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train_18136
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This movie was the worst i've ever seen.It doesn't seem to have a plot but the time you realize this is far beyond the beginning of the movie so you have to watch the shut for a long time to recognize the total incompetence of the director, aka the sloth that plays the tampon chick in the movie, and we do not believe the Willem Dafoe in this movie, he's a clone, because the real Dafoe, like we know from "apocalypse now" and "the boon dock saints", would never agreed to such a script.Duh, (Da)foe wrote this bill shut together with his twenty years minus baby. This movie starts with the credits of the two main characters, Dafoe and Colagrande, and then the two script writers, Dafoe and Colagrande, and then the director, Colagrande.Bottomline (the story); Widow meets guy, guy bangs widow, widow smashes windscreen with guy who banged her.Title in Netherlands; The black widow (different title, same bullshit).DO NOT WATCH THIS MOVIE!!! It's a total waist of time!!!
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train_14071
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Watching this movie made me think constantly; why are they making such a problem out of some broken brakes? There are a million options to slow down the car! In the movie Speed the writers a least thought of a good reason why the car wasn't able to stop...There aren't many good things to say about this film; all the usual narrative cliche's make their appearance, the actors are very bad, the story is as leak as a sieve etc. That makes this movie a waste of time and money.
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train_7778
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Director Douglas Sirk once said `there's a very short distance between high art and trash, and trash that contains craziness is by this very quality nearer to art'. This statement defines his cinema perfectly, a very unique body of work that includes classic stage adaptations, adventure and war films, westerns and of course, his famous melodramas.Sirk's melodramas were, as the very word signifies, dramas with music. The music sets the tone for his masterful style, and every stroke of his brush (Sirk was also a painter) leaves a powerful image on the screen-turned-canvas. But this ain't life but its representation, an imitation of life. Sirk never tried to show reality, on the contrary. None of the directors of his generation made a better use of all the technical devices provided by Hollywood (most notably Technicolor) to distinguish the artificial from the real thing. Let's remember that his golden period coincides with the time when Hollywood films turned its attention into the social drama (Blackboard jungle, Rebel without a cause). Sirk always knew that cinema was meant to be something else.Another of Sirk's statements summarizes this: `You can't reach, or touch, the real. You just see reflections. If you try to grasp happiness itself your fingers only meet glass'. I defy anybody that has seen Written on the wind to count the amount of mirrors and images reflected that appear on screen. One ends up giving up.Therefore, we are in a hall full of mirrors where there's no difference between real and its false copy. Nobody can say that the Hadley are real people. That town ain't real either, with those hideous oil pumps all over the place. So in this realm the acting is affected, the decore is fake, the trick is visible. Everything is pushed a little bit off the limit (the sexual connotations of Dorothy Malone with the oil tower, for example). Sirk was criticizing and theorizing at the same time.`The angles are the director's thoughts; the lighting is his philosophy'. In Written on the wind we follow the fall of a traditional way of life both in a geometrical way and in terms of light and shadows. The Hadleys house, with its different levels connected by the spiral staircase operates in a strictly metaphorical way. A house that resembles a mausoleum, that no party can cheer up. As tragedy progresses from luminous daylight to shadowy night, Sirk's photography becomes an extension of the inner state of his characters, and so are the colours of the clothes they wear. Drama is thus incorporated to every element at the service of the director's craft.Sirk considered himself a `story bender', because he bended the standard material he was assigned with to his style and purpose. Written on the wind is a good example. It wouldn't work in any other hands.The other director that was using similar strategies was Frank Tashlin, who was for 50's comedy the same that Sirk was for melodrama. Their films are full of the machinery of american life -advertising, TV sets, jukeboxes, washing machines, sport cars, vacuum cleaners- to depict its emptiness and decay. I'm inclined to think that their films were regarded in a different way by their contemporary audiences. The game was played by both sides, so it was camp. Now we regard them as `cult' or `bizarre', because we are not those spectators anymore. That is why Todd Haynes's homage `Far from heaven' turns into a pastiche, because it reproduces Sirk's work nowadays as if nothing happened in between. Then Sirk turns exactly into that painting hanging in the art gallery that Julianne Moore and the gardener discuss in the aforementioned film.Sirk understood the elements of melodrama perfectly. There were always immovable characters (Rock Hudson and Lauren Bacall here) against which he could assemble a series of split ones. His balance through antithesis is remarkable and not surprisingly we root for the split characters, because these are the ones Sirk is interested in too. When Robert Stack flies the plane and `tempts' Lauren Bacall with all sorts of mundane comforts of the world below them (obvious Faustian echoes) we are strangely fascinated with him too, as we are when the devilish nymphomaniac little sister painfully evokes her past with Mitch alone by the river.In the Sirk's universe the studio often-imposed `happy ends' have no negative impact. In fact they worked just great. Sirk was fond of greek tragedy and considered happy endings the Deux ex machinea of his day. Thus the final courtroom scene fits well and one must also remember that the whole film is told in flashback, so we know from the very beginning that tragedy will fall nevertheless over the Hadley feud.It was pointed out the many similarities between Written on the Wind with the Godfather saga. I absolutely agree and I'm sure the parallel is not incidental. Both share the theme of the old powerful father head trying to keep his empire going while protecting his family. The temperamental son portrayed by Robert Stack has an amazing physical resemblance with Jimmy Caan's Sonny Corleone. The action of fighting her sister's male friend is symmetrical. The non-son in which the old man put his trust is also common in both films, as the fact that both families carry the names of their town. Even details as the gate that gives access to the property, and the surroundings of the house covered by leaves, suggest that Coppola had Written on the Wind in mind while setting his masterwork. Because both films deal with the subject of Power: the acquisition of power, its manipulation and legacy (even Kyle Hadley's sterility, the event that hastens the turmoil, is an issue easily tied to the central theme of Power, in this case, a weakness in sexual power). The other great film that deals with power and uses american life as its representation is Citizen Kane. One wouldn't think at first of similarities between Welles and Sirk's films but there are a good many, starting with the petrol business as the origin of the family's fortune and ending in the fact that Mitch Wayne (Rock Hudson), as Charles Foster Kane, was adopted by a tutor, having his own father alive. Amazingly, the same actor (Harry Shannon) perform both Wayne and Kane's fathers. This detail is cannot be a coincidence.Written on the Wind is a masterpiece in every aspect, in execution and vision, in style and technique, a highlight in the career of this wonderful director. Some say that this is his best film. In my opinion, `Magnificent obsession', `All that heaven allows', `There's always tomorrow' and `Imitation of life' are just as good. And for those who put Sirk in the level of Dallas or Dinasty I wish them no happy end.
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train_18901
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Can I Do it 'till I Need Glasses? at the very least proves the point that anyone can make a movie. Talent is not a consideration. The folks who unleashed this wretched pile of spewing vomit upon the world, lack any semblance of talent, taste or intelligence. The target audience must consist of the recently labotimized, and infants who play with their own feces. Anyone else would be far too world wise to get even a snicker out of this film. It consists of a series of sophmoric skits in which the punchline does not even extend to the obvious. It ends at the ludicrous. The jokes told are the types of jokes that elementary school children tell (usually potty or sexually related) where they don't know the meaning of all of the terms they use. You know, like the one about daddy's car and mommy's garage. To apply any sterner method of criticism would be pointless, since the usual standards of acting, writing, direction and such have never even been heard of by the creative "minds." behind this mess. Not to be judgemental, but anyone who enjoyed this film should seriously reflect upon their purpose on this earth.
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train_2930
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The film is side spliting from the outset, Eddie just seems to bring that uniqueness to the stage and makes the most basic thing funny from having an ice cream as a child to the long old tradition of the family get together. The film is very rare in this country but unsure of availability in other countries i have searched through a lot of web sites and still no luck, phoned companies that search for rare videos and there are year waiting lists for it. SO HINTS ARE VERY WELCOME. If any one likes Eddie Murphy as a comedian and see's the video get it,it is worth the money and can't go far wrong.
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train_18583
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Two kinds of movies we like are (1) westerns, and (2) movies from 30 or 40 years ago. We ought to have liked A Man Called Sledge; BUT.....BUT... this picture is disagreeable, annoying and stupid from start to finish. Since there is nobody in the story (good or bad) to warm up to, there is nobody to motivate the necessary suspense to keep the viewer interested. No camaraderie among the guys trying to steal the gold, and no camaraderie among those trying to protect it. Sledge has a pretty girl friend, but there's no reason why she slobbers all over the guy or why she wants to be in the same room with this no-account pig.The film also suffers from an intrusive and gawdawful musical score, and from extremely bad writing and direction by Vic Morrow.Of the last 30 older movies rented from Netflix or Video Vault, this was the rock bottom, the only true dud in the bunch.
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train_8972
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My discovery of the cinema of Jan Svankmajer opened My eyes to a whole tradition of Czech animation, of which Jirí Trnka was a pioneer. His Ruka is one of the finest, most technically-impressive animated movies I've ever seen.A potter wakes up and waters his plant. Then he goes about making a pot. But in comes the huge hand which crashes the pot and demands that the potter make a statue of itself. He casts the hand out, but soon it returns and imprisons him in a bird cage where he's forced to sculpt a stone hand. He sets about it, fainting from exhaustion, but eventually completes the task.In a marvellous sequence of metacinema, the potter uses a candle to burn his visible puppet strings, which keep him in thrall, and he escapes back home. He shuts himself in and is accidentally killed by his own beloved plant when it falls on his head.This movie doesn't hide the fact it's pure animation, unlike modern movies that strive to be realistic (why?). The hand, for instance, is clearly someone's hand in a glove. Everything else is clay. Strings are visible and are part of the narrative, making it a precursor of the movie Strings. The atmosphere is eerie: that hand going after the little potter managed to instill more dread in me than many horror movies combined.The movie is obvious but it avoids being totally manipulative for its simplicity. it's a fable about artistic freedom and tyranny which can't help winning the heart and mind of anyone who holds freedom as a natural right.
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train_7744
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A must see film with great dialogues, great music, great acting and a superb atmosphere.In the film you will follow 8 people for one day in the city of antwerp, they are all individuals and sometimes plain weird (that's how I love them!).I'm not going to say anything else, just go see and enjoy it.
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train_4183
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I had seen this movie long time back, but found it amazing and to this day it has never stopped amazing me.A wonderful movie that describes the account of a group of Australian commandos who tried to sink some Japanese ships at the Singapore harbor during the height of WW2.These commandos are caught in plain-clothes and they are considered to be spies by the Japanese captors. But something happens that hasn't been explored much in any Hollywood WW2 movie that I have seen.A close and friendly bonding develops between the captors and the captives. They begin to respect each other, while the captain of the captured Australian soldiers become the best of friends with a senior Japanese prison guard. This is the most wonderful part of the whole movie and it really tugs your heart.Soon, one day as the two friends are conversing, the Aussie captain learns that some other captives are going to be tried and executed for the sinking of the Jap ships in the Singapore harbor.He mentions that it was his team and not some other's that had sunk the ships to his Japanese friend, and upon hearing this the Japanese guard tells him to keep quiet as it might lead to his whole group getting executed. But the captain remains adamant on confessing this to the Japanese authorities.Finally, the Japanese authorities sentence them to death in the most respectful way that is according to their rules. This is the Highest Honor accorded to the captured warriors in Japan.This is the most awesome part of the film where the Aussie soldiers are awaiting their imminent death and the tense indecision of the friendly Japanese guard who is still not ready to believe that why did his Aussie friend confess being guilty.I won't give away the ending here. But it is more poignant than one can even imagine and can easily move one to tears.All in all, an excellent underrated movie that possibly didn't get the recognition that it deserved internationally. Get one copy today and be mesmerized.
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train_7878
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As the story in my family goes, my dad, Milton Raskin, played the piano for the Dorsey band. After Sinatra joined the band, my dad practiced with him for hours on end. Then, at a point in time, my dad told Sinatra that he was actually to good to be tied up with such a small group (band), and that he should venture off on his own. By that time Sinatra had enough credits 'under his belt' to do just that! Dorsey never forgave my dad, and the rest, as they say, is history.I have some pictures and records to that effect, and so does Berkley University in California.I have seen just about every Sinatra movie more times than I wish to say, and his movies never get old . . . Thank you Frank
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train_20250
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This movie was the worst movie ever made on the planet, I like BARNEY more than this movie. The graphics suck, half the movie is animated, the deaths suck, and over all, I was ready to SUE the people that made this movie!PLEASE DO NOT WASTE HOURS OF YOUR LIFE WATCHING THIS MOVIE. The only good part was when the movie ******* ended! This movie is 50 percent Jurassic park, .1 percent Sabretooth, and 49.9 percent DUMB! Please do not waste your time watching this movie, you will regret it.You want to know why this movie sucks? Well, the cover sucked, the graphics sucked, the blood looked ( I mean is) ketchup, the people tried to blow themselves up, the college students think there all that and can stand up to the animal. I mean, there was a 5 ft. tiger running straight at a woman, she throws a spear at it from 100 ft away! WAIT TILL YOU CAN Actually HIT IT! The acting was horrible too. Jurrasic Park is actually a good movie, and this just had to go and ruin it.
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train_6848
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A very silly movie, this starts with a soft porn sequence, ventures into farcelike comedy in the art gallery, adds a shocker of a discovery in the hotel room then introduces a random murder for no obvious reason.What follows is bizarre and surreal (the stopwatch scene in particular is exquisitely unnecessary), culminating in a revelatory "twist" ending which is as obvious as it is unfair on the viewer (see the trivia section for precisely why it's deliberately unfair).The movie goes out of its way to be offensive to as many groups as possible - transsexuals, the insane, and the wonderful "Huggie Bear"-style racial stereotyping on the subway - and condescendingly treats the viewer like an idiot in the closing scenes, as characters endlessly explain to one another in great detail and over and over again what just happened in the film. Though the background female characters in the restaurant scene at the end are a joy to watch.In fact, the whole movie is a joy to watch: Despite its many, many flaws, the whole package just, well, works.
