialogue lines the other actors had to deal with. That way she was able to just show her acting talent which the rest of the cast couldn't even get close to. I mean there's not one actor in the world that could make up for a dialogue like this:

Ben: Is this real, huh ? Emily: Stop it. Ben: A mass psychosis, huh ? Jon: Somebody has to take control of this situation. Ben: This situation can't be controlled. Not by you, not by anybody. Emily: Not by you either. Ben: No

Got me goosebumps. But not for horror, more for the horrible attempt. In some moments I felt ashamed for the actors to have added this to their vita.

2 stars for the excellent technical work.",0 "You like to solve mysteries? You like complex narrations? This is for you. Brilliant, clever movie by Francis Leclerc(son of a legendary french Canadian signer Felix Leclerc). Flashy photo and clever editing is the word of Leclerc, strongly helped by Roy Dupuis who's dythirambic in the lead role.

The plot is about Alexandre Tourneur, veterinary in his 40's who just woke up from a coma after being unplugged by somebody unknown. Tourneur is struggling to remember who hit him as he was ending a deer's sufferings on the road. Throughout the struggling, he has weird behavior and it seems like something took over him.

Not spooky, but very mysterious and well played movie. I have my hypothesis on the ending(I think the Indian caused the accident) but this ending was open to any explanations.

I strongly recommend it 9.5/10",1 "This movie is a little ray of sunshine in a dark season. It celebrates a quality best described as plain old friendliness. Morgan Freeman plays a character very like Freeman himself--a successful actor pushing 70. He has traveled to a small, rather grimy grocery store intending to research a part he might play, as a manager of such a place. He soon beguiles the staff and the customers, especially the lovely, if cranky, young woman (Paz Vega) who presides over the ""10 items or less"" checkout lane.

10 Items Or Less doesn't have a big statement to make and doesn't pretend that it does. It follows Freeman and Vega as they become friendly, and as the older man offers his counsel, in exchange for a ride home--the movie-company gofer who is supposed to pick him up never shows and Freeman has forgotten his own phone number so he can't call for help. I had a little case of the blues on a gray Sunday afternoon in New York City and this flick cured what ailed me.",1 "Ladies and Gentlemen,please don't get fooled by ""A Stanley Kubrick"" film tag.This is a very bad film which unfortunately has been hailed as one of the deadliest horror films ever made.Horror films should create such a fear that during nights people should shiver their hearts out while thinking about a true horror film.In Shining,there is no real horror at all but what we find instead is just a naive,foolish attempt made to create chilling horror.Everyone knows as to how good the attempts are if they are different from reality.All that is good in the film is the view of the icy valley. The hotel where most of the actors were lodged appears good too.A word about the actors Jack Nicholson looks like a lost,lazy soul who is never really sure of what he is supposed to do.There is not much to be said of a bald,colored actor who for the most of times is busy pampering a kid actor.No need to blame the bad weather for the tragedy.It cannot be avoided as the film has been made and poor Kubrick is not alive to make any changes.",0 "I can't believe this movie was made as recently as 1984. It's got some laughable acting, not to mention one of the stupidest plots ever. Who would ever ask fat Texas sheriff Joe Don Baker to escort an Italian he illegally arrested in Mexico back to Italy? Not to mention that the title of the movie tells you pretty much nothing about it - in fact, it's about as generic a title for a wannabe action/cop film as I can think of.

I'm glad I only saw this on MST3K with Mike and the bots as a shield. They remark on the female lead's resemblance to Elaine from Seinfeld (""None of them are spongeworthy"") and riff non-stop on Baker's weight. This movie probably isn't worse than ""Mitchell,"" but Baker's reputation definitely precedes him here: when his title comes up at the beginning of the film, Tom says, ""I wish I was illiterate so I wouldn't have to read that.""",0 "The movie has a great written genre story. It features all of the usual Columbo ingredients; The way Lt. Columbo approaches and bonds to his suspect, the way the mystery unravels for him, Columbo's dog, the cat and mouse play, which is great in this one and luckily as well some good relieving humor, mostly involving the Columbo character. It's all written despite the fact that it doesn't even have a truly original concept. Columbo hunting down a detective/murder novel writer had been done more than once before in a Columbo movie.

It's also an extremely well directed movie from James Frawley, who after this directed 5 more Columbo movies, in the '70's and '80's. He provided the movie with style and some truly great and memorable sequences.

It's one of the slower moving Columbo movies, despite not having a too long running time. This style and approach doesn't always work out well for a Columbo movie but in this movie it does, which is perhaps not in the least thanks to the acting performances of the movie.

Most Columbo movie either starred a big well known star or a star from the early days of film-making, as the movie its murderer. This movie stars the rather unknown 81 year old Ruth Gordon. She didn't starred in an awful lot of movies throughout her career but she is still well known to some, mostly for her role in ""Rosemary's Baby"", which also won her an Oscar. She had a realistic and somewhat unusual style of acting, which some people might not like though. It earned her 4 more Oscar nominations throughout her career, prior to her win for ""Rosemary's Baby"", in 1969. She has some great interaction as well with Peter Falk in their sequences together.

