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they have sex with melons in Asia.<br /><br />okay. first, i doubted that, but after seeing the wayward cloud, i changed my mind and was finally convinced that they have sex with watermelons, with people dead or alive. no safe sex of course. the (terrifyingly ugly) leading man shoots it all into the lady's mouth after he did the dead lady. never heard of HIV? guess not.<br /><br />the rest of this movie is mainly boring, but also incredibly revolting. as a matter of fact, in parts it got so disgusting i couldn't take my virgin eyes off. sex with dead people! how gross is that? and what's the message behind it all? we need water, we need melons, we need to be dead to have sex? sorry, but this stinks! | negative |
They did it. And, boy, did they do it fantastically or what! The BBC finally brought the Doctor back to our screens on a Saturday evening where he belongs! And they did it with style! <br /><br />EPISODE ONE: "Rose" - One of the strengths of the new series is Russel T Davies as a writer and executive producer. He's a fan of the show and knows what the other fans want, but also is an experienced writer in his own right, so knows what other people want. Another strength, as perfectly shown here in this first episode, is Billie Piper and her character of Rose Tyler. Finally the Doctor's companion gets a credible back story and a strong character. Also nice to see the return of the Autons - a nice nod to the Classic Series there.<br /><br />EPISODE TWO: "The End Of The World" - In the start of this double bill to show off the TARDIS' strengths, we end up in a story where special effects is everything! They now have the technology to create real, believable environments and monsters - no more rubber suits of sorts! Also the hints at the end of this episode regarding the new Doctor's past - very intriguing to kill off all the Time Lords and make him the only one.<br /><br />EPISODE THREE: "The Unquiet Dead" - We've had the future, now lets have the past. The first non-Davies written episode is a little flat in some places, but this is made up for by Simon Callow's Charles Dickens and the sudden twist in the plot when it is revealed the pitiful Gelf are not so pitiful after all...<br /><br />EPISODE FOUR: "Aliens Of London" - The consequences of the Doctor's actions are fully explored in this series, not least with the repercussions of Rose running off with him. Also, we have our first cliffhanger; not the best of ones admittedly. The Slitheen are an interesting villain, though they can look too CGI for their own good.<br /><br />EPISODE FIVE: "World War Three" - The second part of this story about the Slitheen suffers mainly from the same problems of the first. Also, the clips from the next episode coming up at the end of the current episode are annoying and spoil it for people.<br /><br />EPISODE SIX: "Dalek" - Yes! We've had the future, the past, and the present(ish), but now we get to the good stuff - the return of the Doctor's arch-nemesis. Here I think we can complement Christopher Ecclestone - he was brilliant as the Doctor, and no more so then in this episode, where we see the pain on his face as he recollects the Time War and the alien nature of him as he almost turns into a Dalek himself.<br /><br />EPISODE SEVEN: "The Long Game" - really only a story to act as a prologue for the series finale. Saved by Simon Pegg as the smarmy Editor and Tamsin Grieg in an amusing cameo. The media are controlling us - that's never been done before, has it...<br /><br />EPISODE EIGHT: "Father's Day" - this is a great episode. Full of human emotion and heartache for Rose, and the true consequences of what happens when you really muck up history. Full marks to Billie Piper here.<br /><br />EPISODE NINE: "The Empty Child" - I don't find this kid very scary. Sorry, but I don't. It's a good episode though, but the cliffhanger still could have been better - it's those "Next Time" bits that spoil them. John Barrowman is introduced here as Captain Jack, the dashing conman - he's a good actor who's been around for a while but only seemingly noticed now.<br /><br />EPISODE TEN: "The Doctor Dances" - Part two of this WW2 story - very well made in historical context terms. A nice upbeat ending, though a little confusing perhaps for younger viewers when the "Mummy" is revealed? <br /><br />EPISODE ELEVEN: "Boom Town"- probably the weakest of the series, but that doesn't mean its bad. A nice return for the Slitheen and also an interesting character study of the Doctor and Rose.<br /><br />EPISODE TWELVE: "Bad Wolf" - this starts off quite silly, with some good-hearted humour and cheeky fun making at popular TV shows over her in Blighty. Things turn deadly serious quickly, though, and the revelation at the end is the best cliffhanger in the series! <br /><br />EPISODE THRITEEN: "Parting Of The Ways" - Goodbye Christopher Ecclestone. A fantastic Doctor in so many ways, David Tennant is having to really work his socks off to be as good as him. The regeneration scene at the end is beautifully played. Oh, and the Daleks are back - in the extreme! God bless CGI, because they'd never be able to pull this off normally! <br /><br />Overall - brilliant! 9/10 | positive |
I can't understand what it is that fans of the genre didn't like about this film. It was truly a lot of fun. The special effects were wonderful. I generally agree with reviews and with IMDB voters, but not this time. I waited until it came to home video which I felt was another reason that I wouldn't enjoy the film. I believe special effects films need to be seen on the big screen, but again this was not the case. To me the film begs comparison to two films that were released around the same time. Blair Witch and The Mummy. Both films that I thought were terrible. Blair was probably the most overrated horror film of all time. The Mummy made gobs of money and it was pure dreck. People liked it for it's special effects. Films like the Mummy and The Haunting are not rich in character development, they are more like funhouse rides. Well with that analogy the Mummy was a B ticket to the Haunting's E-ticket. | positive |
Basically the exact same movie as "House of Wax" - Vincent Price's first genuine horror hit released the previous year - but seriously who cares, because "The Mad Magician" offers just as many sheer thrills, delightful period set-pieces, joyous 3-D effects, sublime acting performances and macabre horror gimmicks as its predecessor! "Never change a winning team" is exactly what writer Crane Wilbur must have thought when he penned down Price's character Don Gallico, another tormented soul besieged by fate and out for vengeance against those who wronged him. Don Gallico is about to perform his very first own illusionist show as Gallico the Great and plans to exhibit the greatest magic trick in history; entitled "The Girl and the Buzz Saw". Gallico's promising solo career is abruptly ruined before it even begins when his previous employer Ross Ormond appears on stage and shoves a contract under his nose, stating that all of Gallico's inventions are the rightful property of the company. The sleazy and relentless Ormond, who by the way also ransacked Gallico's once beloved wife, takes off with the buzz saw trick and programs it in the show of Gallico's rival The Great Rinaldi. Inevitably Gallico snaps and sadistically butchers Ormond, but also being a master of creating disguises recreates his victim's image and even starts leading a double life. "The Mad Magician" is an amusing and thoroughly unpretentious 50's horror movie in Grand Guignol style, with a whole lot of improbably plot twists (the landlady turns out a brilliant crime novelist?) and a handful of fantastically grotesque gross-out moments (although they obviously remain suggestive for most part). The 3-D delights near the beginning of the film, like a yo-yo player and a goofy trick with water fountains, merely just serve as time-filler and contemporary 50's hype, but it's still fun to watch even now and without the means to properly behold them. "The Mad Magician" is also interesting from a periodical setting point of view, as the events take place around the time fingerprints were starting to get used as evidence material and the character of Alice Prentiss is an obvious reference towards famous crime authors of that era. Needless to state that Vincent Price remains the absolute most essential element of triumph in this film, as well as from nearly every other horror movie this legendary man ever starred in. Like no other actor could ever accomplish, Price depicts the tormented protagonist who gradually descends further and further into mental madness in such an indescribably mesmerizing way. You pity Don Gallico, yet at the same time you fear him enormously. You support his vile acts of retaliation and yet simultaneously you realize his murderous rampage must end in death. Vincent Price simply was a genius actor and, in my humble opinion, the embodiment of the horror genre. | positive |
Shower keeps within itself in so many ways. Almost all of the movie takes place in an old- time bathhouse, with the denizens supplying the humor, pathos, and emotional touches. The love and friendship between the proprietor and his retarded son is deep and moving. The way the older brother is drawn into this tiny world seems unforced and persuasive. The plot is meandering, full of surprises and ironies, and touched overall by a sense of what I'd have to call neighborliness in the relations and conflicts of the performers. This is a film I pull out when I want to believe in the world again. | positive |
Mimicking its long title the movie finds ways to come close to the 90' mark. The beautiful sets are here with all that made the Hamer production values a trademark, yet Paris drowned in the fog is a sign of indolent neglect. The story is obvious and can be summed up in a dozen words so there comes nothing unexpected and nothing worth more than 5% of your attention to be expected.<br /><br />The directing is heavy as a direct transfer from the stage play, actors are mostly stiff as wax figures (ok this is a Hamer feature, only it's sometimes better featured in the whole package). My conclusion: this movie is trash, not worth the time I spend that evening. Eternal life is a boring matter and I should have hoped the guys in charge of programming at the Cinemathèque would have known better. | negative |
"The Invisible Mouse" is a delightful and different Tom & Jerry's cartoon. It features the usual cat/mouse chases and battles, but in a different way this time. Jerry accidentally falls in a bottle of invisible ink and is obviously very glad about this because he realizes that he can prepare lots of "surprises" for Tom, scare him, torment him and confuse him.<br /><br />As much as it is weird, it's also very cool and funny to see what we can't see: Jerry invisible. It's amusing to see things lifting up in the air without seeing who's doing it (we know who, right?) - it's like those things had a life of their own or even almost like a matter of ghosts. It's equally amusing to see Jerry eating some candies and fruits while he's invisible. I really like that instrumental music which plays when he's not visible.<br /><br />Some of the best jokes on this short are when Tom sees Jerry's shadow and slams him and even when Tom tries to slam him with a frying pan and Jerry writes "Missed me". I also like when Jerry drinks Tom's chocolate milk, becoming visible again and with a happy look on his face.<br /><br />Overall, this short has the basic ingredients needed for a classic cartoon: humor, entertainment, fun and some nice artwork too. | positive |
I watched this film with a group of Nazis, a French Archaeologist and my ex-girlfriend on a small island in the Mediterranian.<br /><br />When the tape was started, myself and my girlfriend were tied to a wooden stake at the far end of this cave like area. I told her to close her eyes and no matter what happened not to open them. The Nazi's and the archaeologist didn't close their eyes and after a few seconds started screaming. The Nazi's faces melted and the archaeologist's head exploded.<br /><br />After a few seconds the video tape popped out of the VCR and landed back in it's box and the top snapped shut. Myself and my girlfriend were left unharmed.<br /><br />Consequent to this experience, the video cassette was put in a wooden crate and stored in a huge warehouse of identical wooden crates, never to be see again. | negative |
I bought the video rather late in my collecting and probably would have saved a lot of money if I bought it earlier. It invariably supersedes anything else on those "Cosmo's moon" nights. Cher and Olympia certainly deserve their awards but this is really a flawless ensemble performance of a superb screenplay. What? You don't know what a "Cosmo's moon" is? | positive |
I really liked this movie. Number 5, the star robot of the movie gets hit by lightning and some thing happened to his circuits. He act and thinks more like a human.The robot repeats commercials he learns after watching TV. He then applies these sayings to his circumstances. Number 5 is quick witted and funny. The character imitates voices of stars, tries to dance like John Travolta in Staying Alive and a lot of other things. He has a saying for most of his circumstances that he memorized. The actions of the robots is really good. Number 5 wants to drive, cook and please Stefany with all the characteristics of a human. The way the robots move and line up is really hysterical.I am disappointed that the writers could not keep this clean for all viewers. This movie has a surpris ending something you would not expect. I hate movies that have swearing in them even though I like them I give them a lower rating. This movie had swearing words. Jesus Christ was used as swearing word which offends me it is used a least 3 times. G-d D-m, Bull sh_t etc. It could have been a wonderful movie with out all this offensive language. There is no sex in this film, some violence like robots blowing up cars and machines. | negative |
I can watch B,B&C and feel all the emotions I felt when I first saw it at aged 18 well,maybe all but one.Certainly Miss K.Novak has lost none of her silky allure in nearly half a century.She was a thinking youth's Diana Dors.All those thinking youths now collecting their pensions can briefly regain the heart - clutching,collar - tightening,blood - pulsing ardour they felt when she gazed directly into their eyes back in the days when they were being told that they had never had it so good. Now,huddled up against the cold and fearful of being mugged by a Hoodie,they scuttle home as fast as their arthritic knees can carry them from the Video Shop,relatively happy in the certain knowledge that within the triple - locked comparative safety of their fourth - floor tower block flat they can regain just a small fragment of their lost youth and perhaps reflect that love truly is eternal. This movie is Miss Novak's Golden Moment.She seized it avidly and gave a performance of awesome voluptuousness combined with a hypnotic awareness of her own sex - appeal and,despite all this,she convinces us that her character possesses a strange and beguiling innocence. She completely dominates the amiable Mr J.Stewart who seems resigned to handing her the movie.Misses E.Lanchester and H.Gingold offer comic relief along with Mr E. Kovacs whose peculiar talents are strictly proscribed.Mr J.Lemmon plays Miss Novak's brother.He is a beatnik,a species that disappeared as soon as it realised that its existence was being acknowledged by the mainstream.Some of the more hardcore beats reinvented themselves as hippies a few years later.Certainly they had become figures of fun by 1958 and Mr Lemmon does not appear overly concerned with restraint in portraying one. But all else is mere frippery,Miss Novak - bathed in a particularly beautiful spectrum of Technicolor - is the sole raison - d'etre for "Bell,Book and Candle".It survives,its reputation enhanced,as the ultimate showcase for one of Hollywood's most beautiful women. Loved by moviegoers,ignored by critics,Miss Novak will continue to captivate with that enigmatic smile all the time thinking old men have the strength to push the "Play" buttons on their DVDs.One day,probably after we are all gone,she will be discovered by a new generation who will - belatedly - realise that it is quite possible for a woman to be fully - dressed and sexually attractive at the same time. | positive |
This film is really unbelievable. I've seen so much cheap trash-movies, especially a lot 'Full Moon'-Pictures, but 'Dollman' is really hard. So much comes together: the laughable story, the actors always at the edge of parody and the special effects! How long I could talk about them! It is a really bad movie, but also one of the funniest ones. If you're a fan of bad movies to laugh about, you have to see it. And don't miss 'Dollman vs. Demonic Toys'. It really funnier and worse. | negative |
He-he-hello!! This is a really fun movie. Basically, in Party Girl, you have your fun-lovin', independent, early 90's New Yorker chick. Along with her party friends, she meets a mature Turkish Vendor. It is a comming of age story for those new adults who are searching for what they want to do. It is comforting to see a female slacker develop into a mature woman. Hope is given to all of us slackers who might feel like their only skills are being able to maintain while hammered and a nack for throwing good parties.<br /><br />On a side note, Parker Posey makes this movie great. I have never been a great fan of her, but this movie makes me just want to watch all of her movies. There are subtle manerisms that perfected her character. If you want good laughs and a fun time, make sure to watch this movie. Repeated viewings are a must. | positive |
This movie is perfect for any aspiring screen writer, actor or director. By watching this movie you will see all the things that are wrong with the film industry as it is today. There are so many clichés that it pained me to sit through this movie. Nothing about it is original and every single line spoken has been ripped off from those clichéd movies that we all saw in the 90's. Although it does have a few cheap laughs, overall it is wrong wrong wrong. I was so immensely bored and the movie was so predictable and pathetic i actually noticed how much make-up was caked onto Tara Reid's face to hide those massive bags and wrinkles from her endless partying. Seriously, she was wearing so much foundation you could literally scrape it off and refill an entire bottle of it.<br /><br />What shocked me though was that so many of the talented and popular cast would sign on for this piece of junk. And i do NOT know how i sat through that horrible screaming that Ashton Kutcher does, you know when he's like angry or something and he shouts his words in this annoying manner? Ashton's horrifying "talking", Tara's face being ten shades darker than her neck, a drugged up owl, a script that seemed like the work of a three-year-old...<br /><br />Seriously, in my whole life there has been no movie that i have watched that i did not in someway enjoy no matter how bad it was. This deserves an award for being the first. BAD BAD BAD... I don't think there is a single word in the English dictionary that can possibly describe this trashy movie. Today i was trying to re-watch it but i had to turn it off like ten minutes in because i was about to cry from the overwhelming amount of clichés.<br /><br />Don't even bother to rent this at your blockbuster, it's not worth a cent, as a matter of fact i am willing to pay anyone out there considering to watch this movie so they can go do something decent with their lives. | negative |