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train_2275
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American playwright Howard W. Campbell, Jr. (played with a musty obsolescence by Nick Nolte) lives happily in Germany with his actress wife, Helga Noth (Sheryl Lee) before the beginning of World War II. At the peak of his life, Howard is drafted by an American agent (John Goodman) to become a spy on behalf of the Allies; forewarned of the risks the job holds, Howard has everything to lose, but finds the offer irresistible. Following the death of his wife and the end of the war, Campbell camouflages himself with the anonymity of a solitary life in New York City, which muddies his neuroses even further. The central question (indeed, a question that has frustrated many critics) of the movie and Kurt Vonnegut's source novel is, "is Campbell a hero or a traitor?" Director Keith Gordon and screenwriter Robert B. Weide offer us clues, but no answer, and this ambiguitythis NOT knowingis what keeps "Mother Night" fresh and interesting throughout. At the beginning of the film, Nolte portrays Campbell as intelligent and confident; by the end, he's either scared and uncertain, or scared and COMPLETELY certain of his contribution/debt to humanity for the role he played in the war. Gordon applies a certain icy sheen to the images of the film's first half, which complement his portrait of the Nazi bourgeoisie and captures Vonnegut's dramatic side. On the flip side, when Campbell is confined to his lonely New York apartment (which he affectionately calls "purgatory") only to be discovered by a group of Nazis, the humor produced also is purely distinctive of the author, and provides a temporary respite from the dramatic tension that unfolds. The moral (even spiritual) paradox "Mother Night" presents doesn't lend itself to simple resolution, and to a degree, should be left ambiguousthe black-and-white scenes of Campbell staring wearily into space as he is imprisoned in Israel suggest an unspoken contemplation we are not made privy toas Campbell is a character whose inner workings we wind up knowing very little about; the war changes him, coming back to America changes him, and meeting up with the Nazis in New York compels him to prolong the facade of his "act" even further, to the point where he can only stare wearily at an image of himself projected on a wall, spewing anti-Semitic bile. Perhaps that's the best reaction we could hope for.
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train_10923
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This movie is really good. The plot, which works like puzzle forces viewer to think and guess, what will happen next. Such a trick brings a lot of surprises and makes a viewer really looking forward to solution of a riddle. Fighting scenes are very good. There's a lot of different combat styles (although one of styles was a bit unreal for me, but it's only my opinion) to watch and it's fascinating show. The only thing which may be irritating is actors look. A bit too effeminate (at least for me). Hong Kong was always good at kung-fu movies especially in the 70's and 80's, so "Five Venoms" (or other its versions) is great choice.
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train_22235
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I tried as hard as I could to sit all the way through this irritating mess, but I just couldn't do it. Brad Dourif absolutely sucked as the lead and all the supporting cast were only marginally worse. The whole thing is just ludicrous, from the awful acting to the laughable FX to the stupid plot.Complete waste of time; don't bother. Root Canal therapy would be more enjoyable. Bamboo slivers under the fingernails would be a lot more pleasant. Watching a Uwe Boll movie would be only a little worse than this. Get the idea?
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train_6857
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"Dressed To Kill", is one of the best thrillers ever made. Its dealings with sex and violence make this a film for adults. Brian De Palma, once again, proves why no other director can match his use of the camera to tell a story. He directs many scenes without dialog, and he tells much of his story, strictly through the use of his visuals, and Pino Donnagio's brilliant score. Filmed in Panavision, the film MUST be seen in widescreen, as De Palma uses the entire width of the film to tell his story. Cropped, on video, "Dressed To Kill", is barely the same movie. Solid performances from its cast, superb direction, and, perhaps, the finest film score ever written, make "Dressed To Kill" a must see.
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train_3087
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Six Degrees is a wonderful show! I watched the entire season online since I just found it and was terribly disappointed that there will not be a season 2 :'( and to top it all off, ABC has now taken it off-line, so it is unable to be viewed online anymore. Why would ABC create such a wonderful show, with a great story line and with great characters just to pull it off the air without ever completing the tale. It seems it is left to our imagination to figure out what happens to all of our connected characters. Honestly though I feel that ABC could at least place the show online for viewers who enjoied it while they continue to air overrated reality TV shows. Six Degrees we will miss you.
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train_9164
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I have recently seen this production on DVD. It is the first time I have seen it since it was originally broadcast in 1983 and it was just as good as I remembered. At first as was worried it would seem old fashioned and I suppose it is a little dated and very wordy as the BBC serials were back then. (I miss those wonderful costume dramas that seemed to be always on Sunday afternoons back then) But that aside it is as near perfect as it could have been. I am a bit of a "Jane Eyre" purist as it is my favourite book and have never seen another production that is a faithful to the book as this one. I have recently re-read the book as well and some of the dialogue is just spot on. Reading the scene near the end where Rochester questions Jane about what St John was like I noticed their words were exactly reproduced on screen by Dalton and Clarke and done perfectly. All the other productions that have been done all seem lacking in some way, some even leave out the "Rivers" family and their connection to Jane altogether. I also think this is the only production to include the "Gypsy" scene done correctly.The casting is perfect, Zelah Clarke is like Jane is described in the book "small plain and dark" and I disagree that she looked too old. Timothy Dalton may be a little too handsome but he is absolutely perfect as Rochester, portraying every aspect of his character just right and acting his socks off! I agree with other comment that he even appears quite scary at time, like in the scene when he turns around slowly at the church when the wedding is interrupted, his expression is fantastically frightening. But then in another favourite scene his joy is wonderful to see when Jane runs down the stairs and into his arms the morning after they declare their love for one another. A love that is wonderfully portrayed and totally believable. Oh to be loved by a man like that! There were a couple of scenes that were strangely missing however, like when Jane climbs in to bed with the dying Helen and also when Rochester takes Jane shopping for her wedding things (I thought that one was in it but maybe my memory is playing tricks).Finally if you never see another production of Jane Eyre - you simply most see this one it is simply perfection!
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train_330
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I'm Italian and when I've recently looked again this film I astonished for its beauty: the first time I was 10 years old and I liked it, but today I can appreciate it with adult mind and feelings. Now I can understand it was a masterpiece of a special season of the Italian cinema (Pasolini etc.), by that time gone. The Hollywood epic films are good...for fun. Perhaps this 'Odyssey' had no English version because is not enough funny... not suitable for pop-corn and coke audience. However suitable for Homer pathos and existentialist reflections.In Italy was recently released a very good DVD version: INTEGRAL, with excellent colors. You can find it in some file sharing, but it's Italian only, and without subtitles. Too bad: also the dialogs and the voices of this film are remarkable.
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train_81
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I watched the McCoys reunion and was glad to see Richard Crenna and Kathleen Nolan and Tony Martinez!!!To see them now was wonderful, because I always watched the show growing up so when the TV said that there was going to be a reunion I was so excited !!!! The only thing I could not figure out is why Lydia Reed (Hassie McCoy) and Michael Winkelman(little Luke) was not on there.I know that Walter Brennan had died. So I got on my computer and tried to find out about them and found this site so if there is anyone out there that can tell me what ever happened to Lydia Reed( Hassie McCoy) and Michael Winkelman (little Luke I would be thankful!!! I have searched everywere and no luck .The only thing I could find out about Michael Winkelman is he was supposed to be born in 1946. This show had value and morals each show gave a lesson to be learned.The shows today dont have that.The whole cast was incredable the only thing better than finding out obout them would be to meet them So since that is impossible if there is anyone that can help please do!!! Thank You Glenda
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train_1315
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I have seen this movie more than several times, on TV. I ALWAYS watch it again...NEVER turning the channel. This movie is full of chilling surprises, and absolutely edge-of-your-seat suspenseful, without being overbearing or stupid. Helen Hunt's talent is magnificently shown in this movie! I recommend this movie to anyone!!!
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train_5354
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Why didn't Dynamo have any pants?! Where did they go?? It was never explained. That's why this movie was so awesome. Plus Starsky gave his kids the AIDS!!!! Great acting too. Richard Dawson deserved to win Best Supporting Actor! A I D S My favorite line from the movie was "That hit the spot" A I D S. This movie was for the "birds". I tried to give this movie the "stinkeye" but it continued playing. What am I doing wrong???!!!! I thought the "HATEBOAT" was funnnny lol ;) I would like that for a show. Why wasn't Dynamo wearing pants. I know his arm WAS skewered but... What's up with those crazy futur nets. Why didn't that family feud guy Ray Combs get a net?? He could have used one. AIDSSSSS
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train_18448
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I won't mention any of the plot, because, although it would be highly predictable anyway, the one notable plot twist is given away everywhere, in the movie comments, in the plot summary here, and even in the synopsis on my Netflix envelope. I might have enjoyed it more if I hadn't known that. Maybe. This film has a deceptively good cast, most of whom did creditable acting with the rather limited material at hand, including Donald Sutherland, Lesley Ann Warren, and Tia Carrere and Rosemary Dunsmore in smaller parts. It was impossible to like William McNamara, but that was clearly by design. And there were a couple of quick nude scenes by the callipygian Lenore Zann. But none of this brings the slightest recommendation from me. Don't any of these fine actors actually read these scripts before signing on?
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train_10337
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This movie was extremely funny, I would like to own this for my vintage collection of 1970s movie must see again list, I know this cast of characters ,they are people that I have met over the years and that prompt me to search out this comedy, unfortunately this was never put to DVD or VHS. Redd Foxx always a clown of comedy, Pearl Baily a great match as his wife witty and sassy, Norman a son with a secret not sure if he will have a future if it is out,Dennis Dugan crazy funny man . Miss Dobson hooker with a heart and little conscience. Love,lust,strange family ties this movie qualifies for a come back encore performance ,situation comedy with a mix of events as this could and should find its way as a remake, I do think finding cast would be extremely difficult maybe impossible,except Jerry Seinfeld playing Dennis Dugan role, this earmarks a couple of Seinfeld episodes that also brought me back to Norman is that you ,keeping them in the closest was surely impossible as impossible to reform pretend hooker girl friend and infidelity of a parent. This movie was a wild ride advise of a cabbie, remind me of episode Kramer takes advice of his caddie over his lawyer. ( episode from Seinfeld ) The parents have there jaw dropping moment, fun over fun It is screaming bring me back .
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train_21214
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I just couldn't stop laughing!! This movie is incredibly funny and stupid! But, never mind that, it is very entertaining! In this film, you don't need to pay attention to anything! The acting is the same - LAME! The dinosaurs are the same - RUBBER (Oh, my I could see the stick that holds T-Rex head for a moment.) The raptors are the same from the Carnosaur 2, T-Rex is also the same, but... in some scenes his head looks kinda stuffed and it looks like some kind of project failure from kindergarten. Action is fast, sometimes too fast, actually I talk about fast editing, they edited it so fast, so that we cannot see the rubber dinosaurs, but OOPPS! to late, they are rubber! Well, only things interesting here is to see Rick Dean in this sequel.What can I say... don't rent it... watch it on TV, with friends, it is much more entertaining!
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train_13555
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*Spoiler warning*First of all I rated this movie 2 out of 10.The idea is good, but there are too many stupid errors in the movie, failing to make it the psyching drama that it might have been. First of all she never fights alone. After an initial very strange doubt from her mother (which is not believable when the mother proves to be so supportive and loving later in the movie) the rape victim is not alone. She is also unbelievably naive always falling into the Crew's strange traps. Her friends are unbelievably nasty.The thing that I find most unbelievably is that Ethan fails to control the crew when he changes his opinon. Ethan is very much the leader of the Crew (hey, they even say so) and people seem to think the other guy is a jerk, but when Ethan changes his opinion he just doesn't manage to convince even one single person in the Crew that he is right and that his former friend is wrong. Everyone just simply hates him... why?? The movie provides no explanation. How did he ever become the leader?A funny note is that my girlfriend thought I was watching Beverly Hills when she came in. Two actors from the same successful TV-series.... a cheap way to get viewers?
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train_21703
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Many people like to point to this TV movie when arguing with the vast legions of Hanks-philes out there that Tom did in fact make crappy films (I think "Bachelor Party" was great, but that's another story). The movie focuses on a "Dungeons and Dragons-style game" that eventually drives our young Gump to hallucinatory madness. The story is charmingly early 1980s, focusing as it does on the imminent threat to our youth posed by those evil role-playing games.I, however, prefer to view "Mazes and Monsters" as the turning point in the "Whatever Happened to Chris Makepeace?" story. we all remember him as 'Rudy the Rabbit' in "Meatballs" and as the hapless Clifford in "My Bodyguard", where he gave us all a vicarious thrill by beating the crap out of Matt Dillon. Few could argue (especially those of us who read "Dynamite!" on a regular basis) that great things were in store for him.And then came Rona Jaffe. The line between bad acting and bad writing is razor thin, so I leave it to you to decide whose fault Makepeace's performance in this is. All I know is that the last major release I saw him in was "Vamp", and that was 1986. He had a small role as Sean Penn's brother in "Falcon and the Snowman", but by that time the Brat Pack torch had been passed to others with straighter hair and flashier resumes.I can't in good conscience recommend this movie. Watch it if only to see a younger, more idealistic Chris Makepeace, before Rona Jaffe feasted on his soul.
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train_20599
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This was a great book and the possibilities for a truly great film were definitely there. But the casting decisions completely wrecked the movie. Hanks is a great actor to be sure, but lacks the smarmy, morally ambivalent characteristics needed for the lead role. Jeff Daniels would have been my choice.Putting Melanie Griffiths in, for eye candy reasons, is understandable, but again, she did not portray the depth or ambivalence, so need to pull this off.This movie is a great example of how every decision, even those early on in the movie production can make or break a file.
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train_18447
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This is one of the most hateful and cruel movies I've seen in a long time. Sadly I was duped into sticking with it, since Donald Sutherland's presence misleadingly gave it some credibility. [That's the last time that'll happen.]Lesley Ann Warren's character was annoyingly whiny and as stupid as they come. There were smarter characters than hers who were killed in the film. Thats just one of many things in this movie that made me ask, "Where is the justice?"Why is late-night cable so filled with sadistic garbage filled with pathological mayhem? Most of these films seem to have a particular problem with women, and seem to focus on them being terrorized and murdered. This film could have been every bit as suspenseful without being sick and twisted in the process. All it ends up doing is turning the viewer's stomach with its sickness, and insulting the viewer's intelligence.The cast is misleadingly good. My guess is that they BAGGED Sutherland first, and used him to lure the others like lemmings into this.I'm kicking myself for wasting time, giving this piece of garbage a chance.
