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train_14919 | I simply give this a three because it fulfilled what my buddies and I hoped it would do: entertain. I wasn't stupid enough to rent this thinking it would be a zombie film up there with the likes of Romero or Fulci, but what I rented it for was a laugh. If you are looking for a film for amusement, or a film to make you shake your head in embarrassment, go for it. This is perfect for junior- "Mystery Science Theater" fans, but the only downside is that it is so bad, it makes fun of itself. I, personally, think it is a shame to relate this to any other Hollywood title that we may know, because when a film sucks like this, it has its own genre. | 0 |
train_16340 | I'd heard about this movie a while ago from a friend and she recently got it on DVD. There was a lot of anticipation and excitement as we'd both heard that this was a terrifying film, really scary. How disappointed was I?? VERY!!!! Apart from that one scene (we all know which bit) NOTHING happened!!! I was expecting to see the woman in black a few times and for her to do a few more jumpy scenes, like appear at the window or walk across the hall or something.Nearly all the reviews here say what a scary, gripping, atmospheric movie this is. I just didn't see it I'm afraid. Maybe there's a difference in what people find scary in the US to here in Britain.A big let down after all the hyped reviews :( | 0 |
train_14710 | This was a really funny movie.Every 1 in the movie was trying to be serious that is what made this movie so funny. I mean come on a shark's head on a human body. Can it get any funnier. Good job Sci-Fi keep the comedy movies coming. I never thought movies could get anymore retarded. If they keep it up they will have to rename the sci fie channel the comedy sci fi channel or something like that.I cant wait 4 the next blockbuster movie from sci fi.Ill be ready with a bowl of popcorn and a case of beer or a bottle of liquor and Ill be ready to laugh it up again!!! | 0 |
train_11830 | This is amazing-looking movie with the whole thing done in just six or seven colors. When it came out over 15 years ago, it stunned audiences with its color scheme, being so different from anything else that had ever been put on film. Those colors, for me at least, make this an absolutely fascinating film to watch. There are literally thousands of scenes I wish could freeze and somehow convert them to a painting to study for their artwork.The characters and the story don't match up to the greatness of the photography, but they are all over-the-top, especially the villains. The famous actors who played them here must have a had a lot of fun on the set playing "Flatop," "Pruneface," "Lips," "Mumbles," etc.Meanwhile, Warren Beatty and Gleanne Hedley are good as Dick Tracey and girlfriend Tess Truehart, and she's as sweet and soft as her name. Another good addition is Charlie Korsmo as the delinquent young boy Dick and Tess take under their wing. The colorful other characters are played by Al Pacino, Dustin Hoffman, William Forysthe, Paul Sorvino, Mandy Patinkin, Madona and other names you know but are too numerous to list here. Check the full credits on the main page and you'll amazed.The only negatives I found were Pacino's voice which grates on you after awhile, Madonna's off-key singing voice and the fact that the film would have been better trimmed about 10 minutes. Those "faults" are all minor because overall, this is a fun movie....a cartoon strip coming to life in an incredibly-colorful fashion.....like nothing you have ever seen. | 1 |
train_13203 | College students, who are clearing out a condemned dormitory, are stalked by an elusive killer.The Dorm That Dripped Blood (aka Pranks) is a bit of a mixed bag for slasher fans. The movies production values are pretty low and the story for the most part is pretty routine, there's even a creepy bum hanging around for a red herring. In fact much of the story's build-up is pretty forgettable, save for one or two brutal murders. But the movie is really made better by its surprisingly intense climax (in an atmospheric setting) and one fairly bold, unconventional conclusion.The cast is lackluster for the most part. Stephen Sachs is the best of the lot as he does a pretty nice turn in character. Also look for a young Daphne Zuniga as an ill-fated student.Over all this is a pretty standard B slasher effort, but the finale is well worth savoring and for this viewer saved the movie from being a complete ho-hum.** out of **** | 0 |
train_15950 | Someone here actually compared this movie in some ways to High Noon. Now that is a real stretch! I'm a big Sinatra fan including some of his acting roles but maybe the only person who could have played this part would have been Don Knotts. First off, as someone pointed out, Sinatra just doesn't have the build for a Western bad-guy wannabe. He's just too 'slight' at this point in his life. Maybe he was about the same height as say Audie Murphy, but Murphy had a pretty solid build. Sinatra comes across as the big talking little kid who nobody ought to take seriously.The story is uninspired and really not credible. I don't want to spoil it but I think the ending and how the townspeople react in this story doesn't make any sense. Another thing, these people constantly allow themselves to be completely lorded over by some 'bad guy'. This is just a little town, so I don't get the attraction nor do I understand why the people would let themselves be dominated that way.There is a 'love interest' in the story and if I followed it right, she was upset when the main character refused to admit who he was so some other bad guy wouldn't kill him. Now there's true love for you. 'Stand up for yourself! Tell him your name so he will kill you!' LOL. Stop, you're killing me.Unfortunately the basic premise of the movie isn't good enough and no matter how they tried this story didn't have a logical path to follow other than into the wastebasket. Want to know why it's not on video and never shown on TV? The critics apparently panned it in 1956 and they were right - this movie is pretty bad. I would almost bet Sinatra paid someone to deep six the thing as much as possible.You want to see a good Western where a town stands up against a bad guy? Try Tension at Table Rock, or At Gunpoint - two really, really good Westerns with that theme. Johnny Concho is Johnny Stinko. Frank, you were the greatest singer ever - but you didn't belong in a movie like this. | 0 |
train_18859 | Woody Allen, when at his best, has one of the sharpest pens around. He can make an acute observation and wrap it around a punch line like nobody else. However, when he's at his worst his movies can stench of pretentiousness. Unfortunately, "Melinda and Melinda" has this stench from opening to closing. The set up is one of his more intriguing ideas in a while. Four friends sit in a restaurant discussing whether the essence of life is comedy or drama. To help settle the argument, one man relates the beginning of a story and asks the two other men arguing (one a comic playwright, the other a dramatic playwright) whether the story is a comedy or a tragedy. The two men then continue the story and the movie plays out the stories that they weave. Now, when I first heard about this film, my understanding was that they tell the exact same story, the genre (comedy or drama) only changes by how you look at it. Now that would have been interesting. However, the stories only share one main element and a few side elements. They are entirely different stories with major plot differences. The drama is so stiffly scripted and pretentious that it can only really work as self-parody. If this was the point, then it failed because these elements prevent the audience from feeling any emotional investment in any of the characters. The comedy is the story that has moments of success, but they are still short and fleeting. Will Farrell is obviously meant to be the stand-in for Woody, but he could have played this character so much more believably without adding Woody's stutters and hand-ticks. Woody is the best at being Woody. When someone else tries, they're not playing a character, they are modeling a recognizable actor. This type of thing only pulls the audience out of the story.My favorite Woody Allen movies make me leave the theater a little bit lighter in spirit than I walked in. This one made me wish I could get my money back. | 0 |
train_8283 | A solid B movie.I like Jake Weber. His understated delivery is refreshing in a time of over the top performances. I liked the relationship between the father and son. I liked the family dynamics. The Wendigo looks silly, but it is a representation of the kid's toy and the dead deer. It's an amalgamation like, see? This is a psychological story, not a Freddy slash em up instant gratification flick. Watch it and reflect on your inner child and what the movie might have to say to you and you'll be fine.Nice work. | 1 |
train_18025 | The problem with family dramas is that, outside of TV movies on channels like Lifetime, most people don't want to watch them. And the ones that do get watched tend to be sensationalized and about current or topical problems or issues in the news (or recent news). Movies that explain or explore the human condition aren't popular. Particularly with the young crowd that would be Miss Lohan's fan base or the younger crowd that tends to make movies not simply popular but financially successful for studios.The specific problems I had with this movie is the cartoonishness of some of the characterizations. It was a bit much to blame all of the Lohan's character's acting-out (wrecking the car, drug use, etc.) on what her step-father did to her. While not improbable,it's just a bit much to expect the audience to swallow. Additionally, other aspects, such as her giving the young Morman boy, oral sex, or that she would actually make a good assistant to the vet, who coincidentally happens to have a thing for her mother, etc., all these elements just did not really help this movie along. It placed it more in the element of a situation comedy trying one of their "special dramatic episodes" then it did for a fully realized, well-written feature film.When you watch the DVD and listen to the commentary, particularly for the various alternate endings, you can really see all of this is sharp focus. | 0 |
train_13851 | "The Bubble" is an effort to make a gay Romeo & Juliet type of story with an Israeli and a Palestinian, although it seems to come at it by way of "Friends" or "Beverly Hills 90210." The characters are shallow and trite as are the dialog and plot line. The movie seems torn between fluff and depth. On the one hand there is a pointed effort at being shallow as (in one example of many) some minor characters even ask questions that invite development of insight into the conflicts at hand, and get answers like, "Hey, we're here to make a poster for a rave against the occupation. Don't get political!" Beyond the obvious absurdity of such a line, it's just one of many ham-fisted signals that the movie is just as hollow and insubstantial as its title suggests. On the other hand, the movie's main pretension to depth follows the lovers to a presentation of "Bent" a play about gays in a Nazi labor camp. The scene on stage is awkwardly rushed, undermining its erotic power (understandable given the constraints of film-time, but still this could have been edited to much better effect.) and comes off as flimsily as the rest of the film. Too bad. This play deserves much better.The characters are so one-dimensionally cartoony some even have names that telegraph their entire (though the word seems inappropriate here) substance. The aggressive soldier from the crack Golani brigade is named "Golan." The militant Palestinian is named "Jihad." The striving-for-chic faghag roommate is "Lulu." Anyone familiar with the checkpoints and life in Palestine, whether from real life or documentaries will find the checkpoint scenes as absurdly unreal as
well, the rest of this fluffy fantasy. When a Palestinian woman goes into the fastest labor on record Israeli soldiers are solicitous and helpful, an ambulance shows up in minutes. (The outcome of the birth serves to show the Palestinians as unappreciative of Israeli beneficence and even downright paranoiac.) Altogether the checkpoint is shown as a mere nuisance, not the series of bone-numbing, soul-crushing, humiliating obstructions with no regard for medical care or necessity in cases of birth, death, or severe illness. Ashraf, the Palestinian lover, seems to get through from Nablus to Tel Aviv with no problems, no papers, no hassles. He just shows up whenever he likes. When the Israelis want to get through it is much more of a challenge involving a scheme worthy of Lucy Ricardo.Against the backdrop of nice, supportive Israelis and surly homophobic Palestinians we move to a resolution that is utterly lacking in motivation or purpose except as a painfully obvious dramatic device to milk sympathy for the forbidden lovers.Gay Israeli-Palestinian romance has been handled on stage with much more skill and depth as in Saleem's "Salaam/Shalom" so this film is hardly even as groundbreaking as some people would like to think.Gloriously bad films like the works of Ed Wood -- at least have some striking idiosyncrasy to distinguish them. This one doesn't even have that going for it. Most of the sound track sounds like Simon and Garfunkel on quaaludes, and even with the weird oedipal touches to the gay sex scenes, the general incompetence that pervades this movie plays out like a mediocre TV-movie-of-the-week. | 0 |
train_21400 | I liked the first movie, but this is a textbook example of a sequel that would have been better of left on the drawing board. The general idea in the first movie was, if not great, then at least very interesting. This sequel tries to build upon the idea and the characters from the first movie, and though Christopher Walken is still good as Gabriel, the whole idea suddenly gets a bit ridiculous. If you haven't seen any of these movies, then get the first movie and forget about the sequels, they can take away all of the joy from the original. | 0 |
train_11986 | I watched 'Speak Easily' one night and thought it was o.k., but missing something. Maybe Buster Keaton strangely speaking threw me off, or the labored line delivery of a leading lady. The next day I kept thinking about the movie, though. I couldn't get Durante's song out of my head, I kept trying to better remember Thelma Todd's first scene, I considered that maybe Keaton did do some funny falls and physical comedy. The next night I watched a scene with Thelma Todd as a conniving chorus girl trying to impress Buster and Jimmy with her sex appeal. A very funny scene, the actors excellent, their faces, their eyes, their silly expressions. So I watched another scene, their show is opening on Broadway. Buster in his blissful innocence botches every act. Again, I was laughing out loud, appreciating Keaton's clowning and tumbling. So the next night I watched the whole movie again, and this time I see it for the first time: It's Stupendous! It's Sensational! It's Sublime! Three great comedians! Todd dances! Durante sings! Keaton speaks! Sure it ain't poifect...but there's a lot of laughs in this picture. | 1 |
train_5050 | We really enjoyed Grey Owl: a simple tale well told in classic Attenborough fashion: a little over-romanticized, with archetypes, humor, and a stress of dignity and values.Beautifully shot and told at a nice pace this is the true story of Archie, an Englishman who turned native Indian, and went to live and trap in Canada.Solid performances from all makes this film with a message easy viewing.Two of the stars of the film are without a doubt the cutest we have ever seen - and the message is a good one with its ecoleanings. It must have been great to meet or read Grey Owl in the 1930s, a unique character and this is a fitting film tribute. | 1 |