This is a great entertaining action film in my opinion, with cool characters, lots of action, and an amazing performance from Dolph Lundgren, however Alex Karzis is awful as the villain!. The story is very good, and i found the kids to be likable for the most part, plus Dolph Lundgren is simply amazing in this!. The action scenes are excellent, and it's almost like Die Hard except it's set in a school!, plus Kata Dobó is very menacing and sexy as the sidekick!. The finale is very exciting, and it has a couple of cool emotional moments as well!, however i just wished it had another villain, because Alex Karzis just didn't cut it as the villain way too OTT, and laughable for my tastes. This should be higher then 4.1 in my opinion, as i thought it was a great action film, and while the kids, were very stupid at times, they got quite resourceful as the movie went along!, plus the shootouts were pretty cool as well!. The ending is very amusing,and Corey Sevier's character was my favorite student!, plus Dolph has still got it!. This is a great entertaining action film in my opinion, with cool characters, lots of action, and an amazing performance from Lundgren!, but Alex Karzis is awful as the villain, still i highly recommend this one!. The Direction is very good!. Sidney J. Furie does a very good job here with great camera work, good angles, and keeping the film at a very fast pace!. There is a bit of blood and violence. We get lots of extremely bloody gunshot wounds,knife in the side of the head, bloody arrow hits, an impaling, and other minor stuff. The Acting is fantastic!. Dolph Lundgren is amazing as always, and is amazing here, he is extremely likable, kicks that ass as usual, had great chemistry with the kids, had an awesome character, is very charismatic, and he may not have shown a great emotional rage, he still was a hell of a lot of fun to watch!, he is one of my favorite actors! (Lundgren Rules!!!!!). Alex Karzis is god awful as the villain, he is laughably OTT, was boring, and not menacing at all, he also annoyed the crap out of me. Kata Dobó is very sexy as the side kick and did fine with what she had to do, she was the real villain in my opinion!. Corey Sevier is funny as Mick, he was my favorite student, and i really started to warm up to him in the 2nd half, i liked him a lot!, he had good chemistry with Dolph too. Dov Tiefenbach(Willy),Chris Collins(Hogie),Mpho Koaho(Jay Tee),Danielle Hampton(Alicia),Nicole Dicker(Charlee) all do great as the students. Jennifer Baxter is very cute and is good as The fiancée. rest of the cast do fine. Overall i highly recommend this one!. ***1/2 out of 5 | positive |
The movie was slow, the dialogue between actors/actresses felt "flat" and basically there was no development of the characters in the story.<br /><br />Omar Epps skulks around with a mad look on his face the entire time, pouting and basically looking annoyed with everybody. Danes has no on-screen magic, and Ribisi's character is a goober that nobody would want to hang out with even if they were paid to do so.<br /><br />Throw in the weird scene where Epps has to dance with an old man, and you have what quite possibly COULD BE the worst movie in cinema history.<br /><br />I watched it on satellite (thank goodness I didn't pay for it), and wished I hadn't.<br /><br />Do yourself a favor and go sort your underwear and socks drawer if you need something to do but are tempted to watch this movie when/if it comes on your TV. Awful movie if you ask me, and I generally have something good to say about just about any movie out there. | negative |
The director does not know what to do with a camera... too many options and she always always always picks the wrong one... she let travolta take charge... and he controls the movie from the beginning to the end... the characters are not developed... maybe because we need to watch them singing... no pace at all, sometimes too fast sometimes too slow... miscasted: travolta OK... johansson, she is too grown up to be a 18... even if she is really 20...<br /><br />the happy ending? well it looks like that there must be one, so the story is sad but not too sad... travolta doesn't know how to play a guitar but the director doesn't look she cares too much that he is totally out of synch... <br /><br />the idea is the only thing that is great... but how she developed it? well, it is simply full of stereotypes and lines heard too many times...<br /><br />too bad, another missed chance... | negative |
this movie was horrible. I could barely stay awake through it. I would never see this movie again if I were payed to. The so-called horror scenes in it were increadably predictable and over played. There was really nothing about this movie that would have made it original or worth the $7.50 I payed to see it. Don't go see it, don't rent it, don't read about it online because any of these things would be a complete waste of your time. Sarah Michelle Geller gave a lackluster performance and really should be ashamed of herself for sullying her good name with this movie. Shame on you Sarah for being associated with this horrible, horrible movie. Horrible movie, no need to ever see it. | negative |
I got this movie out of Blockbuster in one of those racks were you can get like 5 movies for 20 bucks. I'd have to say I got my money's worth on this one. I had expected horrible dialogue, crappy monsters, and shaky cameras. Well, as Meatloaf said, two outta three ain't bad.<br /><br />The acting is bad, though not as bad as some movies I've seen. Or maybe I've watched so many low budget movies recently I've lost perspective. There are some bits were the acting is downright terrible, but for the most part it's of at least High School Play level.<br /><br />The CG for the Sasquatch in this movie is probably the second-worst part. The first thing I thought when I saw it (and I noticed another reviewer agreed with me) was that a man in an ape suit would have been better. Clunky stop-motion animation would have looked better.<br /><br />So you may be asking why I call the CG the second-worst part. That's because the very worst part of the movie is the sound effects. They are loud, annoying, and constant. I've been camping, I know what insects sound like in the woods at night, and while they can be loud, they're not deafening like the cacophony in this movie. Usually when the "background" sounds drown out the movie's dialogue, it's a bad thing, but from what I caught of the dialogue of this film, I wasn't missing much.<br /><br />The action was infrequent and boring. The tension was non-existent, as was any sense of empathy with the characters. Speaking of the characters, they were all cookie-cutter and bland. The only mildly engaging byplay was between...actually, I can't think of anything. There was a line or two that made me crack a wan smile, but that was about it.<br /><br />The cinematography was decent, a step or two above what you'd normally see in a movie like this. However, it still had that "home movie" quality to it that you get with movies made on pocket change and a prayer. <br /><br />If you're like me and get a kick out of shoestring budget genre flicks, and you see this one in the dollar bin, think about grabbing it. Otherwise, stay away at all costs. | negative |
"Footlight Parade" is fascinating on so many levels. There is no way the supposedly staged "theater prologues" could have been produced in any theater on earth, of course. Think of the huge pools and three-story tall fountains for "By A Waterfall," for instance. (Berkeley directed John Garfield in "They Made Me a Criminal" six years later and had the Dead End Kids singing "By a Waterfall" as they took their showers.) <br /><br />"Shanghai Lil" is the best production number in the picture. It's a catalog of '30s Warner Bros. sensibilities. Note the African guys mixed into the scene with white and Asian prostitutes. You would never see blacks integrated into a social scene in other films of the period unless they were porters on a train or maids in a big house. Here the black guys are sitting at the bar and singing with the others. I also get a thrill when the military dancers do a "card section" presentation of Roosevelt's image. There's also the NRA eagle--the logo of the controversial National Recovery Administration of the New Deal. FDR was the new president and hopes were so high that he'd pull the nation out of the Depression. You'd never see something so working class oriented coming out of MGM, of course. Warner Bros. wholeheartedly supported the uplift dictated by the F.D.R. administration. <br /><br />Dear little Miss Ruby Keeler was never better than she is playing the Chinese hooker, "Lil." She hardly even watches her feet as she dances, which was one of her signature flaws. <br /><br />The Pre-Code stuff is fun. The "By a Waterfall" number is wonderful in that regard. The girls change into their bathing suits on the crowded bus speeding through Times Square with all its lights on. The spread-eagle girls swimming over the camera provide the kind of crotch shots that would not be seen for 35 years. In a few months the Production Code would eliminate such naughty pleasures. | positive |
When George C. Scott played the title role in "Patton," you saw him directing tanks with pumps of his fist, shooting at German dive bombers with a revolver, and spewing profanity at superiors and subordinates alike. The most action we get from Gregory Peck as "MacArthur," a figure from the same war of debatably greater accomplishment, is when he taps mapboards with his finger and raises that famous eyebrow of his.<br /><br />Comparing Peck's performance with Scott's may be unfair. Yet the fact "MacArthur" was made by the same producer and scored by the same composer begs parallels, as does the fact both films open with the generals addressing cadets at West Point. It's clear to me the filmmakers were looking to mimic that Oscar-winning film of a few years before. But while Peck looks the part more than Scott ever did, he comes off as mostly bland in a story that feels less like drama than a Wikipedia walkthrough of MacArthur's later career.<br /><br />"To this day there are those who think he was a dangerous demagogue and others who say he was one of the greatest men who ever lived," an opening title crawl tells us. It's a typical dishwater bit of post-Vietnam sophistry about those who led America's military, very much of its time, but what we get here is neither view. MacArthur as presented here doesn't anger or inspire the way he did in life.<br /><br />Director Joseph Sargent, who went on to helm the famous turkey "Jaws The Revenge," does a paint-by-numbers job with bland battle montages and some obvious set use (as when the Chinese attack U.S. forces in Korea), while the script by Hal Barwood and Matthew Robbins trots out a MacArthur who comes across as good-natured to the point of blandness, a bit too caught up in his public image, but never less than decent.<br /><br />Here you see him stepping off the landing craft making his return to the Phillipines. There you see him addressing Congress in his "Old Soldiers Never Die" speech. For a long stretch of time he sits in a movie theater in Toyko, waiting for the North Koreans to cross the 38th parallel so we can get on with the story while newsreel footage details Japan's rise from the ashes under his enlightened rule. Peck's co-actors, Marj Dusay as his devoted wife ("you're my finest soldier") and Nicolas Coaster as a loyal aide, burnish teary eyes in the direction of their companion's magnificence but garner no interest on their own.<br /><br />Even when he argues with others, Peck never raises his voice and for the most part wins his arguments with thunderous eloquence. When Admiral Nimitz suggests delaying the recapture of the Philippines, a point of personal pride as well as tactical concern for MacArthur, MacArthur comes back with the comment: "Just now, as I listened to his plan, I thought I saw our flag going down." Doubtless the real Nimitz would have had something to say about that, but the character in the movie just bows his head and meekly accepts the insult in the presence of President Roosevelt.<br /><br />The only person in the movie who MacArthur seriously disagrees with is Harry S Truman, who Ed Flanders does a fine job with despite a prosthetic nose that makes him resemble Toucan Sam. Truman's firing of MacArthur should be a dramatic high point, but here it takes place in a quiet dinner conversation, in which Peck plays MacArthur as nothing less than a genial martyr.<br /><br />I've never been sold by Peck's standing at the upper pantheon of screen stars; he delivers great presence but lacks complexity even in many of his best-known roles. But it's unfair to dock him so much here, as he gets little help defining MacArthur as anything other than a speechifying bore. Except for two scenes, one where he rails against the surrender of the Philippines ("He struck Old Glory and ran up a bedsheet!") and another where he has a mini-breakdown while awaiting the U.S. invasion of Inchon, inveighing against Communists undermining him at the White House, Peck really plays Peck here, not the complex character who inspired the famous sobriquet "American Caesar." The real MacArthur might have been worthy of such a comparison. What you get here is less worthy of Shakespeare than Shakes the Clown. | negative |
Playwright Sidney Bruhl (a wonderfully over-the-top Michael Caine) would kill for a hit play. Enter young wonder kid (a solid Reeve) who's just written such a play. Weave into this Bruhl's overly hysterical wife (superbly played by Cannon) and a German psychic (a very funny Irene Worth) and you've got yourself a wonderfully funny suspense flick.<br /><br />While not up to "Sleuth" standards, "Deathtrap" is none the less a very capable, twist filled comical suspense ride based on a terrific play by Ira Levin. The performers are obviously having a field day with the material, with Caine in particular delivering top notch lines with gusto.<br /><br />The film loses a bit of steam midway through and the ending is a lot less satisfying than the hilarious one in the original play but overall "Deathtrap" is solid, well acted and suspenseful fun. | positive |
I like dark humor and non-PC stuff, but not if it is with no purpose but to elevate yourself. Bashing a group of people without any trace of self-irony is crap.<br /><br />There are people who could make concentration camp jokes funny, but whoever made this film unfortunately failed even in the VERY easy task of making fun about Turks in Germany. It is a very easy task, but if your are the Germany equivalent of an inbred redneck (=inbred Southerner from a village where virginity is often lost to farm animals) you certainly will fail at this and also at life. I have heard and seen so many funny stuff about minorities in Germany, but this "movie" (this piece of crap being listed here is an insult to the next worst movie) sucks like the calf the makers of this movie met some years ago. | negative |
I cannot comprehend how this picture was allowed to be made. It is mostly, if not completely, inaccurate so much so that the main character does not even resemble how history has him look physically. This movie made me go on the internet and go through my books to make sure I remember Nero's personality correctly. For God's sake, I have a book that lists Nero as one of the most evil person's of the world and the movie made me feel bad for him. I must say Aggrapina's character seemed close to my understanding of her, both physically and psychologically. Although, the actors all did a good job, the movie was terrible and I'm sure I will not watch any others made by this sorry team. | negative |
Along with "King of the Rocket Men", this was still being repeated on BBC TV in the early to mid eighties. If I was loading up a time capsule of this period both these series would definitely go in.<br /><br />Someone watching it for the first time will think it is silly but this is one of the best examples of the "Serials". Don Del Oro will make you laugh (When I was little my nickname for him was Mr Dustbin head) and it was funny upon being shot at he says "Your bullets can't harm me" then he stumbles back, seemingly less than happy. I also like the way he dispenses with Sebastian in the first episode.<br /><br />I watched this again because I had good memories of it from years back, there are some good stunts and good music, it has the ingredients you expect including water,rockfalls,runaway carts... Apart from the first episode(with Ralph Faulkner)the swordplay wasn't nearly as good as I remembered it, and yes it features the inevitable "flashback" episode! It gets 8 out of 10 because it still suffers from slow pace, padding and the other tricks. If you are interested in these serials I recommend the book by William Witney, "In a Door, Into a Fight, Out a Door, Into a Chase" although there is only a small entry about this series in it. | positive |
Milo is an overlooked & underrated horror flick from the late 90's but the feel and atmosphere is more that of an 80's horror flick. Seems a bunch of little girls are taken to "see things" at the office of Milo's father, a gynecologist, and as a reward for getting to see what's there in jars (yes, a gynecologist plus something else...) one girl plays "doctor" with Milo. Hmm, his first patient and he lost her. Now Milo is a creepy little kid that always wears a yellow rain slicker, rain or shine, and he talks funny....but that's not all that's strange about him. Fast forward to the present where these girls are adults and there's a wedding planned for one of them but tragedy strikes and leaves one girl that came in from out of town with a choice of whether or not to replace her friend as a school teacher, which she does. And then strange things begin to happen again. Which of course involve this little kid in a rain slicker. This isn't overly violent or graphic but has a distinct creepiness that you don't find in many modern horror flicks, and it's well worth seeing. One wonders why it's so hard to find any good horror flicks in this day & age but here's one that's criminally overlooked and definitely worth your time if you check it out. 8 out of 10. | positive |