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train_131
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This is the fifth von Trier film I have seen. I believe that he is the only director to whom I have given such a high score on all his movies. Four of them, The Element of Crime, Europa, Breaking the Waves, and Dancer in the Dark, I have given a 10, and one, The Idiots, I have given a 9 (and I have been reconsidering whether to give it a 10 since I first saw it, although I'd like to see it once more before I do). He has been chided for calling himself one of the best working directors. I tend to agree with him. I cannot blame him for being arrogant when he has made such great films. In 50 years, when von Trier retires, he will be looked upon as the pre-eminent film artist from Europe (perhaps from the planet), and there will be classes taught in his name. He simply is the Bergman or Fellini of our time. It is too bad the critics are too intrigued with themselves to notice this.About Europa itself, I'll admit that it was confusing and that its narrative did not seem strong. I think that's the point. This film was obviously meant to represent a nightmare, or the subconscious at some level. This is absolutely clear from the framing of the film: Max von Sydow's narration. We are hypnotized, or von Trier is hypnotized, and this is our/his subconscious mind. I'm inclined to lean more towards his mind, since the degradation of Europe concerns me, an American, very little. This framing is also clear if you have seen The Element of Crime, an even more brilliant film than this (although I am disputing that in my mind; what Europa needs more than anything is a proper release on DVD, hopefully Criterion again, with theatrical aspect ratio and remastered sound and picture; then, I am fairly sure, this film would seem as great as any of von Trier's other films). In The Element of Crime, the film begins with a hypnotist, whom we actually see on screen this time, is hypnotizing Fisher, a European detective who wants to get to the root of his mental anguish. The first words of that film are "Fantasy is okay, but my job is to keep you on track." And whenever Fisher, the narrator, gets off track, the hypnotist does chastize him and tells him to get back on with the story. He even laughs when a character is given a really silly and trite line. Something along the lines of, "Do you understand the difference between good and evil?" The hypnotist laughs and says, "Now, Fisher, she didn't really say that, did she?"So the key to interpreting Europa, almost a sequel of sorts to The Element of Crime, is that we are deep in our/von Trier's subconscious, and the symbols there are to be interpreted within ourselves and will likely be different for everyone. What does the train itself symbolize? Consider it internally, and only then discuss it externally. Europa is a great film, a masterpiece. I was never bored by it, even though I watched it at 3 am. The perfect time to watch, actually, since it works in dream logic.
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train_18391
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This norwegian movie is so crap, the actors can not act cause they seems to be reading from a book and the story is so (wannabe) hollywood..the only actor who did a ok job was Haavard Lilleheie..3/10 If you want a really good norwegian movie watch Buddy, great actors and a feelgood story 9/10
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train_21014
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I give this movie a ONE, for it is truly an awful movie. Sound track of the DVD is so bad, it actually hurts my ear. But the vision, no matter how disjointed, does show something really fancy in the Italian society. I will not go into detail what actually was so shocking , but the various incidents are absolutely abnormal. So for the kink value, i give it one.Otherwise, the video, photography, acting of the adults actors /actresses are simply substandard, a practical jock to people who love foreign movies.Roberto, the main character, has full spectrum of emotions but exaggerated to the point of being unbelievable.however, the children in the movie are mostly 3/4 years old, and they are genuine and the movie provides glimpse of the Italian life..
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train_5718
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I wanted to see Sarah Buffy on the big screen, so I first bought tickets and then checked the reviews at IMDb. I worried about seeing a bad movie. Well, I had fun watching the movie. Some parts, which obviously were meant to be scary, were actually quite humoristic, almost as in Buffy the Vampire Slayer.I don't consider this a bad movie. It's not a great movie either. Just a rather well made horror movie. It does not rely heavily on special effects, but on camera angles, acting, music. In my opinion, the acting was OK. Sarah did a very good job, quite convincing. The other actors were definitely not bad either, I liked Yoko.The sets are nice (and I don't care that the sets are the exact same ones that were used in the Japanese original).The scary moments were often predictable. But not always. I have seen quite some horror, and did not expect to be scared now, but it happened at least twice. Nice.The movie had some nice scenes that were almost original, like the trails of rubbish, the simple special effects for he ghosts, the eyes of the boy, the cat that made eery noises, the gurgling of the dead boy and his mother.Don't go if you want to see Sarah in another Buffy episode, because it is very different from her Buffy work, much more serious. Don't go if you only want to see movies that gather Oscar nominations. It's a good horror movie, enough suspense. I gave it a 7.
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train_13985
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For your own good, it would be best to disregard any positive reviews concerning this movie. This flick STINKS. Now, I like (at least in theory) low budget horror movies, but this one makes the worst mistake a low budget flick can make: It takes itself WAY too seriously. And, unfortunately, that's not it's only problem.It's the story of the murderous Beane clan of the British Ilses transposed to modern times. An interesting premise, but there are two things that are immediately perplexing about this film once you start watching it.#1- Why is the biggest name on the CD box Jenna Jameson? She's a below average looking woman who can't act, and she has a minor role. ANSWER: She's apparently a well known porn star (as you no doubt read in other reviews), so I guess this is a "cameo" appearance for her. She's giving the film much needed "name recognition", it seems. Her top billing isn't any indication of her talent, though, it's an indication of how UNtalented the rest of the cast is.#2- How can film makers be so stupid to think Canada can be passed off as Ireland? It doesn't even remotely look like Ireland. And the house that the guests/victims stay in is this great big North American wood frame Edwardian thing. They should have skipped the whole Beane theme and developed a story that took place in N.A. Also, if you're going to make a movie that takes place in Ireland, it's probably best to have more than one character with an Irish accent (and that was a REALLY REALLY REALLY BAD Irish accent.) Now,this wouldn't have been so bad if the director wasn't trying to make the next "Night of the Living Dead", but it seems he was. Too bad. He could have had some fun with it. In fact, some of the scenes weren't far from being unintentionally comedic as they were.Like the infamous gutting scene, were the woman is chained to the table, stripped naked, and then sliced open and eviscerated. That's funny, you ask? Well, in the deleted scene version, the mutant killer pulls out mile after mile after mile of intestines. It's actually funny after awhile. And what self respecting cannibal eats intestines, anyway? Do we eat the intestines of cows and chickens? Heck no, we eat hams and ribs and drumsticks. Oh well.Some of the other cast who were annoying: the whiny, creepy Howard Rosenstein. I'm not sure, but I THINK he was supposed to be cast as a STUD. In fact, he's as big a loser and goof ball as his name would imply. Which would explain why the character played by the equally annoying Gillian Leigh fell for him.I checked Gillian Leigh on her link on IMDb, and apparently it's important to know that she graduated high school with honors. I can't decide if it's more amusing or pathetic to know that only a couple years after graduation, the honor student is doing nude soft-core porn scenes in a shower with a guy named Howard Rosenstein. Wonder if her former classmates have seen this movie? If they have, hopefully they'll get the message: AVOID THIS FATE! GO TO COLLEGE!!! I could go on and on, but why. If you like gore, you'll find something redeeming in this flick, but not much more.
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train_12618
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This is said to be a personal film for Peter Bogdonavitch. He based it on his life but changed things around to fit the characters, who are detectives. These detectives date beautiful models and have no problem getting them. Sounds more like a millionaire playboy filmmaker than a detective, doesn't it? This entire movie was written by Peter, and it shows how out of touch with real people he was. You're supposed to write what you know, and he did that, indeed. And leaves the audience bored and confused, and jealous, for that matter. This is a curio for people who want to see Dorothy Stratten, who was murdered right after filming. But Patti Hanson, who would, in real life, marry Keith Richards, was also a model, like Stratten, but is a lot better and has a more ample part. In fact, Stratten's part seemed forced; added. She doesn't have a lot to do with the story, which is pretty convoluted to begin with. All in all, every character in this film is somebody that very few people can relate with, unless you're millionaire from Manhattan with beautiful supermodels at your beckon call. For the rest of us, it's an irritating snore fest. That's what happens when you're out of touch. You entertain your few friends with inside jokes, and bore all the rest.
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train_14623
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I go to UCSB and take some classes with the executive producer, Alison Anders. She's a superb teacher and director so anything she put her name on, I thought must be pretty good. This film as a selection at the Santa Barbara film festival seemed like a good choice.While this movie included some nice shots and cinematography, the lack of story and coherence really took away from anything the it was attempting to accomplish. My main problem was that this was someone's first film and you could obviously tell. Bad acting and an even worse screenplay stopped this film from getting off the ground. The soundtrack had some nice music that gave a sense of the main characters struggle to cope with the sadness that lead to his leaving and now returning the place he grew up. I just have to say that despite some of the better craft of the film, it's lack of story and performance really prevented it from being some good.
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train_9310
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wow, how can I even discuss this movie without tears coming to my eyes? It was surely the highlight of my year--nay--my life. As if the raptor graphics weren't amazing enough, the award-winning editors continued to use the exact same shot throughout the entire movie, even when the background didn't actually match up with the setting of the scene. Wow, what genius. And while the movie is full of plot-holes (for instance, a few clips of a t-Rex type animal where a raptor should be and one key moment where Pappy finds a torture chamber, screams "Colin's a girl!" and runs out) I will never forget the brilliance that is Raptor Planet. Thank you Sci-Fi for another classic.
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train_3319
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As a long time Red Sox fan, I just had to go see the movie. It was great! While there can never be enough live footage from the miracle 2004 Red Sox season, there were great shots of some of my favorite Red Sox players. While the movie is certainly a chick flick, it has enough baseball footage from the amazing 2004 Red Sox comeback to make it one of my top 10 movies of all time. I especially enjoyed the Red Sox fans that were part of Ben's baseball family. The scene where Ben is meeting with his buddies on draft day to determine who will get seats to certain games is hilarious! A must see if you are looking for a wholesome movie to watch with your spouse, date, or significant other...especially if you are a baseball fan...and even more especially if you are Red Sox fan!!!
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train_21160
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This is possibly one of the worst giant killer animal movies I have ever seen. It follows the typical premise of a laboratory experiment gone wrong and a giant crocodile with a rapid growth chemical in it escapes. The monster looks way to much like a dinosaur, having big Tyranosaurous-like hind legs, when it should just look like an over-sized crocodile. Everything about this movie is unoriginal and it constantly oozes "cliche", minute after minute. Why are there always two drunken redneck hunters out after dark who separate? Plus, there's always a guy and girl who share a lame, obvious love interest while they are in life threatening situations. To much has already been said by me and I feel as if I'm wasting my time writing this...
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train_1573
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Here is the explanation screenwriter Pamela Katz gave me for why MvT introduced JG as a specific character in the film:"...the historical record is very clear: Joseph Goebbels was directly responsible for the release of the Rosenstrasse prisoners, so we needed a way to get Goebbels himself into our film... For a woman like Lena, a woman from an aristocratic family with connections, it wasn't unthinkable that she would make an attempt to go to the top. The idea of getting to Goebbels wasn't impossible for her, so that became our hook."Those of you who insist on seeing an actual sex act here can read my new thread below & then fire away.Jan Lisa Huttner FILMS FOR TWO
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train_5727
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Karen (Sarah Michelle Gellar), an exchange student in Japan who is just beginning to do some social work, is sent to aid an elderly semi-catatonic woman, Emma (Grace Zabriskie), after her previous caretaker, Yoko (Yoko Maki), disappears. Karen soon learns that something is not right in Emma's home, and she attempts to "see how deep the rabbit hole goes".Maybe it's a delayed influence from the success of M. Night Shyamalan's films, but slower-paced, understated horror films are a recent trend. In some cases, such as Hide and Seek (2005), the approach works remarkably well, and in others, such as White Noise (2005), the pacing tends to kill the film. I didn't like The Grudge quite as much as Hide and Seek, but this is still a very good film--it earns a 9 out of 10 from me.The Grudge has a couple significant differences from other recent examples of that trend, however. One, it is well known that this is a remake based on the Japanese film series that began with Ju-On (2000) (in particular, it's extremely close to the first half of Ju-On: The Grudge, aka Ju-On 3, from 2003). Two, as with many Japanese horror films, the slower pacing here isn't so much in the realm of realist drama as with surrealism. As is also the case with a large percentage of European horror, The Grudge should be looked at more as a filmed nightmare.Director Takashi Shimizu, also the director of the five Japanese entries in the Ju-On series to date (the fifth is currently in production), and writer Stephen Susco have largely dispensed with linearity and are not overly concerned with logic or plot holes when it comes to the horror behind the story. The idea instead is to present a dreamlike sequence of scenes, with dream logic, where the focus is atmosphere, creepiness, the uncanny, and for many viewers--scares. How well the film works for you will largely depend on how well you can adapt yourself to, or are used to, this different approach to film-making (although admittedly, some of the seeming gaps are filled in by previous entries in the Ju-On series). Traditionally, American audiences consider as flaws leaving plot threads hanging and abandoning "rules" for the "monster". A more poetic, metaphorical, surreal approach to film isn't yet accepted by the mainstream in the U.S.However, even if you're not used to it, it's worth trying to suspend your normal preconceptions about films and give The Grudge a shot. This is a well written, well directed, well acted film, filled with unusual properties, such as the story interweaving a large number of "main characters" (which is done better here than the more episodic Ju-On 3), good cinematography, subtle production design touches (check out Gellar's clothes, which match the color and texture of the exterior of Emma's house, when Gellar first approaches), and beautifully effective horror material.Even though it is more slowly paced that your average horror film of the past, the pacing usually enhances the eeriness, and there is no shortage of bizarre events to keep horror fans entertained. The supernatural premise of the film is absorbing, and based on interviews on the DVD with Shimizu, have prodded me to pay more attention to Japanese beliefs and folklore. Although the most interesting subtexts would probably arise with a more intimate knowledge of Japanese culture, it's interesting to ponder why so many Japanese horror films feature scary children and adults who look like scary children.I subtracted one point for the film slightly veering into clichéd mystery/thriller territory with a "here's what really happened" flashback, but even that was fairly well done, and otherwise, this would have been a 10 out of 10.Now that I've said all of the above, let me finish with a mini-rant: It's not that I'm anti-remake, but it is ridiculous that U.S. distributors and studios feel that we need remakes of foreign films to make them appropriate for consumption. The original versions of these films should just be playing in U.S. theaters in wide release. There is no need to present an almost identical film but just substituting white American actors for non-white or foreign actors. Yes, The Grudge is a fine film, but ultimately, I'd rather see something original using this talent, and be treated to the latest foreign horror films--not just Japanese, but also Indian, Spanish, Chinese, etc.--at my multiplex. In the hope that someone with some pull at the studios reads this, it is also more cost-effective to do this, as (1) you can completely avoid production costs, and simply make domestic distribution deals from which you receive profit, and (2) you can make money off of fans like myself who otherwise pick up the foreign film DVDs in foreign manufactured or even bootleg versions.