train_19231 | Contrary to another reviewer, I think that this is WELL-written, especially the more fictional it is, because greater imagination would be required; and well acted, because there were no other characters with whom to share the focus of these dozen-minutes-plus, well-done monologues. But I'm just not entertained by such solemn, pious rememberances. Everybody has a story to tell and some are more interesting than others. Everybody has problems and some are more intense than others. These are just ten, not-very-atypical stories and problems, exemplifying how anybody's life (or part of it) is fodder for film. Then again, I think poorly of TV's reality shows, too. So, if that's your bag, you may like this. It's the kind of stuff that would make for good 'phone and/or internet gossip; but absolutely without other-than-verbal action. And, although each of the speakers is female, I'm gonna leave gender outta this. | 0 |
train_3298 | This is definitely one of the best movies I've ever seen-- it has everything-- a genuinely touching screenplay, fine actors that make subtlety a beautiful art to watch, an actually elegant romance (it's a shame that that kind of romance just doesn't seem to exist anymore), lovely songs and lyrics (especially the final song), an artistic score, and costumes and sets that make you want to live in them. The ending was only a disappointment in that I was expecting a spectacular film to have a brilliant end-- but it was still more wonderful then the vast majority of movies out there. Definitely check this movie out-- over and over again. There are many details you miss the first time that deserve a second look. | 1 |
train_8841 | 'Before the devil knows you're dead' is one of the best movies I've seen in along time. The acting fromthe excellent ensemble cast is incredible. Philip Seymour Hoffman putting in an outstanding performance and is electrifying every time he's on screen. Ethan Hawke matches him scene for scene and Albert Finney simply chews up the screen. Marisa Tomei is, however,criminally underused, but looks amazing for her 42 years. The script is excellent, the story-line non-linear but easy enough to follow. Sidney Lumet, although not known for his blockbusters, has turned out a gem with this one! | 1 |
train_9879 | Presenting Lily Mars may have provided Judy Garland with one of the easier roles she had while at MGM because Lily Mars is definitely a character she could identify with. A young girl with talent enough for ten, she knows she has what it takes to make it in the theater no matter how much producer Van Heflin from her home town discourages her.I really liked Judy in this one as the girl determined to make it in the theater. Because it is Judy Garland with the talent of Judy Garland you in the audience know she has the right stuff even if it takes Van Heflin nearly the whole movie to be convinced.Both Judy and Heflin hail from the same small town, Heflin's dad was the town doctor who delivered her and Heflin while he may have moved away and become a big producer on Broadway, their respective moms, Fay Bainter and Spring Byington have kept in touch. That's her entrée, but Heflin's constantly barraged with stagestruck kids, but never anyone quite like Lily Mars.No real big song hits came out of Presenting Lily Mars for Garland, though she sings all her numbers. The best in the film is a revival of that gaslight era chestnut, Every Little Movement Has A Meaning All Its Own. Judy sings it with Connie Gilchrist playing the cleaning lady in a Broadway theater where Heflin's show is being produced. Gilchrist was a star back in the days of the FloraDora Girls and she and Judy deliver the song in grand style with Connie. It's the best scene in the film as Gilchrist encourages Judy to keep at it. Composer Karl Hoschna had died a long time ago, but lyricist Otto Harbach was still alive and I'm betting he liked what he heard.European musical star Marta Eggerth is in Presenting Lily Mars as the show's star who's at first bemused, then angry and finally, understanding of Garland and Heflin. She did a couple of films with MGM and then went back to Europe for more work on the continent. I'm betting MGM didn't quite know what to do with her and her thick Hungarian accent, though Louis B. Mayer never met a soprano he didn't like.Van Heflin does well as the patient producer who puts up with a lot from Garland and Eggerth. Heflin was just coming off his Oscar for Johnny Eager the previous year and he and Garland wouldn't appear to be an ideal screen team, but they're not bad together.Presenting Lily Mars is a fine showcase for the talents of Judy Garland. And she didn't have to share the screen in another backstage film with Mickey Rooney. | 1 |
train_10677 | This film was the first British teen movie to actually address the reality of the violent rock and roll society, rather than being a lucid parody of 1950s teenage life. In an attempt to celebrate the work of Liverpool's Junior Liaison Officers the opening title points out that 92% of potential delinquents, who have been dealt with under this scheme, have not committed a second crime. However, this becomes merely a pretext to the following teen-drama until the film's epilogue where we are instructed that we shouldn't feel responsible or sorry for such delinquents however mixed-up they might seem.Stanley Baker plays a tough detective who reluctantly takes on the post of Juvenile Liaison Officer. This hard-boiled character is a role typical of Baker. Having been currently on the trail of a notorious arsonist known as the firefly and does not relish the distraction of the transfer. However, as in all good police dramas he is led back full circle by a remarkable turn of events, back to his original investigation.His first case leads him to the home of two young children, Mary and Patrick Murphy (played by real-life brother and sister duo), who have committed a petty theft. Here he meets Cathie (satisfyingly portrayed by Anne Heywood) their older sister whom he eventually becomes romantically involved with. It quickly becomes obvious that the squalid environment of such inner-city estates is a breeding ground for juvenile delinquency.The elder brother of the Murphy family, Johnny, is the leader of a gang of rock and roll hoodlums. McCallum does an eye-catching turn as the Americanized mixed-up kid, who owes more to the likes of Marlon Brando, than any previous British star. One is reminded of Brando's character Johnny from 'The Wild One' who led a leather-clad gang of rebellious bikers in much the same way as this film's 'Johnny' leads his gang.Thankfully the preachiness of earlier Dearden crime dramas such as 'The Blue Lamp' is not so apparent. Instead we are presented with several well drawn-out characters on both sides of the law as the drama of the delinquents and the romantic interest between Heywood and Baker takes the forefront.The plot, whilst at times predictable, does deliver some memorable scenes. The disruptive influence that rock and roll music was thought to have had is played out in a scene where Johnny abandons himself to the music, leading a menacing advance on the police sergeant. The most grippingly memorable piece of film however is the climatic classroom scene where a bunch of terrified school children, including Mary and Patrick, are held hostage at gunpoint by Johnny. Obviously in the light of the real-life Dumblaine Massacre this scene seems all the horrifying. Understandably because of this the film is seldom aired or available to modern audiences. | 1 |
train_17399 | After Harry Reems' teenage girlfriend is raped by Zebbedy Colt (The Night-Walker), Reems becomes despondent and consoles himself by having sex with some lesbians. Meanwhile, Colt, who carries a cane and dresses like a magician, rapes some more women. Eventually, Reems decides to track him down and end his crime spree. Despite being shot on film and marginally nasty, it looks like any other 70's porno and is ineptly executed. The rape/abuse scenes are surprisingly restrained and the attempt to cash in on "Death Wish" is laughable. R. Bolla ("Cannibal Holocaust") plays a cop. Colt, who is usually over-the-top, wigs out in a couple of scenes, but he's too well behaved for my money. This roughie could have been much rougher. | 0 |
train_10799 | Ah, the 1970's. A time when it was in to be a swinger. To be honest, today is also a good time to be a swinger but it just felt more daring then.Joe Sarno offers up a pretty good soft-core film. In fact, just like today, some of the actors are famous hardcore actors. Unlike today, these people were good actors and these films had a plot and character development.It's pretty much what you would expect out of a swinger's movie. Two couples with open relationships re-ignite the wanderlust out of the MILF of one of the women who has come for a visit. Not much more to it.Of course, when the MILF is Jennifer Welles then it is a different story. Not too many 40-somethings look as delicious undressed as Ms. Welles. It's worth the price alone to see Ms. Welles look at herself in the mirror as if she's Aphrodite. She's no "Stifler's Mom". She's way sexier.I also digged Chris Jordan's Anna. Jordan looks and sounds so much like Elaine Joyce that I thought she might be her "separated at birth" twin or even Elaine herself. Anna is always eating but must have incredible metabolism.Unlike 1990's soft-core porn, 70's softie porn retained the hardcore film's realism (something that 2000's soft-core has brought back on occasion, instead of the 90's music and canned orgasms) and it is here in full force. It's not real but it feels real.For those who enjoyed the Quebec produced "Deux Femmes En Or", you'll enjoy this one. Another classic film only on Drive-In Classics, the best $2.50 CAN a month you can spend. | 1 |
train_5453 | In ten words or less to describe this film, Barbara Stanwyck is too appealing and it is great! The film is wonderful, except for the perhaps tacked-on ending, but I love happy endings anyway. Barbara Stanwyck, however, as the platinum-blonde gold-digger is amazing. She knows what she wants and goes after it! This film is sexy and excellent! | 1 |
train_23265 | A splendid example of how Hollywood could (and still can) take a masterpiece of literary fiction and stupidly foul it up.In the case of "the Big Sky," writer Dudley Nichols and company arrogantly assumed they could improve upon a classic pioneer novel by the Pulitzer prize-winning author, A.B. Guthrie. In so doing, they removed the soul of the story and any edge and impact it may have had as a film adaptation.The epic nature of Guthrie's book and the evolution of its main character, Boone Caudill, from a naive, Kentucky lad into a hardened and competent survivor/mountain man, has been replaced with a downscaled riverboat farce that bears little resemblance to the author's intent. In the movie version, Boone's presence is nothing except underwhelming.Intriguing and even shocking plot elements that give Guthrie's novel impact and excitement have been removed for no apparent reason whatsoever. Most puzzling of all is the emphasis placed upon the Zeb Calloway character, who was an incidental, minor character in the book, only occupying a handful of pages. On the other hand, a very important and fascinating character, Dick Summers, the veteran pioneer, is missing altogether!!! It is also apparent that director Hawks decided the Zeb character in the movie, played by actor Hunnicutt, wasn't irritating enough. So Zeb/Hunnicutt was given a significant amount of time doing that obnoxious, voice-over narration that is the Hollywood short cut for incompetent screen writing, editing, and direction.Some movies have actually improved upon the books upon which they were based (William Wyler's "Ben-Hur" is an excellent example). But this is horrible and depressing not only as an adaptation of a novel but as a film unto itself.The story is dull and clichéd, and the characters - at least the ones that have not been edited out of the script - are just shallow and boring shadows of Guthrie's literary vision. And unfortunately, Kirk Douglas' star appeal, which could have helped lift this film, was scuttled by the milktoast role he was given.If you can believe it, the film version of Guthrie's Pulitzer prize-winning sequel, "The Way West," also starring Kirk, is even worse.In my opinion, "The Big Sky" further solidifies Howard Hawks' place as one of the most overrated, tepid directors in the history of cinema. | 0 |
train_15732 | this movie has no plot, no character development, and no budget. it really sucks to put it in short terms. Since there is no development for the movie, it really can't even be looked as trying to be artistic or trying to make a statement against torture. Which leaves two other reasons to possibly watch it. To be shocked or to get off on it like a sick little freak. Well it falls short here too. The girl's reactions just seem dumb. it's extremely easy to tell that it's fake (honestly professional wrestling looks more realistic than the crap they try to get by with in this movie. They throw innards on her, but she's asleep for most of it, so it's just kinda dumb. The only really kind of worthwhile part is the end when they quickly cut from scene to scene just before the needle goes into her eye. But honestly the girl is extremely ugly and everything is incredibly fake, with the exception of the eye. if you want a good movie about torture, go watch Hostel and Hostel 2. Not only do they both contain realistic violence, but there is also an actual storyline that draws you in and makes you care about the people. Plus the tow movies really work on a deeper level considering themes like American fears of foreigners, issues of morality, testing how far a person can go, human instincts vs. civilization, and many other things. Plus they are carefully written and contain some good humor when the story isn't focused on the violence. These are much better choices over this piece of crap | 0 |
train_15230 | Whoa boy.Ever wanted to watch a documentary about a megalomaniacal jerk ruining his own life and alienating everyone around him? Well they exist, in many forms. But have you ever wanted to watch said documentary about one who didn't ultimately succeed in doing anything despite everyone's praises about how much of an artistic "genius" he is? Well you could probably just grab a camera and find someone like that in any local scene (I know they're everywhere and I don't even follow the local scene), or you could save yourself the trouble by spending money watching this tripe.The premise is good and, honestly, it's not as if the filmmakers knew precisely where it was going considering that's one of the difficulties of doing a documentary. We are made to follow two bands, The Brian Jamestown Massacre, lead by Anton, and The Dandy Warhols, lead by Courtney. I've heard of The Dandy Warhols before watching this movie... not so the Brian Jamestown Massacre. Why? Well from this documentary's perspective, because The Brian Jamestown Massacre's intergroup dysfunction refused them the ability to really make it in the music industry. However, instead of this becoming an analysis of the two separate bands and how one was able to succeed, the focus becomes much more on Anton and his insanity.Because, see, Anton is a "genius." Because he plays rock music. He really "understands the evolution of music"... because he plays rock music with a lot of different instruments. His music is considered "post-modern retro but the future"... because it's rock music. He wants to bring out a "revolution"... through rock music. Okay so let's face it... twenty minutes in and this is one of the stupidest kids I'd care to watch a documentary about.The documentary itself doesn't really lend itself to showcasing any of Anton's talent, because in the nature of editing down 2000 hours of material into a quarter short of two hours we don't really have the time to focus on that. So instead we watch Anton, "the genius", the socio-maniacal loser, be a jerk for the two hours and are just told to understand that he made really great music. Whether he did or not I won't know, because its not like the documentary had enough time to prove it. What I do know is that then we're left with a story about some self-centered obnoxious twerp running around the country calling himself a God of music and doing nothing to back it up. Why even bother watching that? People like Anton don't deserve the attention they seek, the hope and admiration of all those different people, and especially a post-failure paean to lost potential. This movie plays like a two-hour rough-cut VH1 special for a reason: he goes on and on about the music, but it's all about the image and the attention. Look at the guy, look at how he dresses, look at how he acts, look at how he tries to create controversy because he can't afford marketing.Honestly the only interesting character in this film is Joel, and that's because of anyone in this documentary, Joel is the only person who seems to have any fun. Maybe it's because he's the tambourine man. The rest of them are all "rock stars"! They deserve our attention, and admiration, and interest, and engagements! They are out there to "save rock and roll." Do you remember when The White Stripes were supposed to "save rock and roll"? Yeah, that was because of Anton, and it's "selfish of them not to mention me (Anton) as an inspiration." What a load. People like Anton are best left forgotten. This documentary explains why mainstream music is so dull--because music execs have to deal with people like Anton for a living and ultimately can only really throw their support behind someone safe and passionless. Thanks a lot, Anton. Your antics ruined music for EVERYONE you touched, whatever the opinion to the contrary is. And if people "in the know" about Anton disagree and he really was a genius, it still shows how bad this documentary is that it cuts it down that way.--PolarisDiB | 0 |