Berlin-born in 1942 Margarethe von Trotta was an actress and now she is a very important director and writer. She has been described, perhaps even unfairly caricatured, as a director whose commitment to bringing a woman's sensibility to the screen outweighs her artistic strengths. "Rosenstrasse," which has garnered mixed and even strange reviews (the New York Times article was one of the most negatively aggressive reviews I've ever read in that paper) is not a perfect film. It is a fine movie and a testament to a rare coalescing of successful opposition to the genocidal Nazi regime by, of all peoples, generically powerless Germans demonstrating in a Berlin street.<br /><br />Co-writer von Trotta uses the actual Rosenstrasse incident in the context of a young woman's search for information about her mother's never disclosed life as a child in the German capital during World War II.<br /><br />The husband of Ruth Weinstein (Jutta Lampe) has died and in a surprising reversion to an orthodox Jewish lifestyle apparently hitherto in long abeyance, Ruth not only "sits shivah" (the Jews' week-long mourning ritual) but she insists on following the strict proscriptions of her faith. Her apartment in New York City reflects the affluence secured by her deceased spouse's labors. Her American-born daughter, Hannah (Maria Schrader) and her brother are a bit put-off by mom's assumption of restrictive orthodox Jewish practices but they pitch in. The mother coldly rejects the presence of Hannah's fiance, a non-Jew named Luis (Fedja van Huet). A domestic crisis might well erupt as Ruth warns that she'll disown Hannah if she doesn't give up doting, handsome Luis. Stay tuned.<br /><br />A cousin arrives to pay her respects and also drops clues to an interested Hannah about a wartime mystery about mom's childhood in Berlin. Hannah is intrigued - she queries her mom who resolutely refuses to discuss that part of her life. This is very, very realistic. I grew up with parents who fled Nazi Germany just in time and I knew many children whose families, in whole but usually in part, escaped the Holocaust. Those days were simply not discussed.<br /><br />So Hannah, having learned that a German gentile woman saved Ruth's life, traipses off to Berlin hoping to find the savior still breathing. Were she not, this would have been a very short film. But Ruth, pretending to be a historian, locates 90 year-old Lena Fischer (Doris Schade), now a widow. As the happy-to-be-interviewed but shaken up by repressed memories Lena tells her story, the scenes shift fairly seamlessly between present day Berlin and the war-time capital.<br /><br />The young Lena of 1943 (Katja Riemann) was a fine pianist married to a Jewish violinist, Fabian Fischer (Martin Feifel). With the advent of the Nazi regime he was required to use "Israel" as a middle name just as Jewish women had to add "Sarah" to their names(incidentally I wish IMDb had not given Fabian's name on its characters list with the false "Israel" included-it simply perpetuates a name applied by Nazis as a mark of classification and degradation).<br /><br />While Germany deported most of its Jewish population to concentration camps, those married to "Aryans" were exempted. For a time. Until 1943 when the regime decided to take them too (most were men; a minority were Jewish women married to non-Jews). The roundup is shown here in all its frightening intensity.<br /><br />The young Lena tries to locate her husband. All she and many other women know is that they're confined in a building on Rosenstrasse. The crowd of anxious women builds up, some piteously seeking help from German officers who predictably refuse aid and also verbally abuse them ("Jew-loving whore" being one appellation). As a subplot Lena more or less adopts eight-year-old Ruth who hid when her mother was seized (remember, Ruth is now sitting shiva in Manhattan). The child Ruth is fetchingly portrayed by Svea Lohde. <br /><br />Through increasingly angry protestations the women finally prevail. The men, and a handful of women, are released. As in the real story the Nazis gave in, one of the rare, almost unprecedented times when the madmen acknowledged defeat in their homicidal agenda (another was the termination of the euthanasia campaign to rid the Reich of mental defectives and chronic invalids but that's another story).<br /><br />Von Trotta builds up the tension and each woman's story is both personal and universal. Hannah continues to prod the aging Lena who slowly, one gathers, begins to suspect she's not dealing with an ordinary historian but rather someone with a need to learn about the girl she rescued, the child whose mother was murdered.<br /><br />The contrasts between Rosenstrasse of 1943, a set, and the street today in a bustling, rebuilt, unified Berlin provide a recurring thematic element. Today's Berlin bears the heritage but not the scars of a monstrous past. Von Trotta makes that point very well.<br /><br />The main actors are uniformly impressive. Lena's husband while strong is also shown as totally helpless in the snare of confinement with a likely outlook of deportation (which is shown to have been clearly understood by all characters - including the local police and military - as a one-way trip to oblivion). The older Ruth is catalytically forced to confront demons long suppressed in her happy New York life. Hannah is very believable as a young woman whose father's death triggers a need to discover her family's past. These things happen (although the Times's critic appears not to know that).<br /><br />Von Trotta's hand is sure but not perfect. A scene with Goebbels at a soiree enjoying Lena's violin playing is unnecessary and distractive. The suggestion that she may have gone to bed with the propaganda minister, the most fanatical top-level Hitler worshiper, to save her husband detracts from the wondrous accomplishment of the demonstrating spouses and relatives. Most of the German officers come from central casting and are molded by the Erich von Stroheim "copy and paste" school of Teutonic nastiness. But that's understandable.<br /><br />The Rosenstrasse story has been the subject of books and articles and some claim it's a paradigm case for arguing that many more Jews could have been saved had more Germans protested. Unfortunately that argument is nonsense. The German women who occupied Rosenstrasse were deeply and understandably self-interested. Most Germans were located on a line somewhere between passive and virulent anti-Semitism. THAT'S why the Rosenstrasse protest was virtually singular. Whether one buys or rejects the Goldenhagen thesis that most Germans were willing accomplices of the actual murderers it just can not be denied that pre-Nazi endemic anti-Semitism erupted into a virulent strain from 1933 on.<br /><br />The elderly Lena remarks that what was accomplished by the women was "a ray of light" in an evil time. Most of the men and women sprung from a near death trip survived the war. So "a ray of light" it was and von Trotta's movie is a beacon of illumination showing that some were saved by the courage of largely ordinary women and for every life saved an occasion for celebration exists. And always will.<br /><br />9/10 | positive |
This is one of those rare comedies where try as you might, you can't help but giggle, chortle, guffaw and yes, even laugh out loud. The lead actor's performance as Hyde is pure manic genius. See if you can keep a straight face when he does his transformation. Good luck. :) On the downside there are times when the movie does bog down. It seemed longer than its 90 minutes. | positive |
Its too bad a lot of people didn't understand this and the next episode.<br /><br />But don't worry! ill explain it too you :)<br /><br />This episode is split in 2 parts.<br /><br />first part is Tony's "Dream" in his coma. Second part is what happens in real life.<br /><br />now what people didn't understand is that Tony's dream is more then just a dream. in this episode its about his preparation for his Death. He loses his own identity and eventually even forgets himself, thus he disconnects all his bindings with this world. You will notice what I'm saying at the doctor scene, where tony says he has lost his briefcase which contains "his life". They makers really did a superb job of interpreting they're own thoughts of what happens when you die. <br /><br />If you understand the whole plot you will find this and the next episode an unique thing, with great spiritual meanings.<br /><br />Like every sopranos episode the acting and filming is superb. <br /><br />Only thing i didn't understand was what the role where of the monks. gonna re watch it till i get this.<br /><br />anyways this episode really touched me, and i don't think anyone else can make a better view of what happens in a almost death experience.<br /><br />10/10 no doubt. | positive |
This movie kept me constantly entertained. In comparing this to Serial Mom, Mr. Waters has gone back to his grittier side. This is not nearly as polished.<br /><br />There is a dark side here. A message about how success and fame changes a person -- but more importantly how it changes the people around you.<br /><br />There is not a false moment in this film.<br /><br />The characters are somewhat cartoonish... but I want to believe that is what Mr. Waters is trying to achieve.<br /><br />It is fascinating to watch how Mr. Waters has evolved... This is truly his finest work. | positive |
Yes, you can look at Babette's Feast as some sort of slap at Puritanical Christianity, but it is much more than that. The surface story of how a gifted Parisian cook flees Paris after one of its revolutions by the middle classes and finds herself cast ashore in Jutland in the north of Denmark is simply the grease that allows the deeper tale to develop.<br /><br />Babette is an artist, one of the small army of people who are driven from pillar to post over the centuries by fatuous politicians, vane, greedy and arrogant, who kill beauty for profit, something that politics always does, pace National Endowment for the Arts, which simply institutionalizes creativity for propaganda purposes.<br /><br />Babette is on her last legs as she arrives in the tiny village where two virginal sisters reside seeing over their diminishing flock of devotees to their late pastor father. They live on salt cod and black bread gruel. <br /><br />Babette shows these simple pious people that God is in pleasure and sensuality as well as behavioral and mental purity. She also shows them how that mental purity can lead to control freakishness, something we all know about in these days of the neo-authoritarians in government who would limit our personal freedoms because they are somehow a crime against the state, or as they would tell us, humanity.<br /><br />Babette cooks up a bang-up French dinner to celebrate the 100th birthday of the late reverend. The daughters and their flock think it is the devil come amongst them and vow not to notice the food or drink. <br /><br />It is at this point, in the preparing of the meal, payed for by Babette's winnings in a French lottery, that I begin to tear-up. It is a poignance brought about in comparison to the daily vulgarity and mendacity that floods our consciousness from morning to night via the media and power-mongers manoeuvring to gain advantage over all of us out here in the dark.<br /><br />The simple sophistication of Babette's art spits in the face of all the pretentiousness on display in our modern society, and it hurts to watch it played out so exquisitely in this splendid film.<br /><br />It is, along with Fanny och Alexander (Bergman), my favorite film ever, yet I can only watch it once in awhile because, like a rare bottle of wine served with Blinis and fresh oysters, it is something that must not be over-done. <br /><br />A great, great film that should be in every movie-lover's library. | positive |
I saw this movie when I was very young living in Houston, Texas. I really enjoyed this movie, and I wrote to Jean Peters in Hollywood, and I told her how much I enjoyed seeing her in this movie. She sent me an autographed photo. This movie was directed by Jacques Tourneur, and besides Jean Peters in the starring role. It also stars Louis Jourdan, Debra Paget, and Herbert Marshall. It was released in 1951 in color and is 81 minutes long. Jean Peters was married to Howard Hughes. She also starred in "Viva Zapata" with Marlon Brando, Anthony Quinn, who won an Oscar for playing the role Zapata's brother (Marlon Brando starred as Zapata) (1952). And she also starred in "Captain from Castile" (1947) with Tyron Power. Since then I've been trying to find a place where it is available, but so far I have not been successful. Does anybody have any suggestions about where I can find and purchase this movie? It this comment contains spoilers, I am unaware of it. | positive |
The Russian space station 'Avna' with a crew of four Russians and two Americans is threatening to re-enter the Earth's atmosphere in a matter of days. Russia asks for NASA's help in rescuing the stranded crew and NASA scrambles the space shuttle Atlantis. The NSA also have an interest in the 'Prometheus', a prototype microwave power source being tested aboard 'Avna' and organise for one of their men to be placed on the mission.<br /><br />That's the plot. Onto less important things. The space station and the shuttle are the same, blatantly obvious models used in 'Fallout', 'Memorial Day' and 'Dark Breed' (and a handful of other films, I suspect). The model effects are so obvious throughout the entire movie and make the film look very 1960s. The sets are a little better but are far too '80s for what is supposedly a brand new station built by an American company (which later comes in as part of a conspiracy to destroy 'Avna' and the 'Prometheus' and claim the insurance. The script has a few good moments (including Yuri's farewell and the little spiel at the end) but is otherwise fairly bland and sub-standard. The acting is okay; the only real standout performance comes from Alex Veadov who offers up some of the film's better dialogue. Michael Dudikoff is, surprisingly, one of the best parts about this film. Ice-T is Ice-T. 'Nuff said. The film offers a few surprises, though, that I don't wish to spoil.<br /><br />Certainly one of the better low-grade, contemporary-set sci-fi films of the last six years, but not the best. The film is watchable but the special effects and plot will probably put a lot of viewers off. Rent the other 'Stranded' sci-fi film instead. | negative |
It's been said several times - not least by me - that watching an Eric Rohmer film is like watching paint dry; it seems that Monsieur Rohmer resents this (he doesn't deny it, but then how could he, he just resents it) so much so that his new movie, which may also be his last, Inch Allah, is set so far back in time that it's like watching woad dry. Those wonderful people who gave you the Nouvelle Vague, Cahiers du Cinema have already named it one of the best films of 2007 so that should give you some idea. Reality is not high on Rohmer's agenda so that in 5th Century France we have at one extreme a château that would not be out of place in the Loire valley whilst the only other dwelling we see is a rude wooden hut. The story involves nymphs and shepherds and as he often does Rohmer has cast it with unknowns who just happened to be passing so that the overall effect is that the annual class play at a school for Special Needs pupils was captured on film by accident. One is almost tempted to say 'Come back Godard, all is forgiven' but even this woeful production can't make me utter those words. | negative |
Two years ago at Sundance I loved Josh Kornbluth's directing debut-Haiku Tunnel. So I was looking forward to his brother (and frequent collaborator) Jacob's, The Best Thief in the World. This is a drama about a seemingly good kid growing up in a lower-class area of New York. The movie is not without its poignant moments. But at times it is as if Kornbluth is working way too hard to state the obvious: Life can be very difficult for some people. And life isn't fair.<br /><br />More subtle, and more important, is our understanding that despite all of these somewhat abhorrent cultural underpinnings and the anti-social behavior they may spawn, these characters have no shortage of goodness and humanity. We can recoil at their language and their living conditions, but we are cannot discount their intent. And in fact, their struggles to maintain a family under such adversity has a certain nobility that most of us can barely appreciate. Kornbluth grew up in this neighborhood, and his compassion for the people is evident throughout.<br /><br />Having said all this, The Best Thief in the World suffers from many painful flaws (including the title). The characters aren't very believable. The writing is uneven. And the plot-line is barely discernible. And for many the most disturbing is that Kornbluth uses two young black boys mimicking gangsta rap between scenes. To each his own: But while I don't question the potential realism of this phenomenon, it pains me to see 5-year-old children mf'ing and talking about having sex with a line-up of women. It's unnecessary shock value and is a forced bit of borrowed interest. | negative |