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train_23477
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I live in Ottawa where this film was made and I really wish it hadn't been. This is one God-awful flick. I really try and support independent films but there is this stigma attached to anything indie and that stigma is: Indie Films Blow. Well, this film does nothing to shed this curse. The actor, writer, director Brett Kelly does little to contribute to the genre, rather he re-hashes tired clichés from movies past. I am really tired of menacing evil looking characters that lurk in the shadows and prey on the unsuspecting, it's way too overdone. I can remember one scene in particular right near the end of the flick where the whole scene is lit with car headlights. Now some may say that this was an effect used to create mood and tension, but sadly it was to showcase the shoestring budget of this movie. As well for a movie that dares to call itself horror, a viewer will find themselves hard pressed to find any actual gore, other than a few scenes with corn syrup and red food colouring. The biggest thing that drags this film down is the pacing and the lack of character development, the basic plot is that children are being kidnapped and the parents must track down this Bonesetter fellow before a certain time in order to get their kids back. Not that this concept bugs me, but, I didn't really find it believable that when the two main characters, both who have lost children can find time to make out with each other. This is done in such a short time span that it's inconceivable, my first priority would be to get my daughter back and at least get to know the lady before making out with her. The last point that I have is.... and I won't hold this against Kelly, but the movie is shot entirely on boring, emotionless video and that really takes away from any tense moments that would have just oozed style on film. Although if this movie were given a million dollar makeover and redone the story and boring acting and lame everything could not keep this movie afloat. My only hope is that something happens to prevent Brett Kelly from making a sequel, which has been reported on his website, a sequel that was half written in one sitting. Lord help us all.
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train_10754
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I was a little skepticle if I should watch this when it was first shown on CBS. I was one of the many people who were in NYC on that day, I was going to school at Hunter College. I didnt want to see all the devistation and carnage again, but like many I was curious to see what this was all about. Tears came to my eyes watching this documentary. All my memories returned and just the intense images were unbelievable. I bought the DVD on the one year anniversary and watched it a few times. How these guys were able to capture this footage was incredible. If you have not seen this documentary, do yourself a favor and check it out. It is obviously depressing and will bring tears to eyes, but it's an incredible document of this countries darkest hour.
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train_19542
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This has got to be one of the worst movies ever made. Even for a biker movie, it's rock bottom. The minimal plot involves a gang of bikers taking over a small town (how original!) and the townspeople's attempts to fight them off. Why don't they call for outside help? Who knows? The fight scenes are obviously fake. Adam West and Tina Louise are in it but both have little to do and both look ashamed to be there (understandably) This movie belongs in the trash heap!
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train_18171
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If you like to see animals being skinned alive, their heads smashed, dogs throats being crushed my men stomping on them, then this one is for you! But if you are somewhat normal, and don't need to see real footage of animal cruelty, pass this one up. This movie tries to shock the viewer, and it sure does.With the animal snuff at the beginning, and the killing of babies in the movie (fake at least)its was enough to make myself turn it off.I've seen movies like this before that show slaughterhouse footage (BTK movie) and this kind of footage should not be allowed in a horror movie.We watch gore and horror because we know its just make-up, and special effects, so we shouldn't sit down to watch a movie and see the real killing of animals, its not what we rented the movie for.If anything, there should be a large warning label put on these types of garbage movies so people won;t be surprised by it. As a very hardcore horror fan, this one turned my stomach. The entire movie cast and crew need their heads checked.
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train_13114
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I'm watching this on the Sci-Fi channel right now. It's so horrible I can't stop watching it! I'm a Videographer and this movie makes me sad. I feel bad for anyone associated with this movie. Some of the camera work is good. Most is very questionable. There are a few decent actors in the flick. Too bad they're surrounded by what must have been the director's relatives. That's the only way they could have been qualified to be in a movie! Music was a little better than the acting. If you get around to watching this I hope it's because there was absolutely NO other option! The sequel (yes sequel) is coming on now....I think I'll skip it! Jason
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train_19425
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I feel much less generous with this film than others of its ilk. The portrayal of madmen in this century is always done with them being so totally bizarre as to be a different species. Their antics are so outrageous as to be totally fictionalized. Everyone is Napoleon or some other historical figure; or they have a fascination with chickens. They are on the make or beating each other up. It's as if the scriptwriter said, what can I make up for them to do, without an sense of what insanity or even mental illness is. Watch the wonderful human portrayal in "One Flew Over the Cuckoo's Nest" where the illnesses are believable and real. I once worked in a State Mental hospital. I didn't see any of these guys. These are too smart and calculating to make them come to life.
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train_12418
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This film and it's sequel Barry Mckenzie holds his own, are the two greatest comedies to ever be produced. A great story a young Aussie bloke travels to england to claim his inheritance and meets up with his mates, who are just as loveable and innocent as he is.It's chock a block full of great, sayings , where else could you find someone who needs a drink so bad that he's as dry as a dead dingoes donger? great characters, top acting, and it's got great sheilas and more Fosters consumption then any other three films put together. Top notch.And some of the funniest songs you'll ever hear, and it's full of great celebrities. Definitely my two favourite films of all time, I watch them at least once a fortnight.
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train_9050
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This is a gem, a real piece of Americana for all that this implies. If you are self programed to resist "life-afirming" stories, just stay away and leave the pleasure to the rest of us who still believe. And what makes the frosting on the cake truly delectable is that it is fact based on a real rags to riches story, no need to nit-pick what details were changed to make a compact story. Chris Cooper is one of the greatest living actors, and the complex, self-conflicted, bottom-line good at the core father he portrayed could only be pulled off successfully by someone with his skill and insight. The simple minded comments, refusing to accept a father who tries to lay down the law all the while sensing that he may possibly be off-track, expose the limitation of the commentator, not the writers or the acting. This is not for the cynical, or the simple minded.
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train_16241
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It was just a terrible movie. No one should waste their time. Go see something else. This movie is, without a doubt, one of the worst movies I have ever seen in my life. If you want to see a good movie, don't see Made Men.
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train_7026
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When I was 17 my high school staged Bye Bye Birdie - which is no great surprise, since it is perfect high school material and reputed to be the most-staged musical in the world.I was a music student and retained strong memories of the production and its songs, as well as a lingering disregard for the Dick Van Dyke movie version which had (deliberately) obscured the Elvis references and camped it up for a swinging 60s audience.So, when the 1995 version starring Jason Alexander hit my cable TV screen, I was delighted with what I saw. Alexander turns in an exceptional performance as Albert, a performance in strong contrast to his better-known persona from a certain TV series. The remainder of the cast are entertaining and convincing in their roles (Chynna Phillips is perhaps the only one who does not look her part, supposedly a naive and innocent schoolgirl).But best of all, the musical numbers familiar from the stage show are all preserved in this movie and performed as stage musical songs should be (allowing for the absence of a stage).So, if you know the musical (and few do not), then check out this telemovie. It does the stage show justice in a way which can probably not be bettered, which is good enough for me. What is better than rendering a writer's work faithfully and with colour and style?
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train_5109
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I grew up in Houston and was nine when this movie came out. As a result I don't remember anything about the movie. But I do remember the sensation it caused from Gilley's and the mechanical bull to Johnny Lee's hit song "Lookin' for Love" which still brings back memories of childhood whenever I hear it.However, a few years ago I saw this movie for the first time as an adult and all I can say is, I was blown away. Few movies have hit me harder. This movie is as raw and real as you can get. From Uncle Bob's ranch house, the chemical plant in Texas City, Gilley's dance hall, and Bud and Sissy. And maybe for that reason it doesn't have a wider appeal. But no matter how you feel about country music (I for one can't stand it despite my Houston roots) Urban Cowboy is a unique slice of American pie. For that reason I love it!
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train_9184
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Yes, this production is long (good news for Bronte fans!) and it has a somewhat dated feel, but both the casting and acting are so brilliant that you won't want to watch any other versions!Timothy Dalton IS Edward Rochester... it's that simple. I don't care that other reviewers claim he's too handsome. Dalton is attractive, certainly, but no pretty-boy. In fact he possesses a craggy, angular dark charm that, in my mind, is quite in keeping with the mysterious, very masculine Mr R. And he takes on Rochester's sad, tortured persona so poignantly. He portrays ferocity when the scene calls for it, but also displays Rochester's tender, passionate, emotional side as well. (IMO the newer A&E production suffers in that Ciaran Hinds - whom I normally adore - seems to bluster and bully his way throughout. I've read the book many times and I never felt that Rochester was meant to be perceived as a nonstop snarling beast.)When I reread the novel, I always see Zelah Clarke as Jane. Ms. Clarke, to me, resembles Jane as she describes herself (and is described by others). Small, childlike, fairy... though it's true the actress doesn't look 18, she portrays Jane's attributes so well. While other reviews have claimed that her acting is wooden or unemotional, one must remember that the character spent 8 years at Lowood being trained to hold her emotions and "passionate nature" in check. Her main inspiration was her childhood friend Helen, who was the picture of demure submission. Although her true nature was dissimilar, Jane learned to master her temper and appear docile, in keeping with the school's aims for its charity students who would go into 'service'. Jane becomes a governess in the household of the rich Mr. Rochester. She would certainly *not* speak to him as an equal. Even later on when she gave as well as she got, she would always be sure to remember that her station was well below that of her employer. Nevertheless, if you read the book - to which this production stays amazingly close - you can clearly see the small struggles Zelah-as-Jane endures as she subdues her emotions in order to remain mild and even-tempered.The chemistry between Dalton and Clarke is just right, I think. No, it does not in the least resemble Hollywood (thank God! It's not a Hollywood sort of book) but theirs is a romance which is true, devoted and loyal. And for a woman like Jane, who never presumed to have *any* love come her way, it is a minor miracle.The rest of the casting is terrific, and I love the fact that nearly every character from the book is present here. So, too, is much of the rich, poetic original dialogue. This version is the only one that I know of to include the lovely, infamous 'gypsy scene' and in general, features more humor than other versions I've seen. In particular, the mutual teasing between the lead characters comes straight from the book and is so delightful!Jane Eyre was, in many ways, one of the first novelized feminists. She finally accepted love on her own terms and independently, and, at last, as Rochester's true equal. Just beautiful!
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train_17201
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It's terrible how some people can get away with such things... This is one of those overrated things again... And I hate things that are overrated that are no good... Why can't we have more TV Shows and Movies that actually have a story and excellent music and that are well written and are actually about something?? It takes many people to make this movie, the series, and the band, all possible, and those people are all wasting their time... It seems that the bands are getting younger and younger... I looked at how small that they were, and I thought that they were 5 or 6. It's sad that kids are performing that young... They are still too young... Performing takes a lot of work, and they have many other things that they need to do with their lives... The idea about having a very young band is horrible... They need to stop having bands like this... And I don't like the idea at all, nor the kids themselves... They are very annoying, very young, and their name is "The Naked Brothers Band" The people that are involved in this, and the people that are supporting this have all lost their minds... Whenever this band is shown on TV, change the channel, and petition to get it banned...And I know that this is a very boring comment thing, but you get the point...This Band Sucks... Get Rid Of It...
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train_7083
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A great addition to anyone's collection.12 monkeys is a movie you don't see every day. It has excellent actors to go with a excellent story. This is not a normal role for Bruce Willis but he holds the role like he holds John McClane.The virus-kills everyone on earth and leaves a few hundred survivors story is not a new one but the story takes a fresh new direction on it.A man(Bruce)is sent back in time to get information on a virus which has wiped out most of man kind.The actors in this were awesome. I must give a mention to Brad Pitt who was hilarious as the mental patient James Cole(Bruce) meets in a mental hospital.The director did an amazing job on bringing us a disturbing picture of a future devastated by a man-made virus.The animals seen in the virus world made it feel like they run the world when humans are driven into underground facilities.This movie was excellent and must see and also its a must own.I very much highly recommend it.10/10
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train_20356
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This movie pretty much sucked. I'm in the Army and the soldiers depicted in this movie are horrible. If your in the Military and you see this movie you'll laugh and be upset the entire movie because of the way they acted as a squad. It was ridiculous. They acted like a bunch of normal people with Army uniforms on not knowing what to do. It was a pretty gory movie I'd have to say the least. There was a couple scenes where they try to make you jump. I'd recommend seeing it if you are bored and want to see a violent, gory movie. It will be a better movie also if your not in the Military. I also would have to say I liked the first one better than this one.