train_832 | Interesting how much more realistic Brosnan's performance is to that of the original James Bond novels when compared to the bond films. He's neurotic, paranoid, an alcoholic and a womanizer to boot. This is perfect break for him, even so much as to make fun of the bond icon. "I'm a mess, a parody of myself" he says. It doesn't get any better than that. I just finished reading Dr.No and this is very much how Ian Fleming had portrayed James Bond. Personally I never liked Brosnan as Bond because he fit the icon too closely. There was nothing for him to personalize the character with, as compared to Roger Moore or Sean Connery. Its great to see Brosnan play a character both grounded in reality and flamboyantly off the wall. A shallow character trying to come to an understanding on deeper emotional and psychological issues to which he has no background dealing with. It's an impressive portrayal, and having Greg Kinear to ground him, is just poetic. This movie reminds me a little bit of dynamics established between the main characters in "My Blue Heaven", but more genuine in their coping mechanisms. | 1 |
train_24527 | I saw this movie in the middle of the night, when I was flipping through the channels and there was nothing else on to watch. It's one of those films where you stop to see what it is - just for a moment! - but realize after twenty minutes or so that you just can't turn it off, no matter how bad it is. One of those movies that is somewhere in between being so bad it's good and so bad it's, well, just plain BAD, it's worth seeing just to experience the confusion of realizing that it's both! Great middle-of-the-night fare, if only for the fabulous tennis drag. Don't even bother asking yourself why nobody can tell that Chad Lowe is so obviously male, because logic does not apply. | 0 |
train_11040 | Watched this French horror film last night and pretty much liked it. The whole movie takes place in a prison cell with basically three prisoners who find a hand written journal in a wall from a serial killer that had escaped the prison 20 years earlier, somehow without leaving his cell. As they look through the diary, they discover it delves into the black arts and commands that might be their way out of the cell and to freedom. What they find out, is something completely different, and horrifying to say the least. I like low-budget horror films, that deliver the goods in a fairly quality way, and tell a good story. This movie does just that, despite taking a while to get going. The result and the horror they unleash is very interesting to me, and I enjoyed the ride. Not a lot of gore, but that wouldn't fit the story, although the gore it has is pretty good. | 1 |
train_12233 | Astronaut Steve West (Alex Rebar) and his comrades undertake a space mission that sees them flying through the rings of Saturn. His comrades are killed instantly, but it would seem that they are in fact the lucky ones. Steve returns to Earth a constantly oozing mass of humanoid pulp; as he turns into a savage killer, melting every step of the way, he is tracked by his friend, Dr. Ted Nelson (Burr DeBenning).This is often so uproariously funny - with enough absurd lines and situations to go around - that it's hard for me to believe that the laughs are all unintentional. It seems to me to be kind of a goof on low-budget genre efforts from the '50's and 60's, and as such, it's a marvelously entertaining movie. That sequence with the nurse is simply hilarious. We're even treated to a split screen sequence that doesn't really add anything, but is still a gas to watch.Writer / director William Sachs deserves credit for coming up with this ingenious idea; his ultra-slimy character is a memorable one indeed. I think his pacing is a little off; some scenes (like the one with the elderly couple) go on a little long, but ultimately he delivers solid, schlocky, B-movie goods with a degree of panache. The climax is especially fun.Arlon Obers' music is enjoyably shuddery (yet also amusingly silly during some moments), and Willy Curtis's cinematography creates some really great shots at times. That brings me to Rick Bakers' fantastic and convincing makeup effects, which form a highly respectable centerpiece for the movie, right down to the ultimate final melt.Rebar is under the heavy makeup for almost the entire movie (Sachs also gets my praise for having the movie hit the ground running) and does what he has to do well enough. DeBenning makes for a rather oafish and silly hero, and Ann Sweeney isn't so hot either as his wife, but Myron Healey, Michael Alldredge, and Lisle Wilson are fine in support. It's also worth it to see folk like Cheryl "Rainbeaux" Smith (doing an appreciable topless shot), Janus Blythe (of Tobe Hoopers' "Eaten Alive" and Wes Cravens' "The Hills Have Eyes"), and even director Jonathan Demme in a bit part.This is a highly entertaining midnight movie with enough gore, chills, and laughs to rate it as worth catching for lovers of low-grade sci-fi / horror everywhere.8/10 | 1 |
train_8650 | Kalifornia is the story of a writer and his girlfriend photographer who are looking for someone to help pay gas money and take turns at the wheel for a cross country road trip to famous murder sights. Ironically a serial killer and his girlfriend answer the post. Kalifornia is a diamond in the rough and a very intriguing journey with a serial killer. Great performances all around by the leads with Pitt in particular being exceptional. Check it out!! | 1 |
train_604 | Saturday June 3, 6:30pm The NeptuneMonday June 5, 4:30pm The NeptuneFew celebrations of ethnic and cultural identity succeed as mightily as Carlos Saura's brilliant interpretation of Isaac Albeniz' masterpiece Iberia Suite. At the approach of its centennial, Saura drew together an unprecedented wealth of talent from the Spanish performing arts community to create this quintessential love song to their homeland. The twelve "impressions" of the suite are presented without narrative in stark surroundings, allowing the power of each performance to explode before Saura's camera. Creative use of large flats and mirrors, moved throughout the set, combined with screens, shadows, fire, rain and rear projection add glorious dramatic effects to the varied selections of song, dance and instrumental performance. Photographs of Albeniz reappear throughout the program, connecting the passion of the music to its great creator. Saura encompasses all Spaniards on his stage from the beautiful elegance of elderly flamenco dancers in traditional costume to children joyously dancing with their instructors. | 1 |
train_20444 | Dull Demi, going thru the motions. Ditto Prochnow. Ominous portents that elicit yawns. Michael Biehn trying to be dynamic, which ain't his shtick.To quote Buffy Summers, "If the apocalypse comes...beep me."Going back to sleep now. | 0 |
train_6007 | If you have not heard of this film from Walt Disney Pictures, do not worry about it. It would be classed along the other films by Disney that are meant for educational purposes like "Family Planning".It was co-produced with Kotex to teach pre-teen girls about Menstruation, supposably. It only educates at a superficial level, so it does not go into heavy detail for the animated "Ram's Head"/ Reproductive System sequence.The film does show "The Wonderful World of Disney" elements like the turning of the page and the use of animation to tell the story.This film is impossible to find, so if you can find the film, best luck to you and enjoy. | 1 |
train_5780 | The Maxx is a deep psychological introspective lightly camouflaged as a weird-out superhero story. Julie Winters is a "freelance social worker" in an unnamed filthy city, ridden with crime, and she and everyone she knows has a lot of issues to work through. The Maxx is her friend and client, a street bum who thinks he's a costumed superhero - or is it the other way around?The Maxx is not to be missed for the artwork, the story itself, or the excellent voice work - particularly the late Barry Stigler's deliciously urbane, drippingly evil voicing of the main villain, Mr. Gone.If you get the chance to see this, don't miss it. | 1 |
train_15334 | I've now watched all four Bo Derek vehicles directed by her husband, John; all are quite terrible, of course, but this is certainly the pits. Featuring the usual flimsy plot, bad scripting by the director, naturally and acting, not to mention gratuitous nudity by the star, it deals with her losing much older husband Anthony Quinn (she accepts his shotgun suicide by saying he had always admired Hemingway!!) but who continues to appear and talk to her. In fact, he wants to come back in another, younger body
but actually does so only in the very last scene! Derek is lovely as always, and still playing naïve(!) especially during a muddled mid-section which has her pursued by a hired killer at a spa. Quinn, too, is typically larger-than-life (read: hammy) here, but this easily constitutes his nadir; besides, for much of the duration, he acts from behind a piece of shiny plastic (presumably suggesting his being in some sort of limbo)! His 'replacement', then, is obviously a handsome-looking stud who hasn't a lick of talent or even personality. Also featured in the cast are Hollywood veterans Don Murray (as Quinn's best friend and Bo's business consultant) and Julie Newmar (as Quinn's guardian angel in the afterlife) plus a surprising cameo appearance by billionaire Donald Trump (who presumably needed this on his resume')! It also goes without saying that John Derek was his own cinematographer on the film, that the end credits are filled with useless (and corny) expressions of gratitude to the many people who lent a helping hand, and that GHOSTS CAN'T DO IT swept the board at the 1990 Razzie Awards! | 0 |
train_6220 | Throughly enjoy all the musical numbers each time I see this movie. Never seem to tire of it. Fred and Ginger are always a pleasure to watch. Seeing "Lucy" and Betty Grable before they hit the big time, is fun to watch. | 1 |
train_24583 | Yay!... I think. It's hard to say. It's hard to have an emotion about a movie that has no emotion. This movie is as sterile as a surgeon's scalpel. For a setting, it has a few stone pillars, some stone seats, a couple stone crosses and some stone actors. They have no emotion! The only thing that saves this movie is the fact that it is Hamlet, and Hamlet is a terrificly written piece of literature. The dubbing really wasn't all that bad though. The voices stuck true to the dull, gloomy, dreary, life-sucking atmosphere the movie gave forth. I have seen this version of Hamlet on the fabulous Mystery Science Theater 3000 three times, and each of the three times, I was on the brink of turning off the TV, despite it being MST 3K.Not an uplifting production of a drama that deserves so much better. | 0 |
train_14138 | I was looking forward to seeing Amanda Peet in another good role after recently renting "The Whole Nine Yards"--easily worth the rental, by the way--but this wasn't it.I remembered that the trailer for "Whipped" was somewhat funny and the plot about three oversexed New Yorker twenty somethings all falling for and getting manipulated by the charming Ms. Peet was worth a shot. So, I convinced two friends one afternoon to come see this movie with me. This review is my penance.In the first act we have the three lead studs, recounting their conquests in a diner. What should have been funny, or at least telling, comes out rather pathetic. Was there any redeeming quality about the three men and their encounters that we were supposed to get out of this?[And while I don't mind movies that are cheerfully vulgar, I kept wondering why no one in the diner turned around when the studs talk loudly about sexual and scatalogical details. They do this every week at the same diner? You would think someone would complain. Oh, wait, I forgot: two other diners do notice in one scene. But this is just a setup for a punchline. Everyone else in the diner is deaf.]The second act has the three studs all falling for Mia and then developing brain rot, failing to ask each other or her about what's really happening between the four of them. And I kept asking myself, as the studs keep acting like they have been, what redeeming qualities does she see in them to stick with them longer than one date? Does she start out with brain rot? I kept hoping for Eric's character, the married buddy, to become something more than simply the annoying punching bag in this act. His role is clearly to dispense advice on being married. But why do they even bother to talk to him when they won't talk to each other? And his advice? Sheeesh!The third act resolves what plot there is but by this time I was looking at my watch. My friends told me they were still waiting for something genuinely funny to happen and I had to agree. The Scene That Explains All was adequate and managed to explain all of the questions and mysterious dialogue bits throughout the movie but we were just checking them off a list. ("Oh, okay, that's why Brad had that happen and Jonathan says this and...")What laughs we made were from the stupidity of the plot than at anything amusing. Even the outtakes during the credits weren't very funny. Ultimately I was left with nothing except a desire to warn people away from this movie.Rating: 3 | 0 |
train_18243 | Yes, I know I'm one of the few people longing to trample this movie into the dust of oblivion.So let me me tell you why I feel this way. In truth,had it been advertized as a Zombie film or the like,I might have enjoyed it.But right now,I'm totally speechless.*SPOILER...Though I'm not sure what's to spoil* Let's start with the first HUGE flaw. If I did not know that the movie is called "Darkness - The VAMPIRE Version" and had I not seen some sequences where some individuals seem to be sucking blood, I would not have seen the connection with Vampires. I mean, FANGLESS???? Give me a break!!!Second bad point: what's with the Metal? It appears that all young people, but mainly those so-called "vampires", are into various kinds of Metal,judging mainly by their shirts! Don't get me wrong, I've been into the more extreme forms of music for almost 15 years, but nobody 's going to scare me by showing me some ridiculous teenagers in Iron Maiden (of all bands!!!) T-shirts running around,pretending to be Vampires! "Pathetic" is the only only word that I could use here.Third weakness: the actors. Wait a minute. WHAT actors?! You mean the director's wooden friends! Words would be a waste here.Yes, alright, the movie is very gory, but what difference does that make? It WOULD have been a strong point and something to enjoy if the "briliant" director had not chosen to create an ARTIFICIAL vampire topic in this movie. I wanted to see Vampires,but was treated to some stupid looking kids I would have loved to use my baseball bat on. The Film-makers should simply have advertized the movie saying "cheap B-grade horror with no plot but a lot of gore" !!!This movie is blasphemy against the whole concept of Vampirism. And it makes me sick. | 0 |
