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train_11509 | It's a genuine shame that this spin-off TV series inspired by the superior made-for-TV pictures "The Night Stalker" and "The Night Strangler" only lasted a single season and twenty episodes, because at its best this program offered an often winning and highly entertaining blend of sharp cynical humor (Carl Kolchak's spirited verbal sparring matches with perpetually irascible and long-suffering editor Tony Vincenzo were always a treat to watch and hear), clever writing, nifty supernatural menaces (gotta love the offbeat and original creatures in "The Spanish Moss Murders," "The Sentry," and "Horror in the Heights," plus you can't go wrong with such tried'n'true fright favorites as zombies, vampires, werewolves, and witches), colorful characters, lively acting from a raft of cool guest stars (legendary biker flick icon William Smith got a rare chance to tackle a heroic lead in "The Energy Eater" while other episodes featured great veteran character actors like Keenan Wynn, John Fiedler, John Dehner, Severn Darden, and William Daniels in juicy roles), effective moments of genuine suspense (the sewer-set climax of "The Spanish Moss Murders" in particular was truly harrowing), and, best of all, the one and only Darren McGavin in peak zesty form as the brash, aggressive, and excitable, but basically decent, brave, and honest small-time Chicago, Illinois newspaper reporter Carl Kolchak.Kolchak was the quintessential 70's everyman protagonist, a wily and quick-witted fellow with a strong nose for a tasty scoop and an unfortunate knack for getting into all kinds of trouble. Moreover, the occasionally bumbling Kolchak was anything but superhuman; he usually either tripped or stumbled while running away from a deadly threat, yet possessed a certain inner strength and courage that enabled him to save the human race time and time again from all kinds of lethal otherworldly foes. Kolchak was surrounded by a handful of enjoyable secondary characters: Simon Oakland was perfect as Carl's chronically ill-tempered boss Tony Vincenzo, Jack Grinnage as the prissy Ron Updyke made for an ideal comic foil, Ruth McDevitt was simply delightful as the sweet Miss Emily Cowles, and Carol Ann Susi was likewise a lot of fun as eager beaver rookie Monique Marmelstein (who alas disappeared after popping up in only three episodes). Granted, the show did suffer from lackluster make-up and special effects (the titular lycanthrope in "The Werewolf" unfortunately resembles a Yorkshire terrier!) and the latter episodes boasted a few laughably silly monsters (the headless motorcyclist in "Chopper," Cathy Lee Crosby as Helen of Troy in "The Youth Killer'), but even the second-rate shows are redeemed by the program's trademark wickedly sly sardonic wit and McGavin's boundless vitality and engagingly scrappy presence. | 1 |
train_9510 | In the winter of 1931, supposedly 12-year-old Tyler Hoechlin (as Michael Sullivan Jr.) wonders what his mobster father Tom Hanks (Michael "Mike" Sullivan) does for a living. Young Hoechlin follows Mr. Hanks to "work" one evening, and witnesses him blasting away some rival gangsters. This leads - in a VERY roundabout way - to "Godfather"-type Paul Newman (as John Rooney) hiring independent hit-man Jude Law (as Harlen Maguire) to track down Hoechlin and Hanks, who are off to cool their heels in Chicago. Hanks thinks they will be safe with a relative, which is puzzling when you consider the characters' line of work.Looking uncannily like Paul Peterson ("The Donna Reed Show"), Hoechlin does a terrific job for director Sam Mendes; and, getting to work with this cast makes him the luckiest young actor of 2002. But, the most striking thing about "Road to Perdition" is the stunning cinematography of Conrad L. Hall, which deservedly won a career capping "Academy Award" for the late photographer. Mr. Hall's work is truly superlative. This helps make up for the overall impression of a measured, contrived staginess to both the narrative and visuals. The deviating end is abruptly uplifting (the unrelated dog is an example of the aforementioned staginess).******** Road to Perdition (7/12/02) Sam Mendes ~ Tom Hanks, Tyler Hoechlin, Paul Newman, Jude Law | 1 |
train_7748 | tom had a wish to make film for a long time and he did. it is as if he has visualized a dirty and worn out notebook full of great little ideas he has been filling up and carrying around for 10 years. no grant character transformations, no Hollywood ingredients just life and a little bit of magic. the balance, in speed, in weirdness in comedy vs drama is perfectly weighed. this film takes you on a journey that is over before you realize how nice it was. the music is great and your eyes will be equally satisfied. the fact that this film is about nothing, merely a sequence of sketches of people that are mainly linked trough a party of one of the characters, makes it very pleasant and surprisingly entertaining, it is brilliant because it is empty. in between the lines it is happening. to see or not to see, that's the ? | 1 |
train_22434 | As a casual listener of the Rolling Stones, I thought this might be interesting. Not so, as this film is very 'of its age', in the 1960's. To me (someone born in the 1980's) this just looks to me as hippy purist propaganda crap, but I am sure this film was not made for me, but people who were active during th '60's. I expected drugs galore with th Stones, I was disappointed, it actually showed real life, hard work in the studio, So much so I felt as if I was working with them to get to a conclusion of this god awful film. I have not seen any of the directors other films, but I suspect they follow a similar style of directing, sort of 'amatuerish' which gave a feeling like the TV show Eurotrash, badly directed, tackily put together and lacking in real entertainment value. My only good opinion of this is that I didn't waste money on it, it came free with a Sunday paper. | 0 |
train_9930 | I'm totally surprised by some of the comments on this forum, and many of the reviews. I think Tony Scott made a good movie here. Yes, it is highly stylized, flashy and over the top, but it is very entertaining. I'm glad at least Ebert and Roeper agrees with me :) This movie may not be for anyone, but if you like over-the-top, dark humor, cool action and dialog, you should see it. I've previously seen Scott's Man on Fire, Crimson Tide and Enemy of the State - all good movies, but I like this one more. It's like a roller-coaster ride, with great soundtrack selections, visual styles and in a time when all movies seem to be pg13, it is nice to see that someone isn't afraid of showing nudity, gory violence, and have explicit dialog.It doesn't hurt that Keira is super-hot, and even shows nipples in this one, either... | 1 |
train_21446 | I think that the shots and lighting were very poor. When I watched it for the first time I thought it was the old version(1956). When I really found out the true year of the film I was shocked. I didn't know that there could be such a bad film made so recently. Thats really all I wanted to say. This film had a good plot though, nothing you couldn't miss out on if you would simply read the novel that George Orwelll wrote. All I really want to say has already been said except for this: I can't believe that this film could have possibly received so many awards and nominations.I gave this film a One (awful), because I felt that it was very badly made. Well that is all. So long | 0 |
train_10619 | Los Angeles TV news reporter Jennifer (the beautiful Barbara Bach of "The Spy Who Loved Me" fame) and her two assistants Karen (the appealingly spunky Karen Lamm) and Vicki (the pretty Lois Young, who not only gets killed first, but also bares her yummy bod in a tasty gratuitous nude bath scene) go to Solvang, California to cover an annual Danish festival. Since all the local hotels are booked solid, the three lovely ladies are forced to seek room and board at a swanky, but foreboding remote mansion owned by freaky Ernest Keller (deliciously played to geeky perfection by the late, great Sydney Lassick) and his meek sister Virginia (a solid Lelia Goldoni). Unfortunately, Keller has one very nasty and lethal dark family secret residing in his dank basement: a portly, pathetic, diapered, incest-spawned man-child Mongoloid named Junior (an alternately touching and terrifying portrayal by Stephen Furst; Flounder in "Animal House"), who naturally gets loose and wreaks some murderous havoc. Capably directed by Danny Steinmann, with uniformly fine acting from a sturdy cast, a compellingly perverse plot, excellent make-up by Craig Reardon, a nicely creepy atmosphere, a wonderfully wild climax, a slow, but steady pace, likable well-drawn characters, and a surprisingly heart-breaking final freeze frame (the incest subplot packs an unexpectedly strong and poignant punch), this unjustly overlooked early 80's psycho sleeper is well worth checking out. | 1 |
train_13814 | This is the worst piece of crap I have seen recently. There is nothing good about this movie. The plot is plain stupid, dialogs don't make any sense, humorous scenes never heard anything about the real humor. Actors just don't play, the worse they don't even try. The script itself is somewhat which is in the same league with Ed Wood and Uwe Boll. There is only one good thing in this flick, the fights. They are well choreographed as one would expect of the Hong Kong guys, and are the only reason to watch Prince of the Sun. Although I believe the fights are just supposed to fill the empty space so that the screenwriter didn't have to bother thinking about the storyline. However, this weak and absurd plot may prevent you from watching it to the end. Avoid it unless you are fan of the dragon lady Cynthia Rothrock. | 0 |
train_15883 | I first saw the live musical at the Denver Center For The Performing Arts and it was absolutely mind-blowing, Stunning and had such fantastic continuity of plot and dialogue that I liked it much more than most musicals that I have seen on the stage. The interesting thing is that you NEVER got to see Zach's face. He was always in the dark but his presence was powerful and guided the direction of entire production. Whe I heard they were making a movie from it, I waited with bated breath, but when I watched the movie version I was so bummed-out disappointed that I felt I was cheated. The movie lacks the captivating mood set in the live production and it never allows you to be completely in close touch with every character. Personally, I would like to see the live version again and if that should ever be revived, I would wholeheartedly recommend that you go out of your way to see it. It will be one of the most memorable experiences you will enjoy. | 0 |
train_5617 | After his classic film noir homage Chinatown Roman Polanski returned to the themes that had given him his greatest hits in the 60s with this creepy psychological horror which, like Repulsion and Rosemary's Baby, deals with the paranoia and claustrophobia generated by apartment living.Claustrophobic environments are the ones which Polanski is best at creating, and this has to be the most suffocating and confined picture he ever created. The emphasis on side walls and distant vanishing points is greater than ever, and even in the small number of exterior scenes the sky is rarely glimpsed. But The Tenant is not just confined spatially, but also in the intensity with which it focuses on its protagonist. Trelkovsky, played by Polanski himself is not only in every scene, he is in virtually every shot. When he is not on screen more often than not the camera becomes Trelkovsky's point of view. And of course almost everywhere he looks he sees his own reflection staring back at him in a mirror.I can't think of any film that is more about the internalisation and solitude of one character. Some psychological thrillers, like M or Peeping Tom, manipulate us into feeling sorry for the mentally ill protagonist. Others, like Psycho, attempt in-depth scientific analysis of his mental condition. The Tenant fits into neither of these categories it simply immerses us completely inside Trelkovsky's experience without demanding we actually understand or appreciate what is going on inside his head. We feel his paranoia and obsession even though it is constantly revealed to us that they are irrational.Polanski was also a master of the slowly unfolding horror film. Often in his horrors there is an ambiguity as to whether there is actually anything sinister going on, but they are among the most effective at frightening audiences. Why? Precisely because they unfold so slowly and invest so much time in painstakingly setting up situations that they immerse the viewer in paranoia. A much later Polanski horror, The Ninth Gate is a bit of a mess plot-wise but at least it still manages to achieve that creeping sense of dread.This is a rare chance to see Polanski himself in a major role. His talent in front of the camera was as good as behind it, and he is absolutely perfect as the meek Trelkovsky. Another standout performance is that of the all-too-often overlooked Shelley Winters as the concierge. In actual fact it is rather a stellar cast, although many of the familiar faces look out of place in this strange, Gothic European movie. Also sadly many of the French actors in supporting roles are atrociously dubbed in the English language version.The Tenant is more polished and less pretentious than Repulsion, but it lacks the suspense and the character that make Rosemary's Baby so engrossing and entertaining. The Tenant is good, with no major flaws, and Polanski was really on top form as a director, but it's not among his most gripping works. | 1 |
train_3236 | Half a dozen short stories of varying interest enlighten us about life in Finland. These stories are interwoven and each contains a scene in which a sonic boom is heard. This indicates that the events depicted happen at the same time.The film begins with a bungy jump which promises some excitement but the early stories are quite low key. The film improves so stick with it. Two broken marriages in stories that follow provide plenty of drama while a scene in a hospital gives us a terminally ill patient begging for pain relief. The last moments with his wife are both convincing and moving.While the various scenes of family life take place in Finland, the themes are of a general nature wherever you happen to live.Collections of short stories are rarely as satisfying as a good tense 90-minute drama. | 1 |
train_11070 | I have just finished watching this film and I can honestly say that this is a work of art. I was very surprised to see the overall rating as 5.2.Not only does Guy bring together a b list(ish) movie cast and make them into such glorious characters, he has given us a movie with a fantastically diverse story line with much left to the imagination.Far too many people are wanting movies with a plot that can be understood and handed to them on a plate...yet these are the films that get poor reviews because they are far too predictable.This film is special. Get it, now! | 1 |
train_5596 | "The Tenant" is Roman Polanski's greatest film IMO. And I love "Chinatown", but this one is so much more original and unconventional and downright creepy. It's also a great black comedy. Some people I have shown this film to have been *very disturbed* by it afterwards so be forewarned it does affect some people that way. Polanski does a great job acting the lead role in "The Tenant" as well as directing it. | 1 |
train_8811 | Eleven different Film Makers from different parts of the world are assembled in this film to present their views and ideas about the WTC attack. This is one of the best effort you will see in any Film. Films like this are rarely made and appreciated. This film tries to touch every possible core of WTC. Here are some of the most important stories from the film that makes this film so unique.There is the story from Samira Makhmalbaf (Iran) where somewhere in Iran people are preparing for the attacks from America. There a teacher is trying to educate her students by informing them about Innocent People being killed in WTC massacre. Then comes a story from Youssef Chahine (Egypt) where a Film Maker comes across face-to-face conversation with a Dead Soldier in the WTC attack and a Dead Hard Core Terrorist who was involved in WTC attack. Then we see a story from Idrissa Ouedraogo (Burkina Faso) where a group of Five Innocent children's sees Osama Bin Laden and plans to kidnap him and win the reward money from America. Then we see the story from Alejandro Gozalez Inarritu (Mexico) where you see a Black Screen and slowly you see the real footage of WTC buildings coming down. And the people who are stuck in the building are jumping out of it to save their lives. The other most important story is from Mira Nair (India) where a mother is struggling to get respect for her Dead Son whose name is falsely trapped in WTC massacre! After September 11 attack, Our heart beat automatically starts pumping if we hear two names anywhere in the world.. First is World Trade Centre and the second is Osama! This film totally changes our perception and makes a strong point by claiming something more to it.I will definitely recommend this movie to everyone who loves to have such kinds of Home DVD Collection. Definitely worth every penny you spend. But please don't expect anything more apart from Films in this DVD. There is of course Filmographies of the Film Makers but No Extra Features. | 1 |
train_20213 | I knew this film was supposed to be so bad it was funny, so I went into it with that expectation. I just found it to be so bad it was murderously boring. The whiny theme song is funny for about 10 seconds, until you realize there is nothing clever about it except its intentionally irritating quality. Seeing things get splattered with tomatoes gets old in about 30 seconds. There is just nothing clever or funny about the film except for the premise. It could sustain a 3-4 minute comedy sketch maybe, but this is just not a feature film by any stretch of the imagination. | 0 |