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train_22446
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SPOILERS HEREINMy High School did all they could to try and motivate us for exams. But the most memorable method they used to get us into the right state of mind was a guest speaker, who was none other than Australian Kickboxing's favorite son, Stan "The Man" Longinidis. The first mistake they made was giving this guy a microphone, because he was screaming half the time despite us sitting no more than 3 or 4 feet away from him. Now, his speech was full of the usual "if you fail to prepare, then prepare to fail" stuff, but there were various instances where I got really worked up. The guy stood there in front of us preaching how throughout his life he did everything for himself and no-one else. He was offered many deals in the past to give up kick-boxing, but he never took his eye off the prize of becoming Australia's greatest kick-boxer. He said that he wasn't a sell-out, he was happy and a retiree, he wasn't ever involved in any other activity other than Kickboxing
then he plugged his film. Yes, you heard right, he PLUGGED his new FILM. As he talked about it, he got a woman to come in and hold up a poster advertising it, and then he showed this shitty 4 minute clip of this vile film called "Trojan Warrior". (This all being before he was defeated by Gurkan Ozkan in his final career fight (for now))Stan plays Ajax, a kick-boxing ex-special forces agent that is pulled into the seedy underworld of Melbourne. Ajax's cousin, Theo (Arthur Angel) recently sold out (well, at least Stan didn't stray too far away from EVERYTHING) to the feds, and as a result is on the run from all walks of organized crime. Ajax and Theo get into all sorts of ridiculous situations, from fighting in a Kebab shop to posing as playboys at a bondage party. It's all pretty ridiculous, but if Silverstein was actually aiming to make a credible film here, this man should never be handed a camera again. I'll admit, I was actually pumped to see this. I love action films, even if they're corny, and especially if it's set in my own backyard. But what I was introduced to was a film with acting that was appalling from the word "go", and continued to do so after the words "for the love of God please make it stop!", subplots were introduced and not even touched on again after they were out in the open, characters were just thrown in for absolutely NO reason whatsoever, and the most over-choreographed fight scenes that didn't even remotely reflect Stan's actual talent in Kickboxing. The cast consisted of useless cameo appearances by just about anyone REMOTELY famous (Dermot Brereton, Mark "Chopper" Read and Greg Matthews). The whole time you're sitting there and playing the guessing game of just who is standing there in the background. Too bad the movie relies heavily on split-second appearances by former celebrities. Remember those plot-holes I told you about? Ajax once upon a time was apparently locked up, wrongly accused for murdering his wife. Now, we hear that Ajax was in special forces via ONE single sentence in the WHOLE film, and then leave it for buggery. This is followed by another SINGLE sentence which persuades Ajax to help the same people who wrongly locked him up. Then, get this, at the end, it is revealed to Ajax that his wife isn't actually dead, but was sold into prostitution. Do we see her? No. Does Ajax go off to find her as soon as he hears this? No. Now THAT's a marriage! Amidst all this irritatingly puerile crap, some website described this film as "
a cross between Jackie Chan & Guy Ritchie
". Has this man ever sat down and watched a Jackie Chan film?! Chan shows more dexterity taking a dump than Stan did doing
, well, ANYTHING! And Guy Ritchie is the crime-film Messiah, and you're comparing him to Salik Silverstein!? This film is more like a mix between "Pizza" and "Enter The Ninja". Now, where do you thing the whole "Trojan Warrior" title comes from? Ajax's fierce fighting skills like that of an Ancient Greek Warrior? No. The gangsters' unification to find Theo, like that of the Trojan Empire? No. It's because
wait for it
Theo carries a condom around with him. Yes, that right, because THEO is ALWAYS PREPARED with a Trojan BRAND RUBBER in his pocket, he is a Trojan WARRIOR! I had the displeasure of seeing "Trojan Warrior" on DVD, as well as it's "special" features: Video clip of "Chop Chop", a rap song by Mark "Chopper" Read: Chopper did this for the sole purpose of proving that ANYONE can rap. The funny thing was Chopper just rapped for 30 seconds and then threw it over to these two albino teens from Doncaster, using such words as "dis" and "dope" etc in their Australian accents. Face it people, rap was developed in the States, LEAVE IT THERE! The clip looked like something a Channel 31 cameraman on ecstasy put together. Bloopers: There was no real difference between these and the actual film. Stan "The Man" Longinidis Kickboxing Featurette: This wasn't too bad, considering it was just 6 or 7 different fights shown from different angles (I think I saw Dennis Alexio fall over about 15 times in that 3 minute montage).I don't want to say this film contributes to the reason this country is going to hell when it comes to film, but... oh wait, I just did. My advice to anyone reading this is for you to go out and buy 4 or 5 copies of "Trojan Warrior", tape them together, and use it for a paperweight, because this movie is just that damn bad.
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train_15541
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Yes I have rated this film as one star awful. Yet, it will be in my rotation of Christmas movies henceforth. This truly is so bad it's good. This is another K.Gordon Murray production (read: buys a really cheap/bad Mexican movie, spends zero money getting it dubbed into English and releases it at kiddie matinées in the mid 1960's.) It's a shame I stumbled on this so late in life as I'm sure some "mood enhancers" would make this an even better experience. I'm not going to rehash what so many of the other reviewers have already said, a Christmas movie with Merlin, the Devil, mechanical wind-up reindeer and some of the most pathetic child actors I have ever seen bar none. I plan on running this over the holidays back to back with Kelsey Grammar's "A Christmas Carol". Truly a holiday experience made in Hell. Now if I can only find "To All A Goodnight (aka Slayride)" on DVD I'll have a triple feature that can't be beat. You have to see this movie. It moves so slowly that I defy you not to touch the fast forward button-especially on the two dance routines! This thing reeks like an expensive bleu cheese-guess you have to get past the stink to enjoy the experience. Feliz Navidad amigos!
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train_810
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This is probably the best of all of the Star Wars movies. The starting point of the movie was almost like Episode IV--spacey cabaret music and thoughts of a cabaret place, where the seriousness of mobster Jabba the Hutt was getting even more serious. He ordered Luke to die in a basement pit by the bone-crushing teeth of Bantha, who looked almost like a cross between a bear and a shark. Luke's Jedi powers eventually finish the monster off. Adding to the sneaky rescue of Han Solo, who was frozen alive at the end of Episode V, Jabba was very angry about this that Luke was sentenced to die at the Sarlacc pit outside.But all of the Star Wars "good guys", especially R2-D2, had other ideas...and those other ideas fended off Luke's execution; in the end, most of Jabba's soldiers died and Princess Leia was able to use the force to fatally choke Jabba to death.Like in Episode IV, the Death Star in Episode VI makes its appearance. As I analyzed the rebel fleet attacking the Imperial fighters around the Death Star, the Star Destroyer personnel, I guessed, sped up the arming of the main laser, using the Imperial fighters as a diversion. The 20-25 Star Destroyers that lined up were ready to attack but was called off and instead the laser weapon on the Death Star was fired in surprise. Once it fired, the rebel fleet's only hope was that the Death Star's deflector shield was going to be knocked out, and this affected Lando so much because he wanted to destroy the Death Star but he couldn't until the shield was taken out. And it was taken out with Lando's increasing impatience.Like in Episode V, the Imperial Walkers make their menacing appearance with their twin cannons, killing at least one of the Ewoks...but the Ewoks found ancient yet unusual way to deal with them. For instance, Chewbacca, as well as another Ewok, was able to commandeer one of the walkers (and actually used that to destroy from behind one of the walkers), and the other Ewoks used logs to knock out two other walkers.It is amazing what Luke could do with his Jedi powers on his Light Sabre, like, for instance, the scene on Endor where Luke deflects incoming laser shots from a Storm Trooper speeder bike, and using the Sabre to knock out part of the bike. Or, in a climax, using the Sabre to break off his own father's arm during the final Sabre fight with Sith Vader.You probably know the Ewoks celebration after the Death Star was blown, complete with a short display of fireworks, drumming on the spoils of victory (e.g., Storm Trooper Masks), and Luke finally meeting up with Leia after Luke's own nemesis---Darth Vader, now dead, is burned on a pyre. The celebration include Ewoks singing but I think Lucas did not buy that--even with the strong respect of film composer John Williams.On the home movie version, I think Lucas himself wanted a different ending. In addition to the celebration on Endor, he wanted shots of celebratory scenes on the several surviving rebel planets, including a celebratory laser shot that destroys the statue of the Sith. The Ewoks song was replaced by an alternative instrumental piece. He probably wanted the extra stuff to prove that with the Death Star's destruction, balance had been restored to the rebel galaxies.
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train_16509
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Man, I really find it hard to believe that the wonderful Alan Ball had anything to do with this mess. Having seen the first two episodes thus far, I think I can safely say this show isn't going to be on my must see list. It's just got so many things working against it.None of the actors cast are particularly good. Anna Paquin as the lead character Sookie, is just awful. I remember her being better in a lot of other things I've seen her in so maybe it's just the writing. She's not really much fun to look at either, there are moments where to be honest she looks downright ugly. The actor who plays Bill is marginally better, if only because his character is supposed to be sort of wooden and aloof. The other actors do their best but with the cliché characters with difficult to perform accents they are given it's a tough job. Tara is an absolute misery to watch, Rutina Wesley absolutely murders the accent. It's like nails on a chalkboard bad. Almost as awful is Nelsan Ellis, it's difficult to understand what he's even saying sometimes. Both his character as well as Tara's also seem a bit racist to me. I don't know, having a character say 'whycome' on an HBO show that isn't The Wire just seems a bit odd. Rounding out the cast so far are Sookie's doddering grandmother, her sex addict brother, and the only bit of genius casting I've seen in William Sanderson as the sheriff.The story seems to be meandering towards it's destination at this point, with no real worry about keeping the viewer interested. The romance stuff is very Dark Shadow-sy. Although this show ups the camp factor from something like those old Dark Shadows episodes times about ten. At times it seemed so campy to me, that I just have to assume it was intended to be. But unlike a show such as Buffy, that pulled camp off masterfully, this show does not. Out of place with the campiness is the extreme gore and graphic sex of the show. I'm not averse to either of these when they are done well, as they have in many other HBO shows but here at least they prolonged rough sex scenes involving Jason Stackhouse seem a bit over the top and pointless.About the only nice thing I can really think to say about this mess is that I liked the opening title sequence. HBO has had a string of bad luck with their shows lately, I hope they cancel this after the first season and try to get something better on the air.
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train_9353
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REIGN OVER ME (2007) *** Adam Sandler, Don Cheadle, Jada Pinkett-Smith, Liv Tyler, Saffron Burrows, Donald Sutherland, Robert Klein, Melinda Dillon, Mike Binder, Jonathan Banks, Rae Allen, Paula Newsome. At times affecting and at times middling dramedy about a thoroughly depressed man who lost his family on 9/11 (Sandler in his best role since "Punch-Drunk Love") who winds up re-united with his old college roommate and friend (Cheadle continuing to do impressive work with every role to date), a well-to-do dentist who seems to have it all family, wealth, happiness but really sees an ally in freedom with his troubled friend's own personal life offerings. Written and directed by Binder (who co-stars as Sandler's former-best friend and acting accountant) with equal parts humor and genuine heartache the film works best when the two stars share the screen until the last act falls into an almost movie-of-the-week treacle with to tidy a solution to the matters at hand.
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train_1964
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I cannot accept the negative comments of other reviewers. They are too critical, perhaps because they are stuck in the past. I would like to see a comment from someone who had never seen Basic Instinct 1, perhaps someone very young ? I left the cinema feeling glad that I had not been swayed by the IMDb reviewers. 14 hours later I am still trying to find flaws in the plot but I cannot think of anything serious. My advice to everyone is see it for yourself and make up your own mind.It follows a similar pattern to Basic Instinct 1 but the plot is less confused. It still left me wondering at the end but in a more satisfactory way. Sharon Stone is as sexy and evil as before and wears her 48 years extremely well; this remains her defining role. David Morrisey was satisfactory even though he is no Michael Douglas. Of the supporting cast I particularly liked David Thewlis as the police detective.
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train_3950
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Finally got to see this classic TV movie on an unofficial disc recorded from an old VHS, it is a classic piece of horror. Its a pity more of this neglected corner of horror in terms of official releases on DVD and VHS ... the TV horror movie. Recommended for all fans of the 70's TV movie much like trilogy of terror. Those interested should get the book on the subject by David Deal - Television Fright Films of the 70's. Email me for a chance to see it.....its fabulous to see it again.It does have it problems like many TV movies they have to be rather inventive in the effects dept and even at 70 mins it can seem to drag possibly we are all used to more modern editing but still great stuff and far better than many theatrical frights released today.
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train_21957
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Just about everything in this movie is wrong, wrong, wrong. Take Mike Myers, for example. He's reached the point where you realize that his shtick hasn't changed since his SNL days, over ten years ago. He's doing the same cutesy stream-of-consciousness jokes and the same voices. His Cat is painfully unfunny. He tries way to hard. He's some weird Type A comedian, not the cool cat he's supposed to be. The rest of the movie is just as bad. The sets are unbelievably ugly --- and clearly a waste of millions of dollars. (Cardboard cut-outs for the background buildings would have made more sense than constructing an entire neighborhood and main street.) Alec Balwin tries to do a funny Great Santini impression, but he ends up looking and sounding incoherent. There's even an innapropriate cheesecake moment with faux celebrity Paris Hilton --- that sticks in the mind simply because this is supposed to be a Dr. Seuss story. Avoid this movie at all costs, folks. It's not even an interesting train wreck. (I hope they'll make Horton Hears a Who with Robin Williams. Then we'll have the bad-Seuss movie-starring-spasitc- comedian trilogy.)
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train_13222
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One scene demonstrates the mentality of "Terminator Woman" pretty well: Karen Sheperd and another woman are trying to escape from the villain's camp. Karen runs across an armed guard, who points his gun at her, but after a few seconds throws it away and challenges her to a fight. Karen kicks him in the balls, picks up the gun and runs away! Then again, when a film is directed by a martial artist and written / produced by another member of his family, you know you shouldn't expect too much. Karen Sheperd and Jerry Trimble do get some amusing banter going early on, and the film might have turned out better if it had focused more on their love-hate relationship. But after about 20 minutes they get separated, and the film slows to a crawl, and even with the occasional fight scene to liven things up, it lacks excitement. The finale has Trimble fighting Qissi inside a cave and Sheperd going womano-a-womano against the beautiful Ashley Hayden on a speedboat, but the fights are intercut in a way that breaks their flow and diminishes their value. On the positive side, kudos to the costuming department for giving Karen the chance to show spectacular cleavage throughout the film! (*1/2)
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train_19658
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This is some of the worst acting I have ever seen. I love Almereyda's Nadja, but this is just absolute dreck. Aside from a few moments of interesting cinematography and music this film is just nonstop bad acting and dumb material. Jared Harris is particularly bad, but no one in this is remotely good. The plot is a joke, but not the haha kind. I don't even know if you can forgive movies that are this bad. Please erase the last hour and a half of my life. How did this director make Nadja and Another Girl Another Planet?