train_3136 | A strangely enjoyable effort, combining an appropriately far-fetched plot involving Adam and Burt and flashbacks to the original TV series. Most of the flashback scenes were lifted directly from Burt Ward's book "Boy Wonder: My Life in Tights" and I imagine his book was the inspiration for making this movie. Like the book, it left fans of the original series hungering for more. If you missed this broadcast, it is definitely worth the effort to borrow a tape from a friend who may have recorded it. I'm making a copy for my kids right now. | 1 |
train_22027 | I've been trying to track down this film just by googling bad phrases about "teenagers seduce and kill man in his house" and such. I think I first saw parts of this film when I was about 10 years old when it was running on cable. It made quite an impression! It's the kind of film that kids know they shouldn't be watching, and switch the channel when their parents come in. When I saw who the cast was, I couldn't believe that some of these good actors were in such a horrible movie. Then again, if you like to see men who cheat on their wives get murdered, then this is an interesting film. Also, if I recall, there's some pretty interesting pseudo-lesbian moments. Probably the dumbest ending of all time, but still...memorable. | 0 |
train_24288 | This was one of the worst movies EVER!!!!!!!! It was so bad, I was laughing through the WHOLE movie! The plot was SO cheesy; especially the end. This movie turns from an end-of-the-world-disaster to save-the-eels! I mean, c'mon! And I swear...I think they use SOCK PUPPETS for the eels! And there was this horrible kiss scene in the middle with the two main characters who happened to be divorced. How predictable! It was SO terrible that my mom, my sister, and I couldn't finish it, and when we DID finish it, it was about a year later! The second time we watched it and we finished it this time, we did MST3K-like comments throughout the movie.Summary: Only watch this if you're a movie basher! Make hilarious comments, watch this at a sleepover for laughs, and I mean HUGE laughs. Also watch for mockery. The metaphor that explains this movie: This movie is a very shallow field full of cheese and sock puppets! | 0 |
train_17400 | SEX WISH was actually released (minus ten minutes of more, ahem, 'extreme' footage) here in the UK back in the early days of the video boom, and caused a tabloid storm in a teacup when it allegedly inspired a copycat murder case. Strangely enough, the papers brushed this ultra-disturbing flick under the carpet in their headlong rush to get the comparatively innocuous likes of FROZEN SCREAM and NIGHT OF THE DEMON canned, and the film has been all but forgotten as a result. I jumped at the chance to watch it on a DVD-RW and spent most of the film's duration with my jaw on the floor. It's not so much politically incorrect as utterly demented, a triple-X take on Michael Winner's DEATH WISH (did the title kind of give the game away as far as inspiration was concerned?) with hardcore sex and some truly nasty violence thrown into an already bubbling brew of seventies sleaze. If you don't consider yourself to be squeamish, this may force you to think again. By the time SEX WISH is over, you'll want to scrub your eyeballs clean with disinfectant and take a long hot shower to purge yourself. If any film truly deserves the "it's only a movie, only a movie, only a movie" tag-line, it's this one.Highlights (or lowlights) - a rapist using a vibrator on a victim as he masturbates over her, Harry Reems's scene-stealing moustache, the helpless young black couple who are forced to screw in front the sword cane killer (they'd have won Oscars for their entirely credible performances if the Academy had gone mad) before the man is castrated for his troubles, and some jarringly slick direction that threatens to lift the proceedings above their obvious grind-house origins. Don't say I didn't warn you. If you thought the world was a more innocent place thirty years ago, SEX WISH will prove you very, very wrong. | 0 |
train_2721 | The real story (took place in Kansas in 1959) of a murder (Perry and Dick, two ex-convicts who broke into a remote house on a rainy night to steal and kill everyone they met). Richard Brooks directed the chilling and disturbing Capote's book about the reasons that drove these kids to the crime (Are they Natural Born Killers ?). The crime scenes are very brutal and haunting because of the lack of senses and reasons for what we witnessed. Stunning black & white cinematography from Conrand Hall, excellent country - road music score from Quincy Jones, amazing performances in two principal roles from Robert Blake and Scott Wilson and first time in a movie a sad comment about capital punishment at the last moments before their deaths. Jones, Hall and Brooks (as director and as writer for adapted screenplay) are Academy Award nominees. Gripping, superbly directed and frightening, one of the best films of this decade | 1 |
train_24040 | This reminded me SOO much of Michael Winner's crappy 'Dirty Weekend' with it's awful English low budget feel.Firstly I must say I am a fan of both exploitation and serious film. I appreciate, say, 'Demented' for it's ineptitude and 'Last House on the Left' for it's sheer unashamed brutality. And any number of inventive and increasingly brutal Italian spin offs.This was just pointless though. Kind of like a British budget director thought 'let's remake "I Spit on your Grave" without making it too harrowing now that horror is back in fashion with Hostel.The whole thing just doesn't hang together or have a point. What's with the rapists's daughter? Why bother having the man be an expert in security cameras? Crappy. | 0 |
train_1340 | This documentary was interesting, but it was also long (so long it lasts a total of 225 minutes), like Ben-Hur long. But if your into that, this is for you. But only if you have a passion for movies, like I do. Being that Martin Scorsese is my favorite director (live and maybe even ever), this is quite fascinating, especially if you know the style of Scorsese's works. Because then you can understand where he got his inspiration for many of his films. Not the best documentary film ever made, but it is a leap for Scorsese, which is always good to watch. A | 1 |
train_19946 | I have 2 words for you. Sean Bean. He is the only worthwhile presence in this film. But even so, don't see this movie. Even though he is good as the main villain, you don't want to waste your time. I didn't care about the characters (except the little boy) and in fact, I didn't really care if the star crossed lovers ended up together or died. The movie did not make me care or BELIEVE that these people cared about each other at all. I have read a lot of "classic" novels after seeing the movies and this movie made me not even want to read the book. The story seems so boring. But I may go ahead and read it to try to redeem the story in my head. Stay away from Lorna Doone. The actress who played Lorna was also in Sense and Sensibility and she was much better in that. Watch Sharpe, Horatio Hornblower, A & E has great movies of novels like Pride and Prejudice. Or miniseries like the Forsyte Saga. Check them out, don't bother with Lorna Doone. | 0 |
train_10147 | Does anyone know the exact quote about "time and love" by George Ede aka, Father Fitzpatrick in the move, It had to be you? He was talking to Charlie and Annna in the church as they were leaving? If not I will have to rent the movie. This was a great movie. I also loved Serendipity! Great love story for the soul! I met my one true love (my Soulmate) and although I had the experience to meet him when I had least expecting it, I wasn't ready for that kind of emotional relationship. Altho, we did marry, I wasn't mature enough to give as much as I thought I would. I got complacent and took his love for granted and he withstood it for 7 years. He finally left with resentment but we are still hurt and angry & in disbelief about the way it turned out. I had some very hard lessons to learn and we have now been apart 3 years.This movie meant a lot because I am still waiting on reconciling with my one and only true love. I can NOW appreciate that distinct feeling inside of me and the quote of Father Fitzpatrick rang true for me.I know when he has healed enough to trust me again, we will remarry.Don't EVER GET COMPLACENT AND TAKE TRUE LOVE FOR GRANTED! IT HAS BEEN THE HARDEST LESSON OF MY LIFE. Also the music in this movie is OUTSTANDING and MEANINGFUL! This movie is DEEP and spiritually uplifting. TRUE LOVE is worth waiting for, if it is meant to be, it will, no matter what, IT WILL HAPPEN! Nothing is impossible, even when it's the second time around! Thanks! | 1 |
train_16983 | I'll admit that I liked the first one, and was really looking forward to the sequel.I was let down. Sure the special effects were technically amazing -- but they weren't believable looking. It looked more like a cartoon. Alright, I admit to liking 80% of the chase scene -- but the fight with all the Mr Smiths? It was too obviously animated.I can accept all of that. What I can't accept is that the non-action parts were crap. Every time Morpheus opened his mouth, I knew I was in for a speech that went on forever and signified nothing.I was also disappointed with the little plot that did exist. What this movie did was tell us that there was no truth in the first movie (except about the existence of the matrix). This movie was a little like seeing the episode of DALLAS where you find out that the entire previous season was a dream.Ugh! I want my $7.00 back! | 0 |
train_18284 | I was not nearly as smitten with this as many other reviewers. Sure, it has a pair of lovely girls playing erotic, lesbian vampires. Marianne Morris and Anulka D. play these two lovely sirens with razor teeth that run up to cars on a road out of the way, hitch to their home(at dusk), and invite their prey...sex-starved men to their boudoir. What happens there...well, after they disrobe and kiss each other mostly, they kill their visitors. Director Jose Ramon Larraz does have some flashes of brilliance with his camera. Some scenes are quite eerie and effectively shot, but sex alone does not hold a film up(no pun intended...at least consciously). There really isn't much of a story here. We have the two girls. We are shown some inexplicable and unexplained beginning where we see them shot with pistol. Why? What does it mean" Why do we have the guy that stays for several days greet a guy at the hotel that insists he knows him from years ago? Does that have a purpose? Of course I have even more general questions like what is a couple of nice-looking girls doing as vampires in the English countryside and having a wine cellar filled with wine from the Carpathians? Anyway, the script is riddled with such flaws. It is also very sparse on the action outside of catch victims, wine and dine them(quite literally), and then go to bed in the crypt. The end gets going with some juicier scenes, but it is anti-climatic. There are, as I said, some effective scenes by the director...I particularly liked the way the girls dressed and were filmed in the woods looking for their prey. The house is also a most impressive set. And both girls are as I said very lovely. Marianne Morris in particular stands out - in more ways than one. For you older film fans, silent screen veteran Bessie Love has a brief cameo at film's end. | 0 |
train_11690 | This movie i have been dying to see. Well it took till now to decide to actually rent it. It was completely worth it. This movie made me laugh from the beginning to the end. Chris Rock is funny no matter which movie he is in. However, this should come real close to being his greatest. If ur lookin for a family movie, ie pre-teens and up then this is one u can't pass over. | 1 |
train_10490 | Yet another example of what British cinema can achieve: a simple story, told and acted well. Brenda Blethyn gives a layered and warming performance as the recently widowed and financially straitened Grace, ably assisted by a solid supporting cast. The "quirky small town" card gets played to the hilt, similar to many TV series and films that have come from the British Isles in recent years (Ballykissangel, Hamish Macbeth and others come to mind). Like the forementioned, this film makes use of some ravishingly beautiful rural scenery, in this case the wet and wild Cornish coast.Some viewers might find wholesale acceptance of cannabis use a bit challenging, others might find the ending just a little too cute and safe. But it's an enjoyable spliff, to be sure. | 1 |
train_9256 | My wife and I have watched this movie twice. Both of us used to be in the Military. Besides being funny as hell, it offers a very realistic view of life in the Navy from the perspective of A Navy enlisted man, and tells it "like it really is". We're adding this movie to our permanent collection ! | 1 |
train_18173 | I quote Oedpius Rex because it is a tragedy that this film was even made!!!This is one of the worst movies I have ever seen! I am in no way an Uwe Boll hater like most of the humourless people on IMDb! Uwe Boll movies like Postal and Tunnel Rats are hilariously bad and therefore entertaining. But honestly, this movie was just horrible. I hated it so much that I'd give it a zero star rating if I could. The story is just crap! It spends four fifths of the film building the plot and then they have the middle which is just scenes of grizzly horrible tastelessly done murder! The finally end it with a "villan wins ending" which is totally acceptable but surely it could have been more tasteful than this! I am not against Uwe Boll (like I said earlier) nor am I against violent movies! I f**king love violent movies! I loved the Saw movies, the Hostel movies, Tokyo Gore Police, The New York Ripper, the 28 movies, Dog Soldiers, My Bloody Valentine, Last House on the Left, Watchmen, Wolf Creek, every Tarantino movie, every Sam Peckinpah, even Cannibal f**king Holocaust! But this! OMFG!!! This was just cruel, sadistic and perverted! And look at the movies I just listed! If I liked Cannibal Holocaust and not this then it must be bad! Uwe, don't go all dark again! You're funny when you are light hearted, just like Ed Wood. This was just an awful experience! I felt horrible all over after seeing this!DO NOT WATCH!!!! AVOID AT ALL COST!!!!! | 0 |
train_22770 | "American Nightmare" is officially tied, in my opinion, with "It's Pat!" for the WORST MOVIE OF ALL TIME.Seven friends (oddly resembling the K-Mart version of the cast of "Friends") gather in a coffee shop to listen to American Nightmare, a pirate radio show. It's hosted by a guy with a beard. That's the most exciting aspect of his show.Chandler, Monica, Joey, and... oh wait, I mean, Wayne, Jessie, and the rest of the bad one-liner spouting gang all take turns revealing their biggest fears to the bearded DJ. Unbeknownst to them, a crazed nurse/serial killer is listening...Crazy Nurse then proceeds to torture Ross and Rachel and... wait, sorry again... by making their fears come to life. These fears include such stunners as "voodoo" and being gone down on by old ladies with dentures.No. Really.This movie was, in a word, rotten. Crazy Nurse's killing spree lacks motivation, there's nothing to make the viewer "jump," the ending blows, and--again--voodoo?If you have absolutely no regard for your loved ones, rent "American Nightmare" with them.If you care for your loved ones--even a little bit--go to your local Blockbuster, rent all of the copies of "American Nightmare" and hide them in your freezer. | 0 |
train_11385 | This is your typical cheerful and colorful MGM musical from the early '50's and it's definitely on of the better ones to watch out there.The movie got directed by the genre expert Vincente Minnelli and stars Gene Kelly in the main lead. Both did quite a few movies together back in those days, of which this one is probably their best known one. The movie itself actually managed to win the best picture Oscar over the year, which meant it beat out movies such as "A Place in the Sun", "A Streetcar Named Desire", "The African Queen", "Quo Vadis", "The Blue Veil", "Death of a Salesman" that year. A real accomplishment of course but at the same time also a bit too much credit for this delightful, bright and entertaining movie.When you watch this movie you surely will be entertained by it all, which is also thanks to the movie its beautiful color look and the many nice characters within this movie. The musical numbers are also all nicely done, which is no big surprise when you have people such as Vincente Minnelli and Gene Kelly at work. But really, couldn't had everything that got told in this movie been done in halve an hour less or so? I mean, we already know where the movie is heading to but yet it manages to stretch it out all for as long as possible. Not that it makes the movie drag in any parts, it just makes it a bit overlong. The movie could had also definitely been done with a few less musical numbers in it.One of the better MGM musicals, that is not without its flaws though.8/10 | 1 |