If you cannot enjoy a chick flick, stop right now. If, however, you enjoy films that illustrate complex characters and provide extraordinary acting, read on.<br /><br />Ann Grant Lord is dying. Her two daughters arrive to be at her bedside. Ann begins talking about people from her past of whom the daughters are unaware, and they question as to whether these lost acquaintances are real or imagined. They come to realize that these people from their mother's past are, indeed, real.<br /><br />The story shifts, basically, between 1953 and circa 2000 with a few glimpses at Ann's life between those years. It was in 1953 that Ann met the love of her life and experienced her life's greatest tragedy.<br /><br />One of Ann's two best friends from college, Lila, is being married. Ann's other best friend is Lila's brother, Buddy. Lila and Buddy are the children of a rich Newport family, whereas Ann is a cabaret singer living in Greenwich Village who wants to be a free spirit but is still bound by many of those 1950's conventions.<br /><br />Soon after Ann arrives to be maid of honor at Lila's wedding, she meets the person who will become the pivotal character in the lives of the three - Harris. He is the adult son of a former servant of the family who grew up with Lila and Buddy and has gone on to become a physician in a small New England town. Ann immediately becomes enamored of Harris which adds a complication to the fact that Lila has always been in love with Harris and continues to be. Buddy, also, is in love with Harris, but being 1953, he has redirected that homosexual desire for Harris to his good friend, Ann for he cannot admit to himself that he has a sexual craving for another man. Buddy exhibits his inner frustration outwardly by being the alcoholic, wise-cracking bad boy of the family - much to the chagrin of his very proper and uptight parents.<br /><br />Needless to say, all of these expressed and repressed emotions lead to tragedy - after all this is a chick flick.<br /><br />In the present time, Ann's daughters have become distant from their mother and are suffering their own life realizations and doubts. Constance is working to emotional exhaustion trying to keep up her roll as perfect mother and wife. Nina, having always felt inferior, cannot maintain a relationship.<br /><br />Stir all of these relationships into a span of fifty years, and you get an intriguing look at society, its values, and its effects upon the personalities and actions of the complex people involved.<br /><br />All of the acting in Evening is excellent, but there are some extraordinary performances and scenes - along with two unique family relationships - that make this film so very, very special.<br /><br />Claire Danes plays the 1950's Ann, and she does it in a style that clearly shows an intelligent woman of those times who is conflicted by what she is supposed to do as opposed to what she wants to do. Her performance is not easily forgettable.<br /><br />Vanessa Redgrave plays the dying Ann whose mind shifts from the present, to the past, to flights of fantasy, and of course, Redgrave pulls it all off with sterling style.<br /><br />Natasha Richardson - Redgrave's real daughter - plays Ann's daughter, Constance, in the film. The scenes between this real life mother and daughter playing fictional mother and daughter are an insightful treat to watch.<br /><br />Toni Collette plays Ann's other daughter, Nina. Nina spends a good deal of her time being depressed and feeling sorry for herself while shutting out a good man who loves her as well as her mother and sister. Collette is perfect for a part such as this, but I have never seen her give a bad or unbelievable performance no matter what part she plays.<br /><br />Mamie Gummer plays 1950's Lila and shows us a woman even more conflicted of her expected role in life than her good friend, Ann. She is very good.<br /><br />Meryl Streep - Gummer's mother - plays present day Lila. What is there to say about Meryl Streep other than she always gives an insightful and rewarding performance.<br /><br />Director Lajos Koltai states in the DVD extras that he sought out Glenn Close to play the relatively small part of Lila's mother because he felt she was the only actress he could think of to play one scene in the film. He certainly was right, and Close's performance in that one scene etches it in your mind. All the other scenes in which Close is Lila's very proper mother, and you get another performance to treasure.<br /><br />There are three other scenes in the film, combined with the one featuring Close described above, that make the whole movie worth watching. On Lila's wedding day, Ann comes into her room and crawls into to bed with her friend to discuss Lila's misforgivings about her upcoming wedding to a man she clearly does not love. This scene is repeated fifty years later when Lila comes and crawls into bed with her dying friend Ann to talk about the lives they have lived. In this latter scene, Streep and Redgrave are enthralling.<br /><br />The other memorable scene - at least to me - is when Buddy declares his love for Ann. Hugh Dancy as Buddy gives us a heartbreaking performance of a young man torn apart by his conflicting sexual feelings. His performance is superior.<br /><br />Chick flick? Yes. A very special film with unbelievable acting, directing, and scenery? Definitely. I cannot recommend Evening too much. | positive |
It's hard to write 10 lines of copy about this so-so film noir. There just isn't a lot to say about it. It is not memorable enough to add to your collection, and I have a considerable amount of noirs.<br /><br />Paul Henreid plays a tough guy in here. He's not one I would think of to play this kind of role, but he's fine with it. He's a fine actor, anyway.<br /><br />Everything, including the cinematography, is okay-but-not memorable. One thing that stood out: the abrupt ending. That was a surprise. It was also a surprise to see this under the heading "Hollow Triumph." I've never seen the film called that. It's always been called "Scar."<br /><br />If you read about a "tense film noir," etc., don't believe it. "Tense" is not an accurate adjective for this film. | negative |
This movie was in one word. Terrible. First of all the people who invented that thingie that puts you in the TV, are slightly insane! Secondly, the three teens are so obsessed with the show, it's scary! The movie was stupid, and no effort or thought was put into it! | negative |
There I was on vacation when my host suggested we take in this B-Movie festival in Breda. I was resistant, as I hadn't gone on the trip to sit in a movie theater, but I've got to admit that I don't regret a second of this one (especially with Stephen Malkmus' contribution). It probably helped that I had no idea what to expect.<br /><br />SEA OF DUST starts out like a typical costume drama. We've got a young medical student going to help a doctor whose town is being destroyed by a crazy plague (which somehow involves exploding heads). On the way, he stops to visit his fiancé and gets thrown off the property by her father. Traveling on, he finds a girl lying on the road, another plague victim, and takes her along to the doctor's. Yawn, I thought. It all seemed pretty predicable.<br /><br />And then everything went crazy and it suddenly turned into a completely different film. Tom Savini shows up looking like Dracula, characters begin traveling to "the other side" of reality, and the dialog gets increasingly humorous.<br /><br />And just when I thought it had settled into a groove, the picture changes again, becoming really dark and bizarre. I won't spoil it for first time viewers, but there's an amazing sequence about hollow people, lots of chat about the abuse of religion by society, and some over-the-top gore effects. And did I mention Stephen Malkmus? This isn't a perfect movie (in case you haven't figured that out from its appearance at a B-Movie festival), but it's well worth the time for adventurous viewers. Great visuals, cool soundtrack, lots of interesting ideas. The acting is a little zany at times, but I think that's the point.<br /><br />Funny I had to go to Breda to see find an American picture that looked like a British horror movie. You figure that one out... | positive |
Carlo Verdone once managed to combine superb comedy with smart and subtle social analysis and criticism.<br /><br />Then something happened, and he turned into just another dull "holier-than-thou" director.<br /><br />Il Mio Miglior Nemico can more or less be summarized in one line "working class = kind and warm, while upper-class = snob and devious. But love wins in the end".<br /><br />Such a trite clichè for such a smart director.<br /><br />There isn't really too much to talk about in the movie. Every character is a walking stereotype: the self-made-man who forgets his roots but who'll become "good" again, the scorned wife, the rebellious rich girl who falls for the honest-but-poor guy... Acting is barely average.<br /><br />Severely disappointing under every aspect. | negative |
I don't give a movie or a show ten very often but this show touched a nerve in a way no other show has. I found the entire series on mysoju.com and thought the premise looked interesting so I took a look see. I wasn't disappointed in what I saw; I was moved. This story stays on the tender side as the main characters move us through the scenes. Sumire Iwaya, played thoughtfully by Koyuki, shows us human nature as she wants to keep troubles from being shown. No one really wants to lay their soul out in front of a perspective mate. So instead she substitutes a human, played by an adorable Matsumoto Jun, as a pet. This pet is like any other creature we would consider a pet. The difference; he can retaliate in the same way, after all Momo is a man, not a dog. As he is treated like a pet, he reacts to situations how a dog might react. She spends time with the new boyfriend, Momo gets jealous. It's when she realizes that her pet isn't just a pet that the sexual tension between the two starts to become thick - Momo is a dance prodigy. Her thinking slowly changes as we start to get a glance at his own thoughts. Matsumoto takes us from seeing a character who is very one dimensional in the beginning, to two dimensional when we see he's a dancer, to a three dimensional character when we see him start to fall for his master as a man, not as a dog. In my opinion, it's worth watching this story just to see this character develop. Plus Matsumoto plays Momo with such tenderness you almost start to wish you had one too. Neither wants to think about the future and how their relationship will change, but as Momo (the name she gives him as one would name their new puppy) states we both knew this wasn't going to be able to last. Watch this show with a open mind, it's worth it. | positive |
After reading previews for this movie I thought it would be a let down, however after I got my region 1 dvd ( the dvd was available before the film hit the uk cinemas) I was pleasantly surprised, strong performances from all cast members make this a very enjoyable movie. The fact that the script is quite weak means that you dont get bogged down in story and therefore the repeat viewing factor is greater. I recommend this movie to one and all<br /><br /> | positive |
I'm into bad movies but this has NOTHING going for it. Despite what the morons above have said, it is NOT funny. I know comedy AND underground movies but this is so boring that the Director / Writer should be prohibited from EVER directing anything but local cable access EVER again! To love movies and comedy is to despise this film. I may never get over how unfunny and boring this work was. If you like this movie you ARE a pothead as sober there is NOTHING here. ZERO! If you need to compare underground movies, see "Kentucky Fried Movie" or early John Waters. The movie starts by defining satire and I defy anyone to show me the satire. The rule for comedy is THIS ... If it's FUNNY you can say or do ANYTHING but if it's NOT funny you are not satirical, you are not edgy, you are merely pathetic and this movie is simply not funny. ZERO! | negative |
Yes, it can be done. John De Bello and Costa Dillon cleaned out the garbage of their minds and come up with the worst comedic, horror , Sc-Fi musical. If there is any acting, it is terrible or way over the top. Special effects; take your pick...very low budget or kindergarten. Every cheap cliché thought of is used. No doubt a fun movie to watch. Worth a cold six-pack or two. Point the finger at radiation if you need an excuse. Mutant tomatoes grow to almost the size of a tow truck and begin attacking mankind. San Diego is a good place as any to start. Scientists and an absent minded military must find the way to stop this red rolling menace. This cult favorite features: David Miller, Eric Christmas, Al Sklar, Tom Coleman, Sharon Taylor and John Qualls. | negative |
Most of other reactions by subscribers to this service were very apt, although that some found it slow or ambiguous puzzled me. Rather than ambiguous, it was complex and multi-layered in its meanings. One can see it as anti-war, because of the opening and closing scenes, and the folly of pretended grandeur, as how wonderful the cavalry men looked as they prepared for the great charge at Eylau, contrasted with its so horrible and disturbing conclusion, when we see the bloody uniforms, the boyish dead, etc--but chiefly, I see the film as about a moral man in an immoral society. At the end Chabert chooses retreat from the corrupt post-Napoleonic French world and opts for the simple pleasures provided by Derville (who himself is saved by his recognition of Chabert's basic decency and the morality of his choice of renunciation)--white bread, cheese, some wine and tobacco--over the riches he leaves to his wife, and her and society's dishonor. In her case, we can see the film as also feminist, in the position of women at that time, in which the only weapons Mme Chabert has are her charm, beauty, wiles and, ultimately, money. | positive |
I saw 2 hour version of Choker Bali. I cannot say that is long. The movie has a certain natural pace to it and does not seem to lag at any time. The costume and the set are reminiscent of what we would see in old movies.<br /><br />Aishwarya Rai has done a good job of acting. It is indeed a mature role with enough scope for acting within the story. The script also supports the story very well. Aishwarys acts as the unfortunate widow whose husband dies in the first year of marriage. The movie is about the passions and desires of such a character and the conflict she faces with the downtrodden condition of widows in those times.<br /><br />Her best friend in this movie is played by Raima Sen has also been well-handled. Her innocence and her admiration of Aishwarya's capability to speak English and act educated has been done very well. These are indeed some of the prevailing mindsets of those times. We can see how far we have come from such an era! <br /><br />The movie speaks of womens liberation as subtle line of the story. I found the development of the story very similar to Ghare Bahire also written by Tagore. It does rope in some action from the independence struggle and puts in contrast the struggle for Indian Independence against the silent struggle for womens rights.<br /><br />A well made movie definitely worth watching. Aishwarya's acting: par excellence. Rituparna has handled the story with great care. Yet another classic from Rabindranath Tagore. | positive |
This is blatantly a futuristic adaptation of Jules Verne's "Mysterious Island". The sound editing is pretty bad. You hear the dialogue on set and you hear the voices being recorded on a recording booth at the same time! This is an amateur film with actors from Boston and shot around New Hampshire. For those living in New Engalnd and who is reading this comment will be wowed with a capital W. This film is full of flaws. You get to hear the director's voice giving directions and giving out directions to the actress. "OK now stand up." As for the other characters. There is this guy who talks with his mind instead of his voice and this blue alien. The alien guy talks with a deep voice. When he is yawning or grunting when he is fighting you hear the actor's voice. As for the special effects, man! This was Brett Piper's early work for crying out loud! The creatures are good but the animation is jerky. Really jerky. Sort of like Karl Zeman animation in JOURNEY TO BEGINNING OF TIME (1955). The special effects are imaginative. Thge music is good. Bottom line, this film makes EQUINOX or PLANET OF THE DINOSAURS look like a Ray Harryhausen epic. Did you know MYSTERIOUS PLANET was a home movie and was on a shoes string budget? A must watch for aspiring film makers. | negative |
This movie blew me away. If you can see only one of the animated bug movies this year see this one instead of Antz. the plot, characters, and jokes are better in A Bugs life. Also when you go stay in your seat until the end of the credits. it's the best part of the movie. Rating 9 | positive |
There's the danger with the critic/philosopher Slavoj Zizek with his film, directed by Sophie Fiennes, which takes together a wonderful amalgam of silent, horror, sci-fi, surreal and other contemporary thrillers together to make his points ofr Freudian comparisons to overload. But in the Pervert's Guide to Cinema he also makes even the more far-reaching points a point of departure from any other analysis I've seen on a collective section of films. While it doesn't cover the expansive territory Scorsese's movie documentaries cover, the same attachments are there, and Zizek has a definite love for all of these "perverse" examples and films, primarily the work of Hitchcock, Lynch, Chaplin and Tarkovsky. Yet one shouldn't go into seeing this- if you can find it that is, I got to see it almost by luck- thinking Zizek will just try and dissect all of the psycho-sexual parts or parts referring it in an obtuse, deranged manner. If anything he opens up one to points that might never be considered otherwise- would one think of three of the Marx brothers as representations of the Id, Super-Ego and Ego (Harpo's example is most dead-on for me).<br /><br />He's not just one to take on the classics though, he also considers the food for thought in The Matrix and Fight Club- in representations of the split between fantasy and reality and if the matrix needs the energy as much as the energy needs the matrix for the former, and in the attachment of violence in dealing with one's own self as well as ones double in the latter. He even throws in a piece from the pivotal moment in Revenge of the Sith when Anakin becomes Darth Vader, and the implications of shunning away fatherhood under that back mask at the very moment his children's births happens elsewhere. The ideals of fatherhood, male sexuality, the male point of view in turning fantasy into reality (at which point Zizek rightfully points to as the moment of a nightmare's creation), and female subjectivity, are explored perhaps most dead-on with Vertigo. This too goes for a scene that Zizek deconstructs as if it's the Zapruder film, where he dissects the three colliding points of psycho-sexual stance in the 'don't you look at me' scene in Blue Velvet.<br /><br />Now it would be one thing if Zizek himself went about making these sincere, excited, and somehow plausible points just face on to the camera or mostly in voice-over as Scorsese does. But he goes a step further to accentuate his points of fantasy and reality, and how they overlap, intersect, become one and the same, or spread off more crucially into some netherworld or primordial feeling for some characters (i.e. Lost Highway) by putting himself IN the locations the films take place in. Funniest is first seeing him in the boat "heading" towards the same dock Tippi Hedren's boat heads to at the beginning of the Birds; equally funny is as he waters the Blue Velvet lawn he goes on to explain the multi-faceted points of Frank Booth; only one, when he's in Solaris-like territory, does it seem a little cheesy. But Zizek seems to be having a lot of fun with this set-up, and after a while one bypasses the potential crux of this gimmick and Zizek's words come through.<br /><br />There were some films I of course would've expected, chiefly from Hitchcock and Lynch, but a treat for movie buffs come from seeing two things- the movies that one would never think of seeing in a film about films titled the Pervert's Guide of Cinema (top two for me would be the Disney Pluto cartoon and the exposition on Chaplin's films, albeit with a great note about the power and distinction of 'voice'), and the ones that one hasn't seen yet (i.e. the ventriloquist horror film, Dr. Mabuse, Stalker, among a few others) that inspire immediate feelings of 'wow, I have to see that immediately, no questions asked.' Zizek is a powerful writer with his work, and puts it forward with a clarity that reminds one why we watch movies in the first place, to be entertained, sure, but also to have that actual experience of sitting down and having something up there, as he put it, looking into a toilet. It's probably one of the greatest films about cinema, and in such a splendidly narrow analysis of how Freud works its way into films regarding desire, the Id/Super-Ego/Ego, and of the supernatural in fantasy, that you may never see...unless distribution finally kicks in, if only on the smallest levels. | positive |