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train_14849
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There was a great film to be made about Steve Biko. Sadly this wasn't it. Denzel Washington - never the most flexible of actors - is totally unable to convey the great charisma that Biko had. Attenborough's big crowd scenes are laughable. The Soweto massacre wasn't like this, three neat lines of children ( some doing cartwheels!) marching happily into the guns of the soldiers. With Biko dead the film rapidly descends into farce. If the struggle against Apartheid was anything it was a black people's struggle yet somehow we are all supposed to be gripped by the escape of a white man and his family. I'm sure Donald Woods was a decent man and he would be the first to say that Biko was important while he wasn't. Penelope Wilton's accent is pure Hampshire and she seems completely unaware that she is in South Africa at all. at all. The Wood's family dog gets more lines than the black maid. As the family make their escape one the women I saw the film with - incidentally one of only about a dozen black people in a large, full cinema - whispered "This is like the sound of music." She had a point.Overall this is a film by a well-intentioned if somewhat inept white liberal about a radical black people's struggle. And really South Africa needs well-intentioned white liberals like it needs a hole in the head.
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train_6778
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A fondly-remembered melodrama thanks chiefly to Ronald Colman's fine Oscar-winning central performance about an oft-treated theme: the nature of acting and how it can overtake one's perception of reality. In this case, we have a well-known thespian tackling Shakespeare's "Othello", so that the film's last third delves effectively into the thriller genre with press agent Edmond O'Brien (who happens to really be besotted with Colman's co-star and ex-wife Signe Hasso) 'investigating' the actor's possible involvement in the Desdemona-like strangling of a celebrity-seeking waitress (a very slim Shelley Winters). The theatrical/New York atmosphere of the immediate post-war era is vividly captured by the husband-and-wife screen writing team of Garson Kanin and Ruth Gordon and legendary "actor's director" George Cukor (all of whom were recognized by the Academy with nominations); incidentally, the film nabbed a second Oscar for Miklos Rozsa's eclectic score. Colman, forever the suave leading man blessed besides with a velvety voice, does well enough by Shakespeare gaining conviction the farther his character slips into obsessive jealousy, a murderous rage and, eventually, paranoia; however, he is not let down by a supporting cast which also includes director Ray Collins, reporter Millard Mitchell, detective Joe Sawyer and coroner Whit Bissell. Though the mid-section is a bit strained, the film makes up for any deficiencies with a remarkably-handled Expressionist denouement.
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train_23415
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I believe that war films should try to convey the terror of war, avoid idealism and respect some rudimentary military principles. Zvezda barely does the first. Zvezda being a Russian war film, I was expecting patriotism, sentimentality, beautiful poetic pictures, a lush score, Slavic cheekbones and cruel Germans. What I didn't need was the naive love non-affair, the unrealistically silly war scenes and the abuse of the syrupy soundtrack in a film which avoided carefully all historical or political references (Stalinism, Nazism, Holocaust) only to end on a passing but nonetheless insulting to our sense of history endnote about "liberating Poland". A missed opportunity as a film but not as propaganda apparently.
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train_23468
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*** THIS CONTAINS MANY, MANY SPOILERS, NOT THAT IT MATTERS, SINCE EVERYTHING IS SO PATENTLY OBVIOUS ***Oh my God, where do I start? Well, here - this is the first time I have ever come home from a movie and said "I have to get on IMDb and write a review of this NOW. It is my civic duty." Such is the badness of this flick. *begin digression* But let me just state one thing before I start. I'm not some Harvard-art-major-film-noir-weenie (in fact, I went to the college at the other end of Mass. Ave in Cambridge, the one where the actual smart people without rich daddies and trust funds go, which should put me squarely in the nerd-who-would-obsessively-love-comic-book-films census group, and still I hated this film...). My viewing preference is for the highbrow cinematic oeuvre that includes the Die Hards, Bond flicks, Clerks, and The Grail. I wish the Titanic had never sunk, not so much for the lives lost, but so we wouldn't have been subjected to that dung-heap of a film. And the single and only reason I will watch a snooty French art film is if there is a young and frequently disrobed Emmanuelle Beart in it. I even gave Maximum Overdrive one of its precious few 10s here on IMDb, for God's sake. So I'm as shallow as they come, therefore I'm not criticizing this film because I'm looking for some standard of cinematic excellence - it's because Elektra stinks like a three-week-old dead goat. *end digression*OK, there's so much badness here that I have to try to categorize it. Here goes:MS. GARNER: One of the compelling reasons a male would want to see this flick is to see lots of hot JGar (I have no idea why my wife wanted to). I think that between this and "Finding Nemo", the latter was the sexier film. You know the red outfit she's advertised wearing in every freaking ad you see? You see her in it TWICE - once at the beginning, once at the end. Bummer. In the rest, she basically looks like what Morrissey would look like if he were a female - lots of pouting and black clothes. Which brings me to the incredible range of expression JGar shows in her acting - ranging from "pouting" all the way to "pouting and crying". Oh my God, you'd think she was being forced to date Ben Affleck or something horrible like that. Um, wait...THE BAD GUYS/GAL: They show about the same range of expression and acting ability that you'd expect from a slightly overripe grapefruit. At least next to JGar's performance, it doesn't stand out too badly. One guy's role is to stand there and be huge, another's is to stand there and have stuff come out of him, and the woman's role is to stand there and breathe on and/or kiss people. They manage to pull these incredible feats off. The main bad guy has the most difficult role of all - he has to SIMULTANEOUSLY a) appear angry and b) appear Asian. He does a fine job at this. I think there was a fifth bad guy/gal, but my brain is starting to block parts of this movie out in self-defense.PLOT TWISTS! This movie has about as many surprises as a speech at the Democratic National Convention. Let's just put it this way - my wife, who has only been in the U.S. for half a year and speaks only a small amount of English - whispered this to me when the girl first appears in JG's pad, and I swear to God I am not making this up: "She go to house to kill girl. And father too." And this is BEFORE THE FATHER HAS EVEN APPEARED ON THE SCREEN. Now my wife isn't stupid, but she isn't being courted by Mensa for her gifts, either, and she's had zero exposure to Daredevil or the comic book genre. And she figured this out in .00015 seconds with no prodding and no prior information. Such is the blatant obviousness of this film. RARELY-BEFORE-SEEN STUPIDITY! OK, so there's this big dude in the film. He can take a chestful of shotgun blast and brush off the shot like it's lint, and he can take a vicious Electra stab to the chest and just bend the metal (or melt it - or something - more defenses kicking in, thank God). But JG jumps on his head, and he explodes? An Achilles noggin? OK! Such is the mind-numbing stupidity of this film.Ack. I'm starting to feel a cerebral hemorrhage coming on, so I have to stop. But you have been warned. If you have to intentionally slash your own tires to prevent yourself from going to see this movie, DO IT. And if Armageddon is going to come, please let it be >before< this comes out on DVD.
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train_2921
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The One and only was a great film. I had just finished viewing it on EncoreW on DirecTV. I am an independent professional wrestler, and I thought this was a good portray of what life is like as a professional wrestler. Now this film was made 4 years before I was born, but I don't think the rigors of professional wrestling traveling has changed all that much. Sad, funny, and all around GREAT!!! **** 10+
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train_10666
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When I really began to be interested in movies, at the age of eleven, I had a big list of 'must see' films and I would go to Blockbuster and rent two or three per weekend; some of them were not for all audiences and my mother would go nuts. I remember one of the films on that list was "A Chorus Line" and could never get it; so now to see it is a dream come true.Of course, I lost the list and I would do anything to get it back because I think there were some really interesting things to watch there. I mean, take "A Chorus Line", a stage play turned into film. I know it's something we see a lot nowadays, but back then it was a little different, apparently; and this film has something special.Most of the musicals made movies today, take the chance the camera gives them for free, to create different sceneries and take the characters to different places; "A Chorus Line" was born on a theater stage as a play and it dies in the same place as a movie. Following a big audition held by recognized choreographer Zach (Michael Douglas), Richard Atenborough directs a big number of dancers as they try to get the job.Everything happens on the same day: the tension of not knowing, the stress of having to learn the numbers, the silent competition between the dancers
And it all occurs on the stage, where Douglas puts each dancer on the spotlight and makes them talk about their personal life and their most horrible experiences. There are hundreds of dancers and they are all fantastic, but they list shortens as the hours go by.Like a movie I saw recently, "A Prairie Home Companion", the broadcast of a radio show, Atenborough here deals with the problem of continuity. On or behind the stage, things are going on, and time doesn't seem to stop. Again, I don't if Atenborough cut a lot to shoot this, but it sure doesn't look like it; and anyway it's a great directing and editing (John Bloom) work. But in that little stage, what you wonder is what to do with the camera
With only one setting, Ronnie Taylor's cinematography finds the way, making close-ups to certain characters, zooming in and out, showing the stage from different perspective and also giving us a beautiful view of New York.In one crucial moment, Douglas tells the ones that are left: "Before we start eliminating: you're all terrific and I'd like to hire you all; but I can't". This made me think about reality shows today, where the only thing that counts is the singing or dancing talent and where the jury always says that exact words to the contestants before some of them are leaving (even when they are not good). It's hard, you must imagine; at least here, where all of them really are terrific.To tell some of the stories, the characters use songs and, in one second, the stage takes a new life and it literally is 'a dream come true'. The music by Marvin Hamlisch and the lyrics by Edward Kleban make the theater to film transition without flaws, showing these dancers' feelings and letting them do those wonderful choreographies by Michael Bennett. The book in the theater also becomes a flawless and very short screenplay by Arnold Schulman; which is very touching at times. So if it's not with a song it will be with a word; but in "A Chorus Line", it's impossible not to be moved.During one of the rehearsal breaks in the audition, Cassie, a special dancer played by Alyson Reed, takes the stage to convince Douglas character that she can do it. The words "let me dance for you" never sounded more honest and more beautifully put in music and lyrics.
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train_3672
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A mock documentary about a pair of Canadian producers, Bobby Myers (Matthew Modine) and Paul Linder (Saul Rubinek), trying to make their first film in the late 1970s. Hollywood North is the comic tale of their struggle to pull everything together, despite a number of conflicting threads.Hollywood North works as a film in a way very similar to why This Is Spinal Tap (1984) works so well. Namely, although exaggerated in some ways, it is very close to the truth, and the truth consists of "behind the scenes" facts that are very different than the public face of the industry. It isn't easy to make a film, and it must have been especially difficult in Canada in the late 1970s. Films involve tens, if not hundreds, of people. Many have incompatible desires, motivations and personalities. Especially crucial are the financiers and the on-screen talent, as if either drops out or becomes undependable at any stage while the film is in production, it could jeopardize the whole affair, either necessitating extensive reshoots or abandoning the film altogether.So it's not surprising that Hollywood North focuses on those kinds of relationships. The result is an excellent film that is both hilarious and tragic at the same time. The script is flawless and the performances are top notch. This is a must-see for any budding filmmaker and anyone with a serious interest in the craft of film-making. It should also be more than entertaining for any viewer with a modicum of intelligence and a sense of humor.A 10 out of 10 from me.
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train_3852
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Viewing DE VIERDE MAN (aka THE FOURTH MAN) is a slightly unsettling and rather fascinating experience. It's a very tight and intense psychological mystery/thriller from Netherlands's Paul Verhoeven. He directed this film just before he got big with his "free-ticket to Hollywood"-movie FLESH + BLOOD. In a lot of user-comments on this site I noticed the mentioning of Alfred Hitchcock. Indeed, this movie might very well be Hitchcockian, but I also noticed touches of early Cronenberg (the visceral), flavors of David Lynch (surreal story-linked visuals) and even Roman Polanski (plot-wise set-up). Funny thing is that the movies by those directors I was thinking of while watching DE VIERDE MAN weren't made until after 1983, the year of release of THE FOURTH MAN. So go figure.Very much credit indeed must be given to the story of the original novel by Gerard Reve this movie is based on. Gerard Reve is also the fictional name of the main character (a tormented writer, played by Jeroen Krabbé, balancing on the dangerous line of a severe psychosis). Now, has anybody stopped and thought about the fact that the word "rêve" is French for "dream"? And the film does feature a lot of dream-like/nightmarish sequences, often to that extend that you don't always know for sure if Gerard is awake or dreaming himself. Could this be coincidence...? Maybe it's just me, but I don't think so. Renée Soutendijk is pretty amazing as the leading lady (in a rather demanding role). She sometimes seems to be guilty of over-acting (in a subtle way). But that aspect was clearly intentional to portray the character she plays, since as this movie progresses, you become unsure about what to actually think of this lady and her intentions. Proves again what an excellent actress she is. I might add that the movie contains also several scenes portraying full frontal male & female nudity, as well as some rather explicit sex-scenes (and you will even notice that some scenes and aspects clearly were the blueprints of scenes later to be shot for Verhoeven's BASIC INSTINCT).Another aspect this movie has is a lot of symbolism and biblical references/images, which supposedly made the film thoroughly hated by some conservative/catholic movements at the time of its European release. Either way, it makes the movie worthy of a second viewing. Now, someone recently told me he had grave misgivings about DE VIERDE MAN. One of them being that the film supposedly manoeuvers itself into a position where it needs the divine intervention of the Virgin Mary to resolve itself. I myself have big issues with the way Catholicism has been, and still is sometimes, portrayed in many movies in any genre (so not only when it comes to religiously themed horror movies). But surprisingly, I had no misgivings whatsoever when it comes to THE FOURTH MAN. Although the Virgin Mary-aspect in the plot did make me scratch my head at one point, I also had fun with it, in a way. I think the keyword as to why it didn't bother me at all is 'duality'. Because, this movie works on two levels. Although 'divine intervention' might have resolved the plot-line from the protagonist's point of view... on the other hand: the movie implies that all this might have been the delirious ramblings of a raving madman. And that's the fun part: You never know for sure. And then there's the question: Could it be that Gerard Reve was somehow receiving distorted visions of things to come... like receiving omens? At one point in the movie, Gerard even tries to fool Christine into believing he is clairvoyant. The way he is playing Christine in that particular scene is exquisite to behold.So with its compelling story, convincing acting performances and adequate direction, DE VIERDE MAN is a very much recommended viewing indeed (especially if you enjoy a solid European psychological horror film). But make sure you see the original Dutch version (not the dubbed one).