train_17489 | Les Visiteurs, the first movie about the medieval time travelers was actually funny. I like Jean Reno as an actor, but there was more. There were unexpected twists, funny situations and of course plain absurdness, that would remind you a little bit of Louis de Funes.Now this sequel has the same characters, the same actors in great part and the same time traveling. The plot changes a little, since the characters now are supposed to be experienced time travelers. So they jump up and down in history, without paying any attention to the fact that it keeps getting absurder as you advance in the movie. The duke, Jean Reno, tries to keep the whole thing together with his playing, but his character has been emptied, so there's not a lot he can do to save the film.Now the duke's slave/helper, he has really all the attention. The movie is merely about him and his being clumsy / annoying / stupid or whatever he was supposed to be. Fact is; this character tries to produce the laughter from the audience, but he does not succeed. It is as if someone was telling you a really very very bad joke, you already know, but he insists on telling that joke till the end, adding details, to make your suffering a little longer.If you liked Les Visiteurs, do not spoil the taste in your mouth with the sequel. If you didn't like Les Visiteurs, you would never consider seeing the sequel. If you liked this sequel... well, I suppose you still need to see a lot of movies. | 0 |
train_11675 | I always follow the Dakar, so when my husband bought Charlie's 'Race to Dakar' DVD home I couldn't wait to watch it! Of course we'd seen the broadcast of the race when the actual race was on, but that never gives the background and specific teams.If you watched Long Way Round then you won't be surprised by the language which frankly I find more amusing than offensive.I think the only thing that annoyed me about the DVD was Charlie's hair, but he had it styled before Dakar so my feminine need for neatness was assuaged; tho' I could have lived without the 'flame' undies lol As with LWR, the preparation was every bit as interesting as the race itself. I nearly cried when Charlie broke his hand, and winced at every bruise he sustained while training....and of course the death of Andy Caldicott...that was an appalling tragedy, but then every year there's something.Russ drives me nuts, although his attitude has improved a thousand times from the argumentative cynic he was in LWR. It's great to see him get along so well now with Charlie.What I learned from this odyssey was - 1. never let Scorpion prepare your vehicle for ANYTHING! - they had months to prepare the X5, and still the day before the team left for Lisbon, Scorpion had only done half of things that needed to be done, and the vehicle was a pain throughout the whole race; 2. the Dakar organizers need to put a lot more work into their rider/driver retrieval plan - leaving Matt (and presumably a large number of other riders/drivers out to dry the way they did was nothing short of culpable negligence; 3. Charlie has an endearing enthusiasm for 'rough and tough' adventure but needs to toughen up a lot to really perform as he'd like; and finally, 4. Charlie and Ewan are planning another of these epos called the Long Way Down in 2007, and I can't wait to get my hands on it! :D If you love bikes and/or genuinely nice blokes 'having a go', you have to watch this, I guarantee you love it. It's very entertaining.In conclusion, to Simon Pavey - you sir are a hero, I was so impressed by the your 'quiet achiever' manner and the fact that you actually finished.....just incredible considering what an monumentally difficult race it is. And to Charlie, Matt and the rest of the team - full marks for pulling it off. To think that a relatively green team could have achieved so much is truly admirable. You're all wonderful. | 1 |
train_16350 | I saw this film at SXSW with the director in attendance. Quite a few people walked out, and the audience could barely muster even polite applause at the end. Of the 60 or 70 films I've seen at this festival, Frownland is among the worst.At 106 minutes, it is at least 95 minutes too long. You get to watch the main character's failed and drawn out attempts to communicate, in extended real time. The same grimaces, hand over mouth motions, kinetic and frantically repeated words and syllables over and over and over again - WE GET THE POINT.One site actually compares this work to early Mike Leigh. What drugs would you have to be on to make that statement? Given that Frownland is a Captain Beefheart song, maybe you'd have to be able to enjoy Trout Mask Replica on heavy rotation to appreciate this film. Unbelievably, this won a jury award at the festival. You can bet it did not win an audience award. | 0 |
train_10866 | Johnnie To's ELECTION has some cool music on the opening creditsand a nice opening credits' design too, a kaleidoscope of Chinese characters and those Asian mobsters solemnly taking an oath or uttering some sacred stuff; as a matter of fact the whole flick is nicely scored. I have found about To from Bishop Seraphim Sigrist and was quite eager to see a To movie. The one with which I began, ELECTION, is exciting and interesting, and only moderately violent by nowadays standardsmoderately and also essentially violent; the story of an Asian godfather's scheming, it uses a puzzle play of elements, violent facts from the mobsters' lives, the race for the scepter, true details, and as with Coppola we are expected to believe that some of the morally glamorized mobsters are entitled and nice and likable. The performances are reasonably amusing and colorful.ELECTION is well made in the enjoyable, somewhat careless style of the Hong Kong fare; the ending is bitter, true, straight and will scare the kids. | 1 |
train_14840 | The story is about the life of common people from Antwerp, living their lives. So I said it, and there is nothing more actually to tell about the story. The movie is fast, like an MTV-flick, and well photographed and we feel that the director is talented and should do more films. So let's forget about this one and hope for the best with the next Deus-Barman picture. | 0 |
train_10459 | I wasn't expecting to be so impacted by this film portraying a family just like the one you'd expect to be living next door. They are ordinary flesh-and-blood people, not like the typical Hollywood fare. They face an all too common problem--debilitating illness. But the story-line grips the heart with a powerful lesson. Casting, script, direction, and acting flow together with a surge that draws the viewer deep into the story. Give this film your full attention and its message will truly inspire. | 1 |
train_22802 | Since "Rugrats"' falling from the category of good and funny cartoon series to a mediocre and indeed outright horrible fare for two year olds in the past three or four years, obviously the tyrants at Klasky-Csupo should be out of ideas. After dumbing down all of the characters, adding even stupider new ones, replacing some voices (though I like Nancy Cartwright, she is NOT Chucky Finster!), and having no sense of continuity (ex.: in a Kimi episode I watched the other day, Tommy and Chucky each got a new puppy; but it subsequent episode, the aforementioned dogs never appear), you'd think the creators could kill the show for mercy. But noooo.All I will say concerning this special is that it sucks! While not as horrible as the Kimi episodes, everyone is even stupider than they were, including Grandpa (my God! He used to be the best character on the show, but now, he has no real purpose). The ending is needlessly fluffy, and the only thing different between this and other crappy new episodes ('98-'01) is that the kids can interact with adults. Whoa, what fun!No stars at all for "The Rugrats All Growed Up". Klasky-Csupo, please DESTROY this show before it gets any worse. | 0 |
train_10811 | This film takes you to another time when there was a different pace to everyday life. We get an idea how families had to deal with the war and how quickly we sent young men off to fight. A very touching look at the past and a reminder that casualties of war don't just happen on the front.Luckily many of us have never had to go through what our great-grandparents, grandparents or parents went through during a war. This film, I think, is a small thank you. Peter Outerbridge looks amazingly like a young Peter O'Toole and Russell Crowe is absolutely charming and as Australian as he can be. It's definitely worth listening to him recite "High Flight" and makes me wonder what he might accomplish with Shakespeare. | 1 |
train_11582 | For someone who remembers Jane in the Daily Mirror strip cartoon, viewing this film is an exercise in nostalgia. In that context it is wonderful, but younger viewers would undoubtedly find the comedy limp and would miss the point that the actors are cartoon characters. The plotline is also a bit limp for today's audience, but reflects the naivety of the 40s and 50s very well. Jane, you must remember, was part of the escapist fantasy of the wartime years, created to boost the morale of the troops. She gave a double meaning to the "strip" in strip cartoon.The story has something in common with the tales of Edgar Rice Burroughs and Rider Haggard. The theme would have been a familiar one to readers in that era, a bunch of bumbling Nazis thwarted by a few equally bumbling Englanders, and set in the African jungle of course.For Jane fans, a must see. For the rest of you, a damp squib. | 1 |
train_6355 | I already loved "How the Grinch Stole Christmas" when it was released and I'm still loving it now, 5 years later. Still lots of people seem to disagree with my opinion and this movie never really had received much love at the time it came out.Sure, the movie is over-the-top and campy but that at the very same is also the reason why this movie is so charming and fun to watch. All of the sets, costumes and characters are done perfectly over-the-top in a fun way, without ever becoming truly ridicules. It's a visually spectacular movie to watch. It's a campy movie making at its very best! Director Ron Howard really surprises with this fun little Christmas movie.Main reason why the movie works and why it's so much fun to watch is Jim Carrey as the Grinch. He truly carries the movie with his good and fun role. He is of course helped by the convincing make-up, which also received an Academy Award. Of course if you're a Jim Carrey hater you shouldn't even think about watching this movie. This movie is really his movie and he makes it all work and so much fun to watch. Other fun and memorable roles are being played by Jeffrey Tambor, Clint Howard and Josh Ryan Evans as the young Grinch.The movie has a good morale but it is all a bit sappy to me. Perhaps it's because I'm Dutch and we don't really celebrate Christmas that enthusiastic and big here, as in the United States or England. For me the movie was simply fun and entertaining and the morale just left me quite cold to be honest.The musical score by James Horner is good and fun, even though it's your average every day Horner stuff, it still all works perfectly for the movie and helps to make some of the scene's work.Perfect Christmas entertainment.8/10 | 1 |
train_2247 | I'm disappointed at the lack of posts on this surprising and effective little film. Jordi Mollà, probably best known for his role as Diego in Ted Demme's "Blow" Writes, directs, and stars.I won't give away any plot points, as the movie (at least for me) was very exciting having not known anything about it.. If you have a netflix account, or have access to a video store that would carry it...I highly recommend it. It's a crazy, fun, and sometimes very thought provoking creation.Mollà's direction is *quite* impressive and shows a lot of promise.Unpredictable, with amazing imagery and a great lead performance spoken in beautiful Spanish "No somos nadie" (God is on Air) is an amazing film you can show off to your friends.SEE IT. | 1 |
train_8189 | This was an excellent 2-part episode, although I had never been seen the older ones, I never thought the doctor would go up against anything that is paranormal, extra terrestial of course but not paranormal.This episode brings the things that we most fear and how would we humans, in a futuristic time, would fight and defeat real live evil when most odds say that would be impossible.Being that it's a family film I am surprised that they brought some stuff in like fear and faith, especially if its also going to entertain American audiences. But who care about what Yanks say, we rock! Doctor Who has shown potential ever since from episode one from the new series in 2005, first being so harmless to scary, from fun to serious, from light to darkness. I hope many old fans will one day soon say "The old Doctor Who has returned".10 out of 10 | 1 |
train_9457 | How can you sum up just exactly how feelgood and right and touching this film is?? For several weeks this DVD leaped off the shelf at me every time I went in the store - having seen Steve Carrell in a couple of films previously, I didn't want to smear my thought process of him - so I resisted and resisted, until finally I grabbed it up with a 'What the hell!' attitude! And how surprised was I! I just wish I had purchased it earlier. Having watched it three times in two days I am still smiling at how the portrayal of a widower struggling with three daughters, yearning for that which is missing since the passing of his beloved wife, who thus meets an intriguing woman, charming her in such a profound and interesting (dare I say bookish?) way, throws a whole different light onto life that makes him realize she is what he has been searching for.The snag of that woman being his brothers girl complicates matters - which portray Dan comically shy and with a heartfelt chagrin, seeing his "someone special" bringing such fun and enjoyment into the family home as well as his brothers life. You just really begin to feel for him.Then when the blind date occurs with Ruthie Draper - that is the turning point in Marie's estimation of Dan!! The look she gives him when he repeats her comment, about not liking Ruthie - sheer Green-Eyed Monster! Triggering an absolutely hilarious scene as the two couples compete on the dance floor! This sequence is one of the most well-crafted as Dan starts to loosen up with regard to Marie.Other gut-wrenching scenes - Dan returns from the Book and Tackle Shop, confronted by his brothers, begins to describe what has just occurred....when Dan's face drops it brings a sharp intake of breath!!His youngest daughter Lilly making the present celebrating their love for Suzanne, his late wife, brings a little heartfelt warmth and a little gulp as Dan realizes just what he has lost in life.When Dan plays guitar and sings at the Talent Show....his voice cracking slightly as he reprises the song....absolute gem! The acceptance of what occurs late in the film by his daughters...they all three love their father and want to see him happy, will not let him deny his love for Marie; the desperateness of Dan not to fail his daughters because he is their rock, their stronghold...and tell him so much more than that with just a few words.I could go on and on but I will leave it for now - maybe return and add more comments here in the near future....but I will end by saying........if you want to watch a film that is just so damn good, with twists of comedy to lighten up the drama, that never feels forced or crass, that comes over as a genuine portrayal of a man discovering new life - not just with a woman but also with his extended family, then look no further.DAN IN REAL LIFE - 9 out of 10 for such a well-rendered cinematic experience with a score by Sondre Lerche, that intimately takes you there throughout whilst never being intrusive, with fine performances by the ensemble cast. I cannot wait to re-watch this again!! | 1 |
train_6686 | This movie was a brilliant concept. It was original, cleverly written and of high appeal to those of us who aren't really 'conformist' movie pickers. Don't get me wrong - there are some great movies that have wide appeal, but when you move into watching a movie based on "everyone else is watching it" - you know you're either a tween or don't really have an opinion. This had a lovely subtle humor - despite most people probably looking only at the obvious. The actors portrayed their characters with aplomb and I thought there was a lot more "personal" personality in this film. Has appeal for kids, as well as adults. Esp. nice to find a good movie that's not filled with sexual references and drug innuendos! A great film, not to be overlooked based on public consumption. This one is a must buy. | 1 |
train_8064 | John Ford is one of the most influential and best remembered American filmmakers in the history of film, his name usually associated with the western film genre. However, John Ford's arguably best film is not a western at all but a seedy drama set in the Irish fight for independence in the early 1920s: 1935's The Informer.Times are tough on many in Ireland and the burnt out Gypo Nolan is caught in a web of poverty and desperation - and the walls are closing in. Gypo is big but he is not the brightest bulb on the tree, has a warm heart but a short fuse, and never seems to really think things all the way through but he is not a criminal or a self-centered pig. Walking the streets starving with no where to live, the hulking Gypo Nolan finds the prime lady in his life, Katie Madden, on the streets soliciting herself because of her own desperate situation and starts to dream about taking her to the United States if he only had the 20 Pounds to pay for it. As luck would have it, his friend Frankie is back in town with a 20 Pound price over his head and Gypo is desperate enough to inform the police of Frankie's whereabouts. Gypo, with the new 20 Pounds of blood money earned, finds this foggy night particularly foggier as guilt swells all over him and the IRA invests all their resources to find Frankie's informer.Victor McLaglen portrays the fallen Gypo Nolan and definitely deserved the Best Actor Oscar he was awarded for this film. His brutish, stupid, and tender turns give the character dimension and McLaglen is only second to Dudley Moore's character Arthur Bach from the 1981 film Arthur as the most entertaining cinematic drunk. Margot Grahame's performance as Katie Madden is also excellent but she and McLaglen are the only members of the cast who truly impress. Preston Foster is especially miscast as an IRA head, mainly because he is most obviously not Irish, and J. M. Kerrigan borders on irritating throughout his role in the film but this disappointing supporting cast is the film's only poor point.Often overshadowed by some of Ford's better known westerns like The Searchers or The Man Who Shot Liberty Valance, The Informer is easily one of John Ford's best films - if not his very best. Beginning what would be a long career of Oscar nominations and wins for John Ford, The Informer won four Oscars including one for him for best director in 1936. Ford and company's use of shadows and light in the film is particularly engaging and vital to telling the story. Gypo's walk through the streets is narrated by the gloomy state of the town and the glaring accusations of the street lamps, each shadow constantly reminding him of his dark deed. Ford's command of this technique was amazing to watch; if The Informer was made 10 years later (thus making the genre requirements) it would probably be considered one of the best films noir of all time but that does not hinder it from being remembered as an excellent classic film. | 1 |