Trilogies are very interesting. Some go out with a bang (Lord of the Rings), some get progressively weaker (The Matrix), some get lost in obscurity (Blade, Back to the Future), but some maintain the genius, that seemingly ever-growing bright light that floats beyond the surface of its flawless exterior. Case and point: "Three Colors Trilogy". This chapter in the trilogy, being the last one, is the most philosophical and thought-provoking. In "Blue" we had a more visually stunning, more character-driven plot, in "White" it was more of a light hearted, narrative-driven story where we listen more to what the characters say than anything. "Red", however is focused on the "what ifs" and "how comes". It questions our own fate and focuses mainly on the past and the future than the present.<br /><br />This chapter is about a young model who runs over a dog and brings him back to his owner. She soon finds out that the owner of the dog is actually a cynical retired judge who spies on his neighbors' phone calls through advanced spying equipment. All three films in the trilogies have very basic plot lines, but bring a lot more to the story. Consider in "Blue", the story of a woman dealing with the loss of her loved ones. We are constantly shown ideas about the contemporary French society and how that reflects the character's behavior. "Red" is not only about a young woman who finds shelter in an older man's life, but it is also about chance, hope, and fate.<br /><br />Irene Jacob stars as Valentine Dussaut, who at first finds the old man (Jean-Louis Trintignant), whom we never find the name of, extremely self-centered and disgusting. Though through self reflective analysis, and her voyeuristic intentions, she learns that the judge would be the perfect man for her, if only he was 40 years younger. Irene lives across from another, younger judge, who highly resembles the old man. This is the "what if" that keeps circling in the movie. What if Irene were born 40 years ago? The old man would have been her perfect match. But what if the younger judge is actually her perfect match, since he so closely resembles the older one. Valentine doesn't know this, only we do, and Krzysztof Kieslowski subtly suggests this in almost every frame which Irene is in. We are constantly smacked in the face with his presence, as almost a suggestion of Irene's fate.<br /><br />I mention that the old man does not have a name for a reason. That reason is because it is very symbolic to the overall theme in the story. We are to compare the old judge to Auguste (Jean-Pierre Lorit), the younger judge, in more than one way. We learn that the old man once had someone he loved but she got away. In another scene, we see Auguste heartbroken as the love of his life gets away with another man. There are constant reminders of whether or not Valentine will ever meet this man. Even though they pass each other without noticing every single day. There is also the motif of the telephone, to Valentine it is a way of keeping sane and updating her life, to Auguste it is what leads to his heartbreak, and to the old man, it is the only thing he has left. These three elements serve to shadow the characters own psychology. It is a sort of statement about what they are and who they are.<br /><br />All three "Colors" films stand for a certain principle, most common in France. "Blue" stands for Liberty (the personal being), "White" stands for Equality (being accepted by more than one), and "Red" is Fraternity (to socialize, to learn). And although this final chapter is an obvious focus on the Fraternity principle, Kieslowski makes sure he brings in the other two as well, in order to connect all three stories. For example, we see the old man trying to reach out to Valentine and enlighten her with his spy equipment, which is a reflection of the Equality principle. We also see near the end that Valentine is doing some soul searching and that she's more concerned about herself than others (not picking up the phone when Michel calls), a clear example of Liberty. And with all three principles established, Kieslowski nicely connects all of the characters as well, in the final and most heartfelt scene.<br /><br />"Red" is about where you could have been if you were older or younger. It is about whether or not there is someone completely perfect for everyone, and whether or not one person can change your life. The final chapter in the most awe-inspiring trilogy ever made, this film breaks barriers in both directing and storytelling. It is not only about our modern life, but about where life could and should be in our modern time. And although the movie is more subtle than both "Blue" and "White", it boldly exclaims a statement of love and compassion.<br /><br />It's hard to imagine that "Red" was Kieslowski's last film, and that he died at such a young age. Nevertheless, the trilogy will always be his masterpiece and we will always remember him for his work that ranks right up with Bergman, Fellini, and Wenders as a truly remarkable director who's never been awarded with an Oscar. Kieslowski, you have been missed! | positive |
Everyone knows about this ''Zero Day'' event. What I think this movie did that Elephant did not is that they made us see how these guys were. They showed their life for about a year. Throughout the movie we get to like them, to laugh with them even though we totally know what they're gonna do. And THAT gives me the chills. Cause I felt guilty to be cheered by their comments, and I just thought Cal was a sweet guy. Even though I KNEW what was gonna happen you know? Even at the end of the movie when they were about to commit suicide and just deciding if they did it on the count of 3 or 4 I thought this was funny but still I was horrified to see their heads blown off. Of course I was. I got to like them. They were wicked, maybe, but I felt like they were really normal guys, that they didn't really realize it. But I knew they were.<br /><br />That's, IMO, the main force of this movie. It makes us realize that our friends, or relatives, or anyone, can be planning something crazy, and that we won't even notice it. This movie, as good as it was, made me feel bad. And that's why I can't go to sleep right now. There's still this little feeling in my stomach. Butterflies. | positive |
Just watched this movie over the weekend, and I must say I thoroughly enjoyed it. The 2 Italo American actors are excellent as usual (Michael Imperioli and John Ventimiglia). It is obvious that the director was influenced by 2 great films of the past directed by Italians. Primarily he was influenced by Dino Risi and his film IL SORPASSO. It is the story of 2 young men who meet by chance and become friends. One is extroverted and the other is introverted. They enjoy the whole day together and by the end of the day, the shy one learns that there is more to life than his usual routine monotony. The same thing happens to Albert De Santi. Unfortunately, IL SORPASSO has a very similar ending and this apparently influenced the director of ON THE RUN because he uses the same technique but with a twist. I had expected something but was surprised to see that it turned out to be the opposite. If you watch both movies you will understand. The other film that influenced the director is AFTER HOURS directed by the great Italian American Scorsese. I highly recommend all 3 movies !! | positive |
this was pretty bad. pedestrian work or worse. i don't think it was homophobic, just really bad. if anything it was really amateurish, like when you're 14 and first discover curse words and skin mags.<br /><br />The main point of this movie, the romance, falls really flat. I can't help but wonder if the writers ever had any serious relationships before this movie.<br /><br />plotting and pacing are horrible, going nowhere at all. one minute we're watching these guys catch cheaters, then we're at a gay club, then we're at a date. out of nowhere the girl apparently likes comics, and then they sleep together. none of this feels real, like an elementary school production of Shakespeare if Hamlet was written by a frat boy.<br /><br />the ending was some kind of creepy over the top revenge fantasy by a loser who got dumped by a girl. Unnecessary and actually kind of disturbing.<br /><br />Still, you have to watch it. Why?<br /><br />As others noted the director's commentary actually is hilarious - what kind of of professional talks about "banging" or "hooking up" with the actresses? dialogue sucked, relationships lacked chemistry. you will be on the floor laughing at this pretentious jackass. | negative |
Jewel Thief is *THE* crime thriller of Bollywood, and why should it not be? It is directed by the biggest exponent of the crime thriller art in Indian Cinema Vijay Anand ('Johny Mera Naam' and 'Teesri Manzil.) I could watch this movie for any of the following reasons (in order of importance):<br /><br />1 Vijay Anand's direction 2 R D Burman's music 3 Dev Anand 4 Vyjayanthimala 5 Ashok Kumar 6 Majrooh Sultanpuri's lyrics<br /><br />Even if Jewel Thief is not a Bond Movie it definitely has bond babes. Helen, Tanuja, and the mysterious Vyajanthimala (and some cameos.) But our sauvé Vinay (Dev Anand) is anything but Bond. He is out of control for most of the story and goes where the story takes him almost always as confused as we are. He even flirts with Anju (Tanuja) trying to hit her romantic nerve, just so that he can get employed in her father's shop.<br /><br />Dev Anand might be in a double role - well I don't want to spoil your movie or else I would have told you. That is what most of the mystery is about. Dev Anand works in a Jewelry shop and there is a robbery when he is supposed to be at work - though is not, or at least has a perfect alibi. We wonder who did it, is it Dev Anand as 'Vijay' the person he claims to be or is it 'Amar' someone we have not yet seen but many people claim is his look alike. Comes 'Shalu' (Vyjayanthimala) who even claims that he is her fiancé, in a tense situation Dev Anand has to prove that he is Vinay and not Amar. While everyone wonders if Dev Anand is Vinay or Amar he is asked to remove his socks. Amar we are told has 6 digits on one of his foot. While we watch with bated breath the events that are about to unfold Dev Anand even finds time to joke. <br /><br />The real life brothers Director Vijay Anand and Actor Dev Anand have many movies between them this is not the best of them but definitely the best in Crime Thriller. <br /><br />There are moments of Hitchcock's North By Northwest, but the movies are very different. Except for the confusion about who is who, a treacherous female lead and lot of traveling there isn't a lot of similarity. Dev Anand could very well be Amar in addition to being Vijay. People have seen him, they identify him where ever he goes. There are too many of those people for this to be a fraud. Finally Vinay thinks it is better to carry along with being Amar to find out what is the truth, and it is a sad mistake. He gets too deep into it, only to be saved by the twists of Cinema.<br /><br />When I watched the movie as a kid I was definitely not amused, the ending confused me completely. Even now there are parts about the ending that I do not like, but I'd recommend this movie anyway.<br /><br />Even as a kid I enjoyed the songs this movie has to offer. 'Yeh dil ...' - a definite loafers song in Kishor Kumar's voice. I could hear 'Rulake gaya ...' whole day long. Ditto for 'Aasmaan ke neeche' which is set 'under the skies' of Gangtok (at least the story line suggests that). 'Raat akeli hai' among the sexiest song to come out of Hindi cinema featuring Tanuja as the seductress. 'Meri taraf dekho' - Helen's cabaret and we 'look at her'. 'Hothon pe ...' - now, could there be any better thriller of a song than this. As the song progresses we are more tensed than we ever were and the words 'hidden in Shalu's lips' add to it. | positive |
Lindsay Anderson was very much a European film maker , whereas the likes of David Lean , Ridley Scott and Alan Parker make spectacular movies involving visuel scope Anderson`s movie are more about social commentary and subtext , so much so that the message often ends up taking over the entire film whose primary function should be to entertain the audience <br /><br />What you think of IF comes down to what you think of British film makers . I`m very much of the view that cinema should be a universial medium ( The best Brit movie makes are those who try to emulate Hollywood in my opinion ) , if you want to send a message try pony express , and I find the movie dated , pretentious and too set in the 1960s . 1968 was the summer of love and the year of student rebellion in France . You can just imagine every single French leftist worshipping this movie especially the climax . French new wave film makers will also admire the abstract surrealism of some scenes but a mainstream international will dislike it , and many will dislike it intensely | negative |
The 1980's 'My Dinner with Andre,' with Wallace Shawn and Andre Gregory, is essentially a dialog about the world and how it affects and can lift the spirit. 2005's 'You Are Alone' demonstrates how common worldly events can shatter the soul. <br /><br />The story revolves around three principal characters. There's Daphne, a pretty teenage student who frets about virtually every decision in her life. Then there's the prostitute, or paid escort, Britney, as self-confident as Daphne is self-conscious. What makes them interesting is that they share the same body, if not the same personae. Part of the magic of this film occurs in one of the early scenes where Daphne approaches a door of an aged hotel room. She halts and is obviously torn by the decision of whether or not to knock on the door but it is Britney that effortlessly glides into the room when the door is opened.<br /><br />On the other side of that door is Buddy, a middle-aged nobody with few, if any, personal qualities that anyone would find attractive. He goes so far as to be confrontational about Britney's chosen profession as soon as she enters the room. However, we soon learn that Buddy is Daphne's next-door neighbor and has watched through the years as she grew from little girl to womanhood. This complicates things for the audience. Is Buddy just being a concerned neighbor or does he want something else?<br /><br />If it's sex that Buddy wants, here it is. Britney loves sex. Her definitions may be Clintonesque but that doesn't lesson her enthusiasm. She prefers older men and wears a rainbow of plastic wristbands that her clients are invited to chose from. Each color band denotes a specific act that she'll perform but exactly which act isn't revealed until after the band is broken off her wrist and the choice is irrevocably made. <br /><br />Britney is, or believes that she is, in control of every encounter. Even when blindfolded and bound, as she is by one of her regular clients, she imagines her arms and body being stroked by multiple men but her legs and pubic area being caressed by a woman in blood red lingerie. The film's imagery just keeps coming.<br /><br />Buddy's pathetic life is one of acceptance. He's lost his wife, his dog, even his fantasies of the pretty teenager next-door. It's no coincidence that he's lured Daphne or Britney to this particular hotel room. There's a painting on the wall of a dinner plate with only a fish head left. This is a perfect metaphor for Buddy's life; all of the good parts are finished. So it's here, where he brought his wife when they were still college students, that he makes his stand to regain some control of his own life, to make his statement.<br /><br />The director of 'You Are Alone,' Gorman Bechard, knows his craft. The principal action in the hotel room serves as a solid anchor for the film, assisted by a myriad of inter-cut scenes that add dimension to the characters, their circumstances and conflicts.<br /><br />As the film progresses, Britney asks Buddy if she should get undressed. He says yes, but she strips only to her underwear. An actual prostitute would probably remove all of her clothes (one of the profession's five gets). But it isn't Buddy that's being teased, we are. As the film concludes, we find that there are far deeper human emotions and motivations in play. A tease doesn't work unless it actually delivers. Britney does, so does 'You Are Alone'. | positive |
This was a complete disappointment. The acting isn't bad, but the production was just so bad that at times I felt I needed to stop it, but I sadly made it through and was able to finish it a bit embarrassed by the whole poor movie. It is o.k. if you are o.k. with cheesy moral plots and don't mind watching a movie that vastly misconstrues Whitman. If you want a cheesy fictional story go for it. | negative |
I absolutely love the first three movies, they were great! I once caught Part 5 on VHS 10 years ago, and I was disappointed. But perhaps that was because I never saw the fourth one, because they were shot back-to-back. but after finally viewing a copy today, I have to say it was no way better than number 5. My expectations weren't high to begin with, but this is cheap direct-to-video stuff, not even a horror movie, it's PG-13. The acting was not convincing, the story was rather dumb without any excitement and there were not many effects. But the main problem is that there were no kills or any gore (the annoying kid who gets killed in his car was supposed to be the highlight, but come on..)<br /><br />Surprisingly, both Parts 4 and 5 were directed by Sequel-director Jeff Burr who gave us the excellent Stepfather II and Leatherface: Texas Chainsaw Massacre III. I liked Puppet Master: The Legacy, even if it was nothing else than a tribute with the best scenes from all movies.<br /><br />Overall, Puppet Master is very much like the Hellraiser Series: A great trilogy but forget the rest.. | negative |
It's a movie with a theatrical message blended with some clever moments. Films like these are the stretching grounds of great actors, they enjoy tossing the ball in open pieces like these. The Angel that wasn't what we see in old books and churches is quite a nice change. It is echoed in Kevin Smith's piece, Dogma, almost in the same slapstick vein.<br /><br />-=0) Watch this film for a good day after you suck it all in. Could it be that so many films are trying to be complicated that we forget the simple movements of films like this? Possibly one of the most fun pieces I have seen in a while, I ran into this one on VHS in a trash can because someone's basement was flooded this summer, and I grabbed a handful of tapes.<br /><br />Whether in a trash bin, or on the silver screen, mild comedies like this are fun, you just don't have to tell everyone at a hip nightclub that you like it, or a swank political party. Just keep it for yourself, and I'll bet plenty of people will borrow it from time to time. | positive |