train_19987 | Unfortunately, this movie is so bad. The original Out of Towners was manic and very funny, of course they used the script written by Neil Simon. For some reason Neil Simons script is not used in this film so it falls flat time and time again. Even the audience I was with never laughed. The direction is very slow and tedious and when there is a joke it is given away so the joke dies i.e. The couple having sex in the park. They announce it is a lighting ceremony for New York, well we all know the lights are going to come on and we will be able to see cute and mugging Goldie & Steve do a bit of slap stick. The whole movie winds up being like this...a joke is set up and given away. Why isn't Goldies hair ever even messed up in the movie. You will also notice every close up of Goldie (they use a very intense soft lens). I suggest you rent the original with Jack Lemmon and Sandy Dennis, that's if you want to laugh. | 0 |
train_17961 | Like all cult TV shows, there is a group of people who love The Twilight Zone so much that they rate practically every episode like they are the greatest shows EVER. While several of them are indeed wonderful classics, the truth is for every great episode, there were several that were mediocre and at least one that stank. However, like die-hard Trekkies, these Zone lovers insist that all of them are gold. In fact, this is what initially got me to review some individual episodes of a couple cult series instead of the movies I usually watch.While this isn't the worst episode ever made nor is it among the very worst, it is poor by any reasonable standard. A widow watches a long procession of Civil War soldiers going past her home. In the end, a very unexpected twist is revealed and there isn't a whole lot of excitement or suspense here. | 0 |
train_5640 | I really think that this movie is great, personally. But, in every movie there is a downer. Now, some of you may not have watched Hilary Duff's 'Raise Your Voice', but If you think about it, those two shows are very very similar, if you know what i mean. In 'Brave New Girl', Holly wants so bad to get into Haverty Conservatory. In 'Raise Your Voice', Terri wants to go to a conservatory in L.A.(don't remember the name of the conservatory there). They are both in the music field, and they both have to sing at the ending of the semester. It's really funny how these two films are alike. I personally like 'Brave New Girl' better than, 'Raise Your Voice' though. | 1 |
train_15452 | From watching only the trailer to Theodore Rex, you would think this is a bad buddy cop comedy with Whoopi Goldberg and a guy in a dinosaur costume. That is true, but this is mostly a futuristic story, which looks a lot like Batman Forever with it's direction style and weird character designs. It was mismarketed, and should have been marketed as a futuristic tale, instead of just a lame cop comedy. Whether or not this movie is mismarketed, it's still a horrible movie.In the future, dinosaurs have been brought back to life through amazing technology, and they talk and walk around like humans. Teddy is a dinosaur detective who is never taken seriously, but after a dinosaur is murdered, he's given the case to work on, but he has to be partners with the toughest cop of them all, Katie Coltrane (Whoopi Goldberg). It's up to this mismatched duo to solve the murder, and it's up to the audience to stay awake long enough to make it through this piece of crud.Teddy starts the picture as a normal acting character, but by the end he is unbearable to listen to. For some reason along with being a detective, he's also a bad comedian and a bad impersonator. He does imitations of famous people and accents, and has some truly awful lines. Whoopi blames him for farting and he says, "It's not my butt trumpet!" Wow! What a puerile, immature line, even for a kid's movie of this caliber. Whoopi is also annoying and rude to everyone. I was hoping Teddy would bite her head off the entire length of the film.This movie never knew what it wanted to be. When the futuristic scenes and action occur, there is no comedy or humor. In any non-action scenes, the characters try to be as funny as they can, which just results in nonstop straight faced boredome. The action scenes don't work as they're too weird and not violent enough, and as stated earlier, the comedy is just a bunch of massacred jokes. Nothing ever works here.Having a dinosaur/human detective duo seems like a pretty original movie, if nothing else. Nope! This movie is a huge rip-off of Who Framed Roger Rabbit. Just replace dinosaurs with cartoons, and set it in the future, and it's the exact same plot. A man is killed, a dinosaur is killed. A dinosaur and detective solve the murder, a toon and detective solve the murder. The bad guys in Roger Rabbit are Christopher Lloyd and weasels. The bad guys here are a guy who sounds like Christopher Lloyd and guys who act just like the weasels. The club scene in Roger Rabbit where Jessica Rabbit walks down the stage is imitated with dinosaurs. This is a huge rip-off of a much better movie!Overall, this is a bad movie, not even deserving of it's straight to VHS stature.My rating: 1/2 out of ****. 90 mins. PG for mild violence, language and crude humor. | 0 |
train_9429 | This movie is a classic in every sense of the word. It is very entertaining and also very disturbing. The acting in this movie is well done. The story itself is believable, suspenseful, and well thought out. Character development is also done well, the audience can clearly see how each of the characters is emotionally tested through this film. The villains in this movie are very threatening, from the first moment the audience sees them they can tell that they are up to something. This movie shows how a human being, when taken from civilization and put in the middle of the woods, facing a life or death situation can slowly become almost as wild and feral as the animals that inhabit it. Not everyone is going to like this film, there is a lot of disturbing content that may make some viewers uncomfortable. It is definitely worth watching. This movie is a masterpiece. | 1 |
train_5510 | Possibly the most brilliant thing about Che: Part Two, as we begin to integrate it with Part One in our minds, is that there is no clarification of why Che chose to confidentially abscond from Cuba after the revolution, no allusion to his experience in the Congo, no clarification of why he chose Bolivia as his subsequent setting for a coup d'etat, no allusion to the political decisions he made as a young man motorcycling across South America, which Walter Salles has given prominent familiarity. Extraordinary focus is given to Che meeting the volunteers who accompany his guerrilla factions. Yet hardly any endeavor is made to single them out as individuals, to establish involved relationships. He is reasonably unreasonable. Che drives an unbreakable doctrine to leave no wounded man behind. But there is no feeling that he is deeply directly concerned with his men. It is the concept.In Part 1, in Cuba, the rebels are welcomed by the people of the villages, given food and cover, supported in what grows to be a victorious revolution. Here, in Bolivia, not much understanding is apparent. Villagers expose him. They protect government troops, not his own. When he expounds on the onesidedness of the government medical system, his audience appears uninterested. You cannot lead a people into revolution if they do not want to comply. Soderbergh shows U.S. military advisers working with the Bolivians, but doesn't fault the United States for Che's collapse. Che seems to have just misfigured his fight and the place where he wanted to have it.In showcasing both wars, Soderbergh doesn't build his battle scenes as actions with specific results. Che's men attack and are attacked. They exchange fire with faraway assailants. There is generally a cut to the group in the aftershock of combat, its death toll not paused for. This is not a war movie. It is about one man's reasonably unreasonable drive to endure. There is no elaborate cinematography. Soderbergh looks firmly at Che's inflexible dedication. There are remarkable sporadic visceral shots, but being few they are all the more powerful, such as Che's POV shot during his final beats. There is an abundance of the terrain, where these men live for weeks at a time, and the all-consuming effect is of languor, Guevara himself having malaria part of the time.Benicio Del Toro, one of the film's producers, gives a champion's performance, not least because it's modest. He isn't portrayed as the cutting edge like most epic heroes. In Cuba, he arises in conquest, in Bolivia, he falls to the reverse, and occasionally is actually difficult to distinguish behind a tangle of beard and hair. Del Toro illustrates not so much an identity as an attitude. You may think the film is too long. I think there's a genuine cause for its breadth. Guevara's affairs in Cuba and particularly Bolivia was not a sequence of episodes and sketches, but an undertaking of staying power that might virtually be called insane. In the end, Che as a whole or in parts is a commercially ballsy movie, one where its director begins by understanding the limits innate in cinematic biography and working progressively within those means. | 1 |
train_2113 | The location of the shop around the corner is precisely stated at the start of the film, Balta Street in Budapest but it could really be in any place. The small number of sets reflect a middle European design but it could be a shop around any corner. The film is not about Budapest or the retail leather goods business but about the ups and downs of love, reflected in most of the main characters.Alfred Kralik and Klara Novak are sparring partners at work but their anonymous letters to each other are full of hope and aspiration and romance, and the story unwinds to bring these two aspects together beautifully. Hugo Matuschek, the owner of the shop, is having trouble with his wife, she only a voice at the end of the phone. Ferencz Vadas has a secret affair. Ilona Novodny has a gentleman friend who buys her fur garments. Mr Pirovitch's life is centred around his wife and children. Pepi Katona 'plays Santa Claus' to a girl at Christmas. You even sense that quiet Flora Katchuck, while staying at home with her mother dreams of someone.The script is a masterpiece of comedy and drama. It moves effortlessly from scene to scene. It is one of those quiet films that repays looking at again and again, simple yet profound. The dialogue reflects the character speaking which is not common these days. All the acting is magnificent. Even the minor characters like the waiter in the cafe and the policeman in the street are perfect. James Stewart and Margaret Sullavan play off each other perfectly. He was really getting into his stride as an actor then and gives a sweet and sharp performance. Margaret Sullavan was a terrific actor and under appreciated these days. Some of her other films are worth catching. As Mr Matuschek, Frank Morgan is amazing. His moment of truth is very moving. Gold stars all round to the performers.It is a well worn phrase that they don't make them like they used to (The vague re-make 'You've Got Mail' was dire) but in this case it is true. The director Lubitsch is not in farce mode thankfully but delivered a classic film of spirit, charm and warm humanity. | 1 |
train_2017 | After reading only two of the comments herein, as a lifelong Bronte fan, beginning with Olivier's Heathcliff and enduring with the many versions of Charlotte's "Rochester," it is more than eye-opening to see that it is the UNsung Bronte sister who gave the lie to the male-chauvinist period the trio inhabited. Of course, the "miracle" in all three versions of 19th-Century British domesticity is that the "girls" were all "spinsters" and their only realistic brushes with "men" were their vicar father and their wastrel? brother. That said, finally, it is ANNE Bronte who has, in her single assay?, proved the "feminist" point, way way ahead of contemporary types, and including the "voting franchise" ranks. However, history evinces more than a few who preceded, including the Greek heterai and Sappho and the likes of an ancient emperor's Yang Kuei-fei. And how about "Eve" and her apple? | 1 |
train_9012 | Imagine the plight of Richard, a painter, whose real passion is flying. When we first meet him, he is seen atop a building in London wearing his home made wings. He has ripped his canvases and other works, at the height of his despair, and fashions a flying device for his jump. When he falls into the protective police contraption, he doesn't suffer a scratch, but it lands him in front of a judge who orders him to do community service. Richard, whose relationship with Anne apparently ended badly, decides to relocate to a rural area where he finds a place in the country with a large barn he plans to use to construct his own plane.Richard ends up trying to help Jane Harchard reluctantly. She is a young woman suffering from A.L.S., or Lou Gehrig's disease and is confined to a motorized wheel chair. Jane is extremely intelligent, but has a dark side and a salty vocabulary. She uses a hand held device to speak sometimes, as her speech is not clear. What Jane loves to do is to lose her virginity, at any cost. Jane and Richard clash as they meet, but a mutual tolerance soon makes them comfortable with one another.Jane, who watches porn on her computer, has a notion for finding someone like Richard Gere in "American Gigolo", who will, for a fee, have sex with her. When Richard takes her to London, they find the right man for the job. His fee is exorbitant, but they agree. Since they have no money, Richard decides to rob a big bank. Unfortunately, things don't go according to plan when Jane realizes that she can't go through with what she had wanted. At the end, Richard takes Jane for a ride in his crudely built plane for the thrill of her life, something that brings them closer, as they find an affinity with one another.Peter Greengrass directed this quirky film which presents an unusual situation. Jane is clearly not the romantic heroine in mainstream films, and yet, she has such a sweet aura about her that is hard not to feel for her and what she is trying to accomplish. Mr. Greengrass shows an affinity Richar Hawkins' material he wrote for the film. The movie doesn't try to be cute or give a rosy picture of a young woman afflicted with an incurable disease.Helena Bonham Carter is the main reason for watching the film. She makes a wonderful Jane. On the other hand, Kenneth Branagh doesn't seem too well suited for this type of comedy. Somehow, he has problems of his own in the way he interprets Richard. Gemma Jones has some good moments as Anne, Richard's former love."The Theory of Flight" shows a good director. No doubt Peter Greengrass will go to bigger and better things. | 1 |
train_8991 | DIG! is funny, fun, amusing, interesting, stylish, and very well done. Knowing that it was made on such a shoestring budget over 7 years it is amazing that such a story can be told, especially with such style and substance. If you are a music fan or documentary fan this is a must see.Focusing on The Brian Jonestown Masssacre and The Dandy Warhols over the years is a brilliant way to show the contrast between a decent band who meets with moderate success through perseverance and the ability to compromise and a genius megalomaniacal lead singer backed up by a varied cast of characters who sabotage their own success through drugs, alcohol, and insanity. If I did not know that this is footage of real people, I would swear it was an incredibly well written and imaginative scripted piece. The story is compelling, concise, and simply amazing. | 1 |