train_6395 | For me,this is one of the best movies i ever saw.Overcoming racism,struggling through life and proving himself he isn't just an ordinary "cookie" ,Carl Brashear is an amazing character to play ,who puts Cuba in his best light,best performance in his life.De Niro,who is a living legend gives THAT SOMETHING to the movie.Hated his character in movie,but he gives so much good acting to this film,great performance.And appearance of beautiful Charlize was and as always is a big plus for every movie. So if you haven't seen this movie i highly recommended for those who love bravery,greatness who seek inspiration.You must look this great drama. My Vote 9/10. | 1 |
train_469 | The story-line was rather interesting, but the characters were rather flat and at times too extreme in their thoughts/behavior. More extreme than necessary. Also, I think something went wrong in the casting. John Turtorro doesn't really satisfy me playing a semi-autistic chess player, not to speak of the Italian player. Motives weren't very much outlined either. | 1 |
train_12200 | At the point in time that The Lady from Shanghai was being made, the marriage of Orson Welles and Rita Hayworth was disintegrating. The film was as much an effort by Welles to rekindle the old flames as it was to make a classic noir. Not received well at the time, The Lady from Shanghai has gotten more and more critical acclaim as years pass. Gotten better with age so to speak.Welles is Irish seaman Michael O'Hara who on a fateful night rescues the beautiful Rita Hayworth from three muggers in Central Park. Sparks do fly, but then comes the rub, turns out the lady is married to crippled, but brilliant criminal attorney Everett Sloane. Nevertheless Sloane takes an apparent liking to Welles and hires him to skipper his yacht.So far this film is starting to sound a lot like Gilda. If Orson had seen Gilda and was not at this point thinking with his male member, he would have skedaddled back to the seaman's hiring hall in Lower Manhattan. Instead he gets himself involved in a lovely web or intrigue and finds himself pegged for two murders and Sloane as his eminent counsel.Welles for whatever reason decided that his wife would be a blond in this film. Supposedly Harry Cohn hit the roof as Rita was internationally known for her coppery red hair. This may have soured him on the picture as he joined the legion of studio bosses who saw Welles's vision of independent film making a threat to their power.Stage actor Glenn Anders plays Sloane's partner Grisby who is one slimy dude, he winds up a corpse. The other corpse to be here is Ted DeCorsia, a bottom feeding private detective who tries to go in business for himself.It's a good noir thriller, showing Rita at her glamorous best even if she was a blond here. The final shoot out in the hall of mirrors is beautifully staged, but I wouldn't recommend seeing it if one is on any controlled substance. | 1 |
train_21384 | "Dominique" is one of those films that the expression "slow-as-molasses" must have been invented for. Too many endless and repetitive sequences (how many times do we see Robertson walking down the stairs slowly because he can hear someone playing the piano?). It is ALMOST redeemed at the end by a surprising twist, which, unfortunately, is followed by a second twist that succeeds only in leaving a bad taste in our mouths. Not a very enjoyable film. | 0 |
train_16672 | Although it really isn't such a terribly movie (especially considering it was made directly for TV-distribution), it'll be very difficult to point out one aspect in "Bloodsuckers" that is actually original or refreshing. Vampires in space isn't exactly a new formula, and even after so many movies dealing with these monsters in this particular setting, still no one seems to realize it's an incredibly stupid premise that can't possibly result in a halfway decent horror movie. "Bloodsuckers" even goes one step further and shamelessly imitates every imaginable motion picture that either revolves on vampires and intergalactic warfare. The plot and characters are mainly stolen directly from John Carpenter's "Ghosts of Mars" and James Cameron's "Aliens", as a crew of futuristic vampire hunters are crusading through space and regularly holding to eliminate a mutated species that peculiarly named themselves after notorious horror icons, like the Voorhees and the Leatherfaces. The good guys are a bunch of pathetic stereotypes, constantly dealing with clichéd issues and endlessly arguing about dreadfully unimportant matters. Captain Damian is the unpopular rookie, who'll really have to prove his leadership capabilities now after being more or less responsible for the death of the previous (and far more loved) Captain Churchill. The other annoying characters include a typical cowboy-style and trigger happy macho pilot, a tough female warrior with more balls than any of the males on board (she's of Asian descent, like the girl in "Aliens" was Latino) and the army's most valuable secret weapon: a Blade-girl! Quintana is a beautiful and deadly vampire who chose the side of humans. She can spot enemies when they're still light-years away and she can also do wickedly sexy things with someone's wet dreams. They eventually all learn to work as a team when forced to face the ultimate vampire-meanie: Michael Ironside (in yet another downgrading role). "Bloodsuckers" is an irredeemably stupid film, but it manages to entertain as long as it features gory killings, infantile dialogs and OTT make-up effects. It only gets intolerably boring when the frustrated soldiers blame the captain for the umpteenth time and bla bla bla. This film is a non-stop series of lame clichés and uncreative ideas, but at least it's watchable. | 0 |
train_8587 | My Take: Makes use of its familiar plot with fine performances and a few genuine moments of excitement. The plot is familiar. An innocent man is framed for a plot to assassinate the President of the United States, the first traitor in the United States Secret Service. As his fellow secret-service agents pursue him, he tries to prove his innocence. Of course we know his innocent, and the real culprit is just around the corner, but I was still entertained by THE SENTINEL. In this time where thrillers are reduced to being too ludicrous and too abundant in action sequences, THE SENTINEL is a good lick-back to all those good old-fashioned political crime thriller. The familiar plot is elevated by neat thrilling sequences and terrific performances.Michael Douglas, the perfect man for the job, is long-running Secret Service agent Pete Garrison, who is framed for being part of a plot to assassinate the President. Former colleagues in the secret service (Kiefer Sutherland and Eva Longoria) pursue Harrison while he tries to find out who is behind the possible assassination and the traitor in the Secret Service. This leads to a lot of chase scenes that, surprisingly (and thankfully), are never unbelievable. The screenplay also offers a subplot involving Garrison having an affair with the First Lady (played by Kim Basinger). This thankfully wasn't unnecessary like most subplots are to these kinds of films.The films director is Clark Johnson (S.W.A.T.) who manages to make the film look good. Although many have criticized it as "should have been a TV movie", I must disagree. Agreed, this is not a perfect film, and much of it is inspired from other action thrillers and political intrigues like IN THE LINE OF FIRE or an episode from the TV series 24 (which this film closely resembles when it comes to style and star Sutherland), but even so, this film takes its plot into serious heights and doesn't abandon even its smaller details. The performances are terrific (with a top-notch cast, its bound to be, even with the by-the-numbers script.All-in-all, I award it ***1/2, not perfect, but not far from it.Rating: ***1/2 out of 5. | 1 |
train_9044 | I have recently seen this movie due to Jake's recent success with Brokeback Mountain. I figured I would see the movies that I missed. I had no expectations going into the film so was astounded that I had missed this movie at all. It's a gripping father and son tale, and it is also an underdog story. I even shed a tear at the finale of this wonderful tale. This movie appeals to all ages. The only reason I give it a 9 out of 10 is that it slows down a little in the middle, but it comes back strong in the end. The acting was great, the story was magnificent, and the cinematography was captivating given the setting of the film. GO SEE THIS MOVIE! Rent it, buy it, watch it, LOVE IT! I know I did! | 1 |
train_1353 | The cast is different and now they took a different approach we have the street smart team "Networth" vs . the supposed professional team "Magna" but boy if you think the street smart team would have trouble you'd be right. While the Magna team has struggled at times, the street team has simply disintegrated week after week.First some things to reiterate as far as the "Apprentice 3" first of it continues the same absurd mentality (from Trump) and the game in this series: if your a good project manager, but you lose, the team will turn on you and you will be fired, despite the fact that your backstabbing teammates are often the ones who do half ass jobs. Simply absurd, that a game show that claims to hire the best candidate actually "weeds" out the best while the dysfunctional candidates stab each other until one is left and that person is the best . lolAnyone this season, weve seen a total of cursing, backstabbing and even gay offensive stereotypes carried out as teams try to do campaigns.The list of victims so far Cast Tara Dowdell , Audrey Evans , Danny Kastner those three are the only that I feel were unfairly fired by Trump, the rest really had it coming as they only incited conflict, anger and suffering. It's just amazing as one candidate Audrey Evans said as how she who did a good job was fired and how some of her worthless teammates are still in the game.Yes its the game, it's "The Apprentice" where manipulation, backstabbing, and always popular "everyone gang up on the project manager" mentality rules.It has been an entertaining ride, though, the candidates are given a wide array of assignments from photo shoots to the construction of mini golf courses, to building of new apartments.Still though it's still the "Apprentice" though so all you can do basically is laugh the whole time as the insanity and chaos insues until lucky person is the winner. | 1 |
train_8842 | This intensely involving 2007 character-driven suspense drama is like a big, juicy piece of Shakespearean-level steak from a master filmmaker who knows how to draw out uncommonly ferocious, to-the-edge performances from his actors. Consider for starters - Henry Fonda's lone dissenting juror in "Twelve Angry Men", Katharine Hepburn's delusional Mary Tyrone in "Long Day's Journey Into Night", Rod Steiger's conflicted concentration camp survivor in "The Pawnbroker", William Holden's wintry lion in "Network", and Paul Newman's alcoholic lawyer in "The Verdict". The list encompasses some of the finest screen work of the past half-century, and you can safely add Philip Seymour Hoffman's desperately controlling Andy Hanson to the ranks. At 83, director Sidney Lumet shows no signs of octogenarian fatigue, and in fact, he revels in the melodramatic turns of first-time screenwriter Kelly Masterson's thickly plotted script.The scale of the story is deceptively small as it focuses on the moral compromises that unravel in a family where two brothers have become desperate for immediate cash. Woody Allen followed a similar fraternal dynamic in his last film, the oddly pinched "Cassandra's Dream", but Lumet is neither pinched nor cautious in his fierce approach to this inescapable tale of ambiguity and deception. The plot revolves around a crime that was meant to be victimless. Embezzling funds from his real estate company's payroll to keep his neglected wife Gina happy and to satisfy an expensive drug habit, smooth-talking Andy is about to be exposed in an IRS audit. Meanwhile, his younger brother Hank is a mass of post-divorce, codependent insecurities falling way behind in his alimony and child support payments.Andy concocts a supposedly foolproof plan to rob their parents' suburban jewelry store while neither of them is supposed to be there. The goal was for the brothers to collect the haul, and the parents to claim the insurance. Murphy's Law intervenes in every possible way starting with Andy pressuring Hank to do the job himself. After some brotherly cajoling, Hank agrees to it, but too scared to do it alone, he recruits a reckless, gun-toting busboy to handle the robbery. By fate, the heist occurs on the one day that Andy and Hank's mother is opening the shop, and things quickly spiral out of control from there. Although the back-and-forth storytelling technique is not new (for example, Alejandro González Iñárritu's "21 Grams"), Masterson's approach works effectively in delineating certain events from multiple perspectives so that you understand how each character is led to the repercussions of the unfortunate event.The acting is pitch-perfect starting with Hoffman's riveting performance as Andy, a Machiavellian reptile whose cool exterior and innate amorality mask layers of resentment toward his family. I thought he was great in Tamara Jenkins' "The Savages", but he is even better here. Lumet even draws a solid performance from the usually insufferable Ethan Hawke as Hank, imbuing him with the emasculated weakness that informs his every ill-planned move. As their embattled father, Albert Finney acts with his typical late-career bluster, but he provides the necessary foundation for the Oedipal-level complexities. Marisa Tomei is a smart choice to play Gina, as the actress economically keys in on the responsive, watchful nature of a small but pivotal role. The estimable theater veteran Rosemary Harris (now better known as Peter Parker's aunt in the "Spider-Man" trilogy) has precious little time as the mother, as does Amy Ryan as Hank's bitter ex-wife.There are scenes that border on excessive, especially as the situation becomes increasingly desperate for the brothers, but the principals inject such energetic brio to them that the flourishes become forgivable. After the disappointment of the cartoonish "Find Me Guilty", it is refreshing to see Lumet in peak form here. The 2008 DVD offers terrifically informative commentary from Lumet, Hoffman and Hawke, all of whom converse with ease and insight throughout. Along with the original theatrical trailer, there is also a better-than-average 24-minute featurette, "Directed by Sidney Lumet: How the Devil Was Made", which features on-set footage and snippets of interviews with Lumet, two of the producers and the principal actors. | 1 |
train_278 | I gotta say, Clive Barker's Undying is by far the best horror game to have ever been made. I've played Resident Evil, Silent Hill and the Evil Dead and Castlevania games but none of them have captured the pure glee with which this game tackles its horrific elements. Barker is good at what he does, which is attach the horror to our world, and it shows as his hand is clearly everywhere in this game. Heck, even his voice is in the game as one of the main characters. Full of lush visuals and enough atmosphere to shake a stick at, Undying is the game to beat in my books as the best horror title. I just wish that this had made it to a console system but alas poor PC sales nipped that one in the bud. | 1 |
train_18930 | I only watched this film from beginning to end because I promised a friend I would. It lacks even unintentional entertainment value that many bad films have. It may be the worst film I have ever seen. I'm surprised a distributor put their name on it. | 0 |