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train_16381
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A few days ago, I watched a documentary called THE FIFTY WORST MOVIES OF ALL TIME and this is where I first heard of THE INCREDIBLE MELTING MAN. Being a lover of schlocky films, I am making it a point to try to find some of the films from the documentary--not just including THE INCREDIBLE MELTING MAN. In fact, MELTING MAN is the first "bad film" I have seen since then and I must say I am rather disappointed. While it truly is a bad film, it comes nowhere near close enough to make inclusion on this list.Now before seeing the documentary, I have enjoyed "bad films" ever since I read the book "The Fifty Worst Movies of All Time" by Harry Medved. Despite the same title, the book came out long, long before the documentary and the makers of the documentary never credited Medved with the concept. From the Medved book, I have seen about 35 of the 50 films but have come to an impasse--the rest of the films just aren't available on VHS or DVD. So, I thought I'd try the film by the same name.The reason I was most disappointed with THE INCREDIBLE MELTING MAN was that there were a few good elements to the film. First, the melting guy special effects were generally really cool and disgusting. It's obvious that a professional (the famous Rich Baker) was involved in making this look realistic. However, I should also point out that there were also more than a few cheap and cheesy effects as well--such as the floating plastic head and the way the monster ran around after his left arm was cut off--you could see it "cleverly hidden" under his clothes! As for the story, it's just stupid. A group of astronauts miraculously penetrate the rings of Saturn without being crushed. Then, they comment about how beautiful the sun is--as we see closeups of it. This is odd since Saturn is so far from it--it should NOT look this way--it should be a large speck. Regardless, immediately the scene changes and we're told that one of the surviving astronauts is in a hospital. What happened between the last scene and this one? Yep, it's anyone's guess. Well, soon after, the survivor escapes and engages in a murderous rampage as his entire body melts.Now considering they have a psycho running about who looks like a melting popsicle, you'd think the government would pull out all stops to find and stop him, right?! Wrong. A general engages one lone doctor to find him!! No army, no police--just some dopey doctor. Even after bodies begin stacking up, at no point do the doctor or general do anything to organize a meaningful search or get backup.Now, given the stupidity of the film, you also wouldn't be surprised to find the following: When the melting dude is running around near the doctor's house, the doctor gives his wife a powerful sedative and leaves her in the house.When a cute old couple is driving late at night, they naturally stop in an orchard to pick fruit and are killed.When a lady sees melting dude, she barricades the door to protect herself. This would be smart IF she didn't have the back door of the house next to her! Instead of just leaving the house and escaping, she just waits! When a photographer and his model are taking snapshots, the guy grabs his assistant and yanks off her top. Why? Well to give the audience a cheap thrill and make it a rated R flick.When the melting dude is finally located and the sheriff has a clear shot at him, the doctor stops him--even though by now the monster had killed about a half dozen people.So, as you can see the film abounds with stupid plot elements. It is a very bad film. But, given the occasionally good special effects, it just wasn't a horrible film like I'd hoped. Sure, it's good for a laugh, but no where near PLAN 9 FROM OUTER SPACE in badness and never should have been included on anyone's worst film list.
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train_22585
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Why do all movies on Lifetime have such anemic titles? "An Unexpected Love" - ooh, how provocative!! "This Much I know" would have been better. The film is nothing special. Real people don't really talk like these characters do and the situations are really hackneyed. The straight woman who "turns" lesbian seemed more butch than the lesbian character. If you wanna watch two hot women kiss in a very discreet fashion, you might enjoy this. Although it seems like it was written by someone who doesn't really get out in the world to observe people. Why am I wasting my time writing about it?
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train_24865
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I think this piece of garbage is the best proof that good ideas can be destroyed, why all the American animators thinks that the kids this days wants stupid GI JOE versions of good stories??? the Looney Tunes are some of the most beloved characters in history, but they weren't created to be Xtreme, i mean come on!!! Tiny Toons was a great example of how an old idea can be updated without loosing it's original charm, but this piece of garbage is just an example of stupid corporate decisions that only wants to create a cheap idiotic show that kids will love because hey!!! kids loves superheroes right??? the whole show is only a waste of time in which we see the new versions of the Looney Tunes but this time in superhero form, this doesn't sound too bad but the problem is that this show tries too hard to copy series like batman the animated series, or the new justice league, the result??? bad copies of flash (the road runner) or superman (who else??? bugs bunny) the problem is that Looney Tunes weren't meant to be dramatic, the were supposed to be funny!!!! as i said before this series sucks, and many people wonders why anime is taking all over the world??? this show tries to be dramatic and action packed, but that's something that few series and anime are able to do, if you want to see a good upgrade of an old show watch Tiny Toons, that's an example that it's possible to bring back to life old characters, but with a good story and respecting the original roots. too bad that show is already dead, another corporate wise decision i suppose.
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train_17023
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When this movie was released, it spawned one of the all-time great capsule movie reviews: Sphinx Stinks. It does, but in a mesmerizing sort of way. The casting is silly, starting at the top: Frank Langella and Sir John Gielgud as Egyptians? Not enough makeup in Cairo for that, at least not while this film was being made. But it's rather amusing to see them try. The performances run the gamut from mummy-like (sorry, the obvious observation) to over-the-top, with very few stops in between. The Lesley-Anne Down character seems as though she couldn't find Egypt on a map, much less expound upon its archaeological treasures. That's due at least in part to some really bad writing, one of the curses that will be visited upon every viewer of this movie. It's my opinion that movies involving a curse or that draw their basis from a subject that is somewhat esoteric, such as Egyptology, are ripe for silly, overwritten dialogue. It doesn't disappoint, and the convergence proves a double-whammy. The plot has one driving source of dramatic tension: Can this get dumber and less believable? The answer is, usually, YES. The location shots are beautiful, and the set design is generally very good, the only consistent reminders that this wasn't some low-budget production. That and the fact that there are so many well-known faces doing service in such an unintentional laugher. Cheap, no; cheesy, yes.
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train_8792
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An entertaining kung fu film, with acting, plot and fight scenes a cut above the average chop socky. All of the cast are likeable characters and skilled martial artists. Alexander Fu-Sheng's proto-Jackie Chan comedy antics are fun to watch, and his austere companion shows particularly impressive skills. For me, the film's only glaring flaw is the size of the cast -- at times, things get a little confused as the film chops and changes between various subplots, and some of the characters are not as fully fleshed-out as one might wish.But a kung fu film should be judged first and foremost on the quality of the action, and Shaolin Temple definitely delivers on that count. The film climaxes with a high-bodycount battle that allows each character to show off his skills against a worthy opponent.Overall, Shaolin Temple is an enjoyable low-budget kung fu movie. Not up to the quality of a good Jet Li film, but definitely worth a look for fans of the genre. My rating: 8/10.Misc notes: The 1987 Warner Home Video release I saw was (predictably) poorly dubbed, and lacked full cast & crew credits.
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train_15248
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this movie only gets a second star because i work downtown and liked seeing it destroyed. the effects were pretty good- i hear it was the most expensive Korean film ever made. being the most expensive and still absolutely horrid makes it a massive waste of money. i rented it so i won't complain too much about what i paid, but it was a couple hours that i'll never get back. plot holes abound. terrible acting all across the board. i do not recommend giving up the time to watch this movie, life is too short. if your friends want to watch this, run away. i can't stress enough how bad this film was. where the hell did the second dragon come from? why didn't he show up sooner? how did they have rocket launchers on dinosaurs just 500 years ago?
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train_12859
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I've seen my fair share of badly thought-out endings and final twists to films, but I don't recall any film that committed outright suicide like this one did.The film makers were clearly hoping that the great twist would 'surprise' us all.... and it did, but perhaps not in the way the directors had hoped. I was left feeling surprised that Connery, Harris, Fishburn and Capshaw had anything to do with this turkey, individually or collectively.The film up until the final thirty minutes was rather engaging and I like the way the story was unfolding and the nature of the film overall. But once the twist was revealed, the plot holes and inconsistencies were remarkable, the underlying motive for revenge was ill-conceived and the ways things so neatly worked out for Bobby Earl was ridiculously far-fetched. What's worse is that, once the twist was revealed, the remainder of the film became excruciatingly predictable.Harris gave a terrific performance and Connery is like Morgan Freeman in that he never gives a bad performance, even if the movie ain't that great! So all in all, it starts well and the unfolding keeps the viewer interested. The last 30 minutes is one of the most memorable nose dives in the history of cinema.
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train_22779
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This movie was so terrible it was almost good... almost. We love musicals, but not this one. Even with the terrible sound quality, poor cinematography, and many actors who can't sing or dance, Anthony Rapp actually managed to give a good performance (especially toward the end). The character Marjorie, a drunk lady, was enjoyable to watch, too. The plot is very unexpected and could have been funny without terrible singing and cheezy piano music. Admittadly, some of the songs (fantabulous) are pretty catchy (but not in a good way).Open House is a funny movie to watch simply because it is awful! We think it might be a good stage musical (with excellent actors).
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train_3844
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When you read the summary of this film, you might come to think that this is something of an odd film and in some ways it is, for the primary character of this film, Gerard Reve (Jeroen Krabbé) is haunted by visions and hallucinations. The visions Gerard see are all (more or less) subtle hints to what will happen to him as the story continues and it is great fun for the viewer to try and figure out the symbolism used in the film. Despite the use of symbolism and a couple of hints to the ending of the film, the film maintains a very high level of excitement throughout and does not get boring for one minute. This is mostly due to the great performances of Jeroen Krabbé and Renée Soutendijk (Christine) and the great direction of the whole by Paul Verhoeven. His directing style is clearly visible and one can say, looking at it from different angles, that 'De Vierde Man' is a typical Verhoeven film. It will not only seem typical for people familiar with his American films because of the nudity and the graphic violent scenes, but it will also seem typical for people familiar with his Dutch films, because of the same things and his talent to tell a great story. When people watch Verhoevens American films, short sighted people might say, he has no talent in telling a good story and only focuses on blood and sex. That is what some people think, whereas I think that he is a very talented director who tries to convey a deeper message in each with each film. Although not a good film, Hollow Man (his last American film) is an example that Verhoeven can do more than science fiction splatter movies and maybe companies should trust him more and offer him more various films to helm. He needs that. Just watch his Dutch films. Not only do they show that he needs a certain amount of freedom, but they also show that he has remarkable talent. 'De Vierde Man' brought him one step closer to Hollywood and is certainly one of his best.8 out of 10
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train_4847
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This film is one of those nostalgia things with me and I never REALLY expect anyone else to "get it" but am pleased when I recommend it and somebody DOES enjoy it. My late father HATED Arthur Askey but this film was one he really enjoyed and his consistent enthusiasm for "The Ghost Train" and "Old Ted 'Olmes" transferred to me as a child. Years later, I watch it every now and again, enjoying the familiarity. I always wonder if it will not be quite the same but I am never disappointed in it. There is much to enjoy. The sequence on the train is truly inspired when Askey and Murdoch proceed to annoy the arrogant male passenger. Then the whole section in the station is amazing with so much going on you have to keep up. Yes, it is dated and full of wartime Britishness in accents and plot (based on the original play by Arnold Ridley of Dad's Army fame!) but full of wonderful character performances - including Kathleen Harrison as a dotty spinster. The atmosphere is truly as near sinister as an Arthur Askey vehicle could get. This is available cheap as chips in the UK on DVD so treat yourself. It is a perfect Saturday/Sunday morning or any day lazy afternoon lightweight piece of entertainment. I Thank You....OLD MOVIES CAN BE GOOD MOVIES!
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train_10440
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This movie is intelligent. That is, more than most other movies, it transcends the least common denominator - stupid people will probably not appreciate it. The story also relies heavily on dialogue. It has some parallels to Lost in Translation, although Before Sunrise is much brighter, somehow less abstract, and simply a lot better.The script, the characters and even the slightly surreal atmosphere feel totally realistic. The actors play absolutely brilliantly. Rarely have I seen a movie where the script and the acting has melted this perfectly together.The dialogue moves into very personal issues, with the risk of becoming a little over the top. It does, however, stay on the right side almost all the time, although I found a few moments a little awkward and embarrassing. Balancing on this fine line demands outrageously talented actors. Sometimes, it yields great results, and overall this movie is simply stupendous! Only very, very rarely is "love" in films depicted in a way that I find trustworthy and realistic. Every time that is achieved, the result is fantastic. I think the stunning and apparently timeless beauty of the female lead actress helped quite a bit in this respect. She still looks stunning in this film, 12 years after.This is simply a gem of a movie that you can't miss. One of the best movies I have seen from the 1990s!
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train_13524
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i saw this movie at the toronto film festival with fairly solid expectations. the movie has a great cast and was closing at the festival so it must be good, right? how wrong i was. i knew we were in trouble when before the film the director was talking about how when he was directing an episode of wiseguy he met an unknown actor named kevin spacey (a director/writer of wiseguy making his feature debut = blah)... well the director/writer of Edison must have some incriminating pictures of kevin spacey killing a homeless man, because i cannot see how he (along with the other actors in the film) would ever agree to be in this disaster. this movie is absolutely appalling! it's a mixture of every cop hard boiled cliché ever. there is nothing new with Edison. the acting was bad and the direction was even worse. it looked like that aforementioned episode of wiseguy. this was the best casted direct to video movie i've ever seen. some examples of just bad silly moments in Edison... morgan freeman dancing around his apartment for no reason to rock and roll music... justin timberlake getting creative criticism from his belle while his apartment is surrounded by candles... llcoolj driving a vintage firebird... 3 guys being shot in the head...this movie is the opposite of good.STAY AWAY FROM EDISON!
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train_11562
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I simply can't get over how brilliant the pairing of Walter Matthau and Jack Lemmon is. It's like the movie doesn't even need additional characters because you can never get tired of the dialog between these two.Lemmon had already been in several well-known films like Mr. Roberts and The Apartment and Matthau was fresh off his Oscar win for The Fortune Cookie (another Billy Wilder film also with Lemmon). That particular movie wasn't as great as this one because the story couldn't sustain such a long running time (I think it was almost 2 hours). However, this goes by at a brisk hour and a half, even though the introduction of the events leading up to Lemmon ending up at Matthau's apartment is a tad long (so was this sentence). That's a minor quibble though and for the rest of the running time you have a marvelous time.I have already written a comment about how the follow-up to this film sucked and I won't go deeper into that. The reason why this is such a joy is probably that the movie was made just as the innocence of American movies was beginning to fade fast into oblivion. There are some sexual references but they are dealt with in such an innocent way that you couldn't even get a "Well, I never..." out of the most prudish person out there. It is kind of fun to see a movie from a long lost era and that was probably why the sequel didn't work because you had Matthau and Lemmon say quite a few f-words and that just doesn't fit them.Of course, now they are both gone and you can just be happy that you still can enjoy them in a marvelous film like this. I think the only male actor in this film who is still alive is John Fiedler. Edelman died recently. So there you have it. Simply one of the best comedies and films ever.Add: I have just learned recently that John Fiedler has died so to all the fans of him I am deeply sorry. I didn't mean any disrespect and I will try to be more careful of what I am blah blah blahing next time.