Although many audio recordings of great musicians like Jascha Heifetz survive, the cinematic or televised record is limited indeed. This is why musical offerings like "They Shall Have Music" are such rare gems. While, with modern eyes and ears, one can quibble about the plot, the perceptive viewer should put this film's unique delights in their proper perspective. The plot was designed to appeal to both young and old audiences of the era, but it remains enjoyable to this day. A important aspect of the experience of watching classic films is to see them through the eyes of the moviegoer of that era.<br /><br />I must take issue with reviewer who complains about a film that is in black and white, or who feel obliged to report that their students express such reservations. These are juvenile complaints which reflect a limited historical perspective. For the teacher, this should offer up an educational opportunity to explain the unique qualities of black and white photography and its place in cinematic history. Color can, in fact, get in the way of a good storyline, or the music. For example, the black and white photography of John Ford's "Stagecoach," is, like the still photographs of Ansel Adams, an artistic masterpiece.<br /><br />As for Heifetz being wooden, I could not disagree more. If you want blatant emotional posturing, go to a rock concert. The role of a classical musician like Heifetz is to move the audience, not him or herself. Heifetz's emotion is conveyed through his playing, not through his body language. He had a rare ability to extract every emotional nuance out of the music and transfer it to his listeners. It is the listener who should be moved, not the artist.<br /><br />Incidentally, one reviewer asked about seeing Heifetz on YouTube playing the 1st movement of the Tchaikovsky Violin Concerto, with Frank McHugh in the audience. This is from the 1947 film "Carnegie Hall," not "They Shall Have Music" "Carnegie Hall" is an even greater treasure of many great classical artists in their prime. We are blessed that there were film producers who, at least in these limited instances, chose to showcase these artists. In was still an era not totally overwhelmed by the lowest common denominator tripe we get today. | positive |
This was without a doubt the WORST movie I have ever see, yet once I started, it was just like the really bad car wreck on the side of the road - you can't help yourself, you just have to look. My EYES !!! The acting was awful, the production was awful, the filming was awful, awful, awful, awful. I was glad the priest got chopped, would have loved to have done it myself because of his POOR acting. I mean suck-ful acting to the tenth power. I would have cheered if Chris had just axed the lot of them before turning it on himself. And what was WITH that freaking wig from hell on his head?! I sincerely hope no one got paid, I mean if getting paid were to be considered here, they should be paid to never attempt another film project again, everyone that was involved, never, never again. That was just a huge piece of garbage that I am embarrassed to say I just had to keep watching until the very end. Don't watch it, it's about an hour and a half of your life you will never get back, and then you'll have to spend time registering on this website so you can write a comment like I am doing now, which you must do as a catharsis in order to survive the aftershocks of having viewed this film (and I use the term "film" loosely here). | negative |
Catscratch is the best thing to come out of Nickeloden, including Wayne Knight. This show doesn't just appeal to Maoris and PI's. some people love it, and they're all aussies. At first glimpse I admit it seems a little crude, but it grows enormously on you. Also, to correct something that one of the other critics has said In_Correct (Tv.com) doesn't say "Does that mean you're homo now?" he says "Does that mean you're homo, owww?" This is his phrase in the show. Mr. Blik is, i think,the funniest of all like Peww-Weww's Playhouse<br /><br />Firstly, I'll admit that the early episode were a bit good. But after a while the episodes became great! And just when the series had found it's surreal, whacky ...Nickelodeon cancels it!<br /><br />I know Nick is meant for kids, but every once in a while a brilliant show appears that can be enjoyed by teenagers and adults. These shows include Mr. Bean the Animated Series, Charlie Brown, Pelswick, Rocko's Modern Life (at times), and Invader Zim. All of these must have been considered too good, with the exception of CatDog, 'cause Nick felt the need to cancel them.<br /><br />What I like the famous final episode, where Gordon fight a duck.<br /><br />I'd also like to see a DVD, with plenty of audio-commentaries and behind-the-scenes docos, and including the final episode.<br /><br />But of course, what I'd definitely like to see is the show come back on the air. Wake up NICK!<br /><br />I wish there was a list somewhere on the internet with all the gag closing-credits. That would be great. | positive |
I finally got hold of a DVD copy of this production and was agog with curiosity, since I had read so many people praising it to the skies, particularly Angela Lansbury's portrayal of Mrs. Lovett. I saw the Tim Burton movie a few months ago and thought it over the top and overly bloody; thankfully this version is not so horrifying gory but it suffers dramatically in too many other ways for it to be in the least satisfying to me.<br /><br />To begin with, the casting. George Hearn is adequate and at least shows some expression (as opposed to Johnny Depp's unending wooden face in the movie). Angela Lansbury is, quite simply, annoying. At least she has enough power in her voice to get the point across as opposed to Helena Bonham Carter's piping and expressionless little girl's voice, but subtlety seems to be only a word in the dictionary to Ms. Lansbury. One cannot be drawn into the story when one of the main characters spends her entire time mugging and winking in a "look, Ma, I'm acting!" fashion and being far too aware of the audience. This is not something that is typical of stage productions, heaven knows--I have been a regular attendee of many productions at the Stratford Festial for many years and stage actors do NOT behave in that fashion as a rule (at least those who want to continue to find regular employment do not!)...<br /><br />Betsy Joslyn. Oh dear, oh dear, oh dear. Did anybody besides me notice that she can't sing this role even vaguely appropriately? And her playing George Hearn's daughter is just creepy, considering that she was married to him at the time. Isn't she supposed to be a sweet little sixteen-year-old? Yes, I realize that this is what acting is all about, but not once did she convince me that she was any younger than about thirty-five, and the phrase "mutton dressed as lamb" seems to have been coined just for her. Her butchering of "Green Finch And Linnet Bird" had me gnashing my teeth and ready to turn off the DVD player at once. That song was done so well in Tim Burton's movie, and this was a sad shock. The song requires the vocal range of Julie Andrews in the 1960's and a purity of voice that is only comparable to that of a boy soprano. Any vibrato at all kills it dead, and Ms. Joslyn spent the entire time warbling so hard that I thought she was about to fall off of her ladder because she was trembling so much from the effort at sustaining coloratura notes with a voice that is a mezzo at best. Let us pass over the spectacle of her vibrating at least a quarter tone flat on at least three of the higher notes... This is quite simply not a coloratura role and perhaps a discerning director should have told her that--but the fact that she was married to the star might possibly have tied the director's hands.<br /><br />Cris Groenendaal was adequate, but again obviously far too old for the role and there is zero chemistry between him and Ms. Joslyn, which makes the whole subplot fall completely flat. I am reminded a little of past stage productions of Wagner's Ring cycle where, due to the vocal power required for the singers to bellow over the sound of a full Wagnerian orchestra they would have to cast based upon ability to penetrate vocally as opposed to any appearance or acting ability or even a good voice, which is why you have the caricature of the massive mountainous Viking-horned Brunehilde with a triple chin and a beard, when the libretto calls for an ethereal beauty who is eternally young and bewitching. The casting of the "juvenile" leads is exactly like that--if you close your eyes you can almost believe in Mr. Groenendaal's Anthony, but as soon as you look at the screen the illusion is shattered. (And at NO time can you ever believe in Ms. Joslyn's Johanna...) For me, the rest of the production was completely lost because of three out of the four major characters were so obviously miscast. I cannot give a proper review of anything else because they were so distracting that they spoiled the rest of the production. I really can't understand why people rave about this badly-shot and self-conscious filming of a stage play. Surely there's more to camera work in the theatre than just plunking a camera down in the front row? If I want that, I'll go to a decent play, preferably at the Stratford Festival, where at least they work together for the production and aren't constantly mugging for the camera. I give it three stars only because the quality of the production apart from the antics of Lansbury and Joslyn seems adequate if not spectacular.<br /><br />Probably the best thing one can do is buy the soundtrack of the film and a cast recording of this play, and then combine the two to make a bearable whole. That's what I'm going to do, and try to forget that I ever bothered to rent this wholly unremarkable production. | negative |
You should know that I am the type of person that watches even the worst of movies to the finish, often out of sheer morbid curiosity. I even watched Leprechaun to the end before giving in to the temptation of tearing out my eyes and stamping on them. You should also know that this movie was in my VCR for less than half an hour before I made a frantic leap for the stop button and dashed back the rental store just to put as much distance between me and it as possible. | negative |
A Brazilian cable television is presenting "Yadon Ilaheyya" this month in its "Cult" channel. I saw the trailer and listened to the advertisement, and decided to see this movie. Indeed it is an absurd boring pretentious dumb pointless disconnected crap about the conflict in the Middle East, and together with "Soultangler", they certainly are the worst movies I have tried to see. I really wasted forty-three minutes of my life watching the first half of this crap, highly indicated for torturing enemies. How can this movie be awarded and nominated to prizes inclusive in Cannes? My vote is one (awful).<br /><br />Title (Brazil): "Intervenção Divina" ("Divine Intervention") | negative |
This movie was a great disappointment for me. I had been waiting for this movie to come out for years, and I was a faithful follower of Chaos Comics until they went bankrupt. Not only did they cut out half the story line, but they altered information. The statement that Lucifer is Hope's Father is untrue. He did corrupt her father, but he himself is not her father. The voices also did not suit the characters, and once you hear the voice of a beloved character, the voice you heard in your mind can never be returned. I can not even remember everything about this film that was wrong. The bottom line is if you love Lady Death do not watch this movie. It just did not do the comic justice at all!! | negative |
It goes without saying that a modicum of allowances has to be made when a true story is being adapted for the big screen. But if you shoot a fairy tale that has next to nothing to do with what actually happened - why call it Bugsy and make the audience believe this was a halfway true story? The Godfather trilogy processes many real characters and events, Once Upon A Time In America does it, too, but they don't claim to be telling true stories.<br /><br />* SPOILER*<br /><br />In the movie, Benny has this grand vision of a gambler's Eldorado; in real life Lansky had to argue him into going to Nevada. Benny deemed the notion of a counterpart to Monte Carlo idiotic, and he'd have preferred to continue his life as a playboy in L.A. Not until much later Benny warmed to the idea. But of course he's the hero of the movie, so naturally the idea had to be his.<br /><br />In the movie, Benny wants to use Count diFrasso to get close to Mussolini in order to assassinate him because he was Hitler's partner, and Hitler killed jews in gas chambers, after all. Obviously we're supposed to like Benny, so the screenwriters invented this nonsense. In real life, at that time nobody knew about the gas chambers, least of all Benny who was completely uninterested in politics. In fact he did use the countess' connection and he did visit Mussolini, but not to kill him, but to sell explosives to him. He even met Goebbels and Goering during his sojourn in Italy.<br /><br />The whole Greenberg subplot was nonsense. Greenberg didn't turn stool pigeon, he didn't seek refuge with Benny, Benny didn't kill him (that was up to Albert Tannenbaum)... at least they got the name right.<br /><br />I guess it was supposed to be very romantic to have Virginia return to Benny, offering him the money she had stolen. The movie even goes so far to tell us via text panels that she ruefully returned the money to Lansky after Benny's assassination. Let me just say, revisionism just doesn't get more impudent than this.<br /><br />This list is by no means exhaustive - there's the issue with Benny's family not living in L.A, the way Benny deals with Dragna and Adonis, the portrayal of Costello (a disagreeable corporate type), Lansky (a lovable teddy bear), Benny himself (an aging windbag who wouldn't have reached age 12 if he had regularly gone "bugsy" in situations like those in the movie, and what's more, who neither has the good looks nor the charisma of Benny Siegel) and many others. Apart from a few hard facts nothing's right in this flick.<br /><br />* SPOILERS END HERE*<br /><br />All in all, this is the one mafia movie that manages to be even more ridiculously bad than Harlem, NY. But honor where honor is due: This is a feat in itself. | negative |
After spotting the high rating on IMDb, I decided to go see this movie. Beyond that high rating, I intentionally avoided reading any of the reviews. I wanted to go into the theater with a clean slate, without knowing the plot or having predetermined expectations.<br /><br />Given my rating, you can see that I was disappointed. I enjoyed the development of the main character Mike Enslin. I also enjoyed how the hotel manager attempted to talk him out of entering the hotel room. By the time Enslin entered the room, I was ready for some scary stuff.<br /><br />First chocolates appear on the pillow and the toilet paper is folded. Enslin reacts in a believable manner. He's freaked out. I'm encouraged and think to myself, this is going to be good. The people who made this movie understand that less is more.<br /><br />But it's what happens next that was a big let down. The subtleness is quickly replaced by the predictable shotgun approach... Just blast the audience with every Hollywood scary trick in the book and hope that something works. Let's see, a clock radio that turns on by itself? Good, that's always scary. Objects that move around in the room? Good, you can't complain about that. Blood dripping from the walls and sink? Great. Ghosts that commit suicide? Good. Anything else? How about loud noises, shaking, fire, more shaking, messing up the room, more blood, etc etc. It's all good. And it's all been done before. Overstimulate our Attention Deficit Disordered audience with all kinds of stuff in quick succession, and they won't be able to look away.<br /><br />Well, it didn't work for me. And you know what else? When I go see a horror movie in a theater, it's typical to hear several groups of girls in the audience yelling in fear at scary moments. But this movie had no scary moments. The audience was silent and disinterested. I felt no chill down my spine. Nothing. The Shining was 100x what this movie tries to be.<br /><br />So who are all these people who are saying that it is one of the best horror movies ever? Friends of the director? Sorry, I just don't get it. | negative |
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning <br /><br />Old Detroit is back, with the giant Omni Consumer Corporation continuing to swallow everything in it's path as construction of the new Delta City continues and a new menace to contend with in the shape of Cain, a cruel drug lord with delusions of Christ-likeness, peddling a deadly new addictive on the streets called nuke. As he continues to struggle with the memories of his former life haunting him, the tin plated hero sets out to bring this villain down- only to wind up getting chopped into pieces of scrap metal. With Robocop out of action, a ruthless OCP business-woman proposes plans for her new android- a stomping, snarling beast of a machine that needs an equally nasty test subject to power it- which Cain fits perfectly. After a brief glitch in his system, Robo returns to bring justice to the streets and settle the score with Cain.<br /><br />The original Robocop is a film that always manages to astound you each time you watch it, no matter how many times you've seen it, one of those films that just can't be done again. That said, it's not surprising a sequel was made- it's even less surprising that that sequel really pales compared to the original. Empire Strikes Back director Irvin Kirschner has crafted an unpleasant, slightly incoherent and overlong film that can't capture the magic of the first film, no matter how hard it tries. And it certainly does that, the funny ads from the first film running none stop, the corporate satire aiming to be that bit sharper and the action roaring as fast and furious as before, but with blood/gore even meaner than the first film. The first film earned a name for some nasty, blood-soaked violence (including a man's genitals being blown off and a man being blasted to pieces) but while that was more memorable the violence/gore on display here is of a more sadistic and gratuitous nature, with a very unpleasant and mean-spirited tone to it.<br /><br />But overall, the film leaves you with a feeling of general apathy- why are you watching this when you could be watching the original again instead? ** | negative |
Pathetic. This is what happens when director comes to work just because someone is paying him to. <br /><br />The intentions were good, great locations and settings for a film of epic proportions. But the performance, damn! I swear, in some shots you can see extras on the background staring in the camera, or looking at the actors because no one told them what they should do when they hear "Action!". The battle scenes are so bad you wonder - are these people for real? They could've done more damage just by hugging each other. In the slow-mo scenes you can see people on battle field walking around or just standing, waving their hands. <br /><br />Only action in the foreground is somehow emphasized. But for what? The story is so illogical and discontinuous, it seems like random situations in chronological order, sometimes not even that. The dialogs are dumb, the love plot is more embarrassing and ridiculous than in Hong Kong action movies. <br /><br />With a budget of 40 million, and you can see every dollar invested on the screen, in best case scenario, the final result of all this enormous effort is a shiny round laser disk in the thin cover placed on the shelf in video store. | negative |