train_16506 | For those of you who've never heard of it (or seen it on A&E), Cracker is a brilliant British TV show about an overweight, chain-smoking, foulmouthed psychologist named Fitz who helps the Manchester police department get into the heads of violent criminals. It's considered to be one of the finest shows ever to come out of England (and that's saying something), and was tremendously successful in England and around the world back in 1993.Now, the original stars have re-teamed with the original writer to knock out one more 2-hour episode. I've loved this show ever since I'd first seen it, over a decade ago. The DVD box set holds a place of honor in my collection, and I can quote a good deal of Fitz's interrogation scenes practically word for word. The idea of Robbie Coltrane reteaming with Jimmy McGovern for another TV movie about Fitz filled me with absolute glee.I'll start with the good. One of the many things that impressed me about the original Cracker series was how quickly Fitz was defined as a character. Five minutes into the first episode with his lecture (throwing the books into the air), his drinking, and his cussing of the guy after him on the gambling machine queue and you knew, simply knew, who this character was. You could feel him "clicking" in your mind, the kind of click that only happens when a great actor gets a great role written by a great writer.Coltrane, of course, remained great throughout the show, but I always felt that some of the later episodes those not written by McGovern mistreated the character.So the good news is this: Fitz is back. As soon as you see him in this show making incredibly inappropriate comments at his daughter's wedding you'll feel that "click" once again. It's him: petulant one moment and truly sorry the next, always insightful, sincere to the point of tactlessness but brilliantly funny in the process. If you love this character as much as I do, you'll be delighted with how he is portrayed in the movie. And this extends to Judith and Mark: in fact, everything having to do with the Fitzs is handled perfectly.The problem I do have with this movie revolves around the crime Fitz is trying to solve. In standard Cracker fashion, we know exactly who the criminal is in the first five minutes the suspense lies in seeing Fitz figure it out. In this case, we have a serial killer who is out for American blood. And the reason for this, unfortunately, is not due to any believable psychological trauma rather, it seems that the murders are here simply to allow the writer to display his personal political beliefs.It's difficult for me to write this, as I truly believe that Jimmy McGovern is one of the greatest writers in the world. Nor do I have a problem with movies that are about current issues, or movies that take a political stand. But in the Cracker universe, we expect to see the characters behaving like human beings, not like caricatures. Instead, the Americans in this movie are all depicted in an entirely stereotypical fashion. They're know-nothing loudmouths who complain about everything, treat the locals like crap and cheat on their wives one of them even manages to do all of the above within less than 5 minutes. I honestly thought I'd mistakenly switched channels or something.But it doesn't stop there. We get constant reminders of just how badly the war in Iraq is going reminders that have nothing whatsoever to do with the story and appear practically out of nowhere. The killer is so busy ranting about how Bush is worse than Hitler that he almost forgets to get on with the killing; but more to the point, he is such a mouthpiece for the writer's political views that he forgets to act like a believable human being, and thus we as an audience don't buy his sudden transformation from a happy family man to a tortured serial-killing soul.I can't say that this ruined the show for me it's was still good TV, better than almost everything else in the genre (mainly due to, once again, Coltrane). But its constant politicizing made it impossible for it to be as good as the real Cracker classics like "To Be A Somebody" an episode that was just as "issuey", but one that was handled with far more subtlety and psychological depth.Two other small points: Panhandle not being around is a disappointment, but what's worse are her replacements. The entire police department which for so long filled with such great characters - is now full of vanilla. Completely interchangeable cops who lack any and all personality (how you could drain Coupling's Richard Coyle of personality is beyond me, but it is indeed missing here).Also, there are couple of moments where the show lost its believability for me. One such instance revolves around Fitz having to narrow down the entire population of Manchester from 1 million to a hundred based on some very strange criteria (French windows? How does the computer know if I have French windows?) he not only succeeds in doing this, but he succeeds in less than an hour. I don't think so.So, all in all, I was a little disappointed. It's recommended viewing, but remember to leave at least some of your expectations at the door. Still, if there's new series to come after this, it would all have been for the good: I'm convinced that McGovern can still write great stuff, and maybe now that he's got his politics out of his system he can go back to writing about people. | 0 |
train_21093 | Well, I finally saw it. I didn't go when it first came out because, well, frankly, I was afraid. Afraid of how bad it might be, or how disappointing. While not as bad as Menace, and better than Clones, it wasn't particularly memorable, or satisfying.I was 11 years old when I saw Star Wars. I still remember sitting in the theater. From the opening crawl to the final credits it was a movie experience I'll never forget. A timeless story of the bored farm-boy who just knows he was meant for more, saving the princess and the Galaxy from the evil menace while being mentored by the wise wizard, the rogue pirate and the various comic relief--all in a space-opera setting.And that's not to chastise Lucas for using an old formula. It's an old formula precisely because it works. And to his credit, he gave it new twists that made it very special.Then came Empire and the story became more than just a fairy tale. Darkness entered the picture and we learned one of the great movie twists of all time. The great villain, Vader was Luke's father. Wow, no one saw that coming. Of course, I'm convinced neither did Lucas till it showed up in the screenplay. Go back and watch Star Wars again. Knowing what you know now, particularly in light of the first three episodes, see if it really meshes.Which brings me to the problem I have. Revenge is an entertaining movie--tremendous effects, plenty of action, some good fighting scenes. But a movie still lives or dies on its plot--the story it is telling. Oh, certainly, really good acting can save a weak plot, but a weak plot coupled with bad acting--that's a burden no director can overcome, certainly not one as bad as I'm forced to realize George Lucas is (The man has managed to direct some of the worst performances in their careers from some very fine actors--Liam Neeson, Natalie Portman, Samuel Jackson).*****SPOILERS AHEAD******** The plot. Oh my. Understand, he's already handicapped by what's happened in the first two films so it's an incredible burden. One too much for him to overcome.First we have the sheer absurdities of the background. We have Anakin being found as a child on Tatooine, the product of a virginal, miracle birth--the "chosen one". Well, this detail never gets remotely explained. Indeed, the closest explanation is Yoda's observation that maybe they were wrong. Oh, well, okay then. Our mistake.Now, this same wunderkind turns out to be the creator of C3PO. Hey, what a coincidence that is. And he'll come back to Tatooine and never know he was from there? Wow! How about that. Testing the old willing suspension of disbelief there, eh George? Anyway, we have this bratty kid, moody, petulant, whining young adult, who must somehow become one of the greatest villains in Cinematic history--the great tragedy of Darth Vador--the good guy who falls from grace, only to finally achieve redemption in the end.How, pray tell, does this happen? Why, he has a dream that his wife will die in childbirth. Now, sure, he lives in a star-spanning civilization that treats gravity like we treat gasoline, but does it occur to the "dark one to be" to maybe check with a physician cause maybe, just maybe, this futuristic society might can do something about this problem? Why, no, the only thing he can think to do is go kill some children because the bad guy at the root of all the evil they've been chasing for two films tells him that he's got the secret to immortality.Well, of course he does.Sheesh.How can Lucas expect us to watch such foolishness and be moved by it? How can anyone expect us to care? Hell, why would anyone want this brat to be saved or redeemed in the first place. I wanted Kenobi to kill him not because he was evil, but because he was pathetically stupid.Oh, by the way, Amidala finally dies. In childbirth. Why? Well, they don't know. The doctor, who is a droid and himself indicative of the incredibly high technology to which this society has advanced, offers only the conclusion of "she's lost the will to live". Well, oh, okay, of course she has. Maybe it finally dawned on her what a dweeb she was sleeping with.But here we are. We have Kenobi present for all this. He knows of the birth of Luke and Leia. Knows who their father is and knows what happens to them. Knows, also, the role of both R2 and C3PO. And yet, in several years, as Luke approaches manhood and shows up with 3PO and R2 (curiously, 3PO's mind is wiped, but not R2's--why????) stating "I think these droids belong to you", Kenobi, who knows that the protocol droid was constructed by the one he believed to be "the chosen one" and apprentice to the Emperor himself, and who just happened to be built on this very planet, says "strange, I don't recall owning any droids".Oh good grief.Lucas simply made this up as he went along. Once he introduced VAder as Luke's father, sadly, the story began spinning out of control because HE DIDN'T KNOW WHAT THE STORY WAS. The plot of Episodes 1-3 is simply incomprehensible. Nothing Palpatine did made any rational sense at all. And none of this ties into the story he originally told in Star Wars.It's an afterthought, and it looks it.I can't give this movie a high rating. It reminds me of Triple X. A fun film to watch, but entirely forgettable. Star Wars will stand in my mind forever. Thankfully, this one, and the two preceding it, will soon fade. | 0 |
train_13566 | I saw "Paris Je T'Aime" because a friend really wanted to see it so I went along with him. Going in, I was indifferent about the film but leaving the theater I really regretted wasting 2 hours of my life sitting through this tepid production. The "stories" are almost completely forgettable except for the fact that most of them were awful. What do Gena Rowlands and Ben Gazzara have to do with Paris? The endless parade of American actors most definitely gave this French film a remarkably non-French feel. The clichés about Paris were endless. Yes, most of them were playing with clichés about Paris but by spending so much time making fun of French clichés, they directly and regrettably promoted them once more. Yes, Paris is the city of love. We get it.The worst segments were: the one directed by Wes Craven (Oscar Wilde); the one with Nick Nolte; the mime one (the worst?); the hair products one; the one with Juliette Binoche (Willem Dafoe as a cowboy in the middle of Paris?); the vampire one (When I think of Paris I think of Elijah Wood). The one with Natalie Portman, which really looked like a Mentos commercial and it was stupid (the blind young man should know Portman was just playing a part when she called him). On and on it went. It felt endless.I didn't like the Coen Bros one as well. It really plays with those Parisien clichés but I didn't find it funny. Just annoying. The Gus Van Sant one was interesting but it was so slight (and the punchline was obvious) that it barely registered.There were only two "successful" segments and they were the one about the immigrant nanny who leaves her baby at a kindergarten only to babysit a baby for a rich woman. Nice irony there. And the segment about the African who is stabbed. It's the best segment in the whole film but this segment has nothing to do with Paris. The story could have taken place in any city around the world.The last segment, the one with the chubby middle aged woman was sorta interesting too but the underlying tone was bad. They wanted to celebrate her limited grasp of French but the segment came off as being condescending.The whole project felt forced and uninspired. Almost like the French government sponsored this film to promote tourism. All in all, with only about 10 to 15 minutes of interesting stuff, "Paris Je T'Aime" was an awful cinematic experience. | 0 |
train_11246 | Breaking Glass is a film that everyone aspiring to be in the music industry should see more than once. It is a very dark tale about the way a record company manipulates a singer to do things their way and to make as much money out of her as possible. Looking at some of today's 'search for a star' style TV shows on both in the UK and abroad I am always reminded of this film. Though not an expert on the subject, the winners of these shows tend to have one very big initial hit and then its downhill from there. This film predates these shows though the effect seems the same. After getting rid of her manager, played quite brilliantly by Phil Daniels, slowly but surely the record company changes her lyrics puts her on stimulants and she is eventually totally burnt out. You potential stars of tomorrow.... WATCH THIS AND BEWARE !!! | 1 |
train_2508 | This movie is amazing. The plot was just...wow.I was very surprised by Gackt's and Hyde's performance, after growing up in the American world of the actors who can't sing and singers who can't act.In this movie, a young Sho (Gackt) comes across a vampire, Kei (Hyde). Over time, they form an unlikely friendship. Kei is suffering because of how he is forced to live off others, the half-life of a vampire.It's a sad movie, but not sappy. The plot was very unique, and contrary to your typical vampire flick. The storyline was thick with twists and turns and very entrancing.The only fault I would say the movie had, despite it's lack of a happy--albeit peacefulending, would be it's multiple languages. I had the unsubdued version (I'm lucky that I understood it all save some of the Cantonese), so I would recommend getting something with subtitles.All in all, the movie was just awesome. | 1 |
train_17539 | Rex Reed once said of a movie ("Julia and Julia" to be specific) that it looked like it was shot through pomegranate juice. I was reminded of that as I snored through Purple Butterfly. This one appeared to be shot through gauze.The story was boring and it was not helped that for large portions of scenes actors' faces were literally out of focus or would only come into focus after extended periods of time. Also, everyone looked the same so it was hard to distinguish among the characters. I call this the "Dead Poets Society" syndrome.There was nobody to care about, nobody to become interested in dramatically, and the movie shed no historical light on a very interesting period of time and set of circumstances.A total disappointment. | 0 |
train_18449 | It is not un-common to see U.S. re-makes of foreign movies that fall flat on their face, but here is the flip side!!! This is an awful re-make of the U.S. movie "Wide Awake" by the British!"Wide Awake" is strange but entertaining and funny! "Liam" on the other hand is just strange. I must give credit to "Liam" for one thing, and that is making it clear that I made the right choice in changing my religion! | 0 |
train_772 | Love is overwhelming... In all it's manifestations... Gorgeous, absolutely gorgeous... Tudor Chirila, Maria Popistasu and Ioana Barbu, one truly dramatic story about love in all it's shapes, a story about the undecipherable ways of young hearts, about life and lost innocence all directed by the skillful eye of Tudor Giurgiu. With a magnificent soundtrack featuring Faultline & Chris Martin and Vama Veche it surprises in every way leaving behind the sour taste of misunderstanding love... Truly remarkable... Is it me or is Romanian cinematography slowly but surely advancing and gaining respect? This is a brilliant film... Two thumbs up to everybody involved. | 1 |
train_6731 | I rate this 10 out of 10. Why?* It offers insight into something I barely understand - the surfers surf because it's all they want to do; Nothing else seems to matter as much to them as surfing; Nor is it a temporary thing - it's a lifetime for these guys * Buried in the movie is a great history of surfing; I have never surfed, but I love surfing movies, and have seen many. None taught me what this movie did * The movie was very well edited. It flowed well. The interviews were outstanding * It's interesting from start to finishIn summary, it's about as good as a documentary as I have seen, so I have to rate in terms of that. So 10/10 | 1 |