train_24799 | Witchcraft/Witchery/La Casa 4/ and whatever else you wish to call it. How about..Crud.A gathering of people at a Massachusetts island resort are besieged by the black magic powers of an evil witch killing each individual using cruel, torturous methods. Photographer Gary(David Hasselhoff)is taking pictures for Linda(Catherine Hickland whose voice and demeanor resemble EE-YOR of the Winnie the Poo cartoon), a virgin studying witchcraft, on the island resort without permission. Rose Brooks(Annie Ross, portraying an incredibly rude bitch)is interested in perhaps purchasing the resort and, along with husband Freddie(Robert Champagne, who is always ogling other women much younger than him), pregnant daughter Jane(Linda Blair)and grandson Tommy(Michael Manchester, who just looks bored throughout, probably wanting to watch Sesame Street instead of starring in this rubbish), go by boat to the resort being treated to a look at the property by Realtor Tony Giordano's son Jerry(Rick Farnsworth), obviously a pup in the business getting his feet wet. Along with these folks is architect Leslie(Leslie Cumming, whose character is a nympho)who might help Rose re-design the resort. The boat's captain is killed by The Lady in Black(Hildegard Knef, wearing her make-up and lip-stick extra thick)and a storm is brewing. The boat drives off by itself(..guided by the invisible power of The Lady in Black, I guess)with everyone stuck in the decrepit resort, which is in dire need of repairs. Most of the victims, before meeting their grisly fates are carried through a type of red wormhole whose vortex leads to another dimension(..perhaps a type of hell or something)where they are tortured by these fiends dressed in raggedy clothes with a crummy visage. One victim has her mouth sown before being hung upside down in a chimney, roasted as the others light the fireplace. One poor soul is tortured by harsh twistings of rope wrapped tightly around her flesh before being found hanging from the snout of a swordfish penetrating through her neck. One fellow is slowly suffocating as his veins bulge(..and bleed) and neck's blood vessels burst squirting in Hasselhoff's face! One fellow is crucified with nails hammered into his hands before being hung upside down over an open flame. Blair's pregnant victim becomes possessed with her hair standing on end speaking in another woman's voice. One is raped by this demonic man with a "diseased" mouth as the hellish hobos stand nearby gleefully cheering. The film, despite it's excesses, is mostly dull fodder for those who really wish to see the lowest point in the careers of Hasselhoff and Blair, who deserve better than this. Almost unbearable at times, building little-to-no suspense. Clumsy execution of the death sequences which look cheap and laughable. Sure some gore is okay, but most of the film shows victims after they've been run through the ringer. We do get a chance to see pregnant women(..who look exactly like stuntmen in costume with bad wigs) jumping out three story windows. Oh, and The Lady in Black's reflected face often pops up on inanimate objects for characters to see. Tommy has a little Sesame Street recorder which tapes The Lady in Black's mumbo jumbo chants, obviously used for later. For some reason, The Lady in Black likes to visit little Tommy. He's not at all scared of her, for Tommy's just too bored to show any expression on his face, much less fear. Need I say more? This one's a real stinker. Ugh. | 0 |
train_15667 | Henry, a veterinarian (Paul Rudd), and his bossy fiancé, Kate (Eva Longoria) are looking over the last minute arrangements for their reception. It is the morning of their wedding and Kate is in a frenzy, giving the caterers an earful about her demands for food presentation. But, horror of horrors, the "angel" ice sculpture, ordered by Kate, arrives without wings. In an ensuing fight with the sculptor, the heavy "ice" maiden falls on Kate and sends her to the hereafter. Now, one year later, Henry's sister arranges for a psychic to tell the young vet that Kate would have wanted him to starting dating other ladies and move forward. Yet, the lovely medium, Ashley (Lake Bell) becomes interested in Henry herself, much to the chagrin of her catering partner (Jason Biggs). More importantly, Kate returns from the other side to create havoc for Ashley, as she has no intentions of letting another woman get her hands on Henry. Can anything be done to return Kate into heaven for good? This is an abysmal romantic comedy, one of the worst this dedicated fan has ever seen. No, its not the cast, as they try gamely to make things work. Longoria is beautiful and funny as the overbearing fiancé and Bell has an offbeat style and humor that is likewise infectious. Biggs, a funny thespian, too, is totally wasted. As for Rudd, a very gifted performer (see Anchorman, Knocked Up, or Clueless, please) he tries hardest of all and, in truth, is the main reason to see this clunker. His charm, looks, and easy wit go a long way in making the film bearable. But, nothing can turn a mindless script and terrible direction into a winner, absolutely nothing. So, if you are a dyed-in-the-wool fan of romantic comedy, think long and hard before you fork over any money for this one. Even were free tickets to fall into your lap, be warned that this movie is a near-death experience for those who adore love-and-laugh cinema. | 0 |
train_20900 | Not even the most ardent stooge fan could possibly like the movie, (I one of them) the stooges just aren't given any material to work with. It is really a shame too because this is the only feature length movie the stooges did with Curly, and this one effort by them is painfully unfunny, when it could have had great potential. Awful musical numbers don't help any either. The short they did with the same title has more laughs. | 0 |
train_1198 | Like most other reviewers I have first seen this movie (on TV, never on the big screen), when I was a teenager. My Dad has always regarded this film highly and recommended it to me then, and I must say he was not only right, but this movie has stayed with me forever in the more than 2 decades since I saw it first time. I have seen it two or three more times since then (just a few days ago I gave it another watch) and it has not lost anything of its impact with time. It still a great and well worth to be seen movie! Manr regard Peckinpah's RIDE THE HIGH COUNTRY as one of the first and best later western, which had a realistic look at life in the old west, but the hardly known LAST HUNT is definitely the better movie and was even half a dozen years earlier. Actually it was probably 3 decades ahead of its time, or maybe it still is ...Although thinking hard and having certainly seen 100s of western (I like this genre) I can not remember any western as bleak and depressive as this one. Two men bound together, partly by hate, partly by not seeming to have other choices, surrounded by beautiful Ms. Padget, a crippled old man and a young Inian, leading the life of buffalo-killers until fate reaches out for one of them.Nobody who has ever seen this movie will be able to forget its ending and the last frames of this gem. When the camera moves on and away from Mr. Taylor a white buffalo skin comes into sight (on a tree)and echos from the past, when all the hatred began, are present again. Mr. Taylor has got his buffalo, but in the end the buffalo got him. Aside from the top performances of everybody involved, the intelligent script and the great dialogue, it should also be mentioned, that THE LAST HUNT is superbly photograped, I have seldomely seen a western that well shot (aside from the ones directed by Anthony Mann, which are also all superbly photographed), that all the locations are cleverly chosen and that even the soundtrack fits the picture very well.And director BROOKS is really a superb storyteller. Master craftsmanship!He has made quite a couple of really great movies and was successful in nearly every imaginable genre, but even in an as prolific career as this one, THE LAST HUNT still shines as one of his best, if not his best.Definitely would deserve a higher rating, compared to the 7-something RIDE THE HIGH COUNTRY enjoys. | 1 |
train_1457 | I've watched this documentary twice - and although I'm an major movie buff, most documentaries don't hold my attention. This film however was mesmerizing. Almost every shot is perfect - saying so much more than an audio commentary (which this documentary does not have).The concept of this film is amazing, I can't praise it enough. Mardi Gras beads - who would have thought?? Amazing and excellent choices of interviews - film footage of a factory in China - the film makes you feel like you are actually there.I'm political aware - and I've read several books on globalization so there wasn't anything in this film that was a surprise to me. However, it's made me think so much. I wish so much too, that this world was a better place.A million kudos to the filmmaker - and thanks for making this film too.I wish everyone could see it. | 1 |
train_16261 | foywonder's review of this cheap STV hits the nail squarely on the head. Make sure you read it. In case you don't, a group of scientists heads off into the deep woods of the Pacific Northwest, to fumble around with a bunch of bones in an animal graveyard. The Big Foot family doesn't take kindly to this, and proceeds to pick off the team one by one, largely offscreen. Big Foot himself has a distinctly ape-like face, but is less scary overall than Harry from HARRY AND THE HENDERSONS. Most of the movie has the wooden, generic actors pretending to be scientists tromping around in the woods and yakking away. This is a no-budget movie in which very little happens, at least on screen. We do get to watch the sexiest of the females take a shower while one of her male companions watches, but nothing comes of this. | 0 |
train_22822 | If you're looking to be either offended or amused or both, you'll probably have to look elsewhere. LMOTP really isn't even very thought provoking beyond rehashing the usual silly clichés. At the end of the second episode I felt a little embarrassed that I actually sat through the contrived mess.Beyond the thinly veiled gimmicky premise thats attracted all the initial attention to it in the first place it's just another lame, innocuous and anti-septic attempt at commentary and entertainment that the CBC typically excels at producing. And once the "ZOMG MUSLIMS IN RURAL CANADA ROFLMAO!!" hype wears out its welcome, the show is likely to follow into the ether of cancellation because it's so shallow when judged on its merits alone.Unless you're obsessed with Muslim culture in the west and/or are easily amused by the most minute idiosyncrasies on the subject I really don't see how LMOTP is enjoyable beyond satisfying the curiosity that stemmed from the hype. Other shows have better addressed the issue of cultural/ethnic dichotomy in western multi-ethnic societies. LMOTP will never rank among them in entertainment or insight. | 0 |
train_17245 | There isn't more I can say that saying this film was awful. The whole Chineseness is awakened in your being because of the ancestors was a hard sell. But telling the audience that every Chinese knows Chinese history without even studying it just laughable. That is like saying every American knows American history without studying or every Filipino, etc, etc. It just isn't believable.The story is flat out hideous. It talked about Shin being from a Monastery in China - later identifying it from Bejing. However, the early sequences of the film show the map focusing in on Mongolia. I know the current Chinese regime wants to claim areas like Mongolia for its own, granted. But its a distinct nation and it even labels "Mongolia" on the map. Did Disney Studios fail 5th Grade Geography? The relationship between Wendy and Shin is superficial at best, and yet she somehow feels connected to him. Her training is just cheesy as well. And, lets cut to the chase: everything about this film is bad. Its bad enough to laugh at and cry over. The Taekwondo action was over played and unrealistic in many instances.The evil eyes thing was cheesy. However, the left out ending would have been the only descent thing about it. They should have left the evil eyes ending in it. But instead somehow evil is defeated. Yey! Overall,not worth the time of the dog in the film. Brenda Song should get on with another studio. "F" | 0 |
train_13332 | I give this film it's props that it is very well made and reasonably well acted. BUt I couldn't get past the implausibility of the whole thing.First and foremost, a game built around the notion of "Russian Roulette" that has to fill on hour. the big problem is that if you are doing a "live" show, you run the possibility that your first contestant will be the one unlucky enough to draw the "real" bullet. Then what do you do? You have 50 minutes of show to fill and nothing to show. The corollary is that Okay, you get to the end and the first five contestants survive, which means number six has the bullet and can't possibly get the payout. He isn't going to shoot himself at that point, so it's kind of anti-climatic. second problem, almost as big. Human nature. People are going to flinch, panic, soil their underwear and do things that would otherwise not make very good television. Too much randomness. That's why "real" Reality television is actually tightly scripted and even more tightly edited.(The only random thing is the "performance artist's" rant about female sacrifices, which were actually rare historically. Even that was predictable, since she went through with shooting herself to no effect.) We are led to believe the shows ratings would increase while it was going on at 1 AM in the morning (unlikely) with the token Asian girl announcing each boost in ratings.A point on race and sex. Big surprise the movies two minority (one gay) and two female contestants are the ones who survive. So we are left with the two white males, and of course, the slightly less likable of them is the one who buys it. The purpose of such a show would be it's randomness, but the guy you like the least is the guy who dies.the Climax is that after spending two hours fighting for televised suicide, the Eva Mendes character (Mendes produced and starred in this thing, so she has no one to blame but herself) actually grows a conscience when someone dies. What did she THINK was going to happen? She is promptly shot by a bystander angry about the whole thing (motives never explained) and the show went on to be a big hit. Really? the problem with media satire is that it has to either have some grounding in reality or it has to be so over the top to be ludicrous (like Network). This is neither. | 0 |
train_15332 | Michael Caine has always claimed that Ashanti was "the only film (he) did purely for the money" as well as "the worst film he ever starred in". Hold on, Michael, weren't you in The Swarm and Hurry Sundown? And weren't both of those films a good deal worse than Ashanti? Perhaps Caine remembers only too begrudgingly the physically punishing demands of filming an action film in searing 130 degrees Fahrenheit temperatures (the director, Richard Fleischer, was hospitalised as a result of sun-stroke during the shoot). What Ashanti actually emerges as is not the career low-point of Michael Caine. Instead, it is a very average chase thriller with a talented cast, exotic locations, boring stretches and a highly formulaic storyline.Dr. David Linderby (Caine) is a W.H.O medic who is left devastated when his black wife Anansa (Beverly Johnson) goes missing during an aid trip to an African tribal village. Linderby gradually realises that his wife has been snatched by slave traders - led by Suleiman (Peter Ustinov) - and he sets off on a continent-wide pursuit which eventually leads to the Middle East.Along the way, big stars pop in for ineffective and superfluous guest roles. William Holden has a poor cameo as a chopper pilot; Omar Sharif displays little of his customary charm or grace as a pampered Arab millionaire; Rex Harrison looks rightfully bored during his brief role as a helpful contact who assists Caine in his quest. The film is based on a best-seller entitled Ebano, by the little-known author Alberto Vasquez-Figueroa, but the suspense that made the book so popular is largely absent in this adaptation. Ustinov is charismatic as the slaver (he seems in all his movies to be incapable of giving bad performances), and Caine generates believable anguish as the man who thinks he'll never see his wife again. There are occasional flashes of action, but on the whole Ashanti is quite slow-moving. All in all, it is a resistible piece of action hokum - not by any stretch as awful as Caine has frequently suggested, but not a very inspiring film and certainly a let-down from all the talent involved. | 0 |