This is one of the worst movies I have ever seen. I could hardly stay awake. The acting and the plot were horrible. I like B-movies, but this movie has nothing that could make me laugh or think about. OK, there were two or three funny moments at the beginning, so I have to give this movie 2 out of 10. If you really want to watch it, watch the first 10 minutes. After that you will get more and more disappointed while the movie runs. | negative |
this movie wasn't absolutely atrocious, but it was pretty bad. the acting ACTUALLY was pretty good! jeffrey combs did a pretty darn good job as the mad scientist, which is sort of his specialty if you don't know such things :D. bill forsythe .. well, i'm not EXACTLY sure why he was in this film. he's way too good for this kinda stuff, and his role wasn't exactly demanding. I rented this on the strength of those two leads, and I wasn't really disappointed. I mean, heck, it's a movie about a half man/half shark. It ain't Shakespeare folks. Other than the plot, which is full of holes, and the poor dialogue, I would like to note that the cinematography also left many things to be desired. there were shots were they were trying to look "cool", but it ended up obscuring the scene or just coming off plain cheezy. they also blew it many times when they had decent dialogue and cut away prematurely before the person could even deliver the line. it was pretty bad. but if you are a jeffrey combs fan, this one is worth checking out. he gives a great performance and does what he can with the character. forsythe ain't bad either, and either is the female lead. heck if i can remember her name though. bottom line, i wouldn't otherwise waste your time. | negative |
Ok, after reading a couple of reviews on Atlantis: The Lost Empire, I just want to clear up some misunderstanding as to it being a direct rip off from Nadia: Secret of the Blue Water. The only part that was a ripoff from Nadia is that the pendant from Nadia and the pendant from Atlantis bear so much resemblence in terms of how it's used, origins and how it's created from the source of life that there's no doubt about it being copied. If you want to consider how Kida and Nadia is dressed alike then you could put that against Disney too(It was kind of wierd for Nadia and Kida to wear that bikini style clothing in an adventure sci-fi, not to mention they both move in a similar style too). As an anime fan I have to agree there's some degree of copying but it's only on the minor details and even though not many of the ideas are original (like the encryption design on the wall in Laputa, the ancient mask from Princess Mononoke, the resemblence of the vehicles to the Garfish submarine in Nadia, etc)...The plot itself I believe it's highly original and it's quite amazing that Disney can pull it off without the use of Captain Nemo(the main character in Jules Verne's 20k Leagues Under the Sea which is also the main character in Nadia). As for Mylo and Jean wearing similar style glasses...As shown in the novel "Lord of the Flies", glasses is a symbol of wisdom and intelligence. I think Mylo, Jean, the main character from Stargate and a dozen of other "INTELLIGENT" characters would look kind of unfit for the role if they went in without glasses. As for the submarines, and how the submarines fight(with those wide blast torpedos which really resembles what Nautilius does), I want to state that it's a required element for either one if Atlantis is involved in the plot(after all it's a sunken city beneath the waters). As for the crew having some charactistical resemblence with the crew from Nautilius in Nadia, it might be the artwork but I don't sense any copyright infringement there as the character's personalities were perfectly original to me. As an anime fan that rated Nadia as the #1 best anime I ever watched even now today. I do have my doubts about Atlantis when I first saw the preview. But now that I watched the movie, I once again regained my confidence with Disney and have high hopes for their future movies after Atlantis. Overall, the best Disney movie yet without me shivering at the sound of their songs at the middle of the movie and it's a plus that they revised their cheesy scripts to make it even better. Also, it's amazing that they actually portray the bad guys look normal with out making them overly evil in the beginning (I was wondering who the bad guys are and only the blonde girl kind of resemble the looks of a bad character in terms of how Disney draws it aka make the bad guys look really menacing) | positive |
What seemed as a good premise for a movie...unfortunately it fails to deliver on nearly every level. Very hard to follow at the start of the movie I actually found myself fighting the urge to turn it off the biggest problem from a visual aspect is the fact that the camera work is simply over the top with so many "arty" splicings and semi-subliminal cuts throughout the movie that actually distracts you from the from the overall story. It really tries too hard to immerse you in the moment and build to a suspenseful ending but the movie just has so many half conceived characters and non relevant script it just leaves you feeling disappointed and confused as to why they tried to go so deep with it. | negative |
TROMEO & JULIET - 10TH ANNIVERSARY EDITION<br /><br />William Shakespeare's play Romeo & Juliet has been interpreted hundreds of times on stage and in films. Sometimes literally following the original text (which is, at times, vague in stage directions), sometimes in new interpretations where directors chose to show their own view on the piece. Some are good, many are mediocre. Lloyd Kaufman's film certainly stands out as one of the most original, modern versions of the bard's creation, It may be placed in a modern-day decaying New York and full of the modern-day anti-social behavior, body piercing, dismemberment and kinky sex (which, for the more than casual reader, Shakespeare himself wasn't shying away from), but at the same time it stays incredibly close to the overall feel and point of what the play is all about, which is quite an effort. Kaufman wrote the script with his co-director on the film James Gunn, who is now famous for writing two successful Scooby Doo movies, doing the impossible by making a perfect remake of an already perfect film with his script for Dawn of the Dead and directing one of the best horror-films of the year: Slither. Lloyd Kaufmans innovative directorial view alongside with James Gunns original and unrestricted writing make for an interpretation of Shakespeare's play that maybe not everyone will "get" immediately, but will certainly be recognized by a truly unique and highly important view on a classic play. With a script that is written entirely in iambic meter, appearances of Motorhead's Lemmy and an outrageous forceful soundtrack watching Tromeo & Juliet is something no one will ever forget. Apart from it's historical significance, Tromeo & Juliet is a treasure for film-lovers of all kind. Not only for the script by James Gunn, now a good influence on Hollywood while working from the inside, but also because it features an early part of legendary actress Debbie Rochon. Well known by everyone familiar with films that are made on lower budgets. The 10th anniversary edition on DVD adds to all that by including so many as-yet undiscovered gems that not only all the information one could wish for about the film itself and the experience of making it is presented in ways that make it impossible to turn off the DVD, but also a very honest (and disturbing) look is given into the ways independent cinema has to surviver these days. In many ways the extra's on the disc are an invaluable addition to the already impressive amount given on Kaufman's film-school "Make Your Own Damn Movie". Furtermore historical items from the Troma vaults which include James Gunn, Debbie Rochon and all other contributors to this masterpiece are included, and the film itself is, apart from looking better then ever, accompanied by no less than four audio-commentaries, each and everyone informative, excruciatingly funny and all done for serious addition to the film instead of the boring and nonsensical commentaries that are so common these days. There are new commentaries (one with Kaufman and Gunn together), but also the one James Gunn did for the original release of the DVD but couldn't be included there for some of honesty he displays about some other people is present on this disc. With fan-recreations of a few of the scenes from the film, a video diary of Lloyd Kaufman's visit to the set of James Gunn's Slither and a visit the two brought together to Eli Roth's Hostel Birthday party and much more, this is the ultimate set everyone must own. Weather you are a film historian, someone interested in interpretations of the great Bard's work, a fan of great cinema, a fighter for independent cinema, a fan of James Gunn, interested in learning more on making films on a low budget, a fan of Lloyd Kaufman or whatever: this is the most important DVD-release of this millennium! | positive |
When I rented this movie to watch it, I knew that it was not going to be a mindbender movie. Instead I thought of it as a disbelief of reality where someone is going to get a serious beating. And you know what it worked. Kurt Russel did what I though was a remarkable role in showing the emotionless soldier that he was. I recommend this movie if your out with the boys and want to watch a good action film. | positive |
Imagine turning the American national anthem into a cartoon. Throw in a couple of cute animals, some terrible puns and a pair of roller skates and you'd find yourself with almost an exact replica of this film.<br /><br />I remember seeing this when I was younger; I made my Mother rent it from the video shop about 5 times. The story itself isn't too bad, it's just that any Marxists watching would certainly have something to complain about.<br /><br />If you don't like America you won't like this film. | negative |
"The Man in the White Suit" is another feather in the cap of expert Scottish director Alexander Mackendrick (Whisky Galore!, Sweet Smell of Success). The star of the film is Alec Guinness (whose comedies include Kind Hearts and Coronets and The Lavender Hill Mob). Guiness brings his usual class to the film, and makes it much more than a typical comedy.<br /><br />In fact, the comedy isn't entirely overt. By the end of the picture, it's nearly become a complete drama. It's the sort of Ealing studio comedy that is calculated not to produce laughter, but a sense of general amusement, like the best British comedy of the time.<br /><br />The whole idea of the suit isn't very original, but the way it is executed is. The film is highly original, and recommended to any fan of Guiness or Britsh comedy.<br /><br />7.6 out of 10 | positive |
The storyline seemed fine, the actors seemed fine, the movie should<br /><br />have been fine. But it sure wasn't - It didn't lead us anywhere, the<br /><br />scenes are weird. Maybe it was meant to create something new, to make<br /><br />us think. That atleast it did: Where is the rest of this film? To me it<br /><br />was waste of money, time, and talent. Someone might want to see this<br /><br />for curiosity, to see if they can figure it out. Other I personally<br /><br />wouldn't recommend this to anyone. | negative |
"A Family Affair" takes us back to a less complicated time in America. It's sobering to see how different everything was back then. It was a more innocent era in our country and we watch a 'functional' family dealing in things together. The film also marks the beginning of the series featuring the Hardy family.<br /><br />The film, directed by George Seitz, is based on a successful play. Judge James Hardy, and his wife Emmily, are facing a domestic crisis that must be dealt with. Married daughter Joan comes home after she has committed a social blunder and her husband holds her responsible. At the same time, another daughter, Marion, brings home a beau, who is clear will clash with her father. The happy teen ager Andy, seems to be the only one without a problem until his mother makes him escort Polly to the dance, something he is reluctant to do.<br /><br />Needless to say, Judge Hardy will prove why he knows best as he puts a plan into action to get everyone together again. After all, he is a man that understands, not only the law, but how to deal with those outside forces that threatens his standing in the community and what will make his family happy.<br /><br />Lionel Barrymore plays Judge Hardy with conviction. He is the glue that holds everything together. Spring Byington is seen as Emily, the mother. Mickey Rooney has a small part in this film, but he is as always, fun to watch. Cecilia Parker and Julie Haydon appeared as the daughters, Marion and Joan. Sara Hayden and Margaret Marquis are also featured in the film as Aunt Milly and Polly, the girl that surprises Andy with her beauty.<br /><br />"A Family Affair" is a good way to observe our past through the positive image painted of an American family. | positive |
Maggie Smith and Peter Ustinov as a very unlikely couple in a very not likable film at all.<br /><br />The film shows promise for Ustinov is released from prison for embezzling. He convinces Robert Morley to go away so that he can assume his identity and begin hacking away at computers at a very fancy firm run by Karl Malden and Bob Newhart, another unusual duo for films.<br /><br />Morley sounds just as he did in 1938's "Marie Antoinette." Perhaps, he needed to return to that genre.<br /><br />This film is ridiculous at best. Hard to believe that the following year, Maggie Smith totally changed her ways and gave a shattering Oscar performance in "The Prime of Miss Jean Brodie."<br /><br />Ms. Smith is made out here to be an apparent dumb-red head, but by film's end, she is the brains of the outfit. Too bad the writing didn't go the way with her. | negative |
I agree with what so many others have said about the shallow and offensive nature of this film's examination of racism. It is baffling to me that so many people seem to have been fooled by its pretentiousness. I want to comment on the Matt Dillon character as an example of what's most infuriating about this movie. Here we have a man who -- contrasted with the film's underlying message that "we're all a LITTLE racist" -- effectively rapes a woman in public, cruelly humiliating her husband and deliberately goading him to make a move that, as he well knows, will lead to his arrest or even death. He does all this after pulling the couple over without any legal cause but because, as we come to understand, they are black and wealthy and he is a hurt little boy who is now the police and can therefore do as he pleases. This behavior is not a LITTLE racist. This behavior is evil. It is disturbing to me that this extreme of racism is held up next to another character's behavior -- spouting her paranoid stereotypes about gang violence -- to illustrate that everybody's a LITTLE racist. Later, we're spoon-fed some tripe about Dillon's poor old dad and how black folks drove him into the poor house. Is this supposed to explain, or worse, excuse this behavior? And is Dillon's character meant to redeem himself by committing the utterly unmotivated and unbelievable, laughably coincidental act of saving the woman he sexually assaulted the very night before? Please. The fact that so many people seem to feel some kind of self-congratulatory admiration for this film makes me feel sad about the shallowness of our understanding of racism, and our apparent lack of commitment to condemning and ending it. | negative |
I went to a prescreening of this film and was shocked how cheesy it was. It was a combination of every horror/thriller cliché, trying to comment on many things including pedophilia, Satan worship, undercover cops, affairs, religion... and it was a mess. the acting was pretty washboard; the kid and the Jesus dude were alright, but apart from them.... Anyways. I admire the effort (though slightly failed) on the attempt at showing the Christian people in a different way...even though they did that, the way it presented the gospel was a bit stock and kiddish. But then again, it may have to be since he was talking to a little kid... no. actually, I've decided it's just all around bad. music... oh my gosh... horrible... toooo over-dramatic. Okay. I felt bad for the people who made this movie at the premier; It seemed like a poor student project. I'm going to stop ranting about this now and say bottom line, go see this movie if you want to waste an hour and fifty minutes of your life on crap. there you go. | negative |
I thoroughly enjoyed A Man Called Horse when it was released in 1970, but Return played like a typical sequel. Everything about it -- budget, script, plot, casting, and acting -- was inferior to the original. Gale Sondergaard as Elk Woman, an elder of the Yellow Hand tribe, looks nothing like an Indian, and neither do half of the other "Indians," who were played by Italians, Mexicans, and Latinos with cheap wigs. And the old guy who played the chief acted more like a fat old squaw than a fierce leader of warriors. He even used the bow like a woman! Finally, Richard Harris, who did such a superb job in the original, seems to be coasting this time around. I guess he couldn't resist the easy paycheck he got for reprising his role as Horse.<br /><br />To be fair, there are some interesting moments in the movie, such as Horse's undergoing a painful purification ritual to "find his vision" and rally the Yellow Hands against their Indian enemies and white oppressors, but on the whole, Return is uneven, boring, corny, and predictable -- just like most sequels. | negative |
After reading Fool For Love in a Drama class of mine, I was looking forward to seeing how Sam Shepard's wonderful play would be translated to the screen. Much to my dismay, it was nowhere near as entertaining as the play. The film seemed to drag, the music was inappropriate for the tone of the movie, and all the raw energy of the play seemed to have been sucked out of this film version. It's a shame to see this come out this way even with Shepard's involvement, playing the role of Eddie. Do yourselves a favor...see the play next time it's being performed in your area or simply read the book instead. | negative |
The best of everything. Just what is the best of everything? It is different for everyone but for most of us it is love. But alas not everyone knows where or who to look to for real love. This story goes the whole gambit of looking for love. Sometimes in all the wrong places and for all the wrong reasons. But as the saying goes,"we are the captains of our own ships", and so it goes for our lives. We are responsible for the choices that we make in our lives. Once we make those choices then we must live with them. As we watch this story and as we see these women making choices that most likely change their lives forever, we wonder, would we make the same choices as these women or would we be wiser? Who knows? | positive |