train_9902 | Slaughter High starts like any other day at Doddsville County High School where little minx Carol Manning (Caroline Munro) has tricked resident nerd Marty Rantzen (Simon Scuddamore) into the girls locker rooms where she tells him to get undressed in the shower, while doing so Carol's gang of friends come in & give the now naked Marty a big surprise as they film him as they stick his head down the girls toilet in an April fool's day joke. The school's sports coach (Marc Smith) saves Marty & punishes the gang who rather harshly blame Marty, they decide to play another trick on him only this time things get out of hand & Marty is caught in an explosion & has nitric acid splashed over his face. Years later & the whole gang are invited to a class reunion at the now closed down school, they all arrive to discover they are the only ones there. They all venture inside where they quickly learn they aren't the only ones there as Marty is back & has revenge on his mind...Originally shot under the title April Fool's Day which they changed probably because of another slasher film named April Fool's Day (1986) made the same year this American English co-production is unusual in that it has three credited writers & directors, George Dugdale, Mark Ezra & Peter Litten (after never seeing a film with three credited director's I've now seen two in a week the other being the Jean-Claude Van Damme flick Kickboxer (1989)) & I have to say I really rather liked Slaughter High even though it seems to have a pretty bad reputation. One of the things I like about the script is that it is a pure unashamed slasher flick, it doesn't try to be anything else & it just accepts the genres rules, short comings & trappings & plays up to them. Basically it delivers what it promises, a homicidal killer, blood, boobs & babes. I thought the character's were alright, the story was OK even though it's just an excuse to get a load of teens inside an isolated location so some killer can bump them off one at a time & I actually liked the twist ending as well which is also something for which Slaughter High gets a lot of flak for. The first half starts off a little slow but the second half moves along at a rate of knots as there is one gory killing after another. Some of the situations & character reactions make little sense but the same can be said of just about any film ever made so who's complaining?Despite three credited director's Slaughter High turned out pretty good, I liked the look of the film a lot. The isolated rundown school made for a really atmospheric location & looked good, the makers throw in a good thunderstorm as well & there's some nice photography especially at the end where there are numerous impressive uninterrupted long lasting stedicam tracking shots which follow Carol through various corridors of the rundown school. While not particularly stylish it certainly looks nice enough & is professionally made. There is some good gore here including burnt bodies, people melted with acid, impalings, stomach explosions, axes in faces & death by lawnmower as well as someone who gets drowned in fecal matter down a drain! The special effects are also better than one would expect & I was both impressed & pleased with the higher than expected body count.Technically the film is better than I had expected & beats most low budget horror crap that gets released today, I would have thought it was relatively low budget itself though. Supposedly set in America this was very obviously shot in England. Harry Manfredini composes another score which sounds exactly like all of his other musical scores & is basically the same as the theme from Friday the 13th (1980) & it's sequels. Anyone living here in the UK will probably recognise Billy Hartman who played Frank as a regular in Emmerdale Farm (one of our nations top rated soap operas) in which he plays Terry Woods! While most horror fans will recognise the sexy Caroline Munro in a rare staring role. Legendary exploitation producer Dick Randall did the deed on Slaughter High & actually appears in the film as a porno movie producer... talk about typecasting! You can also see a poster for the misunderstood brilliance that was Pieces (1982) which he also produced behind him in his office.Slaughter High is a slasher film that I liked a lot, did you see that? I didn't say it was great I actually said I liked it on a personal level & I'm sure the predictable plot & lack of story will probably put many off so I can't recommend it but I can say I liked it, make of that what you want. Make sure you you watch the uncut version if you ever decide you want to check it out. If your not a fan of the slasher flick genre then Slaughter High won't change your mind but if your looking for a simple & effective slasher then you could do a lot worse than this. | 1 |
train_4405 | The War Between the States was perhaps the darkest hour in the history of America; a war that pitted brother against brother and family against family and left scars that even today have not yet healed, and in all probability never will. And, as in any story about any war, beyond any historical significance it is the personal discord behind the greater conflict that creates the emotional impetus that makes it involving. It is the human element that renders the context necessary to give it perspective, which is what director Ang Lee provides in `Ride With the Devil,' a Civil War drama in which he focuses on the personal travails within the broader depiction of the War itself, and along the way manages to include an examination of one of the bloodiest chapters of the War, the infamous raid on Lawrence, Kansas, by Quantrill and his raiders, which he succeeds in presenting quite objectively from the Confederate point-of-view.In 1863, the Union influence predominates in the State of Kansas, and even across the border in neighboring Missouri, those with Confederate loyalties are finding it increasingly difficult to hold out against the encroaching Northerners, especially without the aid of what could be considered any `regular' Confederate troops. And when things begin to really heat up around their own town, Jack Bull Chiles (Skeet Ulrich) and Jake Roedel (Tobey Maguire) form a band of their own and join in the fray, doing damage to the Union cause wherever it is practicable. Jack Bull and Jake do not like the War and do not like killing; but they are standing up for what they believe to be right. There are others, however, even among their own, men like the young Pitt Mackeson (Jonathan Rhys-Meyers), who will use the conflict as a vehicle for personal gain and as nothing more than an excuse to express their own violent nature through unnecessary brutality, perpetrated in many instances against innocent victims. And so, for Jack Bull and Jake, as well as many just like them, it becomes a time in which loyalty and moral judgments will be sorely tested; a time during which their souls will be tempered in blood. And they will have to ride with the very Devil himself, against seemingly insurmountable odds.As with all of his films, director Ang Lee approaches his story through an incisive, yet subtle examination of the traditions, cultural aspects and moral attitudes of the people and times he is depicting. And in so doing, Lee provides his audience with at least some understanding of his subject that goes beyond the actual story and ultimately offers, perhaps, a deeper grasp of the motivations that propel his characters and the drama in which they are engaged. Whether it's the traditions and customs that account for the relationship between a father and his daughters (`Eat Drink Man Woman'), the effects of class distinction (`Sense and Sensibility'), the honor and code by which a warrior lives and dies (`Crouching Tiger, Hidden Dragon') or the moral ambiguities fostered by a lack of all of the above (`The Ice Storm'), Lee infuses his films with insights into the human condition that take them to a higher level. This film is no exception; and (as he does with all his films), Lee presents his story with the aid of breathtaking cinematography (in this film, by Frederick Elmes, who also did `The Ice Storm' brilliantly), which under his guidance is nothing less than visual poetry. It's that special Lee touch, and it adds a wistful, reflective sense to whatever story he is telling, which is one of the elements that make his films so memorable.As Jake, Tobey Maguire initially brings a sense of youthful innocence to the film that contrasts so effectively with the maturity he conveys later on as the story develops, and his character along with it. Most importantly, Maguire convincingly and believably responds to the events that unfold around him, which adds to the credibility of the overall film and underscores the realism of the presentation: His stoic acceptance of death and the news of those `murdered' in the various skirmishes and battles; the moral propriety to which those he encounters adhere, even in such troubled times; the betrayal, which because of the nature of the conflict is almost commonplace; and the loyalty and beliefs to which he and his companions cling adamantly. It is all of this that Maguire achieves through his performance, and it is no small accomplishment. It is, however, the kind of studied, understated performance that is often taken for granted, which is unfortunate; work like this is worthy of acclaim, and should be recognized.Skeet Ulrich is effective, as well, as Jack Bull, and Jewel (in her motion picture debut) turns in an engaging performance as Sue Lee Shelley. It is Jeffrey Wright, however, who stands out in a notable supporting role as Daniel Holt, as well as Jonathan Rhys-Meyers, who brings a chilling Christopher Walken-like menace to his role of Pitt. Also, in what amounts to a cameo role (one scene), Mark Ruffalo leaves an indelible impression with very little screen time.The supporting cast includes James Caviezel (Black John), Simon Baker (George Clyde), Tom Guiry (Riley), Tom Wilkinson (Orton Brown), John Ales (Quantrill), John Judd (Otto Roedel) and Kathleen Warfel (Mrs. Chiles). The Civil War will forever be an open wound upon the nation; but hopefully, as time goes on, it will be through the objective contemplations of filmmakers like Ang Lee and films like `Ride With the Devil' that will ultimately help to close the schism and promote healing. In light of more recent events, it is something that is sorely needed, worldwide. Film is a powerful medium; it can be educational as well as entertaining, and perhaps in the future more filmmakers, like Ang Lee, will embrace and promote a sense of unity through the sensitive depiction of the events and attitudes that make us what we are. 8/10. | 1 |
train_3389 | The world of the 1973 sci-fi drama SOYLENT GREEN is what we could be seeing if we aren't careful. It is a world in which New York City's population has topped the 40 million mark in the year 2022. Overpopulation, air pollution, year-long heat waves, and food shortages are the rule. The only hope comes from a food product called Soylent Green. But what is this particular food stuff really made of? That question is at the heart of this admittedly somewhat dated but still intriguing film, based on Harry Harrison's 1966 novel "Make Room! Make Room!" Charlton Heston stars as Thorne, an NYPD detective who comes across the murder of a top corporate executive (Joseph Cotten). As it turns out, Cotten was on the board of directors of the Soylent Corporation, the people responsible for all those food stuffs that the people have to consume in lieu of the real thing. Heston believes that this wasn't just a garden-variety murder, that Cotten was bumped off for a reason. He gets a lot of help from his slightly cantankerous but very astute "book" (Edward G. Robinson, in his 101st and final cinematic appearance), and a few timely reminders of what the world used to be like. What Robinson finds out about Soylent Green shocks him beyond all imagination; but before he can tell Heston all of what he knows, he has himself euthanized. And when Heston does indeed find out the secret of Soylent Green...well, that part has become immortalized into cinematic history.Under the very professional guiding hand of director Richard Fleischer (THE BOSTON STRANGLER; FANTASTIC VOYAGE), SOYLENT GREEN is a fairly grim but thought-provoking look at a Dystopian future that humanity might be living if we don't curb our tendency to strip our planet of its natural resources. Indeed, this was a project that Heston himself had had in mind for filming as far back as 1968, after he had struck gold in the sci-fi genre with PLANET OF THE APES--a fact that probably gets lost whenever his ultra-conservative political philosophy comes up in conversation (after all, SOYLENT GREEN is hardly a tract for unrestrained capitalism). Robinson, as always, is the consummate professional in his last role; the sequence where he is euthanized (as he looks at video of the world from a better era, set to the music of Tchaikovsky, Beethoven, and Grieg) is quite simply heartbreaking. The film also benefits from solid supporting help from Chuck Connors (as a very convincing heavy), Brock Peters (as Heston's superior), and Leigh Taylor-Young as the woman who tries to help Heston in his inquiries.It must seem easy these days to dismiss SOYLENT GREEN for being dated. But those who do it ought to think twice; for this film's world may end up becoming ours in actuality if we don't watch what we do with what we have today. | 1 |
train_9689 | So you think a talking parrot is not your cup of tea huh? Well, think again. Paulie is a wonderful film filled with touching moments.The characters are all lovable especially Paulie as he enters the lives of many people on his journey.It is journey worth experiencing. Don't miss it! It is available on home video. | 1 |
train_15547 | I saw this film numerous times in the late 60's/early 70's whenever it reared it's head like a reindeer with rabies every November-December as a Saturday matinée kiddie show.It was always stiff competition for THE CHRSTMAS THAT ALMOST WASN'T (oops-can I SAY "Christmas"?), perhaps the greatest,most iconic Christmas-season film of all time.But that's another review.At the time,I marveled that the on-screen tint of SANTA CLAUS was almost "pink and white", so much had the color of the sprocket-torn prints changed color.The film is kinda creepy! I thought so then--and still do, actually. I was highly entertained then, as I still am! It's amusing in a "retarted-elf" sort of way. By the way,the image quality looks much better on the DVD I have now than it did in the theater, circa 1969-74.If you are expecting maybe "the lost RANKIN-BASS Christmas special-forget it! If you want FELLINI DOES Christmas--read on...By nature, the dubbing on these foreign films (the original version here was in Spanish)always makes them seem "surreal". This adds to the films inherent oddness. It is also pretty scary in that a "mishevious demon" (as described in the original US trailer) spends the entire film trying to turn decent kids "evil". One particularly nightmarish scene has a young "latch-key" boy wishing he had parents for Christmas-suddenly the "port-a-family" emerges out of giant "Christmas presents-of-the-mind" until he realizes he's just daydreaming! See this,Christmas lovers--and if you're a stoner, save your stash--this film will make you think you're hallucinating...without drugs! | 0 |
train_20936 | David Mamet is a very interesting and a very un-equal director. His first movie 'House of Games' was the one I liked best, and it set a series of films with characters whose perspective of life changes as they get into complicated situations, and so does the perspective of the viewer.So is 'Homicide' which from the title tries to set the mind of the viewer to the usual crime drama. The principal characters are two cops, one Jewish and one Irish who deal with a racially charged area. The murder of an old Jewish shop owner who proves to be an ancient veteran of the Israeli Independence war triggers the Jewish identity in the mind and heart of the Jewish detective.This is were the flaws of the film are the more obvious. The process of awakening is theatrical and hard to believe, the group of Jewish militants is operatic, and the way the detective eventually walks to the final violent confrontation is pathetic. The end of the film itself is Mamet-like smart, but disappoints from a human emotional perspective.Joe Mantegna and William Macy give strong performances, but the flaws of the story are too evident to be easily compensated. | 0 |
train_9933 | If you find yourself in need of an escape, something that will hold your attention for two hours and allow you to be lost in another world, Domino will satisfy that need. This is entertainment, after all! The plot keeps your brain in motion - one of those movies (like Usual Suspects) where you want to see it a second time to figure it all out. I wondered about Domino Harvey herself, how her life became of interest to Hollywood. As for the acting, lots of celebrity appearances not shown in the trailers. And any actor that makes me forget who they are has done their job well. Not once did I think of Kiera in a soccer uniform or pirate costume. And granted, Mickey Rourke plays Mickey Rourke well and often, but here, despite the violence, he shows signs of being capable of caring for other people. | 1 |
train_20654 | The long list of "big" names in this flick (including the ubiquitous John Mills) didn't bowl me over to the extent that I couldn't judge the film on its actual merits. It is FULL of stereotypes, caricatures, and standard, set scenes, from the humble air-ace hero to the loud-mouthed yank flyer. The music track was such that at one point, about an hour before the end, I thought the film was over: loud, rising crescendo, grand flourish and finish then silence, but then the movie continued! I found no real storyline, haphazard writing, but smartly-pressed uniforms and the pretty Jean Simmons (pre-nose job) with a rousing little ditty. I cannot say that this picture has any of the ingredients which make a film great. I found it maudlin, mawkish and minor. | 0 |
train_11505 | A couple of years back I had purchased (and enjoyed) the MGM double-feature DVD of the two Kolchak TV movies, THE NIGHT STALKER (1971) and THE NIGHT STRANGLER (1972). When the Universal set of the subsequent TV series came out, I had intended to buy it immediately – but rumors of playback issues with the dreaded DVD-18s kept me from adding it to my collection; recently, I placed an online order which consisted of a spate of discounted Universal Box Sets and decided to pick up the KOLCHAK 3-Discer as well.Having watched it now, I can safely say that I didn’t regret acquiring this beloved (if short-lived) crime/horror series one bit: it may follow a standardized formula – dogged and resourceful newspaperman Carl Kolchak, marvelously played by Darren McGavin, gets into everybody’s hair with his attitude (flustered editor Simon Oakland, long-suffering colleagues, assorted authoritarian figures, a plethora of monsters and villains), faces up to the inevitable (and usually supernatural) threat alone but, finally, is pressured into keeping his story under wraps – but a winning one (further boosted by an impressive line-up of guest stars and notable behind-the-scenes credits), making the show a great deal of fun.That said, quality varies from one episode to another and the modest budgets afforded them results in special and make-up effects which sometimes leave a lot to be desired (for instance, the werewolf in the eponymous entry and the goofy alligator creature in the very last installment) – not to mention the fact that these were restricted to 50-minute programmes and intended for family consumption to boot rather precludes a simplified and wholesome rendering of its often intriguing psychological and metaphysical themes (in the case of the werewolf, again, he’s never seen biting anyone but, somewhat foolishly, is made to merely throw people around)! While the hero’s cynical narration does a lot to pull one into the fanciful plots, there’s a healthy dose of comedy relief involved in each episode (often, but not exclusively, revolving around McGavin’s relationship with either Oakland or geeky reporter Jack Grinnage) – to say nothing of reasonable atmosphere (the setting, for the most part, is Chicago) and suspense. To make the ride even more pleasant, there’s a bouncy score by Gil Melle' and Jerry Fielding.For the record, the monsters encountered (but not always defeated) by Kolchak throughout the series are: a revived Jack The Ripper, a variety of cults (voodoo, Native American, Aztec), aliens, vampire, werewolf (going round its over-familiar concept by having this particular episode entirely set on a cruise-liner!), doppelganger, Satanist, swamp creature, mass of electricity, robot, apeman, witch, headless motorcyclist, succubus, a knight’s armor taking a murderous life of its own (the episode with perhaps the best supporting cast – featuring John Dehner as a morose police captain, Hans Conried and Robert Emhardt), Helen Of Troy(!) and crocodile. Some of the actors (other than those playing Kolchak’s co-workers) return in the same roles – Keenan Wynn and Ramon Bieri (both as officers of the law), John Fiedler (as a shrewd morgue attendant) and Richard Kiel as two distinct nemeses of the hero. If I were pressed to choose the finest (or most entertaining) episodes, I’d lean towards HORROR IN THE HEIGHTS (co-starring Phil Silvers and Abraham Sofaer) and the afore-mentioned THE KNIGHTLY MURDERS – while, as the weakest, I’d go for THE WEREWOLF (due to reasons I’ve already explained) and CHOPPER (based on a story concocted by Robert Zemeckis and Bob Gale!).Unfortunately, the set contains no extras: it would have been nice to see a featurette discussing the numerous concepts dealt with in KOLCHAK: THE NIGHT STALKER, as well as putting the series into the context of where TV was at the time of its original airing, or even denoting the lasting influence it had on the apparently endless run of sci-fi series popular today. In fact, Kolchak himself – in a much younger and ostensibly darker guise – returned in a 2005 revival; this version is available at my local DVD rental outlet…but, for various reasons, I’m not sure I’d want to check it out so soon after the 1974-5 classic! | 1 |