train_21628 | Even if one didn't realize that Sellers was in poor health at the time of filming and passed away before the film's release, THE FIENDISH PLOT OF DR. FU MANCHU would be painful viewing. It is supposedly a lampoon of Sax Rohmer's famous Oriental villain but it lacks any focus. The potential for satirical commentary on the anti-Oriental overtones of Rohmer's concept are ignored. Indeed, the movie employs racist insults. There are hardly any actual jokes or gags, just mostly actors behaving idiotically and spouting dreary lines. It is especially distressing to see Sid Caesar forced to spout curses and racial slurs for attempted laughs. Most of the other actors embarrass themselves as well.And then there's Peter Sellers. He plays the dual roles of the sinister Fu Manchu, who is trying to concoct a formula to regain his youth and his stalwart British foe Nayland Smith. Sellers isn't one hundred per cent bad; he conveys a quirky warmth as Smith when he discusses his fetishistic attachment to his lawn mower and he's oddly moving as Manchu when he expresses his love for English music hall entertainment. But most of the time, he plays both roles with a weary grimness, thus further sabotaging any comical possibilities. Sellers' routines where he revitalizes his fading strength with electric shocks are particularly excruciating; he seems too convincingly agonized to be funny. A few genuinely witty lines, an apt slapstick bit by Burt Kwouk (Cato in the PINK PANTHER films) as one of Manchu's minions, and Helen Mirren's amusing musical numbers cannot salvage this mess. If anyone wants to understand why Peter Sellers is considered a comedic genius, they won't learn anything from THE FIENDISH PLOT OF DR. FU MANCHU. | 0 |
train_23176 | Camera work - Why is the camera work in this movie so jumpy? This is annoying and distracting. Editing - the Flashes of the still pictures were way too short. Many of the other scenes were too short also. Just flashes. Sound - the background music was way too loud and covered up the voices. One should not have to rewind and replay to catch what was said. Doesn't anybody check these things and make them do it over again. Please reduce the volume of the background music in future. Is adjustment of the relative sound levels the job of the editor, Julia Wong? The plot had way too many loose ends. The basic story line had potential. I think the film needed more work. Was it rushed? Perhaps they ran out of money. Like a lot of movies, it started out great but just petered out toward the end. I really don't understand this, you know you have the story board before it goes into production so why doesn't all the loose ends get taken care of in the storyboard.Sorry to be so critical. | 0 |
train_24318 | On a distant planet a psychopath is saved from execution by a space monk. He releases a few fellow inmates and breaks out of the prison in a spaceship. They dock onto a ludicrously enormous spacecraft that is orbiting a supernova star. This massive craft is populated by only three people, presumably because the budget of the film did not extend to hiring many actors. Anyway, to cut a long story short, the three goodies end up in a game of cat and mouse with the baddies.The psychopath in this movie is curious in that he is annoying. 'Annoying' is generally not a term one would use to describe a lunatic - unhinged, frightening, dangerous maybe but not 'annoying' but he is. The three people manning the giant ship are seriously unconvincing as warranting such important roles - this ship is practically the size of a city! Considering that the film is set approximately 50 years in the future, it is somewhat optimistic that such a huge man-made craft could exist, never mind the fact that it is used for such a relatively mundane task. Despite the vast size of the spaceship, the crew all have appallingly kitted out, tiny rooms and the dining room consists of what appears to be a plastic table and chairs. But there are a lot of corridors.The film is fairly well acted and it works as an averagey sci-fi thriller. But nothing great. | 0 |
train_16974 | waste of my life, .... the director should be embarrassed. why people feel they need to make worthless movies will never make sense to me. when she died at the end, it made me laugh. i had to change the channel many times throughout the film because i was getting embarrassed watching such poor acting. hopefully the guy who played Heath never gets work again. On top of that i hope the director never gets to make another film, and has his paycheck taken back for this crap. { .02 out of 10 } | 0 |
train_6068 | Red Skelton was still another major star who made the transition from movies to television with ease.His shows certainly brought a laughter to the American households of years back.He would begin the show with an opening monologue. Afterwards, we would have a variety of characters. Remember Gertrude and Heathcliff in the monologue? How can we ever forget San Fernando Red? I remember one episode where as a king Red introduced his queen by referring to her as your fatness.Go know that Red would use his comedic talents to really hide from his tragic life. He lost a son to leukemia at age 11 or so. His wife, Georgia, died by suicide. | 1 |
train_21094 | At one point, Violet (Lucy Liu) tells Neil (Cillian Murphy) that why she constantly seeks out for an adventure. She said "because I'm bore-phobic". It mean that she can't really get on with her life by doing some mandatory activities. Well, I think her reason and the way this film go is very ironic. Because "Watching the Detectives" is a cheer boredom. Have any of these characters actually doing something exciting for once? Neil is a geek who runs his own very small video rental shop. He and his other geek friends usually hang out around the shop and watching movies together while debating about them afterward. But Neil's life is completely turned around when Violet walks into his store. She's an eccentric woman who hides a little secret from him. Anyway, after some dates, they decide to see each other. The problem is Violet is a person who keep doing prank jokes on Neil and can't really doing something normal, whereas Neil is completely opposite to hers. The question is. Is they are going to be in love at the end? You bet."Watching the Detectives" is a cliché romantic-comedy to its core. And they made it even worst by pretending to be something else. From the first couple of set-up, we know that Neil is pretty laid-back guy who didn't really commit to anything. And then, Violet enters the scene, looking all weird and annoying. So at this point, we all know that we're going to sit though all meaningless situations to find out how they're going to end up in the end. Is it worth waiting for? I would say no.As I said, they tried to give something more for the audience. "Watching the Detectives" is trying to talk about commitment. To observe how far people go to reach for something they desire. We knew in the end that insane things that Violet has done is all the test how far Neil is ready to go to win her heart (or whatever). Well, I think it is completely bullshit. This movie will end pretty quick if Neil just said to himself "Forget about it, that girl is one of a nutjob !" After collaborating with many great directors recently (Danny Boyle's "Sunshine" and "28 Days Later", Ken Loach's "The Wind That Shakes the Barley" and Neil Jordan's "Breakfast on Pluto" to name a few), it's pretty weird choice for Cillian Murphy to make a movie with one of Broken Lizard comedy troop, Paul Soter. By all means, He's not bad (as usual), but such a talent actor like him shouldn't be wasting his time in the movie like this. On the other hand, Lucy Liu is dreadfully awful as Violet. Her acting is a mess. I mean it's all over the place and so over-the-top. Tony Montana would have been proud.The last but not least mistake that movie made is a completely irrelevant title. You simply can't really connect a dot between the plot and its title; and then you will end up thinking that it makes no sense at all. In short, "Watching the Detectives" is pleasant if forgettable motion picture that you might have a chance to catch it on cable TV so quick that you couldn't imagine.BloodyMonday Rating: 1.5/4 | 0 |
train_21121 | The previous poster obviously worked on the movie. It's a joke how bad it is and no one would review this kind of movie the way he did.Mentioning all of the actors' names and what they were in previously is a sure sign that he's involved with it in some way.It's on Cinemax right now and I was sure this was some movie where porn stars (the one called Ava is gorgeous and well-endowed) were forced to make something else for some crazy tax reason.Also, when I first saw it, I was sure it was made in about 1986, and I was born in '73, so I thought I knew what i was talking about...but no...it was made in 1993!! Unbelievable!Though I would call it one of those so bad it's good movies. Like watching a train wreck. | 0 |
train_16640 | As you may or may not have heard, there is no actual fighting between vampires or zombies in this film. One may then ask why the title suggested such a thing, but really it's kind of appropriate because nothing else about this film made any sense either. There was absolutely no story or plot, just things happening. The acting was incredibly bad, worse than safeauto commercials bad.Not only were there no fighting between vampires and zombies but I think there was only one scene with zombies even in it. Their make up looked as if it were applied by an 8 year old girl. The scene was totally random and out of place and featured one of the characters fighting the zombies off with a hedge trimmer (I'm not kidding) but they used chainsaw sound effects.This was undoubtedly the poorest movie I've ever seen in my life. The only circumstance that I wouldn't totally ridicule every person responsible for production of this film is if I learned that it was produced entirely by 11 year old's.Really though, even with all of the criticism I offer here, I'd suggest watching this movie solely based on the fact that it may very well be the worst movie ever, and because of this is quite comical. Even just counting the flaws in it should keep you entertained. | 0 |
train_4302 | ... but watch Mary McDonnell's performance closely. Her body language. Her fine body movements. Her subtle, but powerfully effective, reactions. This is an accomplished artist at the top of her craft. And the rest of the cast were pretty damned good, too! ;o)This is perhaps the 3rd or 4th viewing for me, and I see more in it each time. What /IS/ this world coming to, anyway? -R. | 1 |
train_9043 | I just accidentally stumbled over this film on TV one day. It was aired in the middle of the day on a channel not exactly famous for airing good movies. This one, however, was nothing less then good.October Sky tells the true story of Homer Hickam, a boy inspired by the Sputnick launch to become a rocket scientist. He and his friends begin to build rockets. His father is not to happy about his sons new found hobby and would rather see him become a coal-miner as himself or go to college on a football-scholarship like his brother.The story is well written. A bit too predictable maybe, but that's OK cause it doesn't focus too much on those parts of the story. It's important part, but where this is obvious the inner action, the action between the characters is focused on. The story is good. It has some clichés, but that's OK. It's based on actual event's so you kind of can't just drop out these clichés. The characters are really good. Where the story is on a downhill the characters are brought out and manage to keep the action and the quality of the movie high. You get to know these characters and you get sympathy for them. They are well written and believable.This is a good looking movie. The sets and the 50's style is thorough and the pictures are well composed and well lit. This all sets the mood of the film very good.The acting is really good. Jake Gyllenhaal delivers a great performance as Homer Hickam and Chris Cooper is good as John Hickam. As for the rest of the cast they are good too. All together this makes out a pretty strong cast.All in all I'm glad I caught this movie. It was first after seeing it I learned that it was based on actual events. If I had known that when seeing it, it would probably just be even more interesting. October Sky is a good and interesting movie. It's a movie I believe everyone can enjoy. It's kind of a feel-good movie. Not bad at all! | 1 |
train_18886 | I really wanted to like this movie, but it was just imposable. The acting was ultra hammy, the plot was annoying, and the pace was SLOW, sooo slowwwwww. The whole time sitting in the theater i wanted the movie to end. Twenty minuets into a films and I'm praying for an ending. Sure some of the visuals were nice, but c'mon guys, I mean really! And for a movie about a guy tuning magical instruments there really wasn't much music to speak of. The music there was was annoying, and boring. There were sound loud shrill sounds at times too, those were also annoying. Mainly this film managed to bore me, and creep me out at the same time.I'm glad its over. I need to go see "Tideland" and wash this bad taste out of my mouth. | 0 |
train_18042 | Well, first off, if you're checking out Revolt of the Zombies as some very early Night of the Living Dead (1968)-type film, forget it. This is about "zombies" in a more psychological sense, where that term merely denotes someone who is not in control of their will, but who must instead follow the will of another. The "zombies" here, as little as they are in the film, are largely metaphors for subservience to the state or authority in general, as in wartime. It is quite a stretch to call this a horror film.The film is set during World War I. A "French Cambodian" contingent had heard strange stories about zombification--supposedly Angkor Wat was built by utilizing zombies--and there are tales of zombie armies easily overcoming foes. Armand Louque (Dean Jagger) brings back a priest who supposedly knows the secret of zombification, but he won't talk. So Louque and an international military contingent head to Angkor Wat on an archaeological expedition designed to discover the secret of zombification and destroy the information before zombies have a chance to "wipe out the white race".One of the odd things about Revolt of the Zombies is that it seems like maybe writer/director Victor Halperin decided to change his game plan while shooting the script. The film begins as if it will explore the zombie/military metaphor, and maybe even have adventure elements, but after about 15 minutes, it changes gears and becomes more of a love triangle story.Halperin does stick with a subtext about will and power (and a Nietzschean "will to power"). The film is interesting on that level, but the script and the editing are very choppy. This is yet another older film for which I wouldn't be surprised if there is missing footage, especially since some scenes even fade or cut while a character is uttering dialogue.Amidst the contrived romance story, Halperin tries to keep referring to the zombie thread, but little of the zombie material makes much sense. Louque discovers the secret of zombification, but it doesn't mean much to the viewer. The mechanics of the zombie material are vague and confusingHalperin even resorts to using superimposed footage of Bela Lugosi's googly-eyes from his 1932 film, White Zombie, but never explains what it has to do with anything. There are big gaps in the plot, including the love story. Promising, interesting characters from early reels disappear for long periods of time. One potential villain is disposed of unceremoniously before he gets to do much.If you're a big fan of old, creaky B movies, Revolt of the Zombies may be worth watching at least once--the acting isn't all that bad, and if you've got a good imagination, you can piece together an interesting story in your mind to fill in all of the gaps. But this is the second time I've seen the film, with the first only being about five years ago, and I could barely recall anything about it--so it's not exactly memorable. | 0 |