OK I saw this movie to get a benchmark for bad but with this movie it's Unisol's best movie now plot Luc Devereux is now a technical expert who is working with the government with his partner Maggie, who's been through countless hours of training and combat with him, to refine and perfect the UniSol program in an effort to make a new, stronger breed of soldier that is more sophisticated, intelligent, and agile. All of the new Unisols, which are faster and stronger than their predecessors, are connected through an artificially intelligent computer system called SETH, a Self-Evolving Thought Helix. When SETH discovers that the Universal Soldier program is scheduled to be shut down because of budget cuts, he takes matters into his own "hands" to protect himself. Killing those who try to shut off his power, and unleashing his platoon of super-soldiers, led by the musclebound Romeo, SETH spares Deveraux, only because Deveraux has the secret code that is needed to deactivate a built-in program that will shut SETH down in a matter of hours. With the help of a hacker named Squid, SETH takes human form. Not only must Luc contend with ambitious reporter Erin, who won't leave his side, but Luc also must contend with General Radford, who wants to take extreme measures to stop SETH. SETH has also kidnapped Luc's injured 13-year-old daughter Hillary, and is now holding her hostage. Luc is the only person who can rescue Hillary, because Luc knows firsthand how a UniSol thinks, feels, and fights. now there are problems like in any movie like did anyone find it weird how a reporter just-so-happened to be there and The soldiers can take being flattened with a truck however when Vanne Damme shoots them with a gun with one bullet and they die and the final fight scene was unbelievable when Luc is now human and Seth is 5x stronger and faster than any other Unisol and Luc can take a hit from him. with the final fight when Luc smashes him to pieces I was really surprised that the pieces didn't melt and reform him (Terminator 2). another thing that bugs me is how the hell does Vanne Damme get good actors to play relatives I mean in the case of Vanne Damme it's completely off the grid of how Science Fiction this movie is. The Music Score now that must have a mention have you ever listened to a song where you'd rather cut a blackboard with a knife well Universal Soldier 2 is like that. The good points are there's no Dolph (HOORAY) and unlike the 1st one there is only one naked scene whereas in the 1st one there are many (I'm still haunted by the scenes in #1) also the actors in this have some talent whereas in the first one the casting guys were sadists (if you don't believe me look it up) | negative |
"Five Fingers of Death" started the American kung-fu movie craze but I remember seeing it for the first time as "King Boxer" in Chinatown, NYC, without the bad dubbing and few Americans. I also was fortunate enough to see the American premiere of "Five Fingers Of Death" on Times Square, NYC. What a contrast this turned out to be...same film but different audiences.<br /><br />In Chinatown, this film took on a more serious tone to the viewers. It was because of hearing the real voices of the actors(In Chinese) that made this movie more believable. Chinatown theaters were showing violent kung fu films for years(1972's "Boxer From Shantung" beat them all in gore), so the action choreography & story were the main attraction. Rival school plots were not overused yet so the storyline seemed fresh. Every great kung fu film had wonderful, dastardly villains you wanted to see get their comeuppance and FFoD had them too. The star, Lieh Lo, was a known actor in Chinese theaters. The mostly Chinese audience enjoyed this film immensely. The audience buzz while leaving this film gives the final satisfaction to me.<br /><br />On Times Square, this film was an action comedy...probably unintentionally. I enjoyed it here too but for different reasons. The crowd was ethnic and quite energetic. From the start, the movie made you laugh. As soon as the audience heard those strange British accents come from those Chinese actors the movie turned into a violent and gory cartoon. Most American audiences saw this kind of gore in a horror film not in an action film. The action sequences blew the audience away. Unfortunately, the movie studios saw that they enjoyed it so much that, bad dubbing and unnecessary violence became a kung fu flick formula.<br /><br />I had fun seeing this movie with an American audience but enjoyed it much more in Chinatown. Some films can pass the test of time but the dubbed version of FFoD can't. The original "King Boxer" is still enjoyable...a CLASSIC! | positive |
I think it was way back in 1987 that we had our exams and my friend and I saw in the papers that one of the theatres was playing 'teen deviyan'. We decided to go just for the heck of it without hoping anything great. But we were in for a pleasant surprise. The movie was made in 1965 but even by today's standards, the plot was absolutely modern and way ahead of its times. The music was wonderful and Dev Anand as a city bred looked and acted his best. I still remember that elated feeling when we came out of the theatre after the movie was over. <br /><br />Whoever thought of this story of one man falling for three very different girls at the same time? No he is not three timing or fooling them but he genuinely likes all three of them for different reasons. One is homely, one is an actress and the third is a 'high society' girl who can also help Dev in his career as a poet. The question is which one is the 'One' for him. What makes the matter worse is that all three of them like him too. When things come to an impasse, a hypnotist takes him in and in his hypnotized state he dreams of his future with each one of them and reaches the right decision.<br /><br />This dream of his which is the only colored part in an otherwise black-n-white movie is the crux of the film but surprisingly is edited out from most of the versions available today. If you want to watch this movie make sure that this part is intact. In case you watch this movie without this part and get confused, don't worry because you just watched an incomplete movie. | positive |
I really liked the Far Cry game, nice graphics, good level-design, interesting and clever enemies, above-average length and even a somewhat decent plot. I am not by default against movie spin-offs of games. I thought "DOOM The Movie" was hilarious. But what Uwe Boll has done here, is to take the game and modified every one of its good aspects and turned them into something horrible (well not the length, the movie runs only a merciful 90 min) The characters are even more stereotypical than in the game, which is quite an achievement. The entire plot is told without any twists or mystery. Several blatantly ridiculous scenes tell you every bit of the story. And come on "Genetically Modified Soldiers"? they could have come up with some better name.<br /><br />However, this film should get some award for the most idiotic love scene. I have never seen anything of the like. I could not believe they were trying to be serious "we have to get out of the wet clothes" "I think I'll get hypothermia" (although everybody is wearing T-shirts) "we need to cuddle together for body warmth" "Is that your gun?" But... but ... weren't there people who consciously did this? There must have been a scriptwriter, a director, actors, a gaffer, an electrician, some food guy! Why didn't anyone jump into that scene to stop this evil from happening? Was this film done by ravaging, inhuman, genetically modified film people? I won't start at ranting about how many logical errors, inconsistencies and scriptwriting flaws there were, but even to the die-hard action-fan, this can't be anything but insulting.<br /><br />This film did actually ask for being rated 2 out of 10, so I'll do it that favor. But that leaves me to explain where the second star comes from. Special-effects? Nah. Acting? Not really. References to the game? You wish. Wait! they used the font from the game for the title and the credits. That was neat.<br /><br />If you are looking for a flick for a bad movie night, go for "2012 - Supernova", this one is just - sad. | negative |
Mel Brooks really outdid himself with this hilarious stand-up of the Robin Hood story. The cast is perfect, and Cary Elwes does a fine job at his role. In my personal opinion (besides the fact that I'm a Cary Elwes fan) this movie is the best, and funniest, I've ever seen! It will have you laughing every time you see it! | positive |
I caught this stink bomb of a movie recently on a cable channel, and was reminded of how terrible I thought it was in 1980 when first released. Many reviewers out there aren't old enough to remember the enormous hype that surrounded this movie and the struggle between Stanley Kubrick and Steven King. The enormously popular novel had legions of fans eager to see a supposed "master" director put this multi-layered supernatural story on the screen. "Salem's Lot" had already been ruined in the late 1970s as a TV mini-series, directed by Tobe Hooper (he of "Texas Chainsaw Massacre" fame) and was badly handled, turning the major villain of the book into a "Chiller Theatre" vampire with no real menace at all thus destroying the entire premise. Fans hoped that a director of Kubrick's stature would succeed where Hooper had failed. It didn't happen.<br /><br />Sure, this movie looks great and has a terrific opening sequence but after those few accomplishments, it's all downhill. Jack Nicholson cannot be anything but Jack Nicholson. He's always crazy and didn't bring anything to his role here. I don't care that many reviewers here think he's all that in this clinker, the "Here's Johnny!" bit notwithstanding...he's just awful in this movie. So is everyone else, for that matter. Scatman Crothers' character, Dick Halloran, was essential to the plot of the book, yet Kubrick kills him off in one of the lamest "shock" sequences ever put on film. I remember the audience in the theater I saw this at booing repeatedly during the last 45 minutes of this wretched flick, those that stayed that is...many left. King's books really never translate well to film since so much of the narratives occur internally to his characters, and often metaphysically. Kubrick jettisoned the tension between the living and the dead in favor of style here and the resulting mess ends so far from the original material that we ultimately don't really care what happens to whom.<br /><br />This movie still stinks and why so many think it's a horror masterpiece is beyond me. | negative |
The only reason I checked this film out was to see the "early" Kim Bassinger. That, and the fact that my TV guide said it was a "gripping suspense", and it was three-star rated. The rating must have come from the man who wrote this drivel because the only suspense in this movie was whether I would finish it or not. Robert Culp turns in what has to be the "disaster" of his career as a cop who is not even close to being believeable. At one point, EVERYBODY is a suspect, including a frail old woman. If you want to deliberately set out to watch a badly written, badly directed, badly acted movie...then go for it. It may make you appreciate fine films by comparison. I wish I had that hour and thirty six minutes back. | negative |
I just saw this at SIFF, and I absolutely loved it. There were parts where I laughed so hard I couldn't catch my breath. The script and direction by Glenn McQuaid are fantastic. I can't wait to see more from this talented young man. The performances make the movie. Larry Fessenden and Dominic Monaghan are just delightful as the graverobber Willy and his apprentice Arthur. Ron Perlman turns in a fantastic performance (as usual) as a less-than-sympathetic jailhouse priest. Bonus: Angus Scrimm as an unscrupulous doctor! As always, he balances menace and humor perfectly.<br /><br />This is a style of horror comedy that really hasn't been seen since Vincent Price did "Comedy of Terrors," "The Raven," and "Theater of Blood." The movie is genuinely scary in places, then it'll suddenly flip back into hilarious mode, keeping you totally off balance. Some parts are scary and funny at the same time.<br /><br />I can only afford to see three movies at SIFF this year, but even if the other two are awful, "I Sell The Dead" was worth the price of all three. I'm going to be looking for more movies from Larry Fessenden's Glass Eye Pix. He's giving the horror genre a much-needed kick in the butt. | positive |
This has to be one the best movies about serial killers that I've ever seen, and this is coming from someone who absolutely loved Silence of the Lambs. HBO has hit the jackpot here. This film is compelling from the first moment until the last.<br /><br />This film has so many underlying themes its hard to tell exactly what it is about. It chronicles the decade-long search for the Russian serial killer Andrea Chikatilo. Stephen Rea gives a brilliantly reserved performance as the inexperienced forensic expert who is put in charge of the investigation, and Donald Sutherland gives an even more involving performance as his cynical superior, and the only person in the Russian government willing to help him. Both of their performances are subtle masterpieces---Rea begins naive and unwilling to compromise, while Sutherland begins detached and almost amused by the situation. Towards the end, Rea becomes more world-weary and beaten by the system, while Sutherland finds himself more passionate and idealistic.<br /><br />In any other movie, I would have said that Sutherland's performance stands out above the rest, but here even it is rivaled by Jeffrey DuMann, as the serial killer himself. DuMann brilliantly creates a character here who inspires empathy rather than the hatred we think we would find---he is a monster, but he doesn't want to be, and we get the idea that he is just as disgusted with what he does as we are. He is tortured, ashamed, but vicious as well.<br /><br />If you can take the incredibly dark subject matter, (and it is *very* disturbing), then you should see this movie. | positive |
Citizen X tells the story of Andrei Chikatilo, The Ripper of Rostov, who killed 52 people in 8 years time, mainly women and children. It shows how the investigation was obstructed by Soviet bureaucracy, how hard it was to investigate the crimes. It does the job in such a brilliant way that it will leave no-one untouched. In the beginning it's perhaps a little bit slow of pace, but it really grabs you as the story unfolds. I can only say that, next to "The Silence of the Lambs", this is by far the best movie about a serial killer I've ever seen. <br /><br />It is very hard to say which actor's performance stands out above the rest in this movie. Stephen Rea is really brilliant as the inexperienced forensic expert who is put in charge of the investigation. Donald Sutherland's performance as his cynical superior, and the only person in the Russian government willing to help him, is as outstanding as Rea's. And what to say about Jeffrey DuMann, playing the serial killer? DuMann brilliantly created a character who inspires empathy rather than hatred. Yes, he is a monster, but he is also a sad figure, oppressed and ridiculed by his wife, his boss, his co-workers... He is tortured, ashamed, as well as extremely vicious.<br /><br />I can only recommend this movie to everybody who's interested in a well-made docu-drama, where the actors are still more important than the special effects. It deserves at least a 9/10, perhaps even more if you ask me. | positive |
To summarize, my group of friends and I spent about 45 minutes outside the theater sharing our favorites gaffes, plot inconsistencies, untied loose ends, and other ridiculous aspects of this movie. I found the story trite to the point of inconsequential and the plot lines as underdeveloped as the dino embryos still locked in the shaving cream canister from Jurassic Park 1. The editing was poor and none of the characters engendered any sort of sympathy or feeling. In short, this movie lacked any of the suspense and thrill that the first movie provided from a story standpoint<br /><br />Even the new dinosaurs were few and far between (although I really enjoyed the pterodactyls.) We got several brief shots of the new species and only 2 really were involved in the action.<br /><br />As a scientist and former childhood paleontologist, the lack of any real scientific content (not that it had to be realistic, but logically formed i.e. how they built the dinos in #1 and malcom's chaos ramblings) was disappointing as well.<br /><br />In short, the movie seemed to be nothing more than an excuse to trot dinos back on the scene to make some money. I hope that movie-goers don't fall for this trap again (although I did apparently) | negative |
i wont go and give them my 10 bucks i went and bought the fourth season of the original and the best. At least my kids enjoy it and can watch it without me worrying about what they are seeing. I have a teenager and she thinks the previews are ridiculous and would rather watch the original. And she thinks Jessica Simpson is a horrible daisy in fact she thinks she looks more like a slut than daisy duke. Those shorts she might as well not be wearing anything at all. And since when is American Pie have anything to do with the Dukes SHAME ON them for putting that nasty line in there about having sex with a car. That in itself should have gotten the movie a R rating. The only good thing that might come out of this is a reunion movie with the originals. Lets all hope. So the people out there that went and seen the movie will see how it should have looked | negative |
This was the first Chan film made by Monogram. What a come down from Fox values and standards! I was shocked when I saw my first Monogram after seeing the great Fox films. This is boring and uninspired with wild music playing as Chan calmly walks across the street. Chan is now working for the US Secret Service rather than the Honolulu Police Department. He is assisted by Benson Fong, who plays No. 3 Son Tommy for the first time. He also has a daughter along, Iris Chan, played by Marianne Quon. Mantan Moreland also makes his debut as Birmingham Brown. He is a cab driver in Washington, DC, here, rather than the later chauffeur to Chan in the later films. | negative |
I thought this movie was excellent,for the fact that Corrine and Sean are newcomers to the business.It was packed with action and a little romance,but there were some points when Corrine didn't speak very clearly (when she threatened Sean with the gun) and she clenched her teeth...maybe she was supposed to?I think the roles of Joseph and Sonny were portrayed very well,and there was an obvious contrast.Also,because i watched next action star,i am certain that Corrine and Sean did their own stunts,which were performed very well.I am looking forward to another movie by the pair,as they make a great team,or perhaps a sequel to bet your life-possibly called 'making it big in the big apple',it could this time be about Carmen..Bet your life is EXCELLENT! | positive |
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