train_20275 | Am not familiar with the trilogy but came upon this film last night on Showtime. The film looked very well done with the set design and the cinematography, but the screenplay was stilted and wooden. The acting was fairly bad- thought the two female leads were serviceable. You never really believed anything the supporting actors said though. There were the stereotypes- bible-thumping Reverend without a hint of nuance, authoritative Captain, hot-headed soldier, etc. I am sorry to say that based on these deficiencies I clocked it straight away as Canadian without knowing it to be such-the Telefilm Canada end credits gave it away. I know I'm a horrible person.Maybe I missed something in the beginning but the hostility towards the girls is never explained. Here they are besieged in a fort by werewolves and the men are wasting time and energy brutalizing two young women for no reason. FOCUS people. There's a bit more of a pressing situation beyond your walls than whether or not these girls are lesbians-that's just my inference for the hostility directed towards them. If they can aim and fire a gun you might as well make nice with them. The question of their "immortal soul" can be resolved later.Also, I guess this relates to the rest of the trilogy, these girls are supposed to be the protagonists? One of them murdered the Indian guy at the end that saved one of their lives. I guess one is just a victim of her condition who can't be necessarily blamed for her actions, but the other is just a murderer who doesn't deserve her happy ending. | 0 |
train_4355 | I also viewed this film at the Santa Barbara Film Festival. It was an excellent film about adult family relationships. Paul Reiser wrote the film and included some similarities to his family. It was funny, warm, poignant, and moving, as well as entertaining. A film like this would do very well with the word of mouth reviews. I would definitely tell my friends and family to see this film. Let's only hope they'll have the chance. I would rate this film as one of the best movies I've seen in a year. It contains no violence, action scenes, murders, sex, so evidently distributors question whether or not to pick it up. Believe me, there are people out there who would love to go see a movie like this that has redeeming value, instead of the many typical big box office blockbusters we are usually given. | 1 |
train_1802 | Okay, I saw this movie as a child and really loved it. My parents never purchased the movie for me, but I think I'll go about and buy it now. I'm a sucker for pre-2000 animated films. Anyway, onto the actual review.WHAT I LIKED: There was an actual portrayal of heaven and hell, one of the few I've seen in animated films. Character development existed! It's easy to classify characters in this movie (i.e.: Charlie is the selfish mutt, Itchy is cynical but believes Charlie, Carface is obviously the relentless villain, etc.). I also loved King Gator's song. I've always loved loud, annoying, flamboyant guys. This song may have been random, but it was so fun. Finally, the detail of the animation was beautiful. You could tell Charlie was all gruff and stuff and the backgrounds were beautiful.WHAT I DID NOT LIKE: The actual portrayal of heaven: The way Charlie reacted to it, "no surprises whatsoever", made it actually seem very boring. He denied a place in heaven and STILL got to return to it in the end. I remember a few lines of certain songs such as "... you can't keep a good dog down", "... let's make music forever", and "... welcome to being dead" but I can't remember the majority of any of them. The songs weren't that catchy, to be honest. Whippet Angel: She's annoying and that NECK! AUGH!WHAT PARENTS MAY NOT LIKE: A few very scary (depending on the viewer) images of Hell are shown during the movie. Carface is quite threatening. Beer is also implied, but not actually DUBBED beer. Gambling is a key element in the movie. The good guy dies.OVERALL: I LOVE this movie, even if it is a bit forgettable at times. The scarier children's animations are always my favorite ones. This was created back in a time when producers and writers weren't afraid to give kids a little scare now and then. Nowadays, this probably would have been rated PG. Kids under the age of 8 (or easily disturbed kids) should not watch this. Other than that, I give it 9/10. :)Happy Viewing! | 1 |
train_1943 | I had the opportunity to see this film twice at the 2006 Moving Picture Festival In Birmingham, Alabama. I enjoyed it so much that I watched it a second time when they had an encore screening.When I think of the films that are shown at festivals, I usually expect them to be edgy and offbeat, often with the feel of an elaborate student project. There's nothing wrong with these types of projects of course, and I enjoy the unique styles of independent films, but sometimes I want to see a more mainstream approach to independent film-making. By "mainstream," I mean more like a film produced for national release - In other words, a movie that you would see in a regular movie theater.The writing, directing, cinematography, casting and acting in this movie are all totally pro. There is nothing typically independent about this film. As an aspiring director, I am always looking for movies that will motivate me to stop procrastinating and push harder to get my career going. This is one of those films. As I watched The Big Bad Swim, my motivation level was incredible. I felt like my adrenaline had kicked in. The reason I felt this way was because I was so impressed with every aspect of this production. I left the theater excited and ready to start writing that long put-off project. When a movie makes me feel like that, I know it's really good. This is the first feature-length project from Ishai Setton and I found myself wishing that It had been my project. For me, that's really rare.See this film. It's beautifully shot and directed, and the casting is excellent. Paget Brewster delivers a very believable and likable performance. She has a quality about her, a charisma, that really draws you in and keeps you focused on her any time she is on screen. She makes you feel like you know her personally as a friend. That's a gift. I think the industry is really missing out by not utilizing her acting abilities more often. Jeff Branson and Jess Weixler also did top-notch jobs. I can not say enough nice things about The Big Bad Swim. I look forward to future projects from all of those involved in its production. | 1 |
train_10883 | This is surprisingly above average slasher, that's enjoyable and well made, with some decent gore!. All the characters are decent, and the story is quite fun, plus Molly Ringwald played the annoying bitch extremely well. I bought this at a pawn shop for a 1$, and it was surprisingly worth it, and the special effects were pretty damn good for the budget, plus I loved the mask the killer wore as it was actually somewhat creepy. The finale was really cool, as I loved how they defeated the killer, and the ending while predictable was very amusing as well, plus all the characters except for Ringwald were surprisingly pretty likable!. It's decently made and written, and I thought it was quite creative and original at times as well, plus some of the death scenes were very impressive. This killer didn't mess around, and I loved it, and Slasher fans(like myself) should really enjoy this film, plus The opening was really wicked too, with them filming the movie!. This is a surprisingly above average slasher, that's enjoyable,and well made, with some decent gore, and I say it's well worth the watch!. The Direction is good. Kimble Rendall does a good! job here with solid camera work, using a creepy setting, good angles and keeping the film at a fast moving pace. The acting is solid!. Molly Ringwald plays the bitch extremely well,and I had troubles feeling sorry for her, after all she was supposed to be the heroine, she turned out better towards the end, but not by much, I'm surprised she decided to do this film, nonetheless she did an excellent job!. Frank Roberts is fantastic as the killer, he is menacing, creepy and had one hell of a mask, and this guy didn't mess around, he was fantastic!. Kylie Minogue plays a bitch very well in her small role. Jessica Napier is cute and does fine as the other heroine. Rest of the cast are fine. Overall well worth the watch!. *** out of 5 | 1 |
train_18681 | If you're a fan of Mystery Science Theater 3K, Attack of the Giant Leeches, or Pinata Survival Island, this movie might be for you.I live in Nashville and I didn't even know of this movie's existence until the day prior to its release, when the advertising company panicked and blanketed Music Row with dozens of fliers and billboards. It barely lasted two weeks in theaters anyway.Bad acting, bad writing, and poor production only begin to describe this embarrassment of a film. For starters, the names are a bit much: Bo Price, Angel, and Dixie? Eesh.Toby's awkwardly slow delivery of lines makes one wonder what production assistant got stuck holding the cue cards off camera. Angel's character rapidly transitions from her city-slicker ways to a cowgirl, slipping into southern slang after two days on the ranch. Her wardrobe goes from chic to a female version of Toby's--in fact, in the final scene, their outfits are identical, making one wonder if the wardrobe assistant called in sick.The audio is inconsistent - perhaps the most noticeable example is when Toby decides to go for a swim and his voice suddenly sounds like he's shouting in a gymnasium.There's never quite enough explanation or character development to suffice what happens on-screen. Overacting, exasperation, grimaces, and moodiness best describes the actors' interpretation and direction of the terrible script.This movie is best enjoyed after consuming a couple of alcoholic beverages and in the company of your wittiest friends. But that's not saying much. | 0 |
train_15301 | After a quasi-Gothic, all-fruity music video, the movie starts with Cassidy the lead singer killing herself. In a perfect world that would be that and the end credits would roll. We don't live n that world. The insipid band members decide to go to some clown to contact her dead essence. When I say clown, I mean actual clown. He tell them they're all going to die via Cassidy's ghost (the spirit possesses Dora, one of the band-mates) We couldn't care less as the characters are all boring, vapid, and extremely horribly acted. Written by Adam Hackbarth (an incredibly apropos surname if there ever was one), and directed by Corbin Timbrook (who after The attendant, and Tower of blood, HAS to know that he keeps making crap for a living), this movie s a constant battle between the film's incompetence and the viewer's need to stay awake. Not enough blood to appease gore-hounds, nor enough nudity to satisfy pervs. This movie in fact has absolutely nothing to recommend to absolutely anyone.My Grade: F Eye Candy: Amanda Carraway gets topless Where i saw it: Starz on Demand | 0 |
train_11446 | Right at this moment I am watching this movie for the second time (on television) and for the second time I fell into it when it was running for an hour already (I think I saw 2 minutes more this time) This movie is really impressing, the way Goldsworthy looks at nature, changes nature in a way that you yourself would never think of, really is amazing. This whole movie gives you a warm feeling, seeing him play with the world around him with such love. Or only seeing his hands, covered in dirt and with broken fingernails, it just touches you. | 1 |
train_15797 | Why take a show that millions of us watched and loved as children and make a complete joke of it? They ask why Hollywood isn't making the money it used to. Because they put out garbage and pay actors huge amounts of money to be garbage men and ask us to pay $10 to see their garbage. The TV show was what it was, good people in bad situations where the good IL' boys come out on top. It wasn't Gone with the Wind but it was fun. This movie is garbage! Hollywood can't come up with anything original so they take something that was good and ruin it for some $$$$. I only hope that this movie makes 10x's less than it cost to make. The only one's to have any fun with this crap are the guys who got to drive the General Lee. The audience is the victim.Don't see it, watch the reruns of the TV show instead. They still hold up 20 years later. | 0 |
train_19193 | Run away from this movie. Even by B-movie standards this movie is dreadful. It is also insidious in it's theme. The main theme is that people who reject society and have no respect for anything are cool and worth admiring. People who treat others with respect are losers. Guncrazy is a movie that speaks for the disenfranchised a lot better than this movie, see it instead.No normal kid would do what Trent does. State Troopers do not work as they do in this film etc. Seeing this movie makes you realize why writers use the hooker-with-a-heart-of-gold cliche. Mija is a completely unsympathetic hooker,who yes, has had a terrible life. However, she is such a terrible person the audience cannot identify with her.Usually there is one thing a movie can be recommended for, in this case there is none. It is such a ridiculous movie it insults the person who tries to identify with the main characters. The acting is adequate by B-movie standards and the direction presents nothing new or interesting. | 0 |
train_6241 | at first I had the reaction a lot of people left with after seeing this: that shots of fat people sunbathing, etc were cheap shots in a way. OK so he's doing diane arbus meets. . . whatever. . . but it wasn't long before I realized that this wasn't being done in a dehumanizing way, as the images unfold I felt that the problem was entirely the audience's: we are conditioned by Hollywood and also movies from just about everywhere actually to feel that to watch people above a certain age behave in a sexual way is something unseemly, something that ought not to be shown. if this were all the film offered it would be a great deal. however, the story of the woman with the abusive boyfriend and his drunk friend really hits like a ton of bricks: very eloquent storytelling, incredible performances, and to think the scene was improvised. that blonde guy is a genius actor. finally I want to contradict those who say this film is all about how pathetic all these people are. the old man who is on the make with the woman who finally dances for him is completely an a OK character that breaks that mold, so don't oversimplify the film by overlooking him. yes his dog gets killed. this ain't a rosy picture of the world but it's not . . . completely hopeless. anyway I felt really grateful to the filmmaker for making such a beautiful film all in all. I wouldn't say each of the threads were as strong as the strongest, but I say this movie basically kicks ass and would highly recommend it. . . | 1 |
train_15184 | I've found the movie offensive for Americans which lost somebody in the towers, for American people in general. Pretending to be an homage to horrible facts happened last years, each director takes the opportunity to polemize with old facts (which have none to do with a terrorist attack), or criticize American's political behaviour, or compare different political situation as they have in own country having this nothing to do or to share with the atrocity of September 11. Shame on them. | 0 |
train_13562 | Ouch! This one was a bit painful to sit through. It has a cute and amusing premise, but it all goes to hell from there. Matthew Modine is almost always pedestrian and annoying, and he does not disappoint in this one. Deborah Kara Unger and John Neville turned in surprisingly decent performances. Alan Bates and Jennifer Tilly, among others, played it way over the top. I know that's the way the parts were written, and it's hard to blame actors, when the script and director have them do such schlock. If you're going to have outrageous characters, that's OK, but you gotta have good material to make it work. It didn't here. Run away screaming from this movie if at all possible. | 0 |
train_24326 | There is something kind of sad about seeing someone who is so good at doing something try to do something very different ... and end up being mediocre. I was thinking about Jordan playing baseball, but the same applies to Steve Martin.This movie is reasonably well acted and directed, but the script is a stinker. Martin did a great job adapting a classic story into a comedy in "Roxanne", but this effort to bring a Victorian drama to the contemporary scene smacks straight into a wall of implausibility. If you want to see an old story updated with some style, best to rent "Great Expectations". | 0 |