train_9898 | My 10/10 rating is merely for the fun factor and assumes that you decided that you liked "Slaughter High" even before watching it. Yes, it's the typical revenge-several-years-after-a-dirty-prank story, but how can you not like some of the stuff that they pull here?! I couldn't have predicted that bathtub scene in a million years.OK, so maybe we could be cynical and say that this movie offers nothing new. Well, it doesn't pretend to. It's the sort of flick that the characters in "Scream" probably watched, and it contributed to their rules about how to survive a horror movie. After all, who doesn't like to watch people suffer for doing these things? Obviously, it's got sort of a reactionary undertone, as people get punished for doing what the '60s championed. But still, you gotta love this stuff! So, with apologies to Don McLean, this jester didn't sing for the king and queen! | 1 |
train_20133 | It's sort of hard for me to say it, because I so greatly enjoyed both "Targets" and "Paper Moon", but I thought "The Last Picture show" was a somewhat fascinating but overly self-indulgent film. Its main positive, as far as I'm concerned, is the stunning photography. But for me the film had nothing to offer beyond surface beauty (and a kind of hidden beauty, at that). The characters were very hard to relate to or to care about. Basically you had this very slow pace and this naturalistic style of acting, but it was all there to prop up a very formulaic and predictable story, complete with all the trappings one would expect from any small town melodrama -- everything from the boy cheating with his teacher's wife to the handicapped kid who everyone picks on. It was like "American Graffiti" without the joy of life.Some might say this film is more realistic -- nowadays a lot of people seem to think that realism is the only virtue a film can possess. But for me the film was simply oppressive, and I want to see it again about as badly as I'd like to spend a few hours in that miserable town the characters live in.Maybe this film really just belongs to its time -- perhaps if I'd seen it in 1971 I would have been impressed by its novelty, just by seeing something different on the screen. But that would basically assume that I had never seen anything like, say, Godard's "Breathless". Maybe the overt references to classic films would have appealed to the movie geek in me and helped me to overlook some of the film's weaknesses. But in the post-Tarantino world that hardly seems unique or special either.It is interesting though how he uses the films in the film to give his own film more depth. We see 3 films as I recall in the picture show. First we see Vincente Minnelli's "Father of the Bride" -- Liz Taylor's exquisite looks provide a contrast to Sonny's girlfriend and Minnelli's studied upper-middle class milieu contrasts to the character's "real life" surroundings in a similar way. Later, clips from Howard Hawks' "Red River" emphasize the theme of a broken friendship between a mentor and a protégé. It really just reminds me that Bogdanovich is kissing his own mentor's butt, much as he did if I remember correctly by selecting a Hawks film as part of his own on-screen reverie with Boris Karloff in "Targets". I guess in 1971 this kind of thing was new but looking at it today it just seems self-indulgent, like so much of the rest of this film.Ultimately, I'd rather see another film by Hawks, Ford or Minnelli than to have Bogdanovich's film remind us of why they were so striking in such a less-than-subtle way. Maybe he intends to remind us of the giants whose time had passed -- all he really does is remind us how small he and most of his contemporaries are in relation. | 0 |
train_22600 | usually I support independent art and i try to be very comprehensive and tolerant...i tend to support everybody, because their efforts are worth...but this movie just moves away from all comprehension and tolerance limits!imagine the following situation:1. think about the REALLY WORST horror movie you have ever seen in your life so far.2. think about some great, attractive ART for that movie's DVD box...and a promising plot...3. voilà! you got ZOMBIE NATION.see it only if you really don't have anything else better to do. ANYTHING is better. | 0 |
train_3748 | I've watched it plenty of times and I'm planning on buying the full feature. I love all of Jason Steele's comedy. It's very different and unique and is very enjoyable. I love indie films and this one is just great. The plot is strange but very funny. This short film is about a talking Spatula named Edward. The order of the events are a bit jumbled, making this film very interesting to watch. At first you see Edward fighting the spoons, but then the focus changes to earlier in his life. This is a silly movie, but of course, it's still great. I highly recommend that you watch this film at www.spatulamadness.com or www.filmcow.com. It's very funny. The humour may not match everybody's taste but watch anyway. It'll only take 16 minutes of your time, and it's free. GO WATCH SPATULA MADNESS! | 1 |
train_9151 | Savage Island's raw savagery will scare the hell out of you! Trust me.When the boy of the estranged Savage Family is run over by some city slicker tourists, Pa Savage wants revenge, and he'll stop at nothing until he gets it.This is a real horror film with some truly wonderful horror moments.Also, the negative review clearly comes from someone who lacks proper knowledge of film. The filmmakers chose the lighting and camera-work in order to reflect the dark, murky, and egdy mood of the story; in other words, to obtain a certain aesthetic. In fact, the film has won SEVERAL horror film festival awards. | 1 |
train_11630 | Red Eye is a good little thriller to watch on a Saturday night. Intense acting, great villain and unexpected action.Some might not want to see this movie because it goes for a very short 85 Min's and 88% of the movie is on a plane and just talking. Don't worry they pull it off very well with the smart and witty dialog.A PG-13 movie seems to be new grounds for director Wes Craven. But surely enough he has fit as much violence as he possibly can into this thriller.This movies strongest point is its cast. This film needed good actors to deliver the dialog and thrills. If they didn't have those actors the film would have been lost and boring. We had Rachel McAdams from Mean Girls and Wedding Crashers. Cillian Murphy from Batman Begins and 28 days Later. Rounding off this cast is Brian Cox from X-men 2.The pacing in this film was great. Just when your thinking its going to get boring they throw a twist at you. Luckily this isn't a long movie and doesn't feel like it either. Much better then the other flight movie Flight Plan.Here is my Flight Plan comment: http://www.imdb.com/title/tt0408790/usercomments-578I recommend. Not too long and not too shabby.8/10 | 1 |
train_6528 | I saw this Documentary at the Cannes Film Festival, in a small 200-seat Cinema at the top of the main building at the Cannes Film Festival.I absolutely was into it. I love the mix of awesomely made fictional scenes. It is amazing set-design. The scenes look really like they were filmed in 1920ies or 1930ies.And the music is so nice.I rate this experience 9/10.* spoilers ahead *The Documentary tells about awesome Blues-men, with black-and-white old-looking scenes of the black man playing the guitar and singing. It is really amazing. But this also mixes in new bands and that is maybe one thing I might dislike in this Documentary. It is the too abundant use of links to modern rock-bands playing those Blues songs in a modern way. I didn't really appreciate their trashed way of playing such awesome Blues songs. This is the same kind of un-perfect musical taste I found when watching Wim Wenders Buena Vista Social Club.The Documentary was such a standing-ovation at this first screening in the little cinema, that the next day this Documentary was shown for everyone and normal tourists on the beach of the Croisette at the open-air cinema. Though the sand, the quality of the projection and the bad quality of the sound probably made it a difficult experience to enjoy for the thousands of people who were sitting in the sand that night. | 1 |
train_6755 | Ah, noir. My favourite genre. Otto Preminger's follow-up to "Laura" is a film noir set in a postwar New York, where corruption and violence run rampant. It stars Dana Andrews as Sergeant Mark Dixon, a detective whose brutal tactics have landed him in hot water with his superiors. When he accidentally kills a murder suspect, Dixon tries to pin the blame on crime boss Tommy Scalese. Dixon is close to achieving his goal when he becomes involved with the dead man's wife, the beautiful Morgan Taylor. Of course, in typical noir fashion, things quickly go down hill.While the film does nothing interesting camera or narrative wise, it does have a constant tone of dread and gloom. Like most great noirs, it is also wonderfully paced, sucking the viewer in right from the start.Still, like most of Preminger's workmanlike films, it's not something I'd watch again. It lacks the verbal wit of Wilder, the visual flamboyance of Hitchcock or the spatial experimentation of Welles. Like Lang's later work, "Sidewalk" feels very much a "clone" of what a noir should be, instead of something really artistically genuine. Thematically the film is nothing special. It's about a cop who finds himself slowly becoming a criminal. In one scene Dixon explains that his father himself was a small time crook, the film flirting with the notion of predestination, but this one scene is as far as Otto goes, or dares to take his ideas.The camera work is likewise disappointing. There's no intelligence in Otto's camera. No effort is made to assign the camera to anything. It doesn't play with space or architecture or empahsise the step-by-step police procedural. It's just tripod set ups with the occasional dolly in and out. Meaningless, though most people don't care about these things. There is, however, one good shot where our hero is trapped in a car full of gangsters (noir cage) which itself enters a vehicle-lift (another cage) and is taken up into the chief gangster's lair. Like Lynch's "Blue Velvet", Otto retopologizes the film, constantly likens "upstairs" to hell. This works well, but the set design fails to reinforce it. 7/10 - Otto seems content to follow the Hawksian mould of what a noir is, rather than toy with the possibilities of where noir can go. Like "Detour", "Night in the City", "Scarlet Street", "In A Lonely Place", "Act of Violence", "Bomberang" and "Johnny Eager", "Where the Sidewalk Ends" is one of those well made second tier film noirs. It's competent and engaging, but lacks that extra special magic. | 1 |
train_17651 | I thought this was a great idea but, boy, was it poorly executed. We do get a broad sense of how complex and challenging the backstage operations of a show are, but virtually no specifics about any of it works. The producers don't seem to have found any way to tell a story or give the viewer a "through-line." (Which is not to say they didn't try, but having the stagehands relate a synopsis of the Ring cycle as the program's narrative does nothing to tell us about the job of physically mounting an opera.)We see lots of things happening, but are told little about what it is that the people are doing and why. There's little sense of who is who, or how the various production departments fit and work together. For instance, several times we hear about a problem of some sort -- one expects then to see the problem and its consequences and/or how it gets resolved. But instead the filmmakers generally just cut to something else (generally, pretty generic footage of people pushing stuff or talking into headsets.) Overall the film ends up feeling more like a pastiche of images that you'd see run under the closing credits of a show, rather than anything worth watching for its own merit. | 0 |
train_12711 | Hilariously obvious "drama" about a bunch of high school (I think) kids who enjoy non-stop hip-hop, break dancing, graffiti and trying to become a dj at the Roxy--or something. To be totally honest I was so bored I forgot! Even people who love the music agree this movie is terribly acted and--as a drama--failed dismally. We're supposed to find this kids likable and nice. I found them bland and boring. The one that I REALLY hated was Ramon. He does graffiti on subway trains and this is looked upon as great. Excuse me? He's defacing public property that isn't his to begin with. Also these "great" kids tap into the city's electricity so they can hold a big dance party at an abandoned building. Uh huh. So we're supposed to find a bunch of law breakers lovable and fun.I could forgive all that if the music was good but I can't stand hip hop. The songs were--at best--mediocre and they were nonstop! They're ALWAYS playing! It got to the point that I was fast-forwarding through the many endless music numbers. (Cut out the music and you haver a 30 minute movie--maybe) There are a few imaginative numbers--the subway dance fight, a truly funny Santa number and the climatic Roxy show. If you love hip hop here's your movie. But it you're looking for good drama mixed in--forget it. Also HOW did this get a PG rating? There's an incredible amount of swearing in this. | 0 |
train_46 | Just finished watching this movie for maybe the 7th or 8th time, picked it up one night previously viewed at Blockbuster and absolutely loved it, I've shown it to 4 people so far and they have enjoyed it as well. Avoid of all the Hollywood glamour, special effects and stress on the "shock factor", this independent film by Paul F. Ryan hits the nail on the head in dealing with the after affects of traumatic situations. Taking place after a high school shooting, two characters Alicia (Busy Philipps) and Deanna (Erika Christensen) form an unlikely bond. Alicia, the girl with the stone heart, the Goth who has a pessimistic attitude to life assists Deanna to overcome the issues of life and death and living in the aftermath. Meanwhile Deanna attempts to help Alicia to see some of the softness and light in the world again. Not stressing on the shocking event of the shooting, but on the interpersonal relationships amongst those who survived it sets this movie apart. Despite its low-budget and short filming time, this movie is far from cheesy. Ryan pays respect to a situation he has never endured and attempts to delve into the human psyche. With an amazing up and coming actress, Philipps, adds the necessary dramatics to the dialogue and overall feel for the film and Christensen helps to balance out the "doom and gloom" feeling this movie may have. Overall, I recommend this movie and if you enjoy the topic of school aggression and violence and learning more about it, I also suggest the documentary "It's a Girls World" put out by CBC in 2004, which deals with the topic of social bullying, comparing and contrasting two groups of girls one in Montreal, Quebec and the other in Victoria, British Columbia, the group of friends and acquaintances of Dawn Marie Wellesley a 14 year old girl who killed herself after being brutally bullied. | 1 |
train_12671 | I thought Hedy Burress (who managed to escape from the watery grave of part one) was going to be in part 2 Guess not. I just think they should of killed her off like in Friday The 13th Part 2 (you know what I mean).This movie like Scream 3, and Urban Legend 2 followed movies within a movie.This was PURE CRAP! The whole Movie within a Movie crap.BAD STAY AWAY! | 0 |
train_18509 | What is it with Americans and their hang-up with religious gobbledy-gook? To think this was a best-selling novel is incredible, but to pull it off as a movie you really need good acting and a script that delivers. In this case, all the good actors have gone to heaven and we're left with Kirk Cameron as a CNN-type journalist(!) trying to discover why a lot of people have simply disappeared. Oh yeah, there's a subplot about an evil world conspiracy and famine, or something. The good news is that this is done so cheaply, and with such inane dialogue, that it has sheer entertainment value in all of its unintended laughs. Not recommended for anyone with a 3-digit IQ. | 0 |
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