The movie also stars a still young G.D. Spradlin. I say young because I only know him from his latest productions out of his career, despite the fact that he already was 57 at the time of this Columbo production. He is still alive but retired from acting, ever since 1999.

An even better than usual Columbo movie entry.

8/10",1 "Admittedly, I find Al Pacino to be a guilty pleasure. He was a fine actor until Scent of a Woman, where he apparently overdosed on himself irreparably. I hoped this film, of which I'd heard almost nothing growing up, would be a nice little gem. An overlooked, ahead-of-its-time, intelligent and engaging city-political thriller. It's not.

City Hall is a movie that clouds its plot with so many characters, names, and ""realistic"" citywide issues, that for a while you think its a plot in scope so broad and implicating, that once you find out the truth, it will blow your mind. In truth, however, these subplots and digressions result ultimately in fairly tame and very familiar urban story trademarks such as Corruption of Power, Two-Faced Politicians, Mafia with Police ties, etc. And theoretically, this setup allows for some thrilling tension, the fear that none of the characters are safe, and anything could happen! But again, it really doesn't.

Unfortunately, the only things that happen are quite predictable, and we're left with several ""confession"" monologues, that are meant as a whole to form modern a fable of sorts, a lesson in the moral ambiguity of the ""real world"" of politics and society. But after 110 minutes of names and missing reports and a spider-web of lies and cover-ups, the audience is usually treated to a somewhat satisfying reveal. I don't think we're left with that in City Hall, and while it's a very full film, I don't find it altogether rich.",0 "Let's begin with that theme song sung by Christopher Cross. The song is ""If you get caught between the moon and New York City."" It's a great theme and song even after all these years, it never gets tiring. It really is a great song about New York City as well. Anyway, the great Dudley Moore CBE stars as a spoiled drunken millionaire who is engaged to Jill Eikenberry's character in the film. Jill would later star on LA Law. Anyway, he is served by his wonderful British butler, Sir John Gielgud OM who won an Academy Award for his performance in the film as Best Supporting Actor. Arthur falls in love with Liza Minnelli's character who is perfect in this film besides her performance in her Oscar winning role in Cabaret. No, Liza doesn't get to sing. She plays a diner waitress. Anyway I love Geraldine Fitzgerald as the Bach matriarch of the family who decides the family's fortune. Anyway, she is fabulous and should have gotten an academy award nomination herself for Best Supporting Actress. Barney Martin best known as Jerry's dad on Seinfeld plays Liza's dad. He's great too. The movie was well-written, acted, and delivered to the audience who wanted more of it.",1 "This has the absolute worst performance from Robert Duval who sounds just like William Buckley throughout the entire film. His hammy melodramatic acting takes away from any dramatic interest. I'm not sure if this was deliberate scene stealing or inadvertent but it's the only thing I can recall from a truly forgettable film. This picture should be shown in every amateur acting class of an example of what not to do. Thank God, Duvall went on to bigger and better things and stopped trying to effect a cultured accent. He is a good character actor but that's about it. Klaus is so much better. His performance is muted and noteworthy.",0 "This film is a wonderful movie based on the life of a man called Grey Owl in 1930s Canada. I found it to be similarly riveting and heartfelt as 'Rudy' and 'Awakenings'. It picks up late in Grey Owl's life and follows him through his most tumultuous and influential period.

The film is about a Canadian Indian trapper who finds himself promoting the plight of the over-trapped Beaver. He also predicts the decrease in natural lands and the overuse of Earth's resources. This is an outrageous concept in the 1930s and surprisingly well received. He becomes a well known speaker and the masses are ready to listen.

The casting of Pierce Brosnan seems rather odd, but is not outrageous. Anyone wanting to argue that point must first watch the movie to understand. Brosnan provides a wonderful performance as does Annie Galipeau. Galipeau is a strong actress whose place beside Brosnan is refreshingly natural compared to the forced pairings in recent Bond films.

I would recommend this film to anyone interested in good drama, beautiful scenery, or environmental causes. It is a movie for families as well, however children under 10 (depending on maturity) would have trouble following the plot.",1 "I really can't remember who recommended this, but they said it was one of their favorite films. It is certainly a strange one - like rubbernecking at a highway accident.

Someone said that truth is stranger than fiction, and the truth here is something to see. I really can't understand how a fictionalized account of this documentary is to be released this year. How can you improve on this? The aunt and cousin of Jackie Kennedy remove themselves from New York Society and hide in the Hampton's. In the process they become recluses and what is best described as ""crazy cat ladies."" They would have stayed hidden had not the city move to condemn the property for the filth and the subsequent rescue by Jackie. This film was done after that rescue. All during, you couldn't help but think, ""how bad was it before?"" It's a look at high society from the darker side, and it is utterly fascinating.",1