train_19007 | You know this is gonna be a cheesy movie when:1. It was made it the 50's 2. It's in black and white. 3. It has no name actors! 4. Screaming makes up for the lack of special effects!Well not to be outdone - this movie brilliantly incorporated all four of the above elements to turn this into a true cinematic blunder.Okay - shhhhh but I am gonna discuss special effects here - or lack of them - Did you catch the underwater scenes? It looks like it was poorly filmed through an aquarium - note the cape flapping in the breeze.And the repeated re-use of Stock Footage, (exterior house shots, the bridges scenes -- great enhanced the K-R-A-F-Tiness of this film - not since "PLAN 9" - have I seen such creative usage of stock footage.And hey where there was a lack of special effects - not to worry - screaming DOES take the place of special effects in this movie as well. Yes this movie even cleverly used that old hack trick.Grab the popcorn - set your brain on stun (several fermented beverages DEFINITELY helps), sit back, and wonder: why the heck did they put this on film again?Wayno | 0 |
train_21606 | From the very opening scene you will notice just how hard they tried to mimic the very smart and powerful 'Cruel Intentions', and how flat it landed. You'll also notice what a terrible choice they made by casting Robin Dunne as Valmont... Then in the second scene, you meet the two best things in this movie, Amy Adams and Mimi Rogers as Kathryn and her mother. That is, if you can get past the fact that Kathryn wasn't blonde in the first film... Then the movie goes on, you see the cheap romantic story from miles ago, and you notice Sebastian has already met an Anette in the past, here called Danielle, and a Cecile, here called Cherie... How original is that for a prequel. Then it turns into a low budget 'Wild Things' type of film with lots and lots of oh-my "twists". As I mentioned, Robin Dunne was a very bad choice. Not that he is a bad actor, he's good.. He just doesn't have the charisma Ryan did. Amy Adams, who is in my opinion one of the most talented young actresses of our time, once again delivers. But with all the talent in the world, there is no way one could save this trash. As a whole, this "movie" feels like a 'Beverly Hills, 90210' episode. The score has been stolen from 'Cruel Intentions' and 'Jawbreaker'... Yes, they used the score from JAWBREAKER... Couldn't they at least leave that one alone?! You'll want to pass this one. If you want more Cruel Intentions, watch Stephen Frears' Dangerous Liaisons. | 0 |
train_21200 | I really hope that Concorde/New Horizons wasn't trying to make a serious horror, or even action movie when they made Carnosaur 3. The movie is flat-out silly from start to finish. Even the humor in C3 is funny because it's bad. Definitely a high water mark in the 'So Bad it's Good' genre. If you enjoy the very worst of the worst, this is for you. | 0 |
train_4164 | Those childhood memories...when things were new, and we were filled with curiosity about the world around us; as we took those initial first steps in the long journey we call life.One of the initial memories I have from childhood is this animated program "Galaxy Express 999," about a young boy named Tetsuro, who goes on a train ride around the galaxy, in the hopes of gaining a mechanical body in order to avenge the senseless death of his mother at the hands of cold-hearted, trophy gathering mechanical hunters. Accompanying Tetsuro on his journey is Maetel, a woman of exquisite golden beauty who reminds him of the mother he lost all those years ago...Back in the early-80's, as a boy who attended kindergarten and the early years of elementary school in Seoul, South Korea, "Galaxy Express 999" was a phenomenally popular animated program imported from Japan, which inspired young boys who tuned in to dream of countless adventures in their often tumultuous and exciting journey through life that awaited them. The memories of tuning into this animated program on weekdays between 8 to 9pm before bed time...Those were some wonderful memories, never to be had again...As I moved to America, and while residing here for over 2 decades, I sometimes wondered about that time and place, in a country thousands of miles away divided from America by an enormously vast ocean, of this childhood program, with its hit theme song, and of the boy named Tetsuro, his protective companion Maetel, the enigmatic train conductor, and of the spacefaring train Galaxy Express 999.Many, many years passed...Last summer while I was in Korea, I was able to track down a copy of the original "Galaxy Express 999" (1979) on DVD, and it brought back a lot of nostalgic, heartfelt memories. "Galaxy Express 999" remains as captivating as the first time you discovered it all those years ago, opening up those nostalgic memories of new discoveries, an important stepping stone for young boys who tuned in and embarked on their life's journey into manhood.Here's to wonderful memories. "Good-bye, Maetel. Good-bye, Galaxy Express 999...Good-bye, to my childhood."10/10 | 1 |
train_21850 | This movie was terrible. The first half hour is much like a... well, apologies for the lack of articulation, but it was simply a bad version of A Clockwork Orange. The first scene is almost photocopied from one of the first in Clockwork! Supposedly it was a tribute, as per the appearance of the Clockwork poster on the protagonist's wall, however "ripoff" is the more appropriate word. The movie felt as though it was torn right from the Kubrick classic, only filmed through a new director's eyes. A blind director. Unfortunately when it stops its massacre of Kubrick's work, the film gets even worse. As another commentator said, the deepness of this film is just shoved down your throat. Arrogant, self absorbed and ultimately meaningless drivel.Perhaps the protagonists ramblings would touch a nerve if there was any actual character development in this movie. I felt absolutely nothing for this guy. And I'm an alcoholic, so I figure that if anyone might be able to feel anything for him, it would be me. Awful character development, dialogue and plot.The worst part about this movie is the title. For a film called "16 Years of Alcohol", the alcoholism is hardly a factor in the flick. See first paragraph - it was such a butchering of A Clockwork Orange I can't get over it. A more suited title would have been "16 Years of Violence," or, even better, "A Clockwork Banana".Just do yourself a favor and avoid this movie. If you disregard my advice and take it out anyway, drink. Trust me. | 0 |
train_9963 | I saw this movie when I was a little girl. And I have enjoyed it every time. Sure the graphics are a little cheesy, compared to now, but back in the 70's it was great. I saw it in the original Spanish version only and thought it was wonderful. That was how I remember my Christmases were with my family - magical. Santa Claus was amazing and I couldn't wait for him to come back each year.If you have a child/children and speak Spanish, bring them up watching this old fashioned version of "Santa Claus". It's a different version than we are used to today, but who says there is one way?It's a fun movie to watch. It teaches children good vs. bad. I don't know how the English subtitled version is or if there is an English one of this, but the Spanish is the best. Enjoy and Happy Holidays! Feliz Navidad! | 1 |
train_9781 | I had initially heard of TEARS OF KALI a while back and it sounded like something I'd be into, but with all the films I have coming in on a regular basis, it kinda fell off my radar. While roaming around the local WonderBook...I spotted the box for this one and grabbed it up. I have to say I'm pretty glad I did. TEARS OF KALI is a strange, gory, sometimes downright creepy film which is somewhat constrained by it's obviously low budget - but is still an entertaining and worthwhile watch.TEARS OF KALI centers around the fictional India-based Taylor-Erikkson cult group, that practices meditation and other rituals in the pursuit of facing and banishing the individual's "inner demons" - but apparently these techniques work either all too well or not well enough (depending on your viewpoint...) as dark forces are not only exorcised, but also unleashed upon hapless victims.The film is told "anthology-style", with a short but memorable and "eye-opening" intro sequence, and then proceeding into the three stories that make up the bulk of the film.The first (SHAKTI) is about a journalist who visits one of the cult-members who is being held at a mental hospital. The journalist goes in under cover of wanting to research the Taylor-Erikkson cult, but we find that her true motives may hit a little closer to home. When the interview takes a violent turn, the journalist finds that she may have gotten in over her head...The second part (Devi) concerns a violent young man who is sentenced to psychological rehab in lieu of a prison sentence for beating a young man into a coma. We find that the treating doctor in question is actually a Taylor-Erikkson "alumni", and his rehabilitation methods are far from the norm...The closing story (KALI) revolves around a quack "faith-healer" and his assistant who perform "miracles" for a fee. When the healer unwittingly helps one of his clients and actually expels a force which had been possessing her, the demon is now free to roam and looking for a new host...I gotta say I really enjoyed TEARS OF KALI. There are some faults with the film that keep it from being truly excellent - but it is an original and ambitious film for what it is. My biggest gripe with the production is the poor and uninspired over-dubbed dialogue. The dubbing is sub-par and I would have much preferred to have a subtitled option with the original language track. Some reviewers have said the acting is poor, which I don't necessarily agree with. I think that the dubbing is so lack-luster that it makes the performances seem stunted, which isn't really the case. In fact, a few of the performances are pretty damn chilling (the "doctor" in the second segment, and the "client" in the third readily come to mind...) and notable. The gore FX are very well done for a low-budget film, with some graphic scenes of eyelid-removal-via-cuticle-scissors, a pencil-in-the-throat-suicide, some decent (but irritatingly "shaky") self-flaying, and a few other goodies thrown in for good measure. Not as rough as some of the more "extreme" gore films out there, but definitely stronger than your average horror fare. I also found the story concerning the cult-group to be intriguing and a welcome change to the typical horror-story nonsense. There are plenty of scenes of genuine atmosphere and tension, the likes of which I haven't come across in a while. Although flawed in some fundamental ways, I still think TEARS OF KALI will appeal to most "underground" horror viewers - some scenes may prove too much for the more mainstream viewer. Definitely Recommended - 8.5/10 | 1 |
train_8955 | "Bell Book and Candle" was shown recently on cable. Not having seen it for a while, we decided to take another look at this comedy. Based on the James Van Druten's Broadway hit, which was a vehicle for Rex Harrison and Lilli Palmer in the early fifties, the film was adapted for the screen by Daniel Taradash. The film was directed by Richard Quine, who turned the play into a delightful comedy.Evidently, judging by some of the comments submitted by IMDb, the big issue seems to be the pairing of the two stars, who had collaborated on "Vertigo", released the same year. Movie audiences didn't think anything about the age difference when this film was released. In fact, most of the aging male stars of that period were always involved with much younger women.The film set in Manhattan during Christmas is a delightful comedy that has enchanted viewers. Kim Novak was at the height of her beauty as it's clear the camera adored her no matter what was she playing. As the witch that becomes human, her Gillian is charming. James Stewart, who plays the publisher Shep' Henderson, is also seen at his best. Mr. Stewart was an excellent comedy actor who shows in here why he was at the top.In supporting roles the wonderful Elsa Lanchester, playing Queenie, is a welcome addition to any movie, as she proves here. Jack Lemmon's Nicky Holroyd, the brother of Gillian, is also good. Ernie Kovacs is also seen as the writer Sidney Radlitch.This is an excellent way to spend a winter night at home watching "Bell Book and Candle". | 1 |
train_18555 | I originally gave this episode a rating of two- I now wish I'd thought more about it. I also wish they had negative rating options.Watching it, I was amazed at how poor the whole thing was from start to finish. I adore Ron Pearlman, and John Carpenter... so what went wrong?? Last season episode 13 was pulled due to the way it handled the abortion issue. I think that this season Mr Carpenter managed to make something so grey-area that you can't immediately see if he is pro-choice or anti-abortion. It was only after I sat and thought about it that I realized he is very much anti-abortion- you get this most clearly in the end when the 'Mother' shoots the baby and kills it, to the dismay of the 'Father', who walks off in grief, leaving the mother unharmed. But you also see it in the way the Ron P. character is treated- I hardly think that if someone has proved themselves enough of a threat in the past so as to have a restraining order against him that they would not immediately be ringing the police. Instead we have the guard almost sympathetically dealing with him (only to pay for it in the end) I don't mind someone having a strong view on something, even if it isn't something I agree in, but I do think its a bit lame not to stand by that view, rather than trying to look like they're sitting somewhere in the middle.But, political issues aside, this episode was beyond poor. The music was retro-70's and just plain didn't work. The acting (other than Ron P.) was poor. The effects were dreadful- it might have been better just to -not- show the monster at all rather than show the lame excuse for a monster they had.All this being said, I'm glad they have the Masters of Horror- I don't mind sitting through some really poor episodes to find the good ones. Its a bit like renting horror movies from the video store- every now and again you get a good one and it makes it all worth while. I do agree with the poster that said maybe the name needs to change from Masters- some of these people just plain don't deserve the title. (Let me stress tho- even tho I hated this episode, John Carpenter TOTALLY deserves the title. He is a master thru and thru) | 0 |
train_2403 | I must warn you, there are some spoilers in it. But to start it off, I got "Spanish Judges" on February I think. It was mention it was the last copy, but as I see, it wasn't back-ordered. But either way, I have it. I thought it was good. I wanted to see this mainly because of the great actor, Matthew Lillard (I'm surprised no one on the reviews mention the scar) although it is kind of low budget, getting enough money to make this film would be worth spending. Man, what a good actor.The story it about a con artist known as Jack (Matthew Lillard) who "claims" to have merchandises called The Spanish Judges. If you don't know what Spanish Judges are or haven't seen the trailer for this and this is the first review you have read, I won't even say what they are. I figure it would be a big twist of no one knew what it was. He needs protection, so he hires a couple who are also crooks, Max and Jamie (Vincent D'Onofrio and Valeria Golino) as well as a crook that goes by the name of Piece (Mark Boone Junior). He has a girlfriend who won't even tell anyone her name because she's from Mars, as she said. So they (mainly Jack) call her "Mars Girl". Everything starts out fine, but then it turns to one big game. A game that involves some lust, lies and betrayal.There was some over acting in it (Matt and Valeria, as well as Tamara, were not one of them). There were some scenes they could've done better and the score could've been a little better as well. Some of the score was actually good. The theme they used for the beginning and the end (before the credits) was a good song choice, that's my opinion. The fight scene in the end could've been a little longer and a little more violent, but what can you do? One more comment on Matt: Damn, he plays a smooth, slick con man.I know this is a review, but I need to make a correction towards NeCRo, one of the reviewers: Valeria Golino is not a newcomer. According to this site, she has been acting since 1983. To me, and hopefully to others, she is well known as Charlie Sheen's Italian love interest in both the "Hot Shots!" movies. But good review.Although I think it's one of the rare films I've seen and it's really good (which is why I gave it 10 stars above), I will give the grade of what I thought when I first saw it.8/10 | 1 |