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train_10025
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This has got to be a unique twists of two genres of ever seen. The giant monster movie genre with the living mummy movie genre. This unique blend makes for a unique and compelling story. The casts is outstanding, including TOM BOSLEY who as far as I know never has been in a horror movie before, ever. The effects are impressive and the idea of a giant mummy filled with smaller mummies is a cool one. My one complaint, I just wish we saw more of the giant mummy, but other then that I think they did a great job. The dialog, the characters and the story was perfect. The acting was wonderful. This has got to be the best movie to come out of the sci-fi channel. You heard me, the best movie to come out of the sci-fi channel. I give THE FALLEN ONES 9 OUT OF 10.
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train_5048
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This is a very dark and intriguing horror type thriller based on the idea of religious murders. The storyline centres on a deranged man who lives in Texas, US who suddenly goes on a killing spree with his two young sons after being instructed by God to redeem the world of bad people.Bill Paxton who directs this movie plays the deranged Father who is known as the Hand of God Killer while Matthew McConaughey plays his finest performances to date as the oldest son, Fenton Meiks. The film revolves around Fenton who decides he can no longer hold the burden of his murderous childhood alone and uses flashbacks to hauntingly tell the story to FBI Agent Wesley Doyle (played by Powers Boothe).I cannot think of many movies that literally keep the viewer chained to their seat from start to finish and this is definitely one of them. Even if you want to stop watching, you wont be able to because of the sheer power of this movie.The directors have filmed this movie very well, and they help to set the plot through the good scenery. The acting in this movie is great but if there is any drawback it is that some parts are very powerful and may disturb some people.Whilst the concept of this film is very dark, the young children help to portray the idea through brilliant acting. This really is a spine tingly movie and it is guaranteed to have you at the edge of your seat throughout. I would highly recommend this movie to anyone who enjoys horror, disturbing and powerful movies or anyone who just wants to see something different.8/10
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train_9624
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The Movie I thought was excellent it was suppose to be about romance with a little suspense in between.Rob Stewart is a wonderful actor I don't know why people keep giving him a bad rap. As for Mel Harris she is a great actress and for those who thinks she looks too old for Rob it's only by five years.Rob had a lead role in his own TV series as well as one on the Scifi channel. I'm sure you remember Topical Heat aka Sweating Bullets and PainKiller Jane.He also starred in a number of TV movies and is now making a TV Mini series.They need to give him more leading roles that is what he is best at.
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train_17711
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Ha. without a doubt Tommy's the evil one here. i don't know why, but for some reason, little kids in horror movies tend to come across as little butt munches. and since they're kids, they won't die. because they're annoying...well..except for asylum of terror. but those are few and far between.Anyway onto the movie. Can't find this movie on DVD? sure you can! all you have to do is buy the Chilling classics DVD pack! not only do you get Metamorphosis on DVD for $15, but you also get 49 OTHER MOVIES! what a bargain! pff. OK. i'm done advertising for these cheesy movies. let's just say, this movie ain't worth the 15 bucks on its own.So we have a chemist scientist. yeah. cause all chemist scientists look as handsome as this guy playing Peter. He's trying to come up with a serum to stop deterioration of the body. the college he works at wants to pull the plug on his project, so he tries it on himself. but because this is a horror movie, he sucks it up and starts and incredibly long transformation sequence that takes nearly 3/4 of the movie.To pad out the movie he gets into a relationship with some woman who has a son. and she was never married! scandalous! But of course Tommy is one of the most irritating characters....no. i take it back. HE IS the most irritating character. Far worse than the old crippled guy who wants to take over peter's work and gloats over him while he's in the hospital. that's right, even as an old cripple, you can still be the villain.So we see Peter start to randomly kill some people in visions he has until he realizes he's the one doing it and just decides to kill everyone in his path to get back to normal. However at the end he ends up de-evolving into a lizard. yeah, i know don't ask. The ending really doesn't make any sense. And if you're hoping for any really good payoff, you're not going to get it.This isn't a HORRIBLE movie....it's just frustrating because of the lack of a good payoff. if you already own the 50 movie pack and this is next on your list, you're not in for a snoozer, but you're also not in for a great movie. Just sit back, relax, and eat a lot of snack food. Because this movie isn't going to be making you jump out of your skin anytime soon.Metamorphosis gets 4 plastic lizard heads, out of 10.
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train_4401
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Ride With The Devil directed by Ang Lee(Crouching Tiger) is another gem in this fine directors cap. For those unfamiliar with the history of the Kansas-Missouri border wars during the American Civil War. See this film & you will visit a sad piece of Americana. Besides some superb action scenes (quite bloody at times). This is a story of love & devotion between men & one lady in particular. It stars Toby Maguire, Skeet Ulrich Jeffrey Wright & as the young lady Jewel, I never heard or seen her before, I want to see more of her).The acting is top notch, superb production values, very well written (adapted from a novel) This is a long film 128 minutes, but well worth seeing. my rating is **** respectively submittedJay Harris
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train_16546
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What an insult to the SA film industry! I have seen better SA films. The comments I read about Hijack Stories,by saying it is worthy of a ten out of ten is quite scary. A movie's rating should not depend on.., "OH, A MOVIE FROM A DEVELOPING COUNTRY. LETS BOOST THEIR INDUSTRY BY SAYING NICE THINGS ABOUT THEIR WORK, EVEN THOUGH IT IS BAD." We have the expertise to make good movies. Don't judge the film industry on what people say how great they think Hijack Stories is. We can tell great stories such as Cry the beloved Country and Shaka Zulu. Cry the beloved Country I'll give 9 out of 10. Great directing by Darryl, great acting by two great elderly actors, irrespective from where they are. Hijack Stories.., I'll give 1 out of 10. It could only be people involved in the project who would give it high scores. I would've done the same if it was my movie.
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train_9663
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Love it, love it, love it! This is another absolutely superb performance from the Divine Miss M. From the beginning to the end, this is one big treat! Don't rent it- buy it now!
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train_6126
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I saw Jack Frost for £4:00 at my local store and I thought it looks pretty good for a low budget movie so I bought it and I was right it was good. For starters this film is about a killer snowman so that's something to laugh about and the way it looks was funny compared to the Snowman on the cover. The acting was okay and the lines Jack Frost said had me laughing "I only axed you for a smoke" and "Worlds most pi**ed off snow cone" how funny and camp is that? The tale at the start was pretty funny and silly too "Jack be nimble, Jack be quick, Jack gouged eyes with candle sticks". If you're looking for a for a B-Movie Comedy horror that's full of puns then check Jack Frost out. 10/10
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train_11130
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Jon Voight is brilliant in Midnight Cowboy, but Hoffman's performance, though reminiscent of his later turn in Rainman, is the kind of performance that keeps me watching movies. As a portrayal of a New York character, only Daniel Day Lewis' portrayal of Bill Butcher in Gangs of New York comes to mind as comparable, and Day doesn't give his character the emotional depth that Hoffman gives Ratso. It's typical of Hoffman's way of acting that the actor we tend to identify most with Midnight Cowboy is Voight. I think Hoffman is one of the 4 or 5 best actors in the history of film at playing off the people around him in such a way that he raises their performances far above their normal levels. Voight's Buck is so naive that he would float out of the film altogether, except that Ratso pulls him down - pulls him down, but also teaches him, a lot about how to survive and, more importantly, how to live.Midnight Cowboy is a movie about escape that turns into a movie about finding yourself. I think that, as gritty a movie as it is, it has a very beautiful message, that no matter how much a loser you might be (Ratso clearly defines "loser"), if you can find a way to be true to yourself, you are in possession of the secret of life, and you might even be able to share that insight with someone else. I can't help but compare Midnight Cowboy to Klute, from a few years later, which I think is more like a movie about finding yourself that turns into a movie about escape.
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train_8282
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**POSSIBLE SPOILERS**The biggest part of the movie that doesn't work IS the Wendigo, and when your title character fails, your movie usually isn't far behind it. The filmmakers' interpretation of the Wendigo's form is interesting, and can be properly menacing when filmed correctly - when the fleeing killer sees the Wendigo in a flash in his rear view mirror, for instance - and the tree-form was actually very good. However, as a monster character it never really comes to life. We don't get much of an explanation for its behavior, and what we DO see from it doesn't jibe with either the story told in the movie itself, or any Wendigo lore I've ever read.I think one of the main reasons that the monster fails is that it isn't given enough to do, in the movie. When you boil this film down to its bones, what you have is a suspense thriller with a little bit of a supernatural element, instead of a movie about a monster.The cinematography is good, though a little cheesy; the filmmakers use scenery, lighting, and time of day to convey atmosphere and mood rather well. The character of Otis comes across as truly dangerous and unpredictable, making him the real monster in the film. It might have been more effective to explain his behavior as him being possessed by the hungry spirit of the Wendigo, which would also be a more accurate representation of the real legend.I have heard unconfirmed reports (from a newsgroup) that the reason the Wendigo doesn't do much is that, when the monster suit was built, it wound up so heavy and and uncomfortable (in order to mimic the stance of it standing on cloven hooves, the performer had to walk on his toes) that it was nearly impossible to run, walk, or otherwise perform in it. Thus the many flashes of the creature standing still, and the obvious sped-up footage of it running. I stress that these reports are uncomfirmed.
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train_8212
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Director/star Clint Eastwood's "Sudden Impact" is an intriguing addition to the "Dirty Harry" series - a combination of crude film-making and genius. It's mediocre and silly in parts, brilliant and classic in others, with compelling, gripping pacing. There are numerous echoes of the first film here - the shoot 'em up "Make my day" scene recalls the "Do you feel lucky" one, one of the villains is as viscerally repugnant as the first film's Scorpio, an actor who played a minor baddie in the first one returns here as Harry's partner - just to name a few.Harry Callahan is still at odds with the higher-ups in the department, still mean, still tough, but now he's older and wearier. His constant conflicts with his superiors are a metaphor for his inner conflict - a respect and reverence for the law versus a desire to serve the pure spirit of justice, the two things not always being compatible. This "incompatibility" is the underlying theme of the series. The first film posed a simple question, "What about the victim's rights?" - (do they outweigh those of the criminal? Vice versa? Depends?). That film's answer was controversial, prompting a sequel (the highly enjoyable "Magnum Force") which set out to draw the line between Harry's brand of justice and pure, heartless vigilantism. Dirty Harry, like many of Clint's other roles, is the personification of vengeance, the protector of the the defenseless. This movie however brings it back to the victim, in this case Jennifer (portrayed by Sondra Locke), who decides to avenge the rape of herself and her now-incapacitated sister by ruthlessly hunting down and ritualistically executing the men (and one woman) who committed the crime.Without going into a play-by-play of the whole movie, I will say this - I mentioned earlier that "Sudden Impact" echoes the first film - it actually also sprinkles in little references and in-jokes from the whole series (the confusion concerning the captain's last name is an example - an intentional prank, I believe). The relationship between Callahan and Jennifer is neat - has our rogue cop hero found a soul-mate in this lady vigilante? And is she a vigilante or a victim justifiably standing up for her and her sister's tarnished rights? The exchange between these two at the very end of the film is a poetic denouement of the series, one which I personally (as a fan) found quite moving. That last scene alone makes Sudden Impact the legitimate climax to the "Dirty Harry" collection, the perfect answer to the conflict posed in the first film. (Not to knock "The Dead Pool" - that excellent movie was a relatively light-hearted suspenseful yet comic thriller featuring Harry Callahan, rather than a character-defining film like this one).This movie did well in the theaters - audiences in the Reagan Era found Harry and his ilk quite appealing, and the President himself frequently quoted "Go ahead, make my day."
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train_2527
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This is what I call a "pre Sci Fi; Sci Fi" movie. It gets no better than Lugosi/Karloff in this incredibly good "mood" type motion picture. These two genuine artists are at their very best, as is the story line.Karloff does an amazing job as a scientist that sees himself caught in a vise of vanity, pride, and scientific competition. I was caught up in the idea of watching a man as he drowns himself in the three previously mentioned concepts. I was saddened and at the same time fascinated with the two stars as they do themselves in. This is the sort of motion picture that begs for a remake. This time put Harrison Ford in the Karloff part and maybe Kieffer Sutherland as the Bela Lagosi role. It might be possible to do it almost as good.This is one of the very best that Hollywood EVER produced. As I said..it gets no better. No way.
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train_19233
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The exclamation point in the title is appropriate, albeit an understatement. This movie doesn't just cry -- it shrieks loud enough to shatter glass.Filmmakers Andrew and Virginia Stone made shrill, humorless suspense thrillers that strove for a semi-documentary feel. Here, they shot on actual New York locations with tinny "real-life" acoustics to jack up the verisimilitude. But the naturalism of the sound recording only serves to amplify the Stones' maladroit dialog and the mouth-frothing histrionics of tortured butterfly Inger Stevens.In a performance completely devoid of modulation, Stevens plays the wife of electronics whiz James Mason (looking haggard and bored); both are held captive by extortionist Rod Steiger (looking bloated and bored) and his slimy cohorts in a scheme to blackmail an airline with a deadly bomb that Mason has unwittingly helped construct.Here is another credibility-straining instance of a criminal mastermind so brilliantly attentive to every detail, yet knuckleheaded enough to hire a drug-addicted degenerate as an underling. The Stones' idea of nail-biting tension is to trap the hysterical Stevens alone with Benzedrine-popping rapist Neville Brand, filling the frame with his sweaty, drooling kisser. But the camera work is so leaden and Brand so (uncharacteristically) demure that the effect is hardly lurid, much less suspenseful. The Stones, a square pair at heart, don't even have the courage of their own lack of convictions.The film, which ends with the portly Steiger chasing the fleet-footed Stevens on a subway train track, is as clumsy as its ungainly heavy. With Angie Dickinson as Steiger's amoral girlfriend, Jack Klugman, Kenneth Tobey, and Barney Philips.
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