train_8420 | 1927, and Hollywood had been on the map as the centre of the cinematic world for a little over a decade. Now that it had become the site of a multi-million dollar industry and the vertically integrated studio system had been established, some of those in the calmer quarters of this film-making factory were taking the time for a little self-reflection. The Last Command, while its heart may be the classic story of a once prestigious man fallen on hard times, frames that tale within a bleak look at how cinema unceremoniously recreates reality, and how its production process could be mercilessly impersonal. It was written by Lajos Biro, who had been on the scene long enough to know.Taking centre stage is a man who was at the time among Hollywood's most celebrated immigrants Emil Jannings. Before coming to the States Jannings had worked mainly in comedy, being a master of the hammy yet hilariously well-timed performance, often as pompous authority figures or doddering old has-beens. He makes his entrance in The Last Command as the latter, and at first it looks as if this is to be another of Jannings's scenery-chomping caricatures. However, as the story progresses the actor gets to demonstrate his range, showing by turns delicate frailty, serene dignity and eventually awesome power and presence in the finale. He never quite stops being a blustering exaggeration (the German acting tradition knowing nothing of subtlety), but he constantly holds our attention with absolute control over every facet of his performance.The director was another immigrant, albeit one who had been around Hollywood a bit longer and had no background in the European film industry. Nevertheless Joseph von Sternberg cultivated for himself the image of the artistic and imperious Teutonic Kino Meister (the "von" was made up, by the way), and took a very distinctive approach to the craft. Of note in this picture is his handling of pace and tone, a great example being the first of the Russian flashback scenes. We open with a carefully-constructed chaos with movement in converging directions, which we the audience become part of as the camera pulls back and extras dash across the screen. Then, when Jannings arrives, everything settles down. Jannings's performance is incredibly sedate and measured, and when the players around him begin to mirror this the effect is as if his mere presence has restored order.Sternberg appears to show a distaste for violence, allowing the grimmest moments to take place off screen, and yet implying that they have happened with a flow of images that is almost poetic. In fact, he really seems to have an all-round lack of interest in action. In the scene of the prisoners' revolt Sternberg takes an aloof and objective stance, his camera eventually retreating to a fly-on-the-wall position. Compare this to the following scenes between Jannings and Evelyn Brent, which are a complex medley of point-of-view shots and intense close-ups, thrusting us right into the midst of their interaction.As a personality on set, it would seem that Sternberg was much like the cold and callous director played on the screen by William Powell, and in fact Powell's portrayal is probably something of a deliberate parody that even Sternberg himself would have been in on. Unfortunately this harsh attitude did not make him an easy man to work with, and coupled with his focus on his technical resources over his human ones, the smaller performances in his pictures leave a little to be desired. While Jannings displays classic hamming in the Charles Laughton mode that works dramatically, it appears no-one told his co-stars they were not in a comedy. Evelyn Brent is fairly good, giving us some good emoting, but overplaying it here and there. The only performance that comes close to Jannings is that of Powell himself. It's a little odd to see the normally amiable star of The Thin Man and The Great Ziegfeld playing a figure so stern and humourless, like a male Ninotchka, but he does a good job, revealing a smouldering emotional intensity beneath the hard-hearted exterior.The Last Command could easily have ruffled a few feathers in studio offices, as tends to happen with any disparaging commentary on the film-making process, even a relatively tame example like this. At the very least, I believe many studio heads would have been displeased by the "behind-the-scenes" view, as it threatened the mystique of movie-making which was still very much alive at this point. As it turned out, such was the impact of the picture that Jannings won the first ever Academy Award for Best Actor, as well as a Best Writing nomination for Lajos Biro and (according to some sources, although the issue is a little vague) a nomination for Best Picture. This is significant, since the Academy was a tiny institution at this time and the first awards were more than ever a bit of self-indulgent back-slapping by the Hollywood elite. But elite or not, they recognised good material when they saw it, and were willing to reward it. | 1 |
train_2472 | Kenneth Branagh shows off his excellent skill in both acting and writing in this deep and thought provoking interpretation of Shakespeare's most classic and well-written tragedy. Kenneth plays the role of Hamlet with such a distinct emotion that provokes tears. Kate Winslet's performance is also of great note. | 1 |
train_22990 | I notice that the previous reviewer (who appears to be still at school) gave this movie a very good review and I can only assume that this is because the reviewer hasn't seen the far superior 1989 BBC adaptation of this classic novel. The major problem I had with this (1999) version was the casting of Anthony Way as Tom Long. Anthony Way was a talented boy treble who shot to fame after appearing in the TV mini-series "The Choir". I can only assume that he was cast for the role of Tom Long on the strength of his excellent acting in "The Choir". Unfortunately the small boy who appeared in "The Choir" had grown into a tall and gangly youth by the time "Tom's Midnight Garden" was filmed and as such Anthony fails to convince as schoolboy Tom. It is too far a stretch of the imagination to believe that Tom (as played by Anthony) would befriend the far younger Hatty. In the 1989 BBC version Tom and Hatty are much closer in age and the development of their friendship is so much more believable. For a 1999 movie even the special effects fail to convince and are not any noticeable improvement on the 1989 TV effects. The casting and acting of this version are inferior to the earlier adaptation and all in all the movie was a lack lustre version of a true classic. As a final observation I would point out that the VHS of the 1989 BBC version fetches well over £20.00 second hand whereas a new DVD of this version can be bought for under £5.00, need I say more? | 0 |
train_18100 | fulci experiments with sci fi and fails. usually in his non horror films we still get sum great gore, but not here. Sum very funny scenes like when the prisinors are forced to hold onto a bar for 12 minutes and if they drop they are electecuted. the guy falls and and has some kind of fit on the floor for about two minutes until his friends who were struggling to hold on anyway lift him off the floor. The city is an obvious model but not a bad one. and the end explosion is at best laughable. And dont get me started on the terrible battle scenes.4/10 | 0 |
train_14247 | It begins on a nice note only to falter quickly and let down expectations.Mac (Akshay Kumar) and Sam's (John Abraham) characters are not properly built before Mac's boss decides to hitch him with three air hostess. Rest of the drama is about how Mac, Sam and Uncle Mambo (Paresh Rawal) deal with situations which at times seem forced.About the cast, Paresh Rawal is a very talented actor, I thought was wasted in the role of a moody cook. Akshay Kumar is tolerable, John Abraham is very bad keeps stumbling over furniture & Rajpal Yadav is the only saving grace in the movie. The second half of the movie is funny at times, but in all a DUD (songs are boring) and a major let down if you are hoping for some wholesome entertainment and comedy. | 0 |
train_274 | I watch most movies that Nick Mancuso is in because, frankly, I love the guy, even though as he ages he is typically cast as the baddie (long-time fans should note that he is for some reason blond in this flick). It's a fairly familiar movie in terms of plot (but then most movies these days aren't exactly original), but Rick Roberts is appealing as the imperfect husband, Martha MacIsaac is equally appealing as the daughter, and Mitzi Kapture does a good job, if that was her goal, of being angry and sometimes pretty hard to like. Nick has still got it in terms of being able to demonstrate both charm and psychosis. However, too much of the plot takes place off-screen -- like motivation, prior behaviors, good times and bad times -- and things that seem apparent to the characters never quite make it to the audience (i.e., me). The final scene leaves everything to be desired in the "but what about..." category, and overall, I can't say that I cared much about any of the characters. That being said, it was what it was -- a reasonably entertaining way to spend the afternoon -- and I still like Nick. | 1 |
train_8692 | I used to love watching this. I had no idea it was part of a larger series. I must have been 6 or so at the time it was on TV. I just thought it was funny and for some reason I had a deep fascination for something that was clear that was in the president's pile of bathtub toys. My parents had taped this off of TV when it originally aired on NBC. The tape even had the old Sanka coffee commercial along with a few others. I'm planning on returning home sometime soon and will try to record the tape onto my computer so that those who want a copy can do so. If anyone of you would like to contact me, I think you can do that through the IMDb site feel free. I will keep you updated and let you know when I have the show in a digital format. | 1 |
train_9492 | This film was enjoyable but for the wrong reasons. The co-ordination of the action sequences are laughable and make the film have some funny slap stick moments. Robert Ginty and Fred Williamson have a memorable scene together near the end, where Williamson says to Ginty, "you sure do get around buddy boy!". I did enjoy this film only for Ginty and Williamson, but not for the storyline that must have been written on the back of a napkin in four lines and the rest ad-libbed most likely. A film with over 30 parts only has a credit list for 10 or so. It seems odd that no one else has a credit in the film, maybe they had some insight into how the finished product would look. The one thing this film does have going for it is that it is quite violent, so that tripled with Fred Williamson and Robert Ginty make for a film worth seeing. | 1 |
train_3650 | Sometimes, Lady Luck smiles on me. I had originally made -- and copied over -- a VHS tape of this wonderful TV presentation. I was heartbroken when I realized what I had done since I had been unable to obtain a copy of it anywhere else.Recently, I subscribed to digital cable, and while searching through upcoming movies, there to my surprise was a scheduled broadcast of the movie. This time, however, I made a copy of it to DVD so there's no chance of repeating my mistake.I finally got to watch it again after eight years, and it was just as exciting and tense as when I first saw it. There is a little bit of prelude to this story in that my first contact with "Pandora's Clock" came with a live reading of the book on public radio. I just happened to tune in to the broadcasting station on my way home for lunch, and from the first installment, I was hooked. Each day, I waited with anticipation for the next chapter to be read.When I learned a few months later that the book was going to be broadcast on TV as a movie, I made sure to clear my schedule for that event.First of all, I'd like to say that the movie was very true to the book, contrary to what another reviewer had said. That, in itself, is a rare achievement for TV movies.Secondly, I agree with others about the casting. I could not imagine a better choice for Captain Holland than Richard Dean Anderson. Literally, the movie could have crashed and burned without a proper cast for this pivotal role. Anderson has never been better, and it is a shame that we have not seen more of him. In fact, all of the cast members did a superb job.My only complaint with the movie -- and the book -- was the interjection of the "terrorist plot" to arm a private business jet with air-to-air missiles and have its pilot stalk and shoot down the stricken plane. Basically, we are talking about less than 36 hours to orchestrate and execute a plan like this one, and folks, that is just not realistic at all given all the players involved. Also not realistic was how little the airliner was affected by having first one, then two of its engines blown off.That beef aside, I enjoyed the building suspense and found to be very believable how the reactions of foreign governments were portrayed in the film, as well as our own.If you have an opportunity to see this movie, do so by all means. | 1 |
train_15644 | Shallow, shallow script ...stilted acting ...the shadows of boom mikes lingering over the actors' heads in scenes ...worth watching because Kate Mulgrew plays the most selfish mother in TV movie history and it's all before Ben Affleck got his teeth capped. | 0 |
train_13877 | The volleyball genre is strangely overlooked by most screenwriters. Thankfully, highly acclaimed director Nelson McCormick has brought us the second best volleyball movie of all time (rated lower than Side Out and higher than, well, umm). However, don't let the cover of this movie decieve you. Kill Shot stars up and coming star Koji as a modern day Sherlock Holmes. Using such high-tech gadgets as a computer that is less powerful than my Gameboy, Koji is able to aid FBI agents in the tracking of a man who has not committed any obvious crime. While there are other actors in the movie, including brief cameos by Denise Richards, a gay negro, and a preposterously ugly and annoying girl, Koji carries this movie on his own. Any fan of movies such as The Matrix or Hackers will definitely love Kill Shot. | 0 |
train_23718 | This movie isn't worth the film it was photographed on. The dialog is flat, filled with cliché overused lines and delivered by amateur actors who sound like their reading a script for the first time. The choppy, shaky, film style is a cheap imitation of the "The Ring" style visual effects. The characters do not even act like a normal person would. For example, the character who is looking for her twin sister at her home forces her way through the front door, creeps around the house all frightened and sobbing and she doesn't even once call out her sister's name to see if she is home. What? You would think she had just buried her sister instead of searching for her. Way too many flashbacks to her childhood. Too many unnecessary flashbacks is a typical sign of an amateur director. It is actually funny watching the numerous shots of the woman driving her car down the street, up the driveway, around this corner, over here, over there, oh a side view, now a front view. Enough already. You would think you are watching a TV commercial for the Solaris! Terrible movie. 0 out of 100. I really pity anybody who spent money making this film or to watch it. | 0 |
train_400 | When Tsui Hark experiments, nothing and no one can withstand him. Legend of Zu is possibly 6Hours condensed into 1h40. One does not understand all, but like at "2001 A Space Odyssey" you also don't have to, but one feels the power of the film to every second, every picture. An extraordinary vision of the future of the 7th art and the one of the most pioneering, astounding, rejoicing in the recent years. VITAL severe MASTERPIECE! It's absolutely perfect as it is.When Tsui Hark experiments, nothing and no one can withstand him. Legend of Zu is possibly 6Hours condensed into 1h40. One does not understand all, but one feels the power of the film to every second, every picture. An extraordinary vision of the future of the 7th art and the one of the most pioneering, astounding, rejoicing in the recent years. VITAL severe MASTERPIECE! It's absolutely perfect as it is. 10000000000000/10000000000000 | 1 |
train_22841 | I rented this movie from the library (it's hard to find for good reason) purely out of curiosity. I'm a huge Plath fan and this movie was a complete disappointment. The Bell Jar (1979) is by far one of the worst movies I've ever seen. The script is horrible, not because it strays from the original novel text, but because it strays without focus or intent. The scenes are ill-constructed and don't lead the viewer anywhere. What's with the hokey voice over of Plath's poetry? Lady Lazarus has little do with Greenwood's situation; Plath's poetry was completely misused. Marilyn Hassett is completely unbelievable as Esther Greenwood (or any 20 year old for that matter) partly due to casting (she was 32 during filming, the age Plath was when she DIED) and partly due to the fact that she can't act. Hassett is all emotion, no craft, no skill. The direction is mediocre; the director simply covers what's there, which isn't much. The only reason I'm giving the film a 1 is because 0 isn't an option. Sorry Sylvia, you'll have to wait for someone else to adapt your fine work into something more fitting. | 0 |
train_23266 | Anyone that has see Tammuz's Child Eaters knows that this is a director that can do better. Let's hope it was not a case of too many hands in the pot (Telefilm anyone?)and that is was a case of second feature jitters. The characters are one dimensional and over used. The scenery is terrific however and showcases the Pacific Northwest beautifully.The cinematography is great. Shot almost entirely outside, the images are crisp and beautiful. You can almost smell the wind blowing through the leaves.Technically this movie is as sound as they come - it just lacks a heart. | 0 |
train_1399 | This is one of the shallowest episodes in that the plot really seemed like an excuse to just have fun. BUT, I appreciated this light-hearted approach and this is truly one of the best episodes to see on a purely fun level. Think about it--the crew members have encounters with the white rabbit and Alice from Wonderland, a Bengal tiger, a samurai warrior, a knight on horseback who kills McCoy, and a host of other seemingly bizarre events that just don't make any sense at all until the very end. Despite all the danger, you just can't take everything very seriously--it's just too fun and the whole episode seems very surreal. So, on a purely non-aesthetic level, it's great stuff. | 1 |
train_24415 | This obvious pilot for an unproduced TV series features young Canadian actress Shiri Appleby as an amnesiac with some pretty incredible powers that must be put to use when a man-turned-flying demon is let loose on the world. The CGI is par for a TV job, and Appleby is OK as an amnesiac but hard to swallow as a superheroine. Familiar TV face Richard Burgi is along for the ride as Appleby's mentor, but he can do nothing to elevate this dreck above the mediocre level. We see way too much of the cartoonish flying demon right from the start, a bad sign. Also, the scenes where Burgi is training Appleby for battle are actually laughable. They are a bad copy of similar scenes in several other movies, most notably REMO WILLIAMS. | 0 |
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